The first to introduce the gazal in its strict form into German literature[132] was Rueckert, who in 1821 published a version of a number of gazals from the divan of Rumi.[133] Chronologically, therefore, he ought to have the precedence in this investigation.  If we, nevertheless, take up Platen first, we do so because the gazals of this poet were really the first professedly original poems of this form to appear in Germany (Rueckert’s claiming to be versions only), and also because they constitute almost the only portion of his poetic work that comes within the sphere of this discussion.  Moreover, the remarks which we shall make concerning their content, imagery, and poetic structure, apply largely to the gazals of Rueckert and also to his Oestliche Rosen, if we except the structure of the latter.

Platen became interested in the East through the work of Hammer, and still more through the influence of Goethe’s Divan.  He at once set to work studying Persian, and his zeal was increased when, on meeting Rueckert in 1820 at Ebern, and again at Nuernberg, he received encouragement and instruction from that scholarly poet.  Above all, the appearance of the latter’s versions from Rumi gave him a powerful stimulus, and in 1821 the first series of his Ghaselen appeared at Erlangen.  Others followed in rapid succession.  The same year a second series appeared at Leipzig;[134] a third series, united under the title Spiegel des Hafis, appeared at Erlangen the next year;[135] and, lastly, a series called Neue Ghaselen appeared in the same place in 1823.  A few gazals arose later, some being published as late as 1836 and 1839.[136]

We shall confine our discussion to those gazals that date from the years 1821 and 1822, the last series being Persian in nothing but form.

The Ghaselen are not at all translations.  Like the Divan-poems they are original creations, inspired by the reading of Hafid, and, to use the poet’s own words “dem Hafis nachgefuehlt und nachgedichtet."[137] They follow as closely as possible the Persian metrical rules, and make use throughout of Persian images and metaphors, so much so that we can adduce direct parallels from the poems of Hafid.  Thus in 13[138] we read:  “Schenke!  Tulpen sind wie Kelche Weines,” evidently a parallel to some such line as H. 541. 1: 

     [Arabic]

“saqi, come! for the tulip-like goblet is filled with wine.”  In 75 the words “Weil ihren goldnen Busen doch vor euch verschliesst die Rose” are an echo of H. 300. 2: 

     [Arabic]

“like the rose-bud, how can its inward secret remain concealed?” (cf. also H. 23. 3).  And again in 85 “Und nun ... entrinnet dem Herzen das Blut leicht, das sonst mir den Odem benahm” is to be compared with H. 11. 9: 

     [Arabic]

“the sorrowful heart of Hafid, which through separation from thee is full of blood.”  Furthermore in 81 we read: