Hafiz Ghazals

http://www.iranonline.com/
literature/hafez/world-view.html
 The man and his work

Shams-ud-din Mohammad Hafiz Shirazi is a well known mystic-poet

philosopher of the 14th century Iran (approximately 1320-1389).  He is
known as Khajeh Hafiz (The Master Memorizer of Quran), Losan-ul-
ghyb (The Tongue of The Hidden), Tarjomanul-Asrar (The Interpreter of
Secrets).

• Hafiz entitled also as "The Poet of The Poets".  He is the supreme

master of lyric-love-poetry.  His collected works -Divan- (collected by
Mohammad Golandam after Hafiz's death) mainly consists of lyric-
love-songs of utmost subtly of poetic expressions, unprecedented
richness of inner contents, inexhaustible depth of meanings, as well
as, a very novel and revolutionary existential perspectives.
 
 Allusion, Equivocation and indirect
communication
• Hafiz is a "magical poet" (shaer-e sahir) who can
capture and actually did capture- the heart and
mind of numerous people of different ranks and
from widely separated walks of life.
• Such magical uniqueness of Hafiz lyrics mainly is due
to his mastery of the art and the science of the
language of allusion (Zaban-e isharat).  The language
of indirect communications by using metaphors and
equivocations to induce multiplicity of meanings and
imagination
Gist and distillation of traditional wisdom of
Iran
In terms of rich content, Hafiz poems represents a
synthesization of numerous aspects of traditional
wisdom of Iranian culture; religious and theological,
philosophical, mystical and spiritual, and last but not
least, Hafiz own contribution designated by himself as
ishq-o-rendi (love and slyness).  For such reasons
Divan-e Hafiz destined to become the book of Oracle
(fal-e-Hafiz) for those sincere friends of him who seek
guidance and direction.
 
"Love", "slyness", and "purity of heart"

Three focal key concepts of Hafiz's

existence and the spiritual dimension of his
world view.  He teaches that hypocrisy does
not provide the "purity of heart" and for this
reason he is going to select the "Path of
slyness and love."
 "Love and slyness"
• Love and slyness are virtues the
acquisition of which may seem easy at first
but actually are very hard and burning
consequently.
 "Sly" and "slyness"(rend-wa-rendi)
Both terms have negative connotations in English and
Persian.  Hafiz's innovation was to change the
semantic content of a term with negative charge and
transform it into a positive meaning.  Furthermore, he
was able to create a myth of human perfection under
the rubric of the term "rend".  The term represents
even the highest climax of human actuality in Sufi
terminology, namely, the concept of "Vali", The Saint:
in a verse Hafiz identifies rend and vali as one and the
same.
 "Rend" or "sly"
"Rend" or "sly" has at least three levels and gradations of
meanings:
 
• The lowest level with the negative charge, which is identified as
"lustfulness" of youth.
• The middle level or gradation within which the Hafiz concept of
"sly" is nothing but the "sly Hafiz".  It is at this level that we can
delineate characterology of "sly" as a main existential posture
Hafiz wished to be in and made proclamation for (I will return to
this shortly).
• The highest rank or "vali", the "guide" or "guru" toward whom he
looks upward for blessing and guidance.
 Characterology of sly
A "sly person" according to Hafiz has the following characteristics:
• Detachment from fame, honor, and prestige.
• Joyfulness at the midst of affliction and suffering.
• Seeking salvation without having any unnecessary worry.
• Anti-Hippocratic.
• Balance, posture, and anti-extremist.
• Criticalness of social-religious norms.
• Permissiveness and "anti-moralism"
• Not trusting in "Piety" and "knowledge"
• Concerned deeply with love and inner sincerity.
• Blamer Sufi.
 Detachment and blame
Historically, the concept blame (Malamat) developed in
Khurasan around 3d -9th century due to the fact that sincere
Sufis tried to exercise "purification of intentions"(ikhlas).  These
Sufis tried their best to have a "pure heart", and, consequently
lost their interest in the opinion of others let me list some major
dimensions of blame as one can delineate in verses of Hafiz:
• Blame is the result of "true love". [The master] told me: blame
will arise if you get involved with love.  I do swear to God; we
have not seen love without blame.
• A blamer Sufi is "faithful", suffers the blame of others and
"happy" and paradoxically does not suffer at all!
 "Love"
The concept "love" in Hafiz poems is the
center key and should be analyzed
independently.  Lets go over the many
dimensions synoptically.
1. Ineffability of love-experience- One
can not speak at this sanctity domain
of love because one has to be all-
hearing all-seeing.
2. "Creation and cosmogenesis"' is a
byproduct of love.  Adam and Fairy the
byproducts of love exercise intent to
attain the eternal bliss and happiness.
3. Love, itself is due to Divine self
manifestation in pre-eternity.
4. The path of love is a "danger", a
"destiny", a "limitless" path.
5. Effort vs. Grace- In love effort is
necessary but not sufficient to attain
the puritan and unity with the Beloved.
6. A true lover is detached and totally
emancipated.
7. Affliction and suffering and no
complaining in the path of love.
8. Love transcends reasoning and
rationality.
9. In the path of love one needs spiritual
direction.
10.Pantheism and Unitarianism of Love.
11.Love is the ultimate refuge, the alchemy
of eternal happiness.
12.Hafiz perceives "love" as the best
souvenir remaining under the rotating
dome of the temporal universe.
 Shikwa
THE COMPLAINT

Muhammad Iqbal
 Stanza 1

Kyun Ziyaan Kaar Banun, Sood Framosh Rahun

Fikr-e-Farda Na Karum, Mahw-e-Ghum-e-Dosh Rahun

Why should I choose the loser’s role? Forbear to seek what gain I may?
Nor think of what the morrow holds, But brood o’er woes of yesterday?
Naale Bulbul Ke Sunoon, Aur Hama Tan Gosh Rahun
Humnawa Main Bhi Koi Gul Hun Ke Khamosh Rahun

Why should my ears enraptured hear the plaintive notes of Philomel?

Fellow‐bard! a rose am I to lose me in sweet music’s swell?
 Jurrat Aamoz Miri Taab-e-Sakhun Hai Mujh Ko
Shikwa Allah Se Khakam Badahan Hai Mujh Ko

For I too have the gift of song which gives me courage to complain,
But ah! ‘tis none but God Himself whom I, in sorrow, must arraign!
 Stanza 2

Hai Baja Shewa-e-Tasleem Mein Mashoor Hain Hum

Qissa-e-Dard Sunate Hain Ke Majboor Hain Hum

I grant that we have earned repute as ever reconciled to Fate,

But to You still a tale of pain I can no longer help narrate.
 Saaz-e-Khamosh Hain, Faryad Se Maamoor Hain Hum
Nala Ata Hai Agar Lab Pe To Maazoor Hain Hum

Though we may seem like voiceless lyres, within, imprisoned anguish cries;
Its urge compels, and I obey, Framing these plaintive melodies.
Ae Khuda Shikwa-e-Arbab-e-Wafa Bhi Sun Le
Khugar-e-Hamd Se Thora Sa Gila Bhi Sun Le

Hear You, O God! these sad complaints from those of proven fealty;
From lips accustomed but to praise hear You these words in blame of
You!