Stop Interpreting Hafez's Poetry and Immerse Yourself in Its Beauty and Music!

Instead of stopping to debate whether Hafez's 'wine' means real wine, or whether Hafez believed or denied, let's go through the words of his poetry one by one to see the music. It is painting, architecture and, of course, poetry: the pinnacle of beauty.

Ambassador Arjan; Mehrdad Khadir- "Who is this Qalandar, a blasphemous nickname, who, in the darkest periods of the rule of the ascetic hypocrites, denies a single promise of resurrection, calls God love and the devil wisdom, and goes around throwing hoses and throwing hands that:

This cloak that I have, in pledge of wine, the first wine of the meaningless office, the drowning of pure wine, the first

Children, how long are you an ascetic, a liar? To the orchard apple and the smell of my milk

Or he openly admits to not believing in religious appointments that:

Why should I believe the ascetic's promise that tomorrow is the paradise of criticism?

Really, who is this strange man who, despite all this, even in the homes of the most elite people of this country, they put his book in the same niche as the Quran and Masnavi, they do not touch it except for purity, and when they take it, they kiss it like a heavenly book and put it on their forehead, they know its unseen presence and leave the fate of their actions and deeds to him? Who is this unbelieving man who is placed in the ranks of his divine guardians like this?

These expressions are not the belief of the author of these lines. A part of the famous and noisy introduction of Ahmad Shamlou is based on the correction that he had made, and if he had not written this introduction and had only gone to the correction of Hafez's divan, the voices of classical writers would have been heard, let alone introducing Hafez in such a way that he would have also heard the voices of the jurists.

Today is Hafez's day and it was narrated from Shamlu that I will also bring him an answer from Ayatollah Morteza Motahari and by the way we will show what contradictory views there are on Hafez and then let's see which trend can open Hafez's secret in the middle of these contradictions. Hafiz, whose name has 20 seals, blessed and fragrant. In response to Shamlou, the late Motahari said the following without using obscenity or issuing a decree of excommunication or flaunting his illiteracy like the presenters and pseudo-experts of today's TV.

"I (Motahri) also add: who is this man who, with all these blasphemies, denials, and unbeliefs, is his student in the lesson of "Khwaja Qawamuddin Abdullah" who collected his divan after his death as "the nature of Malik Safat, Maulana al-Azam al-Saeed, Marhum al-Shaheed, Mukher al-Ulama, Master of Takharir al-Adba, Ma'dan al-Taif al-Rohaniyyah, Makhzan al-Ma'arif Al-Subhaniyyah" mentions and explains the reason why Hafez himself did not succeed in collecting his divan, that he did not pay attention to the Qur'anic lessons and the use of piety and feeling, the discussion of kashaf and miftah, the study of the study and the lessons, the study of the rules of etiquette, and the investigation of the Arab books.

Truly, who is this infidel who on the one hand denies all religious promises and on the other hand says:

Among the custodians of the world, no one did not collect the subtle rulings with Qur'anic points

Who is this who on the one hand denies resurrection and on the other hand sees man in a different way? The heart is "jam-jam" and "a gem from another world". A drop that "bore up with the imagination of the sea" sings "King of Sedra" and believes in "man before the world" and "man after the world"? He introduces the world as another global farm and is concerned about the "black letter" and considers the body to be dust that has become the face of his life?

Who is this unbeliever who denied and denied everything and on the other hand, during 6 centuries Persian-speaking people, knowledgeable and illiterate, have counted him among the saints of Allah, and he himself has spoken about the resurrection and the transcendental man?"

According to the late Motahari, "Knowing Hafez is only possible if you know Hafez's culture, and to know Hafez's culture, you must at least know Islamic mysticism and be familiar with the language of this vast mysticism." Mysticism, apart from having its own terms like any other science, its language is the language of code. The mystics themselves have given the key to these codes in some of their books. By knowing the key of the codes, many ambiguities will be resolved."

You read two views with 180 degrees difference, but the story is not limited to these two. Because it has been discussed for years and even centuries that what Hafez means? If it is so, as Shamloo said, why does he have such a reputation among the people of faith, and if it is so, as Motahari says, why does he mock ascetics so much and consider the tail a booty?

In our time, many people have tried to solve this mystery and open the secret of Hafez. From Bahauddin Khorramshahi, who put a lifetime on Hafez and gave him the title of "Hafez the scholar" (and he also invented this term because he did not want to be called "the scholar of Hafez" and in research, he is not a claimant and the researcher can still continue) to Dr. Abdul Karim Soroush, who discovered similarities with Christian beliefs in Hafez's court or has such a claim.

The late professor Dr. Abdul Hossein Zarinkoob and others have also removed baggage from this threshing floor and added to the range of findings.

In the meantime, and with a modern and contemporary look - at least from this pen - no one is as frank, open-minded and open-minded as Dr. Shafii Kodkani, and if not, because he opens the secret from the "beauty" point of view. Yesterday was his birthday and a note was published on the same pretext.

Shafii Kodkani sees Hafez from a beautiful point of view. This means that Hafez was only looking for the creation of "beauty" in its highest degree and perfection, and is this not the end of art? That is why he has taken advantage of all the facilities. Whether it is Iranian mysticism or Quranic verses. Whether it's Saadi's poetry or Christian teachings, the result, as everyone admits, is amazing paintings that he drew in the form of various verses.

This is why, in the view of Shafii Kodkani, Hafez is not only a poet than our Ferdowsi and Maulavi, but also other nations do not have anything like him:

"No nation has a poet like Hafez. Ferdowsi has more or less equals in the world, and so does Saadi. Even Jalaluddin Molavi. But our protector is unique in human culture; A poet whose Persian poetry should be recited by ascetics and mystics in prayer instead of supplications and Arabic verses, and at the same time, the heretics of every age should consider his poetry as a mirror of their thoughts, and be happy in the eyes of Hafiz, the "falling old man" who has raised such a dangerous objection to Sana's pen, and in our daily life, our people should place his divan next to the Holy Quran, at the head of the wedding table, and with that augury. take and praise, such a poet is unique in the geography of the earth and in the history of mankind and has no equal.

why Let's hear the answer from his own words: "Because Ferdowsi is the intellectual voice of this world, and Rumi is the intellectual voice of the other world, and Hafez should be called a two-voiced poet that perhaps none of the great Persian poets, throughout history, have this characteristic of Hafez's poetry."

The main art of Hafez and his leaven in creating all this beauty is tying together contradictions and hateful elements, which Shafi'i Kodkani mentions as Hafez's special style and considers it the height of shaht and gives an example:

"The inhabitants of the pure and chaste sanctuary of the kingdom were drunk with me as a traveler.

This is the peak of Shatah and the peak of preservation. The contradictory elements are tied together in a wonderful way. Tying together these contradictions and hostile elements is the main work of Hafez, it is the peak of Shatah, the special style of Hafez or Hafezani is concentrated here. Of course, other elements such as Iham and the music of letters are also moving in the margin of this point to complete the memorizing style.

The different interpretations and speculations about his poetry are because "the artist has no responsibility except for beauty" and Hafez only thought about beauty, and for this reason he mixed mystical, royal, spiritual and holy paradigms with conventional paradigms (and add: Zandaqah, Atheism, Qalandari and Blame) because he only thought about ultimate beauty. So much so that he himself says:

I am a protector in a meeting, I am a pain reliever in a party. Look at this joke that I am making with the creation of the industry.

(That is, the creation of beauty, which is my duty, sometimes leads me to moral words - preaching - and at another moment, the same creation of beauty, leads me to praise painkilling - something contrary to the words of preachers).

With this look, Hafez's secret is easily revealed:

"When the duty of the artist is to create form and nothing else, the artist has no responsibility except for beauty. If at this moment, the creation of beauty calls him to an opinion (existence of God) and in the next moment to an opinion contrary to the previous opinion (denial of God), there is no obstacle. He is not a master of logic for whom the union of contradictions is impossible. He is responsible for "beauty". Whatever the message of this beauty is, say it!"

Shafii Kodkani goes further and says:

"Hafez is the first poet who secularized mystical paradigms and used them as a mere artistic tool in his poetry."

From this point of view, Hafez only thought about the beauty and musicality of his words, and for this reason, he did not shy away from using different interpretations, even from previous poets, and for this reason, signs of Saadi and Nizami's poetry can be found in his sonnets, and this explanation is also worthy of consideration:

In the era of Hafez and up to three centuries after him, singers and musicologists were called "Hafiz", and in most cases, singers and speakers of music were called "Hafiz", musicians were called "Master" and poets were called "Moulana". For example, Hafiz so-and-so, Ustad so-and-so, Maulana so-and-so.

Of course, the reciters of the Holy Qur'an were often melodious, and Khwaja Shamsuddin Mohammad Shirazi was no exception to this rule. He was a master in singing and musicology as well as in reciting the Holy Quran with a pleasant voice and on the principles of music.

Now I will come to the heart of the matter so that we can say on the 20th of Mehr:

The secret of Hafez's longevity lies in the beauty of his sonnets, and by the way, not in the content but in the form. However, the form does not taste and is not artificial:

The glory of the sultan's crown, in which the fear of life is embedded, is a charming hat, but it is not worth leaving the head

In the first stanza, we hear the sound of the letter "J" three times, and in the second stanza, we hear the sound of the letter "K" three times (Taj, Jan, Darj/Kalah, Dil Kash, Terk).

The sound of the letter "sh" once in the first stanza and once in the second stanza (splendour/ heartwarming) or the sound of the letter "d" twice in the first stanza and twice in the second stanza.