The Conceptual Metaphor of “Joy” in Hafez’s Ghazals: A Cognitive Linguistics Approach
Subject Areas : Literary Criticism and Theory
julia khani khalife mahalle
1
,
zohre nouraeenia
2
*
,
zohreh sarmad
3
1 - Ph.D Student, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
2 - Assistant Professor, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
3 - Assistant Professor, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
Keywords: Conceptual metaphor, cognitive analysis, cognitive semantics, of Hafez's sonnets, joy.,
Abstract :
The Conceptual Metaphor of “Joy” in
Hafez’s Ghazals: A Cognitive Linguistics Approach
Julia Khani Khalifa Mahale*
Zohre Nouraeinia**
Zohreh Sarmad***
Cognitive linguistics is a modern perspective and a new gateway in the interdisciplinary studies of linguistics and literature. One of the prominent theories in this approach is the conceptual metaphor theory, which is responsible for conveying meaning and has the capacity to transform abstract linguistic experiences into tangible and perceptible concepts. The present study, adopting a descriptive–analytical approach, seeks to develop a cognitive model for the conceptualization of joy in Hafez’s ghazals. Through examining conceptual metaphors and cognitive analyses, this research aims to uncover and explain how the concept of joy is manifested and represented in Hafez’s poetry. The findings reveal that systematic and applicable theories of conceptual metaphor, by providing a coherent and scientific framework, make it possible to precisely analyze and interpret the complex and intangible dimensions of joy within Hafez’s worldview. To express various aspects of joy, Hafez draws upon diverse experiential and abstract domains.
In this study, different facets of joy are explored within ontological, orientational, and structural domains, with various sensory experiences and both positive and negative connotations employed to concretize the concept. Moreover, this concept is modeled within cognitive domains such as objects, animacy, nature, place, and food. In the orientational domain, conceptual metaphors of joy are depicted in two directions—upward and downward—while in the structural domain, the general meaning of joy is analyzed in correspondence with its related experiential domains.
Keywords: Conceptual metaphor, cognitive analysis, cognitive semantics, of Hafez's sonnets, joy.
Introduction
Emerging in the 1980s, cognitive linguistics focuses on the relationship between language and mental processes, highlighting the role of metaphor in conceptualizing abstract notions. In Lakoff and Johnson’s Conceptual Metaphor Theory, complex concepts are understood through concrete human experiences. In Hafez’s Ghazals, joy—an abstract emotion—is represented through experiential domains such as nature, movement, light, and space. Adopting a descriptive–analytical approach, this study examines metaphors of joy in Hafez’s Divan, elucidating the interconnection between language, thought, and culture in the poet’s worldview.
Problem Statement
Joy, as one of the prominent themes in Hafez’s poetry, is examined in this study through the lens of conceptual metaphors to reveal the linguistic and cognitive mechanisms of its representation. By analyzing selected verses, the study assesses the extent to which metaphor contributes to the concretization of this emotion. The data have been collected through library research and analyzed qualitatively using document analysis. The ultimate aim is to elucidate the relationship between the metaphorical domains of joy and Hafez’s worldview.
Significance and Necessity of the Study
This study is significant as it demonstrates how the poet’s lived physical and social experiences influence the formation of his cognitive system and underscores the necessity of employing modern approaches in the study of classical texts. Such perspectives enable the discovery of hidden layers within literary works.
Findings and Achievements
The findings indicate that conceptual metaphor provides an efficient
framework for a precise and systematic understanding of the subtle and intangible dimensions of joy in Hafez’s worldview. Beyond beautifying the text, metaphors serve as mechanisms for conceptualizing and processing abstract emotions, and their cognitive analysis paves the way for new and more accurate interpretations of the cognitive and linguistic systems of great poets.
Theoretical Framework
Conceptual (Cognitive) Metaphor
The theory of conceptual metaphor in cognitive linguistics regards metaphor as more than a linguistic device; it is a fundamental mental mechanism organizing experience and understanding the world. Abstract concepts are understood by relying on concrete, tangible experiences through “conceptual mapping” between a source domain (concrete) and a target domain (abstract).
Lakoff and Johnson identify three main types of conceptual metaphors:
- Ontological Metaphors:
These represent abstract concepts as entities, objects, or tangible spaces, and include:
- Substantial and Objectifying: Giving abstract concepts concreteness via embodiment and materialization.
- Container: Representing abstract ideas as “inside” and “outside” based on the container schema.
- Personification: Assigning human traits and motivations to non-human entities.
- Structural Metaphors:
Here, the structure of one conceptual domain is projected onto another, providing the framework to understand the target concept.
Orientational (Spatial) Metaphors:
Based on bodily and cultural experience, concepts are organized by spatial orientations such as up/down, in/out, near/far, reflecting human sensorimotor experience.
Main Discussion
Overall, the metaphors related to joy in Hafez’s Divan fully align with the mechanism of conceptual metaphor. In these metaphors, the source domain is more concrete and tangible than the target domain (joy) and easily transfers its characteristics to it. Therefore, Hafez uses elements of nature and the perceptible world—mainly accessible through visual, gustatory, and to some extent auditory senses—to describe joy. This enables the metaphors to represent the feeling of joy through concrete and comprehensible concepts for the audience.
Concept of Joy
Joy is a multifaceted and deeply rooted concept in ancient Iranian cultures, encompassing meanings such as delight, happiness, vitality, and festivity. This fundamental feeling plays a vital role in individual and social well-being and is linked in Iranian mythology to the creation of the world and humanity. In the Quran and mysticism, joy symbolizes divine mercy, love, and the highest spiritual degrees. In Hafez’s poetry, joy appears in various forms such as celebration, ecstasy, and delight, expressing profound human emotions and experiences closely connected to everyday life, religious beliefs, and emotional states.
Joy metaphors in Hafez’s Divan, based on the theory of conceptual metaphor, represent the abstract concept of joy through tangible elements of nature and various senses. Joy is explained through structural metaphors such as “joy as light,” “joy as union,” “joy as return to origin,” “joy as divine sorrow,” and “joy as justice,” each illuminating different aspects of this abstract feeling and its connection to Hafez’s mystical and ethical worldview. Beyond their literary beauty, these metaphors play a crucial role in conceptualizing joy and deepening its understanding in relation to human experience.
Hafez perceives joy as more than a simple emotion; it symbolizes freedom and liberation from worldly bonds, attainable through enduring hardship and suffering. Using vivid and concrete metaphors—such as human beings, buildings, gardens, time, and drink—he depicts the abstract concept of joy, making it accessible through visual, auditory, and gustatory senses. In Hafez’s poetry, joy combines light, divine power, and transcendence, metaphorically linked to “rising” and growth via directional schemas. This multidimensional view transforms joy into a profound, free, and meaningful experience that carries both beauty and inherent difficulty. Through his enigmatic language, Hafez presents joy as an invitation to unite with truth and detach from worldly attachments.
Statistical Report of Data
The findings indicate that among the structural metaphors of joy in Hafez's ghazals, "union with the beloved" has the highest frequency with 10 occurrences. It is followed by "divine sorrow" with 3 occurrences, and both "suffering" and "freedom" appear twice each. The metaphors with the lowest frequency are "justice" and "light", each with just 1 occurrence.
Regarding ontological metaphors, the domain of "place" has the highest frequency with 11 verses, followed by "plants" and "time," each with 8 occurrences. The domains of "objects" (5), "animacy" (2), and "food" (1) follow with decreasing frequency.
Directional metaphors, such as "Great Name" and "height of joy," predominantly have an upward orientation, symbolizing transcendence and tranquility.
Out of a total of 57 metaphorical instances of joy, 61.5% are ontological, 35% are structural, and 3.5% are directional metaphors.
Conclusion
The cognitive analysis of joy metaphors in Hafez’s ghazals reveals a strong alignment with the mechanisms of conceptual metaphor theory, conceptualizing joy through both concrete and abstract domains. In Hafez’s works, joy is presented as a positive emotional element, vividly and comprehensibly conveyed to the audience through tangible imagery and diverse ontological domains such as humans, places, plants, objects, and time.
The reciprocal interaction of joy with concepts like suffering, sorrow, union, justice, and freedom highlights the complex and multifaceted nature of this feeling. Directional metaphors are employed through upward concepts (e.g., divine power, heights of delight) and downward concepts (e.g., deception, darkness, evil) to reinforce Hafez’s ethical and humanistic messages.
Overall, the conceptualization of joy in Hafez’s ghazals integrates mental, ontological, and spatial domains, offering a profound, transcendent, and tangible portrayal of this emot.
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* Ph.D Student, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
julia.khani@iau.ac.ir
** Corresponding Author: Assistant Professor, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
z.noorae@iau.ac.ir
*** Assistant Professor, Department of Persian Language and Literature, YI.C., Islamic Azad University, Tehran, Iran.
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