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.
Hafez is one of the best known medieval Persian mystic poets, as celebrated and popular as his near contemporary Rumi. As with Rumi, modern translations have a strong appeal to today's readers. Both ardent mystic and lover, Hafez fuses earthly and divine love.
"The Grande Dame of Iranian Cooking" Esteemed American chef. Award-winning cookbook author. Persian cooking instructor. Iranian immigrant. Storyteller. Mother of two acclaimed sons - Zal, a filmmaker; Rostam, a musician. Born in the middle of the 20th century in Tehran, Iran. Lives in Washington, DC and Los Angeles. Consults with restaurants around the world. Member of Les Dames d'Escoffier.
Poetry. Sufism. Middle Eastern Literature. Arab American Studies. Translated from the Persian by Reza Ordoubadian. Shamsed-din Hafez was born some six hundred years ago in southern Iran, but his poems have universal and contemporary appeal. Wherever Persian is known, he is easily recited by both king and common man. Those uncertain about matters of love, fortune, or any other situation open a page of his collection of poems at random and in it see their dilemmas untangled. His turns of phrase have enriched the Persian lexicon and entered everyday language; this has made him Persian culture's most read, quoted, and revered figure. Reza Ordoubadian's translations make the poems of Hafez accessible to the English language reader, while remaining faithful to the nuances of Hafez's language and thought in the original Persian.
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.
At last in English is a wide selection from the great Persian poet Hafez, so beloved in Iran that almost every family there keeps his Divan close at hand. When Robert Bly and Coleman Barks visited Iran, they heard schoolchildren singing Hafez poems at his graveside. For some fifteen years, the great Islamic scholar Leonard Lewisohn has worked with Robert Bly to produce this translation, which for the first time carries into English Hafez's nimbleness, his fierce humor directed at the mullahs, his astonishing range of thought, and the delight of his love poems. A master of the ghazal form, one of the greatest inventions in the history of poetry, Hafez may be considered as Rumi's wild younger brother, and is now translated into an English that helps us understand his true genius.
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.
