Many studies on odes and verses by famous poets of sixth century have been done relating Hafez and Nizami's art of applying figurative meanings in mystical poetries. The present article is on the beginning path of berserks; it offers expressions in usual phrases and sen More
Many studies on odes and verses by famous poets of sixth century have been done relating Hafez and Nizami's art of applying figurative meanings in mystical poetries. The present article is on the beginning path of berserks; it offers expressions in usual phrases and sentences about beloved's real patcher. Khaqani's speaking and versing method is straight. Khaqani and Nizami both were capable to create rhetoric combinations such as Moqan's elder with a pleasant and miraculous accent and play as a light for next generations.
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Khajeh Shamsoddin Mohammad, known as Hafiz Shirazi, is one of the unparalleled poets in Persian literature, whose poetry has been the focus of people of common and high rank for so many years. It is said that in the course of history no Persian poet's work has been so w More
Khajeh Shamsoddin Mohammad, known as Hafiz Shirazi, is one of the unparalleled poets in Persian literature, whose poetry has been the focus of people of common and high rank for so many years. It is said that in the course of history no Persian poet's work has been so widely circulated and popularized. Hafiz has developed and mastered a unique and sublime diction. By virtue of his wit and originality, Hafiz has not only given distinctive color to his diction, but has coined such original poetic vocabulary that impresses all his audience and encourages them to emulate the eloquent style to enrich their works. Among the most frequent terms in Hafiz are certain compound words based on ‘pir or old’, in such terms as Pire Kharabat, Pire Moghan, Pire Meykhane, and Pire Meykade, which literally mean an old wine-seller or tavern-keeper. This article compares the use of these terms and their stylistic and thematic function in the works of Hafiz and Kurd poets.
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In all mystical schools, especially in Islamic mysticism, it is emphasized on having a spiritual guide. Spiritual scholars believe that it is impossible to succeed in the path of behavior without any guide. Beginners can’t continue the ups and downs of behavior wi More
In all mystical schools, especially in Islamic mysticism, it is emphasized on having a spiritual guide. Spiritual scholars believe that it is impossible to succeed in the path of behavior without any guide. Beginners can’t continue the ups and downs of behavior without and spiritual guide. In Khajeh Shiraz’s Divan, there is no definite evidence to show Hafez’s dependence on a spiritual guide. However, there is evidence in Hafez’s thoughts showing that he believes in wishing to have a spiritual guide in seeking the reason for path. Also, he believes a devotee should have a guide as sophistic ideas do. Hakim Fozooli’s Farsi and Turkish Divans emphasize the necessity of having a spiritual guide. This is identified by the praises about the innocent Imams. In his poems, Fozooli considers the guide of life as greater than an angel. In this study, having a spiritual guide from the view point of mysticism and the viewpoints of two great poets and the comparison of similarities and differences
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Mystical poetry has a long history in the Persian literature. Poets and writers in order to make their work eternal have made use of this genre in the Persian literature. Mystical contents and concepts of knowledge have combined with Persian rhythmic words to express ae More
Mystical poetry has a long history in the Persian literature. Poets and writers in order to make their work eternal have made use of this genre in the Persian literature. Mystical contents and concepts of knowledge have combined with Persian rhythmic words to express aesthetically the intended meaning of poets and this process still has continued to the present time. The most important element in the mysticism is the existence of an old assistant who helps the wayfarer. different types of old assistants have been mentioned in Saeb’s Divan such as Pire Moghan, Pire Meykadeh , Pire Kharabat, Pire Meyforoosh, etc. by studying these types of old assistants, we can understand the attitude of Saeb towards mysticism and different stages of it. Whether these old assistants to be made-up by Saeb himself or an real old assistant in the real world, we can investigate them to understand better the relationship between Saeb’s poetry and mysticism. The present paper is used the analytical- descriptive method to distinguish different types of old assistants in Saeb’s poetry and study their characteristics from Saeb’s point of view. Studying the attributes of old assistants could be an innovative way in the field of research in the Persian literature.
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Pire Moghan (Magian spiritual teacher) is a central character in Divan-e Hafez. The present article, based on Jung’s psychoanalysis theory and his archetypes, tries to study the character of Pire Moghan in the poems of Hafez and show that this character is in many More
Pire Moghan (Magian spiritual teacher) is a central character in Divan-e Hafez. The present article, based on Jung’s psychoanalysis theory and his archetypes, tries to study the character of Pire Moghan in the poems of Hafez and show that this character is in many ways similar to Jungian archetype, the character of the wise old man, and can be compared with him.
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What distinguishes the art of Hafez and makes it untranslatable is the harmony between the word and sense and the common sincere concealment breathed into their veins. Concepts and novel sublime meanings emanated from his mind have incarnated in the form of words More
What distinguishes the art of Hafez and makes it untranslatable is the harmony between the word and sense and the common sincere concealment breathed into their veins. Concepts and novel sublime meanings emanated from his mind have incarnated in the form of words which are more often irreplaceable. It is that neither the word disguises the meaning and foreign to it, and neither meaning fugitive of the word and its form. It is as if the words and their senses in the divan of this great poet have in essence an eternal connection.
Attempt is made in this article to demonstrate the harmony between word and meaning by setting forth vivid evidence.
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