Rhetoric in Hafez's poems (ghazal 101-200)

Number of pages: 181 File Format: word File Code: 31550
Year: 2013 University Degree: Master's degree Category: Literature - Persian Language
  • Part of the Content
  • Contents & Resources
  • Summary of Rhetoric in Hafez's poems (ghazal 101-200)

    Dissertation for obtaining a Master's degree (M.A)

    Abstract

    Includes a summary of the goals and methods of implementation and the results obtained.

    The purpose of the present research is the rhetoric of Hafez's ghazal. In this research, the review of Hafez's hundred ghazals has been developed and the title of the present dissertation is Rhetoric in Hafez's Divan (from ghazals 101 to 200). I have presented the literary works of each of Ram's ghazals. I have compiled it in five chapters.

    The first chapter: This chapter includes generalities, statement of the problem, the importance of research and research objectives.

    The second chapter: This chapter includes the background and questions and assumptions related to the thesis.

    The third chapter: This chapter includes the research method. In this chapter, the research method is proposed, which is in the form of a library.

    The fourth chapter: includes the findings. In this chapter, the biography of Hafez is first mentioned, and then the review of the hundred ghazals of Halfaz is discussed.

    The fifth chapter: This chapter includes the conclusion. Statement

    Foreword

    O God, I will cry out to you for my grace and for your grace: because I think that I have something with me or I think that I have a right over you. Knowledge and insight provided the ground for their liberation and salvation.

    New words, unprecedented themes, and ideas that have the color of originality and innovation are everywhere in Hafez's words. Even the most ordinary thoughts have a new color in his expression. This novelty of expression is in some cases the result of a kind of secret craftsmanship. Of course, word relationships give his poetry a literary color, and familiarity with words and the science of rhetoric gives him more power in this work. Such consideration adds grace and elegance to his words. When he remembers that Zelf left his lover for nothing, he sees this as madness and feels that with such madness, nothing is more suitable for him than a chain link. With what power and skill he brought these words in one verse! Where he talks about his tears, he remembers the chicken, and wishes that this heavenly chicken would fall into his trap. Somewhere in the privacy of a heavenly connection, he asks the people to untie the knot from Zolf Yar, and on the occasion of Zolf Yar, who remains in his dark and mysterious distress, a story remains. Abali Jazbi, give a sign, a sign; someone who with his heavenly thoughts and occult impulses has tasted such a wind of love from the divine tavern to lovers and loved ones that science was unaware and the intellect became numb. There is limited information about Hafez's family life. As there are legends about Uba's love for a girl named Shaknabat, based on the same stories, Hafez married that girl.

    Hafez's ghazal is a gentle, smooth, polished and refined poem, in which sometimes the situation of the time is reflected, and sometimes the poet's life and history. The main source of Hafez's thoughts, apart from the poet's sensitive heart and creative taste, is the study of books. He learned the grace and simplicity of expressing his feelings from the Qur'an and its interpretations, and he learned the subtlety and carefulness of thinking from the works of sages and scholars.

    I tried to choose the subject of the rhetoric of Hafez's ghazals. After the approval of the topic and with the guidance of teacher Bezgwar, I began to collect the materials with great enthusiasm. The method and work of this research is in the form of library studies. First, Hafez Diwan prepared for me, and then I selected the ghazals from the number of 100 to 200, and I introduced the literary works of each of the ghazals.In this context, I have used the books of thinkers such as Jalaluddin Homayi's Art and Rhetoric, Mohammad Alavi Moghadam's Meanings and Bayan, Sirus Shamisa's Speech and Meanings, Mir Jalaluddin Kezazi's Speech Aesthetics, Qasim Ghani's Diwan Hafez and Bahaddin Khorramshahi's Memoir. rtl;">Chapter one: This chapter includes generalities, statement of the problem, importance of research and research objectives.

    Chapter two: This chapter includes the background and questions and assumptions related to the thesis.

    Chapter three: This chapter includes the research method.

    Chapter four: includes findings

    Chapter five: This chapter includes conclusions

     

                         

    Chapter One

    Research overview

    1-1) Income

    1-2) Statement of the problem

    In this research, we seek to determine how much Hafez paid attention to literary arrays in his ghazals and used them.

    The most important questions raised in this research are:

    1- Did Ayahafez pay attention to literary arts in his Divan?

    2- Did Ayahafez pay attention only to verbal arts in his Diwan or did he have an eye on spiritual arts as well?

    This research will determine to what extent Hafez paid attention to literary arts in his Diwan.

    1-3) Importance and goals Research

    The purpose of this research is to examine the rhetoric of the ghazal of Diwan Hafez. It is also to determine the literary techniques in the ghazals. I have used important sources such as rhetorical techniques and literary techniques from Jalal Humai, Alavi Moghadam's Meanings, and. He has written it so simply and comprehensibly that it is free of fluff and nonsense, so that it can be used by students of literature, as well as by other classes and classes of calligraphy and Persian literacy, and by all those who, according to their natural taste and talent, seek to learn literary techniques, and each of them can use it to the extent of their talent and the limits of their knowledge.

     

     

    1-5) Hypothesis

    1- The first hypothesis about Hafez Diwan is that Hafez is simply a poet in his Diwan, in the full sense of the words poetry and poet, that is, he is an artist; Hafez did not have any goal in his Diwan except that he wanted to create an artistic masterpiece. When an artist wants to create an artistic masterpiece, his whole effort is to create a masterpiece with what materials and for what purpose.

    2- Hafez was only an artist. It means that Hafez's purpose in composing his divan was only artistic performance and that's it. Because poetry itself is art.

    3- Hafez was a praise poet and paid attention to literary aesthetics.

  • Contents & References of Rhetoric in Hafez's poems (ghazal 101-200)

    List:

      Abstract..1

    Chapter One: General

    1-1-Problem statement..3

    1-2-Importance of research..3

    1-3- Research objectives..3

    1-4-Research questions..4

    1-5-Hypotheses..4

    Chapter Second: Background of the research 2-1-Culture and its importance.

    2-3-3-Classmates and colleagues.9

    2-3-4-Wife and children..10

    2-4-Middle age events..10

    2-4-1-Time and cause of death.11

    2-4-2-Occupations and positions held.11

    2-5-Salman Savji and others Poets. 11

    2-6-Salman Savji's transformation. 12 2-7-Salman Savji's works.

    3-2-Information gathering tools.16

    Chapter four: Description of words and announcements

    4-1- Difficult words and terms in Salman Savji's court. 108-17

    4-2- Announcement and difficult terms in Salman Savji's court. 109-135

    Chapter five

    Conclusion..137

    List of sources. 138

     

    Source:

     

    1- Al-Khouri Ashratuni al-Lbanani, Saeed. 1403. Aqrab al-Mawdar. Qom. Publication of the library of Ayatollah Azami al-Marashi al-Manji,

    2-Ateh, Herman. 1356. The history of Iranian literature. Translated by Sadegh Rezazadeh Shafaq, Tehran Book Translation and Publishing Company. 3- Asadi Toosi, Abunasr. 1345. Persian vocabulary. By the effort of Mohammad Debir Siyaghi, Tehran: Tahori, second edition,

    4- Etimad al-Soltaneh Mohammad Hossein Khan. 1367. Marah al-Baldan. Edited by Abdul Hossein Navaei, Mubar Hashim Muhaddith, University of Tehran, Tehran. 5- Anjovi Shirazifakhreddin Hassan. 1351, second edition. Jahangiri Culture. Edited by Rahim Afifi.: University of Mashhad. Mashhad.

    6- Beihaqi Abu Jaafar Ahmed Ibn Ali Moqri. 1302. Taj al-Massar Beyhaqi. First edition.: The Islamic Resources Forum. Tehran

    7-Jarfadghani, Abul Sharaf Naseh Ibn Zafar. 1374. The translation of Tarikh Yamini edited by: Dr. Jafar Shaar. Third edition. Scientific and cultural publications. Tehran

    8- Padshah Mohammad (Shad) 1335. Farhang Anandraj. By the efforts of Mohammad Debir Siyaghi.: Khayamchap II Tehran.

    9- Khali Tabrial Hiyar; Sharfim Mahbobuh. 1381. History of Khwarazmshahs: Samet, Tehran

    10- Khalaf Tabrizi Mohammad Hossein. 1376 decisive proof. by Mohammad Moin Amirkabir, 5th edition, 5 vols. Tehran:

    11-Dehkhoda Ali Akbar. 1377. Dictionary.: Dictionary Organization of University of Tehran

    12- Rampurighiyathuddin Mohammad. 1363. Ghiyath al-Lagat. By the efforts of Mansour Tharwat, Amir Kabir of Tehran. 13- Rashid al-Din Watawat, 1339. Diwan Edited by Saeed Nafisi, Barani, Tehran

    14- Sarori Kashani Mohammad Qasim 1338. Al-Fars Assembly. By Mohammad Debir Siyaghi Elmi, 3 vols. Tehran.

    15-Shamisasiros. 1374. The stylistics of poetry.: Ferdous, Tehran.

    16-Safa Zabihullah. 1378. History of literature. Iran: Ferdous. Tehran.

    17-Adel, Mohammad Reza. 1372. Comprehensive dictionary of Shahnameh names: first edition. Sadouq Publishing, Tehran

    18-Afifi, Rahim 1376. Dictionary of poetry. Soroush, Tehran.

    19- Moradi, Nurullah. 1372. Bibliography: Contemporary Culture, Tehran

    20- Musaheb Gholam Mohsin (supervision). 1345-62, Persian encyclopedia. 3. Amir Kabir, Tehran

    21- Maalofluvis. 2014, Al-Munjad. Translation of Mohammad Bandar Rigi, 2nd volume, 5th edition of Iran. Tehran

    22-Moin Mohammad 1386. Persian culture.  6 c. Twenty-fourth edition: Amir Kabir, Tehran

    23-Nakhjovani, Mohammad Ibn Hindushah. 1355. Sahah al-Fars, by Abal Ali Taati, Translation and Publishing Company, Tehran.

    24-Nafisi Ali Akbar 1342

    24-Nafisi Ali Akbar 1342 (Nazem al-Atbaa). Farhang Nafisi.

Rhetoric in Hafez's poems (ghazal 101-200)