چکیده:
Language is one of the most skillful and beautiful phenomena of existence and is one of the unrepeated manifestations of Truth, which, like other phenomena, is constantly subject to change and transformation. Examining the various dimensions of language can familiarize us somewhat with its wonderful mysteries, and its artistic use also reveals many of its wonders and secrets. One of the most skillful and astute orators of Persian literature, who is considered a creator of abundant and diverse wonders in the field of oratory, is Hafez, the sweet-spoken. He has cleverly and wittily used the subtleties and nuances of speech to express and manifest his thoughts and worldview, benefiting from them with great dexterity. Among the rhetorical devices that orators use to adorn their speech in the realm of words is ambiguity (Ayham). Ambiguity holds a high position in the poetry of Hafez and manifests more than other literary devices. However, the important point observed in such multi-faceted rhetorical devices in Hafez's poetry is beyond the definitions provided in the books of predecessors and contemporaries. If we want to establish a relationship between Hafez's ambiguities and the definitions and evidence available in books and articles, we must choose 'general and specific absolute' among the four types of relations. In rhetorical books, two characteristics are generally mentioned for ambiguity: first, that the ambiguity occurs in the word, and second, that there is talk of the near and distant meanings of the word; however, this is not always true in Hafez's poetry, and both characteristics, or at least one of them, cannot be found in many of the ambiguities and multi-faceted devices of Hafez's poetry. Besides these, there are other unnamed industries in the poetry of this great orator, the discovery of which has sometimes led to new naming; 'Tas-hih of Proportion and Tas-hih of Contrast' is one of the newest namings. But Hafez's art in the arrangement of speech goes beyond these matters.
خلاصه ماشینی:
Although what has been said in this regard about Hafiz's poetry is appropriate and justified, the important point is that Hafiz's speech, or in other words, Hafiz-style ambiguities, do not fit within the narrow scope of the definitions in old and new books of rhetoric (badi').
In these definitions, two noteworthy points usually appear: First, they consider ambiguity to be in the word and not in the meaning, as the predecessors have stated, and many after them have mentioned the same subject following them; second, in ambiguity, they have spoken of near and far meanings, as Mirza Hossein Vaez Kashifi says: "الایهام:این صنعت ادق صنایع و الطف بدایع است؛و ایهام در لغت، به گمان افکندن باشد؛و در اصطلاح، عبارت از آن است که شاعر لفظی به دو صورت، یا زیادت استعمال کند که یکی از آن معنی ظاهر باشد؛و دیگری خفی؛و ذهن مستمع بعد از اصغای کلام، به معنی ظاهر و قریب[متوجه گردد]؛و مراد متکلم معنی خفی و غریب باشد" (23/p.
Continuing this subject, in the following verse, first the second hemistich is placed as the basis for discussion, and then the first hemistich is critiqued and analyzed from the perspective of near and far meanings: The dervish has no leaf in the Sultan's palace Our old foolery, which no fire can strike Perhaps the first question that comes to mind after hearing the second hemistich is: Why should fire be struck in this foolery?
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