Hafez

Not to be confused with Haz (disambiguation).

Khwja Shams-ud-Dn Muammad fe-e Shrz

(Persian: ) , known by his
pen name Hafez ( fe 'the memorizer; the (safe)
keeper'; 1325/261389/90),[1] was a Persian poet who
lauded the joys of love and wine but also targeted re-
ligious hypocrisy.[2] His collected works are regarded as
a pinnacle of Persian literature and are to be found in the
homes of most people in Iran, who learn his poems by
heart and still use them as proverbs and sayings. His life
and poems have been the subject of much analysis, com-
mentary and interpretation, inuencing post-14th century
Persian writing more than any other author.[3][4]
Hafez, who was a 14th-century poet in Iran, is best known
for his poems that can be described as antinomian[5] Doublures inside a 19th-century copy of the Divn of Hafez. The
and with the medieval use of the term theosophical; this front doublure shows Hafez oering his work to a patron.
term theosophy in the 13th and 14th centuries was used
to indicate mystical work by authors only inspired by the
holy books (as distinguished from theology). Hafez pri- ten by an unknown contemporary whose name may have
marily wrote in the literary genre of lyric poetry that is the been Moammad Golandm.[11] Two of the most highly
ideal style for expressing the ecstasy of divine inspiration regarded modern editions of Hafezs Divn are compiled
in the mystical form of love poems. by Moammad Ghazvini and Qsem ani (495 ghazals)
and by Parviz Natel-Khanlari (486 ghazals).[12][13]
Themes of his ghazals are the beloved, faith, and expos-
ing hypocrisy. In his ghazals, he deals with love, wine Modern scholars generally agree that Hafez was born
and tavern, all presenting the ecstasy and freedom from either in 1315 or 1317; following an account by Jami
restraint, whether in actual worldly release or in the voice 1390 is considered the year in which he died.[11][14] Hafez
of the lover[6] speaking of divine love.[7] His inuence in was supported by patronage from several successive lo-
the lives of Persian speakers can be found in Hafez read- cal regimes: Shah Abu Ishaq, who came to power while
ings (fl-e hfez, Persian: ) and the frequent use Hafez was in his teens; Timur at the end of his life; and
of his poems in Persian traditional music, visual art, and even the strict ruler Shah Mubariz ud-Din Muhammad
Persian calligraphy. His tomb is visited often. Adapta- (Mubariz Muzaar). Though his work ourished most
tions, imitations and translations of his poems exist in all under the 27-year rule of Jalal ud-Din Shah Shuja (Shah
major languages. Shuja),[15] it is claimed Hfez briey fell out of favor with
Shah Shuja for mocking inferior poets (Shah Shuja wrote
poetry himself and may have taken the comments per-
sonally), forcing Hfez to ee from Shiraz to Isfahan and
1 Life Yazd, but no historical evidence is available.[15] His mau-
soleum, Hfezieh, is located in the Musalla Gardens of
Shiraz.
Hafez was born in Shiraz, Iran. His parents were from
Kazerun, Fars Province. Despite his profound eect
on Persian life and culture and his enduring popularity
and inuence, few details of his life are known. Ac- 2 Legends
counts of his early life rely upon traditional anecdotes.
Early tazkiras (biographical sketches) mentioning Hafez Many semi-miraculous mythical tales were woven around
are generally considered unreliable.[8] At an early age, he Hafez after his death. It is said that by listening to his
memorized the Quran and was given the title of Hafez, fathers recitations, Hafez had accomplished the task of
which he later used as his pen name.[9][10] The preface of learning the Quran by heart at an early age (that is the
his Divn, in which his early life is discussed, was writ- meaning of the word Hafez). At the same time, he is said

1
2 3 INFLUENCE
Divan of Hafez, with a Persian miniature at left and ghazals in
nastaliq at right. Signed by Shah Qasem, 1617. National Mu-
seum of Iran, Tehran, Persia.
to have known by heart the works of Rumi (Jalal ad-Din
Muhammad Balkhi), Saadi, Farid ud-Din, and Nizami.
According to one tradition, before meeting his patron
Hajji Zayn al-Attar, Hafez had been working in a bakery,
delivering bread to a wealthy quarter of the town. There,
he rst saw Shakh-e Nabat, a woman of great beauty, to
whom some of his poems are addressed. Ravished by
her beauty but knowing that his love for her would not be
requited, he allegedly held his rst mystic vigil in his de-
sire to realize this union. Still, he encountered a being of
surpassing beauty who identied himself as an angel, and
his further attempts at union became mystic; a pursuit of
spiritual union with the divine. A Western parallel is that
of Dante and Beatrice.
At 60, he is said to have begun a Chilla-nashini, a 40-day-
and-night vigil by sitting in a circle that he had drawn for
himself. On the 40th day, he once again met with Zayn
al-Attar on what is known to be their fortieth anniversary
and was oered a cup of wine. It was there where he is
said to have attained Cosmic Consciousness. He hints
at this episode in one of his verses in which he advises the
reader to attain clarity of wine by letting it sit for 40
days.
Although he hardly ever traveled outside Shiraz, in one
tale, Tamerlane (Timur) angrily summoned Hafez to ac-
count for one of his verses:
:If that Shirazi Turk would take my heart
in hand
I would remit Samarkand and
Bukhr for her black mole.
Samarkand was Tamerlanes capital and Bokhara was
the kingdoms nest city. With the blows of my lus-
trous sword, Timur complained, I have subjugated most
of the habitable globe... to embellish Samarkand and
Bokhara, the seats of my government; and you would sell
them for the black mole of some girl in Shiraz!"
Hafez, the tale goes, bowed deeply and replied, Alas, O
Prince, it is this prodigality which is the cause of the mis-
ery in which you nd me. So surprised and pleased was
Timur with this response that he dismissed Hafez with
handsome gifts.[15]
3 Inuence
A couplet versied by Hafez in Nastalq.
3.1 Intellectual and artistic legacy
Hafez was acclaimed throughout the Islamic world during
his lifetime, with other Persian poets imitating his work,
and oers of patronage from Baghdad to India.[15]
His work was rst translated into English in 1771 by
William Jones. It would leave a mark on such Western
writers as Thoreau, Goethe, and Ralph Waldo Emerson
(the last referred to him as a poets poet).. Sir Arthur
Conan Doyle has his character Sherlock Holmes state that
there is as much sense in Haz as in Horace, and as
much knowledge of the world (in A Case of Identity).
Friedrich Engels mentioned him in an 1853 letter to Karl
Marx:
:It is, by the way, rather pleasing to read
dissolute old Haz in the original language,
which sounds quite passable and, in his gram-
mar, old Sir William Jones likes to cite as
examples dubious Persian jokes, subsequently
translated into Greek verse in his Commen-
tariis poeseos asiaticae, because even in Latin
they seem to him too obscene. These com-
mentaries, Jones Works, Vol. II, De Poesi
erotica, will amuse you. Persian prose, on the
other hand, is deadly dull. E.g. the Rauzt-
us-saf by the noble Mirkhond, who recounts
the Persian epic in very owery but vacuous
language. Of Alexander the Great, he says
3.3 In Iranian music 3

that the name Iskander, in the Ionian language, 3.3 In Iranian music
is Akshid Rus (like Iskander, a corrupt ver-
sion of Alexandros); it means much the same Many Iranian composers have composed pieces inspired
as lusuf, which derives from la, love, and by or based upon Hafezs poems. Among Iranian singers,
sufa, wisdom, Iskander thus being synony- Mohsen Namjoo composed music and vocals on several
mous with friend of wisdom.[16] poems such as Zolf, Del Miravad, Nameh, and others.
Hayedeh performed the song Padeshah-e Khooban,
with music by Farid Zoland. Mohammad-Reza Shajar-
3.2 In contemporary Iranian culture ian performed the song Del Miravad Ze Dastam, with
music by Parviz Meshkatian. The Ottoman composer
Hafez is the most popular poet in Iran, and his works can Buhurizade Mustafa Itri composed his magnum opus
be found in almost every Iranian home.[2] In fact, October Neva Kr based upon one of Hafezs poems. The Pol-
12 is celebrated as Hafez Day in Iran.[17] ish composer Karol Szymanowski composed The Love
Songs of Haz based upon a German translation of Hafez
poems.

3.4 In Afghan music

Many Afghan Singers, including Ahmad Zahir and
Sarban, have composed songs such as Ay Padeshah-e
Khooban, Gar-Zulfe Parayshanat

Tomb of Hafez in Shiraz
Twenty years after his death, a tomb, the Hafezieh, was
erected to honor Hafez in the Musalla Gardens in Shiraz.
The current mausoleum was designed by Andr Godard,
a French archeologist and architect, in the late 1930s, and
the tomb is raised up on a dais amidst rose gardens, wa-
ter channels, and orange trees. Inside, Hafezs alabaster
sarcophagus bears the inscription of two of his poems.
His tomb is crowded with devotees who visit the site
and the atmosphere is festive with visitors singing and
reciting their favorite Hafez poems.[2]
Many Iranians use Divan of Hafez for fortune telling. Ira-
nian families usually have a Divan of Hafez in their house,
and when they get together during the Nowruz or Yald
holidays, they open the Divan to a random page and read
the poem on it, which they believe to be an indication of
things that will happen in the future.[18]
There is no denitive version of his collected works (or
Dvn); editions vary from 573 to 994 poems. In Iran and
Afghanistan, his collected works have come to be used as
an aid to popular divination.[19] Only since the 1940s has
a sustained scholarly attempt (by Masud Farzad, Qasim
Ghani and others in Iran) been made to authenticate his
work and to remove errors introduced by later copyists
and censors. However, the reliability of such work has
been questioned,[20] and in the words of Hfez scholar
Iraj Bashiri, there remains little hope from there (i.e.:
Iran) for an authenticated diwan.[21] Even libraries in
Azerbaijan, Armenia, and Georgia carry his Diwan.[12]
4 Interpretation
The question of whether his work is to be interpreted lit-
erally, mystically, or both has been a source of contention
among western scholars.[22] On the one hand, some of
his early readers such as William Jones saw in him a
conventional lyricist similar to European love poets such
as Petrarch.[23] Others scholars such as Henry Wilber-
force Clarke saw him as purely a poet of didactic, ecstatic
mysticism in the manner of Rumi, a view that modern
scholarship has come to reject.[24]
This confusion stems from the fact that, early in Per-
sian literary history, the poetic vocabulary was usurped
by mystics, who believed that the ineable could be bet-
ter approached in poetry than in prose. In composing
poems of mystic content, they imbued every word and
image with mystical undertones, causing mysticism and
lyricism to converge into a single tradition. As a result,
no fourteenth-century Persian poet could write a lyrical
poem without having a avor of mysticism forced on it
by the poetic vocabulary itself.[25][26] While some po-
ets, such as Ubayd Zakani, attempted to distance them-
selves from this fused mystical-lyrical tradition by writ-
ing satires, Hafez embraced the fusion and thrived on it.
Wheeler Thackston has said of this that Hafez sang a
rare blend of human and mystic love so balanced... that
it is impossible to separate one from the other.[27]
For reason such as that, the history of the translation of
Hfez is fraught with complications, and few translations
into western languages have been wholly successful.
One of the gurative gestures for which he is most fa-
mous (and which is among the most dicult to trans-
late) is hm or artful punning. Thus, a word such as
4 5 SATIRE, RELIGION, AND POLITICS

Hafezs statute in a street with his name in Tehran

Divan of Hafez, Persian miniature, 1585

gowhar, which could mean both essence, truth and
pearl, would take on both meanings at once as in a
phrase such as a pearl/essential truth outside the shell lowers, a lover courting a beloved, and the reception of
of supercial existence. spiritual wisdom.[28]
Hafez often took advantage of the aforementioned lack of
distinction between lyrical, mystical, and panegyric writ-
ing by using highly intellectualized, elaborate metaphors 5 Satire, religion, and politics
and images to suggest multiple possible meanings. For
example, a couplet from one of Hafezs poems reads: Though Hafez is well known for his poetry, he is less
commonly recognized for his intellectual and political
Last night, from the cypress branch, the contributions.[29] A dening feature of Hafez' poetry is its
nightingale sang, ironic tone and the theme of hypocrisy, widely believed to
be a critique of the religious and ruling establishments of
In Old Persian tones, the lesson of spiritual the time.[30][31] Persian satire developed during the 14th
stations. century, within the courts of the Mongol Period. In this
period, Hafez and other notable early satirists, such as
The cypress tree is a symbol both of the beloved and of Ubayd Zakani, produced a body of work that has since
a regal presence; the nightingale and birdsong evoke the become a template for the use of satire as a political de-
traditional setting for human love. The lessons of spiri- vice. Many of his critiques are believed to be targeted at
tual stations suggest, obviously, a mystical undertone as the rule of Amir Mobarez Al-Din Mohammad, speci-
well (though the word for spiritual could also be trans- cally, towards the disintegration of important public and
[30][31][32]
lated as intrinsically meaningful). Therefore, the words private institutions. He was a Su Muslim.
could signify at once a prince addressing his devoted fol- His work, particularly his imaginative references to

Hafez-Goethe monument in Weimar, Germany
monasteries, convents, Shahneh, and muhtasib, ignored
the religious taboos of his period, and he found humor
[10] Jonathan, Bloom (2002). Islam: A Thousand Years of
in some of his societys religious doctrines.[31][32] Em-
ploying humor polemically has since become a common
practice in Iranian public discourse and persian satire
is now perhaps the de facto language of Iranian social [11] Khorramshahi. Accessed 25 July 2010
commentary.[31]
6 Modern editions
A standard modern edition in English of Hafez' poems
is Faces of Love (2012) translated by Dick Davis for
Penguin Classics.[33]
7 See also
List of Persian poets and authors
Persian literature
Persian mysticism
Rumi
The Love Songs of Haz
West-stlicher Diwan
8 Notes
[1] http://www.britannica.com/EBchecked/topic/251392/
Hafez
[2] Darke, Diana (1 November 2014). The book in every
Iranian home. BBC.
[3] Yarshater. Accessed 25 July 2010.
[4] Aga Khan III, Haz and the Place of Iranian Culture in
the World, November 9, 1936 London.
5
[5] Hafezs Poetic Art. Encyclopaedia Iranica. http://www.
iranicaonline.org/articles/hafez-iii Accessed August 23,
2016.
[6] Hafezs Poetic Art Thematics and Imagery. Ency-
clopaedia Iranica. http://www.iranicaonline.org/articles/
hafez-iii Accessed 2016-08-23. Also Shaida, Khalid
Hameed (2014). Haz, Drunk with God: Selected Odes.
Xlibris Corporation. p. 5. ISBN 978-1-4653-7091-4.
Accessed 2016-08-23.
[7] Shaida, Khalid Hameed (2014). Haz, Drunk with God:
Selected Odes. Xlibris Corporation. p. 5. ISBN 978-1-
4653-7091-4. Retrieved 2016-08-23.
[8] Lit. Hist. Persia III, pp. 271-73
[9] Shaida, Khalid Hameed (2014). Haz, Drunk with God:
Selected Odes. Xlibris Corporation. p. 5. ISBN 978-1-
4653-7091-4. Retrieved 2015-03-21.
Faith and Power. Yale University Press. p. 166. ISBN
0-300-09422-1. Retrieved 2015-03-21.
[12] Lewisohn, p. 69.
[13] Gray, pp. 11-12. Gray notes that Ghazvinis and Ganis
compilation in 1941 relied on the earliest known texts at
that time and that none of the four texts they used were
related to each other. Since then, she adds, more than
14 earlier texts have been found, but their relationships to
each other have not been studied.
[14] Lewisohn, p. 67
[15] Gray, pp. 2-4.
[16] Letters: Marx-Engels correspondence. Retrieved 15
January 2012.
[17] Hossein Kaji, Hafezs incomparable position in Iranian
culture: October 12 is Hafez Day in Iran, Mehrnews.
Tehran Times Opinion Column, October 12, 2006.
[18] fa:
[19] Massoud Khalili#September 9, 2001 Massoud Khalili
speaking to BBC correspondent Lyse Doucet
[20] Michael Hillmann in Rahnema-ye Ketab, 13 (1971),
Kusheshha-ye Jadid dar Shenakht-e Divan-e Sahih-e
Hafez
[21] Haz' Shirazi Turk: A Structuralists Point of View
[22] Schroeder, Eric, The Wild Deer Mathnavi in The Jour-
nal of Aesthetics and Art Criticism, Vol. 11, No. 2, Special
Issue on Oriental Art and Aesthetics (December 1952),
p.118
[23] Jones, William (1772) Preface in Poems, Consisting
Chiey of Translations from the Asiatick Tongues p. iv
[24] Davis, Dick: Iranian Studies, Vol. 32, No. 4 (Autumn,
1999), p.587
6 10 EXTERNAL LINKS

[25] Thackston, Wheeler: A Millennium of Classical Persian
Poetry, Ibex Publishers Inc. 1994, p. ix in Introduction
[26] Davis, Dick, On Not Translating Hafez in the New Eng-
land Review 25:1-2 [2004]: 310-18
[27] Thackston, Wheeler, A Millennium of Classical Persian
Poetry, Ibex Publishers Inc.' 1994, p.64
Hafez. The Poems of Hafez. Trans. Reza Ordouba-
dian. Ibex Publishers., 2006 ISBN 978-1-58814-
019-7
Hafez. The Green Sea of Heaven: Fifty ghazals from
the Diwan of Haz. Trans. Elizabeth T. Gray, Jr.
White Cloud Press, 1995 ISBN 1-883991-06-4

[28] Meisami, Julie Scott (May, 1985). Allegorical Gardens Hafez. The Angels Knocking on the Tavern Door:
in the Persian Poetic Tradition: Nezami, Rumi, Hafez. Thirty Poems of Hafez. Trans. Robert Bly and
International Journal of Middle East Studies 17(2), 229- Leonard Lewisohn. HarperCollins, 2008, p. 69.
260 ISBN 978-0-06-113883-6

[29] Hafez, singing love Mahmood Soree, Golbarg magazine, Haz, Divan-i-Haz, translated by Henry
mehr 1382, number 43 Wilberforce-Clarke, Ibex Publishers, Inc., 2007.
ISBN 0-936347-80-5
[30] Views from the Edge
Khorramshahi, Baha-al-Din (2002). Hafez II: Life
[31] Hafez humor aftabir.com
and Times. Encyclopdia Iranica. Retrieved 25
[32] the body Maede arrived- part 3 tebyan.net July 2010.

[33] Washington Post Book World: Faces of Love, transla- Yarshater, Ehsan (2002). Hafez I: An Overview.
tions of Persian poetry reviewed by Michael Dirda Encyclopdia Iranica. Retrieved 25 July 2010.

Jan Rypka, History of Iranian Literature. Reidel

Publishing Company. 1968 OCLC 460598. ISBN
9 Sources 90-277-0143-1

Bashiri, Iraj (1979). ""Haz' Shirazi Turk": A Chopra, R. M., Great Poets of Classical Persian,
Structuralists Point of View. Bashiris Working June 2014, Sparrow Publication, Kolkata, ISBN
Papers: Central Asia and Iran. 978-81-89140-99-1.

Peter Avery, The Collected Lyrics of Haz of Shiraz,

603 p. (Archetype, Cambridge, UK, 2007). ISBN 10 External links
1-901383-09-1
Translated from Divn-e Hfez, Vol. 1, The Lyrics
(Ghazals), edited by Parviz Natel-Khanlari (Tehran, English translations of Poetry by Hafez
Iran, 1362 AH/1983-4).
Haz Selections of his poetry on Allspirit
Parvin Loloi, Haz, Master of Persian Poetry: A
Critical Bibliography - English Translations Since the Hafez in English from Poems Found in Translation
Eighteenth Century (2004. I.B. Tauris) website

E. G. Browne. Literary History of Persia. (Four Poems by Hafez from Blackcat Poems website
volumes, 2,256 pages, and twenty-ve years in the
Hafez Divan in Persian and English
writing with a new introduction by J.T.P De Bruijn).
1997. ISBN 978-0-936347-66-0 Life and Poetry of Hafez from Haz on Love web-
site
Will Durant, The Reformation. New York: Simon
& Schuster, 1957 Hafez Poems translated G. Bell
Erkinov A. Manuscripts of the works by classical Selection of Love Poems by Hafez
Persian authors (Hz, Jm, Bdil): Quantitative
Analysis of 17th-19th c. Central Asian Copies. Persian texts and resources
Iran: Questions et connaissances. Actes du IVe Con-
grs Europen des tudes iraniennes organis par la
Societas Iranologica Europaea, Paris, 6-10 Septem- Hafez Divan with readings in Persian
bre 1999. vol. II: Priodes mdivale et mod- Fall-e Hafez An online Flash application of his po-
erne. [Cahiers de Studia Iranica. 26], M.Szuppe ems in Persian.
(ed.). Association pour l`avancement des tudes
iraniennes-Peeters Press. Paris-Leiden, 2002, pp. Text-Based Fal e Hafez A light-weight website
213228. ranked 1 on search engines for Fal e Hafez.
 7

Fale Hafez iPhone App an iPhone application for

reading poems and taking 'faal'.
Radio Programs on Hafezs life and poetry'

Faal-e-Hafez

English language resources

"The Collected Lyrics of Haz of Shiraz", a transla-

tion of the Divan-i Haz by Peter Avery, published
by Archetype 2007 ISBN 1-901383-26-1 hb; ISBN
1-901383-09-1 pb

Hafez' Shirazi Turk": A Structuralists Point of

View by Iraj Bashiri, University of Minnesota.

Haz, Shams al-Din Muhammad, A Biography by

Iraj Bashiri

Haz and the Suc Ghazal, 1979, by Iraj Bashiri

Comprehensive set of scholarly entries about Hafez,
on the Encyclopdia Iranica (Columbia University).
HAFEZ Encyclopaedia Iranica

Works by or about Hafez at Internet Archive

Works by Hafez at LibriVox (public domain audio-
books)

German translations and compositions

Viktor Ullmann, The Songbook of Has / Das

Liederbuch des Has, ARBOS - Company for Mu-
sic and Theatre

Other

Facebook Page for Hafez Selected poetry and im-

ages.
Hafez Tomb in 2012 Nowruz Celebration Photos.

Hafez Tomb Photos Photos.

Life and Poetry of Haz Theater play by Living Wis-
dom School
One Day with Hafez at Leiden University, The
Netherlands on YouTube
Muhammad Hafez of Shiraz at Find a Grave
8 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

11 Text and image sources, contributors, and licenses

11.1 Text
Hafez Source: https://en.wikipedia.org/wiki/Hafez?oldid=770054964 Contributors: Zundark, Ed Poor, Danny, Caltrop, Menchi, Alireza
Hashemi, Charles Matthews, Rbraunwa, Wik, Zoicon5, Itai, DiN, Dimadick, Robbot, RedWolf, Goethean, Mayooranathan, Chris Roy,
Academic Challenger, Refdoc, Roozbeh, Mat-C, J heisenberg, Gamaliel, Wurkwurk, Andycjp, Jossi, Haiduc, Rich Farmbrough, Thematic-
unity, Cfailde, Parishan, Mani1, Bender235, Putrescent stench, John Vandenberg, Viriditas, SpeedyGonsales, Jonsafari, Kwdavids, Ogress,
Mick Knapton, Wiki-uk, Pouya, Fontboy, Grenavitar, Zereshk, Fontgirl, Sandover, Kelly Martin, Mel Etitis, Woohookitty, FeanorStar7,
Tabletop, Ardavan, NoPuzzleStranger, Amir85, Island, SouthernComfort, Koavf, Vegaswikian, FlaBot, Who, Sontra, Bgwhite, Algebraist,
Kummi, YurikBot, Quentin X, RussBot, Heraclius, Sylvain1972, Tachs, Hamidrezahotdog, Persiancowboy, RDF, Tajik, Sangak1, At-
tilios, Mohsens, SmackBot, Reedy, Psalazar, Prodego, Primetime, Cessator, Kintetsubualo, Srnec, Pasha Abd, Roshanak, Aksi great,
Hmains, ParthianShot, TimBentley, MalafayaBot, Apeloverage, Sadads, Tsca.bot, OrphanBot, Jennica, Nepaheshgar, Sangak2, Bdiscoe,
Bejnar, SashatoBot, iga, TheNeon, ManiF, SMasters, Sharnak, MTSbot~enwiki, DabMachine, Szfski, CmdrObot, Ipaat, David Traver,
MarsRover, Jasper Zanjani, Cydebot, Siba, Jayen466, Tkynerd, Doug Weller, DBaba, NMChico24, Lunarian, Tiger-man, Thijs!bot,
Abassiri, Mohsinwaheed, Peter Deer, Missvain, Zaiken, Folantin, BehnamFarid, Towerman, Kaaveh Ahangar~enwiki, AgentPeppermint,
Ericmachmer, Dehneshin, Escarbot, Cacahuate, QuiteUnusual, CWO, Wayiran, Wahabijaz, Dtzgerald, Mr buick, JAnDbot, IQAndreas,
Ekabhishek, MER-C, Hassanfarooqi, Rothorpe, SiobhanHansa, Naval Scene, Mardavich, Frankly speaking, Sangak, Magioladitis, Siamax,
Syarir, Rivertorch, Waacstats, Senaaee, Okanenas, Hanbrook, Marmoulak, Edward321, Khalid Mahmood, Publius3, Blacksqr, Martin-
Bot, R'n'B, CommonsDelinker, Alireza syz, Farzan2008, Ctesiphon7, Manu kian maheri93, FruitMonkey, Nsigniacorp, Belovedfreak,
Rizwan1003, DorganBot, Idioma-bot, Vranak, VolkovBot, Ndsg, Naveed.r.khan, TXiKiBoT, Pahari Sahib, Henrico1, Andreas Kaganov,
Rumiton, Persiana, Sorayya, Billinghurst, Tommytocker, ObjectivismLover, EmxBot, AHMartin, Persianpawn, SieBot, David Plum,
OKBot, Shayanshalileh~enwiki, Pedramgh, ClueBot, Khabir786, Icarusgeek, Fahad24, Wikijens, Bagworm, AZatBot~enwiki, Arjayay,
Takabeg, BWH76, 1ForTheMoney, Kruusamgi, Joopwiki, XLinkBot, Margaretq13, Dthomsen8, Saeed.Veradi, SilvonenBot, Rosabibi,
Haiderrazazaidi, Good Olfactory, CalumH93, Addbot, Willking1979, Amirskip4life, Annielogue, LaaknorBot, SpBot, Numbo3-bot, Light-
bot, Karma77, Micki, Mywood (old), Legobot, Luckas-bot, Yobot, Ptbotgourou, Julia W, KamikazeBot, Hinio, AnomieBOT, Kanowini,
Shahrbaraz, ArthurBot, Xqbot, Jyusin, Drilnoth, Jlljdfaj09fja, GrouchoBot, Xashaiar, Omnipaedista, Dou Gweler, Green Cardamom, Fres-
coBot, Anna Roy, Spider 2200, Haeinous, Redletternight, Braveheart eu, MarB4, Xxglennxx, Aliameri, Hard Sin, Rameshngbot, Melba1,
Dazedbythebell, Vikashgd, Lars Washington, Pouyakhani, Maz8280, Orenburg1, FoxBot, Bobeck.nas, , Lotje, Emileverdure,
Theo10011, Lapskingwiki, Farhikht, Satdeep Gill, Difu Wu, RjwilmsiBot, TjBot, In ictu oculi, Kamran the Great, EmausBot, Wikitan-
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