Reflection of the Seven Valleys of Attar's Journey in Hafez's First Ghazal

1.Introduction
This research investigates the reflection of Attar Neyshaburi's "Seven Valleys of the Mystic Journey" in the first ghazal of Hafez's Divan. Hafez's mysticism has always been a contentious topic in the field of mystical literature. On the other hand, Attar, particularly in Mantiq al-Tayr, methodically and systematically outlined the stages of the mystic journey. The main question of this study is how these seven valleys are reflected in Hafez's first ghazal, which is considered his mystical manifesto.
The first ghazal of Hafez's Divan, starting with "Alā yā ayyuhā al-sāqī ader ka'san wa nāwel-hā," has long attracted the attention of commentators and researchers. Due to its unique position at the beginning of the Divan and its profound mystical content, this ghazal can be key to understanding Hafez's mystical thoughts. Therefore, examining its connection to Attar's intellectual system can shed new light on Hafez's mystical philosophy.
 
2.Methodology
This research was conducted with a qualitative approach and an analytical-comparative method. Data were gathered through library research and examination of primary texts, including Hafez's Divan and Attar's works, especially Mantiq al-Tayr. Authoritative commentaries on Hafez's Divan and relevant research works were also utilized.
The methodology involved first identifying and analyzing the seven mystical valleys in Attar's Mantiq al-Tayr. Then, the first ghazal of Hafez's Divan was meticulously examined to trace signs of each valley within its verses. Finally, the similarities and differences in the two poets' approaches to the stages of the mystic journey were analyzed and explained.
1.Discussion and Analysis
The seven mystical valleys from Attar Neyshaburi's perspective are: Request (Talab), Love (Ishq), Knowledge (Ma'rifat), Detachment (Istighnā), Monism (Tawhid), Bewilderment (Hayrat), and Poverty & Annihilation (Faqr o Fanā). Examining Hafez's first ghazal reveals that these seven valleys are beautifully and artistically reflected in its seven verses.
The first verse explicitly refers to the "Valley of Request" and implicitly alludes to the seven valleys of the journey. The request to the Sāqi (cupbearer) to offer the wine cup symbolizes the seeker's request and quest to receive grace from the Beloved. The phrase "Love seemed easy at first, but difficulties arose" simultaneously points to the "Valley of Love" and the "Valley of Bewilderment," as it speaks both of love and its trials, and the bewilderment arising from the path's hardships.
In subsequent verses, Hafez more or less directly and indirectly refers to both this desire and request, and the difficulties in reaching the ultimate goal of the journey.
Verse 3 again speaks of the journey and travelling from station to station (Request), where the seeker knows and realizes that this journey and request, if based on true love for the Divine Beloved and the station of Truth, is eternal and limitless (Knowledge). This need from the seeker to the unique and self-sufficient Beloved (Detachment and Monism) leads the seeker, ultimately and after passing through infinite and wondrous stations (Bewilderment), to reach the absolute Divine Beloved (Poverty and Annihilation).
Like the previous verses, Verse 4 discusses the difficulty of reaching the Beloved and the astonishing, sometimes norm-breaking and unfamiliar-seeming instructions of the path, showing various allusions to the seven valleys.
Verse 5, describing the "dark night, fear of waves, and such a terrifying whirlpool," clearly refers to the "Valley of Bewilderment," where the seeker is immersed in a sea of perplexity and confusion.
Verse 6, stating "All my efforts, born of self-will, ended in disgrace," relates to the "Valley of Poverty and Annihilation." Here, the seeker is annihilated from selfhood and egoism, confessing to his inherent poverty.
Verse 7 can more clearly indicate or even explicitly refer to the classification of Attar's seven valleys: the expression or allusion to wanting (Request), seeking the presence of the Beloved or union with Him (Love and Annihilation), the necessity of not being absent from Him and meeting the Beloved (Monism), introducing the path to presence (Knowledge), maintaining presence near the Beloved with absence from all else, and the wonder in expressing and reconciling this contradiction (Bewilderment). The seeker, as a loving mystic, finds that he must be poor and needy of that Self-Sufficient One, whose presence is only achieved through absence from oneself and abandoning all besides Him. By realizing this poverty and annihilation of actions and attributes, the loving seeker finally attains meeting the Beloved, realizing His presence and union, and becomes annihilated and bewildered in His beauty and perfection (Request, Love, Knowledge, Detachment, Monism, Bewilderment, and Poverty & Annihilation).
It is worth mentioning that this mapping is not linear and separate; rather, each verse can simultaneously point to several valleys. This is part of Hafez's artistic subtlety, expressing profound mystical concepts through multifaceted and deep poetry.
 
3.Conclusion
This comparative research with an analytical method has demonstrated that the first ghazal of the Divan, which holds significant importance, beautifully reflects and succinctly explains the terminology related to Attar's seven valleys.
The author has briefly shown how extensive and diverse Hafez's influences from Attar's ideas and expressions are, even within a single ghazal, and that these two poets likely shared intellectual affinity in terms of the mystic journey. To the extent that, directly and indirectly, traces of all seven valleys of the path can be seen in almost all verses. Hafez, in his own way and through symbolic imagery and expressions, has explained both the seven valleys and their challenges within the first seven verses of his Divan, thereby beautifully, subtly, and concisely unveiling the intricacies and concerns of his own mystical journey.
This research shows that reading Hafez's first ghazal in the light of Attar's seven mystical valleys can illuminate the hidden aspects of this ghazal and better reveal the depth of Hafez's mystical thought. Furthermore, this study testifies to the profound connection within Persian mystical literature and the creative influence poets have had on one another.