Document Type : علمی- پژوهشی

Authors

• Meisam Jafarian Heris ¹
• Mohammad Ali Mousazadeh ²

¹ Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran

² Persian Group of Language & Literature, University of Tabriz, Tabriz, Iran

Abstract

Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques
 

Meisam Jafarian Heris ¹
Mohammad Ali Mousazadeh <sup>2

1</sup> Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran
² 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

Highlights

Criticism and correction of twelve verses of Hafez based on textual documents and rhetorical techniques[1]

Abstract

The previous custom in correcting the texts was that the oldest manuscript was used as the basis, and except for gross errors in the oldest manuscript, it was not permissible to deviate from the oldest recording. Although this method has been correct in most of the corrected texts, the nature and history of Hafez's poetry and the way of compiling his sonnets are such that in the work of correcting his poetry, relying only on the oldest manuscript does not always lead to the best recording. On the one hand, Hafez was constantly working on completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not compile his poems himself, and the oldest recorded manuscript of Hafez's divan is dated after his death, which, according to the popular saying, has been arranged by Mohammad Golandâm. It is possible that besides him, others have been assigned to collect Hafez's sonnets. Based on this, in addition to the fact that we are faced with several original copies or the master manuscript, the existence of multiple sub-manuscripts as well as the distortions of the scribes of his divan caused the multiplicity of the recordings, in such a way that simply referring to the older manuscript does not cause to eradicate the disagreements about a superior recording. In such a case, one of the ways is to examine the disputed verses based on textual documents and rhetorical techniques. In this article, while critically correcting the manuscript dated 801 AH regarding the twelve verses discussed for the first time and paying full attention to the status of the copies, we have proposed the final recording of the verses based on the same documentation and methods.

Keywords: criticism and correction, textual/semantic/rhetorical documents, Hafez

Review and Discusion

1. xaridâr-e man ast/ vafâdâr-e man ast

خریدار من است/ وفادار من است

For the following reasons, the recording of "xridâr" is superior to the recording of "vafâdâr": A: From the Qur'anic point of view, "xaridar" is related to "bande" and "qaht" in the story of Prophet Yusof. B: From the point of view of astrology, "xaridâr" in connection with "tâleʾ" is reminiscent of "moštari". C: The relationship between "slave" and the practice of slavery and buying and selling slaves is obvious.

2. yâd nayâri/ yâd nayâyad/ yâd nabâšad

یاد نیاری / یاد نیاید / یاد نباشد

For the following reasons, the recording of "nayâri" is the best recording: A: The verb "nayâri" has ambiguity (Ihâm) in the phrase "yâd nayâri"; It can be considered as a derivative of the verb "âvodran" and from the verb "yârestan". B: With the option of recording nayâri as the superior recording, the contrast between the two verbs of "boddan" and "âvordan" also decorates the verse.

3. mast-o xarâbam/ mast-e xarâbi

مست و خرابم / مستِ خرابی

For semantic reasons and the recording of "mast-o xarâbam", is the superior recording: A: Hafez's audience in all the sonnets is the bartender, and the requirement to meet the needs that Hafez asks of him in each verse is sobriety, not drunkenness. B: Another point of this verse that should be kept in mind is that "niz" should be considered in its other meaning, i.e. "bâri".

4.az in bâdiye/ dar in bâdiye

 از این بادیه  / در این بادیه

Despite the fact that the recording "dar in bâdiye" has the support of oldest and most of the manuscripts, it seems that the recording "az in bâdiye" is better due to these reasons: A: " dur ast sar-e âb az in bâdiye", it means that "there is no water in this desert", and whatever is there is a mirage, and the water is outside of this desert. B: Hafez's use of the word desert (= waterless illusion) is also an indication that this desert is completely waterless and water is located outside of it.

5. ar xodâ xâhad/ az xodâ xâhad

ار خدا خواهد / از خدا خواهد

The recording of "ar xoda xâhad" which is the translation of "Inshallah" is the best recording. "bâq" in the verse is related to "Paradise" and " ar xoda xâhad " also refers to "Divine Providence/ Masha'Allah". With the recording of " az xoda xâhad ", all the subtleties of this verse will be lost, even though the possibility of distortion is not far away. The music of "dar/ar/dagar/Sar/bar/sar/dar" and "ar/kenâr/ârad" are also noteworthy.

6. čašm-e ʾu sepand / jân-e ʾu sepand

 چشم او سپند / جان او سپند

"čašm-e ʾu" seems superior. A point that should not be overlooked in Hafez's verse is the presence of the word "be joz" which helps to prefer the recording of "jân". He says that anyone who looks with evil eye on your face, except for the pessimistic eye, should not burn in the fire, and it seems that the meaning of the eye is the interest of the part and the whole of its pupil, which is similar to the sepand.

7. pâre/ vasle

پاره/ وصله

pâre = cloak: We prefer "pâre" according to the recording of oldest and most of the copies, as well as text documentation and rhetorical aspects.

8. lotfaš / delbar

 لطفش / دلبر

Based on the condition of the manuscripts and textual evidence, we consider the recording of the most and the oldest manuscripts more appropriate:

9. bahs-e šeʾr / bahs-e ešq

بحث شعر / بحث عشق

"bahs-e šeʾr", that is, speaking about poetry were in that assembly, and with the analogy of "miyân" - which refers to "yâr-e muy-miyân" - the opponents were in the discussion and searching for the hair of the beloved. Also, the phrase "šeʾr andar miyân" refers to the length of beloved hair, which reached to her middle and waist. Another meaning of "šeʾr andar miyân" can be that the subject of the poem and sonnet is the description of the hair of the beloved, and naturally, in this context, "muy-šekâfi" (= scrutiny) is necessary; It means that it is both a delicate matter and requires a narrow speech. According to what has been said, our recording is "bahs-e šeʾr andar miyân".

10. šod bar-e mohtaseb/ šod suy-e mohaseb

 شد سوی محتسب / شد بر محتسب

that the expression "mohtaseb namând" is equivalent to "šod suy-e (to, toward / bad, evil) mohtaseb". According to what has been said, we consider the recording of "šod suy-e mohtaseb" to be a more appropriate recording, and the origin of the variation to "šod bar-e mohtaseb".

11. ze masti soʾâl kon / be masti soʾâl kon

 ز مستی سؤال کن /  به مستی سؤال کن

According to Iham, the authors prefer the recording of "be masti" to "ze masti".

12. zân sabab / zin sabab / zân zamân

زان سبب / زین سبب / زان زمان

Hafez has placed the word "sabab" in order to take advantage of its artistic and mystical aspect, along with other Qur'anic terms that have been mentioned. Based on this, in our opinion, the recording of "zin Sabab" is the final recording of the verse.

[1] Meysam Jaʾfariyân Heris: Ph.D. in Persian language and literature, Tabriz University, Tabriz, Iran.

Mohammad Ali Musâzâde: Assistant Professor, Department of Persian Language and Literature, University of Tabriz, Tabriz, Iran (Corresponding author).

Keywords

• Criticism and Correction
• Textual/Semantic/Rhetorical Documents
• Hafez

Main Subjects

• Lyrical and Didactic Literature