Volume 17, Issue 67 (2024)
LCQ 2024, 17(67): 263-305 |
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Farhadian A A. Reading a Ghazal by Hafez Based on Specific Events from the Poet's Life. LCQ 2024; 17 (67) :263-305
URL: http://lcq.modares.ac.ir/article-29-74848-en.html
URL: http://lcq.modares.ac.ir/article-29-74848-en.html
Ph.D candidate, Department of Persian Language and Literature, Faculty of Persian Literature,University of Bu-Ali Sina, Hamedan,Iran , a.farhadian@ltr.basu.ac.ir
Abstract: (1678 Views)
Since many of Hafez's poems reflect the conditions of his time and the events of his life, understanding the history of Hafez's era and awareness of his relationships with powerful figures is crucial for comprehending his poetry. Essentially, grasping a significant portion of Hafez's verses depends on knowledge of the circumstances of his time and the events of his life. Neglecting the historical context of Hafez's poetry can lead to misunderstandings of the meanings of his verses and the concepts and interpretations within them, as well as disrupt the logical connections between the verses. A famous ghazal by Hafez that begins with "Taleh agar madad dahad…" is a prominent example where ignoring this context results in a complete breakdown of the connection between its verses, inevitably leading to a suspension of the hidden meanings and interpretations within it and, consequently, misinterpretation. In this study, using content analysis and a descriptive-analytical approach, we will identify the subtle references in the poem and represent the logical connections between its verses by matching the ghazal with its historical context. In light of the attention to the implications of the elements within the mentioned ghazal, one can speculate about the approximate date of its composition.
Extended Abstract
1. Introduction
The historical aspect of Hafez's poetry, which is undoubtedly one of the most significant features of his work, plays a fundamental role in understanding his words. This characteristic is not commonly found among classical Persian poets. For instance, understanding Saadi's verses often doesn't require knowledge of the political and historical changes of his time. Various reasons can be put forward to explain the extensive reflection of political and historical events in Hafez's poetry; however, his continuous connection with the court and his interactions with kings, ministers, and other political figures play a significant role.
Another important reason is Hafez's approach to poetry as a tool for expressing his viewpoints on events. The immense poetic potential found in Hafez’s work, which spreads at a remarkable speed, allows him to convey his message to his intended audience without the need for intermediaries or messengers. This capacity has been particularly useful in situations where direct communication with the audience was difficult, such as when Shah Sheikh Abu Ishaq left Shiraz after his defeat by Amir Mobarez al-Din, or when Shah Shuja had to abandon Shiraz in the face of his brother Shah Mahmoud's forces, or during the times when Hafez was deprived of seeing Shah Shuja due to a falling out. In these instances and others, Hafez embedded his message in his poetry, which then circulated among the intended audience. It is clear that such verses must exhibit characteristics, including a lack of direct reference to a specific addressee, to protect the poet and shield him from the repercussions of his words. Additionally, the poem should not lack meaning for the general public, or rather, for the broader audience of his poetry. In other words, he crafts the poetry in such a way that everyone enjoys its form and meaning, while at the same time, the specific addressee receives their personal message from it.
Hafez's extraordinary ability to compose such poems is truly one of his remarkable arts. At the same time, a significant number of ambiguities and misunderstandings, as well as the apparent disconnection of verses in a ghazal, stem from this very issue for readers of Hafez. This is where paying attention to the historical context of Hafez's poetry becomes essential. Aligning his verses with their historical background greatly aids in understanding Hafez's poetry, untangling its complexities, and creating coherence along its vertical axis (establishing a logical connection between the verses).
2. Problem Statement
Among Hafez's famous ghazals, one that seems scattered and lacks a logical connection without considering the context of its creation is the ghazal numbered 296 in the version edited by Ghazvini and Ghani.
In the first couplet, the poet expresses a longing to get closer to someone. Then, he immediately mentions his lack of fortune in receiving the generosity of people. He goes on to lament the waste of his precious life in the futile hope of the friend, deeming it impossible to achieve his desires from him. Next, he talks about ungrateful sons and the hard-heartedness of those who don't remember their father, considering any kindness towards them fruitless. Unexpectedly, he recalls his own thoughts of seclusion and asceticism. Then, out of nowhere, there's a mention of the tambourine and the harp played by the young musician. The "mohtaseb" and the "sufi" are characters who come into the scene following the young magus, And each one is condemned. Finally, without any preamble, he speaks of treading the path of the dynasty and the support of the chief of Najaf.
As is evident, various themes, sometimes entirely unrelated, are presented one after the other in this ghazal. With such a degree of thematic scattering and disconnection between the lines, what should one do? In a ghazal that talks about the hard-hearted idols, ungrateful sons, the young magus, the tambourine, the harp, and the wine, what is the connection to speak of the holy dynasty and the chief of Najaf?
Shamisa (2016) has paid attention to the scattered themes in this ghazal. He believes that there is a connection between the verses of Hafez's poetry and that most ghazals have a central coherence. However, regarding the ghazal in question, he says: "Of course, in some cases we must inevitably say that the old scholars' claim [about the lack of semantic connection between verses] is correct, because we do not discover a connection between some of the verses." (p. 25).
Many researchers agree that there is a lack of coherence in the vertical axis and no meaningful connections between the verses in Hafez's poems. Arberry (1974), in the introduction to his book titled Fifty poems of Hafez, considers the cultivation of several unrelated themes in a single ghazal as one of Hafez's innovations (p. 30). Khorramshahi (1982) also believes that the couplets of Hafez's ghazals possess more independence, diversity, and separation than those of other poets (p. 18). Almost all of the commentaries written on Hafez's ghazals have adhered to this viewpoint and felt no necessity to express the relationships among the verses in a ghazal. However, as noted, some researchers do not agree with this perspective. Pournamdarian (2013), describing the structure of Hafez's ghazals, states: "Some have pointed out that one of the characteristics of Hafez's ghazals is the lack of semantic connection between its verses (...) In my opinion, at least it can be said that in many of Hafez's ghazals, there is a semantic connection between the verses, even if this connection is not apparent at first glance" (pp. 225-226).
We believe that the hidden connections of verses in Hafez's poetry often reveal themselves through an understanding of the historical-political context in which they were written; in this study, we aim to analyze the ghazal on this semantic layer, explaining the conditions under which the poem was composed and introducing the characters present in it, while also demonstrating that this ghazal maintains coherence along its vertical axis.
3. Research method
This research has been carried out using content analysis and a descriptive-analytical approach. It aims to examine the poem by aligning it with its historical context, including the conditions, motivations, and goals of the poet at the time of creating the work. Special attention has been given to the information gathered from reliable historical sources, as well as considering the knowledge gained from other poems by the poet, which plays a significant role in aligning the selected ghazal with the key events that influenced its creation.
4. Results
Relating the discussed poetry to the historical backdrop of Hafez's life helps establish a vertical connection between the verses and dispels the accusation of dispersion and fragmentation of meanings within the ghazal, aiding in the accurate understanding of the references and expressions employed. In this ghazal, composed during the era of Amir Mobariz al-Din Muzaffari (Mohtaseb), Hafez speaks of his financial troubles. He also critiques the oppressive social atmosphere prevailing in Shiraz and the encroachment of rulers and their agents on public rights under the guise of piety, expressing his disappointment in garnering support from Shah Shoja, the son and heir of Amir Mobariz al-Din, who he found to be completely different from his father. He talks about the idea of leaving Shiraz and migrating to the court of the Al-Jalayir dynasty, the very court that had previously welcomed artists disillusioned with the Muzaffarid dynasty, like Obaid Zakani, and whose rulers continually expressed their desire for Hafez to be present in their court.
Hafez, by using the phrase "Shahne of Najaf" for the founder of the Jalayerid dynasty, who all had a Shia inclination and contributed significantly to the restoration and expansion of the shrines of Shia Imams within their territory, is also subtly seeking support from the then Jalayerid king, Sultan Uways, for the expenses of his journey. The term "Shahne of Najaf," meaning the guardian and servant of the Najaf shrine, has been a great source of pride for Amir Sheikh Hasan and his successors. At the same time, it's important to note that Hafez, by announcing his intention to migrate to Baghdad, sends a message to Shah Shuja that if he continues to delay and does not take Hafez under his protection, he might lose such an extraordinary poet. It can be inferred that the discussed ghazal was composed during the period between the execution of Shah Sheikh Abou Ishaq in the year 757 AH and the event of Amir Mobariz al-Din being deposed from the throne by his sons in 759.
References
Arberry, A.J. (1974). Fifty poems of Hafiz. Cambridge University Press.
Khorramshahi, B. (1982). Zehn va Zabān-e Hāfez. Nashr-e No. [In Persian]
Pournamdarian, T. (2013). Gomshode-ye Lab-e Daryā: Ta’amoli dar Ma’ni va Surat-e She’r-e Hāfez. Sokhan Publication. [In Persian]
Shamisa, S. (2016) Yāddāsht-hā-ye Hāfez. Mitra Publication. [In Persian]
Extended Abstract
1. Introduction
The historical aspect of Hafez's poetry, which is undoubtedly one of the most significant features of his work, plays a fundamental role in understanding his words. This characteristic is not commonly found among classical Persian poets. For instance, understanding Saadi's verses often doesn't require knowledge of the political and historical changes of his time. Various reasons can be put forward to explain the extensive reflection of political and historical events in Hafez's poetry; however, his continuous connection with the court and his interactions with kings, ministers, and other political figures play a significant role.
Another important reason is Hafez's approach to poetry as a tool for expressing his viewpoints on events. The immense poetic potential found in Hafez’s work, which spreads at a remarkable speed, allows him to convey his message to his intended audience without the need for intermediaries or messengers. This capacity has been particularly useful in situations where direct communication with the audience was difficult, such as when Shah Sheikh Abu Ishaq left Shiraz after his defeat by Amir Mobarez al-Din, or when Shah Shuja had to abandon Shiraz in the face of his brother Shah Mahmoud's forces, or during the times when Hafez was deprived of seeing Shah Shuja due to a falling out. In these instances and others, Hafez embedded his message in his poetry, which then circulated among the intended audience. It is clear that such verses must exhibit characteristics, including a lack of direct reference to a specific addressee, to protect the poet and shield him from the repercussions of his words. Additionally, the poem should not lack meaning for the general public, or rather, for the broader audience of his poetry. In other words, he crafts the poetry in such a way that everyone enjoys its form and meaning, while at the same time, the specific addressee receives their personal message from it.
Hafez's extraordinary ability to compose such poems is truly one of his remarkable arts. At the same time, a significant number of ambiguities and misunderstandings, as well as the apparent disconnection of verses in a ghazal, stem from this very issue for readers of Hafez. This is where paying attention to the historical context of Hafez's poetry becomes essential. Aligning his verses with their historical background greatly aids in understanding Hafez's poetry, untangling its complexities, and creating coherence along its vertical axis (establishing a logical connection between the verses).
2. Problem Statement
Among Hafez's famous ghazals, one that seems scattered and lacks a logical connection without considering the context of its creation is the ghazal numbered 296 in the version edited by Ghazvini and Ghani.
In the first couplet, the poet expresses a longing to get closer to someone. Then, he immediately mentions his lack of fortune in receiving the generosity of people. He goes on to lament the waste of his precious life in the futile hope of the friend, deeming it impossible to achieve his desires from him. Next, he talks about ungrateful sons and the hard-heartedness of those who don't remember their father, considering any kindness towards them fruitless. Unexpectedly, he recalls his own thoughts of seclusion and asceticism. Then, out of nowhere, there's a mention of the tambourine and the harp played by the young musician. The "mohtaseb" and the "sufi" are characters who come into the scene following the young magus, And each one is condemned. Finally, without any preamble, he speaks of treading the path of the dynasty and the support of the chief of Najaf.
As is evident, various themes, sometimes entirely unrelated, are presented one after the other in this ghazal. With such a degree of thematic scattering and disconnection between the lines, what should one do? In a ghazal that talks about the hard-hearted idols, ungrateful sons, the young magus, the tambourine, the harp, and the wine, what is the connection to speak of the holy dynasty and the chief of Najaf?
Shamisa (2016) has paid attention to the scattered themes in this ghazal. He believes that there is a connection between the verses of Hafez's poetry and that most ghazals have a central coherence. However, regarding the ghazal in question, he says: "Of course, in some cases we must inevitably say that the old scholars' claim [about the lack of semantic connection between verses] is correct, because we do not discover a connection between some of the verses." (p. 25).
Many researchers agree that there is a lack of coherence in the vertical axis and no meaningful connections between the verses in Hafez's poems. Arberry (1974), in the introduction to his book titled Fifty poems of Hafez, considers the cultivation of several unrelated themes in a single ghazal as one of Hafez's innovations (p. 30). Khorramshahi (1982) also believes that the couplets of Hafez's ghazals possess more independence, diversity, and separation than those of other poets (p. 18). Almost all of the commentaries written on Hafez's ghazals have adhered to this viewpoint and felt no necessity to express the relationships among the verses in a ghazal. However, as noted, some researchers do not agree with this perspective. Pournamdarian (2013), describing the structure of Hafez's ghazals, states: "Some have pointed out that one of the characteristics of Hafez's ghazals is the lack of semantic connection between its verses (...) In my opinion, at least it can be said that in many of Hafez's ghazals, there is a semantic connection between the verses, even if this connection is not apparent at first glance" (pp. 225-226).
We believe that the hidden connections of verses in Hafez's poetry often reveal themselves through an understanding of the historical-political context in which they were written; in this study, we aim to analyze the ghazal on this semantic layer, explaining the conditions under which the poem was composed and introducing the characters present in it, while also demonstrating that this ghazal maintains coherence along its vertical axis.
3. Research method
This research has been carried out using content analysis and a descriptive-analytical approach. It aims to examine the poem by aligning it with its historical context, including the conditions, motivations, and goals of the poet at the time of creating the work. Special attention has been given to the information gathered from reliable historical sources, as well as considering the knowledge gained from other poems by the poet, which plays a significant role in aligning the selected ghazal with the key events that influenced its creation.
4. Results
Relating the discussed poetry to the historical backdrop of Hafez's life helps establish a vertical connection between the verses and dispels the accusation of dispersion and fragmentation of meanings within the ghazal, aiding in the accurate understanding of the references and expressions employed. In this ghazal, composed during the era of Amir Mobariz al-Din Muzaffari (Mohtaseb), Hafez speaks of his financial troubles. He also critiques the oppressive social atmosphere prevailing in Shiraz and the encroachment of rulers and their agents on public rights under the guise of piety, expressing his disappointment in garnering support from Shah Shoja, the son and heir of Amir Mobariz al-Din, who he found to be completely different from his father. He talks about the idea of leaving Shiraz and migrating to the court of the Al-Jalayir dynasty, the very court that had previously welcomed artists disillusioned with the Muzaffarid dynasty, like Obaid Zakani, and whose rulers continually expressed their desire for Hafez to be present in their court.
Hafez, by using the phrase "Shahne of Najaf" for the founder of the Jalayerid dynasty, who all had a Shia inclination and contributed significantly to the restoration and expansion of the shrines of Shia Imams within their territory, is also subtly seeking support from the then Jalayerid king, Sultan Uways, for the expenses of his journey. The term "Shahne of Najaf," meaning the guardian and servant of the Najaf shrine, has been a great source of pride for Amir Sheikh Hasan and his successors. At the same time, it's important to note that Hafez, by announcing his intention to migrate to Baghdad, sends a message to Shah Shuja that if he continues to delay and does not take Hafez under his protection, he might lose such an extraordinary poet. It can be inferred that the discussed ghazal was composed during the period between the execution of Shah Sheikh Abou Ishaq in the year 757 AH and the event of Amir Mobariz al-Din being deposed from the throne by his sons in 759.
References
Arberry, A.J. (1974). Fifty poems of Hafiz. Cambridge University Press.
Khorramshahi, B. (1982). Zehn va Zabān-e Hāfez. Nashr-e No. [In Persian]
Pournamdarian, T. (2013). Gomshode-ye Lab-e Daryā: Ta’amoli dar Ma’ni va Surat-e She’r-e Hāfez. Sokhan Publication. [In Persian]
Shamisa, S. (2016) Yāddāsht-hā-ye Hāfez. Mitra Publication. [In Persian]
Article Type: Original Research |
Subject:
The theory of the history of literature
Received: 2024/04/27 | Accepted: 2024/11/16 | Published: 2024/10/31
Received: 2024/04/27 | Accepted: 2024/11/16 | Published: 2024/10/31
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