فهرست مطالب m.a. khaledian

This article was written with the purpose of architextuality reading of Hafez's poems based on Gerard Genet's theory of transtextuality. Genet calls the long-term relationship between a work and the type it belongs to as architextuality. For this purpose, considering the importance of the typology of Hafez's poems, this issue has been investigated in the context of architextuality reading.

This research has been conducted as a theoretical study in the form of a laboratory study. The scope of the study is Hafez's Diwan Ghazliat edited by Ghasem Ghani and Mohammad Qazvini. In this research, an attempt was made to analyze Hafez's poems based on Gerard Genet's theory of transtextuality in a descriptive-analytical way.

According to Genet's concept of transtextuality, the results of the research indicate that the main text of Hafez's poems can also be classified into the following types in terms of type and form: "political, didactic, eulogizing, appropriate, boastful, satirical and Satire, philosophical-mystical, prayerful, calumny and reproach."

Based on this, the results of this research have shown that the main text of Hafez's poems includes critical political poems, political praise poems, political resistance, political satire and political epic. Praise poems can be classified into types such as laudatory praise, descriptive laudatory, elegiac laudatory, descriptive laudatory, boastful laudatory. After the type of "prayer" and "humor and satire", the main text of Hafez's romantic and mystical poems can be classified under the philosophical and mystical type. On the other hand, the reprimanding poems of Hafez have titles such as "giving oneself over to blame and not being afraid and not angry at the slander of those who appear, avoiding the worldly world and thinking about goodness and expediency and disregarding name and shame, avoiding asceticism and ascetic sellers, avoiding hypocrisy, a critical view of It is classified as formal institutions, avoiding the claim of discovery and virtues, covering up flaws, avoiding self-righteousness and selfishness, fighting with the ego, and seeking salvation in love.

One of the words that has a significant frequency in two important mystical works, Hadith of Sanai and spiritual Masnavi, is the word intellect. In fact, Sanai and Rumi have tried to explain and describe this mystical, philosophical and religious term with their poetic and artistic language as clearly and better as possible. This research has tried to compare and analyze the way of depicting the types of intellect in the spiritual Sanai and Masnavi. The main question of the present study is what is the difference between artistic images about different types of intellect and what are the common or different features in each work? In this regard, poetic images about different types of intellect from a rhetorical perspective have been studied and evaluated in these two works.

The research method in this article is descriptive-analytical and the method of information analysis is documentary (library).

The imagery of the types of intellect is often similar in terms of the frequency of use of virtual images and rhetorical arrays, including similes and metaphors; However, due to his scientific, cultural and social status, Rumi has used less poetic images than Sanai in Hadith when speaking about reason in Masnavi.

Both poets have used the most imagery about "total intellect", faith intellect and partial intellect are also in the next ranks; Because in his view, the mystic can connect his partial intellect to the general intellect by using the faith intellect during the stages of mystical cirrhosis. Also, in both works, the volume of positive and praiseworthy images about reason is more than negative and reprehensible images