نوع مقاله : مقاله پژوهشی
نویسندگان
1 استاد گروه زبان و ادبیات فارسی، دانشکده زبان و ادبیات، دانشگاه کردستان، سنندج، ایران
2 دانشیار گروه زبان و ادبیات عربی، دانشکده زبان و ادبیات، دانشگاه کردستان، سنندج، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The Holy Qur’an and its influence on the semantic flourishing of Hafez’s poems have always attracted the attention of literary critics. The Qur’anic borrowings of this astute poet are such that Qur’anic meanings and concepts not only impart a distinct spiritual orientation to his verse but have also played a role in his being given the epithet “Lisan al-Ghayb.” So much so that from the early ninth century onward, among Persian-speaking poets this title was applied exclusively to Hafez of Shiraz. At first glance the combination of Qur’anic allusion and claims of speaking about the unseen appears difficult and even implausible. What this article addresses are the problem of Hafez’s being called Lisan al-Ghayb while simultaneously drawing on the Qur’an. Its aim is to show that, if Hafez was named Lisan al-Ghayb, this was not because of astonishing prophecy or miraculous foretelling; rather, his status as Lisan al-Ghayb reflects his careful study and deep understanding of truths — to the extent that, by attending precisely to the subtleties of his sources, he was able to recombine expressions so that they acquired a new manifestation. Calling Hafez Lisan al-Ghayb is due to these very subtleties and perceptiveness. Hafez’s borrowings from the Qur’an constitute a particular kind of appropriation that differs from the way other poets have borrowed from or engaged with the Qur’an. The layers of this type of borrowing are mainly based on an interpretive reconstruction of Qur’anic concepts and expressions, employing the“qāʿideh -e- Istedrād” (rule of digression), — a method of presenting a variety of topics while at the same time remaining consonant with Qur’anic verses and surahs.
کلیدواژهها [English]
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