62
(^176) See Khurramshāhī’s discussion of the range of Ḥāfiẓ’s poems composed during the reign of Shaykh
Abū Isḥāq (Ḥāfiẓ-nāma, I, pp. 754–6), and the references given there.
(^177) Dīvān-iḤāfiẓ, ed. Khānlarī, II, pp. 1034–7.
(^178) Khurramshāhī,Ḥāfiẓ-nāma, I, p. 644.Dīvān-iḤāfiẓ, ed. Khānlarī,ghazal164: 1–2.
(^179) Schimmel, ‘Ḥāfiẓ and His Contemporaries’, p. 934.
(^180) Cited by Khurramshāhī,Ḥāfiẓ-nāma, I, p. 644.
(^181) For instance, Ghanī (Baḥthdarāthār, I, p. 101–3) speculates thatghazal162 (Dīvān-iḤāfiẓ, ed. Khānlarī)
was written around 743/1343, right after the accession of Abū Isḥāq Īnjū, but Haravī (Sharḥ-ighazalhā-
yi Ḥāfiẓ, II, p. 713) thinks that theghazalwas inspired by the poet’s fear of Tamerlane, while
Khurramshāhī (Ḥāfiẓ-nāma, I, p. 638), momentarily kowtowing to Ghanī’s theory, sees nothing politi-
cal in it at all, writing, ‘from head to toe this whole poem is surcharged with mystical gratitude and
delight’.
(^182) MeasureforMeasure, III.ii.215–24. The Duke’s quip to Escalus.
(^183) Cf. Cicero’s frequently cited phrase, ‘O tempora, O mores’, which Shakepeare versified in his excla-
mation: ‘it is a strange-disposèd time...’ (JuliusCaesar, I.iii.33).
(^184) ‘This day and age are an era when discourse [of Sufism] has become utterly masked behind the veil,
when impostors pretend to be representatives of genuine spirituality and mimic the adepts of the
heart’.Tadhkiratal-awliyā’, ed. Isti‘lāmī, p. 8.
(^185) Yeats’ poem, from ‘The Curse of Cromwell’.
(^186) Dīvān-iḤāfiẓ, ed. Khānlarī,ghazal11: 10. ‘This verse by the Master of the Poets Khwāja Ḥāfiẓ’, stated
Samarqandī (Maṭla‘-isa‘dayn, Part 1, p. 265), ‘offers sufficient praise of Ḥajjī Qawām’s stature’. For fur-
ther discussion of Ḥāfiẓ and Ḥajjī Qawām, see Zarrīnkūb,Azkūcha-irindān, pp. 24–5; Stockland, ‘The
Kitab-iSamak‘Ayyar,Persica, XV (1993–5), p. 161.
(^187) Rawḍatal-ṣafā, ed. Zaryāb, II, p. 749.
(^188) Dīvān-iḤāfiẓ, ed. Khānlarī, vol. II, pp. 1031–40.
(^189) Ibid., vol. II, p. 1033, vv. 36–7.
(^190) Cf.Ibid.,ghazal203: 7 (Rāstīkhātim-ifīrzūza-yibūishāqī/khwushdarakhshīd,valīdawlat-imosta‘jilbūd, on
which see Khurramshāhī,Ḥāfiẓ-nāma, I, pp. 754–9; Zarrīnkūb,Azkūcha-irindān, pp. 27–8).
(^191) Contrary to what Zarrīnkūb speculates, asserting that Ḥāfiẓ ‘was like a courtier at his court’ (Azkūcha-
irindān, pp. 27 and 31).
(^192) The author here paraphrases a verse by Ḥāfiẓ (Dīvān-iḤāfiẓ, ed. Khānlarī,ghazal197: 6), composed
during Mubāriz al-Dīn’s reign: ‘They have bolted up all the doors of the Taverns. Great God! Let them
not leave open the House of Deceit and Hypocrisy!’ This verse belongs to one of some 15 to 20ghazals
composed by Ḥāfiẓ in protest against the fundamentalist Islamist regime of Mubāriz al-Dīn, as Qāsim
Ghanī (Baḥth, I, p. 216) points out. Zarrīnkūb’s own turn of phrase was directly borrowed from
Ghanī’s,ibid., p. 214.
(^193) Ghanī’sBaḥth, I, p. 214. TheMuḥtasibwas a special vice-squad police officer concerned with control-
ling matters of public morality, particularly the prevention of wine-drinking. Ḥāfiẓ’s ironic mockery
of the sere and grave man who acts like ‘a ruler in the gatherings of fair beauties by day and by night
commands the vice squad (muḥtasib) in drinking wine’ (Nāṣir-i Khusraw) is a stock topos in Persian
poetry. See Dihkhudā,Lughat-nāma, XII, pp. 17978–9, s.v.muḥtasib.
(^194) Dīvān-iḤāfiẓ, ed. Khānlarī,ghazal42: 1. This verse is cited by Mīrkhwand in his history of the period
Rawḍatal-ṣafā, ed. Zaryāb, II, p. 744; and also mentioned by Samarqandī,Maṭla‘-isa‘dayn, Part 1, pp.
269–70, as having been composed in protest by Ḥāfiẓ to this ruler.
(^195) Khurramshāhī,Ḥāfiẓ-nāma, I, pp. 735–6; Barzigar-Khāliqī,Shakh-inabāt-iḤāfiẓ, p. 503.
(^196) Dīvān-iḤāfiẓ, ed. Qazwīnī and Ghanī,ghazal202: 1. For otherghazals referring to this Islamist dictator,
see Ghanī’sBaḥth, I, pp. 215–17.
(^197) Zarrīnkūb,Azkūcha-irindān, p. 51.
(^198) Ibid., p. 51.
(^199) Ghanī’sBaḥthdarāthār, I, p. 219.
(^200) Rawḍatal-ṣafā, II, p. 746.
ḤāfiẓandtheReligionofLoveinClassicalPersianPoetry