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Reflection of Hafez's Thoughts in Hindi Style
Soheila Loveimi
Department of Persian language and literature, Ahvaz Branch, Islamic Azad University, Ahvaz,
Iran
Postal Code: 61349-37333. Tel: 0098-61-33348420
[email protected]
Abstract
Although Hindi poets (early 10th century to mid-12th century) composed innovative poetry; they
were strongly affected by the language and rhetoric of the precedent poets, and appealed to their
great works including sonnets and odes. This study investigates reflection of the Hafez's thoughts
in Hindi style, it is based on the components of Hindi style, and common viewpoints that show a
variety of the poets imitate the Hafez's Hindi style. The components of all styles show the poetic
features of the poets, apart from the individual elements of these poems. This study aims to
investigate the verbal communions, idioms, and satire in Hafez's poetry including keywords of
Hafez's Divān, irony, allusions and Hafez's attitude towards the pious in his era that are
observed in the poems and the views of many poets with Hindi style including Babafghani
Shirazi, Ghani Keshmiri, Ahli Shirazi, Bidel and Saeb Tabrizi.
Keywords: Hafez, Hindi Style, Components, Poetic Words, Verbal Communions.
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Introduction
Any literary creation results from social consciousness and life characteristics of the people as
the real examples. Therefore, most of the poets appeal to the feelings and desires of their
contemporary people. Every poetic work frequently reflects the views of the social class where
poet lives or reflects the influence of various classes. Therefore, literature is interwoven with the
social life of the poet and the effects of the social life may be observed in his or her literary
works.
Literary movement in late the 9th century and early 10th century called occurrence school was
initially stuck in the repetition and banality and this necessitated innovations. Subsidiary method
in occurrence school called Reburning (or Vasukht). Reburning in Persian-speaking Indians'
dialect meant protest. In Reburning poetry, lover protests against the beloved, does not bear her
airs, and chooses another mistress in spite of sonnet conventions:
“No lover spoke a harsh word to the beloved.” (Hafiz translated by Homayoun Far, 2001).
“Swearing by you is not honor; swearing by your foot dust is the great, too” (Saadi)
Vasukht is a kind of poetry wad originally composed by Vahshi Bafghi (Shamisa, 1995). With
the advent of the Safavid dynasty, spread of the Shiism and promoting the religious Shia beliefs,
Safavid rulers did not pay attention to the panegyrics. Therefore, poets did not compose the odes
and lyrics. These rulers also did not pay attention to the romantic poems and the terrestrial
poems. Moreover, these poems seem to be in conflict with the conventional mystical teachings.
Therefore, poets regarded the minor issues, advices, describing the natural affairs and changing
the old themes with new one and, restructuring the advices and old parables in new language
(Shamisa, 1995). Therefore, two literary incidents occurred, first, emigrating the court poets to
the Indian kings that welcomed the panegyric poems of the Iranian poets and second, not limiting
the poetry to the court, thereby, spreading the poetry to include the social realities of the common
people life; people who may become great poets, if the proper conditions was provided.
Therefore, poetry was not exclusive anymore and the applied scope of the terminologies was
developed so that the people with different job could compose the poems based on their internal
status, so that some poets in the period were butchers, blacksmith and so on. Poets were now
seen in teahouses and caravanserais rather than the courts. This study also proposes that if any
poetic style is based on the life conditions of the poets, then Hindi style should be based on the
Isfahani style or affected by the poets’ emigration from Iran to India and is called Ghorbat style
that needs to be verified by the great literary theorists.
This paper aims to investigate the reflection of Hafiz' thoughts in Hindi style. To this end, at first
two prominent figures of Hindi style namely Babafghani Shirazi and Saeb and then Bidel
Dehlavī, Taleb Amoli, Kalim Kashani and Ghani Kashmiri are taken into consideration.
Babafghani by creating new technique in poetry showed the first strong reaction against Iraqi
style and connected two important literary style including Iraqi style and Hindi style.
Saeb is one of the outstanding figures of the Hindi style. After Hafiz, he also follows his
independent and distinct style and uses the language and style of its own time. It is impossible to
replace his language – that was the language of Iran, India, and Ottoman and affected the tastes
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of the people in these countries - by another one. In other words, Saeb is the most prominent
agent of the virtues of some poets including Naziri, Taleb Amoli, and Kalim. Therefore, he may
be called as the leader of the Isfahani or Hindi style. This style is frequently termed as the new
style of the Saeb and the poets, who used this style, have been called as the follower of the Saeb's
style (Shamisa, 1995).
Hindi poetic diction
Any style is composed of the criteria by which some poets’ characteristics may be extracted.
Moreover, other individual elements may be found in their poems. Frequent use of these
elements determines the features of the poets’ style. One of the elements of poetic language is
poetic diction that is mainly selected by the poets and it shows the poets’ style.
Hindi style is influenced by social conditions of its own diction, for example, poetic diction of
the Babafaghani's Divan shows the sadness, pain, hesitation, cries of separation, hard time, and
failures resulting from love. This kind of pain is not the same as the common people experience
during their life:
“Faghani's pain may not be written, therefore, do not carry water in a sieve!” (1423, Babafaghani
Divan)
Alternatively, says:
“It’s a long time that we have lost our passion and forgotten happiness” (4850, Babafaghani
Hindi poets who emerged in 10th century, although used innovations in their poems, but they
were strongly affected by their precedent poets notably in composing the sonnets and odes.
Hindi language and style in composing sonnets are more influenced by Hafiz's expression.
Although is not as eloquent and fluent as Hafiz's poetry, this style uses his diction and in some
cases, including sonnets by Babafaghani Shirazi and Saeb, this is more evident, so that some
scholars call Babafaghani as Small Hafiz.
Keywords of Hafez Divan
Verbal communions, idioms, and satires in Hafiz's language gives particular beauty to his poetry,
Poets of the Hindi style have tried to follow Hafiz using this kind of idioms:
Apple chin / Dimple
“Look not at the apple of the chin; for in the path is a pit:
O heart! where goest thou? With this haste, where?” (sonnet 2, Hafiz, Homayoun Far, 2001).
“Gardener has not opened the door of your garden; Saba has not smelled you apple of chin”
(sonnet 496, Saeb)
“I am afraid that the bad luck gets me out thirsty of the dimple” (Sonnet No. 2387 Saeb)
“My heart became crazy with your dimple; Yousef fell in the well and was captured” (Verse
no.1013, Ahli Shirazi, Divan)
“Last night, I drank the water of life and I wished the beauty of your dimple” (verse 1638,
Babafaghani Divan)
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King of virtue
Hafiz has expresses the peak of beauty and perfection of the beloved by combining the king of
virtues.
“You are at the height of opulence to the resurrection, O' King of virtue or and I wish your
eternity” (Sonnet 407 Hafez)
“King of virtue became king of time since his shadows” is one of the great shadows”
(verse12046 Ahli Shirazi)
“King of virtue was spending a good time with his beggar” (3186 bits Court Babafaghani)
Pir of the tavern
This word is used a lot in mystical literature and has various meanings: Pir of monastery, Pir of
pubs, Pir of the Magians, the aged Pir, and Pir of the tavern. Pir sometimes means the master and
sometimes means profligate of the tavern and sometimes wisdom (Sajjadi, 2004).
“Save me O' Pir of the tavern, make me young because I am old” (Sonnet 331 Hafez)
“Although I was old in monasteries, the old tavern's breathe made me young” (Sonnet 3502,
Saeb)
“You do not know our profligate, the dregs of wine drinking, only Pir of the tavern knows that he
is the leader” “verse 1998, Ahli Shirazi”
“Sufi you have come to the tavern to the Kaaba, welcome, that is your favor” (verse 4981,
Babafaghani)
Cloak
it is a kind of dress for the Sufis.
“My heart wearied of the cloister, and of the patched garment of hypocrisy:
The Magians’ cloister; where? The pure wine where? (Sonnet 2, Hafiz, translated by Homayoun
Far”
“Cloak of hypocrisy is swollen with vanity; it is beautiful to worship God in Diba dress”
(Sonnet 29, Saeb)
“Insomuch that I scratch my chest with the nail. the cloak, chest and heart are torn” (verse 948 ,
Ahli Shirazi)
“Love wanted to disgrace this wet cloak, it touched me but was in your burning fire” (verse1651,
Babafaghani)
Rogue
Rogue may be the most difficult word in Hafez Divan. It is the most important and integrated
word (and Hafiz tries to make it clear and proves it). Rogue in Hafez poetry refers to a kind of
personality seemingly contradictory but inwardly balanced; Rogues think of prosperity. Of
course, there are materialist rogues, too. However, rogue in Hafiz poetry mainly refers to a
religious person (Khoramshahi, 1987).
Faghani also complying with Hafiz and in protest to blaming and reproaching the rogues says
that:
I am lover, rogue, and spectator, and I say these frankly, to show that I am adorned with several
arts” “sonnet 311, Hafiz”
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“Wisdom roguishly left the feat, poor wisdom could not resist the fire” “sonnet 6, Saeb”
“If the blade beheads me, I do not protest against the love, because I am lover, rogue and
unaware.
“Verse, 933, Ahli Shirazi”
“We are rogue and worship our mistress; we are not condemned because we are crazy and
drunken” (verse 4154, Babafaghani)
“we cannot to determine to be pious or rogue; sometimes there is wine and sometimes there is
rosewater” “Kashani”
Woolen cloak
Hafez criticizes his cloak in order to criticize those with woolen cloak with no honesty (Shamisa,
1995). Faghani uses the burning the cloaks and fire as the rogue signs.
“Hypocrisy fire will burn the religion, O' Hafiz, throw away your woolen cloak’ “sonnet 407,
Hafiz”
“Previously, the fishermen houses were made with thorns; however, this time, woolen cloak and
felt hat are used instead’ “sonnet 1444, Saeb”
“If the dignity is the grace of God, our woolen cloak is also Diba used by the kings”
(Sonnet 1614, Ahli Shirazi”
“I was lost my dress mercilessly; therefore, all threads of my woolen cloak changed into a
needle”
“Verse 2702, Babafaghani”
Zahed
Zahed in Hafiz's poetry is a hypocratic person – not a pious one – and Hafiz criticizes him; Hindi
style poets also, affected by the social conditions of their time, blame hypocrite Zaheds in their
poems.
“O' elegantly walking partridge, where do you go? Do not be proud that the zahed cat said
prayer” (Sonnet 133. Hafez)
‘Coast is unaware of boiling sea chest; do not talk with pharisaic Zahed” (Sonnet 95, Saeb)
“Zahed and Sufi cannot catch my heart; My Phoenix is free from the flys' trap” (1312, Ahli
Shirazi)
“Look at the mistake that thousand heart glasses were broken while they consider themselves
pious” (verse 1771, Babafghani)
Solitude of heart
solitude of the heart is not the place of the opposites; Dave when comes out angle comes in”
(Sonnet 233, Hafez)
“No Jam bed no Solomon property is my wish; I wish I could find a way to my Beloved”
(Sonnet 34, Saeb)
“solitude of heart is not the place of others; I swear by God and you that soul cannot be seen”
Do not mind what others are privately rather than to God, that John did not see Janet (verse 1228
, Ahli Shirazi)
dust-heap
“That’s a pity a bird like you to be in the dust-heap; I send you from here to the house of
faithfulness” (Sonnet 90, Hafez)
“Blessed on those who appeal to their hearts not any other bodies in this dust heap”
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(Sonnet 36, Saeb)
“Saqi gives the wine Cup, less people lived with piety in this dust-heap”
Round least one saddle without environmental Khakdan (verse 871, Ahli Shirazi)
“The state of time cannot be seen again; weakness of the body is more than the tolerance of the
heavy cup of wine” Kalim Kashani)
In the old age
“in the old age, I fell in love; and my secret that I hid was revealed” (Sonnet 63, Hafez)
“Do not care yourself in the old age; the crooked wall cannot be vertical” (Sonnet, 1667’ Saeb)
“Look at me that I am like the autumn leaves in the old age due to the sadness for tears on the
fish eyes” (verse 1616, Ahli Shirazi)
“in the old age, my untiday hair on the forehead was due to the love of Shamshad eglantine”
(verse, 3279, Babafaghani )
Allusions in Hindi style
Allusions is frequently used in the Hindi style poetry; however, its allusions are limited and are
similar to Hafiz's allusions in his poetry. Here, allusions related to the mythological, fictional,
historical, and religious men that are used in the sonnets of Hindi poets are mentioned.
Khizr
Some consider Khizr as one of the prophets of Israel and some consider him as one of the
servants of God like Luqman that was knowledgeable. He was called Khizr because one day he
sat on a stone, and when he stood up, a green plant has grown under that stone.
“Khizr, Elias and Alexander go to find darkness and life (literacy, black, darkness). Elias and
Khizr drink from the life fountain (water, living water, the fountain of living waters, Khizr
fountain, survival water, Khizr clear water, pure life, and find eternal life, but when Alexander
wants to drink the water of life, suddenly water fountain suck in a stock called the Musa stone
besides the Majma-al-Bahrayn Yahaghi, 1990).
“If you wish to be with Khizr, far from Alexander's eyes, drink the water of life” (Sonnet 237,
Hafez)
“Tear the friendship thread with these co-passengers, in this way, like Khizr, everywhere you sit,
a green palnt grows up.” (Sonnet 3592, Saeb)
“due to the lack of leadership in this desert, I consider the sand as my Khizr” (5/20, Kalim
Kashani)
“I do not need to Khizr, if this is the confusion; because the blinds rely on their sticks as the
leader” (Quatrains 4, Ghani Kashmiri)
“if Khizr was not the leader of the Musa, He will not be prosperous” (Ahli Shirazi)
“Your tall cedar gives me the life; it seems that Khizr has watered the plant of your height”
Head and tail-to-tail stalk is vital Tvjan tall plants you Khader water in step (verse 1710,
Babafaghani)
Kan’an (Yusuf)
Surah Yusuf verse 17 says: " they said: 'we went racing and left joseph with our things. The wolf
devoured him, but you will not believe us, though we speak the truth. ‘(when father saw them
crying and did not see Yusuf asked them about him) they said “we were in the desert for the race
and we left Yusuf to protect our goods but wolf had eaten Yusuf and though we say the truth you
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will not believe. Yaghub waited in grief for Yusuf and cried in the house of God called House of
Sadness so that he went blind.
“My moon of Kan’an! the throne of Egypt is thine:
The time is that when thou shouldst did farewell to the prison”
(Sonnet 9, Hafiz, Homayoun Far, 2001)
“all people who comes out of their hometown, find the Kan’an moon, O' Saeb” (Sonnet 94,
Saeb)
“Do not be proud of your beauty, O' man, that this beauty has fallen thousands of Egypt Yusuf
into the wells” (Verse 588, Ahli Shirazi)
“The moon that won the virtues of Yusuf, gives thousands of kisses to your amber face” (verse
1345, Babafaghani)
Soleiman
Soleiman had a ring on which the name of Almighty Allah had been craved with four iron
stones, and two bronze, two bronze with the fairies, and ruled the demons using the iron stones.
This was the miracle of King Soleiman and he mastered the world by his ring stone (seal) that
had been brought from heaven and was a gift from the garden of heaven, and according to some
narrations (Quran, 372), the Archangel of "Hebron" and Jerusalem has given him this ring. Until
he had the ring, he ruled the world, devils and obedient humans. Eve, when exiting the heaven
hid in his mouth and pulled out, and it was inherited to Soleiman from Eve. Soleiman’s wife was
called “Jaradeh" who was trustable. One day when Soleiman wanted to perform ablutions, he
gave the ring to his wife in order to respect it. However, a devil called Stone, disguised itself and
got the ring and sat on the throne, and all thought that it is Soleiman. When Soleiman came out
and asked his ring, Soleiman Jaradeh said that he is not Soleiman and he seems to be a devil that
had pretends to be Soleiman. Solomon was disappointed, went into the desert, and beside the sea,
served the fishermen to obtain two fish per day (Yahaghi, 1990) and finally, Soleiman found his
ring in the fish mouth.
Although those sweet of mouth are Sovereigns, yet
He is the Soleiman of the age; for the seal is with Him. (Sonnet 57, Hafiz, translated by
Homayoun Far)
“Try to talk sweet like the ant; if you wish to be in Soleiman court” (sonnet 33, Saeb)
“Do not pass like a strong wind, O' rider; since here there are hundred of Soleiman in the tombs
like the ants” (verse 1067; Ahli Shirazi)
“if God does not do a favor for his prophets, north wind does not obey Soleiman” (verse 639,
Babafaghani)
Sikandar
Sikandar was one of the Macedonian kings and historians also wrote this and some called him
Macedonian Sikandar. Sabzavari (13th century) called Sikandar as Zolgharnein (Dehkhoda,
1993).
“Khizr life and Sikandar property will be diminished; therefore, do not dispute over the transient
world. (Sonnet 290, Hafez)
“ Do not be greed of the Sikandar's property if you wish the water of life like Khizr” (Sonnet 33,
Saeb)
“Be aware that only a robe has been left after the kings like Sikandar (verse 8, Ghani Keshmiri)
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“No one achieved his goal in the darkness, therefore, be poor that Khizr is the mirror of
Sikandar’ (verse 8854 , Ahli Shirazi)
“Be happy with your life and do not seek to find eternal life that this was the Sikandar's fault
too.” (verse 1064, Babafghani)
Hypocrite Zahedan
Hafiz's poetry shows the turbulent circumstances of his life; he shows that austerity-boaster has
been common in Shiraz and has been considered as a way for obtaining the property and dignity.
Hafiz is tired of this hypocrisy and uses a satiric language to criticize them. His various diction
shows the most beautiful characteristics of his style (Dashti, 2002) . Hindi poets have also tried
to imitate Hafiz in their sonnets, too.
That wine-drinker in whom is neither the face, nor hypocrisy,
Is better than an austerity-boaster, in whom is the face of hypocrisy. (sonnet 20, Hafiz, translated
by Homayoun Far)
Where do sell the wine that kills the Sufis, that I am tired of the hypocritical piety (Sonnet 492,
Hafez)
“hypocrite Mir Zahed is not the real lover, do not let the illiterate corrupt rural man goes to the
town” (Sonnet 649, Saeb)
“these austerity-boasters do not know God”(sonnet, 4416, Saeb)
“Zahed's fast is not for the sake of God; it is because he can not to wean his habit.” (Sonnet, 49
Kashani)
“Zahed boasted and he lost his faith; until the glass is broken, Mastan's heart was broken.”
(Sonnet 410, Dehlavī)
“Credit is not enjoyable as cash; Bidel! Drink and roast the Zahed's heart’ (Sonnet 807, Dehlavī)
“I wish everything was clear even the nature of the Zahedan” (verse 1574, Babafghani)
“Zahid was old and unaware of the internal secret; his bending height is the ring of the door”
(Kashmiri)
“Zahid should not call the Kalim and this shows his courtesy; until he washes his mouth” (9/22,
Kashani)
“Finally, Zahid drank the wine; because he is used to drink it”
(6/206, Kashani)
Ironies in Hindi style
Ironies and ambiguities give dignity to the Hafiz’s Divan. Hafiz uses these with his own
meaning. Simce Hafiz expresses his ironies and similes with ambiguity, he may be called as the
Hindi style leader that was promoted in Safavid period, and the most prominent figures include
Saeb, Kalim, Orfi and Taleb Amoli. However, poets who imitated the Hindi style of Hafiz used
an exaggerative style that is different from the integrated style of Hafiz (Dashti, 2012).
The two worlds (irony for this world and the Hereafter)
Not the picture of the two worlds was, when the color of love was:
Not at this time, Love’s foundation, did Time cast.
(Sonnet 16, Hafez, translated by Homayoun Far)
“I will distrube two words for my passion on you; nobody has clapped for this happiness”
(Sonnet 1755, Saeb)
“I see that two words remind me your memories” (Sonnet 147, Dehlavī)
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“Everything that is not found in two words may be found in tavern; therefore do not scoren this
old decaying house” (verse, 1421, Babafghani)
Having the shoe on fire (irony for restlessness)
“I have an idiot in my heart and have the shoe on fire due to her beauty” (Sonnet 326, Hafiz)
“Near house made us to have the shoe on fire, we felt free when we were far.” (Sonnet 2619,
Saeb).
“Near house made us to have the shoe on fire, desire for her shining face” (Babafaghani)
Tavern (irony for this world)
“I was an angel in the heaven, Adam took me to this tavern” (Sonnet 317. Hafez)
“in transient tavern, why do we should make a trap for the flies like he spiders?” (Sonnet 39,
Saeb)
“If His angriness cloud pours rain, tavern will be destroyed by the flood” (verse, 108
Babafghany)
Drinking wine (irony for conducting a futile task)
“If you are with friends and drink wine, remember your wine-drinking friends” (Sonnet 4, Hafiz)
“When the surprise is a reason for wisdom, quick breathing is also like wine driking” (Sonnet
1778, Saeb).
“We are silent in order not to talk about the good and evil, O' Faghani; we have drunken wines
many times” (verse 1472, Babafghani)
Mirror (irony for the heart)
“Learn the art during the days and do not drink wine; because it darken your heart as a mirror
that is rusted” (Sonnet 150, Hafez)
“I wish the stone-hearted one who broke our mirror, see his letter of act” (Sonnet 708, Saeb)
“Forget our evils for the sake of God, and do not withhold your mirror dust from the poor on
your door” (Sonnet 1497, Babafaghani)
Soiled skirt (irony for sin)
“Last night I went to the taver while I was sleepy with a soiled skirt and prayer-carpet” (Sonnet
422, Hafez)
“I seek to find the Matan's tears and I do not know that he himself has a soiled skirt” (sonnet
5527, Saeb)
“How can I hide my spoiled skirt while our cup has been broken in the public?” (Verse 4898,
Babafghani)
“O' Kalim, this is the way of the spoiled skirt people; you should not be Capricious” (Kashani)
Conclusion
Social circumstances and the Safavid kings' treatment changed the Persian poerty and changed
sonnet into a form for expressing the pains of the common people instead of the romantic
feelings. In this time, old slang idioms and proverbs of the Persian literature were used in the
sonnets. Hindi style poets should protect themselves from the kings’ oppression in order to show
the needs and pains of the common people in their sonnets. Therefore, they used narrow themses
and symbolic language that is mostly observed in Saeb’s poetry.
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This study investigated the refelcetion of toughts and language of Hafiz in Hindi style. Although
the Hindi sonnet is not as eloquent anf fluent like the Hafizs poetry, hindi poets used the
keywords, verbal communions, idioms and statires used by Hfiz in his poerty. They also
ciriticized the Sufies and austerity-boaster in thie poetry like Hafiz.
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