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The Divan
The Persian poet Hafez (1320–1389) is best known as a Sufi mystic who incorporated elements of Sufism into his verses. The state of God-Realisation is symbolised through union with a Beloved, and drinking the wine of spiritual love.
This compact version of the Divan of Hafez is a facsimile illuminated manuscript, complete with beautiful Persian calligraphy and miniature illustrations. There are 43 ghazals, translated into English by classical scholar Gertrude Bell. It is a truly beautiful introduction not only to the works of this beloved Sufi mystic, but also to the artistry of Mahmoud Farshchian. It is like getting two books in one: poetry and art.
"Hafiz has no peer." — Goethe
Poetry is the greatest literary form of ancient Persia and modern Iran, and the fourteenth-century poet known as Hafiz is its preeminent master. Little is known about the poet's life, and there are more legends than facts relating to the particulars of his existence. This mythic quality is entirely appropriate for the man known as "The Interpreter of Mysteries" and "The Tongue of the Hidden," whose verse is regarded as oracular by those seeking guidance and attempting to realize wishes.
A mere fraction of what is presumed to have been an extensive body of work survives. This collection is derived from Hafiz's Divan (collected poems), a classic of Sufism. The short poems, called ghazals, are sonnet-like arrangements of varied numbers of couplets. In the tradition of Persian poetry and Sufi philosophy, each poem corresponds to two interpretations, sensual and mystic.
This outstanding translation of Hafiz's poetry was created by historian and Arabic scholar Gertrude Bell, who observed, "These are the utterances of a great poet, the imaginative interpreter of the heart of man; they are not of one age, or of another, but for all time."
This compact version of the Divan of Hafez is a facsimile illuminated manuscript, complete with beautiful Persian calligraphy and miniature illustrations. There are 43 ghazals, translated into English by classical scholar Gertrude Bell. It is a truly beautiful introduction not only to the works of this beloved Sufi mystic, but also to the artistry of Mahmoud Farshchian. It is like getting two books in one: poetry and art.
"Hafiz has no peer." — Goethe
Poetry is the greatest literary form of ancient Persia and modern Iran, and the fourteenth-century poet known as Hafiz is its preeminent master. Little is known about the poet's life, and there are more legends than facts relating to the particulars of his existence. This mythic quality is entirely appropriate for the man known as "The Interpreter of Mysteries" and "The Tongue of the Hidden," whose verse is regarded as oracular by those seeking guidance and attempting to realize wishes.
A mere fraction of what is presumed to have been an extensive body of work survives. This collection is derived from Hafiz's Divan (collected poems), a classic of Sufism. The short poems, called ghazals, are sonnet-like arrangements of varied numbers of couplets. In the tradition of Persian poetry and Sufi philosophy, each poem corresponds to two interpretations, sensual and mystic.
This outstanding translation of Hafiz's poetry was created by historian and Arabic scholar Gertrude Bell, who observed, "These are the utterances of a great poet, the imaginative interpreter of the heart of man; they are not of one age, or of another, but for all time."
566 pages, Hardcover
First published January 1, 1390
About the author
Hafez
365 books780 followersHāfez (حافظ) (Khwāja Shams-ud-Dīn Muḥammad Ḥāfeẓ-e Shīrāzī) was a Persian poet whose collected works (The Divan) are regarded as a pinnacle of Persian literature and are to be found in the homes of most people in Iran, who learn his poems by heart and still use them as proverbs and sayings.
His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author
Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Persian speakers can be found in "Hafez readings" (fāl-e hāfez, Persian: فال حافظ) and the frequent use of his poems in Persian traditional music, visual art, and Persian calligraphy. His tomb is visited often. Adaptations, imitations and translations of his poems exist in all major languages.
Though Hafez is well known for his poetry, he is less commonly recognized for his intellectual and political contributions. A defining feature of Hafez' poetry is its ironic tone and the theme of hypocrisy, widely believed to be a critique of the religious and ruling establishments of the time. Persian satire developed during the 14th century, within the courts of the Mongol Period. In this period, Hafez and other notable early satirists, such as Ubayd Zakani, produced a body of work that has since become a template for the use of satire as a political device. Many of his critiques are believed to be targeted at the rule of Amir Mobarez Al-Din Mohammad, specifically, towards the disintegration of important public and private institutions. He was a Sufi Muslim.
His work, particularly his imaginative references to monasteries, convents, Shahneh, and muhtasib, ignored the religious taboos of his period, and he found humor in some of his society's religious doctrines. Employing humor polemically has since become a common practice in Iranian public discourse and persian satire is now perhaps the de facto language of Iranian social commentary.
شمس الدین محمد، حافظ شیرازی، ملقب به حافظ و لسان الغیب
مشهورترین و محبوبترین شاعر تاریخ زبان فارسی و ادبیات ایران
حوالی سال ۷۲۶ هجری قمری در شیراز متولد شد. علوم و فنون را در محفل درس برترین استادان زمان فراگرفت و در علوم ادبی عصر پایهای رفیع یافت. خاصه در علوم فقهی و الهی تأمل بسیار کرد و قرآن را با چهارده روایت مختلف از برداشت. پژوهشگران احتمال میدهند همین دلیل باعث شده لقب او حافظ شود. حافظ مسلمان و شیعه مذهب بود و در وادی سلوک و طریقت، عرفان خاص خود را داشت. دیوان اشعار او شامل غزلیات، چند قصیده، چند مثنوی، قطعات و رباعیات است. اما در شعر آنچه بیش از همه او را دست نیافتنی کرده است غزلهای حافظ است. حافظ در سال ۷۹۲ هجری قمری در شیراز درگذشت. آرامگاه او در حافظیهٔ شیراز زیارتگاه صاحبنظران و عاشقان شعر و ادب پارسی است. او همواره و
همچنان برای ادبیات پس از خود الهامبخش و تاثیرگذار بوده است
شعرِ حافظ در زمان آدم اندر باغ خُلد
دفترِ نسرین و گُل را زینتِ اوراق بود
His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author
Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Persian speakers can be found in "Hafez readings" (fāl-e hāfez, Persian: فال حافظ) and the frequent use of his poems in Persian traditional music, visual art, and Persian calligraphy. His tomb is visited often. Adaptations, imitations and translations of his poems exist in all major languages.
Though Hafez is well known for his poetry, he is less commonly recognized for his intellectual and political contributions. A defining feature of Hafez' poetry is its ironic tone and the theme of hypocrisy, widely believed to be a critique of the religious and ruling establishments of the time. Persian satire developed during the 14th century, within the courts of the Mongol Period. In this period, Hafez and other notable early satirists, such as Ubayd Zakani, produced a body of work that has since become a template for the use of satire as a political device. Many of his critiques are believed to be targeted at the rule of Amir Mobarez Al-Din Mohammad, specifically, towards the disintegration of important public and private institutions. He was a Sufi Muslim.
His work, particularly his imaginative references to monasteries, convents, Shahneh, and muhtasib, ignored the religious taboos of his period, and he found humor in some of his society's religious doctrines. Employing humor polemically has since become a common practice in Iranian public discourse and persian satire is now perhaps the de facto language of Iranian social commentary.
شمس الدین محمد، حافظ شیرازی، ملقب به حافظ و لسان الغیب
مشهورترین و محبوبترین شاعر تاریخ زبان فارسی و ادبیات ایران
حوالی سال ۷۲۶ هجری قمری در شیراز متولد شد. علوم و فنون را در محفل درس برترین استادان زمان فراگرفت و در علوم ادبی عصر پایهای رفیع یافت. خاصه در علوم فقهی و الهی تأمل بسیار کرد و قرآن را با چهارده روایت مختلف از برداشت. پژوهشگران احتمال میدهند همین دلیل باعث شده لقب او حافظ شود. حافظ مسلمان و شیعه مذهب بود و در وادی سلوک و طریقت، عرفان خاص خود را داشت. دیوان اشعار او شامل غزلیات، چند قصیده، چند مثنوی، قطعات و رباعیات است. اما در شعر آنچه بیش از همه او را دست نیافتنی کرده است غزلهای حافظ است. حافظ در سال ۷۹۲ هجری قمری در شیراز درگذشت. آرامگاه او در حافظیهٔ شیراز زیارتگاه صاحبنظران و عاشقان شعر و ادب پارسی است. او همواره و
همچنان برای ادبیات پس از خود الهامبخش و تاثیرگذار بوده است
شعرِ حافظ در زمان آدم اندر باغ خُلد
دفترِ نسرین و گُل را زینتِ اوراق بود
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Displaying 1 of 1 review
June 3, 2018
https://leiturasdelaura.blogspot.com/...
Esse é um poeta e místico persa, do século XIV. É um dos poetas muçulmanos mais famosos depois de Rumi (pelo menos no Ocidente Rumi é mais comentado), e ele estava há anos na minha lista de leituras. Infelizmente não existem muitas opções de traduções dele disponíveis (ou fáceis de achar).
Essa tradução em específico foi feita pela inglesa Gertrude Bell, uma mulher corajosa que trabalhava na Arábia para a coroa inglesa no final do século XIX e início do século XX. Quase uma versão feminina do Lawrence da Arábia. E nesse volume também tem disponível uma introdução até bastante longa e completa sobre a história do poeta, além de diversas notas explicativas de alguns poemas (apesar das notas não estarem numeradas nos poemas em si, o que me fez descobrir que elas existiam apenas no final da leitura, uma pena).
A maior parte das poesias de Hafiz tratam do êxtase, tanto amoroso quanto do vinho, que são temas comuns em algumas linhas de místicos sufis, e pessoalmente eu gosto muito desse tipo de obra. Portanto, tinha tudo para ter amado de paixão a obra de Hafiz.
O problema, desconfio, está na tradução da Gertrude. Não especificamente por achar que ela traduziu mal o conteúdo, de jeito nenhum, a mulher era uma intelectual que falava fluentemente o árabe. Mas veja bem, ela era vitoriana, o que provavelmente a levava a ter um posicionamento um tanto quanto conservador, e a escolha dela na forma da tradução me leva a crer que isso passou para a tradução também. Afinal, eu tenho certeza que Hafiz não escrevia algo que lembra Shakespeare. É, a tradução da inglesa lembra Shakespeare.
O que eu mais queria era uma versão bilíngue do Hafiz, para poder dar uma checada na tradução, mas nunca achei uma. A falta de traduções de textos clássicos do oriente médio sempre me surpreende. Não é a toa que temos tanto preconceito. Não entendemos nada deles, afinal não temos contato nenhum com a sua cultura.
Independentemente do fator shakesperiano da tradução, a obra de Hafiz é muito bonita e eu gostei muito de diversos poemas apresentados nesse livro (que é só uma porção do que sobreviveu da obra do poeta). Já estou procurando outros volumes (e traduções!).
Esse é um poeta e místico persa, do século XIV. É um dos poetas muçulmanos mais famosos depois de Rumi (pelo menos no Ocidente Rumi é mais comentado), e ele estava há anos na minha lista de leituras. Infelizmente não existem muitas opções de traduções dele disponíveis (ou fáceis de achar).
Essa tradução em específico foi feita pela inglesa Gertrude Bell, uma mulher corajosa que trabalhava na Arábia para a coroa inglesa no final do século XIX e início do século XX. Quase uma versão feminina do Lawrence da Arábia. E nesse volume também tem disponível uma introdução até bastante longa e completa sobre a história do poeta, além de diversas notas explicativas de alguns poemas (apesar das notas não estarem numeradas nos poemas em si, o que me fez descobrir que elas existiam apenas no final da leitura, uma pena).
A maior parte das poesias de Hafiz tratam do êxtase, tanto amoroso quanto do vinho, que são temas comuns em algumas linhas de místicos sufis, e pessoalmente eu gosto muito desse tipo de obra. Portanto, tinha tudo para ter amado de paixão a obra de Hafiz.
O problema, desconfio, está na tradução da Gertrude. Não especificamente por achar que ela traduziu mal o conteúdo, de jeito nenhum, a mulher era uma intelectual que falava fluentemente o árabe. Mas veja bem, ela era vitoriana, o que provavelmente a levava a ter um posicionamento um tanto quanto conservador, e a escolha dela na forma da tradução me leva a crer que isso passou para a tradução também. Afinal, eu tenho certeza que Hafiz não escrevia algo que lembra Shakespeare. É, a tradução da inglesa lembra Shakespeare.
O que eu mais queria era uma versão bilíngue do Hafiz, para poder dar uma checada na tradução, mas nunca achei uma. A falta de traduções de textos clássicos do oriente médio sempre me surpreende. Não é a toa que temos tanto preconceito. Não entendemos nada deles, afinal não temos contato nenhum com a sua cultura.
Independentemente do fator shakesperiano da tradução, a obra de Hafiz é muito bonita e eu gostei muito de diversos poemas apresentados nesse livro (que é só uma porção do que sobreviveu da obra do poeta). Já estou procurando outros volumes (e traduções!).
Displaying 1 of 1 review