(^282) Dīvān-iḤāfiẓ, ed. Khānlarī,ghazal312: 1.
(^283) Ibid.,ghazal150: 8. The original Persian is‘Ishqushabāburindīmajmū‘amurād-ast/chūnjam‘shud
ma‘ānī,gū-ybayāntavānzad.In the above translation, ‘Unbound romance’ renders the idea ofrindī.
The termma‘ānīby way of the poetic device of amphibology (īhām) alludes to the science of ideas and
rhetoric (‘ilm-ima‘ānīvabayān) in literary theory, whilst in grammar,ma‘ānīdenotes the underlying
meanings of a poet’s ideas, withbayānsignifying ‘the clarity of speech or expression, and the faculty
by which clarity is attained’. Thus,‘ilmal-bayān(the science of expression’) is considered to be a sub-
section of the science of eloquence (‘ilmal-balāgha), andbayān(‘speech’) itself is defined as ‘whatever
lifts the veil from a concealed idea (ma‘nā)’ (Abū Ṭāhir al-Baghdādī,Qanūnal-balāgha, cited by G.E. von
Grunebaum, ‘Bayān’,EI^2 , I, p. 1114). (Also cf. Khurramshāhī,Ḥāfiẓ-nāma, I, p. 611.) Although these
grammatical and literary significations ofma‘ānīandbayānin this verse are important (contrary to
what Isti‘lāmī,Dars-iḤāfiẓ, I, pp. 444–5, argues), conveying the idea that when ideas are rightly assem-
bled one can speak finely, the meaning of the verse has little to do with such literary and rhetorical
connotations. To understand Ḥāfiẓ’s particular use of the termma‘ānī(plu. ofma‘nā) in this verse, the
philosophical meaning of the termma‘nāneeds to be understood. I have translatedma‘ānīas inner
senshere because, as Julie Scott Meisami points out, ‘The poetic use of the termsma‘nā,ma‘nawī, sug-
gests something similar to thesignificatioorsenreferred to by the medieval European poets as the
“deeper meaning” underlying the surface of the poem’ (‘Allegorical Gardens in the Persian Poetic
Traditions’, p. 259, n. 71). Thema‘ānī, which the poet states need to be assembled in order to speak
properly, are thearchetypalmeanings, oridealrealitiesorspiritualmeaningsunderlying the phenomena
of which they are mere shadows, as is elaborated by Shabistarī in theGulshan-irāz(in Muwaḥḥid, ed.,
Majmu‘a-iathar, p. 97, vv. 721–4; this passage is discussed in detail in myBeyondFaithandInfidelity, pp.
181–3). Furthermore, Ḥāfiẓ’s meaning is better comprehended once we realize that he was para-
phrasing the following two verses from Rūmī’sDīvān-iShams, which summarize the esoteric meaning
of his verse perfectly (Ḥāfiẓ’s poem is in theBaḥr-imuḍāra‘-imusaddas-iakhrabusālimmetre, whereas
Rūmī’s poem is in theBaḥr-imuḍāra‘-imusaddas-iakhrab-imakfūf-imaḥzūfmetre: they are very simi-
lar): ‘Love and loverhood and youth and things like these / Came together [to make the] Spring’s
delight and sat beside each other. // They had no form and then they came merrily into form. / That
is to say: the imaginal entities have become cast into phenomenal forms. Just look!’ (Mastīu‘āshiqīu
javāvīujins–iīn/Āmadbahār-ikhurramugashtandhamnishīn//Ṣūratnadāshtand,muṣawwarshudan
khwush/Ya‘nīmukhayyilātmuṣawwarshudehbibīn). In this sense, both poets’ verses allude to the com-
bination of what Avicenna calledintellecta(Arabic:ma‘ānī ma‘qūla:intelligible notions or abstract
ideas), which determine and cause – similar to Plato’s Ideas (cf. Rūmī,Mathnawī, ed. Nicholson, VI:
3180) – the descent of all phenomena into this sentient realm and determine their ‘formulation’ into
objects of sense (cf. Oliver Leaman, ‘Ma‘nā. 2. In Philosophy’EI^2 , VI, p. 347). As Lāhūrī (Sharḥ-i‘irfānī,
II, p. 1213) comments on the verse: ‘in love and youth is manifest both the spiritual and physical pow-
ers of man in their [best] condition, and in unbound romance [rindī] is obtained detachment from
worldly interests, and thus these three comprise the sum of the wayfarer’s desires.’ In sum, man’s
rational soul (nafs-ināṭiqa) obtains the perfection of its powers in unbound romance (rindī) and love
and youth, for these three are physical signs of the perfection of those supersensible realities
(ma‘ānī), signs that serve to ‘actualize’ all the possible objectives (majmū‘a-yimurād) of the soul, and
allow it to perfectly ‘express’ – itself that is, to become rational (= human).
(^284) But for an interesting reading of Rimbaud as a Sufi poet, however, see Adonis,SufismandSurrealism,
trans. J. Cumberbatch, pp. 193–211.
(^285) Cf. Lewis Hyde’s study ofTricksterMakestheWorld:Mischief,MythandArt, p. 13.
(^286) ‘Lines to Fanny’, in Keats,CompletePoems, p. 362.
(^287) Cited by Khurramshāhī,Ḥāfiẓ-nāma, I, p. 404. For further references and definitions ofrind, see Dhū’l-
Riyāsitayn,Farhang-i vāzhahā-yi īhāmī dar ash‘ār-i Ḥāfiẓ, pp. 222–3; F. Lewis, ‘Hafez andRendi’, pp.
483–91; Mazār‘ī,Mafhūm-irindīdarshi‘r-iḤāfiẓ, pp. 104–51.
(^288) A saying ascribed to themalāmatīmaster Ḥamdūn Qaṣṣār (d. 271/884) by Hujwīrī,Kashfal-maḥjūb, ed.
Zhukovskii, p. 74, line 2.
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