"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.

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.

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.

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.

Chosen by author Elizabeth Gilbert as one of her ten favorite books, Daniel Ladinsky’s extraordinary renderings of 250 unforgettable lyrical poems by Hafiz, one of the greatest Sufi poets of all time More than any other Persian poet—even Rumi—Hafiz expanded the mystical, healing dimensions of poetry. Because his poems were often ecstatic love songs from God to his beloved world, many have called Hafiz the “Invisible Tongue.” Indeed, Daniel Ladinsky has said that his work with Hafiz is an attempt to do the impossible: to render Light into words—to make the Luminous Resonance of God tangible to our finite senses. I am a hole in a flute that the Christ's breath moves through— listen to this music! With this stunning collection of Hafiz’s most intimate poems, Ladinsky has succeeded brilliantly in presenting the essence of one of Islam’s greatest poetic and religious voices. Each line of The Gift imparts the wonderful qualities of this master Sufi poet and spiritual teacher: encouragement, an audacious love that touches lives, profound knowledge, generosity, and a sweet, playful genius unparalleled in world literature.

Hafiz of Shiraz was one of the very greatest Persian poets. The poetry of Hafiz is erotic yet spiritual, both sensual and symbolic, full of images of wine and the tavern, of the Beloved, of nightingales and roses. Bardic Press is proud to announce a new edition of Richard Le Gallienne's moving and poetic translations of Hafiz.

Shams al-Din Mohammad Hafez is in love. He is in love with a girl, with a city, and with Persian poetry. Despite his enmity with the new and dangerous city leader, the jealousy of his fellow court poets, and the competition for his beloved, Iran’s favorite poet remains unbothered. When his wit and charm are not enough to keep him safe in Shiraz, his friends conspire to keep him out of trouble. But their schemes are unsuccessful. Nothing will chase Hafez from this city of wine and roses. In Pezeshkzad’s fictional account, Hafez’s life in fourteenth-century Shiraz is a mix of peril and humor. Set in a city that is at once beautiful and cutthroat, the novel includes a cast of historical figures to illuminate this elusive poet of the Persian literary tradition. Shabani-Jadidi and Higgins’s translation brings the beloved poetry of Hafez alive for an English audience and reacquaints readers with the comic wit and original storytelling of Pezeshkzad.

~FAL NAMA~Divination Book of Hafez of ShirazTranslation, Introduction, Interpretations Paul SmithHafez's Divan of poems has been used as an Oracle successfully by millions of people from all walks of life for the past 600 years. The practice of interpreting his insightful poems ('fal') has been a long tradition worldwide. Here are four hundred ghazals with insightful, clear interpretations by Paul Smith, an Introduction that includes his life, poetry, spirituality and the history of the use of his book as one of the world's great Oracles. The correct rhyme has been kept and the beauty and meaning of these immortal, mystical poems. Large Format Paperback 7" x 10" 438 pagesGertrude Bell: "It is as if his mental Eye, endowed with wonderful acuteness of vision, had penetrated into those provinces of thought which we of a later age were destined to inhabit."Meher Baba: "There is no equal to Hafez in poetry. He was a Perfect Master ... His Divan is the best book in the world because it engenders feelings which ultimately lead to illumination."Goethe: "In his poetry Hafez inscribed undeniable truth indelibly! He has no peer!"COMMENTS ON PAUL SMITH'S TRANSLATION OF HAFEZ'S 'DIVAN'."It is not a joke... English version of all the ghazals of Hafez is a great feat of paramount importance. I am astonished." Dr. Mir Mohammad Taghavi (Dr. of Literature) Tehran."Superb translations. 99% Hafez 1% Paul Smith." Ali Akbar Shapurzman, translator and knower of Hafez's Divan off by heart."I was very impressed with the beauty of these books." Dr. R.K. Barz. Faculty of Asian Studies, Australian National University.Paul Smith is a poet, author and translator of many books of Sufi poets from the Persian, Arabic, Urdu, Turkish, Pashtu and other languages including Hafez, Sadi, Nizami, Rumi, 'Attar, Sana'i, Jahan Khatun, Obeyd Zakani, Mu'in, Amir Khusrau, Nesimi, Kabir, Anvari, Ansari, Jami, Omar Khayyam, Rudaki, Yunus Emre, Lalla Ded, Rahman Baba, Baba Latif, Iqbal, Ghalib, Nazir, Mansur Hallaj, Ibn al-Farid and others, and his own poetry, fiction, plays, biographies and screenplays.www.newhumanitybooks.com