The commentators side by side

فدونكها أى خذها وتناولها ندونك حينئذ ا سم فعل بمعنى خذ والكاف حرف خطاب والهاء مفعول والهاء فى دونكها للمدامة والحان موضع المدامة

Fa-dūnakahā, i.e. take it and partake of it; so dūnaka is here an ism fiʿl (noun with verbal force) meaning “take”, the kāf is a particle of address, and the hāʾ is the object. The hāʾ in dūnakahā refers to the wine, and al-ḥān is the place of the wine.

معى دونكها هنا اغراء بالمدامة المذكورة أى تناولها وخذها بتقدير تحقق فى فناتك واضمحلالك فى الوجود الحق الذى أنت به موجود عندك على الوهم وهو معنى شر بها فان الشرب ابطان ما هو ظاهر من ا المدمات

The meaning of dūnakahā here is urging towards the aforementioned wine, i.e. partake of it and take it, by way of realizing your fanāʾ (passing away) and your vanishing in the Real Being by which you exist — [existent] in your own view by way of illusion. That is the meaning of drinking it, for drinking is making inward what is outward of wines.

﴿فى الحان﴾

وهو حانوت الخمار الاشارة بذلك هنا الى كل شئ لان هذه المدامة المكنى بها عن الوجود الحق الواحد الاحد له ظهور وتجل وانكشاف بتقدير كل شئ وتصويره فكان كل شئ حانة على الاستقلال وكل شئ هالك الاوجهه كما انه كل من عليها فان اه

It is the wine-seller’s shop. The allusion by it here is to everything, because this wine, by which the Real Being, the One, the Unique, is metonymically meant, has manifestation, tajallī (self-disclosure), and unveiling through the determining and forming of everything; so it is as though everything were a tavern in its own right, and “everything is perishing except His face” (Q 28:88), just as “everyone upon it is passing away” (Q 55:26).

﴿واستجلها به﴾

انها عروس لان الجلوة تكون للعروس فقد أشار بها اليها

that she is a bride, because the jalwa (bridal display) is for the bride; so he has alluded by it to that.

﴿فهى﴾

أى المدامة م ا أى بالنغم غنم بضم الغين أى غنيمة وما أحسن قول من قال المدامة بغير نغم غم وبغير دسم سم وبغير نديم ندم وقول الآخر ولا تشرب بلا نغم فانى • رأيت الخيل تشرب بالصفير وقد علمت ان الشعر المليح من جملة أسباب اهتزاز الاريحية عند بذل المكارم وقد قيل الكريم طروب وما الطف ما يروى للرقاشى حيث يقول نبهت ندمانى الموفى بذمته • من بعد اتعاب كاسات واقداح فقلت قم واسقنى واشرب وغن لنا • بادار مثواى بالقاعين فالساح فاحسا ثانيا أو بعض ثالثة • حتى استدار ورد الراح بالراح وما الطف قول الامام فخر الدين الرازى صاحب التفسير الكبير ونقلتهما من خطه شربنا على الصوت القديم قديمة • لكل قديم أول هى أول فلو لم تكن فى حيز قلت انها • هى العلة الاولى التى لا تعلل وفى البيت الجناس التام بين الحان وألحان والجناس المقلوب بين غم ونغم ويفهم من

I.e. the wine; bihā, i.e. by the melodies; ghunm, with ḍamma on the ghayn, i.e. booty. How fine is the saying of whoever said: “Wine without nagham (melody) is ghamm (grief), without dasam (fat) it is samm (poison), and without nadīm (a boon companion) it is nadam (regret).” And the saying of another: “Do not drink without melody, for I / have seen horses drink to whistling.” You have already learned that fine poetry is among the causes that stir generosity (arīḥiyya) when noble deeds are bestowed; and it has been said: the generous man is given to delight. And how subtle is what is related of al-Raqāshī, where he says: “I roused my boon companion, faithful to his pledge, / after the wearying of glasses and goblets, / and I said: Rise, pour for me, drink, and sing to us: / ‘O abode of my dwelling at al-Qāʿayn, then al-Sāḥ.’ / So he sipped a second or part of a third, / until the rose of the wine (rāḥ) went round in the palms (rāḥ).” And how subtle is the saying of Imam Fakhr al-Dīn al-Rāzī, author of al-Tafsīr al-kabīr — I copied the two [lines] from his handwriting: “We drank, to the ancient voice, an ancient [wine]; / every ancient thing has a first, [and] it is the first. / Were it not within a place, I would say that it / is the First Cause, which has no cause.” In the verse there is al-jinās al-tāmm (complete paronomasia) between al-ḥān and alḥān, and al-jinās al-maqlūb (inverted paronomasia) between ghamm and nagham. And it is understood from