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This identification is also found in mystical commentary on this verse in Ḥāfiẓ’s Dīvān by Abū’l-Ḥasan Khatmī Lāhūrī, Sharḥ-i ‘irfānī-yi ghazalhā-yi-i Ḥāfiẓ, ed. Khurramshāhī et al., II, p. 1049. According to the word of the Prophet, ‘God created Adam and theophanised [fatajallī] Himself within him’. Rāzi, Mirṣād, p. 316; The Path, trans. Algar, p. 310. It is considered a sin to gaze at a forbidden object. In itself, the existence of such a concept shows the importance of gazing as an act in Islamic culture. Lāhūrī in his commentary (Sharḥ-i ‘irfānī, II, p. 1049), citing the Ḥadīth-i qudsī, ‘Man is a mystery and I [God] am that mystery [Aḥādīth-i Mathnawī, p. 62]’, considers this ‘secret’ as being the heart of Adam/Man which encompasses both the temporal macrocosm and the spiritual microcosm. Thus, the related verbal form ḥafaẓa also means ‘to protect’. Thus, Gilbert Lazard speaks of the ‘pervading mystery’ of the ghazal genre in his ‘Le langage symbolique du ghazal’, pp. 60–71. Arberry, ‘Orient Pearls at Random Strung’, pp. 699–712. Translation by Bly and Lewisohn, Angels, p. 57; Dīvān-i Ḥāfiẓ, ed. Khānlarī, ghazal 107: 2. Savāniḥ, ed. Ritter, p. 5. Ibid., p. 58 (faṣl 37–8). Dīvān-i Ḥāfiẓ, ed. Khānlarī, ghazals 2: 6; 30: 3; 107: 6; 115: 9; 237: 5; 337: 5; 414: 5; 485: 1. Cf. Shabistarī’s Gulshan-i rāz, vv. 717–19, in Muwaḥḥid (ed.), Majmū‘a-i āthār-i Shaykh Maḥmūd Shabistarī, p. 97. Cf. Lāhūrī, Sharḥ-i ‘irfānī, II, p. 1053. Manṭiq al-ṭayr, ed. Gawharīn, p. 187, v. 3347. The term ghazal (the fifth form of the verb taghazzala) literally means both to ‘express the sorrow of love’, and in Arabic poetry denotes an amatory elegy or song of love composed for a woman. See Blachère, ‘Ghazal’, EI2, II, pp. 1028–33. Anatomy of Criticism, p. 281. See Wickens, ‘The Frozen Periphery of Allusion in Classical Persian Literature’, pp. 171–90. ‘For the greatest sin of the lover is ifshā’ as-sirr, divulgence of the secret. … Persian poets have therefore woven a veil of symbols in order to point to and at the same time hide the secret of love, longing and union.’ Schimmel, As Through a Veil, p. 73. Translation by Leonard Lewisohn; Dīvān-i Ḥāfiẓ, ed. Sāyeh, ghazal 353; ed. Khānlarī, ghazal 355: 4. Dīvān-i Ḥāfiẓ, ed. Khānlarī, ghazal 249: 4. The whole verse is ‘If others get joy and cheer from pleasures and delights / The source of all joy for us lies in pining with grief for the beloved’ (Gar dīgarān bi ‘aysh u ṭarab khurramand u shād / Mā rā gham-i nigār buvad māyih-yi surūr). For a good discussion of Ḥāfiẓ’s preference of love’s grief (gham) over joy, see Khurramshāhī, Ḥāfiẓ-nāma, I, pp. 606–7.