This text first appears in the Sadettin Nüzhet [Ergun] 1929 publication of Pir Sultan Abdal texts. This is the main text I have followed for the translation although I have also referred to the 1943 publication by Gölpınarlı and Boratav which reprints Ergun’s text with some minor, mostly orthographical, changes. In fact, this text persists with very few variants. Most notable is the use of ‘teşevvüştür‘ for ‘neşterlidir‘ in the 4th verse. I have also seen a version of this verse that replaces ‘gün gelir geçer …’ in the second line with ‘gürler gelir geçer …’. The idea of gürlemek, to thunder or make a loud noise, together with the original sense of passing days has influenced my translation towards the idea of ‘croaking’ – for better or worse. The word ‘can’, simple, manifold and profound, always presents a challenge and frustration as it is impossible to convey the full depth of meaning – while also, for the same reasons, it gives the translator considerable interpretive scope. The song is a great cris de coeur emphasised by the repetition of the vocative gel – come! – at the end of each verse. As Gölpınarlı and Boratav note, this rhyme recalls a similar use by Gevheri (died early 18th century), for example in the lyric (originally published by Köprülü in 1929) beginning: ‘Ne nihan edersin benden yüzünü / Hasretinle hâlim yaman oldu gel / Hak aşkına olsun göster yüzünü / Görmedim cemâlın zaman oldu gel‘ (see M. Fuad Köprulü, Saz Şairleri I-IV. Akçağ, 2004. p192-193). 

The song has been recorded by some of the great Alevi musicians including Feyzullah Çınar and Aşık Daimi as well as ‘urban’ interpreters such as Ruhi Su and Rahmi Saltuk. Recorded versions of the song closely follow the original text although usually with the omission of the 4th verse (as in the case of Feyzullah Çınar and Ruhi Su) or both the 3rd and 4th verses (as in the case of Aşık Daimi and Ahmet İhvani). Interestingly (for me at least) Aşık Daimi reverses the form of the mahlas from “Pir Sultan Abdal’ım” to “Abdal Pir Sultan’ım”. The form of the mahlas is something I have written about at length elsewhere. A notable version available on YouTube is that by the Canadian based Alevi musician Ahmet İhvani in a masterful performance incorporating the ‘Deli Derviş’ bağlama instrumental work as a prelude to the song. 

Pir Sultan Abdal: Gam elinden zülfü siyahım

Translation: Paul Koerbin

Grief from your hand, my divine beauty,

Struck like an arrowhead wounding my heart – Come!

Don’t make me weep for your great wound

Today love was split from the soul – Come!

My native home became a fortress of sorrow

My cry unheard my prayer unheeded

My woe not one, not five, nor ten

But come upon as knots upon knots – Come!

Shall I thus be bound to longing?

Did Leyla endure for Mecnun?

The world is transitory – come, don’t begrudge me

My burden of chattels let for pay – Come!

Whatever my pained heart suffers it bears no scar

Then one croaks and life is never fulfilled

Old wounds are opened and are never healed

The verdant place has turned to black – Come!

I am Pir Sultan Abdal – in a week in a month

Days come and go and nothing is gained

The heart longs for God – my soul in futile pursuit

My black earth cast in heaps upon me – Come!

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Original text from Sadettin Nüzhet [Ergun], XVII inci asır Sazşairlerinden Pir Sultan Abdal Bütün Şiirleri (1929)

Gam elinden benim zülfü siyahım

Peykan değdi sînem yaralandı gel

Suna başın içün ağlatma bizi

Bu gün sevdâ candan aralandı gel

Gamdan hisar oldu mekânım yurdum

İşitmez âvazım dinlemez virdim

Bir değil beş değil on değil derdim

Düğümler baş urdu sıralandı gel

Hasretine vâsıl olam mı böyle

Mecnun’a da bâkî kalır mı Leylâ

Ölümlü Dünya’dır gel helâl eyle

Yüklendi barhanem kiralandı gel

Ne çekerse dertli sinem dağolmaz

Günler gelir geçer ömür çokolmaz

Neşterlidir yaralarım onulmaz

Kökerdi çevresi karalandı gel

Pir Sultan Abdal’ım haftada ayda

Günler gelir geçer bulunmaz fayda

Gönül Hak arzular canım hayhayda

Toprağım üstüme karalandı gel