Hafiz And His Contemporaries

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.

Satire, irony and humour have long been features of Persian literature's rich tradition, taking various forms from the coarse and obscene to the subtle and refined. Humour in Iran is a close and comprehensive study of satire and humour – in verse as well as prose – over the eleven-hundred years since the emergence of classical Persian literature. Combining Persian original texts with their English translations, it covers a range of texts and authors, from the lampoon in Ferdowsi's great epic of the ancient kings in the tenth century, through such master satirists as Obeyd Zakani, Sa'di, Rumi, Khayyam, Hafiz, Anvari, Sana'i, Khaqani, Suzani, Qa'ani, Yaghma, and so on. The book also includes twentieth century authors such as Iraj, Dehkhoda, Bahar, Eshqi, Aref, Hedayat, Jamalzadeh, Al-e Ahmad and more. A must read for scholars and students of humour and satire as well as Persian literature and Middle Eastern studies, and it will also appeal to general readers interested in ribald humour and satire.

Covers all aspects of the history of Iran from the collapse of the Il-Khanid empire (c.1335) to the second of quarter of the 18th century

Hafiz is renowned as one of the most celebrated Persian poets. Living in the 14th Century, Hafiz was frequently persecuted for his disregard for the religious and political orthodoxy. People read different things into his poetry but he was unequivocal in his denunciation of religious rituals that were devoid of spiritual intensity. He also wrote extensively on the theme of love, both human and divine, alluding to the ecstasy of mystical union with the Divine. In depicting the intensity of love, Gertrude Bell thought Hafiz comparable to the West’s own Shakespeare. Gertrude Bell’s translation is considered to be one of the most lucid, musical and accurate of the verse translations.

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.

"This sampling of Hafiz's works captures his deep spiritual understanding, offering a glimpse into the vision that has inspired people around the world for centuries. Considered by his contemporaries as an oracle and often referred to as "Tongue of the Hidden" and "Interpreter of Secrets," Hafiz followed Sufism's inner path on a quest to discover the hidden meaning of the universe, and shares his experiences and desire for union with the Divine in symbolic language that borders on magical." "This collection offers insight into Hafiz's spiritual philosophy and carefree mysticism that addresses the earthly beauty, pain, ecstasy, and longing that define human nature, and the divine adoration that promises to set the spirit free."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

What is Sufism? Contemporary views vary tremendously, even among Sufis themselves. Contemporary Sufism: Piety, Politics, and Popular Culture brings to light the religious frameworks that shape the views of Sufism’s friends, adversaries, admirers, and detractors and, in the process, helps readers better understand the diversity of contemporary Sufism, the pressures and cultural openings to which it responds, and the many divergent opinions about contemporary Sufism’s relationship to Islam. The three main themes: piety, politics, and popular culture are explored in relation to the Islamic and Western contexts that shape them, as well as to the historical conditions that frame contemporary debates. This book is split into three parts: • Sufism and anti-Sufism in contemporary contexts; • Contemporary Sufism in the West: Poetic influences and popular manifestations; • Gendering Sufism: Tradition and transformation. This book will fascinate anyone interested in the challenges of contemporary Sufism as well as its relationship to Islam, gender, and the West. It offers an ideal starting point from which undergraduate and postgraduate students, teachers and lecturers can explore Sufism today.