سرود شبانگاه
Suroode Shabangah
“Song of the Night”
Lyrics
Lyrics updated · July 2026English Translation
The song of the evening — how lovely, now and then Arriving suddenly from a shepherd's pipe Accustom yourself to this melody Make your way to the tavern Fill the jug with wine The song of the evening — how lovely, now and then
For God's sake, O love and intoxication Come to me wherever you are White clouds rain The meadow takes on color The morning breeze scatters leaves The song of the evening — how lovely, now and then
Transliteration
Surode shabangah, che khosh gah o nagah Rasad nagahani, zenye shabanee Ba ein naghma kho kon Ba maykhana ro kon Ze may por sabo kon Surode shabangah, che khosh gah o nagah
Khoda ra, tu ay ishq o masti Beya soyam har ja ke hasti Saped abr barad Chaman rang karad Saba barg barad Surode shabangah, che khosh gah o nagah
Man aan rikhta barg zardam Nehala, ba gerdet begardam Namanad chaman ha Na maa o na man ha Bemanad sokhanha Surode shabangah, che khosh gah o nagah
متن اصلی
سرود شبانگاه، چه خوش گاه و ناگاه رسد ناگهانی، ز نای شبانی به اين نغمه خو کن به ميخانه رو کن ز می پر سبو کن سرود شبانگاه، چه خوش گاه و ناگاه
خدا را، تو ای عشق و مستی بيا سويم هر جا که هستی سپيد ابر بارد چمن رنگ کارد صبا برگ بارد سرود شبانگاه، چه خوش گاه و ناگاه
من آن ريخته برگ زردم نهالا، به گردت بگردم نماند چمن ها نه ما و نه من ها بماند سخن ها سرود شبانگاه، چه خوش گاه و ناگاه
The song of the evening arrives suddenly from a shepherd's pipe — accustom yourself to this melody, make your way to the tavern; white clouds rain, the meadow takes on color, the morning breeze scatters leaves.
About This Recording
Suroode Shabangah — The Song of the Evening — is Zahir's most explicitly pastoral composition in the Sufi-adjacent register. The shepherd's pipe (ney-e chopan) is the central instrument, and its choice is deliberate: the ney (reed flute) is Rumi's foundational image in the Masnavi, the reed cut from the reed bed and crying for its origin. The shepherd's pipe in a poem about evening and the tavern places the listener at the intersection of worldly pastoral beauty and mystical longing, without collapsing into either.
The instruction to 'accustom yourself to this melody / Make your way to the tavern / Fill the jug with wine' is the poem's central directive, a sequence of habituating, journeying, and filling. The tavern (mey-khana) in Persian poetry is not merely a drinking establishment but a place of spiritual abandon where social hierarchies dissolve and authentic experience is possible. The instructions are given in second person, making the listener the recipient — the poem itself becomes the evening song that arrives and summons.
The second stanza — 'For God's sake, O love and intoxication / Come to me wherever you are' — frames love and intoxication as entities that can be invoked and summoned. The natural images that follow — white clouds raining, the meadow taking on color, the morning breeze scattering leaves — describe the world responding to the arrival of love and intoxication the way a garden responds to rain. The evening song, the shepherd's pipe, the rain and color: Zahir weaves a world in which aesthetic and natural beauty are inseparable from the longing they stimulate.
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