2:17,wheretheAuthorizedVersion(KJV)oftheEnglishBiblereadsasfollows:‘Untilthedaybreak
andtheshadowsfleeaway,turn,mybeloved,andbethoulikearoeorayounghartuponthemoun-
tainsofBether.’TheHebrewpassagedoesnotsuggestanAlbascene,accordingtoHatto,whodraws
uponJ.B.Segal’schapteronHebrewintheEosvolume,arguingthattheHebrewpassageconcernsthe
fallingofnight(thetimewhentheshadowsflee)becausethewordshelrepresentsshadowsthatpro-
tectfromsunlight,notshadowsofthedark(pp.206–7andn.37).See,however,thecontraryviewof
ArielandChanaBloch,inTheSongofSongs:ANewTranslation,p.157,whodoarguethattheHebrew
readsasadawnscene.ThiswouldmeanthattheAlbascenecouldhaverootsinMediterranean
mythopoetics,possiblyspreadthroughtheinfluenceofHellenism.(^15) Hatto,ed.Eos:AnInquiry,whereWoledge’scontribution,‘OldProvençalandOldFrench’,appearson
pp.344–89.
(^16) LewisandStern,‘Arabic’,inEos,ed.Hatto,pp.216–17.
(^17) Ibid.,p.230.Ihavefollowedtheirtranslation,onlyintroducingsuggestionsinbrackets.
(^18) Thedawnhascomewhenthereisenoughlighttodistinguishawhitefromablackthread.
(^19) EmpaytazdeCroome,Albor:MediaevalandRenaissanceDawn-SongsintheIberianPeninsula,pp.6–7.
(^20) Wickens,‘Persian’,inEos,ed.Hatto,p.244.
(^21) Avariantreadinghasin‘āmrā,whichseemspreferable.
(^22) Avariantreadinghasnihādan‘udhr-i...
(^23) Wickens,‘Persian’,inEos,ed.Hatto,pp.246–7.
(^24) QuotedinEmpaytazdeCroome,Albor,p.6,withoutspecificattributiontotheparticularworkofde
Riquierinwhichthenotioniselaborated.However,itcomesfromMartíndeRiquer,LasAlbasproven-
zales,Introduccíon,textosyversioncastellana,p.12,wherehearguesthatthereligiousAlbapoemsdevel-
opedoutofthecontra-Alba,wherethedawnisdesired.
(^25) Shapiro,‘TheFigureoftheWatchmanintheMedievalAlba’,pp.607–39,citingpp.619–19.
(^26) C.-H.deFouchécour,LaDescriptiondelanaturedanslapoésielyriquepersaneduXIemesiècle.
(^27) Onwhich,seeRasūlī,‘Ṣabā’,pp.915–16.
(^28) JulieScottMeisami,‘TheWorld’sPleasance:Ḥāfiẓ’sAllegoricalGardens’andalsoher‘Allegorical
GardensinthePersianPoeticTradition:Nezami,Rumi,Hafez’.
(^29) Forexample,herTheHandlingofAb/waterinFarrukhi,HafizandTalib.
(^30) Lewis,‘Hafez.viii.HafezandRendi’,and‘Hafez.ix.HafezandMusic’,EIr,XI,pp.483–91and491–8.
(^31) TheGhazalsofḤāfiẓ:ConcordanceandVocabulary.
(^32) Oftheirmanyrelevantworks,see,forexample,SuzanneP.Stetkevych,‘StructuralistInterpretations
ofPre-IslamicPoetry:CritiqueandNewDirections’,pp.98–9;andJaroslavStetkevych,TheZephyrsof
Najd:ThePoeticsofNostalgiaintheClassicalArabicNasīb.
(^33) Ḥusayn-‘AlīMallāḥ,Ḥāfiẓvamūsīqī,p.8,n.3.
(^34) ḤusyanibnMuḥammadibnMaḥmūd-iSīstānī,Iḥyāal-mulūk:shāmil-itārīkh-iSīstānazadvār-ibāstānītā
sāl-ihizārvabīstvahasht-ihijrīqamarī,p.10andn.2.SeealsoBāstānīPārīzī,‘Ḥāfiẓ-ichandīnhunar’,
pp.10–11.
(^35) SeevandenBerg,MinstrelPoetryfromthePamirMountains,p.32.
(^36) Khurramshāhī,Ḥāfiẓ-nāma,I,p.149.
(^37) Thesameideaisreiteratedinghazal209.
(^38) Khurramshāhī,Ḥāfiẓ-nāma,pp.118–20.
(^39) Recallthepoemofal-WalīdII,citedinthebeginning,whichendswiththisverb:wa’llāhu‘annibi-
ḥusnil-fi‘liyajzī-hā.
(^40) Saḥargahrahruvīdarsar-zamīnī/hamīguftīnmu’ammābāqarīnī(474:1).
(^41) Du‘ā-yi ṣubḥ u āh-i shab kilīd-i ganj-i maqṣūd-ast / bi-dīn rāh u ravish mīraw ki dar dildār payvandī
(431:2).
(^42) Infulfilmentofitsownhomileticjourney,thisessayheresubstitutes‘you’forwhatthepoethas
writtenas‘they’.
Ḥāfiẓ’sRomanticImageryandLanguageofLove 277