جستجوی مقالات مرتبط با کلیدواژه "hafez" در نشریات گروه "هنر و معماری"

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.