Ghazal number 12 from Divan e Hafez

In this post we discuss Ghazal number 12. In this Ghazal hazarat e Hafez says:

ای فروغِ ماهِ حُسن، از روی رخشان شما

آبِ‌روی خوبی از چاه زَنَخدان شما

ای کسی که ماه ِ حُسن و زیبایی، فروغ و روشنی و پرتو ِ خود را از چهره‌یِ تابان ِ شما می‌گیرد و آبرو و اعتبار و ارج و قدر ِ خوبی، از چاه ِ زنخدان ِ شما است. آب ِ رو، جدا از معنای اعتبار و شرف و سرافرازی و عِرض و قدر، آبی است که بر روی است. و آب را از چاه در می‌آوردند. و به این تعبیر، چاه ِ زنخ‌دان، تناسبی با آب می‌یابد. یعنی اگر خوبی، آبی بر رویِ خود داشته باشد، آن آب ِ رو را از گودی ِ چانه‌یِ شما که مانند ِ چاه است، استخراج کرده است.

 

O radiant moon of beauty, from your luminous face, The water of beauty flows from the well of your chin’s dimple.

“O you, from whose radiant face the moon of beauty and brightness borrows its light and glow, and from whose dimple well, springs the water of honor and esteem, the value and worth of goodness. The water of face, apart from the meaning of credit and dignity, pride and honor, is the water that is on the face. And they would draw water from the well. In this sense, the dimple well finds a relation with water. That is, if goodness has water on its face, it has drawn that water from the dimple of your chin, which is like a well.”

This verse uses metaphorical language to describe someone’s beauty and virtues, comparing their radiant face to the moon and their dimple to a well from which goodness and honor are drawn.

عزم دیدار تو دارد جانِ بر لب آمده

باز گردد یا برآید؟ چیست فرمان شما؟

این جان ِ من که بر لبم رسیده است، قصد دارد که تو را ببیند. دستور ِ شما چیست؟ باز گردد؟ یا برآید؟ در نگاه ِ اول به نظر ِ من می‌آمد که جان بر لب رسیدن و جان ِ بر لب آمده کنایه از سختی و تحمّل ِ رنج ِ بسیار و به ستوه آمدن و طاقت از دست دادن از بابت ِ این تحمّل ِ سختی و رنج است. و تصویری که بود، مشقّت و سختی ِ بسیار ِ شاعر در راه ِ رسیدن به دیدار و وصال ِ معشوق بود که در میانه‌یِ راه از او کسب ِ تکلیف می‌کند که چه کنم؟ بازگردم یا به سویِ تو بیایم؟ دیگر این است که این جان است که عزم ِ دیدار دارد. نه خود ِ شاعر! و این جان، جانی است که بر لب آمده. یعنی جان در حال ِ احتضار و مُشرِف بر مرگ است. در این تصویر، بازگشتن ِ جان به بدن، زندگی و نجات از مرگ است. و برآمدن ِ جان، مرگ و رفتن ِ جان از بدن. و این هر دو اتفاق، بسته به دستور و فرمان ِ معشوق است. که اگر فرمان دهد که به دیدار ِ یار نائل شود، جان ِ بر لب آمده به بدن ِ شاعر باز خواهد گشت؛ و اگر نه، جان ِ بر لب آمده از بدن بیرون خواهد آمد. و دیگر این که برآمدن ِ کام به معنایِ برآورده شدن ِ آرزو و خواسته هم در شعر ِ حافظ به کار رفته است.

 

 

The soul at the brink of death aspires to see you, Will it return or rise? What is your command?

“This soul of mine that has reached my lips, meaning it is at the brink of departing the body or death, intends to see you. What is your command? Should it return, or should it rise? At first glance, it seemed to me that the soul reaching the lips and the soul that has come to the lips is a metaphor for enduring great hardship and suffering, for being worn out and losing patience due to this difficult endurance. And the image was of the poet’s great hardship and difficulty on the path to meeting and union with the beloved, asking in the middle of the way, ‘What should I do? Should I return or come towards you?’ Another point is that it is this soul that is determined to meet. Not the poet himself! And this soul is one that has come to the lips. That is, the soul is in the throes of death, on the verge of dying. In this image, the return of the soul to the body is life and salvation from death. And the rising of the soul is death and the departure of the soul from the body. And both these events depend on the command and order of the beloved. If the command is given to attain the meeting with the friend, the soul that has come to the lips will return to the poet’s body; if not, the soul that has come to the lips will leave the body. Furthermore, the fulfillment of desires and wishes has also been used in the poetry of Hafez as the rising of satisfaction.”

This verse uses the metaphor of the soul at the lips to express the poet’s existential dilemma, caught between the desire for union with the beloved and the acceptance of death. It reflects the deep emotional and spiritual themes often found in Persian poetry.

کَس به دور نرگست طرفی نبست از عافیت

بِه که نفروشند مستوری به مستان شما

مستان هم در مَجاز اشاره به چشمان ِ یار است و هم در معنایِ واقعی، کسانی که مست اند. در این حالت، مستان ِ شما می‌تواند کسانی باشند که از چشمان ِ شما یا عشق ِ شما مست شده‌اند. دور ِ نرگس هم می‌تواند زمانه و دوره‌ئی باشد که نرگس می‌شکفد. اگر نرگس را استعاره از چشم ِ یار بگیریم، دور ِ نرگس می‌تواند پیرامون و گِرداگِرد ِ چشم باشد. هم‌چنین به دور ِ نرگس می‌تواند گردیدن و چرخیدن ِ عاشق به گِرد ِ چشم ِ یار باشد. مستوری، هم به معنایِ پارسایی و زهد و عفت آمده و هم پوشیدگی و در پرده نشستن. مستوری فروختن در معنایِ نخست می‌شود متکبّرانه پارسائی و عفت ِ خود را به رخ ِ کسی کشیدن. نوعی نشان دادن ِ چیزی است که دارند، با حالت ِ متکبّرانه و خودپسندانه. هیچ کس در گرداگرد ِ چشم ِ تو و در دور ِ نرگس ِ تو، بهره و نصیبی از عافیت و سلامت نبُرده است، یا به دلیل ِ پارسایی و ورَع، چشم ِ خودش را نبسته و از دور ِ نرگس ِ تو چشم‌پوشی نکرده است. بهتر است که کسی به جرگه‌یِ مستان تو و کسانی که مست ِ تو اند، فخر ِ پارسایی و پرده‌نشینی نفروشد. هر کسی در دور ِ نرگس ِ تو بود، از عافیت طرفی نمی‌بست. پس اگر مستور بوده‌ای و او را ندیده‌ای، بهتر است که به مستان ِ یار فخر فروشی نکنی. بهتر آن است که در مقابل ِ چشمان ِ مست ِ شما ادعایِ پاک‌دامنی نکنند.

 

No one around your circle of narcissus has secured a moment of peace, Better not to sell modesty to your inebriated ones.

“The inebriated, in metaphor, refer to the eyes of the beloved, and in the literal sense, those who are intoxicated. In this case, your inebriated ones could be those who have become intoxicated by your eyes or your love. The ‘circle of narcissus’ could also be the era or period when the narcissus blooms. If we take the narcissus as a metaphor for the eyes of the beloved, the ‘circle of narcissus’ could be the surroundings and vicinity of the eye. Similarly, circling the narcissus could mean the lover revolving around the eye of the beloved. Modesty, too, signifies piety, asceticism, and chastity, as well as concealment and being behind the veil. Selling modesty, in the first sense, becomes arrogantly flaunting one’s piety and chastity before someone. It’s a kind of showing off what they have, with an arrogant and self-satisfied demeanor. No one around your eye and in your ‘circle of narcissus’ has gained a share of well-being or health, nor have they, out of piety and scrupulousness, closed their eyes and ignored your ‘circle of narcissus.’ It is better that no one sells the pride of piety and seclusion to the ranks of your inebriated ones, those who are intoxicated by you. Anyone in your ‘circle of narcissus’ did not partake in well-being. So, if you have been modest and have not seen it, it is better not to boast to the inebriated of the beloved. It is better that they do not claim purity in the face of your intoxicating eyes.”

This verse explores the themes of love, piety, and the intoxicating effect of the beloved’s eyes, using the metaphor of the ‘circle of narcissus’ to describe the allure and influence of the beloved’s gaze.

بخت خواب آلود ما بیدار خواهد شد مگر

زان که زد بر دیده آبی، روی رخشان شما

شاعر در این بیت، بخت ِ خود را خواب‌آلود دانسته و انتظار دارد که بخت ِ او بیدار شود. یک راه برایِ بیدار کردن ِ کسی که خوابیده‌است، این است که چند چکّه آب بر روی و حوالی ِ چشم ِ او بزنند. و امید دارد که رویِ درخشان ِ شاعر، که بر وی افتاده است، به سان ِ قطره‌هایِ آبی که بر صورت ِ شخصی خواب‌آلود می‌چکد، بخت ِ او را بیدار کند. انگاری که رویِ رخشان ِ یار، بر چشم ِ شاعر، آبی زده‌است.

 

Our drowsy fortune may awaken, For your radiant face has splashed water on the eyes.

“In this verse, the poet considers his fortune to be drowsy and expects it to awaken. One way to wake someone who is asleep is to sprinkle a few drops of water on and around their eyes. And he hopes that the radiant face of the beloved, which has fallen upon him, like the droplets of water that sprinkle on the face of someone drowsy, will awaken his fortune. It’s as if the shining face of the beloved has splashed water on the poet’s eyes.”

This verse uses the metaphor of sprinkling water to describe the poet’s desire for a change in fortune, likening the beloved’s radiant face to the refreshing and awakening effect of water.

با صبا همراه بفرست از رخت گل دسته‌ای

بو که بویی بشنویم از خاک بستان شما

انگاری رخ ِ یار به بوستانی تشبیه شده و شاعر از یار می‌خواهد که هنگامی که باد ِ صبا می‌وزد، گل‌دسته‌ئی از این بوستان ِ رخ‌اش همراه ِ این باد کُند و به سمت ِ شاعر بفرستد. به این امید که از خاک ِ بوستان ِ شما بویی بشنویم. خاک ِ بوستان، می‌تواند حسّ ِ دوری از وطن هم باشد. بو به معنایِ اثر و نشان از چیزی هم هست. مانند ِ اصطلاح ِ «از انسانیت بویی نبرده»! گل‌دسته، هدیه فرستادن را هم به یاد می‌آورَد.

 

Send with the morning breeze of Saba a bouquet from your garden, Perhaps we’ll catch a scent from the soil of your orchard.

 

“It seems the beloved’s face has been likened to a garden, and the poet asks the beloved that when the morning breeze blows, the Saba breeze, to send a bouquet from this garden of their face with the wind towards the poet. With the hope that we may catch a scent from the soil of your garden. The soil of the garden could also represent the feeling of being far from home. ‘Scent’ also means the effect or sign of something, as in the phrase ‘has not caught a whiff of humanity!’ A bouquet also reminds us of sending a gift.”

This verse uses the imagery of a garden and the scent of its soil as metaphors for the beloved’s presence and the emotions it evokes, including nostalgia and the deep human desire for connection.

عمرتان باد و مراد ای ساقیانِ بزمِ جم

گرچه جام ما نشد پُر مِی به دوران شما

ای ساقیان ِ بزم ِ جم! الهی که عمر و مراد داشته باشید. اگرچه که جام ِ ما به دوران ِ ما از می پر نشد! می‌توان گفت که ساقیان ِ بزم ِ جم، اشاره به خود ِ جم ِ باستانی باشد خاصه آن که در مصراع ِ دوّم گفته که جام ِ ما به دوران ِ شما از می پُر نشد. اما در مصراع ِ نخست، برایِ این ساقیان، آرزویِ عمر و مراد کرده. و این، بیش‌تر به ذهن ِ  من می‌آورد که این ساقیان زنده اند. می‌مانَد واژه‌یِ دوران که به معنایِ روزگار و عهد و زمان است. کسی که زنده است، دوران ِ او هنوز باقی است. و این عبارت که گرچه به دوران ِ شما جام ِ ما پر می نشد، برایِ شخص یا بزمی که معاصر است، دور از ذهن می‌نماید. مگر این که دوران را شکلی از «بزم ِ دور» در نظر بگیریم. یعنی دوران را در معنایِ گردش ِ جام در بزم در نظر بگیریم. و بگوییم در بزم ِ دور ِ شما، جام ِ ما پر از می نشد.

 

Long life and wishes to you, O cupbearers of Jam’s feast, Though our cup was not filled with wine during your era.

 

“O cupbearers of Jam’s feast! May you have a long life and achieve your desires. Although our cup did not fill with wine during your time! It can be said that the cupbearers of Jam’s feast refer to the ancient Jam himself, especially since the second line says that our cup did not fill with wine during your era. But in the first line, he wishes these cupbearers a long life and fulfillment of desires. And this brings more to mind that these cupbearers are alive. Then there remains the word ‘era,’ which means time and age. Someone who is alive, their era is still ongoing. And this phrase, although our cup did not fill with wine during your era, seems far-fetched for a person or a contemporary feast. Unless we consider ‘era’ as a form of ‘distant feast.’ That is, we take ‘era’ to mean the circulation of the cup in the feast. And we say, in your distant feast, our cup did not fill with wine.”

This verse reflects on the concept of time and fulfillment, using the metaphor of a cup not being filled with wine to express a sense of missed opportunity or unfulfilled potential within one’s own era or lifetime. The reference to ‘Jam’s feast’ and ‘cupbearers’ adds a historical and cultural layer to the reflection.

دل خرابی می‌کند، دلدار را آگه کنید

زینهار ای دوستان جان من و جان شما

دل، بی‌تابی و ناشکیبی می‌کُنَد و حال و روز ِ خوبی ندارد. ای دوستان! به شما پناه می‌برم! شما را سوگند می‌دهم که دل‌دار را از این حال ِ خراب ِ دل ِ من آگاه کنید و به اطلاع ِ او برسانید.

 

The heart wreaks havoc, inform the beloved, Beware, O friends, my life and yours.

The heart is restless and impatient, and it is not in a good state. Oh friends! I seek refuge with you! I beseech you to inform the keeper of my heart of this troubled state of my heart and bring it to their attention.”

This verse expresses a plea for help, conveying the speaker’s emotional turmoil and seeking the support of friends to communicate their distress to their loved one. It reflects the deep emotional interdependence often depicted in Persian poetry.

کی دهد دست این غرض یا رب که همدستان شوند

خاطر مجموع ما، زلف پریشان شما

به شکل ِ حسرت یا آرزو عنوان می‌کند: چه زمانی این هدف و مقصود حاصل می‌شود و میسّر می‌شود که خیال و افکار ِ ما به دست ِ زلف ِ پریشان و در هم بر هم ِ شما آسوده و راحت شود. خاطر و اندیشه‌یِ شاعر پریشان است. و شاعر می‌خواهد که با قرین شدن با زلف ِ پریشان ِ محبوب، به آسودگی و جمعیّت برسد. هم‌دستان شوند را می‌توان دو هم‌دست در نظر گرفت. دو رفیق که با هم متّفق شده‌اند. تصویر ِ من، دو شخص که دست در دست ِ هم گذاشته‌اند. انگاری خاطر ِ شاعر، دست در زلف ِ پریشان ِ یار کرده و مجموع و آسوده‌است.

 

When will this wish be granted, O Lord, that joining hands become, Our collected thoughts, your disheveled locks.

 

“It expresses in the form of longing or desire: When will the time come when our goal and purpose are achieved, and it becomes possible for our imagination and thoughts to find peace and comfort in your disheveled and tangled locks. The poet’s mind and thoughts are in disarray. And the poet desires that by becoming akin to the beloved’s disheveled locks, he may find tranquility and composure. ‘Joining hands’ can be considered as two accomplices. Two friends who have agreed with each other. I imagine is of two people who have joined hands. It’s as if the poet’s mind has intertwined with the beloved’s disheveled locks and has become collected and at ease.”

This verse uses the metaphor of tangled locks to describe the poet’s yearning for a sense of peace and unity with the beloved, suggesting a deep emotional and spiritual connection.

دور دار از خاک و خون دامن، چو بر ما بگذری

کَاندَر این ره کشته بسیارند، قربان شما

وقتی که بر ما می‌گذری، دامن ِ خودت را بالاتر بگیر تا به خاک و خون آلوده نشود. چون که در این راه، بسیاری کشته شده‌اند. قربان ِ شما. قربان را در هر یک از معناهایی که از لغت‌نامه‌ها آوردم می‌توان به کار برد. در معنایِ ندیم ِ شاه، می‌توان این معنا را گرفت که ندیمان و نزدیکان ِ بسیاری که داشتی در این راه کشته شده‌اند. این راه می‌تواند راهی باشد که یار به سویِ شاعر می‌آید تا بر او بگذرد، می‌تواند همان راهی باشد که برای نزدیکی و قِربان و ندیمی ِ شاه می‌بایست پیمود تا به آن مرتبت رسید. قربان به معنایِ تیردان و کمان‌دان و ترکش هم می‌تواند این تصویر را در ذهن بیاورد که انگاری خود ِ یار، آن اشخاص را کُشته و به خاک انداخته. قربان ِ شما به صورت ِ صوت مخفف ِ قربان ِ شما بشوم، می‌تواند معنایِ قربان صدقه رفتن و گفتار ِ احترام آمیز با مقام ِ عالی هم باشد. در معنایِ «قربانی» هم می‌تواند در بیت بنشیند به این شکل که بسیاری در این راه قربانی ِ شما شده‌اند. در هر کدام از این حالت‌ها، شاعر به یار می‌گوید چون که زمین ِ راهی که از آن طریق می‌خواهی بر ما بگذری، آکنده از جنازه‌هایِ بسیارانی است که در این راه کشته شده اند، دامن‌ات را از خاک و خون دور نگاه دار که مبادا دامنت کثیف شود؛ یا این خاک و خون، دامن‌ات را بگیرد. در این معنایِ آخر، می‌توان «دور دار از خاک و خون دامن» را طور ِ دیگری نیز تعبیر کرد: نوعی تحذیر که از این خون‌ریزی و کشتار جلوگیری کن! یا دامن ِ خودت را از این خاک و خون دور بدار! خودت را کنار بکش! چو بر ما بگذری نیز شکلی قدرت‌نمایی یا تهدید می‌تواند داشته باشد! که اگر بر ما بگذری، دامن‌ات را از خاک و خون دور بدار! چون در این راه، کسانی که دامن از خاک و خون دور نداشته‌اند، پیش از تو، بسیار کشته شده‌اند.

 

 

Keep your skirt clean of dust and blood as you pass by, For many have been slain on this path, sacrificed for you.

“When you pass by us, lift your skirt higher so it does not get soiled with dirt and blood. For many have been slain on this path. I sacrifice myself for you. ‘Sacrifice’ can be used in each of the meanings I have brought from the dictionaries. In the sense of the king’s companion, it can mean that many companions and intimates you had have been killed on this path. This path could be the one that the beloved takes to pass by the poet, or it could be the same path that must be traveled for closeness and to become a companion of the king to reach that rank. ‘Sacrifice’ in the sense of quiver and bow case can also bring to mind the image that the beloved themselves have killed those people and laid them to rest. ‘I sacrifice myself for you’ as an abbreviated form of ‘I become your sacrifice’ can also mean to go to one’s death and speak respectfully to a high position. In the sense of ‘sacrifice,’ it can fit into the verse in such a way that many have been sacrificed on this path for you. In each of these cases, the poet tells the beloved that since the ground of the path you want to take to pass by us is filled with the corpses of many who have been killed on this path, keep your skirt away from the dirt and blood lest it becomes dirty; or this dirt and blood, take hold of your skirt. In this last sense, ‘keep your skirt away from dirt and blood’ can also be interpreted differently: a kind of warning to prevent this bloodshed and slaughter! Or keep your own skirt away from this dirt and blood! Withdraw yourself! ‘When you pass by us’ can also have a form of showing power or a threat! That if you pass by us, keep your skirt away from dirt and blood! Because on this path, those who have not kept their skirts away from dirt and blood, before you, have been killed many times over.”

This verse uses vivid imagery to convey a message of caution and respect, with the metaphor of keeping one’s skirt clean serving as a plea to avoid the violence and bloodshed that others have experienced. The poet uses various interpretations of ‘sacrifice’ to express devotion and the high stakes of the situation.

میکند حافظ دعایی، بشنو، آمینی بگو

روزی ما باد لعل شَکَّرافشان شما

حافظ دعایی می‌کند (من دعایی می‌کنم) بشنو و بگو آمین! دعای من این است: بادا که لعل ِ شکّر افشان ِ شما روزی و نصیب و قسمت ِ ما شود.

 

 

Hafez makes a prayer, listen, say amen, May our fortune be the sugar-scattering ruby of your lips.

“Hafez makes a prayer, hear it and say Amen! My prayer is this: May it be that your sugar-scattering ruby lips becomes our daily portion and share.”

This verse from Hafez expresses a wish or prayer for the beloved’s sweet and precious qualities, symbolized by the ‘sugar-scattering ruby lips,’ to become a part of the poet’s life. It reflects the poet’s deep yearning for the beauty and sweetness that the beloved represents, and wishes he have the opportunity to be with her and taste her sugar-scattering ruby red lips of her, daily.

ای صبا با ساکنانِ شهرِ یزد از ما بگو

کِای سر حق ناشناسان گوی چوگان شما

ای صبا! از طرف ِ ما به ساکنان ِ شهر ِ یزد بگو که ای کسانی که بادا که سر ِ ناسپاسان و کسانی که حق ِ نعمت و خوبی که به ایشان کردید را نمی‌گزارند و نمی‌شناسند، مانند ِ گوی در پای ِ چوگان ِ شما باشد! (بقیه در بیت ِ بعدی)

 

 

O breeze of Saba, speak to the residents of Yazd city from us, Tell those who don’t recognize the truth, your polo ball is in play.

 

“O Saba! On our behalf, tell the inhabitants of the city of Yazd that may the heads of the ungrateful, those who do not acknowledge and recognize the right of the blessings and kindness you have done for them, be like a ball at the foot of your polo stick! (The rest is in the following verse)”

This verse conveys a message to the people of Yazd, using the metaphor of a polo game to express a wish for justice against those who are ungrateful for the kindness they have received. The continuation of the message is indicated to be in the next verse.

گرچه دوریم از بساط قُرب، همت دور نیست

بندهٔ شاه شماییم و ثناخوان شما

اگرچه که از بساط ِ نزدیکی دوریم و از هم‌جواری با شما محروم، اما اراده و عزم ِ ما دور نیست! بنده‌یِ شاه ِ شما و ستاینده و ثناخوان ِ شماییم. بساط ِ قُرب می‌تواند سفره‌ئی باشد که تنها نزدیکان و خویشان بر آن می‌نشینند و این معنا با «بزم ِ جم» که در بیت‌های پیشین ِ این غزل آمده، تناسبی دارد. همّت دور نیست می‌تواند هم به این معنا باشد که دعا و طلب ِ خیر ِ ما وابسته به بُعد ِ مکان نیست و اگرچه دوریم، اما دعایِ خیرِ ما از شما دور نیست و همواره با شما است؛ هم می‌توان گفت: اگرچه از بساط ِ قرب دوریم، اما این عزم و اراده هست که به شما نزدیک شویم و به سمت ِ شما بیاییم.

 

 

Though we’re far from the table of closeness, our determination is not, We are servants to your kingship and your praise singers.

“Although we are far from the closeness and deprived of being neighbors with you, our will and determination are not distant! We are the servant of your sovereignty, your praiser, and your eulogist. The table of closeness could be a table at which only relatives and kin sit, and this meaning is related to the ‘feast of Jam’ mentioned in the previous verses of this Ghazal. ‘Our determination is not distant’ could mean that our prayers and wishes for good are not dependent on physical distance, and although we are far away, our prayers for your well-being are not distant and are always with you; it can also be said: Although we are far from the table of closeness, there is this resolve and will to come closer to you and move towards you.”

This verse reflects on the themes of distance, longing, and the enduring connection that transcends physical separation, emphasizing the spiritual and emotional closeness that remains steadfast despite the lack of physical proximity.

ای شَهنشاه بلند اختر، خدا را همتی

تا ببوسم همچو اختر خاک ایوان شما

ای شاهنشاه ِ بلند اقبال که ستاره‌یِ بخت‌ات بلند است. از خدا همّتی می‌طلبم که مانند ِ ستاره که خاک ِ ایوان ِ رفیع ِ تو را می‌بوسد، من هم بتوانم خاک ِ ایوان ِ شما را ببوسم.

 

 

 

O high-sovereign of lofty stars, by God, give me courage, So I may kiss the ground of your porch like a star.

“O great sovereign of high fortune whose star of destiny is ascendant. I beseech God for the courage that, like the star which kisses the dust of your lofty threshold, I too may be able to kiss the dust of your threshold.”

This verse expresses a deep reverence and a wish to be granted the honor of showing respect to a person of high status, comparing the act to a star gracing the earth with its touch.