Abstract
Finally, while Meisami addresses the question of the homoerotic nature of the vast majority of ghazals, she has decided, only for convenience (p. 254), to use the female pronoun in her discussion of the ghazal whenever referring to the beloved. Since the beloved in the vast majority of Persian ghazals is either he or He, and she regularly employs the masculine pronoun in her translations (p. 263), what purpose is served by the choice of she/her here except that of making the ghazal seem more like the grand chant courtois?
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