Hafez in Love (original) (raw)
Related papers
Faces of love: Hafez and the poets of Shiraz
Choice Reviews Online, 2013
Together, Hafez, a giant of world literature; Jahan Malek Khatun, an eloquent princess; and Obayd-e Zakani, a dissolute satirist, represent one of the most remarkable literary flowerings of any era. All three lived during the fourteenth century in the famed city of Shiraz, a provincial capital of southcentral Iran, and all three drew support from arts-loving rulers during a time better known for its violence than its creative brilliance. Here Dick Davis, an award-winning poet and widely considered "our finest translator of Persian poetry" (The Times Literary Supplement), presents a diverse selection of some of the best poems by these world-renowned authors and shows us the spiritual and secular aspects of love, in varieties embracing every aspect of the human heart. PENGUIN CLASSICS DELUXE EDITION
This study analyzes the effect of the medieval Persian poet Ḥāfiẓ Shīrāzī (d. 791/1389)—in his poetic language, thought, philosophy, and teachings—on modern Iranians. By exploring Ḥāfiẓ’s verses and applying them to different modes and times through the modern society, I hope to demonstrate the extent of Ḥāfiẓ’s influence on the people of Iran and the nation’s attitude toward the poet. Ḥāfiẓ’s importance in Iranian society cannot be underestimated. Before the formation of the modern system of colleges and universities, Ḥāfiẓ’s Divān was studied as a subject of literary research (Ḥāfiẓ-shināsī), along with Saʿdī’s Gulistān and the Qurʾān (Solati, 2013, introduction). Ḥāfiẓ is viewed not only as a poet but also as the incarnation of Iran’s national spirit: “His poetry is so profoundly entwined into the essence of Iranians that it might be said that to know Persians, one must know Ḥāfiẓ, and likewise, that an in-depth understanding of the Persian character is impossible without understanding Ḥāfiẓ” (Solati, 2013, pp. 21-22). His work is broadly considered to be unequaled; over the past seven centuries in Persia, no writer has matched his poetic skill, although many have tried. My close reading suggests reasons for the profound influence of this fourteenth-century classical Persian poet on today’s Iranian culture and society.
Love Letters: Letter Symbolism in Ḥāfiẓ's Poetry
International Journal of Persian Literature, 2020
Persian poets since Rūdakī have drawn on the letter symbolism of the Perso-Arabic alphabet. Visually, its characters have attracted poets who find the likeness of the beloved in their shapes. Spiritually, it enjoys a special status as the language of the Koran and therefore, in the eyes of some, God. Classical Persian lyric poetry combined these aesthetic and religious connotations, and as one of the foremost voices in that tradition, Ḥāfiẓ was no exception. But a review of the extant literature shows that, as a trope, letter symbolism has been largely overlooked when compared with wine, the moth, or the candle. Through a comprehensive study of the let-ters' use in Ḥāfiẓ's dīvān, this article argues that, by playing with particular letters' connotations, or punning on their physical shapes and homographs, Ḥāfiẓ invokes disparate meanings, only to then reveal their underlying unity, in the process affirming the affinity between love and language, the beloved and the divine.
"Hafez viii. Hafez and Rendi" (Encyclopaedia Iranica)
Encyclopaedia Iranica, 2002
What does the 14th-century Persian poet of Shiraz, Hafez, mean by Rendi. What does his poetry tell us about hypocrisy -- social, political and religious -- in the poet's era and his feelings about the official representatives of religion and state?
Folk Elements and Signs in the Poems of Hafez
Undoubtedly, there is direct relationship between literature and folklore by which can relate the history of this relation to the invention of alphabet. Through alphabet invention, human being could transfer their inner willingness, influence each other, teach their experience, record their custom and then present them skillfully and artistically to the next generation with literary form. So interaction of literature and folklore plays important role in independent of writers and poets` works. Regarding that, origin of the Persian literati`s poems is social and cultural theme, also regarding Persian literature extension and independence, variety of social issues and discussions, can ascertain that literary valuable texts are kind of artistically recreation of truth especially social and cultural truth. So literary masterpieces especially Saadi, Hafez, Rumi are accepted for they are integrated with people and society. They have created such beautiful works by using folkloric genre by which their works have specific popularity among people and society. Custom and behavioral traditions and utterance of folkloric elements existence in the most of their sonnet is picture of society of that time. Research of folkloric element in Hafiz`s poem, in addition understanding his role in independence of formal literature of 8th century, enable us to ascertain his influence on oral literature. [Fariba Raeisi. Folk Elements and Signs in the Poems of Hafez. Life Sci J 2012;9(3):883-893]. (ISSN: 1097-8135). http://www.lifesciencesite.com. 126
A Comparative Study Of Register And Orientalist Thinking In Hafez’s Selected Translated Poems
2018
The present thesis embodies a comparative study of register and orientalist thinking in Hafez’s translated poems. Hafez’s poems appeal to many scholars because of their outstanding literary features. Three different translations done namely by Pazargadi, Clarke, and Bell of eight Hafez’s poems were selected for analysis. The selection was on the assumption that Clarke’s and Bell’s translations could be affected by orientalist thinking since both translators could be termed orientalists for having lived in the east for many years. Pazargadi, on the other hand, is a Muslim Iranian scholar who introduces Hafez as a real believer in God
"Hafez ix. Hafez and Music" (Encyclopaedia Iranica)
Encyclopaedia Iranica, 2002
This is one of a series of entries about the 14th-century Shirazi poet Hafez, this article focused on questions of sound-patterning in his ghazals; poems set to music during the poet's life time vs. "plain" poems; musical terminology in the poems, including for modes, melody, scales, structures, and for sound itself; for musical instruments; for dance and emotive movement in conjunction with poetry; for singers, songs and musicians. It also discusses modern musical versions of the poems as sung in Persian, plus the use of Hafez' poetry in translation in European classical music.