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In this article, I have tried to see whether one can find any signs of Mowlavi's influence in the poetry of Hafez. Two considerations have made me deal separately with the form and the content of works of the two poets; a) the deeply static and change resistant nature of the Persian traditional culture, which makes it difficult to say whether one is facing a case of shared culture or one of poetic influence; and b) the need for use of two theoretical standpoints (intertextuality and metaphor v. metonymy) to deal with content and form respectively. The results I have come up with are as follows: 1. As regards the content, one can detect more of an empathy arising from cultural unity rather than any trace of influence of one upon the other. 2. As for the form, one cannot help noticing that Hafez is exceedingly conscious of form, whereas Mowlavi pays little attention to it. 3. Whiltst Hafez leans heavily upon metaphor, Mowlavi is greatly inclined towards metonymy; one tends to ascension, the other to movement forward along the same route. 4. Finally, Hafez does not seem to have made any greater use of the form and content of Mowlavi's poetry with an eye to emulation than of the poetry of other poets, both previous and contemporary with him.

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Talebian.Y.­,PH.D
Eslamit. M
 
Abstract
 
Rank is a piece of music of the poem and has high Importance in completing music Rhyme and Rhythm and most of its roles and functions are generally ignored.
 
This article tries to evaluate the definitions of the rank and explained some of them and then selects the definition which is comprehensive, simple, complete and extensive in research. Since the rank is successfully used only in Persian language and the frequency is much more significant in the most beautiful and musical kind of Persian lyrics like the lyrics of Hafez, we examine its musical and implicating role while considering lyrics of Hafez.
 
All statistics of verbal substantive multitude pronominal adjective & speech kind of rank will be presented as well.
 
 

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Modarreszadeh.A.,Ph.D
 
 
Abstract:
 
This article has dealt with the phrase “ reclused lamp wick” (Cheragh-e Khalvatian) in one of the Hafiz’s odes beginning:
 
O cup – bearer come ,  for the friend removed the vail from her face, and the  wick of the lamp of the reclused got lit .
 
The phrase, as used in most descriptions concerned the subject of Hafez’s verse, connotes the thriving of business and gave the other words in the verse, it also denotes lighting up of the privacy of lovers through the sweet – heart’s bright face.
Supplying evidence from Persian literary texts, the author has striven to demonstrate, in the present article, that main meaning of the word (KAR) is garments and textiles, referring to the wick of the lamp As such, there arises a similarity between the lifting of the veil off the face of the sweet – heart and the ascending of the wick of the lamp of the reclused. The author has also illustrated that throughout Hafez’s collected verses, the term KAR is appropriately associated with other words connected with cloth, such as balance, stitch, curtain, print, work place.
 
 

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This analytical-descriptive study aimed to investigate the essence of "grief of nostalgy " as one of the most important mystical sources in the poems of Ibn Farez and Hafez; two great representatives of the mystical poetry of Persian and Arabic literature. More specifically, attempts were made to see how this grief  entered their works and how they reacted to it. The findings suggest that in their mystical thoughts, the separation of the soul from the body and the fall of man from paradise into this world are manifestation of  his grief. In turn, the mystic reaction of the poet to escape from soul nostalgy in the body is the thought of death and fatalism and to turn to earthly love, as commonly thought of, as representation of love of true beloved. The earthly love in the poetry of the two poets is a translation of divine love and a reflection of the first day vow, to which the mystics resorted to fantasize the divine love and to diminish the pain of longings for the true beloved.  Sleeping, dreaming, and seclusion are other structures  to this nostalgy
 

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Bozorg Bigdeli. S. ,PH.D Abstract:
 
Some of the couplets of Hafez have been discussed and various commentaries and descriptions have been written on them for a number of reasons such as mysteriousness, difficulty, and in short words, ambiguity and equivocations in them. The following verse is an example of this:
 

پیر ما گفت خطا بر قلم صنع نرفت

آفرین بر نظر پاک خطا پوشش باد

 
Said our Pir, the spiritual leader: "On the Creator's pen, passed no error,On his pure sight, error-covering, praise be"
 
Some scholars have considered this verse from a mystical point of view and some others from a discourse one and some others have explained and interpreted this from other own view points. The explanations written in recent years have stressed the existence of satire, puzzle, or doubt about unmistakable creation and have given their own reason for this.
    This research result is that, based on consideration and critics of significant opinions and commentaries done on this verse, isolated descriptions of Hafiz lyrics cannot bear all the meaning hidden in the verse. Therefore, in order to receive a complete commentary of Hafez lyric couplets, a consideration of vertical axis is necessary in addition to horizontal axis. So, the result would be comprehensive enough.
 
 

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In the present paper we aim, in an analytic and comparative manner, at an investigation of the conceptual metaphor "LOVE IS WAR" as a way of understanding of falling and being in love and speaking of them in Hafez's Divan and Petrarch's Canzoniere within the framework of Lakoff's Conceptual Metaphor Theory. What comes out through this examination reveals that although the two collections turn out to be similar in many ways in terms of metaphorical theme, there are two major differences between them in terms of imagery: to begin with, Hafez employs more warfare terms and expressions than Petrarch does, and secondly, Love in Petrarch's poetry on many occasions reveals itself in the image of Cupid, God of Love in ancient Roman mythology, who with his bow and arrow aims at the lover's heart and captures him. In Hafez poetry, however, there is no such explicit imagery which personalizes the abstract and invisible force of love emotion in the form of a god, but in it we encounter a beloved, or the eyes and eyebrows of which, that, in a figurative manner, shoot arrows at the lover's heart and ensnare him.

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A.Ghanipor Malekshah.PH.D
S.Ardeshiri Lajimi, M.Esmaeili, I. Amn-Khani, Z. Salari
 
Abstract   
One of the complicated and ambiguous issues discussed in the books on the history of Iranian literature is the starting point and the manner in which the Indian style was established. A review of the works done by researchers working in this area reveals a considerable diversity of opinion and view. Some researchers believe this style was the inevitable outcome of the natural path that the Persian literature went through. On the other hand others have surveyed this issue regarding social factors and the environment leading to its constructor. Still there are researchers who assume that the root and origin of this style springs from the poetry of past times rather than social factors or even the environment shaping it. These researchers have mostly mentioned poets such as Khaqani, Hafez, and Vahshi Bafqi etc as the founders of this style. But the significant point is that the result of such researches has not been accepted generally. The truth is that a wide scope style -such as the Indian style- can not be regarded as taken from the poetry of one poet, instead it is preferred to speak of the quality and quantity of the influence of these poets on this style, whereas this can merely happen using a new method; which is content analysis.
This essay also intends to show how and in what manners poets like Khaqani, Hafez, Vahshi Bafqi and Baba Faqani- the four leading poets of the Indian style- affected the foundation of the Indian style.
 
 

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The association between myth & mystical themes in literary and narrative contexts in the extensive field of literature is one of the forms of recognizing identities of human and society. Investigating of applying theme in contemporary literary texts in Gide’s & Hafez’s works in order to represent social, psychological and individual transformations has a symbolic form. If the authors specify the time and space in a story, symbols & applied myths make these times and spaces more tangible. Some of these symbols and applied myths indicate a number of positive mental concepts, while some others portray negative ones. Myth not only into the living culture of humans, but it has also penetrated deeply into literature & mysticism. Many of the Hafez’s & Gide’s prose and poetic narratives include mystic themes understanding of which requires identifying the content and the devices used in their texts. In the present paper, it has been attempted to demonstrate the similarities & differences of these two author’s texts from a mystical and mythical point of view.

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Nietzsche, a German philosopher, became familiar with Hafez through Goethe’s texts. Hafez is is against a Hypocrite ascetic and Nietzsche against his contemporary human or dwarfs. Therefore, these two thinkers deal with the criticism of these kinds of men. Besides, Hafez introduces Moghan preceptor and world of love in front of preacher and loveless world, and Nietzsche presents the world of small men against grand men. The language of Hafez and Nietzsche both is paradoxical and humorous for representing such thought. This article studies the deep effect of men who through their liberty can save the life of people who have no alternative in their lives and guide them to the destination of the love of eternity. What is important in Hafez’s poetry and Nietzsche’s Thus Spoke Zarathustra is that their contemporary people accepted some values that metamorphosize human being. In Hafe’s, these values convert to something against themselves and produce hypocritical men, and from the view of Nietzsche’, the modern human being has cast into democracy and modernity.

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Lefevere  considers translation as a kind of rewriting that is informed by the extra-systemic limitations like ideology and intra-systemic limitations like poetics. Adopting a descriptive-analytical approach, this research seeks to study the chebli’s rewriting of  the ghazal 10th and 12th of Hafez The final result of this research, shows this rewriting is influenced by Poetic limitation and ideological . Manifestations of Lefeverechr('39')s view can be seen in the form of poems and manipulating the rhythm,  music,inverting the use of pronouns, increasing some words, and domesticating,with the mystical attitude oon the rewriting of monastic symbols , and  feast (bazm). Sometimes it is far from Lefevere ‘s view by exaggerating, unclear meaning and the same reception of "Pir"  and "Sheikh".

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Multiple theories are proposed in respect of cognitive linguistics among which, "conceptual metaphor" and "image schema" have the highest importance. image schemas are some structures of cognitive process which are formed because of the physical experience of human in contact to the external world and provide the possibility for understanding and analysis of abstract concepts. Image schema have different species such as, containment¬¬ Schemas , path Schemas , force Schemas. Cycle Schemas is one of the kinds of image schemas which can be formed by natural or conventional mapping. Abstract concepts of cycle schemas in the poems of Sa’di can be placed in to three categories: 1) request; 2)complaint; 3)desertion. And the abstract concepts of cycle schemas in the poems of Hafez can be placed in to three categories: 1) request; 2)complaint; 3)submission. The cognitive analyses obtained from the cycle schemas of these poets include: 1) sa’di’s understanding of time movement is liner and Hafez’s understanding of it is circular. 2) sa’di’s liner movement understanding indicates to realization and Hafez’s circular understanding indicates to his idealization. 3) Because of liner movement understanding Sa’di is placed in to tragic human-being group and due to circular movement understanding Hafez is regarded as spic human. 4) The form of the vocabularies’application and general structure of the poems indicate to the decentralization of Sa’di and centralization of Hafez.

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Hafez poems have complex and depth aspects. According to this feature everyone analysis the semantic structure of his poems differently. Structural study of Hafez narrative lyrics shows that not only different verses of lyric are not separate and disconnected but appear in a continuous and dynamic chain. Semantic integration of these lyrics and narrative structure of it provide the strong basis for semiotic study. For a better understanding of internal relations of narrative lyrics and its continuity and discontinuity, it is necessary to pay attention to the structure of narrative. The most widely used type of discourse in these poems is cognitive discourse, however sometimes the interaction between cognitive and emotional discourse is established in lyrics. In this way, Hafez destroys the common cognitions and suggest new and uncommon cognitions that are apparently against Islamic law and thereby criticizes the hypocrites of time and invites them to passion and drunkenness. In narrative lyrics, Cognition is associated with discourse discontinuity. The discourse of these lyric supports the integration of verses is established until the end of poem. So in this article we will survey the structure of Hafez Narrative lyrics and discourse discontinuity and continuity.

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The word "Rend" has been used in Persian language from long times ago and it has many positive and negative meanings in old literature.Hafez, contradictory to most of his antecedent poets, does not have a shallow and negative assessment of "Rend” and in contrary, he announces them as anti-hypocrite, perplexed, rebellious and truth-seekers who generated several individual and social revolutions in a hard unsociable way .Many Hafez researchers see this concept as his most important intellectual achievement. Based onthe result of these features, we can indicate activism of "Rend" as a theatrical character. Bahram Beyzaei (a play writer whose attention to ancient literature can't be denied) is a fitting choice for following this concept, as it maybe the heroic and revolutionist morale of his work in association to myth and ancient patterns confirms enigmatic, rebellious and frenzy nature of his characters.
In this article, in addition to indicating aspects of "Rend" and "Rend-goonegy" in "Ghazaliat of Hafez" and discovering the essence of this concept, it will be analyzed in “Three Puppet Plays” of Bahram Beyzai.

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Ahmad Tahan, Ph.D.
 
Abstract
Hafez intended to avoid repetition in the application of figures of speech which results in nonsense and so he appealed to an artistic and psychological technique; mentioned in this article as "association of meaning". In psychology, association of meaning relates to a concept which associates a series of concepts to the mind based on the principle of proximity, similarity or contrast. In Hafez's poetry, association is used in the sense that he disintegrates the component parts of a traditional image, and through substitution, he uses them in a way that each component connotes the others. For instance, in literary tradition, "ringlet" is accompanied by a series of stereotypical adjectives such as disordered, long, black, wavy, etc, or is compared to violet, hyacinth, ring, chain, musk, and so on. However, in contrast to this tradition, Hafez, when talking of ringlet, attributes length to hope and disorder to heart.
In the modern Persian books, association of meaning is not observed a literary ornament and the only literary man who has mentioned the role of rhyme in the association of meaning is Dr. Shafee Kadkani, yet in the West this issue has been discussed as "stream of consciousness"; especially in story-writing classes.
Once the association of meaning has been surveyed in psychology, literature and its differences with ambiguity, proportion, and ambiguous ambition are expressed, the discovered samples of this ornament in Hafez' Divan are further on discussed.
The finding of the present research is that although the primary samples of this ornament are seen less in the poetry books of poets before Hafez and even his contemporary ones, and even in pioneering poets such as Rodaki, these samples are quite rare. However they have a higher frequency in Hafez' poetry and therefore due to their high repetition and variety, samples of such displacement in adjectives and their related elements are more than other works.
 
 

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Qalandari lyric that appears on the basis of fighting against hypocrisy (Riya) in Persian literature is associated with artistic delicacies in Hafez poems. Moreover, the concepts related to the realm of roguery (Rindi) and Qalandari causes to dynamism of Hafez poems. In these lyrics, Hafez creates the different type of value with changing the common and popular values of society. The change of common values leads to the process of production and transformation of meaning. In this way, Hafez follows an ideological and moral tendencies and criticizes the society advocating the Sufism. At first, Rindi and Qalandari are considered as value to reach the superior goal. This superior goal is a basic value. Undoubtedly, Researchers who have focused in superficial meaning of Qalandari poems, have not paid attention to this basic value. In addition, the process of creation of values in Hafez poems leads to the formation of an aesthetic space. In this way, Hafez uses inter subjective and intra subjective methods. According to dynamic values of Hafez Qalandari poems, in this research, we will survey the axiological system of Discourse and the process of creation of meaning through values.

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George Gordon Lord Byron,a British poet of 19^th century, was heavily influenced by Oriental and Persian literature in his works. The poet’s life coincided with beginning of the “Victorian age”, and “romanticism” style emergence and the beginning of the European literature’s impressionability presentation from Iranian literature and Persian language; hence he is known as an outstanding person and European renaissance’s symbol and among the Persian literature’s impressed ones.
In This research attempt to clarify the “Manfred” Play’s contribution among Lord Byron’s works in Persian literature’s impressionability through library and documentary tools and relying on an analytical and comparative method. The result is that the above work is influenced strikingly by the works of Persian literature and language, Oriental myths and culture in “symbols”, “concepts”, “fantasies” and even “lexical” terms, which are collected due to Byron’s studies in his subconscious. Also research data show that the two categories of “Zoroastrianism” and “mysticism”, in effectiveness of Persian literature, had the largest share which are presented under two total categories: character-making level and 
space-making level.

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Aliakbar Bagheri Khalili, PH.D.
Manireh Mehrabi Kali
Abstract
 
From the perspective of Carl Gustav Jung (1875-1961 AD), the collective unconscious, is the source of historical experiences and these experiences are manifested through ancient patterns. Mask, shadow, anima, animos and self/mandala, are the most ancient patterns which are also manifested in literary works.  Jung believes that the ancient patterns very effective in the formation and evolution of personality. According to this theory, contrasts and conflicts of personality types and social classes in the poems of Hafez are compatible to mask and shadow of Jung and dictums such as spoiled and distinctness are responsible to define the opposition of shadow mask are responsible. The most important masks of Khawaja Shams al-Din Muhammad are: guardian and, pious. In these shadows, Khawaja shows himself less than what it is, so that there is no or less than what will happen. It has been an attempt to achieve balance, follow through to perfection. In this way, he constructs "I", “mask” and “shadow” bring the unity of the personality of "knavish".
 
 

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Dogmatic approaches interpret literary texts in definitive ways. However, literary texts do lose their supposed absolute and final meanings when approached from a poststructuralist perspective. Consequently, it is possible to have multiple readings of a text from different perspectives. Drawing on Derridean deconstruction of binary oppositions, this paper studies a miniature painting by Sultan Mohammad Naqqash based on Hafez’s poetry. Hafez’s divan is always open to various interpretations between spiritual and worldly approaches. Contrary to the classical interpretations in which a definitive meaning is sought after, “Heavenly and Earthly Inebriation” painting by Sultan Mohammad deconstructs this opposition and presents a new reading of the poem. Based on an analytic-historical method, we argue that this painting creates a new hermeneutic world by geometric composition, colors, and characterization. The painting, we conclude, maintains the poetic ambiguity of Hafez’s poetry. Accordingly, we can say that there is no final meaning in this painting because the spectators simultaneously experience both poles of this opposition and, as a result, for them there is no absolute interpretation.