hafez

Aesthetic experience, along with its nature and dimensions, is one of the key concerns of scholars in the philosophy of art and aesthetics in contemporary discourse, where much attention is directed toward the artist and the artwork as the medium of the aesthetic experience. The primary focus of this research is to examine the nature of the unique aesthetic experience manifested in the works of Hafez. As one of the unparalleled and original figures in the artistic heritage of this land, Hafez is widely regarded not only as a master poet but also, according to many, as "Lesan al-Ghaib" (the Tongue of the Unseen) and a recipient of divine inspirations. Therefore, understanding the characteristics of his aesthetic experience, to illuminate the role of mysticism and spirituality in refining the aesthetic vision of artists, holds significant scholarly importance. Based on this, the central question of this research is: What dimensions characterize Hafez’s aesthetic experience within the context of his mystical perception, and how can it be interpreted? This question has been investigated through library-based resources using a descriptive-analytical method and the perspectives of experts in aesthetics, literature, and mysticism. The findings suggest that three key aspects underpin Hafez’s aesthetic experience: the breadth and depth of his perceptions, a loving presence in the world and closeness to existence and its hierarchies, and a profound connection with the concept of unity as explained in Islamic mysticism. These elements, deeply intertwined with the essence of existence and evident in Hafez’s poetry and aesthetic outlook, allow his aesthetic experience to be regarded as a spiritual one, achieved through his complete unity with the singular divine truth. Hafez perceives all phenomena in the world as beautifully arranged manifestations that serve solely to narrate the singular visage of divine truth. Through this lens, his profound mystical unity, intersecting with his artistic aesthetic experience, produces a luminous and spiritual form of aesthetic experience.

Shirazi Hafez, or actually Hafez from Shiraz, the well-known Iranian poet and composer of lyric poems, enjoyed such an outstanding fame that Goethe, the famous German author and poet wrote down his West-Eastern Divan (Poetical Works), following becoming familiar with the lyrics of Hafez. The West-Eastern Divan consists of twelve books that Goethe chose Iranian names that were prevalent in Iran for all of them. These names, as per the priority and latency of books in the Divan are as follows: Moghni Nameh, Hafez Nameh, Eshgh Nameh, Tafakor Nameh, Ranj Nameh, Hekmat Nameh, Teimour Nameh, Zoleikha Nameh, Saghi Nameh, Masal Nameh, Parsi Nameh and Khold Nameh. The meanings hidden in the couplets of Hafez's lyrics as well as Goethe's West-Eastern Divan have encouraged a wide variety of artists across the world to make innovative illustrations. Illustration is a kind of illustrative writing that narrates something. Mankind is inherently an illustration making being, whether when living inside a cave and making some illustrations to overcome the environment or now taking advantage of that to communicate and explain various issues. Therefore, an illustration artist helps people get an image of the work and enjoy more when reading a piece of poetical work. As human behavior science indicates, people communicate better to images and illustrations comparing to texts and illustrators take advantage of it to make the implications and meaning of a text or a piece of poem more understandable. In some texts such as Ferdowsi's poems, such implications are more transparent and lucid while they are almost hidden in Hafez's lyrics. Book illustration in Iran has been a lot more popular comparing to its western type, in such a way that painter Mani (216 B.C.), presented his famous book named Arzhang, bearing a variety of illustrations and inspired by the teachings of Manavi religion, as his miracle. The illustrations of that book are not available nowadays and only a part of book illustrated of Manvai ritual of the western Asia has been found that indicates the writing type of this book, but it has been surely one of the book illustration samples from the texts in pre-Islam era (Parthian era).  According to Saussure, implications and signs are a signifier and meanings are a signified. Meaning comes after implication and they are dependent to each other. Semantic sign starts with sign but it targets the meaning. Greimas, the ideologist in the field of semantics sign believes that one should pass text appearance and reach the depth, because the deep and inner structures bear semantics sign and illustrator may take advantage of such meanings in the text and creates some innovative works. That is way examining semantics sing is deemed as a curious study for discovery and analysis between texts and illustrations. The present research is an analytical-descriptive one in quality type. Information has been gathered by library method. Information has been collected by the means of studying illustrations and written texts. The statistical population for the present research includes Goethe's painting taken from the book of Goethe's Works, 1st Vol. including 20 illustrations made in black and white by some western painters. Thirteen paintings have been painted by German-Austrian illustrator Franz Xaver. On the other hand, there are the illustrations of Mahmoud Farshchian, the famous Iranian painter that are 21 works made under inspiration of the lyrics of Hafez. Contrary to the western illustrator that all the illustration have come directly out of the meanings of text the West-Eastern Divan of Goethe, most paintings of master Farshchina are in one sheet and inspired by a lyric or a couplet and they have not been a set inside the lyrics of a book of Hafez. Finally, upon a final study, six paintings from the two western and eastern illustrators have been taken into consideration in terms of semantics sign comparing to the poem text and they include: Saghi Nameh, Zoleikha Nameh, Parsi Nameh, Teimour Nameh, Khold Nameh and Tafakor Nameh and six paintings of Farshchian have been compared and studied according to these lyrics of Hafez. Generally, the research results indicate that the works of master Farshchian have succeeded a lot more to propagate the signs related to the thoughts of Hafez, because the painter's thoughts, experiences, vision and beliefs have been reflected from the same culture and vision, but the western artists, like the way Goethe has been inspired by Hafez's poems, mostly reflect the material thoughts and western-type emotions in their works. The direct impression of Quran on Hafez and the spiritual and mystical style of Farshchian are clearly seen in the works of them due to cultural affinity and vicinity. A comparative recognition of illustration in the works of Hafez and Goethe in semantics sign terms indicated that 10 symbols such as old mystic, lover and beloved, plant, animal and objects, image location, paradise, clothes, style, technique, salvation, and type of narration are prevalent forms of works. These symbols indicate that the western painter has been mostly under the influence of Goethe's text and it has painted while being backed up by a western, Ottoman, Indian and finally Iranian culture, when painting. Wile, backed up by the spiritual, mystical and Iranian thoughts that he knows of Hafez, Farshchian has introduced him to the world. The impact of living areas of both painters of their visions and cultural roots has been directly reflected in their works. In using illustrations in approach of semantics sign in the poems of Hafez and Goethe, both painters have had in parallel imagination of the poem text and old mystic, lover and beloved, Zoleikha and the paradise. While the atmosphere of painting in the works of western artist is a material land, with objects familiar to all humans and in paintings of Farshchian the world is heavenly. By comparing the application of expressing mystical feelings by using image in the poetry of Hafez and Goethe it can be said that in the works of western artist, love is scattered and running in a private and peaceful place and thus is the beloved who looks at the lover from above and the lover imagines sitting gently next to the beloved and cursing her and this kind of lovely meeting is prevalent in the western culture but such meeting in the works of Farshchian, happens on earth but it is led to mortality of lover in the love of beloved, in a heavenly atmosphere that is in the background. Praising God and salvation are among other mystical aspects. The western painter and the poet, reaching the beloved or residing in the paradise is the last and final stage of salvation, while in in the poems of Hafez and in paintings of Farshchian, final destination of salvation is reaching the beloved that is actually God and the world worshiped and that is the gift waiting for human that is the very old mystic.           As a result, it can be said that in expressing the works of Franz Xaver Simm and master Farshchian, a half of such symbols are in parallel on the surface but they completely differ in the other half. Goethe is fascinated about Hafez and Hafez is fascinated about Quran and mysticism and therefore in expressing the works of western painter and master Farshchian, each one has had physically a similar but actually different perceptions of the poems. Taking into consideration the existing limitations such as impossibility of choosing other images of Goethe's West-Eastern Divan, lack of access to colorful images of the western painters in general and the paintings of Franz Xaver Simm, in particular, likewise limitation of sources in the field of Goethe's works, type of different points of view of the western painter and Farshchian toward the text due to cultural difference and finally  much time difference between the eras of Hafez and Goethe, it is recommended to the researchers to examine the poetry texts with the illustrations in works of Franz Xaver Simm and Farshchian, in other aspects.

Prayer in Persian poetry is a sign of my effort to connect with the Creator. The poet appreciates the valuable opportunity to speak to God through prayer, and regardless of rejecting or accepting prayer, he considers himself indebted and thankful to God. Prayer in the poetry of the greats of Persian literature, especially in the four pillars and pillars of this precious literature (Ferdowsi, Rumi, Saadi and Hafez) has a real, celestial and Qur'anic origin and is the result of the grace and mercy of the God of the world who blesses the servants and It gives the opportunity of prayer and the life-giving nectar of prayer to its special people. That is why prayer in the works of these pillars of Persian literature is a matter of pain, need and lamentation, and it is a kind of need and supplication, and in fact it is the key to opening. This article will try to answer the question that the difference between their way of looking and their poetic style - according to their essence and nature - in the discussion of prayer and supplication, despite having a common ultimate goal which is to transcend the human soul and psyche, to the extent Extent and strength to be answered.

Hafez is one of the most prominent Persian language poets. In order to strengthen his poems, he paid special attention to the works of the past, among which we can mention the poems of Khajooye Kermani. Khajoo and Khajeh have spoken many times on various issues, including lyrical and mystical issues, in the verse of the Divan of Ghazals. In this research, using the foundations of Genet's intertextual theory, the fields of intellectual and verbal similarities of the two poets in the scope of these topics have been investigated. The research method is descriptive-analytical and with a comparative approach. The results of the research indicate that Hafez's influence on Khajoo in the field of lyrical and mystical issues has been mainly of the hidden-intentional type and literary-artistic theft (copying and transfer / metamorphosis and exaggeration). The most important lyrical variable seen in the lyric poems of the two poets is related to the relationship between the lover and the beloved. Of course, Hafez, in connection with epistemological and mystical issues, has also paid attention to his Kermani counterpart. In general, it should be said that in most cases, Hafez, without mentioning Khajoo or mentioning the poet's reference to him by mentioning a sign, took the word and meaning from him and reflected it in his lyric poems. Also, it has been revealed that the main subtext of some verses is the Qur'an, from which both Khajoo and Khajeh have borrowed the principles of this divine book and strengthened their poetry.

A poetic drama or dramatic poem is a dialogue of the existential type of individualized existence with sparks of presence to understand the existence of a human being who has no greed to conquer the world and wants to discover it in himself. Why existential drama is poetic drama and is appropriate to transcend and how reliable our experiences are in this field? And, Of course, evidences can be found for a transhistorical comparative study that focuses on the hermeneutics of presence. The genealogical and comparative study of the existing phenomena in Heidegger’s analysis of «in the example of Holder Lane», Rend and Sin and the Originality of Beauty narrated by Hafez and the philosophical drama quoted by Marcel and Paul Ricoeur are the basis of this research. Hafez, by depicting the challenges of his living world, bases his drama on the myth of creation and the drama of destined sin, and introduces Rend’s character in a transcending shape to our culture; and this is only the Rend who can bear the heavy burden of establishing a transcendental Iranian drama. This study based on the hypothesis that “the Rend’s character in Hafez’s poems, according to its structural and content features, can provide a platform for structural production, especially many deep structural themes, for Iranian drama”, seeks to answer these basic questions: “How can the philosophical foundations of Hafez poetry be used for dramatic content?” “How can the capacities and poetic components of Hafez improve the ideological foundations of today’s Iranian drama?” And “Basically, what components and features of the Rend’s characterization can be used in the ideation, creation, and production of dramatic characters?” And finally, the important question, “How can a close connection be made between philosophical thought and dramatic thought?” Accordingly, while selecting Gabriel Marcel’s drama as a case study, this study seeks to study and research the movement from philosophy to poetry and from poetry to drama. In this respect, Heidegger’s views were studied as the theoretical basis of this research, and also the philosophical basis for the creation of Gabriel Marcel’s drama is a case study that provides the necessary models in the research process. This research also tries to achieve its goals in a comparative analytical way using library methods and available resources.

No poet like Hafez has penetrated into the depths and angles of the mind and hearts of Iranians. He is the poet of all ages, and many strata, from mystics and writers to ordinary people, have each found their desired meanings in Hafez's words. Also, Hafez's worldview and humanistic themes in Persian literature have provided a great capacity for the globalization of his character; hence, Hafez's influence and poetry can be seen in many Eastern and Western countries. To this end, in order to better understand the cultural comprehensiveness of Hafez in diverse countries, this study attempts to study the influence and impact of Hafez's words in the literature and culture of Western and Eastern countries by adopting a library method and a comparative study. In fact, the aim of this study is to show the influence of Hafez's words with human themes on poets and writers of various countries including Germany and Czech-Slovakia, Indian subcontinent including Bengal and Pakistan, China, Ottoman Empire and Arab scholars. It is also intended to examine the reflection of Hafez's cultural comprehensiveness in these countries by studying and examining images of Hafez's illustrated manuscript (available at the New Delhi Museum). The results of this study show that Hafez's cultural comprehensiveness has crossed the border from Iran and reached the depths of Western and Eastern countries. In which that in addition to the cultural influence of Hafez's poems on a number of Western and Eastern countries, Iranian and Islamic culture has also penetrated and expanded and the theme of Iranian poetry and culture has been recognized as a symbol of peace and comfort.

Research objectives:

1. To study how the principals and ideas of Hafez has penetrated into the countries worldwide. 2. To examine the reflection of the cultural comprehensiveness of Hafez's work in the images of its illustrated version.

Research questions:

1. How did Hafez's intellectual and cultural influence originate in different countries? 2. How have Hafez's ideas influenced the intellectual and cultural life of other countries?

Remembrance and memory are the crucial subjects of Hafez, s poetical thought turning them into the most important elements of his thought system. Hafez is a thoughtful poet, since his poetry aims at answering the most fundamental questions of the human being such as the basis of being, the goal behind the creation of the cosmos and mankind, the meaning of life and etc. He finds the secret of the life in love and friendship which have resulted in the creation of the cosmos and mankind in a primordial event. Man owns an astute love-oriented being because of an understanding of love, compared to other creatures, being called crazy, insane and drunk by Hafez, as a result. But for the same reason of understanding love, man is exposed to the dangers like loneliness and disappearance. Hafez believes that man must remember the primordial event of his "Reception of the Responsibility" in order to be able to survive in a world, full of pain and discomfort.

Criticism of archetype tries to analyze and study all cultural elements that were unknowingly involved in creating the literal work and in doing so, it summarizes and paraphrases the literal work, or some of the elements within it, in relation with the unconscious feeling of the author. With consideration of this method, we can understand the meaning of poems of Hafez better and have a new look at the symbols presented in his poems.
Therefore, in this paper, two procedures have been followed: At first, besides introducing the backgrounds of using of some theoretical foundations of this approach, the suggested models procedure is presented for analysis of Hafez’s poems using this method. Then, as an example, for selection and analysis of symbolic characters in Hafez’s poem, Pir-e-Moghan has been chosen and we have tried to express this method in this paper.
In this research, we have considered the symbolic triangle of Pirbowl-wine psychologically and in process of the formation of individuality in Hafez’s poem, we reach to this conclusion that the Pir-e-Moghan is a symbolic character which has been the outcome of the psychological projection of the model of ideal (perfect) man; and in the cycle of development of the individuality in his poem, the poet has simulated this model of inner perfection in the unconscious of his text.