چکیده:
gives. Furthermore, it shows that Richards has been very successful in formulating a general theory of literary criticism. I. A. Richards (1893-1965) is one of the most influential thinkers of the twentieth century in the fields of psychology, literary criticism, linguistics, and philosophy. Influenced by the school of positivism, with extraordinary boldness, he protests against and challenges past methods of literary criticism. Based on his studies in psychology and ethics, he establishes his completely different theory of literary criticism based on three concepts: experience, value, and communication. In the present article, first, by looking at the intellectual and philosophical backgrounds of Richards, an attempt has been made to outline his most important ideas in literary criticism in a general and coherent framework. In the second section, Hafez's poetry is examined and analyzed based on Richards' perspective. To better perform this analysis, first, the most important principles of Richards' literary criticism are stated in the form of five concise propositions, and then instances of each of these propositions are searched for in the Divan of Hafez. The result of this study shows that finding the most appropriate way to resolve the conflict of human motivations and contradictory desires, which is considered the main function of poetry in Richards' theory, also plays an essential role in the poetry and thought of Hafez. This new perspective provides a deeper understanding of some aspects of Hafez's poetry.
خلاصه ماشینی:
Two Special Conflicts in the Divan of Hafiz The conflicts presented in Hafiz's poetry—as previously mentioned— has mostly manifested in two issues: "drinking wine" and "love for the beloved": They say, do not speak of the secret of love and do not listen to it It is a problematic tale that they recount (Ibid, 102) and: For a single sip, which seeks to harm no one Do not ask what trouble I suffer from ignorant people (Ibid, 732) Despite all this, Hafiz stubbornly resists these two matters and constantly recommends that: "Drink the ruby wine" and "behold the moon-like faces" Contrary to their religion, behold this beauty (Ibid, 413) Hafiz does not consider the inclination toward these two fundamental desires merely as a personal matter; rather, he believes that even the most steadfast ascetics, like any other human being, are at risk every moment of being drawn again to youthful desires and breaking their repentance: The recluse ascetic went to the tavern yesterday He broke his covenant and became one with the wine cup The Sufi in the assembly who yesterday was breaking wine cups and goblets Again, with a single sip of wine, became wise and sage The witness of the era of youth had come to him in a dream Again, he became an old lover and a madman A cup of wine passed by, the robber of religion and heart In pursuit of it, the intimate became a stranger to all (Ibid, 681) Of course, Hafiz does not exclude himself from this circle and in many cases, including the poem above, when he speaks of the ascetic, through the help of his subtle double-edged expression, also refers to his own inner ascetic tendencies: Enough that in a soiled robe I boasted of righteousness I am ashamed of the cupbearer's face and the colored wine If I am a libertine of the ruins or a city ascetic This is the pleasure I see, and I am no less than this (Ibid, 782) In fact, in these instances, Hafiz does not merely engage in the criticism or description of a specific social group; rather, by referring to himself, he reaches a general perspective that encompasses the issues of all human beings, and for this reason, his poetry possesses high psychological value.
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