Product Description

An extraordinary new translation of the world-renowned mystic poet Hafiz.

More than any other Persian poet--even Rumi--Hafiz expanded the mystical, healing dimensions of poetry. Because his poems were often ecstatic love songs from God to his beloved world, many have called Hafiz the "Invisible Tongue." Indeed, Daniel Ladinsky, the accomplished translator of this volume, has said that his work with Hafiz is an attempt to do the impossible: to translate Light into words--to make the Luminous Resonance of God tangible to our finite senses.

With this stunning collection of 250 of Hafiz's most intimate poems, Ladinsky has succeeded brilliantly in translating the essence of one of Islam's greatest poetic and religious voices. Each line of The Gift imparts the wonderful qualities of this master Sufi poet and spiritual teacher: encouragement, an audacious love that touches lives, profound knowledge, generosity, and a sweet, playful genius unparalleled in world literature.

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Product Details

• Amazon Sales Rank: #18812 in Books
• Published on: 1999-08-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 333 pages

Features

• ISBN13: 9780140195811
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Amazon.com Review
Hafiz, a secret Sufi, came to prominence in his day as a writer of love poems. That love transformed into an all-consuming passion for union with the divine. In The Gift, Daniel Ladinsky bestows on us the impassioned yet whimsical strains of Hafiz's ecstasy. Never forced or awkward, Ladinsky's Hafiz whispers in your ear and pounds in your chest, naming God in a hundred metaphors.

I once asked a bird,
"How is it that you fly in this gravity
Of darkness?"
She responded,
"Love lifts
Me."

Like Fitzgerald's version of Khayyam's Rubaiyat, the language of The Gift strikes a contemporary chord, resonating in the reader's mind and then in the heart. Ladinsky's language is plain, fresh, playful--dancing with an expert cadence that invites and surprises. If it is true, as Hafiz says, that a poet is someone who can pour light into a cup, reading Ladinsky's Hafiz is like gulping down the sun. --Brian Bruya

From Booklist
Less well known in the U.S. than his Sufi predecessor, Rumi, Hafiz (Shams-ud-din Muhammad) is also worthy of attention, and Ladinsky's free translations should help see that he gets it. Hafiz is so beloved in Iran that he outsells the Koran. Many know his verses by heart and recite them with gusto. And gusto is appropriate to this passionate, earthy poet who melds mind, spirit, and body in each of his usually brief pensees. Ladinsky has deliberately chosen a loose and colloquial tone for this collection, which might grate on the nerves of purists but makes Hafiz come vividly alive for the average reader. "You carry / All the ingredients / To turn your life into a nightmare--/ Don't mix them!" he advises, and "Bottom line: / Do not stop playing / These beautiful / Love / Games." Nothing is too human for Hafiz to celebrate, for in humanity he finds the prospect of God. In everything from housework to lovemaking, he celebrates the spiritual possibilities of life. A fine and stirring new presentation of one of the world's great poets. Patricia Monaghan

From Kirkus Reviews
The Gift ($13.95 paperback original; Aug.; 326 pp.; 0-14-019581-5): A worthy companion volume to Coleman Bankss new translation of Rumi (The Glance, see below). It collects 250 poems written by Muhammad Hafiz (132089), the most popular and highly revered poet in Persian history, and renders them into a fresh translation from the Farsi. Like Rumi, Hafiz writes out of the Sufi tradition, and his work bears the Sufi hallmarks of ecstatic spirituality conveyed at once through lush imagery and verbal restraint. His fabulistic, almost didactic style can sound a bit flat at times (How / Do I / Listen to others? / As if everyone were my Master / Speaking to me / His / Last / Words), but there is a religious intensity in his work that is equally fresh and naive (When no one is looking and I want / To kiss / God / I just lift my own hand / To / My / Mouth) and quite unlike anything found in the Western tradition (though modern minimalists such as Robert Lax come close). A fine preface by Ladinsky and an excellent introduction by Henry S. Mindlin. -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.

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Customer Reviews

Lovely--but is it Hafiz?
Hafiz has long been one of my favorite poets. I first discovered him when I was in college via Goethe and Ralph Waldo Emerson, and I've been readng his poems ever since. Since I am (alas!) without Parsi, I'm unable to read Hafiz in the original, and must rely upon the kindness of translators.

Daniel Ladinsky has done an interesting job of rendering Hafiz's verse into English. Ladinsky has an ear for rhythm and he strikes me as an individual with deep spiritual sensibilities. When he renders one of Hafiz's couplets as "The body a tree./God a wind", one senses that there's more going into this translation than just philological expertise. Landinsky, like Hafiz, is a mystic.

That spiritual bond with Hafiz, as well as a shared joy in the sheer vitality of creation, makes Landinsky's renderings light-hearted, in the sense that they shimmer with what Hafiz would call God's Light. Some of my favorite examples: "Whenever/God lays His glance/Life starts/Clapping"; "What is the beginning of/Happiness?/It is to stop being/So religious"; "All the talents of God are within you./How could this be otherwise/When your soul/Derived from His/Genes!"

But while I can appreciate the lyrical way in which Ladinsky trys to express Hafiz's insights, I do wonder about the reliability of the translations. They're loaded with modernisms that are somewhat grating after a while: we're derived from God's "genes," the sun is "in drag," characters in the poems "dig potatoes," the soul visits a "summer camp." Moreover, many of the renderings make Hafiz sound suspiciously like a Zen master throwing out koans (an obvious example of this is the poem Ladinsky titles ""Two Giant Fat People".) To his credit, Landinsky freely admits in his translator's preface that he's "taken the liberty to play a few of [Hafiz's] lines through a late-night jazz sax instead of from a morning temple drum or lyre." But he's unapologetic, claiming that the translator's job is to help Hafiz's spirit "come across" to the Parsi-less reader, and that this demands a free rendering.

I'm not so sure. This attitude strikes me as rather patronizing to the reader and disloyal to Hafiz himself. So my bottom line is this: Ladinsky's book is a good read on both poetical and spiritual grounds. But I'm forever left in doubt as to whether I'm reading Ladinsky or Hafiz.

My Portrait of Hafiz
I thought I might step into the middle of a blurb/reader's review war that seems active, at times, around this book.

There is an essay I wrote and published in an earlier edition of the "The Subject Tonight Is Love: Sixty Wild and Sweet Poems of Hafiz," VERSIONS by Daniel Ladinsky, that was called -- My Portrait of Hafiz, as that is what I feel my work with Hafiz really is, my unique portrait of him. A portrait based on my study of thousands of pages of stories and poems that are attributed to Hafiz. And this book "The Gift" was first offered to Penguin with the word VERSIONS on the cover rather than the word translations, for I have never claimed my work with Hafiz is a traditional -- scholarly -- translation, for how could it be for I do not know or speak Farsi (Persian) at all fluently, though at times I have worked with several translators who do know Farsi as their first language. Though once the book (The Gift) got to Penguin, that is into the hands and minds of the very literate, some there saw and knew -- as any good dictionary will tell you -- that a primary definition of the word translation is: "A written or spoken rendering, an interpretation of the significance of a work in another language..." And thus the word VERSIONS was changed to translations. Also, I feel that the deeper one gets into the study of Hafiz the less of a scholarly foundation there really is to have any intelligent debate about what he may or may not have actually said; thus all we truly have of Hafiz in ANY language is a VERSION. We unfortunately don't even know when Hafiz was actually born or when he died. No doubt there is the establishment's view of Hafiz, but I have never been one to fully trust a bunch of religious or cerebral conservatives. My great research into Hafiz has revealed, what I feel, is enough genuine DNA to reconstruct Hafiz if you will into a more astounding, brilliant man, into a more wild and vital life giving -- encompassing sun. I love these words that are attributed to Hafiz, I have found them so encouraging in trying to do justice to this world-treasured poet, those words are, "No one could ever paint a too wonderful picture of my heart or God."

I feel there are saints in this world, and I feel I have walked with one for hundreds of miles in India, and on many occasions he would listen to me recite my renderings/versions of Hafiz, as a matter of fact this teacher choreographed my coming to work with the poems of Hafiz. And if this man had not sanctioned me in the most remarkable of ways -- not one single book of mine would ever have been published. Hafiz is not only one of Islam's greatest literary wonders, Hafiz is also one of history's most vital poet-seers. I feel I have shown the greatest of respect to his work. I have prayed hundreds of times for help to try and reveal something of Hafiz's soul & beauty.

"Hafiz has no peer." Said Goethe. And Ralph Waldo Emerson stated, "Hafiz is a poet for poets." I hope you find some REAL POETRY in some book of Hafiz, for then you will agree with Goethe and Emerson. Then, in that book, you will find a great teacher and lasting friend. And then ... you can be saved by a poem whenever you want. But remember, any verse that cannot flirt with the sublime and comfort you -- or lift the corners of your mouth with delightful humor -- has really nothing to do wtih HAFIZ. Anything mediocre about him is really fraud.

Thanks for your time here. I hope what I have written may help the review-war ebb. I hope this book aids all wars to realize the insanity of their being. With that in mind why not end with this verse I bet Hafiz might feel just fine in having his named pinned to by me.

I think this old great Persian Master and I once shared some bread together, and some magnificent wine he poured into me, that is still there and fermenting ... and caused all my words, vision, and (hopefully) sacred needed mischief. Millions have now come to hear his name through my work. This is profoundly humbling. Still though, I -- we -- should rise and dance.

"I have come into this world to see this:
The sword drop from men's hands
even at the height of their arc of anger
because we have finally realized
there is just one flesh to wound and that
is His, The Christ's -- our Beloved's."


From my Hafiz chapter, in my Penguin anthology, Love Poems from God.
By Daniel Ladinsky

A Work of Spiritual Opportunism
Living in Iran years ago, I first encountered the poet Hafiz as a beloved Iranian folk figure. I have read with pleasure and an open heart many versions of his poems, both in Persian (Farsi) and in English. It was with high expectations because of reviews that I bought this book, only to find Mr. Ladinsky's poems literally unrelated to the original Hafiz. Instead, based on his own explanation, they appear to be simply a product of his imagination. The author has no background in Iranian culture and speaks no Persian. Instead, he obviously uses the commercially successful style of Coleman Barks (of Rumi notoriety) by reading someone else's word-for-word translation and then creating new verses, the intent being to "capture the spirit" of the original. But these verses are so distant from Hafiz that one wonders how they qualify even as "renderings," an amorphous term for Mr. Barks' practice that allows the bypassing of usual literary standards.

Rendering is much less demanding intellectually than translating as well as an easier way of becoming published, and it contains a built-in literary defense mechanism (the plea of subjectivity) against criticism for poor scholarship or inauthenticity. Rendering is not new. Before the Iranian Revolution, one task of Iranian academia was the separation of authentic work of Hafiz from a mass of imitation poetry falsely attributed to him. Now comes this work that bears substantially more resemblance to the tone of Mr. Barks, its apparent stylistic model, than to Hafiz. Even giving the author the benefit of the doubt for sincere devotion and industry, this book and his other two similar works best fit into the category of "spiritual opportunism."

This phrase, "spiritual opportunism," appeared recently in a national article about several authors (Andrews, Rampa, Morgan, et al.) who have written about mystical customs (Native American, Tibetan and Australian Aboriginal) in such a way that they now are accused of appropriating other cultures' spiritual traditions, either through ignorance or for the purpose of personal gain. Mr. Ladinsky's work seems to take appropriation even further than the others. Not only does it superficially represent a spiritual tradition of a subjected foreign culture, it actually offers self-created verse as representative of a specific poet. Even though Iranians lack a voice to make their great poets known in an authentic manner within the current culture of pop spirituality, no amount of commercial success can disguise the truth that this book is a misrepresentation of the poetry of Hafiz and that it does a grave disservice to Iranian poetry and spiritual traditions.