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The never-ending magical discourse of Hāfiz of Shiraz has become an artistic puzzle and through the analysis of his words, many have provided with recurring themes. Particularly, the ghazals of Hooshang Ebtehāj (H. A. Sāyeh) bear the rich textual and extra-textual resemblances to the ghazals of Hāfiz and declare a historical and inmost dialogue with the Hāfizian art and thought. In this paper, I aim to present dialogism to put Mikhail Bakhtin's literary-social theory of the text in practical use by application of a Persian poetical tradition, "Javāb-Gooyee" and Sāyeh's approaching to Hāfiz. By this we can also criticize some remarks on the decadence and imitational style of his poetry. In general, the Sāyeh’s dialogical Hāfiz-oriented ghazals will be studied intertextually and discursively on the basis of some views of structuralists as Roland Barthes and Julia Kristeva. I should conclude briefly that Sāyeh's dialogism haunts between the text and the community. On one hand, his intertextual references are often restricted to the syntagmatic axis, especially to reproduction of lingual codes, rhetorical devices, and prosody of Hāfiz and on the other hand, his historical discourse, especially on three characteristics namely society, human, and love take a polemical stand against discourse of Hāfiz.

Keywords: Structuralism, Dialogism, Ghazal, Hāfiz, Ebtehāj

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