Volume 17, Issue 66 (2024)
LCQ 2024, 17(66): 75-107 |
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Hosseini M. A Critique on “Introduction” on Poems from the Divan of Hafiz by Gertrude Bell. LCQ 2024; 17 (66) :75-107
URL: http://lcq.modares.ac.ir/article-29-73273-en.html
URL: http://lcq.modares.ac.ir/article-29-73273-en.html
Bu-Ali Sina University , mhosseini@basu.ac.ir
Abstract: (1970 Views)
Over two hundred and fifty years ago, Sir William Jones first translated a ghazal by Hafiz into English, both in prose and verse. Since then, various translators have employed prose, verse, and creative translations to render Hafiz’s poems, either in full or in part. Among these, verse translation—whether in prosodic or non-prosodic poetry—has been the most prevalent. However, only a few translations have successfully conveyed the formal and thematic subtleties of Hafiz’s ghazals. One notable example is Gertrude Bell’s 1897 work, Poems from the Divan of Hafiz. This translation, which includes forty-two ghazals and an additional piece, is widely regarded by both Iranian and non-Iranian specialists as one of the most successful and acclaimed translations of Hafiz’s poetry. Bell’s translation is considered a somewhat free rendition of Hafiz’s ghazals and is complemented by an Introduction and Notes. Esteemed orientalists, including Edward Brown, have praised the Introduction as one of the most informative English writings on Hafiz and his era. However, this Introduction contains several historical inaccuracies. This paper aims to identify and correct these historical errors using authentic historical sources related to Hafiz’s time. Furthermore, it seeks to demonstrate, with evidence, the origins and pathways of these inaccuracies in Bell’s Introduction.
Extended abstract
Over two hundred and fifty years ago, Sir William Jones first translated a ghazal by Hafiz into English, both in prose and verse. Since then, various translators have employed prose, verse, and creative translations to render Hafiz’s poems, either in full or in part. Over the past 250 years, English translations of Hafiz’s poetry can be categorized into three types: a) prose translations, b) verse translations, and c) creative translations or adaptations. Notably, most translations have been in verse. Translators across different eras have attempted to render Hafiz’s poetry into free verse and English prose poetry. Additionally, some have endeavored to replicate the meter and rhyme of Hafiz’s ghazals. Upon meticulous analysis, only a few translations stand the test of time. Many existing translations of Hafiz in English are subpar, with some being particularly disappointing. The most respected translations include Gertrude Bell’s (1897), Elizabeth Gray’s prose translation (1995), Richard Le Gallienne’s translation (1905), and Dick Davis’ translation (2013). Among these, verse translation—whether in prosodic or non-prosodic poetry—has been the most prevalent. However, only a few translations have successfully conveyed the formal and thematic subtleties of Hafiz’s ghazals.
One such translation is Gertrude Bell’s Poems from the Divan of Hafiz (1897). This translation, which includes forty-two ghazals and one additional piece, is widely regarded by both Iranian and non-Iranian specialists as one of the most successful and acclaimed translations of Hafiz’s poetry. . Poems from Diwan Hafez consist of three parts: introduction, sonnets, and notes. This brilliant and readable introduction shows that his translation was not only the result of traveling to Iran and mastering the Persian language, but also the result of hours of study and research in London libraries and examination of oriental sources and the works of orientalists. In her “Introduction”, Gertrude Bell has tried to compile Hafez's life and times in the form of a captivating and attractive story and tie it to his poetry. Putting together the various facts related to Hafez's praises in such a way in the form of a narrative story is nothing short of a literary masterpiece. In addition, the information that she painstakingly collected and compiled from general histories about The Muzaffarid dynasty, which was mainly in manuscript form at that time, is a proof of his diligence and importance of his work. It goes without saying that her detailed “Introduction” was the most comprehensive source on Hafez in English at the time. According to E. G. Brown we English readers owe Gertrude Bell the best critical, admirable and thoughtful study of Hafez. The third part of Bell's book, i.e. the translator's notes, complements the detailed “Introduction” of the book and helps to better and fully understand the poems, and should not be ignored in any way. These “notes”, according to Ross, are another clear evidence of Gertrude Bell's extensive studies and opinions.
All in all, Gertrude Bell's valuable effort should be counted among the best efforts in translating Hafez's poetry into English, in 125 years ago, because in addition to the laudatory introduction about Hafez's circumstances, times, and personality, it also includes the translation of 43 Ghazal poems. This translation, although relatively free, is, I believe, the most artistic, and as far as the substance of Hafez's poetry is concerned, the most faithful rendering of his poetry into English.
Undoubtedly, the importance of this work is in presenting a relatively comprehensive picture of Hafez's poetry and era in England at that time. It is true that great orientalists such as E. G. Brown, A. J. Arberry, and Ross have praised the work, but this does not mean that we should accept it without critical reading. However, twenty historical (and non-historical) mistakes found their way into Bell's “Introduction”, which the present author identified first and then tried to correct them based on authentic historical sources of Hafez's era and with presenting documents to show from what source or sources these historical (and sometimes non-historical) mistakes made their way to his “Introduction”. Since most of the chronicles of The Muzaffarids were mainly in handwritten form at that time, this seems natural to an orientalist at that time. However, I must add that in addition to the occasional inaccuracy, most of the historical (and sometimes non-historical) mistakes are made through Soudi's description of Hafez and some of them through the entry “Hafez” in the Encyclopaedia Britannica and the Lives of Persian Poets by Sir Gore Ouseley is included in her “Introduction”.
Extended abstract
Over two hundred and fifty years ago, Sir William Jones first translated a ghazal by Hafiz into English, both in prose and verse. Since then, various translators have employed prose, verse, and creative translations to render Hafiz’s poems, either in full or in part. Over the past 250 years, English translations of Hafiz’s poetry can be categorized into three types: a) prose translations, b) verse translations, and c) creative translations or adaptations. Notably, most translations have been in verse. Translators across different eras have attempted to render Hafiz’s poetry into free verse and English prose poetry. Additionally, some have endeavored to replicate the meter and rhyme of Hafiz’s ghazals. Upon meticulous analysis, only a few translations stand the test of time. Many existing translations of Hafiz in English are subpar, with some being particularly disappointing. The most respected translations include Gertrude Bell’s (1897), Elizabeth Gray’s prose translation (1995), Richard Le Gallienne’s translation (1905), and Dick Davis’ translation (2013). Among these, verse translation—whether in prosodic or non-prosodic poetry—has been the most prevalent. However, only a few translations have successfully conveyed the formal and thematic subtleties of Hafiz’s ghazals.
One such translation is Gertrude Bell’s Poems from the Divan of Hafiz (1897). This translation, which includes forty-two ghazals and one additional piece, is widely regarded by both Iranian and non-Iranian specialists as one of the most successful and acclaimed translations of Hafiz’s poetry. . Poems from Diwan Hafez consist of three parts: introduction, sonnets, and notes. This brilliant and readable introduction shows that his translation was not only the result of traveling to Iran and mastering the Persian language, but also the result of hours of study and research in London libraries and examination of oriental sources and the works of orientalists. In her “Introduction”, Gertrude Bell has tried to compile Hafez's life and times in the form of a captivating and attractive story and tie it to his poetry. Putting together the various facts related to Hafez's praises in such a way in the form of a narrative story is nothing short of a literary masterpiece. In addition, the information that she painstakingly collected and compiled from general histories about The Muzaffarid dynasty, which was mainly in manuscript form at that time, is a proof of his diligence and importance of his work. It goes without saying that her detailed “Introduction” was the most comprehensive source on Hafez in English at the time. According to E. G. Brown we English readers owe Gertrude Bell the best critical, admirable and thoughtful study of Hafez. The third part of Bell's book, i.e. the translator's notes, complements the detailed “Introduction” of the book and helps to better and fully understand the poems, and should not be ignored in any way. These “notes”, according to Ross, are another clear evidence of Gertrude Bell's extensive studies and opinions.
All in all, Gertrude Bell's valuable effort should be counted among the best efforts in translating Hafez's poetry into English, in 125 years ago, because in addition to the laudatory introduction about Hafez's circumstances, times, and personality, it also includes the translation of 43 Ghazal poems. This translation, although relatively free, is, I believe, the most artistic, and as far as the substance of Hafez's poetry is concerned, the most faithful rendering of his poetry into English.
Undoubtedly, the importance of this work is in presenting a relatively comprehensive picture of Hafez's poetry and era in England at that time. It is true that great orientalists such as E. G. Brown, A. J. Arberry, and Ross have praised the work, but this does not mean that we should accept it without critical reading. However, twenty historical (and non-historical) mistakes found their way into Bell's “Introduction”, which the present author identified first and then tried to correct them based on authentic historical sources of Hafez's era and with presenting documents to show from what source or sources these historical (and sometimes non-historical) mistakes made their way to his “Introduction”. Since most of the chronicles of The Muzaffarids were mainly in handwritten form at that time, this seems natural to an orientalist at that time. However, I must add that in addition to the occasional inaccuracy, most of the historical (and sometimes non-historical) mistakes are made through Soudi's description of Hafez and some of them through the entry “Hafez” in the Encyclopaedia Britannica and the Lives of Persian Poets by Sir Gore Ouseley is included in her “Introduction”.
Keywords: Hafiz, Gertrude Bell, Translation, Introduction, Poems from the Divan of Hafiz, historical mistakes
Article Type: Qualitative Research |
Subject:
Hermeneutics
Received: 2024/01/6 | Accepted: 2024/09/8 | Published: 2024/08/31
Received: 2024/01/6 | Accepted: 2024/09/8 | Published: 2024/08/31
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