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Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 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. http://www.ijhcs.com/index.php/ijhcs/index Page 685 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 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 http://www.ijhcs.com/index.php/ijhcs/index Page 686 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 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) http://www.ijhcs.com/index.php/ijhcs/index Page 687 Special Issue INTERNATIONAL JOURNAL OF HUMANITIES AND January 2016 CULTURAL STUDIES ISSN 2356-5926 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.
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