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The first edition of Gertrude Bells Sharh Ghazaliyyat Hafez (Poems from Hafezs Diwan), which included (Studies and Selections from Sharh Hafezs Ghazaliyyat, in addition to explanations and notes), appeared in 1897.
It was praised by the Orientalist specialist in the history of Persian literature, Edward Brown, describing it as (the best English work on This Persian poet, Bell's translation is real poetry of a very fine style, and with the exception of Fitzgerald's paraphrase of Omar Khayyam's Rubaiyat, it is arguably the best in terms of performance, and the most poetic translation among the explanations of Hafez's ghazals of all Persian poets that have ever been translated into English.
) (Persian literature under the rule of the Tatars) p.
303.
Attention has been paid to explaining Hafez's ghazals of the book in the West recently in the context of the new review of the cultural legacy of this Persian poet and its impact on the human civilizational heritage.
In his poetry and his life, among these editions are the Franklin Foundation edition 2018) and the edition of Dover Publications New York titled 2012.
The importance of explaining Hafezs ghazals lies in the fact that it sheds a different light on Hafezs poetry, and the anthology itself depends on different narrations from the versions of Hafezs collection known as Explanation of Hafezs Ghazals Originally circulated in Persian, not to mention her Arabic translations, this researcher who used to dig in the world of archeology and manuscripts, as she used to travel in the regions of the East and the ruins of its dead cities, and the worlds of its living cities, was allowed to turn over the hidden texts, whether in anonymous blogs, buried manuscripts or publications, And to have in her possession a precious treasure of rare manuscripts of the poems explaining Hafezs Ghazals, in addition to some printed works in various languages, including several copies of rare manuscripts from Hafezs Diwan.
Including the popular editions, in addition to the Turkish edition (with a Sude explanation) and the Burkhaus edition in Leipzig in 1854 and the Persian text published by (Rosentsweig Schwanau) with its German translation.
(Muhammad Klindam) is the one from whom the copies of Hafezs Diwan were copied, in addition to the German translations.
) And he adopted the Tehran version of Abd al-Rahim Khalkhali, known as the Khalkhali version.
The second is a translation of his book, which was recently issued by the Syrian Book Authority, with the translation of Ali Abbas Zulekha.
Which was adopted by the investigation of Muhammad Qazwini and Qasim Ghani, or what is known as the copy of Mashhad or the copy of Qazwini.
And I found many clear differences and additions in poems, and verses, in the poems translated by (Bell), which makes her book contain additions that may not even be found in the many Persian editions of Hafez's Divan.
Bell was really a forerunner in unveiling the veiled and omitted ones from Hafezs poetry and the prevailing interpretations, until now, of the nature of his poetry and his experience, and after a century, the symbols of modernity in Iran were guided by that early ijtihad, so he wrote (Ahmed Shamlou) in his introduction to Hafezs Diwan , which simulates this idea, as well as what the Iranian director (Abbas Kiarostami) did, guided by that early and intelligent detection, to write his selections from Hafezs poetry, weighting the daily sensory feature in Hafezs poetry based on this idea.
It was praised by the Orientalist specialist in the history of Persian literature, Edward Brown, describing it as (the best English work on This Persian poet, Bell's translation is real poetry of a very fine style, and with the exception of Fitzgerald's paraphrase of Omar Khayyam's Rubaiyat, it is arguably the best in terms of performance, and the most poetic translation among the explanations of Hafez's ghazals of all Persian poets that have ever been translated into English.
) (Persian literature under the rule of the Tatars) p.
303.
Attention has been paid to explaining Hafez's ghazals of the book in the West recently in the context of the new review of the cultural legacy of this Persian poet and its impact on the human civilizational heritage.
In his poetry and his life, among these editions are the Franklin Foundation edition 2018) and the edition of Dover Publications New York titled 2012.
The importance of explaining Hafezs ghazals lies in the fact that it sheds a different light on Hafezs poetry, and the anthology itself depends on different narrations from the versions of Hafezs collection known as Explanation of Hafezs Ghazals Originally circulated in Persian, not to mention her Arabic translations, this researcher who used to dig in the world of archeology and manuscripts, as she used to travel in the regions of the East and the ruins of its dead cities, and the worlds of its living cities, was allowed to turn over the hidden texts, whether in anonymous blogs, buried manuscripts or publications, And to have in her possession a precious treasure of rare manuscripts of the poems explaining Hafezs Ghazals, in addition to some printed works in various languages, including several copies of rare manuscripts from Hafezs Diwan.
Including the popular editions, in addition to the Turkish edition (with a Sude explanation) and the Burkhaus edition in Leipzig in 1854 and the Persian text published by (Rosentsweig Schwanau) with its German translation.
(Muhammad Klindam) is the one from whom the copies of Hafezs Diwan were copied, in addition to the German translations.
) And he adopted the Tehran version of Abd al-Rahim Khalkhali, known as the Khalkhali version.
The second is a translation of his book, which was recently issued by the Syrian Book Authority, with the translation of Ali Abbas Zulekha.
Which was adopted by the investigation of Muhammad Qazwini and Qasim Ghani, or what is known as the copy of Mashhad or the copy of Qazwini.
And I found many clear differences and additions in poems, and verses, in the poems translated by (Bell), which makes her book contain additions that may not even be found in the many Persian editions of Hafez's Divan.
Bell was really a forerunner in unveiling the veiled and omitted ones from Hafezs poetry and the prevailing interpretations, until now, of the nature of his poetry and his experience, and after a century, the symbols of modernity in Iran were guided by that early ijtihad, so he wrote (Ahmed Shamlou) in his introduction to Hafezs Diwan , which simulates this idea, as well as what the Iranian director (Abbas Kiarostami) did, guided by that early and intelligent detection, to write his selections from Hafezs poetry, weighting the daily sensory feature in Hafezs poetry based on this idea.
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