By Leonard Lewisohn
The romantic lyricism of the nice Persian poet Hafiz (1315-1390) is still renowned world wide. contemporary exploration of that lyricism via Iranian students has published that, as well as his masterful use of poetic units, Hafiz's verse is deeply steeped within the philosophy and symbolism of Persian love mysticism. This leading edge quantity discusses the classy theories and mystical philosophy of the classical Persian love-lyric (ghazal) as rather exemplified by way of Hafiz (who, in addition to Rumi and Sa'di, is Persia's such a lot celebrated poet). For the 1st time in western literature, Hafiz's rhetoric of romance is positioned in the broader context of what students discuss with as "Love thought" in Arabic and Persian poetry specifically and Islamic literature extra regularly. individuals from either the West and Iran behavior an immense research of the affection lyrics of Hafiz and of what they signified to that top tradition and civilization which was once dedicated to the college of affection in medieval Persia. the amount may have robust entice students of the center East, medieval Islamic literature, and the historical past and tradition of Iran.
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The romantic lyricism of the good Persian poet Hafiz (1315-1390) remains to be trendy all over the world. fresh exploration of that lyricism by way of Iranian students has published that, as well as his masterful use of poetic units, Hafiz's verse is deeply steeped within the philosophy and symbolism of Persian love mysticism.
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Extra resources for Hafiz and the Religion of Love in Classical Persian Poetry (International Library of Iranian Studies, Volume 25)
Yeats’ stanza: All neighbourly content and easy talk are gone, But there is no good complaining, for money’s rant is on. 185 One of the main patrons of Ḥāfiẓ was Abū Isḥāq’s multimillionaire vizier ‘Imād al-Dīn Ḥasan (‘Ḥajjī’) Qiwām al-Dīn (d. 754/1353), whose extravagant convivial gatherings and generosity the poet celebrated. 186 Although the historian Mīrkhwand definitively confirms that Ḥajjī Qawām was ‘the object of praise (mamdūḥ) of Ḥāfiẓ Shīrāzī’,187 a close examination of the main qaṣīda that he devoted to this vizier188 reveals that the main purpose of the ode lies elsewhere.
Where has gone friendship? 178 Whatever its political background, whether or not this ghazal was composed by Ḥāfiẓ as a memento of Abū Isḥāq’s benevolent reign during the five-year police state of Mubāriz al-Dīn Muẓaffarī, who was ‘orthodox, harsh, and not inclined to spare human life’179 – as Ghanī insists on arguing180 – by reducing its inspiration down to the lowest common temporal denominator, dating its provenance by decade or by year, the actual meaning of the poem is not thereby greatly elucidated.
74 The above overview of some of the major and minor poets contemporary with Ḥāfiẓ in fourteenth-century Persia only gives a very superficial indication of the immense richness of the Persian poetic tradition in which he was steeped. Scholars have long known the fact that many of Ḥāfiẓ’s lyrics were composed in imitation of the metrical and rhyming schemes of previous ghazal writers in a time-honoured tradition. 75 Connoisseurship of Poetry in the Age of Ḥāfiẓ The audience who listened to the recitation of Ḥāfiẓ’s ghazals were some of the most formidably educated and exactingly cultured men that Persians have ever been.