“Divan-e Shams is a masterpiece of wisdom and eloquence. It is often said that Rumi had attained the level of a “Perfect Master” and as such. O Shams-e Tabrizi, you. Compassionately blend and renew. East and west through and through. And so we say, may it be so. From submission to Satan’s will. Brief notes on Divan-e Shams. Divan-e Shams is a masterpiece of wisdom and eloquence. It is often said that Rumi had attained the level of a.
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His life and poems have been the subject of much analysis, commentary and interpretation, influencing postth century Persian writing more than any other author.
Hafez is best known for his poems that can be described as ” antinomian ”  and with the medieval use of the term “theosophical”; this term theosophy in the 13th and 14th centuries was used to indicate mystical work by “authors only inspired by the holy books ” as distinguished from theology.
Hafez primarily wrote in the literary genre of lyric poetryor ghazalsthat is the ideal style for expressing the ecstasy of divine inspiration in the mystical diwah of love poems. Themes of his ghazals are the beloved, faith, and exposing tahrizi. In his ghazalshe deals with love, wine and tavern, all presenting the ecstasy and freedom from restraint, whether in actual worldly release or in the voice of the lover  speaking of divine love.
His tomb is visited often. Adaptations, imitations and translations of his poems exist in all major languages. Hafez was born in ShirazIran.
His parents were from KazerunFars Province. Despite his profound effect on Persian life and culture and his enduring popularity and influence, few details of his life are known.
Accounts of his early life rely upon traditional anecdotes. Early tazkiras biographical sketches mentioning Hafez are generally considered unreliable. Modern scholars generally agree that Hafez was born either in or According to an account by JamiHafez died in Timur upbraided him for this verse and said; “By the blows of my well tabriiz sword I have conquered the greater part of the world to enlarge Samarkand and Bukharamy capitals and residences; and you pitiful creature would exchange these two cities for a mole”.
Hafez replied “O Sovereign of the world; “It is by the state of similar generosity that I have been reduced, as you diwsn my present state of poverty. Many semi-miraculous mythical tales were woven around Hafez after his death. It is said that by listening to his father’s recitations, Hafez had accomplished the task of learning the Quran by heart at an early age that is the meaning of the word Hafez.
According to one tradition, before meeting his self-chosen Sufi master Hajji Zayn al-AttarHafez had been working in a bakery, delivering bread to a wealthy quarter of the town.
Maulana Rumi Online: Divan-e Shams Tabrizi
There, he first saw Shakh-e Nabat, a woman of great beauty, to whom some of his poems are addressed. Ravished by her beauty but knowing that his love for her would not be requitedhe allegedly held his first mystic vigil in his desire to realize this union.
Still, he encountered a being of surpassing beauty who identified himself as an angeland his further attempts at union became mystic; a pursuit of spiritual union with the divine.
A Western parallel is that of Dante and Beatrice. At 60, he is said to have begun a Chilla-nashinia day-and-night vigil by sitting in a circle that he had drawn for himself. On the 40th day, he once again met with Zayn al-Attar on what is known to be their fortieth anniversary and was offered a cup of wine. It was there where he is said to have attained “Cosmic Consciousness”. He hints at this episode in one of his verses in which he advises the reader to attain “clarity of wine” by letting it “sit for 40 days”.
Although he hardly ever traveled outside Shiraz, in one tale, Tamerlane Timur angrily summoned Hafez to account for one of his verses:. Samarkand was Tamerlane’s capital and Bokhara was the kingdom’s finest city. Hafez, the tale goes, bowed deeply and replied, “Alas, O Prince, it is this prodigality which is the cause of the misery in which you find me”.
So surprised and pleased was Timur with this response that he dismissed Hafez with handsome gifts. Hafez was acclaimed throughout the Islamic world during his lifetime, with other Persian poets imitating his work, and offers of patronage from Baghdad to India. His work was first translated into English in by William Jones. It would leave a mark on such Western writers as ThoreauGoetheand Ralph Waldo Emerson the last referred to him as “a poet’s poet”.
Friedrich Engels mentioned him in an letter to Karl Marx:. It is, by the way, rather pleasing to read dissolute old Hafiz in the original language, which sounds quite passable and, in his grammar, old Sir William Jones likes to cite as examples dubious Persian jokes, subsequently translated into Greek verse in his Commentariis poeseos asiaticaebecause even in Latin they seem to him too obscene. II, De Poesi erotica, will amuse you.
Persian prose, on the other hand, is deadly dull. Hafez is the most popular poet in Iran, and his works can be found in almost every Iranian home. Twenty years after his death, a tomb, the Hafeziehwas erected to honor Hafez in the Musalla Gardens in Shiraz. Inside, Hafez’s alabaster sarcophagus bears the inscription of two of his poems.
Many Iranians use Divan of Hafez for fortune telling. In Iran and Afghanistanhis collected works have come to be used as an aid to popular divination. Iran for an authenticated diwan”. Many Iranian composers have composed pieces inspired by or based upon Hafez’s poems.
Hayedeh performed the song “Padeshah-e Khooban”, with music by Farid Zoland. The question of whether his work is to be interpreted literally, mystically, or both has been a source of contention among western scholars. This confusion stems from the fact that, early in Persian literary history, the poetic vocabulary was usurped by mystics, who believed that the ineffable could be better approached in poetry than in prose.
Diwan-e Shams-e Tabrizi
In composing poems of mystic content, they imbued every word and image with mystical undertones, causing mysticism and lyricism to converge into a single tradition. As a result, no fourteenth-century Persian poet could write a lyrical poem without having a flavor of mysticism forced on it by the poetic vocabulary itself. Wheeler Thackston has said of this that Hafez “sang a rare blend of human and mystic love so balanced Hafez often took advantage of the aforementioned lack of distinction between lyrical, mystical, and panegyric writing by using highly intellectualized, elaborate metaphors and images to suggest multiple possible meanings.
For example, a couplet from one diwn Hafez’s poems reads: Last night, from the cypress branch, the nightingale sang. The cypress tree is a symbol both of the beloved and of a regal presence; the nightingale and birdsong evoke the shama setting for human love. The “lessons of spiritual stations” suggest, obviously, a mystical undertone as well though the word for “spiritual” could also be translated as “intrinsically meaningful”.
Therefore, the words could signify at once a prince addressing his devoted followers, a lover courting a beloved, and the reception of spiritual wisdom. Though Hafez is well known for his poetry, he is less commonly recognized for his intellectual and political contributions. In this period, Hafez and other notable early satirists, such as Ubayd Zakaniproduced a body of tabrizk that has since become a template for the use of satire as a political device.
Many of his critiques are believed to be targeted at the rule of Amir Mobarez Al-Din Mohammadspecifically, towards the disintegration of important public and private institutions.
He was a Sufi Muslim. His work, particularly xiwan imaginative references to monasteriesconventsShahneh, and muhtasibignored the religious taboos of his period, and he found humor in some of his society’s religious doctrines.
An Introduction to the Sufi Master. From Wikipedia, the free encyclopedia. This article is about the 14th century poet. For other uses of this name, see Hafiz.
Shams Tabrizi – Wikiquote
An artistic depiction of Hafez with a Chang harp player. Accessed 25 July Also Shaida, Khalid Hameed Hafiz, Drunk with God: A Thousand Years of Faith and Power. Gray notes that Ghazvini’s taabrizi Gani’s compilation in relied on the earliest texts known at that time and that none of suams four texts they used were related to each other.
Since then, she adds, more than 14 earlier texts have been found, but their relationships to each other have not been studied. The Mogul Emperors of Hindustan A. D reprint New Delhi. Westminster, Archibald Constable and Co.
Retrieved 15 January Tehran Times Opinion Column, October 12, Vahshi Bafqi — ‘Orfi Shirazi. Neshat Esfahani Abbas Foroughi Bastami — Contemporary Persian and Classical Persian are the same language, but writers since are classified as contemporary.
At one time, Persian was a common cultural language of much of the non-Arabic Islamic world. Today it is the official language of IranTajikistan and one of the two official languages tarbizi Afghanistan. Retrieved from suams https: Views Read Edit View history.
Mahmud Saba Kashani —