"in every nook thine eye has a hundred slain ones fallen like me," and the following lines in the same poem 86:
O welche Pfeile strahlt zu mir dein Antlitz,
Und es befreit kein Schild von deiner Schönheit,
remind us of H. 561. 7:
چشم تو خدنگ از سپر جان گذراند
"thine eye causes the arrow (lit. poplar) to pass through the shield of life."
Again and again we meet with allusions to the famous image of the love of the nightingale for the rose (35, 75, etc.) so common in Persian poetry, especially in Hāfiḍ. We cite only 318. 1:
فکر بلبل همه آنست که گل شد يارش گل در انديشه که چون عشوه کند در کارش
"the whole thought of the nightingale is that the rose may be his beloved; the rose has in her thought how she may show grace in her actions." In 302. 1 the nightingale is called عروس گل "the rose's bride."
Besides this, the poems teem with characteristic Persian metaphors: the moth longing for the flame (37, H. 187. 7); the tulip-bed glowing like fire (67, H. 288. 1); the tulip-cheek لاله عذار (whence Moore's Lalla Rookh), لاله رُخ (70, H. 155. 2); the musk-perfumed hair لاله مشکين (73, H. 33. 4); the garden of the face (73, H. 33. 4); the pearl of Aden درٌ عدن (77, H. 197. 10 and 651); wine as a ruby in a golden cup (82, H. 204. 8 ايا پر لعل کرده جام زرٌين "O thou, the golden cup is made full of ruby"); the eye-brows like the crescent-moon (82, H. 470. 5 ابروی همچون هلال "brow like the new moon"); the dust on his love's threshold (83, H. 497. 10 خاک در يار); the sky playing ball with the moon (14, inspired by some such couplet as H. 409. 7); and the verses like pearls (43). For this compare H. 499. 11: