Document Type : علمی- پژوهشی
Authors
1 Dr. Department of Persian Literature Faculty of Persian Language & Literature & forigon Languages,Tabriz University,Iran
2 PhD student of Persin Literature and Language، Tabriz University, Iran
Abstract
Perhaps there is no text like Divan-I Hafiz in which the author himself makes so much changes in it. In fact the main variants is the work of the poet himself who has developed the poem to literal and spiritual perfection. If we want to make a meaningful relationship between poetical aspects of Hafiz that is to say short of words, exemplifications in speech, the broken form of discourse, resemblances of the poet with predecessors and his contemporaries, the hypothesis that Hafiz has had frequent studies on others steady works is reinforced. Sometimes his variant transcriptions in his poems exist exactly in past literary texts and sometimes the difference in the transcriptions is at the result of different scientific sources which Hafiz has refered to them and meditated in them. As if, it is probable that one of the creative factors of this different variants is because of the Hafiz research texts themselves. Searching in intertextualities of Hafiz poems make it possible for reader the reasonable understanding of Hafiz mind and language and also the scientific and critical edition of his poem. Up until now, the Hagia Sophia manuscript -copied in 1410 AD- and the Khalkhali manuscript -copied in 1424 AD- have been considered as two head / base-text in the valid editions of the Divan-I Hafiz, By introduction and publishing facsimile edition of Noor Uthmaniya Library manuscript -copied in 1398-99 AD, it seems to be necessary the critical review / edition of this manuscript's readings compared to existing ones
Highlights
The Evolution of Poem;
A Textual Research as Another Determinant of Different Variants and Different Readings of Hafiz’s Poems
Assadollah Vahed[1]
Professor at Tabriz University
Meisam Jafarian[2]
PhD. student of Persian Literature and Language
Abstract
So far Hafezian scholars have enumerated various factors for creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspect, whether these changes are related to the poet himself or not? Have the scribes had any influence in its formation? Or other factors than these two have been the source of different variants.
From among these factors which is related to the scribes, results their error and mistakes. Hafez researchers believe that the most important determinants of different variants are not related to the scribes, but they are related to the following agents:
a) Unwillingness of Hafez to compilation of his poems
b) The evolutionary rudiments of his aesthetical points of view
c) The socio-political pressures of his time
d) The changes of individual and particular cases into general aspects
We can expand this list by two important points:
1. The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants.
2. Hafez textual researches: This factor along with the element of the evolutionary rudiments of his aesthetical points of view can be the main and the most effective reasons of different variants.
Keywords: Divan-I Hafiz, different variants, different readings, intertextuality, critical review.
Introduction
In creation of art works, Hafez does not believe in beginning from zero at all. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level as the poets before his time, through critical literary and aesthetics criterions which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent speaker, he selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time.
In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources.
There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his textual researches. For example, in most of different variants the case of the A reading / form which is authentic and most likely the result of his poetic talent exists precisely in the literary and scientific texts which Hafez has certainly referred to these sources. Meanwhile, through investigation we find the B reading / form of the same word/phrase which is “the subject of critical inquiry and debate” in other texts:
بنمای رخ / بنمای رو
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بنمای رخ که خلقی واله شوند و حیران |
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بگشای لب که فریاد از مرد و زن برآید (Divan-e Hafez: 218) |
Varian Readings in Hafez’ Qazals (Neisari, vol.1:787):
بنمای رو : based on 18 manuscripts → oldest one: Hagia Sophiadated 813 A.H./1410 A.D.
بنمای رخ :based on 2manuscripts → oldest one:Khalkhali dated 827 A.H./1424 A.D.
بنمای رو :based on The Oldest Manuscript of Divan-i Hafiz dated801A.H./1398-99A.D.
QBS: بنمای رخ ‖PNEJ: بنمای رو
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بنمای روی و عقل به غارت ده |
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بگشای زلف و شهر به هم بر زن |
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بنمای رخ که باغ و گلستانم آرزوست |
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بگشای لب که قند فراوانم آرزوست |
Goals and Methods
We can suppose that in the hierarchy orders of his evolutionary aesthetics, Hafez has approved of a text and has used it and again facing another better text, he has substituted the best form for the previous form. It is necessary to be noted that while we emphasize Hafez textual researches, we do not ignore his independent individual and original artistic creativity in the formation and completion of his poems. In such cases we should use the method of adding up a series of rational, eloquent and narrative reasons for the preference of different variants and critical editions.
Conclusion
“The establishment of a reliable text” of Divan-e Hafez like his poem and character is an exception in the world of text edition, for critical edition of Divan-e Hafez is not sufficient to establish text only on the base manuscript and mention the variants without any judgments. On the contrary, for each different variant several explanatory essays are necessary, these notes along with the different versions of manuscripts and discussion of Hafez’s aesthetical aspects should be assessed totally and only in this case -maybe- it is possible to perceive Hafez language. And this is not only the work of one person, that is to say it is necessary for the scholars to research the various layers of Hafez poem from a special angle where the differences exist.
Also access to more manuscripts and older than the available copies can result in fundamental changes in editing Divan-e Hafez. Although Hafez poem is clear, the deep understanding of “Hafez’s dense poetic language” would not be possible unless through dialogue with previous texts. This principle can be true in editing his poem. This article is -we hope- a small step in that direction.
Notes:
- 1. B: Hafez Sh. Mohammad. Divān. (1378Š). ed. Baha-al-Din Khorramshahi and Javid;E:Idem. (1385). ed. Rashid Eyvazi; J: Idem. (1372). ed. JalaliNaeini and nooraniVesal;N: Idem. (1385). ed.SalimNeisari;p: Idem. (1375). ed. Parviz khanlari;Q: Idem. (1387). ed. Qazvini and Ghan;S:Idem. (1390.). Ed. Sayeh H.Ebtehaj
References
- Balkhi J. Mohammad. (1387). Qazaliat-e Shams-e Tabriz.ed. Mohammadreza Shafiei-e kadkani
- Faryabi Z. Taher. (1381). Divān.ed. AmirhasanYazdgerdi.
- Hafez Sh. Mohammad. (1394/2015). Divān-I Hāfiz. The Oldest Complete Manuscript of Divan-i Hafiz Copied in 801 A.H./1398-99 A.D.facsimile editon. Compiled BehroozImani. Tehran: Miras-e Maktoob.
- Meisami, S. Julie. “Manuscripts of Hafez” in EncyclopædiaIranica. Vol. XI, Fasc. 5, pp. 476-479.
-Neisari, Salim. (1385). Varian Readings in Qazals of Hafez (=Daftar-e Degar-sani-ha darghazal-haye Hafez).
Keywords
Main Subjects
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