کمر باریک من
Kamar Barik Man
“My Slender-Waisted One”
Lyrics
Lyrics updated · July 2026English Translation
Come let me embrace you tightly May I be the sacrifice of your tangled hair For you I have 360 kisses Come let me take from your sugary lips
Slender-waisted one Slender-waisted one of mine My dark evening Come close to me Make peace and harmony Enough cruelty — now be faithful
Transliteration
Bia ke dar baghal tanget begiram Balaye kakulaye changet begiram Barat ke se sad o shast bosa daram Bia ke az lab-e qandet begiram
Kamar barik Kamar barik man Shame tarik man Bia ba nazdik man Solh o safa kon Jafa digar bas ast Aknon wafa kon Kamar barik
Safed asti maposh kalaye seya ra Ba ishwa mekoshi zalem tu ma ra Ba ishwa mekoshi, khoon dar meshi Jawan astum bibin roye khuda ra
متن اصلی
بیا که در بغل تنگت بگیرم بلای کاکلای چنگت بگیرم برات که سه صد و شصت بوسه دارم بیا که از لب قندت بگیرم
کمر باریک کمر باریک من شام تاریک من بیا به نزدیک من صلح و صفا کن جفا دیگر بس است اکنون وفا کن کمر باریک
سفید استی مپوش کالای سیاه را به عشوه می کشی ظالم تو ما را به عشوه می کشی، خون دار می شی جوان هستم ببین روی خدا را
Come let me embrace you — may I be the sacrifice of your tangled hair; for you I have 360 kisses; slender-waisted one, come close, make peace — enough cruelty, now be faithful.
About This Recording
Kamar Barik Man — My Slender-Waisted One — is a folk-register song of physical closeness and gentle demand, its tone warmer than most of Zahir's Dari catalog. 'Come let me embrace you tightly / May I be the sacrifice of your tangled hair' — the sacrifice (qurban) formula appears in Dari and Pashto as the highest form of affectionate address: to offer oneself as a sacrifice to the beloved's most specific physical feature (tangled hair) is to give the compliment maximum particularity.
'For you I have 360 kisses / Come let me take from your sugary lips' — the number 360 is not arbitrary; it suggests a complete cycle (the degrees of a circle), meaning the speaker's kisses are inexhaustible in every direction. The folk register allows this kind of playful numerology that the classical ghazal would typically avoid.
'Slender-waisted one, my dark evening' — the beloved addressed as both a physical attribute (slender waist, kamar-barik) and a time of day (dark evening, shab-e tira) suggests the beloved is the speaker's intimate twilight, the passage from day into night. The final demand — 'Enough cruelty, now be faithful' — is made after all the kisses have been named, which gives it the quality of a negotiation: all this affection in exchange for faithfulness.
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