{[Islamic Art –] The Word (2) [continued (16)]}[14th April 1991]

[Redbook9:111][19910414:1104y]{[Islamic Art –] The Word (2) [continued (16)]}[14th April 1991]

19910414:1104

[continued]

‘[In the Persian lyric poetry of Mohammed Shams od-Din Hafaz]* The different levels of experience are all expressed through the same images and symbols: the beloved is always cruel, whether a chaste virgin ** (a rare case in Persian poetry!) or a professional courtesan,*** or, as in most cases, a handsome young boy,**** or God himself,# mysterious and unattainable – or even, on the political plane, the remote despot, the wisdom of whose schemes must never be questioned by his subjects. Since mystical interpretation of the world order had become almost second nature to Persians during the 13^th century[ce],#* the human beloved could effortlessly be regarded as God’s manifestation; the rose#** became a symbol of highest divine beauty and glory; #*** the nightingale represented the yearning and complaining soul; wine, cup, #**** and cupbearer became the embodiment of enrapturing divine love. The poets’ multicoloured images were not merely decorative embroidery, but were a structural part of their thought.’##

##*

*{died 1389/90[ce]

2048J~1280[ce]|J~G~1408[ce]}

[Square brackets per ms]

**R~?

***J~?

****C (cf +C)

#F

#*{~2048J~1280[ce]}

#**☼?

#***r~↔s~?

#****?J~–G~–R~

##Same here.

##*– ibid [Encyclopaedia Britannica 22]: 57

[continued]

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