دیوان حافظ

Hypocrisy is described as the mother of evils in both Islam and Christianity. In scriptures of these religions, the hypocrites are described as those who apparently profess to the two faiths but in heart they are either antagonistic to them or exploit them as means for satisfying their worldly desires. However, the evil becomes menacing when the hypocrites claim a place in the political power structures. In the fourteenth-century societies of England and Fars (Shiraz,) due to the pervasive presence of hypocrite clerics and their significant influence both on the common people and in the power structure, the hypocrisy of these men was a major topic in literature of the time. In two masterpieces of English and Persian literatures of this century, that is The Canterbury Tales by Geoffrey Chaucer (1342/43- 1400), and the Divan of Khājeh Shams-Adīn Moḥammad Ḥāfeẓ-e Shīrāzī (1325- 1390), the hypocrite men of religion were prime target of ridicule and criticism. This article is an attempt to show that despite the difference in genre, the two works seem to focus on and highlight the same concern about hypocrisy and the hypocrites. Moreover, in their treatment of the theme of religious hypocrisy, the two poets seem to have adopted some similar methods of characterization and focused on identical and shared features of the hypocrite men of religion in the Divan and The Canterbury Tales.

Equivoque, or “Iham-e Tanasob” in Persian, is one of the important stylistic features of Hafez’s poetry. Hafez was familiar with the world of music and by using musical terms, he created hidden and overt equivoques in his poetry. In his Divan, some less frequent musical terms are placed next to the more frequent terms in such a way that they make equivoques; however, since readers are not able to realize them in the first reading, some of these terms remain hidden and unknown in Hafez’s poems. In this essay, the researchers, after classifying the musical terms used in Hafez’s Divan and explaining the new type, i.e., the musical terms with hidden equivoques, try to interpret less frequent musical terms such as “charkh” (cycle), soul, glass, lover, speech, beloved, breeze, “negar” (beloved), union, “shahanshahi and shahi” (kingdom), “shekan” (curl), “shekan dar shekan” (curl on curl), and “shammameh” (lampstand). These terms are placed along well-known terms such as “pardeh” (musical tone), well-singing, song, Barbat and Ney (two musical instruments) in such a way as they make hidden equivoques. The discovery of these hidden equivoques increases the readers’ artistic pleasure from Hafez’s poems.

Hafez's Divan is one of the precious literary treasures that different groups of people use according to their literary knowledge and intellectual tendencies; but can Hafez's poems be useful for teenagers? The authors of the upcoming article have organized a research to answer this question, and this article is a part of its achievements. The premise of the research is that some of Hafez's poems are linguistically understandable for teenagers and many of them can communicate at least with the basic levels of some poems. This research was carried out in two ways: one is the study of reliable sources related to the topic and its descriptive and analytical review, and the other is the compilation and distribution of a special questionnaire for teenagers. According to the results of the research, there are similarities between the characteristics of adolescence and many of Hafez's verses, which confirms their suitability for teenagers. Some of the capacities of Hafez's Divan to provide to teenagers are: The common characteristics between the adolescence period and Hafez's Divan confirmed that this work is not unsuitable for teenagers. Dealing with topics and concepts like knowing oneself and finding the meaning of life, idealism, moral and social issues, love and friendship (also characteristics of adolescence), the multiplicity and diversity of characters (human and non-human) and their processing method, as well as the narrative and dramatic atmosphere of some song, is among the capacities of Hafez to present to teenagers. These capacities can adequately answer many spiritual needs of teenagers; a safe space for internal dialogue; Thinking about realities, possibilities and imagining; a safe and intimate friendship, with common feelings and concerns; independence of action while benefiting from the guidance of reliable and knowledgeable people; and the need to identify and know God and achieve the meaning of life.

In this verse of Hafez:Kooh-e andooh-e feraaghat be che hilat bekeshadHafez-e khaste ke az naale tanash chon naalistThere are three recordings: “Hilat/ Haalat/ Taaghat” and there is disagreement among the editors of Divan-e Hafez over those records. Choosing any of these three recordings is valid from the lexical point of view, but only one of them is according the Hafez final edition. “Hilat” in addition to its common known meaning, which is synonymous with “Means”, refer to another meaning: “Medicine”. Furthermore what strengthens “Hilat” status is its relation to ancient mechanical engineering term. The word “bekeshad” in this verse strengthens this hypothesis, which due to translation, corresponds to the part of “Jarr” in the “Ilm Jarr al-Athqāl”. In the scientific tradition of the Islamic Middle Ages, the “Ilm al-Hiayl (=the science of devices)”, covers the whole tradition of Islamic practical mechanics, in contrast to theoretical mechanics represented by the “Ilm al-Athqāl / Jarr al-Ithaqāl (=the science of weights)”.However, the other two recordings: “Haalat” and “Taaghat” are not completely unreasonable; the texts that Hafez was influenced by, can be a reason for the relative acceptability of the recording of “Taaghat”. From the Homonym and Amphiboly point of view “Haalat” has a special meaning, which has been less noticed by Divan-e Hafez commentators and editors; This figures of speech are based on the manuscript’s styles of writing, which the writers and poets of the past - at least in a certain period - paid full attention to. This article seeks to examine the reasons for the relative acceptability of the two other recordings, and examine the preference of the “Hailat” from textual and rhetorical point of view as a final recording of Hafez.

One of the main reasons for the error in the formation of relative clauses (RC) by Persian language learners who are learning German is the use of the relative pronoun to construct RC in German. In German, the relative pronoun agrees in both gender and number with the word it refers to, while Persian only uses the conjunction "ke" which has no syntactic or semantic connection with the RC it makes. The strategies used to construct RC ​​are also quite different in these two languages. Based on the hypothesis of the present study, it seems that most of the errors in the construction of RC in German occur in two parts: On the one hand, there is the incorrect choice of the relative pronoun by language learners, the reason for which may lie in not using a relative pronoun in Persian. On the other hand, another mistake that can be expected is choosing an irrelevant strategy to make RC. Through analyzing the RC used in the present study, we seek to determine the type(s) of frequent errors in the construction of RC and demonstrate that the results of typological studies can improve the process of foreign and second language teaching.

RC in German and Persian have been investigated in several studies. Lehmann (1977), a German linguist, discusses the differences between the construction of restrictive and non-restrictive RC in Persian and how they are shown in the head inside the relative clause. On the other hand, Mahmoudi (2014) deals with the clitic "ye" in the head of RC which functions as an article in Persian. Mahmoudi (2019) also deals with the issue of elements in descriptive RC. Bahrami (2021) has focused on RC in Persian from a typological point of view. In this research, in addition to showing the common strategies in making RC, a comparison has been made with other languages. This study shows that contrary to what is stated in many categories, the Persian language uses several strategies in constructing RC. Also, Voigtmann and Speyer (2021) have dealt with the issue of the correlation between information density and extraposition of RC. In this article, in addition to showing the characteristics of RC in German, it is concluded that the higher the information density is, the more likely the RC is to be extrapolated.

To indicate the type of errors of language learners whose mother tongue is Persian in constructing RC, the teachers of three German language classes were asked to provide the sentences that the students have made in their class exercises. A total of 59 language learners, including 32 female learners and 27 male language learners, participated in this study. The youngest learner was 16 years old and the oldest was 50 years old. A total of 1339 RC were collected and examined in the first phase of this research.

Having examined the types of errors in RC used in the present study, we observed that out of 191 errors, 145 errors were directly related to our research hypothesis. In other words, most of the errors made in RC are due to the differences in typological strategies used in Persian and German. On the other hand, a hypothesis was raised in the introduction of this paper, stating that due to the similarities between the position of the verb in RC and the posterior position of RC in Persian and German, no error is expected in this section. Contrary to this prediction, it was observed that 44 of the errors related to the research question belonged to an error in the position of RC. Also, in 12 cases, errors were observed in the position of the verbs used in RC. In addition, in this study, we also identified other types of errors that are not related to the typological strategies used in the construction of RC.

The Constitutional Revolution was the result of the general changes in the institutions of Iranian society, such as religion, culture, government, politics, and economics. The literature and poetry of this period, unlike other literary periods of the Persian language, which generally differed only in some aspects, is the result of a fundamental transformation. (Shafiei Kadkani, 1390: 37-27) Poetry is one of the important fields of each period to understand society and its politics and the changes that took place in the language and syntax of the poetry of the constitutional period, with different poets - and sometimes contradictory - requires precision that can be seen in the syntax of poems that has not received much attention before; Recent cognitive research has shown that the study of syntax is one of the most important ways to reach the mental world and discourses of literary texts. The poets of the constitutional period have looked at the social and political issues of that period with different approaches, which have sometimes been in conflict with each other. To understand some of the differences between the views of the poets of the constitutional period, we focus on the poetry of Aref Qazvini and Mirzadeh Eshghi; In this research, all the divans of these two poets have been considered.

First, the keywords related to “constitutional” were extracted and then studied by the method of explaining Langaker conceptualization and the chain of action that Stockholm classifies according to Langaker that includes agent, patient, instrument, experimenter, and mover, and finally Foucconier and Turner's conceptual blending. Many studies have been done with cognitive approaches in subjects other than constitutional poetry, for example: two books; how to compose and receive text in contemporary poetry (Nima, Sepehri and Babachahi), and a cognitive approach to the system of grammatical directions in the Gilaki dialect . The articles; "Study of the body of the Compulsory and Optional Complementary Foundation in Persian language based on Langaker's grammar", "Analysis of children's fiction texts with a cognitive poetic approach", and "Reading the poem" Anecdote "by Ahmad Shamloo with a cognitive poetic approach". but apart from theories with cognitive approach, in other researches that have been done on constitutional poetry, several researches can be mentioned; Saba to Nima, Volume 2 (Freedom-Modernity), Periods of Persian poetry from constitutionalism to the fall of the monarchy, and death or modernity, a book on constitutional poetry and literature, political and social concepts in constitutional poetry, Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran, and discourse Iranian political literature on the eve of two revolutions. The purpose of our study is to answer the question of what syntax and grammatical arrangement Aref Qazvini and Mirzadeh Eshghi have used to express their views on the constitutional; What is the thought and attitude of the two poets towards the concept of constitutional and how did they conceptualize it grammatically and conceptually? What are the differences between their conceptual domains and their discourse?

In Mirzadeh's poems, “constitutional” is placed in different grammatical posision, in which sometimes no action is performed conceptually, but in cases where there is an action, "it is sedition." "Constitutional" and "Constitutional" itself and in three cases "I" (pronoun referring to Maryam's father) are agent. Once "we" (Maryam's father and her sons) and once "Shah Muzaffar Din" remain experiencer (not agent). In conceptual blendong, in one case, “constitutional” is law. (Law that does not apply), in other cases, “constitutional” is commandment, God, lover (sweet), child (under guardianship), living being, time, and in three cases, it is ideal and purpose. To conceptualize “constitutional” he has used the conceptual domains of absolute monarchy, history, religion, time, love, Shirin and Farhad’s story, sacrifice for ideals, fruit metaphor for child, court, responsibility, immortality and "backbreaking" metaphor to express grief and Failure. In the compounds and similarities of “constitutional”, the compound "constitutionalist" has been used twice, in which the “constitutional” has the objective role, and once in "more constitutional" it is adjective. There is no action in sentences except for one case in which "constitutionalist people" is agent. Conceptual domains include city, people, party, honesty, religion, livelihood, marriage, politics, overthrow of the king, and aristocracy. In Aref Qazvini's poems, like Mirzadeh Eshghi's poem, the “constitutional” has appeared in various grammatical roles, but in the chain of action, beloved (hidden) is agent three times, "constitutional" itself, and once a pronoun referring to Mohammad Ali Shah. Once the "patriots" are both agent and patient, and twice the "constitutional" is patient . In conceptual blendong, "constitutional" is guilty or accused, living being, work, rule and government, lover, spring or gardener, will and desire, Joseph, and power of love. Aref Qazvini for conceptualizing "constitutional" has used conceptual domains such as tyranny, rope, old vintner, bibulous, nation, whitewashing, disclosure, rosy wind, flower season, tribune, flower parliament, rights, bad circulation of heaven, sacrifice and killing, monarchy. Joseph and love, which is a combination of the elements of nature, love and politics, as well as the belief in destiny and a an operator outside of the human will.

In many cases, there is no action in the poetry of Aref and Eshghi, but in other cases, in Mirzadeh Eshghi’s poems, "that sedition from Constitutional", "Constitutional” itself and in three cases "I" (pronoun referring to Maryam's father) And once the "constitutionalist people" are agents, and once "we" (Maryam's father and his sons) and once "Shah Muzaffar Din" are experiencers (not agent). But in the poetry of Aref Qazvini, in one case, beloved (hidden) and three times "constitutional" are agents, once Mohammad Ali Shah with the pronoun "you", once "patriots" who are both agents and patients, and "constitutional" is patient twice. For the conceptual blending of “constitutional” Mirzadeh Eshghi has used love, law, command, God, lover (sweet), child (under guardianship), living being, time, ideals and purpose. But Aref Qazvini’s conceptual blending for “constitutional” are the domains of the criminal or the accused, the living being, work, rule and government, the beloved, the spring or the gardener, the desire, Yusuf, and the power of love. Aref Qazvini has used a wider range of concepts for conceptualization, which is a combination of concepts in the domains of romantic and socio-political poetry, but Mirzadeh Eshghi has described “constitutional” more realistically than Aref Qazvini, for which at least two reasons can be mentioned; One is that Mirzadeh Eshghi, unlike Aref Qazvini, has written articles criticizing the political and social situation. It has also influenced his poetic atmosphere. Secondly, Mirzadeh Eshghi's poetic mentality is more modern than Aref Qazvini’s, and he has less traditional metaphors and elements than Aref Qazvini,

This verse is one of the verses that seem complex and ambiguous in terms of meaning. Many commentators misinterpreted the meaning of the verse, which rooted in the lack of observation of the exact meaning of the composition "unbeliever to love", which has caused most commentators have referred to the general meaning of the verse and they did not interpret the key phrases. Therefore, most of the descriptions of this verse are not based on correct logic and reasoning, and some commentators have repeated the same mistakes of their predecessors. Accordingly, this question is raised that what is the meaning of this verse based on the prevailing thought of Hafez's sonnets? This article is focused on reviewing the critiques of the verse and their critique. Based on the meaning of the combination of "unbeliever to love" in Persian literature, it can be seen that the beloved blamed Hafiz for prostrating to others than god, and in response, Hafiz considered the infidel of love innocent of any sin and error; Because this mistake and sin arise by the lover.

Cognitive linguistics deals with the relationship between language, mind, and human physical and social experiences, and as a meaning approach, it includes the foundation of a set of theories, the most important of which is conceptual metaphor. From the point of view of this theory; Metaphors are an essential tool for understanding abstract and intangible things in the human mind and their field of work and influence is not at the level of words but in the depth of meaning and concepts. Examine conceptual metaphor theory and examine the areas of mapping or correspondence between the two domains of origin and destination that are done with the help of images.

This research is a descriptive, analytical method with a review of 20 lyric poems from Hafez's Divan based on the topics of "origin, destination, mapping and image" in the context of cognitive linguistic theory. The method of data extraction is such that first the linguistic metaphors are extracted and among these metaphors, the main maps hidden in them are identified. Then, the mental and visual concepts of some of their semantic functions are also analyzed.

The domains defined in the theory of conceptual metaphor and its examples are in many ways similar to the conceptual and practical contexts of Hafez's poems; In a way, Hafez's sonnets can be considered as an example of conceptual metaphors that use various maps and images to convey meanings and concepts appropriate to them.

Metaphor in Hafez's divan is a powerful tool for expressing complex meanings, ambiguity and distance from the mind and image, which is best utilized using the poetic poetic and linguistic experience. According to the research data, the most important and most frequent maps and types of objective examples that Hafez has used to describe and illustrate them are: "Nature, love, hope, asceticism, mysticism and blame", which is the highest frequency of metaphorical concepts in Hafez's court. It is related to "nature" and the least is related to "mysticism and blame."

This verse is one of the verses that seem complex and ambiguous in terms of meaning. Many commentators misinterpreted the meaning of the verse, which rooted in the lack of observation of the exact meaning of the composition "unbeliever to love", which has caused most commentators have referred to the general meaning of the verse and they did not interpret the key phrases. Therefore, most of the descriptions of this verse are not based on correct logic and reasoning, and some commentators have repeated the same mistakes of their predecessors. Accordingly, this question is raised that what is the meaning of this verse based on the prevailing thought of Hafez's sonnets? This article is focused on reviewing the critiques of the verse and their critique. Based on the meaning of the combination of "unbeliever to love" in Persian literature, it can be seen that the beloved blamed Hafiz for prostrating to others than god, and in response, Hafiz considered the infidel of love innocent of any sin and error; Because this mistake and sin arise by the lover.

The book Badr al-Shoruh, written by Badreddin Akbarabadi (alive in 1150 AH), is one of the authors and literary men of the twelfth century AH. Badr al-Shoruh is one of the detailed mystical commentaries written on Hafez's Divan in the subcontinent. Badreddin Akbarabadi did not choose in this work and also brought poems in addition to the poems in the authentic versions and increased the number of lyric poems to 661. His method and effort in creating vertical connections between verses, using multiple sources and referring to these sources or their owners in the text, interpretations and perceptions of the narrator, and finally quoting poems by other poets named Hafez are among the features of his description. In this article, after a brief introduction to the details and research done on it, we will discuss and review the above issues.

Regarding the themes and meanings, the Divan of Hafez is in the pinnacle of the art of Persian poetry. This not only shows the wide range of his studies but also puts him in the best place to be analyzed in the field of intertextuality. Despite being categorized as plagiarism in our literal traditions, today the study of poet’s inspiration from others is part of the literary criticism. Investigation into the intertextuality of each work is a good way to understand it well. The researchers of this study applied “intertextuality” and “defamiliarization” in the Russian formalism. The goal of this research is to demystify some hidden parts of the Hafez’s range of studies and to investigate the inspirations of Hafez from his sources. This research is categorized as descriptive-analytic based on library studies. We tried to introduce a book which has affected Hafez and has not been noticed yet. By attempting to know the Hafez’s literary backgrounds, we have stepped into the zone of archetypal criticism of Persian literature. The problem of this research is to unfold how Hafez has been affected by Amir Khosro. By analyzing the Divan of Amir Khosro, we conclude that it is one of the Hafez’s intertextualities.

With the discovery, introduction, and the publishing of the pictorial edition of 801 AH, belonging to Nour Library of Othmani Istanbul, which is currently the oldest known version of Hafez Divan, it is necessary to have a critical look at the records of this version compared to the existing ones. As a result of the discovery of this version, new issues in the field of the narratives of the copies have emerged. For example, if earlier, in some cases, editors rejected the recording of a copy due to its lateness, now the later recordings, thanks to the 801 AH version, are replaced the former recording. Formerly, the copy of Aya Sofia dated 813 AH and the copy of Khalkhali dated 827 AH were particularly regarded as the top versions among the valid editions of Hafez due to their oldness, significance and archology and the main disagreements of scholars working on Hafez’s divan about the superior recording were based on the narratives of these two versions. As far as we know, 801 AH version has not been edited critically. This paper could be among the first steps in the examination of some of the narratives of this version. The main sources of this study, beside the 801 AH version is the Degarsaniha notebook- extracted from fifty hand-written manuscripts belonging to the 9th century and the valid editions of Hafez Divan.

Among the various buildings, house is a place that is most closely associated with human evolving life. However, this dynamic interaction between the resident and the housing has been reduced to the subject-object relationship in the present age under the influence of scientific and positive approaches. This relationship places the resident as a mere subject in front of his house (not next to it and with it), and the house as a finished product does not accept the human evolving life.This study considers the root of the solution to this problem in the formation of readable housing that accepts different readings of residents. The idea of ​​this house is taken from Hafez's divan, which is concordant with every heart, and the renewal of human knowledge during the period, as well as the emergence of new recipients, causes new readings of it. In this regard, first, it is tried to be explained the effective factors on the readability of Hafez's poetry and then the manifestation of these factors in the field of architecture and especially housing to be discovered and then the effective factors on the readability of housing to be explained by comparative-analytical method. Explaining that, these factors are explained in three general categories of "multiple meanings", "eternal meanings" and "structural and content links".

One of the most important literal and literary conjectures on the Hafez Divan is Sharh-e Soudi. Soudi who was one of literary men and scholars of the Ottoman Empire in the 10th century AH, had many compilations. His most important work is the account of the Hafez Divan. He wrote this commentary in the Turkish language of Asia Minor. This description has been relevant in many ways and has been used by scholars and exponents for many years in the Persian translation, so it is necessary to critique this description and to examine the way the Soudi is described. In this study, the structure of Sharh-e Soudi is examined in six sections: arithmetic, vocabulary meaning, grammatical points, rhetorical points, meaning of verses and ideas and exponent theories. In each section, while explaining the method of expository description, examples of objection or advantages of Sharh-e Soudi are provided. Carefully studying the Sharh-e Soudi on Hafez Divan, on the one hand, we come across advantages such as innovation, narrow-mindedness, and attention to subtle points in the description of some verses, and on the other hand a myriad of misconceptions, grammatical and lexical errors, inaccurate comments, and so on, we face.

Translating poetry has been one of the most important topics in translation studies that has always attracted the attention of scholars of this field. The mixing of the language of poetry with the poet's feelings along with the ambiguity and complexity of the poem's structure and its association with elements such as literary arrays, imaginative forms and music of poetry have made it so special that its translation  seems to be impossible. Some translation experts consider translating poetry to be impossible, and translation of Hafiz’s poems, with all the features of poetry and the intertwining of form and meaning, and especially Hafez's "illusions", is virtually impossible. The purpose of this paper, which used a descriptive-analytical approach, was to investigate the translation of Hafez's poems into French by the French knowledgeable, Charles Henri de Fouchécoure, to examine the difficulties and shortcomings of this translation, and to identify different aspects of the translation. The features of the two sonnets of Hafiz were examined and Fouchécoure’s translation were analyzed. It was indicated that some textual and paratextual features of the poems have been neglected and this has impeded transmission of the textual message, because the message and content of the Hafiz's poems are interwoven well with its form.

In these two bits of Hafez's Divan: “Khiale abekhezerbast’o jam Iskandar/Keyxosro Be jor’enooshi’e sultan Abolfavares shod” and “Esmea'zambekonadkarekhodey del khosh bash ke be talbisohiyal div mosalman/Soleymannashavad” Between the scholars about the recordings of "JameKeyxosroor Iskandar?" and "DivSoleymannashavad or Mosalman?" there have been various discussions.In the first instance, the "JameIskandar" is documentary on a manuscript (Khalkhali 827 AH) and all the other manuscripts have the "JameKeyxosro". But because Iskandar (Alexander), according to the evidence of fiction and poetry, had a special cup with surprising features that did not diminish its water and worldviews and opening the secret, recording the "JameIskandar" is based on the rule of "the most difficult recording is superior," in the scientific-critical correctionof the Divan Hafiz is more original than the "JameKeyxosro".In the second case also with the neglecting the record of the "Mosalmannashavad”, in more and prior of Hafez’s Divan manuscripts - in examining recordings of this kind, it should not be the sole criterion of choice and selection -according to another clause in the corrigendum of the texts, that is, "which one can be modified by another?" that recording is true and probably almost certainly some scribes do not record "Mosalmannashavad" to eliminate the rhyme in sonnets, observe the fit of the bit and coordination with components and its allusionelements it has turned into “Soleymannashavad”.

Hafiz, as a prominent face among mystical Persian poets, offers outstanding tips about the prosperity of mankind and its promoting and deterrent factors, and either true or false teaches how to achieve prosperity and introversive revolution. In order to understand the views more clearly, this paper has deployed the method of CDA which includes theoretical and experimental procedures to investigate the relationship between discourse and social and cultural developments. Accordingly, two samples of Hafiz sonnets were studied through the three stages description, interpretation, and articulation. This analysis showed that Hafiz is a mixture of lyricism and sense, interpretation of which apart from Quran is non-sense. Hafiz believes in introversive revolution as a rational practice which is incompatible with asceticism. The nature of this procedure is to eliminate the redundancies rather than piling up a mass of empty talk, through which the mentor just acts as a pioneer, non-dominant over the voyager at all. some of Hafiz sonnets were studied through the three stages description, interpretation, and articulation. This analysis showed that Hafiz is a mixture.

Shafiie Kadkani suggests the “matn e penhan”in Persian for the Christova’s theory of intertextuality. In his idea when the trace of a work is trackable in another text we call it intertextuality. This phenomena has roots in our traditional rhetoric which has been cited in the 13th century by Rᾱzi (2001) when discussing plagiarism. He believes that if a person gets a concept or a sentence from another person and develops it in a better way, and then expresses it eloquently, actually the concept belongs to him and it does not mean plagiarism. In The Indian literary style (Sabk Hindi) the expression “She’r Zamin” (Zamin means ground, land) somehow expresses the basis of the intertextuality which is a part of literary criticism. In Russian formalism and structuralism, we see expressions like motivation and defamiliarization and restoration of others’ motifs; the theory from which Miss Christova derived her theory of intertextuality. 

Intertextuality theory has come from Russian formalism and structuralism. It also appears in Christova’s work in the form of an independent theory. In defamiliarization, the poets and the authors use the old concepts, stimulates them and make them alive again. In Ishkolovski’s theory of Russian formalism this restoration of ancient words is interpreted as the word’s resurrection.  In this article we want to introduce some cases that Hafez has been influenced by an old text. A text from which Hafez has even integrated a verse into his own ode. This is the first paper that shows show such a phenomena and we also show that Hafez has been clearly influenced by this work. We have shown an intertextuality in Hafez’s poems to know his work more effectively. Hafez as Shafii Kadkani emphasizes hasn’t expressed or invented any new ideas of his own in his Ghazals, but by his defamiliarization and vitalizing the vocabulary and the concepts, he has recreated the poems and the speech of others artistically in the peak of the Persian poem pyramid.
Isfahᾱni went to Shiraz court in Mongol invasion and wrote his book there. Hafez commuted to Fars court in the next century, so it was possible for him to have access to Dastoor-Al-Vezᾱreh.

 Our method in this article is analytical-descriptive. We mention a work which Hafez liked a lot according to the witnesses. By reviewing it several times, we have figured out that the book was of great importance for him. It is in the type of political book. We can prove our claim by saying several points: First, Hafez has directly quoted (tazmin) a line from Isfahani’s praise ode. Second, understanding Khaje’s interest in studying euphuistic texts, given his other influences from texts like Kelile va Demne and  Marzbᾱn Nᾱme. He was also influenced by other simple proses such as Samak-e Ayᾱr and  Jᾱme-al Hekᾱyᾱt. Discovering an intertextuality, as Shafii Kadkani interprets, hunting the themes, is a great step in recognizing the poem, the poet’s vision and his line of studies. And this is of course much more important in the poems of a poet like Hafez who has indicated his interest and ability in reading books and also his dominance in speaking.

 In the field of literary criticism, in ancient times Shamse Gayse Rᾱzi in Almo’djam under the topic of plagiarism has clearly recognized the poet’s use of each other’s works. In contemporary literature, the subject has also been mentioned in works like the translation of the book Intertextuality from “Alen” and other books from the writers such as Nᾱmvar Motlaq we can see the discussion about intertextuality. In our century, Zarin Koub has emphasized the subject when he spoke about literary criticism. In the western literary criticism, in a significant work like Literary Criticism in the chapter named Archetypal Criticism it has also been mentioned specifically. In an analysis by studying the art and literature in the west, Northrop Frye has enviably adumbrated that the artists have been affected and have influenced each other from Ancient Greece. However, for the most serious discussions in this field we must refer to the articles and the books of Shafii Kadkani. In a practical sample he has published several basic works and intertextuality before publishing the edited text from Tazkaratol Awliyᾱ Attᾱr. He published an amazing book Bᾱ Cherᾱgh-o Ᾱyene to find out the inspiration of the famous contemporary artists from the cultural works, the reflection of the western poem, and the translation in the new poetry. In Rastᾱkhiz-e Kalemᾱt, he has discussed the philosophical and theoretical foundations of intertextuality and also the poets’ usage of the others’ motifs. And he has completed the discussion by talking briefly about Hafez and introducing some of his intertextuality in his three- volume book named Kimiyᾱe Hasti.

In this article, we have tried to represent a sample of Hafez’s poem intertextuality Dastoor Al Vezᾱre of Isfahᾱni, and by studying the details we want to demonstrate Hafez’s inspiration from this book. His first use of this text is the run-on line (quote) a verse from Isfahᾱni Ghaside, keeping its rhythm, rhyme, and epiphora unchanged, the same ode and the same vocabulary. After that the application of Isfahᾱni combinations and concepts in Khᾱje’s Ghazals shows that he has studied that book fully and deeply. Using defamiliarization and stimulation in his poems, Hafez resurrected the Isfahᾱni’s concepts artistically. One of the surprising points about Hafez’s poem is using the other’s tales inside Ghazal; not in the sort of a tale-Ghazal, but in the form of beautiful Ghazal concepts. In this article by mirroring the Isfahᾱni’s vocabulary and the expressions, in a story, we have indicated the effect of this story in Hafez’s Ghazal. Combinations such as guisooy-e chang a historical story has supported a field for creation of the most beautiful Ghazals. After that we have followed up several motifs and we have clearly shown that Hafez has been influenced by the Isfahᾱni’s texts and by the other texts as well.

Sound symbolism and iconicity which refers to a motivated relation between the signifier and the signified of a sign, is a literary and aesthetic feature whose usage in Hafiz’s poems have caught the attention of many linguists. In the line of this fact, the purpose of this study was to consider different types of motivation in the Hafiz’s Ghazals within Hinton et al.’s (1994) sound symbolism continuum. In so doing, all the lines and hemistiches consisting at least one type of sound symbolism – corporeal, imitative, synesthetic, and conventional –were collected to be studied in terms of their types and frequencies. The result of the study showed all types of sound symbolism from the most to the least transparency. It explains how important is this relation in poetry as well as its role in poem’s attractiveness and permanency. The quantitative analysis of the signs also revealed that there was a direct relation between the degree of motivation and their frequencies, that is, the more the signs were transparent the more their frequencies were. Therefore, the corporeal signs were of the highest frequency and the conventional signs were of the lowest frequency.