چکیده:
Hafez is a great artist whose art and thought have transcended the boundaries of time and space, acquiring an all-temporal and non-spatial character. In his thought and artistic mentality, temporal signs find the judgment of various pieces of a single line that are not disconnected and belong to a general and infinite flow. Temporal and climatic signs in Hafez's poetry are used in such a way that they are not confined to a specific period of time or a specific piece of the geography of existence. This writing aims to express the timeless and placeless aspects of Hafez's poetry by resorting to the concepts, meanings, and manifestations of his poetry. In this regard, Hafez's different approach to concepts, words, and names is shown, and his non-dogmatic and poetic thought is briefly explained. Additionally, Hafez's developed and transpersonal self, which is an aspect of the timelessness and placelessness of his art, is discussed. The combination of these factors introduces the totality of Hafez's poetry as a timeless and placeless phenomenon and expresses his unique ability to erase the temporal forms of things.
خلاصه ماشینی:
, each of which represents a symbolic visage of negative qualities, have found a much broader function in his poetry than their common meanings and have turned into indefinable archetypes in a specific time and place, such that they are generalizable to any situation and period of time: صوفی نهاد دام و سر حقه باز کرد بنیاد مکر یا فلک حقهباز کرد (Ibid: 472) یا رب آن زاهد خودبین که به جز عیب ندید دود آهیش در آیینهء ادراکانداز (Ibid: 235) ز رقیب دیو سیرت به خدای خود پناهم مگر آن شهاب ثاقب مددی دهد خدا را (Ibid: 82) Journal of Persian Language and Literature Vol. 4-No. 01-Spring 99 Hafez, Eternal Presence in Times and Places Abbas Baghinajad Instructor at the Faculty of Humanities, Islamic Azad University - Urmia Branch Abstract Hafez is a great artist whose art and thought have transcended the boundaries of time and space, acquiring an all-encompassing and non-local characteristic.
Nature, objects, the various manifestations of life and the human mind, rituals, myths, and beliefs—each has been able to step outside its customary circle within the realm of his poetry and lose the recognized and acceptable position and existence they hold; that is, they manifest themselves in a new form and situation; a form that does not reflect a specific and closed range of meaning and content, and it is not such that it only conforms to the conventions of Hafez's era and time.
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