The pârsi has not accepted any words from foreign languages and differs little from the language of Firdusi, of the greatest Persian epic poet who lived around the thousand of the vernacular era, who can be considered as the first who with an immortal work, as Dante did for the Italians, has honored the language of Persia of his From then on the Persian went more and more corrupting with accepting Arabic words; and nowadays in the works of modern Persian writers it is nothing but a jargon, of which two thirds are Arabic, while the language has been preserved much purer in the countryside and in the villages, where it is not uncommon to meet some good farmer who in his pure Persian dialect, which by some was 17.)

…I suspect that I can attribute my style to Arabic poetry…I permit myself to be overtly poetical in my writing. Maybe because I grew up in a culture that values poetry more than anything…But having said that, not all the writing is lyrical. It fluctuates to social realism sometimes, to different influences.

Thus, almost everything is imitation. The idea of The Persian Letters was taken from The Turkish Spy. Boiardo imitated Pulci, Ariosto imitated Boiardo. The most original minds borrowed from one another. Miguel de Cervantes makes his Don Quixote a fool; but pray is Orlando any other? It would puzzle one to decide whether knight errantry has been made more ridiculous by the grotesque painting of Cervantes, than by the luxuriant imagination of Ariosto. Metastasio has taken the greatest part of his operas from our French tragedies. Several English writers have copied us without saying one word of the matter. It is with books as with the fire in our hearths; we go to a neighbor to get the embers and light it when we return home, pass it on to others, and it belongs to everyone

Its highest degree of eloquence, which is beyond the capacity of a human being. However, since we come after the first Arabs we are unable to reach its essence. But the measure which we know is that the employment of lucid words and sweet constructions gracefully and without affectation that we find in the Tremendous Qur’an is to be found nowhere else in any of the poetry of the earlier or later peoples.

If not even the Arabs, the Muslims all, of whatever nation they were, had the pride in the Middle Ages of finesse and splendor in life, of skill sought in everything that touches pomp and luxury, from the fantastically crafted palaces to the most delicate essences and scents, of all costs they owe to the Persians from whom they took it and appropriated Even the science that came to us from Asia in the Middle Ages, in great part was Persian; and Persians are almost all philosophers, doctors, astronomers, mathematicians, whose names we read in the pages of our middle age, such as Agazel and Alrasi, Albatenio, Avicenna, Alfarabi. They wrote their works in Arabic, this being the learned language of the Muslim empire; and we therefore, with manifest error, called them Arabs and yet we consider them to be so.

The intellectual decline of the Muslims was hastened by the peculiar position of the faithful in India: They had made India their permanent home; many of them were Indians by race; and all had become so in their personal appearance, thoughts, manners and customs. And yet their religious teachers urged them to look back to ancient Arabia and draw their mental sustenance from the far-off age of the Prophet. The language of their religion must be Arabic, which not one in a hundred fully understood ; their cultural language was Persian, which a few more learnt with difficulty and used with an impurity that excited the laughter and acorn of the Persian born. The greatest Indo-Persian poet was Amir Khusrau, but even he was ranked with third-class poets among the natives of Persia. Faizi, our second best, was held to be still inferior. Witness the scorn poured by Babur and Shaikh Ali Hazin alike on the Persian style of the Indian Muslims.

David Margoliouth warned us not to be too credulous about the authenticity of so-called pre-Islamic poetry. Two of his principal arguments were the probity, or rather the lack of probity, of the earliest compilers and editors of pre-Islamic poetry, and the fact that many putative pre-Islamic poems contained words, phrases, and religious concepts derived from the Koran, even though the authors had died long before the Koran can have been said to exist.

[...] was peculiar Persian doctrine that of Sufism, a doctrine more philosophical than religious, more mystical than devout and believing, pantheistic, although in words he professed monotheism and used the terms of the Koran, atheistic and skeptical in substance, although he professed the most ardent and eviscerated divine And, really strange thing! This gloomy doctrine that longed for the annihilation of the individual being in the universal Being, assumed the most splendid and dazzling poetic form that makes the Persian lyric, even with many nonsense and fainting, an inimitable jewel!

Yiddish was particularly good at borrowing: from Arabic, from Hebrew-Aramaic, from anything which came its way. On the other hand it contributed: to Hebrew, to English-American. Its chief virtue, however, lay in its internal subtlety, particularly in its characterization of human types and emotions.62 It was the language of street wisdom, of the clever underdog; of pathos, resignation, suffering, which it palliated by humour, intense irony and superstition. Isaac Bashevis Singer, its greatest practitioner, pointed out that it is the only language never spoken by men in power.

Khamenei is not the first ruler of Iran with whom poets have run into trouble. For some 12 centuries poetry has been the Iranian people’s principal medium of expression. Iran may be the only country where not a single home is found without at least one book of poems. Initially, Persian poets had a hard time to define their place in society. The newly converted Islamic rulers suspected the poets of trying to revive the Zoroastrian faith to undermine the new religion. Clerics saw poets as people who wished to keep the Persian language alive and thus sabotage the ascent of Arabic as the new lingua franca. Without the early Persian poets, Iranians might have ended up like so many other nations in the Middle East who lost their native languages and became Arabic speakers. Early on, Persian poets developed a strategy to check the ardor of the rulers and the mullahs. They started every qasida with praise to God and Prophet followed by panegyric for the ruler of the day. Once those “obligations” were out of the way they would move on to the real themes of the poems they wished to compose. Everyone knew that there was some trick involved but everyone accepted the result because it was good. Despite that modus vivendi some poets did end up in prison or in exile while many others spent their lives in hardship if not poverty. However, poets were never put to the sword. The Khomeinist regime is the first in Iran’s history to have executed so many poets. Implicitly or explicitly, some rulers made it clear what the poet couldn’t write. But none ever dreamt of telling the poet what he should write. Khamenei is the first to try to dictate to poets, accusing them of “crime” and” betrayal” if they ignored his injunctions.

English. I believe the ultimate gauge of success is this: Does the text free the reader? Does it contribute to our physical and emotional health? Does it put “golden tools” into our hands that can help excavate the Beloved whom we and society have buried so deep inside? Persian poets of Hafiz’s era would often address themselves in their poems, making the poem an intimate conversation. This was also a method of “signing” the poem, as one might sign a letter to a friend, or a painting. It should also be noted that sometimes Hafiz speaks as a seeker, other times as a master and guide. Hafiz also has a unique vocabulary of names for God — as one might have endearing pet names for one’s own family members. To Hafiz, God is more than just the Father, the Mother, the Infinite, or a Being beyond comprehension. Hafiz gives God a vast range of names, such as Sweet Uncle, the Generous Merchant, the Problem Giver, the Problem Solver, the Friend, the Beloved. The words Ocean, Sky, Sun, Moon, and Love, among others, when capitalized in these poems, can sometimes be synonyms for God, as it is a Hafiz trait to offer these poems to many levels of interpretation simultaneously. To Hafiz, God is Someone we can meet, enter, and eternally explore.

None of them was able to compose even a few sentences to match the Qurānic verses. Just think that they were a people who according to ‘Allāmah Jurjāni, could never resist ridiculing the idea in their poetry if they heard that there was someone at the other end of the globe who prided himself on his eloquence and rhetorical speech. It is unthinkable that they could keep quiet even after such repeated challenges and dare not come forward… They had left no stone unturned for persecuting the Prophet. They tortured him, called him insane, sorcerer, poet and sooth-sayer, but failed utterly in composing even a few sentences like the Qurānic verses.

The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand … We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.

Iraqi became a work of art before producing works of art. If he sang the love of God in verses of great beauty, it is because his soul had itself become a song of God, a melody in harmony with, and a strain of, the music issuing from the abode of the Beloved. Iraqi was a gnostic who spoke in the language of love. For him, as for Sufism in general, love is not juxtaposed to knowledge. It is realized knowledge. The Truth, which is like a crystal or a shining star in the mind, becomes wine when it is lived and realized. It inundates the whole of man‘s being, plucking the roots of his profane consciousness from this world of impermanence and bringing about an inebriation that must of necessity result from the contact between the soul of man and the infinite world of the Spirit. But Iraqi was a Sufi gifted particularly in expressing the „mysteries of Union“ in the language of love. (p. xi)