داستان باربد رامشگر
The Story of Barbad the Musician
بدو گفت مرد وی کایدون کنم ز مغز تو اندیشه بیرون کنم چو خسرو همیخواست کاید بباغ دل میزبان شد چو روشن چراغ بر باربد شد بگفت آنک شاه همیرفت خواهد بران جشنگاه همه جامه را بار بد سبز کرد همان به ربط و رود ننگ و نبرد بشد تابجایی که خسرو شدی بهاران نشستن گهی نو شدی یکی سرو بد سبز و برگش گشن ورا شاخ چون رزمگاه پشن بران سرو شد به ربط اندر کنار زمانی همیبود تا شهریار ز ایوان بیامد بدان جشنگاه بیاراست پیروزگر جای شاه بیامد پری چهرهی میگسار یکی جام بر کف بر شهریار جهاندار بستد ز کودک نبید بلور از می سرخ شد ناپدید بدانگه که خورشید برگشت زرد همیبود تاگشت شب لاژورد زننده بران سرو برداشت رود همان ساخته پهلوانی سرود یکی نغز دستان بزد بر درخت کزان خیره شد مرد بیداربخت سرودی به آواز خوش برکشید که اکنون تو خوانیش داد آفرید بماندند یک مجلس اندر شگفت همی هرکسی رای دیگر گرفت بدان نامداران بفرمود شاه که جویند سرتاسر آن جشنگاه فراوان بجستند و باز آمدند به نزدیک خسرو فراز آمدند جهاندیده آنگه ره اندر گرفت که از بخت شاه این نباشد شگفت که گردد گل سبز را مشگرش که جاوید بادا سر و افسرش بیاورد جامی دگر میگسار چو از خوب رخ بستد آن شهریار زننده دگرگون بیاراست رود برآورد ناگاه دیگر سرود که پیکار گردش همیخواندند چنین نام ز آواز او را ندند چو آن دانشی گفت و خسرو شنید به آواز او جام می در کشید بفرمود کاین رابجای آورید همه باغ یک سر به پای آورید بجستند بسیار هر سوی باغ ببردند زیر درختان چراغ ندیدند چیزی جز از بید و سرو خرامان به زیر گل اندر تذرو شهنشاه پس جام دیگر بخواست بر آواز سربرآورد راست برآمد دگر باره بانگ سرود همان ساخته کرده آواز رود همی سبز در سبز خوانی کنون برین گونه سازند مکر و فسون چوبشنید پرویز برپای خاست به آواز او بر یکی جام خواست که بود اندر آن جام یک من نبید به یکدم می روشن اندر کشید چنین گفت کاین گر فرشته بدی ز مشک و زعنبر سرشته بدی چو بشنید رامشگر آواز اوی همان خوب گفتار دمساز اوی فرود آمد از شاخ سرو سهی همیرفت با رامش و فرهی بیامد بمالید برخاک روی بدو گفت خسرو چه مردی بگوی بدو گفت شاهایکی بندهام به آواز تو در جهان زندهام سراسر بگفت آنچ بود از بنه که رفت اندر آن یک دل و یک تنه بدیدار او شاد شد شهریار بسان گلستان به ماه بهار به سرکش چنین گفت کای بد هنر تو چون حنظلی بار بد چون شکر چرا دور کردی تو او را ز من دریغ آمدت او درین انجمن به آواز او شاد می درکشید همان جام یاقوت بر سرکشید برین گونه تا سرسوی خواب کرد دهانش پر از در خوشاب کرد ببد بار بد شاه رامشگران یکی نامدارای شد از مهتران سر آمد کنون قصهی بارید مبادا که باشد تو را یار بد
The man told him: "This is what I will do — I will drive the worry from your mind." When word came that Khosrow intended to visit the garden, the host's heart lit up like a bright lamp. He went to Barbad and told him the king was heading to the festival grounds.
Barbad dressed entirely in green — his clothes, his barbat, his lute, everything. He made his way to the place where Khosrow would come each spring to sit in a freshly prepared garden-seat. There stood a great cypress, green and thick-leafed, its branches spreading like a dense battlefield. Barbad climbed that cypress with his barbat in his arms and waited.
The king came from the palace to the festival ground. The victorious attendants arranged his seat. A fairy-faced cupbearer appeared, a goblet in hand for the sovereign. The world-holder took wine from the boy — the crystal vanished beneath the red. As the sun turned gold and evening deepened into lapis, the hidden player struck up a melody on the cypress — a Pahlavi tune, composed and ready. He played a brilliant piece upon the tree that left the fortunate king stunned. He raised a song in a sweet voice — the one they now call "Dad Afarid."
The whole court sat in amazement. Everyone had a different theory. The king ordered his notables to search the festival grounds end to end. They searched everywhere and came back empty-handed. A wise courtier then offered: "Given the king's fortune, this is no surprise — even the green rose gains a musky scent. May his crown endure forever."
The cupbearer brought another goblet. When the fair-faced servant handed it to the king, the hidden player shifted his tuning and launched into a different song — the one they called "Peykar-e Gardesh," the Turn of Battle. When Khosrow heard it, he drained his cup to the sound of the music and ordered: "Find this player! Search every corner of the garden!" They searched everywhere with torches under the trees. They found nothing but willows and cypresses and pheasants strutting beneath the flowers.
The king called for yet another cup. The voice rose up again — song and lute together. "Green hidden in green — that is how they work their spell." When Parviz heard this he stood up and called for a goblet to match the voice — a cup holding a full man's measure of wine. He drained the bright wine in a single breath.
"If this were an angel," he said, "it would be kneaded from musk and ambergris. If it were a demon, it would not know song, and it would not know the stroke of the lute."
When the musician heard the king's voice — those fine, welcoming words — he climbed down from the tall cypress and walked forward with grace and dignity. He came before Khosrow and rubbed his face in the dust. "What manner of man are you?" asked the king. "My lord — I am a slave. I am alive in this world only for the sound of your voice." He told the whole story from the beginning, everything that had happened, single-hearted and devoted.
The sight of him made the king as happy as a rose garden in spring. Khosrow turned to Sarkash and said: "You wretch — you are bitter as colocynth while he is sweet as sugar. Why did you drive him away from me? You begrudged this man a place in my court?"
The king drank joyfully to Barbad's music and raised the ruby cup again and again, on into the night until sleep came — and filled the musician's mouth with fine pearls. From that day Barbad became the king of minstrels, a man of renown among the great.
So ends the tale of Barbad. May you never have a treacherous friend.
Notes
Barbad (باربد), the legendary court musician of Khosrow Parviz. In the Shahnameh tradition he is the greatest musician in Persian history, inventor of the royal modal system and numerous melodies.
Sarkash (سرکش), the jealous chief musician who had blocked Barbad's access to the king. His name literally means 'rebellious' or 'insolent.'
The named melodies — Dad Afarid ('Justice Created'), Peykar-e Gardesh ('Turn of Battle'), and Sabz dar Sabz ('Green in Green') — belong to the traditional repertoire attributed to Barbad. Persian musical tradition credits him with thirty melodies (si lahn), seven royal modes (khosravani), and 360 compositions for each day of the year.
'Green in green' (سبز در سبز) — Barbad dressed in green and hid in the green cypress, camouflaging himself. The phrase became proverbial in Persian for concealment or trickery through perfect blending.
