Hafezieh (Tomb of Hafez) Hāfezieh
The pavilion over the tomb of Hafez, with the memorial hall in the background
Location	Shiraz, Iran
Designer	André Godard
Completion date	1935
Dedicated to	Hafez
Coordinates	29°37′31.45″N 52°33′29.95″E / 29.6254028°N 52.5583194°E / 29.6254028; 52.5583194Coordinates: 29°37′31.45″N 52°33′29.95″E / 29.6254028°N 52.5583194°E / 29.6254028; 52.5583194

The Tomb of Hafez and its associated memorial hall, the Hāfezieh, are two memorial structures erected in the northern edge of Shiraz, Iran, in memory of the celebrated Persian poet Hafez. The open pavilion structures are situated in the Musalla Gardens on the north bank of a seasonal river and house the marble tomb of Hafez. The present buildings, built in 1935 and designed by the French architect and archaeologist André Godard, are at the site of previous structures, the most well-known of which was built in 1773. The tomb, its gardens, and the surrounding memorials to other great figures are a focus of tourism in Shiraz.

History[link]

Hafez was born in Shiraz in 1315 and died there in 1390. A beloved figure of the Iranian people, who learn his verses by heart, Hafez was prominent in his home town and held a position as the court poet.^[1] In his memory, a small, dome-like structure was erected in Shiraz near his grave at Golgast-e Mosalla in 1452 at the order of Babur Ibn-Baysunkur, a Timurid governor. The Golgast-e Mosalla were gardens (now known as Musalla Gardens) that featured in Hafiz's poetry. With a surface of over 19,000 square metres, the gardens were also home to one of Shiraz's cemeteries, and Babur had a pool built here at the same time as the memorial. Believing they were ordered by omens in Hafez's poetry, Abbas I of Persia and Nader Shah both carried out separate restoration projects in the following 300 years.^[2]

A photo of iron transenna, once in place around Hafez's tomb

A much more substantial memorial was constructed in the gardens in 1773 during the reign of Karim Khan Zand. Situated on the north bank of the seasonal Rudkhaneye Khoshk river in the Musalla Gardens, the Hāfezieh consisted of four central columns, with two rooms built at the east and west end and with the north and south sides remaining open. The building split the gardens into two regions, with the orange grove in the front and the cemetery in the back. The actual tomb was outside of the structure, in the middle of the cemetery, with a marble slab placed over the grave. The marble was engraved by a calligrapher with excerpts from Hafez's poetry.^[2]

The tomb was restored in 1857 by a governor of Fars, and a wooden enclosure was built around the tomb in 1878, by another governor of Fars. Following this, the site became a subject of controversy, when, in 1899, Ardeshir, a Parsi from India began to build a shrine around Hafez's grave. Although the philanthropist Parsi had obtained permission from a ulema of Shiraz to build the iron and wood shrine, a doctor of religious law with some authority in Shiraz, ʿAli-Akbar Fāl-Asiri, objected to a Zoroastrian building over the grave of a Muslim. With his followers, he destroyed the half-built construction. The people of Shiraz protested the destruction and the government ordered the rebuilding of the monument, but Fāl-Asiri opposed them and pronounced that he would destroy any building raised there, even if it were erected by the king himself.^[2]

The site remained in ruins for two years, until 1901 when Prince Malek Mansur Mirza Shao es-Saltaneh placed a decorative iron transenna around Hafez's tomb. It was inscribed with verse and the names of the patrons of the transenna.^[2]

The tomb of Hafez in Shiraz (Fars, Iran).

Present structure[link]

Enamelled tiles mosaic on the ceiling of the pavilion

Activities to restore and expand the memorial to Hafez began in 1931, when the orange grove was repaired and the Hāfezieh was altered by a governor of Fars and Isfahan, Faraj-Allāh Bahrāmi Dabir-e Aʿẓam. Additional improvements were delayed until the Ministry of Education organised for a new building to be built, in 1935. André Godard, a French archaeologist and architect, was the technical director of the Department of Antiquities at the time, and was commissioned to design the new buildings.^[2]

Alterations to Hafez's tomb involved elevating it one metre above ground level and encircling it with five steps. Eight columns, each ten metres tall, support a copper dome in the shape of a dervish's hat. The underside of the dome is an arabesque and colourful mosaic.^[2]

The original, four-columned memorial hall built in 1773 by Karim Khan Zand was extensively expanded. Sixteen pillars were added to the four original, creating a long verandah, and on several façades are engraved ghazals and other excerpts from Hafez's poetry.^[2]

Gardens and tourism[link]

The tomb of Hafez illuminated at night

Several rectangular pools have been added amongst the gardens, and well-maintained orange trees, paths, streams, and flower beds create a pleasant environment for the tourism hub of Hafez's tomb and memorial hall.^[2][3] A tea house on the grounds provides refreshments in a traditional setting.^[2][4] The dome over Hafez's grave is well lit at night, providing an attractive focal point.^[5] The former tomb of Qāsem Khan Wāli is now a library containing 10,000 volumes dedicated to Hafez scholarship.^[2]

Wikimedia Commons has media related to: Tomb of Hafez

Notes[link]

External Links[link]

• Facebook Gallery for Hafez's Tomb Contemporary and Historical Images.
• Hafez Tomb in 2012 Nowruz Celebration; Photos.

v t e Fars Province, Iran Capital Shiraz Counties (A-K) and Cities Abadeh County Abadeh Bahman Izadkhvast Soghad Surmaq Arsanjan County Arsanjan Bavanat County Surian Korehi Darab County Darab Jannat Shahr Eqlid County Eqlid Sedeh Estahban County Estahban Ij Roniz Farashband County Farashband Dehram Nujin Fasa County Fasa Now Bandegan Sheshdeh Zahedshahr Firuzabad County Firuzabad Meymand Gerash County Gerash Arad Jahrom County Jahrom Bab Anar Duzeh Khavaran Qotbabad Kavar County Kavar Kazerun County Kazerun Baladeh Khesht Konartakhteh Nowdan Qaemiyeh Kharameh County Kharameh Khonj County Khonj Khorrambid County Safashahr Qaderabad Counties (L-Z) and Cities Lamerd County Lamerd Ahel Ala-e Marvdasht Eshkanan Larestan County Lar Beyram Banaruiyeh Evaz Fishvar Juyom Khur Latifi Mamasani County Nurabad Khumeh Zar Marvdasht County Marvdasht Kamfiruz Ramjerd Seyyedan Mohr County Mohr Asir Galleh Dar Varavi Neyriz County Neyriz Abadeh Tashk Meshkan Qatruyeh Pasargad County Saadat Shahr Qir and Karzin County Qir Efzar Karzin Rostam County Masiri Sarvestan County Sarvestan Sepidan County Ardakan Beyza Hamashahr Shiraz County Shiraz Darian Lapui Zarqan Zarrin Dasht County Hajjiabad Dowbaran Shahr-e Pir Landmarks Afif-Abad Garden Amir's dam Arg of Karim Khan Barmdelak lagoon Bishapur Delgosha Garden Eram Garden Estakhr Ghal'eh Dokhtar Ka'ba-ye Zartosht Kazerun fire temple Lake Parishan Naqsh-e Rajab Naqsh-e Rustam Palace of Ardashir Pars museum Pasargadae Persepolis Qavam House Qur'an Gate Saadi's mausoleum Sarvestan Sassanian palace Shah Cheragh Colossal Statue of Shapur I in Shapur cave Tangeh Bolaghi Hāfezieh Tounbbot Vakil Bath Vakil Bazaar Vakil Mosque

Khwāja Shamsu d-Dīn Muhammad Hāfez-e Shīrāzī (Persian: خواجه شمس‌الدین محمد حافظ شیرازی‎), known by his pen name Hāfez (1325/1326–1389/1390),^[1] was a Persian lyric poet. His collected works composed of series of Persian poetry (Divan) are to be found in the homes of most Persian speakers in Iran and Afghanistan, as well as elsewhere in the world, who learn his poems by heart and use them as proverbs and sayings to this day. His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author.^[2][3]

Themes of his ghazals are the beloved, faith, and exposing hypocrisy. His influence in the lives of Iranians can be found in "Hafez readings" (fāl-e hāfez, Persian: فال حافظ‎), frequent use of his poems in Persian traditional music, visual art and Persian calligraphy. His tomb in Shiraz is visited often. Adaptations, imitations and translations of Hafez' poems exist in all major languages.

Life[link]

Hafez was born in Shiraz, modern Iran. Despite his profound effect on Persian life and culture and his enduring popularity and influence, few details of his life are known. Accounts of his early life rely upon traditional anecdotes. Early tazkiras (biographical sketches) mentioning Hafez are generally considered unreliable.^[4] The preface of his Divān, in which his early life is discussed, was written by an unknown contemporary of Hafez whose name may have been Moḥammad Golandām.^[5] Two of the most highly regarded modern editions of Hafez's Divān are compiled by Moḥammad Qazvini and Qāsem Ḡani (495 ghazals) and by Parviz Natil Khanlari (486 ghazals).^[6][7]

Modern scholars generally agree that Hafez was born either in 1315 or 1317; following an account by Jami 1390 is considered the year in which he died.^[5][8] Hafez was supported by patronage from several successive local regimes: Shah Abu Ishaq, who came to power while Hafez was in his teens; Timur at the end of his life; and even the strict ruler Shah Mubariz ud-Din Muhammad (Mubariz Muzaffar). Though his work flourished most under the twenty-seven year reign of Jalal ud-Din Shah Shuja (Shah Shuja),^[9] it is claimed Hāfez briefly fell out of favor with Shah Shuja for mocking inferior poets (Shah Shuja wrote poetry himself and may have taken the comments personally), forcing Hāfez to flee from Shiraz to Isfahan and Yazd, although no historical evidence of this is available.^[9] His mausoleum, Hāfezieh, is located in the Musalla Gardens of Shiraz.

Legends[link]

Divan of Hafez, with a Persian miniature at left and ghazals in nastaliq at right. Signed by Shah Qasem, 1617. National Museum of Iran, Tehran, Persia.

Many semi-miraculous mythical tales were woven around Hāfez after his death. It is said that by listening to his father's recitations Hāfez had accomplished the task of learning the Qur'an by heart at an early age (that is in fact the meaning of the word Hafez). At the same time Hāfez is said to have known by heart, the works of Jalal ad-Din Muhammad Rumi, Saadi, Farid ud-Din and Nizami.

According to one tradition, before meeting his patron, Hajji Zayn al-Attar, Hāfez had been working in a bakery, delivering bread to a wealthy quarter of the town. There he first saw Shakh-e Nabat, a woman of great beauty, to whom some of his poems are addressed. Ravished by her beauty, but knowing that his love for her would not be requited, he allegedly held his first mystic vigil in his desire to realize this union. During this he encountered a being of surpassing beauty who identified himself as an angel, and his further attempts at union became mystic; a pursuit of spiritual union with the divine. A Western parallel is that of Dante and Beatrice.

At age 60 he is said to have begun a Chilla-nashini, a 40-day-and-night vigil by sitting in a circle which he had drawn for himself. On the 40th day, he once again met with Zayn al-Attar on what is known to be their fortieth anniversary and was offered a cup of wine. It was there where he is said to have attained "Cosmic Consciousness". Hāfez hints at this episode in one of his verses where he advises the reader to attain "clarity of wine" by letting it "sit for 40 days".

Although Hafez almost never traveled out of Shiraz, in one tale Tamerlane (Timur) angrily summoned Hāfez to account for one of his verses:

If that Shirazi Turk would take my heart in hand

I would remit Samarkand and Bukhārā for his/her Hindu mole.

Samarkand was Timur's capital and Bokhara was his kingdom's finest city. "With the blows of my lustrous sword," Timur complained, "I have subjugated most of the habitable globe... to embellish Samarkand and Bokhara, the seats of my government; and you would sell them for the black mole of some boy in Shiraz!" Hāfez, so the tale goes, bowed deeply and replied, "Alas, O Prince, it is this prodigality which is the cause of the misery in which you find me". So surprised and pleased was Timur with this response that he dismissed Hafez with handsome gifts.^[9]

Works and influence[link]

Hafez was acclaimed throughout the Islamic world during his lifetime, with other Persian poets imitating his work, and offers of patronage from Baghdad to India.^[9] Today, he is the most popular poet in Iran. Most libraries in India, Pakistan, and Iran contain his Diwan.^[6]

Much later, the work of Hāfez would leave a mark on such Western writers as Thoreau, Goethe, and Ralph Waldo Emerson -- the latter referring to him as "a poet's poet."^{[citation needed]} His work was first translated into English in 1771 by William Jones.

There is no definitive version of his collected works (or Dīvān); editions vary from 573 to 994 poems. In Iran, and Afghanistan,^[10] his collected works have come to be used as an aid to popular divination. Only since the 1940s has a sustained scholarly attempt - by Mas'ud Farzad, Qasim Ghani and others in Iran - been made to authenticate his work, and remove errors introduced by later copyists and censors. However, the reliability of such work has been questioned,^[11] and in the words of Hāfez scholar Iraj Bashiri.... "there remains little hope from there (i.e.: Iran) for an authenticated diwan".

Though Hāfez’s poetry is influenced by Islam, he is widely respected by Hindus, Christians and others. The Indian sage of Iranian descent Meher Baba, who syncretized elements of Sufism, Hinduism, Zoroastrianism and Christian mysticism, recited Hāfez's poetry until his dying day.^[12] October 12 is celebrated as Hafez Day in Iran.^[13]

Hafez, not only had influence in religious grounds, but beyond metaphysical fields philosophers such as Engles mentioned him, regardless of his materialistic world-view, for him, Hafez's still is pregnant with meanings. This shows Hafez profound explorations within human sentiment and experiments. In the text below, extracted from Engles' letter to Marx, we confront with his interest in Hafez:

It is, by the way, rather pleasing to read dissolute old Hafiz in the original language, which sounds quite passable and, in his grammar, old Sir William Jones likes to cite as examples dubious Persian jokes, subsequently translated into Greek verse in his Commentariis poeseos asiaticae, because even in Latin they seem to him too obscene. These commentaries, Jones’ Works, Vol. II, De Poesi erotica, will amuse you. Persian prose, on the other hand, is deadly dull. E.g. the Rauzât-us-safâ by the noble Mirkhond, who recounts the Persian epic in very flowery but vacuous language. Of Alexander the Great, he says that the name Iskander, in the Ionian language, is Akshid Rus (like Iskander, a corrupt version of Alexandros); it means much the same as filusuf, which derives from fila, love, and sufa, wisdom, ‘Iskander’ thus being synonymous with ‘friend of wisdom’.^[14]

Interpretation[link]

Detail of an illumination in a Persian manuscript of the Divan of Hafez, drawn in the 18th century; British Library, London.

The question of whether his work is to be interpreted literally, mystically or both, has been a source of concern and contention to western scholars.^[15] On the one hand, some of his early readers such as William Jones saw in him a conventional lyricist similar to European love poets such as Petrarch.^[16] Others such as Wilberforce Clarke saw him as purely a poet of didactic, ecstatic mysticism in the manner of Rumi, a view which modern scholarship has come to reject.^[17]

Divan of Hafez, Persian miniature, 1585.

This confusion stems from the fact that, early in Persian literary history, the poetic vocabulary was usurped by mystics who believed that the ineffable could be better approached in poetry than in prose. In composing poems of mystic content, they imbued every word and image with mystical undertones, thereby causing mysticism and lyricism to essentially converge into a single tradition. As a result, no fourteenth century Persian poet could write a lyrical poem without having a flavor of mysticism forced on it by the poetic vocabulary itself.^[18][19] While some poets, such as Ubayd Zakani, attempted to distance themselves from this fused mystical-lyrical tradition by writing satires, Hafez embraced the fusion and thrived on it. W.M. Thackston has said of this that Hafez "sang a rare blend of human and mystic love so balanced...that it is impossible to separate one from the other."^[20]

For this reason among others, the history of the translation of Hāfez has been a complicated one, and few translations into western languages have been wholly successful.

One of the figurative gestures for which he is most famous (and which is among the most difficult to translate) is īhām or artful punning. Thus a word such as gowhar which could mean both "essence, truth" and "pearl" would take on both meanings at once as in a phrase such as "a pearl/essential truth which was outside the shell of superficial existence".

Hafez often took advantage of the aforementioned lack of distinction between lyrical, mystical and panegyric writing by using highly intellectualized, elaborate metaphors and images so as to suggest multiple possible meanings. This may be illustrated via a couplet from the beginning of one of Hafez' poems.

Last night, from the cypress branch, the nightingale sang,
In Old Persian tones, the lesson of spiritual stations.

The cypress tree is a symbol both of the beloved and of a regal presence. The nightingale and birdsong evoke the traditional setting for human love. The "lessons of spiritual stations" suggest, obviously, a mystical undertone as well. (Though the word for "spiritual" could also be translated as "intrinsically meaningful.") Therefore, the words could signify at once a prince addressing his devoted followers, a lover courting a beloved and the reception of spiritual wisdom.^[21]

The Tomb of Hafez[link]

Tomb of Hafez in Shiraz.

Twenty years after his death, a tomb (the Hafezieh) was erected to honor Hafez in the Musalla Gardens in Shiraz. The current Mausolem was designed by André Godard, French archeologist and architect, in the late 1930s. Inside, Hafez's alabaster tombstone bears two of his poems inscribed upon it.

See also[link]

• List of Persian poets and authors
• Persian literature
• Persian mysticism

Notes[link]

Sources[link]

Wikisource has original text related to this article: Hafez

• Peter Avery, The Collected Lyrics of Hafiz of Shiraz, 603 p. (Archetype, Cambridge, UK, 2007). ISBN 1-901383-09-1
  Note: This translation is based on Divān-e Hāfez, Volume 1, The Lyrics (Ghazals), edited by Parviz Natel-Khanlari (Tehran, Iran, 1362 AH/1983-4).
• E.G. Browne. Literary History of Persia. (Four volumes, 2,256 pages, and twenty-five years in the writing). 1998. ISBN 0-7007-0406-X
• Will Durant, The Reformation. New York: Simon and Schuster, 1957
• Erkinov A. “Manuscripts of the works by classical Persian authors (Hāfiz, Jāmī, Bīdil): Quantitative Analysis of 17th-19th c. Central Asian Copies”. Iran: Questions et connaissances. Actes du IVe Congrès Européen des études iraniennes organisé par la Societas Iranologica Europaea, Paris, 6-10 Septembre 1999. vol. II: Périodes médiévale et moderne. [Cahiers de Studia Iranica. 26], M.Szuppe (ed.). Association pour l`avancement des études iraniennes-Peeters Press. Paris-Leiden, 2002, pp. 213–228.
• Hafez. The Green Sea of Heaven: Fifty ghazals from the Diwan of Hafiz. Trans. Elizabeth T. Gray, Jr. White Cloud Press, 1995 ISBN 1-883991-06-4
• Hafez. The Angels Knocking on the Tavern Door: Thirty Poems of Hafez. Trans. Robert Bly and Leonard Lewisohn. HarperCollins, 2008, p. 69. ISBN 978-0-06-113883-6
• Hafiz, Divan-i-Hafiz, translated by Henry Wiberforce-Clarke, Ibex Publishers, Inc., 2007. ISBN 0-936347-80-5
• Khorramshahi, Bahaʾ-al-Din (2002). "Hafez II: Life and Times". http://www.iranicaonline.org/articles/hafez-ii. Retrieved 25 July 2010. 
• Yarshater, Ehsan (2002). "Hafez I: An Overview". http://www.iranicaonline.org/articles/hafez-i. Retrieved 25 July 2010. 
• Jan Rypka, History of Iranian Literature. Reidel Publishing Company. 1968 OCLC 460598. ISBN 90-277-0143-1

External links[link]

Wikimedia Commons has media related to: Hafez

Poetry portal

English translations of Poetry by Hafez

• Hafez in English from Poems Found in Translation website
• Poems by Hafez from Blackcat Poems website
• Hafez Divan in Persian and English
• Life and Poetry of Hafez from "Hafiz on Love" website
• Hafez Poems translated G. Bell
• Selection of Love Poems by Hafez

Persian texts and resources

• Hafez Divan with readings in Persian
• Fall-e Hafez An online Flash application of his poems in Persian.
• Radio Programs on Hafez's life and poetry'

English language resources

• Hafiz, Shams al-Din Muhammad A Biography by Prof. Iraj Bashiri, University of Minnesota
• Comprehensive set of scholarly entries about Hafez, on the Encyclopædia Iranica (Columbia University).
• Divan-e-Hafez with English translation

German translations and compositions

• Viktor Ullmann "The Songbook of Hafis / Das Liederbuch des Hafis" ARBOS - Company for Music and Theatre

Other

• Facebook Page for Hafez Selected poetry and images.
• Hafez Tomb in 2012 Nowruz Celebration; Photos.