CONTENTS

The Princess of Qulzum

Come, my Beloved!

Ballade of Muhammad Khan

Ghazal of Tavakkul

Ghazal of Sayyid Kamal

Ghazal of Sayyid Ahmad

Ghazal of Pir Muhammad

Ballade of Nurshali

Ghazal of Muhammad Din Tilai

Micra

Ballade of Muhammad Din Tilai

Ghazal of Mira

Ghazal of Majid Shah

Ghazal of Mira

Ballade of Ajam the Washerman

Ghazal of Isa Akhun Zada

The Bamboo Garden

Stranger Things have Happened

Nocturne

The Gao Flower

The Girl of Ke-Mo

The Little Woman of Clear River

Waiting to Marry a Student

A Song for Two

Sand

Two Similes

Melodian

The Lost Lady

Love Brown and Bitter

Okhouan

Lying Down Alone

Old Greek Lovers

Night and Morning

In a Yellow Frame

Because the Good are Never Fair

White and Green and Black Tears

A Conceit

Values

What Love Is

The Dancing Heart

The Great Offence

An Escape

Three Queens

Her Nails

Perturbation at Dawn

The Resurrection of the Tattooed Girl

Moallaka of Antar

Moallaka of Amr Ebn Kultum

Comparisons

A Canker in the Heart

Disquiet

Vengeance

The Flight

We were Two Green Rushes

Song Writer Paid with Air

The Bad Road

The Western Window

In Lukewarm Weather

Written on White Frost

A Flute of Marvel

The Willow-Leaf

A Poet Looks at the Moon

We Two in a Park at Night

The Jade Staircase

The Morning Shower

A Virtuous Wife

Written on a Wall in Spring

A Poet Thinks

In the Cold Night

Winter Comes

Part of a Ghazal

Fard

Incurable

A Poem

Fard

Mortification

Fard

Grief and the Sleeve

Drink Song

A Boat Comes In

The Opinion of Men

Old Scent of the Plum-tree

An Orange Sleeve

Invitation

The Clocks of Death

Green Food for a Queen

The Cushion

A Single Night

At a Dance of Girls

Alone One Night

Walking up a Hill at Dawn

Proposal of Marriage

You do not Want Me, Zohrah

Tears

The Dream

Separation

Paradise

Misadventure

Khap-Salung

The Holy Swan

Fire and Love

Hearts of Women

To His Love instead of a Promised Picture Book

Too Short a Night

The Roses

I Asked my Love

A Request

See You Have Dancers

The Sighing Heart

Handing over the Gun

Honey

The Love of the Archer Prince

Distich

Things Seen in Battle

Hunter's Song

The Bath

Distich

A Proverb

The Garden Of Bright Waters

TRANSLATOR'S NOTES

I am hoping that some readers will look on this collection primarily as a book of poems. The finding and selection of material and the shaping of the verses is my principal part in it. Most of the songs have been written from, or by comparing, the literal translations of French and Italian scholars, checked wherever possible by my own knowledge. When my first and very great debt to these has been stated, there remains my debt to the late John Duncan, to Mr. J. Wing, and to a friend, a distinguished writer both in Persian and Turkish, who wishes to remain unnamed. The kindness of these writers lies in trusting their work to my translation and helping me in that task. My book also owes much to suggestions prompted by the wide learning of Mr. L. Cranmer-Byng. My final debt is to him and to another generous critic. I have arranged my poems in the alphabetical order of their countries, and added short notes wherever I considered them necessary, at the instance of some kindly reviewers of an earlier book, which was not so arranged and provided.

SIKANDER, Alexander the Great.

SHALIBAGH, the notable garden of Shalimar in Lahore, planted by Shah Jahan in 1637.

ABDEL QADIR GILANI, Abd al-Qadir al-Jilani, founder of the Qadirite order of the Dervishes, twelfth century.

K'IEN NIÜ and CHIK NÜ: the legend of these two stars comes from China and is told in Japan. Readers are referred to that section of Mr. L. Cranmer-Byng's A Lute of Jade which deals delightfully with Po-Chü-i; and to Lafcadio Hearn's Romance of the Milky Way.

ANTAR, the hero Antar Ebn Cheddad Ebn Amr Corad, who lived in the late sixth and early seventh centuries, owes his European reputation to Siret Antar, the Adventures of Antar, or more exactly the Conduct of Antar, written by Abul-Moyyed "El Antari" in the twelfth century. This book tells of the fighter's feats in war and of his love for his cousin Abla; and these are the themes of Antar's own poems.

AN ESCAPE: in this poem Abu Nuas, the Court poet, tells of an adventure of the Khalif Haroun. There is a story that the Khalif, being set back by the answer of his lady, called his poets in the morning and bade them write a poem round the phrase, "Words of a night to bring the day." All were rewarded for their work save Abu Nuas; and he was condemned to death for spying through keyholes on his master. But after he had proved an alibi, he also was rewarded.

"JOHN DUNCAN was a lowland Scot, who lived in Edinburgh until he was between twenty and twenty-five years old. He was educated at one of the Scots schools, and knew his way about the University if he was not actually a student there. He certainly had enough money to live on. A love affair in which he must have been infamously treated caused him to leave Scotland. Within a year or two he was an established member of a small tribe of nomadic Arabs, and eventually he became in speech and appearance one of them, living their lazy, pastoral life and travelling up and down with them the whole line of the southwest coast of the Persian Gulf. Before his death, which occurred last year, at the age of forty-two or forty-three, he had become acquainted with the whole of habitable Arabia.

"Let Mr. Mathers take up the story as he told it to me: 'He married an Arab, and all his forty-odd poems are addressed to her. I saw only a snapshot of her, which showed her to be beautiful. In her he certainly found healing for the wound his abnormally fiery and sensitive nature had taken from the first woman. She pulled together an intellect rather easily subdued. I only knew him after her death (his reason for travelling to this country), and a dazed, utterly unpractical and uninterested habit of mind, which alternated with his brilliance of speech and to a less degree of thought, was probably a reversion to the psychic state which his marriage had cured.

" 'Like so many to whom life has at one time given a paralysing shock, Duncan was extremely reticent, save when he could lead the conversation, and be confidential at points of his own choosing; and he was not an easy man to question. The disappointment which had driven him from his country certainly made him more bitter against the British than any other man I have listened to. All his considerable wit and the natural acid of his thought were directed against our ideas, institutions, and beliefs.

" 'His one sane enthusiasm, English lyric verse, of whose depths, main-stream, and back-waters his knowledge was profound, formed one-half of his conversation.

" 'His English in talking was rich and varied, and it was an ironic caprice which made him refuse to write in that language. I doubt, though, whether he would have composed with ease in any tongue, for he found it hard to concentrate, and his small stock of verse was the outcome of ten years of unoccupied life. He approved, rather mockingly, my promise to try to find an English equivalent for some of them; and I think I have copies of all he wrote.

" 'One not acquainted with the man might find them rather hard to render, as, had he been an Arab actually, still he would have been the most unconventional of poets, neglecting form and the literary language.'"

My most cordial thanks are due to The Bookworm, of the Weekly Dispatch, for permission to make this long quotation from an article headed, "The Strange Story of John Duncan, the Arab-Scot," which appeared over his nom de plume in the issue of that newspaper for March 30, 1919.

J. WING: I have already translated three of this writer's poems: "English Girl," "Climbing after Nectarines," and "Being together at Night." These may be found in Coloured Stars. Mr. Wing is an American-born Chinese and practises the profession of a valet.

THE CLOCKS OF DEATH: this poem is a zi-sei, or lyric made at the point of death. Naga-Haru committed suicide after an unsuccessful defence of the strong castle Mi-Ki against Hashiba Hideyoshi in 1580. His wife followed his example, composing this poem as she died.

WAKANA, the turnip cabbage, whose leaves are eaten in early spring. The Mikado is lamenting a sudden realisation that he is too old for his love.

THE CUSHION: the poetess, daughter of Tsu-gu-naka, lord of Su-Wo, while at a party, asked for a cushion. A certain Iye-tada offered his arm for her to lean her head against, and she answered with these lines.

STREET SONGS: the three poems which I have so called are written in everyday colloquial Japanese. The words of the old language, which are the ornament of literary verse, are almost entirely excluded from these songs. In them one finds a superabundance of auxiliaries, and the presence of these marks a clear line between the literary and the folk-idiom.

TAMOUR-LENG, Tamerlane. The facts of "You Do Not Want Me" are historical; but it should be added that Gahuan-Beyg succeeded in overcoming Zohrah's indifference, and that a few months after their marriage he beheaded her with his own hand for speaking to another man.

THE LOVE NIGHTS OF LAOS, "Wan-Pak" Nights, at the eighth evening of the waxing or waning of the moon, when even Buddha has no fault to find with love-making in the thickets. Songs, of which I have translated three, are sung on these nights to the accompaniments of the "Khane," a pan-pipe of seven flutes; some being reserved for the singing of the wandering bands of girls, and others for answer by the youths.

THE ROSES, this rubai made Abu Yshac famous. He died at least twenty years before the birth of Omar Khayyam. Readers will have been struck by the similarity of idea in "The Roses" and in two lines in Fitzgerald's Rubaiyat:

I often wonder what the vintners buy
One-half so precious as the goods they sell.

THE LOVE OF THE ARCHER PRINCE: this form of poem, with one rhyme and repetitive and increasing lines, is a familiar one in Thibet; and thence it has entered Kafiristan and become a popular manner of composition Archipelago. English readers will remember an analogous poem, "The House that Jack built."