What Has Hafez Done for Iran, and What Have We Done for Hafez?

Yaqub Salahi, a media activist, wrote in a note: Hafez Shirazi is one of those names that have not only been erased from the historical memory of Iranians over the centuries, but are still one of the most important voices of Iranian culture and literature in the world. A poet whose words have crossed the boundaries of time and geography and become the common language of people from different cultures and lands. But on the day of commemoration of Hafez, the question still remains that what have we done to protect this precious heritage and to what extent have we been able to introduce his true position to today's generation and the world?

Iran's history and culture have been made by people whose works and ideas have continued to live beyond their individual lives. The elders of science, literature, art and thought are assets whose service value not only decreases with the passage of time, but also acquires new dimensions in many cases. Among these figures, poets have a special place; With their language, imagination and thought, they have shaped the feelings of a nation, entrusted human experiences to the collective memory and made a part of the cultural identity of the society.

Hafez is one of the most prominent examples of this lasting heritage. He lived in Shiraz centuries ago, but his poetry did not remain within the time and geography of his life. His sonnets talk about love, randy, freedom of thought, criticism of hypocrisy and the complexities of the human soul; Concepts that still have meaning for today's audience. Hafez is not the only poet belonging to the past; He is a part of the living dialogue of Iranian society with history, ethics, beauty and the world around him.

How has Hafez introduced Iran to the world?

For many literature lovers in the world, Hafez's name is a window to understanding the Persian language and Iranian culture. The translation of his poems, literary researches about his works and the attention of thinkers and writers of other countries to his intellectual world show that Persian literature has the capacity to find an audience beyond the political and geographical borders.

Hafez, along with Ferdowsi, Saadi, Molana and other Persian literary figures, is one of the figures who linked the name of Iran with poetry, thought and aesthetics. The importance of this connection is not limited only to the fame of a poet; Every time an audience in a corner of the world gets acquainted with Hafez's ghazal, an opportunity is provided to know the Persian language, the literary history of Iran, and a part of the cultural experience of the people who created these works.

Hafez is also a clear example of Iranian culture's ability to cross historical borders. His poetry has been read, described and interpreted over the centuries and has been present in different situations of Iranian life. Divan Hafez has found a place beyond a literary book in the homes of many Iranians, and Hafez's horoscope on Yalda night and family occasions has become a cultural tradition. It is rare to find a poet who is present in specialized circles of literature and who is a companion of people in the simple and intimate moments of their lives.

This position is not the result of a fleeting event or the product of the propaganda of a certain era; Over the centuries, Hafez has become one of the pillars of Iran's cultural identity with the power of his language and depth of thought. A legacy that has such longevity naturally requires attention beyond calendar commemorations.

When we have a lasting heritage, why do we fail to introduce it?

The main question here is what is our responsibility towards such capital? Is it enough to hold a commemoration ceremony, publish a few special articles, and recite a few sonnets to maintain Hafez's position? Have we been able to introduce the capabilities of Persian literature to Iranian and foreign audiences in accordance with today's vast media and communication facilities?

The fact is that there is still a significant gap between the greatness of Iran's literary heritage and the ways of introducing it in today's world. This distance does not necessarily mean the absence of valuable activities; Researchers, university professors, translators, publishers, cultural institutions and literary activists have made important efforts inside and outside the country. However, the question is to what extent these efforts have turned into a coherent, continuous and audience-oriented program for the global introduction of Iranian culture.

Today the world is changing at an unprecedented speed. Social networks, video platforms, e-books, podcasts and new communication tools have made it possible to introduce literary works to audiences who may never have access to a library with Persian resources. In such circumstances, is it not possible to introduce Hafez's sonnets to a new generation of audiences with accurate and artistic translations, attractive visual narratives, short documentaries, audio programs, and multilingual content?

It is not just a matter of publishing the text of the poem or providing a translation of it. For the non-Iranian audience, Hafez needs a historical and cultural background in addition to the beauty of the poem; It should be known what place the words and symbols of his poetry have in the literary tradition of Iran, why the criticism of hypocrisy is prominent in his works, and how he was able to express individual experiences in a language that can be understood beyond borders. The correct introduction of a great poet requires a link between specialized knowledge, artistic narrative and knowing the audience.

On the other hand, we should not forget that the global introduction of Iranian literature is not a one-time thing. If Hafez and other masters of Persian literature are to be known more in the world, there should be a plan for professional translation of works, support for publishers and translators, production of standard content, participation in international book and literature events, and continuous communication with universities and research centers. In this direction, the cooperation of cultural institutions, media, academic centers and the private sector can lead to a more lasting result than scattered and short-term activities.

From Hafez to Ferdowsi; The capacity of literary scholars to develop literary tourism

The capacity of Hafez and other prominent figures of Iranian literature is not limited to the field of culture and introduction of national identity; These characters can become one of the axes of cultural and literary tourism development in the country. The lives, works and heritage of prominent historical and literary figures, if properly planned, have the ability to become targeted tourism routes; The paths that connect tourists from the book and narrative to the places, buildings, cities and geography of the formation of a literary work.

In Iran, Hafez can be the starting point for the design and development of such routes; The path that starts from his tomb in Shiraz and continues with the introduction of other historical, cultural and literary manifestations of this city. Shiraz is not the only city of Hafez; With its Saadi, historical gardens, valuable buildings, literary traditions and architectural heritage, this city has the capacity to form a comprehensive literary and cultural tourism route; A path that can introduce tourists to the link between poetry, history, architecture and social life.

This capacity is not limited to Hafez and Shiraz. Ferdowsi and Tus, Khayyam and Neishabour and other famous figures of Persian literature, each of them can be the basis for the design of literary and cultural tourism routes in different regions of the country. Considering the geographical distribution of these characters and their related works, a network of tourist destinations can be designed that connects different cities and provinces in the form of literary and historical narratives.

Such routes can include famous houses, tombs, museums, historical libraries, valuable monuments, cultural sites and literary events. For example, tourists who travel to Shiraz with the aim of getting to know Hafez, can also visit other cultural attractions of the city with a targeted program and have an experience beyond being in a historical place. The same model can be implemented in other cities as well and it can help in a more balanced distribution of tourism benefits in different regions of the country.

Of course, the formation of such a capacity is not limited to naming a few routes or introducing a few tombs. Designing literary tourism routes requires historical research, compilation of authentic narratives, training of expert guides, production of multilingual content, creation of suitable infrastructure and cooperation between cultural heritage and tourism institutions, municipalities, universities, research centers and private sector activists.

Organizing literary events, specialized meetings, poetry nights, narrative-oriented tours and cultural programs can also make these routes go beyond the usual visits. In this model, the tourist does not only visit a tomb or a historical monument, but also gets to know the intellectual world of a poet, the historical context of the formation of his works, and the connection between literature and people's lives.

In addition to strengthening domestic tourism, this approach can also be effective in attracting foreign tourists interested in Iranian literature, history and culture. Familiarity with Hafez, Ferdowsi, Saadi and other great poets can create an incentive to travel to cities related to their lives and works; Especially if this capacity is accompanied by professional introduction in foreign tourism markets.

From this point of view, Persian literature is not only a heritage for reading and research; It is considered a capacity for cultural, economic and tourism development. Iran's great literary figures can help to make cities known, strengthen local identity, promote cultural businesses, and increase the longevity of tourists. The question is why, despite the existence of such capital, we still haven't used all its capacities to design literary tourism products and introduce Iran?

The elders of culture should not be remembered only on occasions

One of the common harms in dealing with cultural assets is limiting public and official attention to calendar occasions. In such a situation, the names of the elders of culture are heard more on certain days, but after the ceremony ends, it goes to the sidelines again. At the same time, cultural heritage needs a daily connection with people's lives to survive.

Hafez should not be remembered only on his commemoration day; Just as Ferdowsi, Saadi, Molana and other great figures of Iranian literature should not become mere names in the country's cultural calendar. The works of these elders should have an effective presence in the educational system, media productions, cultural programs, book reading activities and the communication of the young generation with the Persian language.

Of course, preserving literary heritage does not mean simply repeating the past. Today's generation should be able to go to these works with their own language and questions. If Hafez is still read, part of the reason is the capacity of his poetry to communicate human concerns in different eras. Therefore, his introduction to the new generation should go through the path of understanding and dialogue, not just memorizing verses or holding formal ceremonies.

In the meantime, the media has an important responsibility. The media can go beyond cultural occasions and bring the audience to a deeper understanding by producing analytical reports, talking to researchers, introducing authentic versions of Hafez's Diwan, examining various translations and narrating the history of his life and thought. The virtual space has made it possible for such content to be available in various formats and in different languages. What is important is the quality of the content, scientific accuracy and continuity in its production and publication.

Also, the link between cultural activities and tourism can provide a basis for a stronger presence of this heritage in social life. If the commemoration day of Hafez is accompanied by continuous programs of introducing literature, designing tourism experiences, producing creative content and local community participation, its effects can go beyond the scope of one day and continue throughout the year.

The protection of Hafez is the protection of a part of the Iranian identity

What has Hafez done for Iran? With his poetry, he has shaped a part of the historical and emotional memory of Iranians, given a lasting effect to the Persian language, and created a legacy that still has the capacity to speak to people today. He is among the figures who introduced Iranian culture to the world in a different way than politics and power; Through language, thought, beauty and common human experience.

In contrast, what have we done? Undoubtedly, many valuable efforts have been made to preserve, correct, interpret and introduce Hafez's works, and these efforts cannot be ignored. But the critical question still remains: have we invested as much as the capacity of this heritage to introduce it? Have we used media facilities and new technologies in a purposeful way? Have we had a continuous and evaluable plan to translate and publish Iranian literary works in the world? Have we been able to introduce Hafez to the new generation and global audiences as he deserves his position? And have we turned the capacity of his name and works into an opportunity for the development of cultural and literary tourism?

These questions are not to deny the efforts made; It originates from the fact that a heritage with such value and prestige has more capacity to introduce and influence. In order to introduce itself to the world, Iranian culture does not only need to introduce historical monuments, ancient sites and tourist attractions; Literature and art are also one of the most important ways of knowing Iran. Maybe a Hafez ghazal can make an audience interested in reading Persian, learning about Iran's history or traveling to Shiraz.

This link between literature and travel can create a new opportunity to redefine the country's tourism products. When a poet still has an audience after centuries, this interest can be used to introduce the cities, historical heritage, native arts and cultural experiences of Iran; Of course, provided that this work is done with research, planning and respecting the authenticity of the heritage.

Hafez Commemoration Day is an opportunity to go beyond repeated praises and think about our responsibility today towards the legacy that has been entrusted to us. Hafez's value is not only that he wrote lasting poems centuries ago; His value lies in the fact that his poetry is still alive and can still introduce Iran to the world.

Hafez has done his work in the history of Iranian culture; Now it is our turn to do our part. His real preservation is not only in naming a day, holding a ceremony or reciting a few verses, but in a deeper understanding of his works, connecting the new generation with poetry.

It makes sense to introduce this cultural capital to the world and responsibly use its capacity for the development of literary tourism.

Perhaps on the day of commemorating Hafez, instead of just talking about his greatness, it is better to ask ourselves what we have done to perpetuate and recognize this greatness; A question whose answer can be a measure to measure our relationship with Iran's cultural heritage.