Hafez and the Cultural Identity of Iran مقاله

خلاصه ماشینی:

This meaning is confirmed when Hafez immediately, in another ghazal with the same theme and rhyme (note the beginning of both ghazals 359 and 360), speaks of the concept and desire of a departure: "I shall be joyful on that day when I depart from this ruined abode," and in the next ghazal, he says: "If from this ruined abode I go towards home"> آشنایان ره عشق گرم خون بخورند ناکسم گر به شکایت سوی بیگانه روم (Ibid: 248) In this way, we see that in Hafez's mind, foreigners are set against the acquaintances of the path of love, speakers of Persian against speakers of other languages, and Tazis against the Parsas (Persians); and since he knows well that the Tazis are not concerned with the plight of the heavy-laden and the distressed, it is natural that he would not, despite all possible hardships, turn towards a stranger away from the companionship of the acquaintances of the path of love. Hafez has also been able to create a very subtle and poetic fusion of monotheistic and Quranic content within an Iranian vessel, and it is from here that in the Divan of Hafez, the "pir-e maghan" (elder of the Magians) appears with the character and demeanor of an Islamic cleric and scholar, and "Jam-e Jam" or "Jam Jamshid" with the power of unveiling and being a knower of the unseen, with a heart familiar with the essence of Truth, takes the place of the mystic's heart.