Despite his towering presence in premodern Persian letters, Shams al-Din Muhammad Hafiz of Shiraz (d. 1390) remains an elusive and opaque character for many. In order to look behind the hyperbole that surrounds Hafiz's poetry and penetrate the quasi-hagiographical film that obscures the poet himself, this book attempts a contextualisation of Hafiz that is at once socio-political, historical, and literary. Here, Hafiz's ghazals (short, monorhyme, broadly amorous lyric poems) are read comparatively against similar texts composed by his less-studied rivals in the hyper competitive, imitative, and profoundly intertextual environment of fourteenth-century Shiraz. By bringing Hafiz's lyric poetry into productive, detailed dialogue with that of the counterhegemonic satirist, 'Ubayd Zakani (d. 1371), and the marginalised Jahan-Malik Khatun (d. after 1391; the most prolific female poet of premodern Iran), our received understanding of this most iconic of stages in the development of the Persian ghazal is disrupted, and new avenues for literary exploration open up. Looking beyond the particular milieu of Shiraz, this study re-assesses Hafiz's place in the Persian poetic canon through reading his poems alongside those produced by professional poets in other major centres of Persian literary activity who enjoyed comparable fame in the fourteenth century. Recognising the aesthetic achievements of his contemporaries does not diminish the splendour of Hafiz's, rather it forces us to accept that Hafiz was but one member of a band of poets who jostled for the limelight in competing, often intersecting, patronage and reception networks that facilitated intense cultural exchange between the cities of post-Mongol Iran and Iraq. Hafiz's ghazals, characterised as they are by conscious and deliberate hybridity, ambiguity, and polysemy, are products of a creative mind bent on experimenting with genre. While in no way seeking to deny the mystical stratum of the Persian ghazal in its fourteenth-century manifestation, this study emphasises the courtly and profane dimensions of the form, and regards Hafiz through a sober lens with keen attention to his dynamic role at the heart of a vibrant poetic community that was at once both fiercely local and boldly cosmopolitan.

Despite his towering presence in premodern Persian letters, Shams al-Din Muhammad Hafiz of Shiraz (d. 1390) remains an elusive and opaque character for many. In order to look behind the hyperbole that surrounds Hafiz's poetry and penetrate the quasi-hagiographical film that obscures the poet himself, this book attempts a contextualisation of Hafiz that is at once socio-political, historical, and literary. Here, Hafiz's ghazals (short, monorhyme, broadly amorous lyric poems) are read comparatively against similar texts composed by his less-studied rivals in the hyper competitive, imitative, and profoundly intertextual environment of fourteenth-century Shiraz. By bringing Hafiz's lyric poetry into productive, detailed dialogue with that of the counterhegemonic satirist, 'Ubayd Zakani (d. 1371), and the marginalised Jahan-Malik Khatun (d. after 1391; the most prolific female poet of premodern Iran), our received understanding of this most iconic of stages in the development of the Persian ghazal is disrupted, and new avenues for literary exploration open up. Looking beyond the particular milieu of Shiraz, this study re-assesses Hafiz's place in the Persian poetic canon through reading his poems alongside those produced by professional poets in other major centres of Persian literary activity who enjoyed comparable fame in the fourteenth century. Recognising the aesthetic achievements of his contemporaries does not diminish the splendour of Hafiz's, rather it forces us to accept that Hafiz was but one member of a band of poets who jostled for the limelight in competing, often intersecting, patronage and reception networks that facilitated intense cultural exchange between the cities of post-Mongol Iran and Iraq. Hafiz's ghazals, characterised as they are by conscious and deliberate hybridity, ambiguity, and polysemy, are products of a creative mind bent on experimenting with genre. While in no way seeking to deny the mystical stratum of the Persian ghazal in its fourteenth-century manifestation, this study emphasises the courtly and profane dimensions of the form, and regards Hafiz through a sober lens with keen attention to his dynamic role at the heart of a vibrant poetic community that was at once both fiercely local and boldly cosmopolitan.

"Hafiz--a quarry of imagery in which poets of all ages might mine." - Ralph Waldo Emerson Hafiz was born at Shiraz, in Persia, some time after 1320, and died there in 1389. He is, then, an almost exact contemporary of Chaucer. His standing in Persian literature ranks him with Shakespeare and Goethe. A Sufi, Hafiz lived in troubled times. Cities like Shiraz fell prey to the ambitions of one marauding prince after another and knew little peace. The nomads of Central Asia finally overthrew the rule of these princes, and led to the establishment of the succeeding Timurid Dynasty. It is of utmost literary interest that a poet who has remained immensely popular and most frequently quoted in his own land should, for the universality and grace of his wisdom and wit, be known outside the land of his birth as he used to be, the subject of veneration among literati both in Europe and the United States. The time for revival of interest in a poet of such cosmopolitan appeal is overdue. His poems celebrate the love, wine, and the fellowship of all creatures. This volume, first published in 1952, brings back into print at last the renderings, the most beautiful and faithful in English, of this greatest of Persian writers.

Háfiz is honored as the greatest lyric poet of Iran and the D'ván-i Háfiz, his collected poetry, is without doubt one of the world's greatest literary achievements. Translated here from the edition of Parv'z Nát'l Khánlar', the 486 poems have been rendered as literally as possible while trying to convey some sense of the original poetry to the reader who lacks knowledge of Persian. The ghazals are introduced and presented with extensive annotation by one of today's most eminent scholars of Persian literature.

Poetry is the greatest literary form of ancient Persia and modern Iran, and the 14th-century poet known as Hafiz is its preeminent master. This collection is derived from Hafiz's Divan (collected poems), a classic of Sufism.

The romantic lyricism of the great Persian poet Hafiz (1315-1390) continues to be admired around the world. Recent exploration of that lyricism by Iranian scholars has revealed that, in addition to his masterful use of poetic devices, Hafiz's verse is deeply steeped in the philosophy and symbolism of Persian love mysticism. This innovative volume discusses the aesthetic theories and mystical philosophy of the classical Persian love-lyric (ghazal) as particularly exemplified by Hafiz (who, along with Rumi and Sa'di, is Persia's most celebrated poet). For the first time in western literature, Hafiz's rhetoric of romance is situated within the broader context of what scholars refer to as 'Love Theory' in Arabic and Persian poetry in particular and Islamic literature more generally. Contributors from both the West and Iran conduct a major investigation of the love lyrics of Hafiz and of what they signified to that high culture and civilization which was devoted to the School of Love in medieval Persia. The volume will have strong appeal to scholars of the Middle East, medieval Islamic literature, and the history and culture of Iran.

Daniel Ladinsky’s stunning interpretations of 365 soul-nurturing poems—one for each day of the year—by treasured Persian lyric poet Hafiz The poems of Hafiz are masterpieces of sacred poetry that nurture the heart, soul, and mind. With learned insight and a delicate hand, Daniel Ladinsky explores the many emotions addressed in these verses. His renderings, presented here in 365 poignant poems—including a section based on the interpretations of Hafiz by Ralph Waldo Emerson—capture the compelling wisdom of one of the most revered Sufi poets. Intimate and often spiritual, these poems are beautifully sensuous, playful, wacky, and profound, and provide guidance for everyday life, as well as deep wisdom to savor through a lifetime.

The Persian Sufi poet Hafiz (1326–1390) is a towering figure in Islamic literature—and in spiritual attainment as well. Known for his profound mystical wisdom combined with a sublime sensuousness, Hafiz was the supreme master of a poetic form known as the ghazal (pronounced "guzzle"), an ode or song consisting of rhymed couplets celebrating divine love. In this selection of his poems, wine and the intoxication it brings are the image that expresses this love in all its joyful abandon, painful longing, bewilderment, and surrender. Through ninety-five free-verse renditions, we gain entry into the mystical world of Hafiz's Winehouse, with its happy minstrels, its bewitching Winebringer, and its companions in drunken longing whose hearts cry out, "More wine!" Thomas Rain Crowe brings a new dimension to our growing appreciation of Hafiz and his wise drunkard's advice to the seekers of God: In this world of illusion, take nothing other than this cup of wine; In this playhouse, don't play any games but love.