The Christ's Breath is Here
Hafiz (c.1320-1389) sometimes spelled 'Hafez', says in this book, 'I am a hole in a flute that the Christ's breath moves through--listen to this music.' What an extraordinary claim that is, that my heart feels is true--for the wonder and magnificent gift of any great poet is to somehow touch our souls with God's hand--with divine music. The Gift has been considered one of the best-selling spiritual poetry books in the English language for nearly a decade now. It's showing all the signs of becoming a lasting, well-deserved classic. In these brilliant, deeply tender, witty and full-hearted renderings, Ladinsky releases the true spirit of this most beloved Persian poet and spiritual teacher and makes him fully accessible to our times. Hafiz has influenced and nourished many writers, poets and scholars through the centuries, including Nietzsche, Byron, Hugo, Lorca, Goethe and Emerson. If you're interested in knowing more about some of these eminent poets own words about translation/renderings, please read on, below, following some of these shorter gems from THE GIFT..... THE SUN NEVER SAYS: Even after all this time the sun never says to the earth, 'You owe me.' Look what happens with a love like that, it lights the whole sky. THE SCENT OF LIGHT: Like a great starving beast my body is quivering, fixed on the scent of Light. YOU'RE IT: God, disguised as a myriad things and playing a game of tag, has kissed you and said 'You're it --- I mean you're Really IT! Now it does not matter what you believe or feel, for something wonderful, major-league wonderful, is someday going to happen. I HAVE LEARNED SO MUCH: I have learned so much from God that I can no longer call myself a Christian, a Hindu, a Muslim, a Buddhist, a Jew. The Truth has shared so much of Itself with my heart that I can no longer think of myself as a man, a woman, an angel or even pure soul. Reality has befriended me so deeply -- it has freed my mind of every concept and image I have ever known. For those interested in the conversation that goes back and forth about the legitimacy of renderings and translations of Hafiz, this may be helpful information: Professor R. A. Nicholson's scholarly work with Hafiz in the late 1800's and later, that of Professor A.J. Arberry, have long been considered the gold standard of Hafiz's literal translations in to the English language. In a 1948 review of Arberry's translations, Harvard Professor of Near Eastern Studies, Eric Schroeder, praises Arberry's work and agrees with him about the difficulty of presenting this greatest Persian poet to English speaking minds. 'For Hafiz' beautiful verbal surface is too complex to retain the felicity of poetry when fully rendered into English. The acoustic structure of English equivalents, it is superfluous to say, could never echo the flawless music of the Persian words.' Schroeder's review states too, 'The only service of translation is to make the foreign poet a poet of one's own country.' Goethe translated Hafiz and said of him...'Hafiz had no peer!' Of the task of translating, Goethe says, 'I revere the rhythm as well as the rhyme, by which poetry first becomes poetry but that which is really, deeply and fundamentally effective--what is really permanent and furthering--is what remains of the poet when he is translated into prose... I therefore consider prose translations more advantageous than poetical ones... Those critical translations that vie with the original seem really to be only for the private delectation of the learned.' Emerson too rendered Hafiz, about whom he stated, 'He fears nothing. He sees too far he sees throughout such is the only man I wish to see and be.' Emerson's translations were both free renderings and translations all made from German sources, for he did not read or speak Persian with any fluency. Contemporary poet/translator Kenneth Rexroth states, 'The writer who can project himself into the exultation of another learns more than the craft of words, he lear
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