They are respectively named and ("" and "")" (literally, "white water" and "red water"). He also reports that women in Persia in his day made artificial moles or beauty spots, either permanent by tattooing them, or temporary ones. Hillmann translates ("line") as "eye-liner (peach-fuzz?)" and Windfuhr as "eyeline". However, the normal meaning of "xat(t)" ("line") in Persian love poetry is the line of the growing moustache which adorns an adolescent boy's lip. If so, it would refer to an actual physical feature of the face rather than to make-up. The phrase (or ) is frequent in the poets, as in the following line of Hafez:  In verse 5, reference is made to the Qur'anic/Biblical story of Joseph and Potiphar's wife, who in Islamic tradition is called Zulaykhā. Those who interpret this poem non-mystically do not give a satisfactory motivation for this verse. However, in Sufism, the story was widely used as an example. John Renard writes:   Eight of the manuscripts have a different version of verse 6, namely:  The first of these two lines is actually a quotation from a "ghazal" of Saadi. The word means "wisdom, science, knowledge, philosophy". It is a frequent theme of other Hafez poems that it is love ( ), not reason or intellect ( ), which helps the seeker on his spiritual journey and provides the answer to the riddle of life in a perplexing world. The phrase "the necklace of Sorayya (the Pleiades)" occurs in earlier Persian poets also. A well-known instance is in the rhymed prose in the introduction to Saadi's "Golestān":  Bicknell explains "heaven may scatter the necklace of the Pleiades on your poetry" as meaning "may fling as largess to express her delight". This ode has been admired by numerous scholars and translators. Arberry writes of the last verse: "The 'clasp' theme here used is a very common one, but its present treatment is scarcely surpassed for beauty in the whole "Dīvān"." Hillmann writes: "A first impression of the 'Turk of Shiraz' is of a texture of hyperbole, paradox, a sense of the ultimate or perfection, eloquence, and seriousness, with familiar images and conceits given new vitality through new combination and given form by means of verse patterning."