Part 9

_Stanza 2._—The quarter of Jafrabad has ceased to exist. Its position was to the east of the town, opposite to the fields and to the ruined mosque of Mosalla. Between Jafrabad and Mosalla runs the highroad to Isfahan, traversing, at the distance of a mile from Shiraz, the pass of Allahu Akbar.

The angel Gabriel, the Holy Spirit, is the highest of all the angels. It is his duty to write down the decrees of God; through him the Koran was revealed to Mahommad, and it is he who, hovering above the throne of God, shelters it with his wings. Hafiz therefore claims for Shiraz the protection of him who is guardian of the highest place in heaven.

Ibn Batuta, the Arab traveller who visited Shiraz about the year 1340, has left a charming description of the native town of Hafiz and of the manners of his contemporaries. “Shiraz,” he says, “is a well-built town of a great size, a wide celebrity, and a high place among cities. It possesses pleasant gardens, far-reaching streams, excellent markets, fine streets, and a numerous population. The town is constructed with taste and admirably arranged; each trade has its own bazaar. The inhabitants are a fine race and well clad. Shiraz lies in a plain; gardens surround it on every side; and five rivers flow through it, amongst them one called Ruknabad, a stream of which the water is excellent to drink, very cold in summer and warm in winter. The principal mosque is called the Old Mosque; it is as spacious and as well built as any one could wish to see. The court of it is vast and paved with marble; in hot weather it is washed with fresh water every night. The wealthy citizens come there every evening to repeat the prayers of sunset and of night. The inhabitants of Shiraz are well-to-do, pious, and chaste; the women in particular are distinguished for their modesty. They go completely veiled, give much in alms, and repair three times a week to the great mosque. Often as many as two thousand are assembled there, sitting with fans in their hands on account of the great heat. Each day in one of the mausoleums the whole Koran is read aloud, and the readers have very beautiful voices. The people bring with them fruits and sweetmeats, and when the congregation has finished eating, the preacher begins his discourse. This takes place between the mid-day and the evening prayers.” Ibn Batuta struck up acquaintance with a Sheikh whom he found seated in a small hermitage at the corner of a mosque. The Sheikh was engaged in reading the Koran. In answer to Ibn Batuta’s questions, he told him that he had founded the mosque himself, and that the hermitage was to be his tomb. Lifting a carpet, he showed him his grave, covered over with planks. “In that box,” he said, pointing to a chest opposite to him, “are my winding-sheet, some spices with which my corpse will be perfumed, and a few pieces of money which I earned by digging a well for a pious man. The money will serve to pay for my burial, and what is left over will be distributed among the poor.” “I admired his conduct,” adds Ibn Batuta. “One of the mausoleums outside the town,” he continues, “contains the tomb of Sheikh Sa’di, the first poet of his time. Close at hand is a hermitage built by Sa’di himself, surrounded by a charming garden. It is situated near the source of the Ruknabad. In the garden Sheikh Sa’di constructed a number of basins for the washing of clothes. The citizens of Shiraz make parties of pleasure to this mausoleum; they eat food prepared in the hermitage, wash their garments in the river, and at sunset return to the town. So did I also. May God have mercy on Shiraz!” he concludes piously.

XXXI

_Stanza 3._—The month of Sha’aban is the eighth month of the Arabic year. It is followed by Ramazan, during which month the Prophet decreed that from two hours before dawn until sunset nothing should pass the lips of his followers. The fast is so strictly observed, especially by the lower orders, that not only do they refrain from eating and drinking, but they will not even smoke until the sunset gun puts an end to the day’s abstinence. The night, however, is passed in feasting and revelry, and the richer classes will sleep late in Ramazan and shorten the long hours that must pass before they may breakfast.

XXXIII

_Stanza 3._—According to the popular science of the East, the colouring of precious stones, even of those which are buried deep in the earth, is due to the action of rain and wind and of the rays of the sun.

_Stanza 4._—It is a favourite Persian image to describe the hair of the beloved as entangling and entrapping the unfortunate lover. Her long locks are often compared to deadly snakes, and her curls to hooks which catch and tear her lover’s heart. One need go no further than the _Merchant of Venice_ to find the same imagery used by a Western poet: “Those crisped snaky golden locks,” and again, “A golden mesh to entrap the hearts of men faster than gnats in cobwebs.”

XXXIV

_Stanza 1._—The story of the creation of Adam, and of the part played in it by the angels, is told by Mahommad in the following terms: “When thy Lord said unto the angels, I am going to place a substitute on earth; they said, Wilt thou place there one who will do evil therein, and shed blood? but we celebrate thy praise and sanctify thee. God answered, Verily I know that which ye know not; and he taught Adam the names of all things, and then proposed them to the angels, and said, Declare unto me the names of these things if ye say truth. They answered, Praise be unto thee, we have no knowledge but what thou teachest us, for thou art knowing and wise. God said, Oh Adam, tell them their names. And when he had told them their names, God said, Did I not tell you that I know the secrets of heaven and earth, and know that which ye discover and that which ye conceal? And when we said unto the angels, Worship Adam; they all worshipped him, except Eblis, who refused, and was puffed up with pride, and became of the number of unbelievers.”—_Koran_, chap. ii.

Tradition has amplified and adorned this story. It is said that the three archangels, Gabriel, Michael, and Israfil, were each in turn ordered to take from the earth seven handfuls of clay of three different colours, red, white, and yellow, that God might create out of it the races of mankind. But each in turn was moved by the earth’s prayer that he would not rob her of her substance, and each returned to heaven empty-handed. The fourth time God sent Azrail, the angel of death, who tore the seven handfuls from the earth, but hearing her lamentations, promised her that when man ceased to live his substance should return to the earth from whence it had been taken. With the clay that Azrail brought him God moulded the figure of man, and when it was finished he left it forty days to dry. The angels came often to gaze upon it, and Eblis, kicking it with his foot, found that it rang hollow. When the figure of clay was dry, God breathed the breath of life into its nostrils, and ordered the angels to submit to the man he had created. But Eblis refused, saying that he had been created of pure fire, and would not serve a hollow mould of clay; for which reason God cast him out of Paradise. The rest of the angels acknowledged the superiority of Adam after God had made him tell them the names of all the creatures of the earth, though they had at first protested that it was not seemly that they should bow down to him, for their love for God was greater than his. It is with this legend in his mind that Hafiz speaks of the angels as standing at the tavern door, where man may enter and receive instruction in God’s wisdom, but where they must knock in vain, and as moulding a wine-cup with the despised clay out of which the human body was moulded. I think he means that man himself is the vessel into which divine love and wisdom are poured; and when he says that the angels first brought him wine, he means that by their example they showed him what it was to be intoxicated by the contemplation of God.

_Stanza 3._—“Concerning the forbidden fruit,” says Sale in a note to the second chapter of the Koran, “the Mohammadans, as well as the Christians, have different opinions. Some say it was an ear of wheat, some will have it to have been a fig-tree, and others a vine.”

There are supposed to be seventy-two sects in Islam. Many Mahommadan writers compare them to the seventy-two branches of the family of Noah after the Babylonian confusion of tongues and the dispersal of the children of Adam.

XXXV

_Stanza 1._—The second line of this poem is as often quoted as any, perhaps, in the Divan: “Yàd bàd an ruz-i-gàràn, yàd bàd!” A man will set it upon a letter to an absent friend, even when he is not particularly anxious that days gone by should be preserved from oblivion; and how often must the simple little line have been used by those to whom its very simplicity made it more poignant than pages of sentiment!

_Stanza 3._—The Zindeh Rud was a river that flowed past Isfahan. There are unfortunately no longer rose gardens upon its banks, for it disappeared completely in the terrible earthquake which occurred in the spring of the year 1853. I suspect from internal evidence that this poem was sent to some friends of Hafiz living at Isfahan, upon whom the passionate appeal need reflect no discredit, since it may quite possibly be merely the Oriental way of writing a letter of thanks. At the same time, in spite of this rational explanation, it must be acknowledged that the meaning of the name Zindeh Rud is River of Life. I tremble to think into what a slough of mysticism the innocent little stream might be induced to guide us!

XXXVI

_Stanza 2._—“Love and Faith,” says Rosenzweig, is the name of a well-known Persian story which has been retold by many writers.

XXXVII

_Stanza 4._—See Note to Stanza 4 of Poem XXXIII.

The word bezoar comes from two Arabic roots which signify the annihilator of poison. Murray gives several examples of its use by seventeenth and eighteenth century writers in the sense of an antidote, chiefly to snake bites. Topsell, for instance, in his book on Serpents (1607), remarks that “the juice of apples being drunk, and endive, are the proper Bezoar against the venom of a Phalangie”—whatever that may be. The word was also applied to various substances held as antidotes, especially to a concretion found in the stomach of some animals, formed of concentric layers of animal matter deposited round some foreign substance. This concretion was called the bezoar stone. The original sort was the lapis bezoar orientale obtained from the wild goat of Persia, which was in later times called the bezoar goat; also from various antelopes, &c. The lapis bezoar occidentale, obtained from the llamas of Peru, was less valued. The chamois yielded German bezoar. “The stone,” says Frampton, in his “Joyful News,” “is called the Bezaar, being approved good against Venome”; and Hawkins, in his “Voyage to the South Seas,” talks about “the becunia and other beasts which breed the beazer stone.”

XXXIX

_Stanza 1._—It is related that Ghiyasuddin Purabi, who succeeded his father to the throne of Bengal in the year 1367, fell sick. During his illness he was nursed by three faithful handmaidens whose names were Cypress, Tulip, and Rose, and owing to their care he eventually recovered. The rest of the Sultan’s ladies were jealous of the gratitude that the three maidens had earned from Ghiyasuddin, and nicknamed them contemptuously “the three bath women,” because they had washed the King’s body while he was ill. He therefore determined to do them honour by commemorating their devotion in a poem, and to this end he composed the first line of a couplet, and ordered the poets of his court to complete the ode. The line ran thus: “Sàki hadisi-sarvo gul o làleh miravad”—Cup-bearer, a tale runs of a Cypress, a Rose, and a Tulip. But the poets were unable to perform the task to the King’s satisfaction, and at length some one suggested that the line should be sent to Hafiz of Shiraz, the fame of whose great skill had reached Bengal. This was accordingly done, and Hafiz composed the ode here translated, with which the Sultan (whose taste seems to have turned towards the discursive in poetry) was much delighted. The three cups of wine are an allusion to the three maidens who washed the King’s body; the parrots of India are the court poets of Ghiyasuddin, and the Persian sweetmeat is the ode that Hafiz sent to Bengal.

_Stanza 4._—Samir. Al Samiri belonged, say the Mahommadans, to a certain tribe among the Jews called the Samaritans, whence his name. In this the Mahommadans strangely betray their ignorance of history, for the Samaritans were not formed into a people, nor did they bear that name, until many ages later. Some say that he was a proselyte, but a hypocritical one, and originally of Kerman or some other country. “His real name was Musa ibn Dhafar. He was a magician and an alchemist. Pharaoh employed him as a rival to Moses when the latter worked miracles with his hand and his staff, but Al Samiri was unable to show wonders as great as those performed by Moses. It was he and not Aaron, according to Mahommadan tradition, who cast the golden calf. The calf was made of the ornaments of gold and silver and other materials which the Israelites had borrowed from the Egyptians; for Aaron, who commanded in his brother’s absence, having ordered Al Samiri to collect those ornaments from the people, who carried on a wicked commerce with them, and to keep them together till the return of Moses, Al Samiri, understanding the founder’s art, put them all together into a furnace, to melt them down into one mass, which came out in the form of a calf. The Israelites, accustomed to the Egyptian idolatry, paying a religious worship to this image, Al Samiri went further, and took some dust from the footsteps of the horse of the angel Gabriel, who marched at the head of the people, and threw it into the mouth of the calf, which immediately began to low, and became animated; for such was the virtue of that dust.” (Sale, Notes to second and twenty-second chapters of the Koran.) Al Samiri is mentioned by name in the twenty-second chapter of the Koran: “Al Samiri led them astray.”

XL

_Stanza 2._—According to Persian superstition, the smoke of burning rue has the power to avert the evil eye.

XLII

_Stanza 1._—Khizr. See Note to Stanza 3 of Poem XVIII.

_Stanza 3._—Zohra is the planet Venus, the musician of the heavens, and the protector of all musicians and singers upon the earth. Zohra played a part in very ancient mythology. The Mahommadans borrowed and adapted the Magian legends concerning her, and their account runs as follows: Once upon a time the angels fell to marvelling over the wickedness of man and the ease with which he was led astray, notwithstanding the warnings sent down to him through the prophets. But God, hearing their words, determined to expose them also to temptation, that they might learn how easy it was to fall. Therefore he appointed two of them, whose names were Harut and Marut, to go down to the earth as judges over man, and he taught them a secret word by the power of which every evening, when their work of judgment was done, they could return to heaven. For some time the two angels accomplished their duties faithfully. But at length a woman called Zohra, more beautiful than any other woman upon earth, came before their judgment-seat demanding redress against her husband, and the two angels conceived a violent passion for her. On the following day, when she returned with the same petition, they drew her aside and declared their love to her. She replied that she would satisfy their desires if they would do three things: destroy her husband, worship the gods she worshipped, and drink wine. Murderers and idolaters the angels could not agree to become, but they consented to drink wine, “not knowing,” says the Persian commentator of the Mesnavi of Jelaleddin Rumi, “that wine was the source of sin and the mother of shame.” Then said Zohra: “Every night, by the power of a divine word, ye return to heaven. Teach me also that word.” The angels confided to her the secret of God, and as soon as she had heard the word she pronounced it in her turn and rose up into heaven, where God changed her form and turned her into a star. The angels attempted to follow her to heaven, but they were refused admittance. On the intercession of a very pious man, however, they were allowed to choose whether they would be punished in this world or the next; they chose the former, and now suffer punishment in the land of Babel—whither, if any man have a mind to learn magic, he may go and learn it of them, for they are masters of all magic arts. Tradition says that Mahommad, whenever he looked upon the planet Venus, was wont to exclaim: “God curse Zohra! for it was she who led the two angels Harut and Marut into sin.”

The same story, says Rosenzweig, is to be found in the Talmud, where the two angels are called Asa and Asail. The Talmud relates that the angels, after their sin, were carried into a great mountain and suspended by chains over an abyss. It was they who taught Solomon wisdom.

_Stanza 4._—For the superstition concerning the origin of precious stones, see Note to Stanza 3 of Poem XXXIII.

XLIII

This ode is inscribed upon the tomb of Hafiz.

THE END

Printed by BALLANTYNE, HANSON & CO. Edinburgh & London

Footnote 1:

For the history of the times of Hafiz, see Defrémery in the _Journal Asiatique_ for 1844 and 1845, Malcolm’s “History of Persia,” Price’s “Mohammedan History,” Markham’s “History of Persia.” For the life of the poet, see V. Hammer; Defrémery in the _Journal Asiatique_ for 1858; Sir Gore Ouseley and Daulat Shah, whose work is mainly a string of anecdote—I have been told that Lutfallah’s is little better.

Footnote 2:

The “Travels of Ibn Batuta,” edited by Defrémery and Sanguinetti.

Footnote 3:

_Journal des Savants_ for 1821 and 1822.

Footnote 4:

Numberless beautiful images are used to describe the union of God and man. Jelaleddin Rumi points the same moral in the following exquisite apologue: “There came one and knocked at the door of the Beloved. And a voice answered and said, ‘Who is there?’ The lover replied, ‘It is I.’ ‘Go hence,’ returned the voice; ‘there is no room within for thee and me.’ Then came the lover a second time and knocked, and again the voice demanded, ‘Who is there?’ He answered, ‘It is thou.’ ‘Enter,’ said the voice, ‘for I am within.’”

Footnote 5:

Dr. Johnson’s contribution to this vexed question is perhaps as good as any other: “Sir,” said he to Boswell, “we _know_ the will is free, there’s an end on’t.”

Footnote 6:

_Les Religions de l’Asie Centrale._

Footnote 7:

_Cf._ St. Paul, who is scarcely more explicit: “Work out your own salvation; for it is God which worketh in you both to will and to work for his good pleasure.” (Phil. ii. 12).

Footnote 8:

Dabistan.

Footnote 9:

Hallaj lived in the ninth century. He was believed by some to be a sorcerer, and by others a holy worker of miracles. He was condemned to death with horrible tortures by the Khalif of Baghdad in 919, and his ashes were thrown into the Tigris. It is said that a Sufi once asked God why he suffered his servant Hallaj to fall into the Khalif’s hands, and was answered, “Thus the revealers of secrets are punished.”

Footnote 10:

Gulshen-i-Raz.

Footnote 11:

Yusuf and Zuleikha.

Footnote 12:

“A Year among the Persians.” Browne.

Footnote 13:

Sayyed Ahmed of Isfahan.

Footnote 14:

Listen to the advice of an Afghan singer who wrote his _Ars Poetica_ in the mountains south of Peshawar about the middle of the seventeenth century:—

“The arrow needs an archer, and poetry a magician.

“He must hold ever in the hand of his mind the weighing scales of metre, rejecting the verse which is too short and that which is too long.

“His mistress, Truth, shall mount her black steed, the veil of allegory drawn across her brow.

“Let her shoot from beneath her eyelashes a hundred glances, challenging and victorious.

“Let the poet place upon her fingers the jewels of the art of many hues, adorn her with the sandal-wood and the saffron of metaphor;

“The bells of alliteration like bangles upon her feet, and on her bosom the necklace of a mysterious rhythm.

“Add to these the hidden meaning, like eyes half seen through their lashes, that her whole body may be a perfect mystery.”—_“Translation of the Kilidi Afghani,” by T. C. Plowden._

I fear the outcome of these directions is too often “amphora coepit institui, currente rota cur urceus exit,” and perhaps the advice of Horace may be the better of the two—“denique sit, quod vis, simplex dumtaxat et unum.”

Footnote 15:

_Cantique des Cantiques._

TRANSCRIBER’S NOTES

● Typos fixed; non-standard spelling and dialect retained. ● Used numbers for footnotes, placing them all at the end of the last chapter. ● Enclosed italics font in _underscores_.