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The closed texts are among the texts being definitive in meaning and lucid in language. In other words they are monophonic and so, easy to understand. On the contrary, the open texts are polyphonic suggesting a possibility of different interpretations. Meanwhile, their language is implicit and ambiguous.
The hypothesis of the present article is that in the 8th century the open texts were developed widely in the Persian literature and for the very reason the poetry of the time is so brilliant tending to a kind of perfection in its lyrical form (Ghazal). The elements and factors involved in creating the open texts such as polysemicity, plurality, conciseness, making use of the original and everlasting subject matters, as well as taking advantage of the capacities of Persian language are discussed to be the origin of ambiguity, holistic point of view and the creating a possibility for these literary figures involved in polysemy of the text.
 

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In relation to the impact of Persian literature on the west, in the 19th century, Ralph Waldo Emerson is one of the most outstanding American figures. His interest in Persian poetry, particularly that of Hafiz, encouraged him to translate some Persian poems into English. He also composed some poems with oriental inclinations, inspired by Hafiz and the mystical poetry of some other Persian poets. Emerson also wrote an essay, entitled “On Persian Poetry”, in which he introduced German translations of Persian literature as his source of knowledge and revealed his high regards for Persian poets. However, his greater admiration for Hafiz than for others in this essay is due to the fact that to him Hafiz, while being a greater poet, was a liberated minded intellectual as well. This study is an attempt to scrutinize Emerson’s observations of Persian poetry. First, the sources from which he acquired his oriental notions will be examined. Then his view on Persian poetry will be focused upon, and finally his praise for the merits of Hafiz’s poetry including: intellectual liberty, transcendental vision, Takhalloss (his mode of copyright), the function of the hidden layer of meaning in his poetry, etc. are going to be examined. This comparative study will finally present Emerson’s misconceptions in the field of Persian poetry. His mistakes and misconceptions might be the result of cultural differences, his lack of knowledge of Persian language and different time span in which the two poets lived.

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Hermeneutic theory of literary history suggests the "history of readers" or "literature audience" rather than the history of the author and the text. In this approach, the literariness of a text - for example Hafiz poems - is measured according to its vividness, dynamism and ability of its conversation with different generations. Therefore the literary historian should write the "history of the effects of Hafiz poems" upon its readers rather than the biography and history of Hafiz himself.. By doing so, the historian actually writes "the life of Divan of Hafiz" and "the history of Hafiz meanings" i.e. the story of the text after its birth, and it's moving on in the history. By recognizing Hafiz readers in 15th century, the article has studied the echo of Hafiz voice in the first century after his death and according to the information obtained from sources in 15th century, classified Hafiz readers based on their types of reading. According to the biographical information and also some given titles and addresses to Hafez, his social position has been illustrated, and eventually the developing process of Hafez meanings from simplicity to complexity and from literary discourse into the sacred discourse, has been demonstrated

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    Mohammadi Asiabadi.A. ,PH.D.
Abstract:
           
Pseudonym (Takhalos), as it concerns Lyric Poem, is pen-name of a poet that comes at the final verse of a lyric poem. Despite the fact that great lyric poetries has used pseudonym in their works, nothing has been written by the scholar on it necessity. Since, Islamic and Iranian rhetoricians has not distinguished between poet and dramatic speaker, in Persian literature, theoretical essence and aesthetic value of pseudonym has remained unknown. However, the great poets were not ignorant of the essence and value of pseudonym. The use of contexts of the verses in pseudonym  indicates that the great poets such as Hafiz, both in selection of their pseudonym and its use, had its own criteria. Discovering these criteria not only reveals the essence and value of pseudonym but also is useful in stylistics.
      This is possible that  in addition to general functions, pseudonym has some special functions; e.g. in poems of a poet such as Hafiz, it has special functions. One of the most important functions of pseudonym in Hafiz’s poems is development of ambiguity from poetry to poet.
 

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The Ghazals of Hafiz and the Canzoniere of Petrarch (1304–1374) have at least three common characteristics: (a) from the qualitative point of view: Each of these two works is at the top of the medieval love poetry: one in the Persian literature, and the other in the European literature; (b) from the chronological point of view: These two books of poetry have been written during the fourteen the century A.D. (8^th  century AH); (c) from the quantitative point of view: The ghazals of Hafiz contain near 4092 distichs or bayts (i. e., 8184 lines or mesra') and the Canzoniere of Petrarch contains 7784 lines. So, they are contemporary, contain a similar number of lines and are at the top of the medieval love poetry. The description of the beloved's eye is one of the principal common places of these two poets: Petrarch mentions the eye 263 times in the Canzoniere and Hafiz 216 times in the Ghazals. Moreover, Hafez writes about the Narcissus-a metaphor of the eye-in 44 distichs. This paper shows, with the comparative-contrast method, the common and different characteristics of the beloved's eye in the Hafiz and Petrarch's poetry.    

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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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Cognitive Metaphor theory claims that in conceptualization of different concepts, ordinary and poetic languages are the same in some aspects, though different in other ones. This paper aims to an analysis of creativity of Hafiz in LOVE concept. In Hafiz poetry, LOVE is conceptualized by different, though related, conceptual mechanisms of metaphor, image, personification and metonymy. However, it seems that Hafiz has used more creative mechanisms in the conceptualization of LOVE. To find distinguishing influential factors in LOVE conceptualization, two important questions are raised: what is the difference between common metaphors of LOVE in Persian and those in Hafiz poetry? And among four mechanisms proposed by Kövecses (2010), which one is more influential in artistic creativity and novelty of Hafiz poetry? Close analysis of poems consisting LOVE concept shows that Hafiz language contains the same kind of conceptualization as ordinary languages of Persian and other languages. In other words, LOVE has been conceptualized as FIRE, JOURNEY, RAPTURE, etc. However, its conceptualization is different from that in ordinary language, because the poet has creatively used four poetic mechanisms of extension, elaboration, questioning, and combining which are less frequent in ordinary language. It seems that, as it is predicted by cognitive linguists, what distinguishes literary language from ordinary language is creative use of metaphorical conceptualizations, personification, image metaphors and conceptual metonymies. Besides, among four distinguishing mechanisms, combining and elaboration seems to be the most and questioning is the least effective factor in poetic conceptualization of LOVE. Moreover, Hafiz has used many creative, novel conceptual metaphors of LOVE along with conventional ones.

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Ali Akbar Baqeri Khalili,Ph.D.
 
Abstract
Joy and happiness are part of the Iranian’s identity features. This feature enjoys its most appearance after the emergence of Islam and up to Hafiz’s time in the poetry of poets such as; Ferdowsi, Manoochehri, Khayam, Molana (Rumi) and Hafiz. In Hafiz’s sonnets, delight and gaiety is divided into two kinds; objective or external or extrovertive and subjective, or internal or introvertive. Extrinsic happiness relies upon factors like orchard and spring, streamside and an adorable drink. It actually relies on three particular features; drink musician, and earthly beloved and results in a temporary inner sense of tranquility and peace. Inner delight and joy is the outcome of factors such as union with heavenly issues, as joy turns into a high status; which actually relies on feeling the presence of real beloved in the heart, added to revelation and clarity of mind; leading to permanent inner tranquility and peace. The origins of Hafiz’s delight and gaiety can be divided into five categories: 1. Psychological. 2. Philosophical. 3. Religious. 4. Socio-political. 5. Mystical. The present article surveys and analyzes each of the mentioned origins.
 
 

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One of the prevalent questions in the realm of Persian sonnet is related to its cohesion. In this respect, using a functional linguistics approach, as well as the model of structural cohesion, the present article is to analyze the thematic structure of a sonnet by Hafiz. The aim of the present article is therefore to discuss the textual structure of a Persian sonnet through analyzing the thematic structure of the clause and the organization of its internal elements. Accordingly, a brief explanation about meta-functions is firstly provided, and afterwards the organization of the thematic structure in Persian language, along with the analysis of marked and unmarked types of Theme-Rheme is discussed. Next, using a descriptive-analytic approach in analyzing the structural cohesion, a poem by Hafiz is accordingly described. This analysis not only reveals some important points about the structural cohesion of the sonnet and its thematic structure, but also explains some of the poet's latent beliefs. In the end, it is claimed that on the basis of such an approach, one can analyze the cohesion of Hafiz's other sonnets according to the organization of Theme-Rheme.
   

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A bunch of studies have been published in various formats of books and papers about Hafiz status and art in the field of Persian literature. Due to the large amount and the continuous process of such studies and in order to recognize their strengths and weaknesses, it is necessary for them to be reviewed especially considering the authors’ pen. The results of such reviews can be applied to address the lacks of this field. This study examines the historical process of Hafiz studies and their subjects as well. Since the beginning of the process (1919) up to 2010 about 2068 studies have been conducted. This study reviews the historical trend of Hafiz studies first in the format of papers, then checks the reasons of their ups and downs due to their quantity and quality. The stories are categorized under five historical periods and eight headings of: description of verses, critical review of books and studies about Hafiz, introduction of various Divan corrections, and the introduction of new versions, character analysis, Hafiz’s life and thoughts, Hafiz and the others, aesthetics (of Hafiz’s poetry). This study shows the rising process of the production of the studies since the beginning up to the third historical period due to the holding of two Hafiz’s memorial conferences. In the fourth period, this process quantitatively falls down but qualitatively rises till the fifth period when both quantity and quality of the papers escalate due to the introduction of new literary topics and the advance of criticisms.
 

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Religious prohibition of iconography led Muslims to compile hadith books to portray the faces of religious leaders, describing the outward features of the saints of the religion, especially the Prophet. Tirmidhi is the author of one of the first and most influential books. His book, known as "Al-Shamayel al-Mohammadiyya" in 56 chapters is devoted to hadiths describing physical characteristics of the Prophet. Despite the significance of Al-Shamayel in Islamic Iconography, only one Persian translation of it has been published in the contemporary era by Mahdavi Damghani. This is while the manuscript version of its poetic translation called "Nazm Al- Shamayel ", belonging to the tenth century, is available in the library of the Iranian Parliament. In this article, using a descriptive-analytical method, while introducing this single copy, expressing its linguistic and literary features and the level of fidelity to the Arabic text, we have revealed the composer of the verse (Hafez Heravi) translated "Shamayel" into persian as "Nasrol khasayel" and then converted its prose translation into poetry. His translation contains 4500 verses in the form of Masnavi. Except in the introductory sections, it rarely contains poetic elements and should be considered a rhythmic poem rather than imaginary. Comparing this version with the Arabic original, we found that the Persian poet generally managed to translate hadiths skillfully and faithfully to Persian in one, two or sometimes three verses or more, by deleting the chain of narrators and adding an addendum entitled "benefit" at the beginning of each chapter.
 

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این مطلب نقد مقاله است و طبق روش مجله نیاز به چکیده ندارد. چکیده مقاله «هاله‌های موسیقیایی در معنای دو واژه در شعر حافظ1» بهتر از بخش «چکیده» در بخش «نتیجة‌« آن آمده است. متن نتیجه‌گیری را که همچون خود مقاله (دربردارنده حدود سه هزار واژه) کوتاه است در اینجا می‌آوریم: «با این‌که درباره موسیقی در شعر حافظ، بسیار نوشته شده؛ اما باز هم می‌توان ناگفته‌هایی در این زمینه یافت. در این مقاله دو واژه «حزین» و «کار» (کارعمل) که معنای موسیقیایی آنها از نظر پژوهندگان دور مانده است، مورد بررسی قرار گرفت و شواهد مربوط به آنها از شعر حافظ ارائه شد. توجه به معنای موسیقیایی این واژه‌ها می‌تواند خواننده را به ایهام تناسب ایجادشده به وسیله واژه‌های مذکور با دیگر واژه‌های بیت رهنمون سازد2 و بر لذت هنری وی بیفزاید» (اخیانی و بیرانوند، 1392: 124). پیش از هر چیز این پرسش پیش می‌آید که یافتن دو واژه سازنده ایهام تناسب در دیوان یک شاعر را می‌توان پژوهشی در اندازه مقالة‌ علمی-پژوهشی دانست؟‌ پرسش دیگر این است که اگر معنی غایب و سازنده ایهام تناسب (در اینجا: معنی موسیقایی) یکی از دو واژه در شعر حافظ را حافظ‌پژوهان در بررسی شعر او آورده باشند و ایهام تناسب واژه دیگر را نیز دیگر پژوهشگران با آوردنِ نمونه‌ها و گستردگی بیشتر، پیشتر آشکار ساخته باشند (چنان که در نقد پیش رو نشان خواهیم داد) آن نوشته کوتاه که با نثری گاه ناشیوا و لغزش‌های کوچک و بزرگ دیگر نگاشته شده چه ارزشی خواهد داشت؟

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The purpose of researches published in scientific journals has always been to solve a problem of a specific field of knowledge. Recently an article titled:” Rhetorical and Stylistic Critique of Hafiz’s Quatrains”, has been published in a journal. The title is really astonishing as many years ago Late Amin Riahi has proved in his book “Golgasht” that the quatrains brought in Hafiz’s Divan do not belong to him. Now it is not clear why Hafiz, who had never been known for writing quatrains, be criticized and then it is decided that he did not have enough skill for writing them. It is the very surprising title that encourages us to continue reading the article. After reading the text, one will find that it is incorrect interpretation of the authors that cause them to find fault with the quatrains, that by chance are not Hafiz’, and to pass a judgment that is against him but at the same time is unfairly favored by the authors. The purpose of this research is to present a fundamental and content assessment of the said article and specifying its shortcomings and weaknesses that are clearly evident in it.

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The concept of determinism has been studied in Hafiz poetry by many scholars. Some considered determinism, like many other concepts, as a means for literary creation, some viewed it as a justification for astute utterances, while others regarded it as the outcome of Hafiz’ own deterministic views. Though the first two accounts seem accurate, the third one seems imprecise. His literary creation style and worldview, indicative of his free will and open-mindedness, which was manifested in his poems, coupled with the inherent paradox between determinism and reformism, makes it hard to presuppose a relation between determinism and Hafiz’ worldview.
By employing an academic and methodological approach, while recognizing different interpretations, one can gain an understanding, which is closely related to Hafiz’ worldview, of deterministic propositions in his poetry. Following this approach, one should refrain from forming arguments on the basis of single verses. Therefore, the current paper has attempted to analyze deterministic propositions in Hafiz poems by applying Ernesto Laclau and Chantal Mouffe theory. Moreover, based on CDA’s presuppositions, language plays a major role in forming understandings and its means is not always clear. Hence, the paper was aimed at indicating that Hafiz’ use of deterministic propositions can be interpreted not as an indication of his worldview but as a method and medium to expand the discourse of astuteness and, at the same time, to undermine the hegemony of ascetic discourse, which had dominated the cultural atmosphere of Iran for centuries.
 

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The concept of determinism has been studied in Hafiz poetry by many scholars. Some considered determinism, like many other concepts, as a means for literary creation, some viewed it as a justification for astute utterances, while others regarded it as the outcome of Hafiz’ own deterministic views. Though the first two accounts seem accurate, the third one seems imprecise. His literary creation style and worldview, indicative of his free will and open-mindedness, which was manifested in his poems, coupled with the inherent paradox between determinism and reformism, makes it hard to presuppose a relation between determinism and Hafiz’ worldview.
By employing an academic and methodological approach, while recognizing different interpretations, one can gain an understanding, which is closely related to Hafiz’ worldview, of deterministic propositions in his poetry. Following this approach, one should refrain from forming arguments on the basis of single verses. Therefore, the current paper has attempted to analyze deterministic propositions in Hafiz poems by applying Ernesto Laclau and Chantal Mouffe theory. Moreover, based on CDA’s presuppositions, language plays a major role in forming understandings and its means is not always clear. Hence, the paper was aimed at indicating that Hafiz’ use of deterministic propositions can be interpreted not as an indication of his worldview but as a method and medium to expand the discourse of astuteness and, at the same time, to undermine the hegemony of ascetic discourse, which had dominated the cultural atmosphere of Iran for centuries.
 

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This study is accomplished in order to find out whether the following piece of verse can be considered as the sign of Mahdaviyyat in Hafiz’s worldview:   ‘Before the cavalry of his fancy, the black and the white of my eye, I sent; in the hope that the imperial horse rider might come back.’ (Hafiz Diwan ed. Ghani & Ghazvini 235/2. ) The authors hypothesize that Hafiz has reflected a prospective climate in the aforementioned ghazal (lyric) and taking his life and other allusions in his Diwan into consideration, it could at least be said that there are views which can be counted as to be in accordance with Mahdaviyyat philosophy. It also shows that Hafiz had been acquainted with Morabete (stationing), which is an old Islamic tradition being stressed by Holy Prophet and Shia Imams. Using descriptive-analytic approach, this study is about to analyze this tradition from the point of view of Quran and Islamic narrations. The findings of this study can play a basic role in true analysis of this ghazal, tracing Hafiz’s belief in Mahdaviyyat vision, and in the definition of Morabete (stationing).