Ali Salami

Hafiz’s Ghazal 5: The Love of Fortune

Hafiz’s Ghazal 5: The Love of Fortune

The heart slips away from me, O guardians of souls, for the love of God, lend your helping hand. Alas, the hidden ailment shall reveal itself!

Our ship is stranded, motionless. O favorable wind, arise! Blow! Perhaps we shall glimpse the familiar face of the Beloved once more.

The love of fortune lasts but ten days, a mere tale and fable. Seize these fleeting days as a treasure to do good unto friends!

Last night, the nightingale sang so beautifully in the assembly of roses and wine, “o drunkards, awaken! Bring me the morning wine!”

O benefactor, you are in good health, thriving. Be grateful and inquire, even for a day, about the plight of the impoverished and helpless!

The peace of both worlds is contained in these two phrases: kindness to friends, and harmony with foes.

They did not allow us the means to earn a good name. If you are displeased, change the decree!

That bitter juice, which the ascetic calls “the root of all evil” is sweeter to us, more delightful than the kisses of the fairest maidens!

When Fortune narrows, when poverty befalls, endeavor to drink, to be intoxicated. For this Alchemy of Existence turns the pauper into a Croesus.

Do not act rashly. The beloved, who could melt marble in his palm, might flare up in jealousy and burn you like a candle.

Alexander’s mirror is the cup of wine. Look into it, and let it reveal the fate of Darius’ empire.

Those who speak Persian, add lifetimes to a man’s life. Saki, bring glad tidings to the pious libertines!

O sheik of clean robe, excuse us! Hafiz did not don this wine-stained cloak of his own accord!

 

دل می‌رود ز دستم صاحب‌دلان خدا را

دردا که راز پنهان خواهد شد آشکارا

کشتی‌شکستگانیم ای باد شُرطِه برخیز

باشد که باز بینم دیدار آشنا را

ده‌روزه مِهر گردون، افسانه است و افسون

نیکی به جای یاران فرصت شمار یارا

در حلقهٔ گل‌ و مُل خوش خواند دوش بلبل

هاتِ الصَّبُوحَ هُبّوا یا ایُّها السُکارا

ای صاحب کرامت شکرانهٔ سلامت

روزی تَفَقُّدی کن درویش بی‌نوا را

آسایش دو گیتی تفسیر این دو حرف است

با دوستان مروت با دشمنان مدارا

در کوی نیک‌نامی ما را گذر ندادند

گر تو نمی‌پسندی تغییر کن قضا را

آن تلخ‌وَش که صوفی ام‌ُّالخَبائِثَش خواند

اَشهی لَنا و اَحلی مِن قُبلَةِ العَذارا

هنگام تنگ‌دستی در عیش کوش و مستی

کاین کیمیای هستی قارون کُنَد گدا را

سرکش مشو که چون شمع از غیرتت بسوزد

دلبر که در کف او موم است سنگ خارا

آیینهٔ سکندر، جام می است بنگر

تا بر تو عرضه دارد احوال مُلک دارا

خوبان پارسی‌گو، بخشندگان عمرند

ساقی بده بشارت رندان پارسا را

حافظ به خود نپوشید این خرقهٔ مِی‌ْآلود

ای شیخ پاک‌دامن معذور دار ما را

About Hafiz

Khājeh Shams-od-Dīn Moḥammad Ḥāfeẓ-e Shīrāzī (known by his pseudonym Hafez; 1325–1390) or Hafiz, was a Persian lyric poet whose collected works are considered by many Iranians to be among the highest highlights of Persian literature. His works are often found in the homes of Persian-speaking people, who memorize his poems and use them as everyday proverbs and sayings. His life and poems have become the subject of numerous analyses, commentaries, and interpretations and have influenced Persian literature more than any other Persian author after the 14th century.

Hafiz is best known for his Divan, a collection of his surviving poems that was probably compiled after his death. His works can be described as “antinomian” and with the medieval use of the term “theosophical”; the term “theosophy” was used in the 13th and 14th centuries to refer to mystical works by “authors inspired only by the sacred books” (as distinct from theology). Hafiz wrote mainly in the literary genre of lyric poetry or ghazals, the ideal style for expressing the ecstasy of divine inspiration in the mystical form of love poems. He was a Sufi.

The themes of his ghazals include the beloved, faith, and the unmasking of hypocrisy. His ghazals are about love, wine, and taverns, all of which represent ecstasy and freedom from constraints, whether in actual worldly liberation or the voice of the lover speaking of divine love. His influence on Persian speakers can be seen in the divination through his poems and in the frequent use of his poems in traditional Persian music, visual arts, and Persian calligraphy. His tomb is located in his native city of Shiraz. There are adaptations, imitations, and translations of his poems in all major languages. The collected poems of Hafiz have been translated by Iranian scholar Ali Salami.

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