Hafez

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.

Examines the literary topos of dawn, the "Alba," in Persian poetry in comparative perspective, first considering the Alba poem in medieval Provencal lyric in southern France and northern Italy, establishing how the theme of the parting of two lovers at dawn was a well-established trope in European poetry of the medieval and renaissance periods.  A close parallel also appears in the Arabic poetry of Andalusia, perhaps with some interchange.  In Persian there are also some examples of the "Alba" theme -- the ghazals of Sa`di but especially Sana'i. Although Hafiz' poems do not use the Alba theme  in the same way, Hafiz does set many of his ghazals (perhaps 1/5 of all his ghazals) in the dawn or early morning.  The article develops how Hafiz uses the topos of dawn and why it is integral to his mythopoetic vocabulary.

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""""""On Not Translating Hafiz
Dick Davis, Ohio State University
Tr. Behnam Mizababazadeh & Mostafa Hosseini
In this paper Dick Davis tries to explain the reasons behind the  difficulty in translating classical Persian poetry in general and Hafiz in  particular. He divides the problems into two categories: the linguistic  and the cultural problems. Lack of exact synonyms especially for
idioms, puns and lack of rhyme in English belong to the first category.  The lore of Shi’i Islam, the prevalence of the cult of pederasty in  Persian poetry, difference in the pattern of the poems and the language of panegyric in Persian poetry belong to the second category. Davis concludes his paper with the following sentences:  And this is why the poets who seem to develop a poetry’s capabilities most tellingly, who seem to their linguistic communities to be the most “poetic” of all, are often precisely those whom it is most difficult to bring over into  another language. Certainly, in Persian literature, the example of Hafiz, and  of the numerous poor poet-translators who metaphorically lie bleeding at  his feet, would seem to bear this out. (B. M. & M. H.)
Keywords: Hafiz, Dick Davis, classical Persian poetry, translation of
poetry, untranslatability of poetry. """"""

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.

Na tragu značaja kojeg učenja islama pridaju iskrenosti, a samim time i suzbijanju dvoličja, jedan od najvećih perzijskih pjesnika, Hāfiz Šīrāzī, svojim stihovima oslovljava fenomen licemjerstva. Nakon uvoda, autor se ukratko osvrće na Hāfizov jezik i njegovo razumijevanje da bi se lakše prohodilo navedenim stihovima. Oni su razdijeljeni na one koji iznose kritiku religijskog establišmenta, kritiku lažnih sufija, samokritiku i liječenje licemjerstva pri čemu ovaj perzijski pjesnik redovno upućuje na ljubav kao najbolji lijek za licemjerje. Autor se nastojao, u najvećoj mjeri, služiti samim Šīrāzījevim riječima pa otuda najveći dio ovog teksta zauzimaju njegovi neprolazni reci u ruhu bosanskog jezika.

En nuestra presentación podremos reconocer los siguientes patrones: traducciones hechas a cuatro manos al castellano, traducciones al castellano, en las que distinguiremos las realizadas por iraníes y las realizadas por españoles, las traducciones al catalán, las traducciones religiosas, y un último apartado dedicado a las obras de los traductores ocasionales.

This thesis is focused on a previously unpublished collage comprised of two manuscript fragments from Safavid Iran. One fragment contains a painting that depicts an enthronement scene featuring King Solomon, which, as I argue, was taken from a copy of the Majalis al-Ushshaq by Kamal al-Din Gazurgahi. The other fragment contains verses from the Divan of Hafez. The fragment from the Divan has been gutted and overlaps the painting of Solomon, effectively framing the image. Through visual and textual analysis, I argue that both fragments come from manuscripts that were produced in Shiraz. I further argue that the painting of Solomon was executed at the asitana of Maulana Husam al-Din Ibrahim in the second quarter of the sixteenth century. My argument about the fragments’ origins is followed by an exploration of the painting’s symbolism in which I focus on a broken branch, an integral component of Solomon’s iconography in Persian painting. Finally, I explore the object’s afterlife and consider how the physical reconfiguration of these fragments causes them to take on new meaning. I read the fragments as a single folio and bring to light correlations between the text and image, which, were only realized because of their uncanny union. I conclude with the collage’s collection history and a hypothesis regarding the fragments’ transatlantic route.

"The Necklace of the Pleiades is a volume on Persian literature, culture and religion by Persian scholars from around the world. This book reflects the state of the field of Persian literary studies and will be of substantial interest not only to scholars of Iranian culture, history and religions, but of Middle Eastern and South Asian studies, as well.

The topics of the 24 essays range from the Persian Alexander romance, to Ferdowsi’s Shahnama and other epics, the poetics and imagery of the ghazal and the qasida, Mughal court poetry, Sufism, Ismaili history, Baha’i literature, Iranian linguistics, the modern writer Sadeq Hedayat, and the reception of Salman Rushdie’s novel in Persian translation.

In Persian literature the Necklace of the Pleiades is a metaphor for the six or seven stars (Parvin, or Sorayyâ, high up in the constellation Taurus) which the heavens bestow, like precious pearls, upon a poet in gratitude and reward for composing a beautiful poem. The poem itself is compared to a string of pearls, with its carefully chosen words bored like unique pearls and strung in perfect metrical proportion. As Hafiz puts it:

You’ve sung a ghazal, pierced the pearls, come and sing it sweetly, Hafiz!
The heavens strew the very Necklace of the Pleiades upon your verse. "

This volume was presented as a Festschrift for Prof. Heshmat Moayyad of the University of Chicago on his 80th birthday.  Originally published by (Amsterdam: Rozenberg Publishers and West Lafayette, Indiana:  Purdue University Press, 2007)
Publisher's Website: https://www.lup.nl/product/the-necklace-of-the-pleiades/

This study investigates the Deobandī engagement with classical Sufi thought through the writings of one of modern South Asia’s most influential Sufi thinkers, namely Ashraf ʿAlī Thānavī (d. 1943). The article brings to focus Thānavī’s contributions to South Asian Sufism by showing how he sought to preserve, defend, revive, and disseminate classical Sufi teachings in a climate of social reform. The article document show Deobandī scholars such as Thānavī – far from being propagators of shallow fundamentalist discourses – immersed themselves in the ocean of some of the most sophisticated strands of Islamic learning such as Sufi metaphysics that often employ rational methods of argumentation, alongside symbols and imageries to articulate complex metaphysical doctrines in both prose and poetry.

Hegel's reading of Hafez as part of his Berlin aesthetics lectures.
The jargon of the prosaic world

This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his legacy by Heinrich Gustav Hotho (1802 - 1873) in three volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez.

This essay argues that the universal message of the Qur’an is best captured through the concept of “love.” The essay begins with a discussion of Moustapha Akkad’s famous film The Message, which depicts the early history of Islam. It argues that while the film is highly successful in presenting the traditional accounts of early Islam, it is less so in areas of Islam’s underlying teachings, especially regarding the religion’s more mystical message expressed through the Qur’an and forms of Islamic spirituality such as Sufism. I contend that the love poetry of such influential spiritual figures as Rumi (d. 1273) and Hafez (d. 1390) articulates the Qur’anic message of love by connecting it to the ultimate realization of tawḥīd, which for these sages implies union with the Divine Beloved Whose presence permeates the cosmos. It is further argued that if tawḥīd is about the relationship between the One and the many, then talking about tawḥīd in terms of love allows one to shift the focus away from the dos and don’ts of the Shariah or theological hairsplitting to the plight of the human condition, which is often characterized by pain and suffering because people lack what they desire. The experience of true love enables the soul to purify itself and grow spiritually. This in turn paves the way for actualizing the soul’s latent spiritual potentials that are necessary to realize ultimate happiness.

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?

The full text is available here ttp://puslit2.petra.ac.id/ejournal/index.php/ing/article/view/19378
Numerous studies have tried to elucidate the relationship between Emerson and Hafez. While most of these studies laid emphasis on influence of Hafez on Emerson and others on similarity and/or infatuation, they left untouched some vital historical aspects of this relationship. Taking into consideration the political and literary discourses of Emerson‘s America may illuminate the issue. America‘s attempt to gain independence from Britain, Emerson‘s resolution to establish an American literary tradition, his break with the European fathers to establish that identity, his open-mindedness in receiving non-European cultures and the correspondence between Emerson‘s transcendentalism and Hafez‘s mysticism led to Hafez‘s reception by Emerson.

GOETHE HAFIZ İLİŞKİSİ
Johann Wolfgang von Goethe sadece Alman Edebiyatının değil aynı zamanda Dünya Edebiyatının da en önemli şair ve yazarlarından biridir. Goethe edebiyata olan ilgisinin yanı sıra biyoloji, sanat ve felsefe gibi pek çok bilimsel alana ilgi duymuş ve bu alanlarda verdiği eserlerle birlikte arkasında çok sayıda şiir, hikâye, drama, tiyatro eseri ve roman bırakmıştır. Edebiyatla olan bağı sadece batı edebiyatı ile sınırlı kalmayan Goethe, doğu edebiyatı ile de yakından ilgilenmiştir. Goethe’nin doğu edebiyatını tanımasında şüphesiz Hammer adı ile bilinen ve Osmanlı tarihi üzerine pek çok eseri bulunan tercüman Joseph von Hammer
Purgstall’ın rolü büyük olmuştur. Bu kapsamda Hammer Purgstall’ın doğu edebiyatından yaptığı tercümelerde Goethe’nin en çok etkilendiği şairlerden birisi Hafız adı ile tanınmış olan İranlı şair Şemseddin Muhammed Şirazi’dir. Goethe, bu bağlamda en önemli eserlerinden sayılan Batı-Doğu Divanını kaleme almıştır. Bu sunumda Johann Wolfgang von Goethe’nin İranlı şair Hafız’a olan ilgisi ve Hafız’ın Goethe üzerindeki etkileri üzerinde durulacaktır.
Anahtar Kelimeler: Johann Wolfgang von Goethe, Şemseddin Muhammed Hafızı Şirazi,
Joseph von Hammer-Purgstall, Batı-Doğu Divanı

GOETHE HAFIZ RELATIONSHIP
Johann Wolfgang von Goethe is one of the most important poets and writers not only of German literature but also of world literature. In addition to his interest in literature, Goethe was interested in many scientific fields such as biology, art and philosophy and left behind many poems, stories, dramas, plays and novels with his works in these fields. His connection to literature was not limited to Western literature, but Goethe was also interested in Eastern literature. Joseph von Hammer Purgstall, known as Hammer, who had many works on Ottoman history, played an important role in Goethe's recognition of Eastern
literature. In this context, the Iranian poet Şemseddin Muhammed Şirazi, known by the name Hafiz, one of the most influential poet of Goethe in the translation of Hammer Purgstall from the Eastern literature. In this context, Goethe wrote the West-East Divan, which is considered one of his most important works. This presentation focuses on Johann Wolfgang von Goethe
interest in the Iranian poet Hafiz and his influence on Goethe.
Keywords: Johann Wolfgang von Goethe, Şemseddin Muhammed Hafızı Şirazi, Joseph von
Hammer-Purgstall, West-Eastern Divan

Käärmeiden loitsujen kirja-satuni nimi viittaa muuan varhaiskristilliseen apokryfiteokseen, joka aikain saatossa on kadonnut jäljettömiin. Teos tunnetaan nykyisin lähinnä antiikin kristittyjen kirjoittajien kommenttien perusteella, mutta myöhemmin teos on saanut hivenen ristiriitaisen maineen: Kirkkoisien melko yhtenäisen mielipiteen mukaan kyseessä on Apostoli Paavalin autentttinen kirjoitus, jossa tämä Kristuksen lähettiläs systemaattisesti torjuu ofilaisen harhaopin, joka rohkeni väittää Paratiisin Käärmeen ja Kristuksen olevan sama asia, mutta esim. Clifford A. Pickoverin retrojulkaiseman (epäilyttävän) "Book of Spells of Serpents"-Wikipedia-artikkelin (2006) mukaan teoksen kirjoittaja itse syyllistyy ofilaisuuteen.

Käärmeiden loitsujen kirja-satuni juoni perustuu väljästi 1900-luvun alussa Kiinan uiguurialueelta  Xinjiangin provinsissa  löydettyjen nk.  Turfanin fragmenttien sisältämään vanhaan, manikealaiseen tarinaan; Tämän tarinan mukaan kaksi käärmettä ryhtyi kilpasille, kumpi saisi oikeuden luikerrella Herran paratiisiin viettelemään ihmisen. Taustalla on tässä kristillisen Raamatun kuvaus kahden Käärmeen konfliktista: Ensimmäinen käärme on Paratiisin Käärme (Ilm. 12:9), jälkimmäinen Mooseksen sauvansa nokkaan nostama Vaskikäärme (Joh. 3:14). Tässä sadussani on toisaalta mukana myös ripaus antiikin Kreikan Orfeuksen ja Eurydiken traagista rakkaustarinaa, Hafezin lyyristä sufilaisuutta, William Shakespearen Kesäyön unelmaa sekä Leo Tolstoin Anna Kareninaa.

Sadun kuvitus perustuu Johann Michaelis Faustiuksen alkemistiseen teokseen, jonka Johann Zieglerin kirjapaino julkaisi Frankfurtissa ja Leipzigissa vuonna 1706: Compendium alchymist. novum, sive, Pandora explicata & figuris jllustrata, das ist, Die edelste Gabe Gottes, oder, Ein güldener Schatz mit welchem die alten und neuen Philosophi, die unvollkommene Metall, durch Gewalt des Feuers verbessert, und allerhand schädliche und unheylsame Kranckheiten innerlich und äusserlich, durch deren Würckung vertrieben haben : dieser Edition wird annoch, nebst vielen Kupffern und über 800 Philosophischen Anmerckungen, ein volkom̃enes Lexicon alchymisticum novum, und ein vollständiges Register rerum & verborum, beygefüget. 

2011.

…nor is there anything wet or dry, but is in a clear record(Holy Quran, al-An'am, 59).
With any approach we look at the Qur'an, either in terms of scientific or literary and artistic, It shines special. Everybody who drinks of this resuscitative spring, his words will seem to be heavenly. In Persian literature, the poets or the writers whose works' themes are rooted in the teachings of Quran have special positions. Thanks to the Word of God in Holy Quran, Khwāja Shams-ud-Dīn Muhammad Hafez stands on the peak of Persian sonnet. One of the rhetoric arrays of Quran from which Hafez benefits is sarcasm that has been analyzed in present essay. Sarcasm is a kind of Irony that appears sporadically in the divans of predecessor poets, however it cannot be considered as their stylistic feature because it doesn't have the necessary frequency and abundance.
This stylistic feature is observed in Divan of Hafez with high frequency such as: Dignified Zahid, Khwāja of Wisdom and etc

Fikir adamlarından, müctehit, âlim, yazar Musa Carullah Bigiyef Rusya Müslümanları içerisinde yetişmiş önemli bir ceditçidir. Musa Carullah hayatına yüzlerce eser sığdırmıştır. Onun biyografisi ve görüşleriyle ilgili Türkiye’de Mehmet Görmez, Ahmet Kanlıdere iki önemli kitap yazmışlardır. Ayrıca vefatının 50. yılındaki sempozyumda ceditçiliği ve dinî görüşleri tartışılmıştır. Hayatıyla ilgili Türkçe oldukça fazla malumat mevcuttur. Dünyanın dört bir yanını gezmiş olan büyük alimin biyografisine burada sadece kısaca değiniyoruz. Musa Carullah Bigiyef, 1875 yılında Rusya’nın Rostov şehrinde dünyaya gelir. Babasının adı Molla Carullah’tır. İlk eğitimini 28 Ekim 1949 tarihinde Mısırda vefat eden büyük âlim Musa Carullah, Kahire’de Afîfî Kabristanlığına defnedilir. Rusya, Finlandiya, Japonya, Mısır, Avrupa, Hindistan ve daha birçok ülkede faaliyetlerine çalışmalarına devam etmiştir. Kuranı ezberleyerek hafız olmuştur. Arapça, Farsça, Rusça, Tatarca, Türkçe ve birçok dili eser verecek seviyede bilmektedir.

Franco Masciandaro & Peter Booth. Dante | Hafiz: Readings on the Sigh, the Gaze, and Beauty. Eds. Nicola Masciandaro & Öykü Tekten. New York: Kaf Collective, 2017. ISBN-13: 978-0692887486. 188pp. $9.00

CONTENTS:
I. SIGH: Nicola Masciandaro, "Miracle of the Sigh." Franco Masciandaro, "Dante's Sighs/Sigh." Peter Booth, "Sigh." II. GAZE: Nicola Masciandaro, "On the Gaze." Franco Masciandaro, "Dante's Gaze." Peter Booth, "Gaze." III. BEAUTY: Franco Masciandaro, "Beauty in Dante’s Divine Comedy." Peter Booth, "Beauty." Nicola Masciandaro, "Lines on Beauty."

Several structures, themes, content and semantic elements of the poems can be described to analyze the poetry of each poet, and the quality of their pristine and pure conditions and their impact on the thought of future poets would be assessed. Depending on their artistry and linguistic creativity, Khaghani and Hafez were the poets who could create their own specific styles by making rhetoric figures especially ambiguity. This is what makes their poetry distinguished from the others’ and the secret of their poems durability in Persian literature. This paper studies Ambiguity and its different types in the Divans of these two Persian poets

فال نیک یا بد زدن با توسل به اقسام چیزها و انواع رویدادها از باورهای کهن و بسیار عمومی ایرانیان بوده است. پس از ظهور اسلام در ایران، تفأل به قرآن، یا همان استخاره، یکی از رایج‌ترینِ این انواع گردیده و رفته‌رفته دیگر آثار ادبی که تصور می‌شده گوینده‌اش بهره‌ای از کلام حق دارد نیز دستمایه‌ای برای تفأل واقع شده است. لسان‌الغیب دانستن حافظ، یا شعرش، از همان روزگارانِ نزدیک به حیات او سبب شده تا خوانندگان اشعارش اعتقاد راستین بدو پیدا کنند و به تفأل به دیوانش روی بیاورند. قدیمترین متن مستقل دربارۀ تفأل به دیوان حافظ مفتوح القلوب است از مؤلفی اهل هرات. این متن مهم که از یک دیباچه و هشتاد و یک حکایت بلند و کوتاه تشکیل شده اخیراً به صورتی شتابزده به طبع رسیده است. در جستار پیش رو به نمونه‌هایی از اغلاط این چاپ و کاستیهای مقدمه و تعلیقات اشاره شده است.

بر اساس آیکهنوالد (2004، 2018)، در برخی از زبانهای دنیا،  اشاره به منیع اطلاعات گفته های گویندگان امری اجباری است، اینکه گوینده، آنچه را که میگوید، شخصاً با چشم خود دیده، شنیده، بوییده، لمس کرده، از شخص یا اشخاص دیگری شنیده و یا بر اساس حقایق و شواهد موجود، استنتاج نموده است، باید به لحاظ ابزارهای دستوری¬شده در جمله رمزگذاری شود. مفهوم معنایی اخیر، یعنی بازنمایی منبع اطلاعات گوینده در جمله گواه¬نمایی نامیده می¬شود. آیکهنوالد بر آن است که اگرچه گواه-نمایی، مفهومی جهانی است، ولی گواه¬نمایی واقعی از رهگذر یک نظام بسته دستوری به تصویر کشیده می¬شود. در این میان، فارسی از جمله زبان¬هایی است که نه تنها گواه¬نمایی در آن اجباری نیست، بلکه از دیدگاه پژوهشگران این حوزه، ابزارهای گواه¬نمایی نیز در آن دستوری نشده¬اند. در این پژوهش برآنیم تا روند پیدایش آن دسته از قیود گواه¬نما در فارسی را که از فعل «گفتن» برخاسته¬اند، بررسی نماییم. بر این اساس می¬کوشیم نشان دهیم که ساخت «گویا» با مفهوم «قید گواه¬نما» در فارسی نو امروز  از دستوری-شدگی فعل «گفتن»، برای بیان گواه¬نمایی غیرمستقیم پا به عرصه وجود گذاشته¬است. داده¬های دوره¬های میانه، نو متقدم و نو امروز نشان می¬دهد که این قید گواه¬نما از کوتاه¬شدگی نخستین صورت¬های گواه¬نمای حاصل از فعل «گفتن» یعنی بند«تو گویی» و پس از آن، از قیود گواه¬نمای «گویی» و «گوئیا» حاصل آمده¬است. بنابراین اگرچه قیود گواه¬نمای حاصل از فعل «گفتن» در فارسی، هنوز به مرحله وندشدگی نرسیده¬اند، اما قطعاً دستوری¬شده و در این مسیر، از جمله به قید تحول یافته¬اند. بر این اساس، تصور عدم وجود واحدهای دستوری¬شده¬ی گواه¬نما در فارسی از بین می¬رود.
واژگان کلیدی: قیودگواه¬نما، دستوری¬شدگی، گفتن، سایش آوایی، فارسی.

The present paper proposes to examine several problems pertaining to the “textual condition” and concomitant questions of the preservation and guardianship of authorial compositions in premodern Persian literature. My hope is, by focusing on a range of strategies adopted in response to the vagaries of reception and textual transmission, to contribute to a wider notion of authorship, authorial preservation, and guardianship of one’s compositions in the Persian (and Arabic) tradition.

در این جستار تلاش بر آن است تا پس از طرح مبانی نظری بینامتنیت و شرح اندکی از زندگی حاجی بکر آقای حویزی متخلص به قاصد، شاعر فارسی‌گوی کُرد عراقی، پیوند و ارتباط غزلیات وی با سروده‌های حافظ شیرین‌سخن به شیوه‌ی توصیفی-تحلیلی برمبنای نظریه‌ی بینامتنیت بررسی و تحلیل شود. یافته‌های پژوهش حاکی از آن است که سبک غزل‌های قاصد را شاید بتوان به دو دسته‌ی مستقل و بینامتنی یا مکالمه‌ی بیناد تقسیم نمود. سبک مستقل و به عبارتی دیگر سبک خودانگیخته‌ی قاصد در غزل‌های فراوانی از وی مشهود است. سبکی که با وجود داشتن ویژگی‌های امروزی به شیوه‌ی عراقی هم متمایل است و در این شیوه قاصد با داشتن پشتوانه‌های فرهنگی و تجربی خویش با خواجه‌ی شیراز و دیگر بزرگان ادب پارسی همنوا می‌شود. در سبک مکالمه‌ی بیناد یا بینامتنی گرایش وافر صوری و محتوایی وی را به کلام حافظ می‌توان دید. در دیوان قاصد حضور و کاربست متن و شعر حافظ به صورت سه مقوله‌ی بینامتنیت صریح و اعلام شده، بینامتنیت غیرصریح و پنهان‌شده و بینامتنیت ضمنی است.