page_title: Hafez
section_title: Interpretation
hierarchical_section_title: Hafez / Interpretation
caption_attribution_description: English: Hafez statute, Tehran, Iran
context_page_description: Khwāja Shams-ud-Dīn Muḥammad Ḥāfeẓ-e Shīrāzī, known by his pen name Hafez and as "Hafiz", was a Persian poet who "lauded the joys of love and wine but also targeted religious hypocrisy". His collected works are regarded by many Iranians as a pinnacle of Persian literature and are often found in the homes of people in the Persian-speaking world, who learn his poems by heart and still use them as proverbs and sayings. His life and poems have become the subjects of much analysis, commentary and interpretation, influencing post-14th century Persian writing more than any other author.
  Hafez is best known for his poems that can be described as "antinomian" and with the medieval use of the term "theosophical"; the term "theosophy" in the 13th and 14th centuries was used to indicate mystical work by "authors only inspired by the holy books". Hafez primarily wrote in the literary genre of lyric poetry or ghazals, that is the ideal style for expressing the ecstasy of divine inspiration in the mystical form of love poems. He was a Sufi.
  Themes of his ghazals include the beloved, faith and exposing hypocrisy.
context_section_description: The question of whether his work is to be interpreted literally, mystically, or both has been a source of contention among western scholars. On the one hand, some of his early readers such as William Jones saw in him a conventional lyricist similar to European love poets such as Petrarch. Others scholars such as Henry Wilberforce Clarke saw him as purely a poet of didactic, ecstatic mysticism in the manner of Rumi, a view that a minority of twentieth century critics and literary historians have come to challenge. Ralph Waldo Emerson rejected the Sufistic view of wine in Hafez's poems.
  This confusion stems from the fact that, early in Persian literary history, the poetic vocabulary was usurped by mystics, who believed that the ineffable could be better approached in poetry than in prose. In composing poems of mystic content, they imbued every word and image with mystical undertones, causing mysticism and lyricism to converge into a single tradition. As a result, no fourteenth-century Persian poet could write a lyrical poem without having a flavor of mysticism forced on it by the poetic vocabulary itself. While some poets, such as Ubayd Zakani, attempted to distance themselves from this fused mystical-lyrical tradition by writing satires, Hafez embraced the fusion and thrived on it. Wheeler Thackston has said of this that Hafez "sang a rare blend of human and mystic love so balanced... that it is impossible to separate one from the other". 
  For reason such as that, the history of the translation of Hāfez is fraught with complications, and few translations into western languages have been wholly successful.
  One of the figurative gestures for which he is most famous (and which is among the most difficult to translate) is īhām or artful punning. Thus, a word such as gowhar, which could mean both "essence, truth" and "pearl," would take on both meanings at once as in a phrase such as "a pearl/essential truth outside the shell of superficial existence".
  Hafez often took advantage of the aforementioned lack of distinction between lyrical, mystical, and panegyric writing by using highly intellectualized, elaborate metaphors and images to suggest multiple possible meanings. For example, a couplet from one of Hafez's poems reads:
  Last night, from the cypress branch, the nightingale sang,
  
  In Old Persian tones, the lesson of spiritual stations.
  The cypress tree is a symbol both of the beloved and of a regal presence; the nightingale and birdsong evoke the traditional setting for human love. The "lessons of spiritual stations" suggest, obviously, a mystical undertone as well (though the word for "spiritual" could also be translated as "intrinsically meaningful"). Therefore, the words could signify at once a prince addressing his devoted followers, a lover courting a beloved, and the reception of spiritual wisdom.
caption: Hafez's statue in a street with his name in Tehran
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