We have mentioned Hammer’s translation of Hafid as the direct impulse to the composition of the Divan.  It was also the principal source from which the poet drew his inspiration for the work.  A single verse would often furnish a theme for a poem.  Sometimes this poem would be a translation, e.g.  “Eine Stelle suchte der Liebe Schmerz,” p. 54 (H. 356. 8); but more often it was a very free paraphrase, e.g. the motto prefixed to Buch Hafis, a variation of the motto to Hammer’s version (H. 222. 9).  As an example of how a single verse is developed into an original poem we may cite “Ueber meines Liebchens Aeugeln,” p. 55, where the first stanza is a version of H. 221. 1, all the others being free invention.  Other Persian poets besides Hafid also furnished material.  Thus the opening passage of Sa’di’s Gulistan was used for “Im Athemholen,” p. 10, where the sense, however, is altered and the line “So sonderbar ist das Leben gemischt” is added.  A number of poems are based on the Pand Namah of ’Attar, e.g. pp. 58, 60,[105] and two are taken from Firdausi, namely “Firdusi spricht,” p. 75 (Sh.  N. i. p. 62, couplet 538; Mohl, i. 84; Fundgruben. ii. 64) and “Was machst du an der Welt?” p. 96 (Sh.  N. i. p. 482, coupl. 788, 789; Red. p. 58).  But it was not only the poetical works of Persia that were laid under contribution; sayings, anecdotes, descriptions, remarks of any kind in books of travel and the like were utilized as well.  Thus Hammer in the preface to his version of Hafid relates the fatva or judgment which a famous mufti of Constantinople pronounced on the poems of the great singer, and this gave Goethe the idea for his “Fetwa,” p. 32.[106] In the same preface[107] is related the well known reply which Hafid is reported to have given to Timur, when called to account by the latter for the sentiment of the first couplet of the famous eighth ode, and this inspired the poem “Haett’ ich irgend wol Bedenken,” p. 133.  Similarly “Vom heutigen Tag,” p. 94, is based on the words of an inscription over a caravansery at Ispahan found in Chardin’s book.  The story of Bahramgur and Dilaram inventing rhyme[108] gave rise to the poem “Behramgur, sagt man,” p. 153.  And so we might cite poems from other sources, Quran, Jones’ Poeseos, Diez’ Buch des Kabus, etc., but the examples we have given are sufficient to show how Goethe used his material.

Throughout the Divan Persian similes and metaphors are copiously employed and help to create a genuine Oriental atmosphere.  The adoration of the dust on the path of the beloved, p. 23 (cf.  H. 497. 10); the image of the candle that is consumed by the flame as the lover is by yearning, p. 54 (cf.  H. 414. 4); the love of the nightingale for the rose, p. 125 (cf.  H. 318. 1); the lover captive in the maiden’s tresses, p. 46 (cf.  H. 338. 1); the arrows of the eye lashes, p. 129 (cf.  H. 173. 2); the verses strung together like pearls, p. 193 (cf.  H. 499. 11), are some of the peculiarly Persian metaphors that occur.  Allusions to the loves of Yusuf and Zalicha, of Laila and Majnun and of other Oriental couples are repeatedly brought in.  Moreover, a whole book is devoted to the saqi so familiar to students of Hafid, and Goethe does not shrink from alluding to the subject of boy-love, p. 181.