History of literature of Iran
Amir Afshin Farhadian; Mohammad Taheri
Abstract
Should We "Strive" or "Drink" in the name of Xâje?Correcting a Verse of Hafez Based on the Intertextual Relations of His DivanA number of Hafez's poems are related to each other. Analyzing the elements of these links leads to a more accurate understanding of the poems, a better understanding of ...
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Should We "Strive" or "Drink" in the name of Xâje?Correcting a Verse of Hafez Based on the Intertextual Relations of His DivanA number of Hafez's poems are related to each other. Analyzing the elements of these links leads to a more accurate understanding of the poems, a better understanding of the thoughts and approaches of the poet, and a better drawing of the faces of the characters in the poems. The knowledge gained from reflecting on the intratextual relationships of Hafez' Divan can be effective in correcting the poems. In this essay, an example of the beneficial results of paying attention to intertextual relationships in the correction of Hafez's poems is explained with the method of content analysis and in a descriptive-analytical way. In the verse:My heart does not desire asceticism and repentance, butwe should strive in the name of Xâje and his government نمیکند دل من میل زهد و توبه ولیبه نام خواجه بکوشیم و فر دولت اوPaying attention to the intertextual relationship of the Divan shows that the "Xâje" in this verse is Xâje Jalâloddin Turân Shah, the famous minister of Shah Shojaʾ Mozaffari. Hafez has eulogized this vizier in a significant number of his poems. The analysis of the poems related to him in Hafez's Divan provides us with significant information about his thought and life and his relationship with Hafez. The meaning of this verse is in complete conflict with the knowledge obtained from the analysis of those poems. The inconsistency suggests that the current recording of the verse may be flawed. By referring to the old versions and checking the recorded recordings, it was possible to recover the correct form of the verse.
Lyrical and Didactic Literature
Meisam Jafarian Heris; Mohammad Ali Mousazadeh
Abstract
Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor ...
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Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor of University of Tabriz, Tabriz, Iran The previous custom in correcting the texts was that the most archaic manuscript was absolutely the basis, and except for gross errors in the oldest manuscript, they did not consider it permissible to deviate from the oldest recording. Although this method was correct in most of the revised texts, the nature of Hafez’ poems and the variety of his sonnets were such that in the work of correcting his poetry, relying only on the oldest manuscript does not lead to a superior recording. On the one hand, Hafez was constantly in the process of completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not collect his poems himself, and the oldest written copy of Hafez’ Divan is dated after his death, which is said to have been collected by Mohammad Golandâm. It is possible that other people have been assigned to collect and edit Hafez’ sonnets. Based on this, in addition to the fact that we are faced with several original copies, the existence of numerous secondary manuscripts as well as the distortions of the scribes in his Divan, and the number of recordings in some verses and disagreements about them have caused that only referring to the older manuscripts will not cause these disagreements to disappear. In such a case, one of the ways is to examine disputed verses based on textual/semantic documents and rhetorical techniques
Contemporary Poetry of Iran
Behnoosh Rahimi harsini; Ali Heydari
Abstract
AbstractHafez was bold enough to repeat the meaning (not the words) in the lines ofhis sonnets. His use of synonymous words and phrases is evidence of this fact.Hafez is unique in paying attention to and employing the subtle differencesbetween words which have similar meanings. He not only pays attention ...
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AbstractHafez was bold enough to repeat the meaning (not the words) in the lines ofhis sonnets. His use of synonymous words and phrases is evidence of this fact.Hafez is unique in paying attention to and employing the subtle differencesbetween words which have similar meanings. He not only pays attention tothe synonymous words but also takes account of the opposite meanings ofsuch keywords as synonym; he substitutes apparently synonymous words anduses each word in the appropriate context of words and phrases in the linescomposed. He does not use the similar concepts in the form of a stretch ofwords coming in a sequence. Instead, he substitutes the second word in aseparate sentence with the first word. This is his unique way of creating newmeanings. The arrangement of synonymous words, attending to the subtledifferences between words and their use in appropriate contexts have givenHafez a special ability to create new meanings. This technique has also led tonew paradoxes and sweet scoffing. By so doing, he ascends to the figurativemeaning of the language. This happens in 5% of Hafez’ lines seeking newstructures and meanings.Keywords: Synonym; Substitution; Meaning-creation; Sonnet; Haez.20 Persian Language and Literature, Vol. 71, Issue 238, Fall & Winter 2018- 2019In total, in the lyrics of Hafez, that is 4193 verses, around 214 verseswith synonyms words or phrases have been used. This numberconstitutes about 5% of his verses. Hafez has considered ways to createsynonymous concepts; for example, he makes sentences, phrases, orsynonymic combinations. Hafez knows that each word has differentsemantic components. Since no two terms are, in all their meanings,mutually conflicting or synonymous, placing synonymous or opposingcomponents creates conflict or synonymy between the words. Bycontrasting synonymous or opposite components, it creates a conflict orsynonymy among words. Hafez has a particular technique in the use ofsynonymous vocabulary. He does not bring the synonymous wordstogether, but he replaces one word with another one in two independentsentences. This makes it possible, in addition, to repeat part of themeaning of a synonym, and the second term also maintains its semanticindependence. This leads to the repetition of a part of the meaning ofthe first word, and the second term also maintains its semanticautonomy. It also shows other dimensions of the meaning of the word.This increases the meaning of the verse. This method gives power toHafiz to create new and multi-lateral meanings. In addition, he alsorecognizes the integrity of a word with semantic and grammaticalcapabilities. In addition, Hafez is familiar with methods for creating asemantic relationship among the words. Hafez, through his close look,sees the hidden virtual relationships among vocabularies, and bysubstituting these words, he brings them together in that part of meaningand relationship. Another point is Hafez's attention to meaningdifference in vocabularies in different contexts. This awareness gavehim the power to even identify conflicting vocabulary (water and fire)in allusion phrases (water of wreckage and fire of the tavern).Sometimes Hafez, in order to create a synonymy between concepts,uses the semantic components of a term in a descriptive phrase orsentence, and he replaces that descriptive phrase or sentence with thatterm. Of course, these descriptive phrases do not always refer to the truemeaning of the word. Sometimes these descriptive phrases signify theallusive meaning of the word. This method is equivalent to descriptivesemantics which linguists interpret as semantic descriptive or analytic.The last point is that Hafez, for the sole purpose of interpreting theSubstituting Synonymous Vocabulary in Hafez's Sonnets 21vocabulary, does not use synonymous concepts; but, using thesynonymous concepts substitution method, he uses the word andmeaning to serve rhetorical performances in his verses. We refer to anumber of artistic functions of this method:1. Creating paradox and wonder in the meaning of the verse.2. In synonymizing vocabulary, he considers the differentsemantic functions of words. And by replacing the vocabulary,in addition to the common meaning, he also uses differentmeanings. This adds up to the scope of the meaning of verse3. Sometimes he substitute two-dimensional vocabulary and inaddition to syntax, also creates ambiguity. In Hafez's verses,about 28 percent of synonyms are also ambiguous.4. The vocabulary also replaces each other with different semanticdomains.5. Sometimes, he replaces descriptive combinations and phraseswith vocabulary and phrases for synonyms.6. Hafez, in addition to creating synonyms, also considers thephonetic proportions, and the increase of verse music; hence, inthe choice of vocabulary, he attends to verbal proportions withother vocabulary.7. The most important point to be considered is proportions. Thismeans that Hafez has a comprehensive understanding of words;and knows semantic functions of the word and knows minordifferences in synonyms; he knows what a low or high meaninga word has or for which context it is more suitable.The abundance of synonymous meanings in Hafez's sonnets Title The number of lines Percentage Synonym 167 78% ambiguity andsynonyms 47 22% Total 214 100%
Behnoosh Rahimi Harsini; Ali Heydari; Mohammad Reza Hasani Jalilian; Ghasem Sahraei
Volume 70, Issue 235 , January 0, , Pages 57-71
Abstract
Hafez makes new allegories with new meanings, with replacing two concepts in to lines of a verse, based on virtual relationships among them. Such that allegory on second line, with a virtual relationship, substitute truth back in first line. Substituting allegory with truth, cause equality of them. In ...
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Hafez makes new allegories with new meanings, with replacing two concepts in to lines of a verse, based on virtual relationships among them. Such that allegory on second line, with a virtual relationship, substitute truth back in first line. Substituting allegory with truth, cause equality of them. In addition figurative sense, allegory has the main and independent implication that cause two-sidedness and extent of the means. Means of this method, is from the virtual relationship, dual significance of allegory and equality authority and truth in relation to succession. The sum of these relations and the presence of both authorized and truth, creates capabilities in language of Hafez that help him in the creation of amazing meanings and images. At least 365 allegory with dual implications (authorized and truth) by succession, has been used in ghazals of Hafez. This number that lacking allegories with likened the relationship (metaphor), includes about nine percent of his verses. From its artistic functions, can be mentioned the following: succinct word, redundant in meaning, paradox, exaggeration, clarify and describe the details of an image with keeping brevity, opacity, the symbol, create allusion and irony.
Nasser Alizadeh; Tahere Nazari Anamaq
Volume 70, Issue 235 , January 0, , Pages 153-180
Abstract
Post-modernism is a rebellion against the beliefs of one-dimensional and mono sound.That does not include any mind and a certain boundary and at any time and in any place emerges and language for the collapse of beliefs that take on the right form in society. Although the term postmodern in this article ...
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Post-modernism is a rebellion against the beliefs of one-dimensional and mono sound.That does not include any mind and a certain boundary and at any time and in any place emerges and language for the collapse of beliefs that take on the right form in society. Although the term postmodern in this article are borrowed from Western literature and theory and suggests thinking of another culture and language but the aim of this school and its functions is universal. The adaptation is one of the postmodern components that Hafez has used to combat the singularity of the great narratives and has led the society's mentality to pluralism in the realities and its acceptance. He combines the styles, ideas and literary types of the past, such as the philosophical thinking of Khayyam, parody, praise and mystical literature using the element of satire, along with the shaking of the dominant philosophical elements of society, which is condemned to be inferior and presided over And self-made constructs of reality in the form of a pseudo-independent society on paper. And using the double confrontation of the Kharabat against the Khaneghah, Pir-e Khanqah is placed against Pir-e Moghan and.... He does not seek to sit his own theory in this direction, but also opposes the voices of the opposition. In this article we have tried to match the postmodern philosophical school in the ghazels of Hafez measure and as much as possible we show the space and transcendental poets and classical world literature. In addition to the adaptation, postmodern components of uncertainty, carnival, decay of narratives, and short stories have survived in the nuns.
