Title: The Role of Less Common Musical Terminology in Discerning Hafez's Interwoven Networks of Plurisignation (Ihams)

Document Type : Original Research

Authors
yaser dalvand 1
mohammad hasan hasan zade niri 2
1 Assistant Professor, Department of Persian Language and Literature, Imam Khomeini International University
2 Assistant Professor, Department of Persian Language and Literature, ATU
10.2634/Lire.22.89.91
Abstract
Musical terminology plays a significant role in creating Hafez's interwoven networks of double entendres (ihams). Some of these terms are clear and commonly used, making their technical meaning and the resulting double entendres relatively easy to identify. However, others are obscure and less common, and the double entendres formed from them are difficult and elusive even for experts, which is why discovering and explaining them has more literary value and delight. In this article, after a brief discussion about the relationship between Hafez and music, the types of double entendres, and the relationship between double entendres and the audience's knowledge, we have attempted to discover and explain those hidden double entendres in Hafez's Divan that are based on obscure and less common musical terms; terms such as "baqa" (survival), "halqa" (ring), "khaneh" (division), "khazan" (autumn), "dowr" (cycle), "dayr-e raheb" (monk's monastery), "rav" (manner), "ravan" (flowing), "sarv" (cypress), "shakh" (branch), "tarz" (style), "gham-zadeh" (grief-stricken), "karsaz" (arranger), and "gereft" (gripped). Our criterion for identifying these terms has been specialized music dictionaries and, in some cases, dictionaries based on old texts.
Keywords
Hafez's poetry
Hafez's music and poetry
networks of allusions in Hafez's poetry
the allusion of hidden proportion in Hafez's poetry.
Subjects
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Literary Research
Volume 22, Issue 89
Autumn 2025
Pages 91-103

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