Hafez

Open Access Article

1 - The Relation of Hafez to Ash'arite and Determinism Schools
Mohammad مشهدی نوش‌آبادی

One of the signifying issues about poetry and thought of Hafez, a Persian poet, is determinism and fatalism. Although a number of researchers have studied this topic from different aspects, it is still, like so many other issues about Hafez, seriously debatable. A part More

One of the signifying issues about poetry and thought of Hafez, a Persian poet, is determinism and fatalism. Although a number of researchers have studied this topic from different aspects, it is still, like so many other issues about Hafez, seriously debatable. A part of scholars have stressed on determinism in his poetry, even if they don’t reach to any common point about his being Ash’ari. Most of them have believed in not his being a part of these two schools. In this paper, firstly, a quick review of different standpoints about Hafez’s thought world will put forward. Then the discussion goes through the dissension of Ash’arite and Mu'tazilah schools, which based on the human’s intended or chosen’s act, considering that every deterministic belief is not attributed to Ash’arite or any kind of theological approach. Finally, through focusing on the freethinking behavior of Hafez toward the determinism, based on various examples from his poetry book, it is rendered that these reneges of poems are composed in reply to his reproachers who had charged him with the profligacy and love. At the end, the viewpoint of researchers who believed in determinism of Hafez is negotiated. As a result, most of Hafez’s poems which are apparently in harmony with determinism school, considered as his disputing with the reproachers as well as criticizing Ash’arite and Mu'tazilah in terms of ignoring freedom of choice. To come to the point, being a part of determinism and Ash’rite school not only could not explain Hafez as he is but also is against his disagreement with these schools. Manuscript profile

Open Access Article

2 - The Deep and Hidden Influence of Quran upon Hafez Poetry Regarding the Fifth Sonnet in his Divan
علی نظری علی فتح اللهی پروانه رضایی

It is obvious that Hafez poetry is completely affected by the Quran in its words, expressions, phrases, structure and style. This has made his word symbolic, ambiguous, multilayer in content, and artistic. His fifth sonnet has been inspired by the story of Moses and Abd More

It is obvious that Hafez poetry is completely affected by the Quran in its words, expressions, phrases, structure and style. This has made his word symbolic, ambiguous, multilayer in content, and artistic. His fifth sonnet has been inspired by the story of Moses and Abd (Khedhr) in the Quran. He must have consciously and skillfully got use of the plot of the story and combined it with the elements of Persian poetry. Key words and phrases making the reader of the sonnet associate them with the verses from the Quran including ‘unveiling the mystery’, ‘wrecked ship’, ‘visiting the familiar one’, ‘the man of poverty’, ‘struggle for joy and pleasure’, ‘getting addict by wine’, and begging apology’ directly or indirectly are the signs and symbols whose compatibility with the content of the verses 62 and 82 in the Surah of Kahf (cave) the author tries to examine. Manuscript profile

Open Access Article

3 - Epistemological and Psychological Functions of Hafez's Poetry in Contemporary Human's Life
جليل مسعودي‌فرد

Contemporary human being is exposed to the Globalization Phenomenon and to both its opportunities and threats. Western civilization has yielded human rights, democracy, development on one hand, and anxiety, depression and emptiness on the other hand. Living a meaningf More

Contemporary human being is exposed to the Globalization Phenomenon and to both its opportunities and threats. Western civilization has yielded human rights, democracy, development on one hand, and anxiety, depression and emptiness on the other hand. Living a meaningful and satisfying life is a basic need from which man has already been separated. Can Persian culture and literature serve as a response to this need? Reviewing Hafez' poetry, the present article is to seek some solutions for epistemological and psychological problems of contemporary human. Hafiz' poetry is like a stream in which the modern life can purify itself. It is like a garden in which man can gain tranquility and joy. In the light of Hafez' poetry one can practice living a meaningful life. Relying on God and His grace, and treating the world as a beauty, Hafez gives meaning to the man's life. His poems, full of social and psychological messages, teach the man tranquility, friendship, tolerance, giving up hypocrisy, how to get rid of depression and disappointment. Manuscript profile

Open Access Article

4 - The Languor of the Pious or Friendly Manner of Beloved (Khoshkhoye Dordkeshan); The Survey and Analysis of a Controversial Verse by Hafez
خدیجه حاجیان سعید بزرگ بیگدلی

Unlike many of Persian poets, especially the most well-known poets, the recognition of thought and world view of Hafez relies on his poetry to a large extent; mainly consisting of sonnets. An Interpretation of some of Hafez’ couplets has been done since a long time ag More

Unlike many of Persian poets, especially the most well-known poets, the recognition of thought and world view of Hafez relies on his poetry to a large extent; mainly consisting of sonnets. An Interpretation of some of Hafez’ couplets has been done since a long time ago. During recent years, this issue has however led to a large number of writings. Such articles focus on the interpretative explanation or the paraphrase of the whole couplet, or in other cases opinions have been offered about some of the words; making some points elaborately clear. Following this, the appropriateness and the origin of the recorded form of some of these verses and their combinations are questioned; tending furthermore towards explanation paraphrase. One of the most ‘controversial’ verses which has enjoyed the most interpretations and comments so far is; Aboos e Zohd be Vajhe Khomar Nanshinad Morid e Khergheye Dordikeshan e Khoshkhoyam The major part of these interpretations and explanations on this couplet were written after Khanlari published his version of Hafez’ poetry book (known as Divan). Unlike all the other existing copies of Hafez’ Poetry book, he has preferred the verb “sit” instead of “refused to sit”; which has led to serious discussions within the explanation of this couplet. This article surveys, analyzes and compares these opinions and views through referring to the views and insights of the writers and experts who have interpreted this couplet line. Regarding the survey and analysis of these opinions, it can be concluded that in this couplet Hafez has compared the “sulkiness” drawn from piousness (which is apparent in the face of the pious person), with the tenseness and sulkiness drawn from drunkenness and the languor of the beloved one (Dordkeshan); while he prefers the later one and for emphasizing it, he calls himself the disciple of the friendly mannered beloved (khergheye- Dordikeshan- khoshkho). Manuscript profile

Open Access Article

5 - Artistic Quotation in Hafez' Poetry
عليرضا فولادي

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the artistic quotation" and elaborates the details in Hafez' poetry. What is an artis More

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the artistic quotation" and elaborates the details in Hafez' poetry. What is an artistic quotation, how does its artistic aspect occur and what are its types? This article intends to respond to the mentioned questions.Our method is the descriptive method through the structuralism approach.The overall studies lead us to conclude that Hafez' artistic quotations have generally passed a balanced path both in narration and the poetic process; which is due to his tendency for moderation. And in these two-sided aspects considering the present situation, they have been united with several elements such as; the narrator, atmosphere, time and place setting, description, character, dialogue, incident, suspense, and the ornaments of the figures of speech like; metonymy, simile, style of finding the proper equivalent, metaphore, personification, paradox, irony, pun, phonemes, harmony of adjectives, equivocation, identification, convenance, contrast and many other figures of speech to be mentioned. Also examples of this technique cover a variety of divisions in his great poetry book depending on the basis of the definition in the details. Manuscript profile

Open Access Article

6 - Poetic Inspirations
مهرانگیز اوحدی

There are at least two viewpoints upon the poetry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the poet existence, 2- inspiration is a power originated from the poet unconscious self. Theorisians and poets have spoken a lot on these two th More

There are at least two viewpoints upon the poetry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the poet existence, 2- inspiration is a power originated from the poet unconscious self. Theorisians and poets have spoken a lot on these two theories to accept for and against them. As the human being mind structures are not the same, naturally their treatments toward and conceptions about the same experience, be it objective or abstract, will be different. In other words, each poet, in special situation, understand the message more or less ambiguous. He does not know the origin of it. These new and to some extend ambiguous messages are mixed with the poets presuppositions in such a way that separation of “God given inspirations” or “mind made ones” is generally impossible. In this article tries to study this mind complex procedure which was generally subject of a lot of poets and art theorists’ discussion. Manuscript profile

Open Access Article

7 - Comparative Analysis of Religious Experience of Sohrevardi and Hafez
ایمان زرگران حسینعلی قبادی

Persian literature and especially mystical literature, is largely mixed with illuminationist thoughts of Sohrevardi (Suhrawardi). This blending and the resulted effect are mainly due to his mysterious works in which he expressed his philosophical ideas in a literary lan More

Persian literature and especially mystical literature, is largely mixed with illuminationist thoughts of Sohrevardi (Suhrawardi). This blending and the resulted effect are mainly due to his mysterious works in which he expressed his philosophical ideas in a literary language. In his works, the religious experiences are expressed in different ways: sometimes directly, sometimes in the form of mysterious stories, and sometimes he classifies and systematizes these experiences as an external observer. Hafez as a poet, who has always been connected to the previous literary heritage, sometimes communicates such unique experiences through sonnet which considered being significantly similar to Sohrevardi’s experiences. Facing a holy idea which is indefinable and formless in nature, this is the experiencer’s mind which forms the experience in this process. It can be claimed that Sohrevardi’s works played a role in forming the structure of Hafez’s mind. Sometimes these experiences are similar regarding the location of the events which is Sohrevardi’s “world of ideas” or “hovargheliya”, and sometimes the similarity is in the quality of the experience manifested in the form of visual, auditory and olfactory experiences. The description of experiences as a fleeting lightning or midnight son, meeting the sacred witness (Shahid) and the holy Pir (leader) are some of the common features in Hafez and Sohrevardi’s works. Manuscript profile

Open Access Article

8 - The Influence of Poets of Shiraz (Sa’adi and Hafez) on Russian Poems
Janolah Karimi Motahhar

In this article some Russian poets like Mikhail Alekseevich Kuzmin, Igor Vasilyevich Sourianin, Dmitri Borisovich Kedrin and Ilia Lovich Slivinski who are inspired by poets of Shiraz, Sa’adi and Hafez are introduced, and their poems with themes similar to Persian litera More

In this article some Russian poets like Mikhail Alekseevich Kuzmin, Igor Vasilyevich Sourianin, Dmitri Borisovich Kedrin and Ilia Lovich Slivinski who are inspired by poets of Shiraz, Sa’adi and Hafez are introduced, and their poems with themes similar to Persian literature and aforementioned Shirazi poets’ thoughts will be analyzed. This article aims at studying the Russian poets’ approach towards Sa’adi and Hafez’s poetry, and those motifs in their poems that the Russian poets were interested in. For example, how are the moral themes reflected? In addition to ethics, have they shown any interest to the literary styles? Since some Russian poets got familiar with the style of Ghazal in Iranian poetry, have they used this style under the influence of Persian poets? Who are those Russian poets that used this style, and which Iranian poets had influenced them more? This article focuses on the period in Russian literature in which the greatest attention had been paid to the poets of Shiraz, and looks for reasons for this tendency. Some famous Russian poets of the nineteenth and twentieth centuries of the Russian literature have paid special attention to the ideas of Sa’adi and Hafez. This study reveals that there are various kinds of effects and tendencies. The reasons for the Russian poets’ interest and tendency towards the poets of Shiraz (Sa’adi and Hafez) is discussed. Manuscript profile

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9 - Criticizing Mohammad al-Forati ’s Translation of Hafez Shirazi's Poems (Case study of the sonnets 454 and 486)
mohsen sifi Abbas Eghbaly Reza Shajari

Translation as a connecting link between languages and cultures has always strengthened the link between Persian and Arabic languages, and the poems of Persian language poets have always been a source of interest for Arabic-language translators. Syrian poet Mohammed al- More

Translation as a connecting link between languages and cultures has always strengthened the link between Persian and Arabic languages, and the poems of Persian language poets have always been a source of interest for Arabic-language translators. Syrian poet Mohammed al-Forati (1880-1978) was one of the Arab poets and translators who translated Hafez's ghazals into Arabic poetry. In this essay, using a descriptive analytical method the translation of two ghazals of Hafez by al-Forati is analyzed. Based on Reception theory, it is discussed that although the translator had a good knowledge of Persian language, he sometimes made mistakes in understanding metonymy and Iham in the poems, and as a result, he was not successful in receiving the message from the source language and transferring it to the readers of the target language. Of course, his translation is very beautiful despite the shortcomings caused by the failure in perceiving the purpose of Hafez, and he has tried to reconstruct Hafez's poetic language regarding rhythm and rhyme. It has also become clear that he has been more successful in understanding the poems that were not open to mystical interpretation. Manuscript profile

Open Access Article

10 - Investigating and analyzing the structure of the row and rhyme of Hafez's poetry From the perspective of relative frequency construction and syllable pattern
Mehrzad Mansouri

20.1001.1.17351030.1398.17.52.1.1

Extracting components to determine the author's personal style is one of the things that can show the author's style more accurately and better based on measurable parameters. One of these parameters is the study of the relative frequency of a particular structure. In t More

Extracting components to determine the author's personal style is one of the things that can show the author's style more accurately and better based on measurable parameters. One of these parameters is the study of the relative frequency of a particular structure. In this regard, the study of the syllabic structure of the row and rhyme can be effective. For this purpose, this research has tried to determine the frequency of construction and the syllabic pattern of rows and rhymes in Hafez's poems. The study also aims to examine the extent to which Hafez uses each of the syllable structures in the row and rhyme and the arrangement of these structures in each syllable pattern. This research shows that the ratio of syllable construction in Hafez's poetry is somewhat in harmony with the natural Persian language. In terms of syllable pattern, the poet has used a wide variety of patterns. In terms of frequency, the patterns used also have different frequencies. Although the poet has shown no interest in using open syllables in the one-syllable pattern, he has used this syllable well in multi-syllable patterns.This study shows that the poet has limitations in using some patterns, such as not using patterns that start with cvcc in two-syllable patterns. This study also shows that in the application of each of the constructions in total patterns, the construction of cv is superior to the constructions of cvc and cvcc. In terms of the average use of each of the three constructions in all row and rhyme syllables, cv syllables are in the first place and cvc and cvcc syllables are in the next positions, which in terms of both rank and relative frequency is accompanied by spoken and written language. Manuscript profile

Open Access Article

11 - Investigating the Role of Conceptual Metaphors in the Evolution of literary styles (Relying on Body Metaphors in Farrokhi Sistani, Anvari, and Hafiz's poems)
Mohammad Taheri Masoumeh Archandani

20.1001.1.17351030.1399.18.59.1.2

The conceptual metaphor is the mind’s technique for conceptualizing affairs. The mind tries to conceive and contemplate some intangible affairs for itself with the help of this fundamental construct. Hence, it is expected that by changing it, we will also see a change i More

The conceptual metaphor is the mind’s technique for conceptualizing affairs. The mind tries to conceive and contemplate some intangible affairs for itself with the help of this fundamental construct. Hence, it is expected that by changing it, we will also see a change in thought-related macro-systems. Among these macrosystems are literary styles that have many factors involved in changing them. This article tries to answer the question of how the change of conceptual metaphors in time has an effect on the change of literary styles through analytical-descriptive method. To answer it, we trace the conceptual metaphors related to the body, which include the words "hand, eye, heart and head", in a selection of poems by Farrokhi Sistani, Anvari and Hafez. By analyzing the obtained information, we conclude that conceptual metaphors have undergone significant changes over time that are in line with the evolution of literary styles and are variables affecting the evolution of styles. Manuscript profile

Open Access Article

12 - Categorization of beauty levels in Hafez's poetry; From "Hosn" to "Aan" in the hermeneutic way of the text (classical)
Gholamreza Maroof Mostafa Kazemi Azghadi paevane alipour shirazi Mohammad reihani

Beauties in Hafez's poetry are classified and have degrees. In order to explain the degrees of beauty in Hafez's ghazal, the upcoming research tries to find out the degrees of beauty and the relationships between them, and also, based on classical hermeneutics and "Sc More

Beauties in Hafez's poetry are classified and have degrees. In order to explain the degrees of beauty in Hafez's ghazal, the upcoming research tries to find out the degrees of beauty and the relationships between them, and also, based on classical hermeneutics and "Schleiermacher" style, to interpret the text of Hafez's ghazal technically and grammatically. First, for technical interpretation, it reveals the lexical and idiomatic meanings of the words "Hosn" and "Aan" in the opinions of Muslim thinkers and in specific time-space conditions.Then, for the grammatical interpretation, it explains the semantic features of words similar to beauty, the words associated with and its complementary terms, and on the basis of the frequency of these terms, it starts a quantitative and qualitative interpretation at the same time.Based on the lexical frequency and examples of beauty, it is concluded that "Hosn"(beauty) as a concept that is measured using "Opinion Science", is the first and simplest concept of beauty in Hafez's Ghazal, that is separated in two ways: "God-given beauty" and "Beauty depending on ornaments". "God-given beauty" has the levels of "kindness", "elegance" and "Aan". in fact, "kindness" is higher than "beauty" and it is a quality that has been added to "Hosn"."Elegance" is a quality that can be understood but cannot be described, and finally "Aan" is a mysterious and indescribable quality in the beloved that not everyone can understand and recognize.In the aesthetic system of Hafez's mind, "Aan" is in the center of his attention as "Prototype" and is a criterion for rejecting or accepting other aesthetic attributes. Manuscript profile

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