LXXIV Ah, Moon of my Delight who know'st no wane, The Moon of Heav'n is rising once again : How oft hereafter rising shall she look Through this same Garden after me in vain! LXXV And when Thyself with shining Foot shalt pass Among the Guests Star-scatter'd on the Grass, And in thy joyous Errand reach the Spot Where I made one - turn down an empty Glass! TAMÁM SHUD. C Yon rising Moon that looks for us again— CI And when like her, oh Sákí, you shall pass TAMÁM. تاء NOTES. [The references are, except in the first note only, to the stanzas (Stanza I.) Flinging a Stone into the Cup was the signal for "To Horse!" in the Desert. (II.) The "False Dawn;" Subhi Kázib, a transient Light on the Horizon about an hour before the Subhi sádik or True Dawn; a well-known Phenomenon in the East. (IV.) New Year. Beginning with the Vernal Equinox, it must be remembered; and (howsoever the old Solar Year is practically superseded by the clumsy Lunar Year that dates from the Mohammedan Hijra) still commemorated by a Festival that is said to have been appointed by the very Jamshyd whom Omar so often talks of, and whose yearly Calendar he helped to rectify. "The sudden approach and rapid advance of the Spring," says Mr. Binning, "are very striking. Before the Snow is well off the Ground, the Trees burst into Blossom, and the Flowers start from the Soil. At Naw Rooz (their New Year's Day) the Snow was lying in patches on the Hills and in the shaded Vallies, while the Fruit-trees in the Garden were budding beautifully, and green Plants and Flowers springing upon the Plains on every side — 'And on old Hyems' Chin and icy Crown 'An odorous Chaplet of sweet Summer buds Among the Plants newly appear'd I recognized some Acquaintances I had not seen for many a Year: among these, two varieties of the Thistle; a coarse species of the Daisy, like the Horse-gowan; red and white clover; the Dock; the blue Corn-flower; and that vulgar Herb the Dandelion rearing its A yellow crest on the Banks of the Water-courses." The Nightingale was not yet heard, for the Rose was not yet blown: but an almost identical Blackbird and Woodpecker helped to make up something of a North-country Spring. "The White Hand of Moses." Exodus iv. 6; where Moses draws forth his Hand-not, according to the Persians, "leprous as Snow," but white, as our May-blossom in Spring perhaps. According to them also the Healing Power of Jesus resided in his Breath. (V.) Iram, planted by King Shaddád, and now sunk somewhere in the Sands of Arabia. Jamshyd's Seven-ring'd Cup was typical of the 7 Heavens, 7 Planets, 7 Seas, &c., and was a Divining Cup. (VI.) Pehlevi, the old Heroic Sanskrit of Persia. Háfiz also speaks of the Nightingale's Pehlevi, which did not change with the People's. I am not sure if the fourth line refers to the Red Rose looking sickly, or to the Yellow Rose that ought to be Red; Red, White, and Yellow Roses all common in Persia. I think that Southey in his Common-Place Book, quotes from some Spanish author about the Rose being White till 10 o'clock; "Rosa Perfecta" at 2;. and "perfecta incarnada" at 5. (X.) Rustum, the "Hercules" of Persia, and Zál his Father, whose exploits are among the most celebrated in the Sháhnáma. Hátim Tai, a well-known type of Oriental Generosity. (XIII.) A Drum beaten outside a Palace. (XIV.) That is, the Rose's Golden Centre. (XVIII.) Persepolis: call'd also Takht-i-Jamshyd- THE THRONE OF JAMSHYD, "King Splendid," of the mythical Peshdádian Dynasty, and supposed (according to the Sháh-náma) to have been founded and built by him. Others refer it to the Work of the Genie King, Ján Ibn Ján — who also built the Pyramids - before the time of Adam. BAHRÁM GÚR.— Bahram of the Wild Ass - - a Sassanian Sovereign had also his Seven Castles (like the King of Bohemia !) each of a different Colour: each with a Royal Mistress within; each of whom tells him a Story, as told in one of the most famous Poems of Persia, written by Amír Khusraw: all these Sevens also figuring (according to Eastern Mysticism) the Seven Heavens; and perhaps the Book itself that Eighth, into which the mystical Seven transcend, and within which they revolve. The Ruins of Three of those Towers are yet shown by the Peasantry; as also the Swamp in which Bahrám sunk, like the Master of Ravenswood, while pursuing his Gúr. The Palace that to Heav'n his pillars threw, And Kings the forehead on his threshold drew- And "Coo, coo, coo," she cried; and "Coo, coo, coo.” [Included in Nicolas's edition as No. 350 of the Rubáiyyát, and This Quatrain Mr. Binning found, among several of Háfiz and others, inscribed by some stray hand among the ruins of Persepolis. The Ringdove's ancient Pehlevi Coo, Coo, Coo, signifies also in Persian "Where? Where? Where?" In Attár's "Bird-parliament" she is reproved by the Leader of the Birds for sitting still, and for ever harping on that one note of lamentation for her lost Yusuf. Apropos of Omar's Red Roses in Stanza xix, I am reminded of an old English Superstition, that our Anemone Pulsatilla, or purple "Pasque Flower," (which grows plentifully about the Fleam Dyke, near Cambridge,) grows only where Danish Blood has been spilt. (XXI.) A thousand years to each Planet. (XXXI.) Saturn, Lord of the Seventh Heaven. (XXXII.) ME-AND-THEE: some dividual Existence or Personality distinct from the Whole. (XXXVII.) One of the Persian Poets Attár, I think has a pretty story about this. A thirsty Traveller dips his |