این توسن ایام

Ein Tawsane Ayam

This Wild Horse of Days

Ahmad ZahirThe MastersStudio · Dari

Lyrics

Lyrics updated · July 2026

English Translation

This steed of time — how sweetly tamed it is today The sun of the world has risen from the rooftop

Of the world's ripeness and rawness I will not complain Every ripe thing you see in the world is still unripe inside

In corners and doors, in forest, jungle, and desert Wherever you pass, a name passes — this name, this very name

The angels spoke from behind the veil of lights: Brighter than morning, the enemy's evening has come to its end

Transliteration

Ein tawsane ayam che khosh raam amin ast Khorshide jahan sarzada az baam amin ast

Az pokhtagi o khami alam nazanam daad Har pokhta ke beni ba jahan kham amin ast

Dar gosha o dar, besha o dar jangalo sahraa Har jaa gozare naam, hamin naame amin ast

Goftand malaek ze pase pardaye anwar Rokhshenda tar az sobh, ado shame amin ast

متن اصلی

این توسَن ایام چه خوش رام امین است خورشید جهان سرزده از بام امین است

از پُختگی و خامی عالم نزنم داد هر پُخته که بینی به جهان خام امین است

در گوشه و در، بیشهُ در جنگلُ صحرا هرجا گذری نام، همین نام امین است

گفتند ملائک ز پسِ پرده ی انوار رُخشنده تر از صبح، عدو شام امین است

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This steed of time — how sweetly tamed it is today. A poem moving between philosophical acceptance and political promise: its closing lines, spoken by angels from behind a veil of lights, announce the end of an enemy's evening.

About This Recording

The metaphor of time as a tawsan — an unbroken horse — is very old in Persian poetry. Today, the poem observes, the horse is tamed. But the poem is wary of optimism: 'Of the world's ripeness and rawness I will not complain / Every ripe thing you see in the world is still unripe inside.' The surface of things is unreliable; what appears finished is still in process.

'In corners and doors, in forest, jungle, and desert / Wherever you pass, a name passes — this name, this very name' — the name is not specified; its persistence is the point. A name that circulates everywhere without being named could be a beloved, a prophet, or a political figure. The ambiguity is probably deliberate.

'The angels spoke from behind the veil of lights: / Brighter than morning, the enemy's evening has come to its end' — this closing is unusual. Angelic announcement of an enemy's defeat belongs to the vocabulary of sacred poetry and political resistance simultaneously. Recorded during the late years of the Daoud republic or into the early communist period, such a closing accumulated meaning it may not have had at the moment of composition.

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