The meters of a poem is like a form that a poet gives it soul and life: and wear it a cloth of word. So it would be Possible that a unique meters in two Poet9S book with different Styles and taest looks different. Because of a limitation in poetic meters we can more understand the power of great poets like HAFEZ in this article we will talk about Some subjects of HAFEZ poem music:One of the notable properties of HAFEZ poems is the music of his poems and their meters that makes his poems to be different from others which is the secret of his chamer poems.Another subject that we are going to talk about is the most abundant meters in his poem book and the study of poems and their meters and comparison between HAFEZs poems and other poems of other. Great poets that have the same meters.

In phenomenology, the whole universe has an ontological process, while mankind enjoys supreme and elevated awareness and its ultimate result is the manifestation of phenomena towards each other, in addition to gaining a sensual and concrete recognition about each other. Nietzsche analyzed the mythological eras and the history of the ancient mankind, coming to this belief that the Greek ancient people held a sort of ontological recognition and realized its nature and process as it actually was, while their own life coordinated with that and found meaning through this issue. He believes that life is a tragedy and these Greeks made life tolerable by creating Gods, Goddess, and deities and attributing terrifying incidents to them, and seeking help from them. In this relation he integrated two elements; first Dionysus which as an element was attributed to Dionysus; God of disorder and chaos, dance and joy, wine and drunkenness. The other element was the Apollonius element which was attributed to Apollo; the God of order and peace, rationality and culture, poetry, music and beauty. Therefore, Nietzsche suggests that the art of tragedy, as Ancient Greeks' first artistic creation, is the outcome of two contrasting Apollonius and Dionysus elements and bases his philosophy of art and aesthetics on them. This paper studies and analyzes HAFEZ' SONNETS on the basis of this theory; through actually Nietzsche's approach in reading, while the attempt has been made to do this considering the Iranians artistic, cultural, religious and ritual demands and circumstances. The Dionysus element is present in some of HAFEZ' SONNETS where he points to man's relation to the world, the chaos of the time, the unreliability and lack of safety in worldly affairs, and the Apollonius element is seen where HAFEZ discusses man's relation with God, seeking shelter in love, mystics and trickery. The world's lack of validity and reliability calls HAFEZ to joy and the beloved's trust calls him toward mysticism. Therefore it creates moderation and regularity between that chaos (Dionysus; the world's unreliability) and this regularity (Apollonius; love affair).

Post-modernism is a rebellion against the beliefs of one-dimensional and mono sound.That does not include any mind and a certain boundary and at any time and in any place emerges and language for the collapse of beliefs that take on the right form in society. Although the term postmodern in this article are borrowed from Western literature and theory and suggests thinking of another culture and language but the aim of this school and its functions is universal. The adaptation is one of the postmodern components that HAFEZ has used to combat the singularity of the great narratives and has led the society's mentality to pluralism in the realities and its acceptance. He combines the styles, ideas and literary types of the past, such as the philosophical thinking of Khayyam, parody, praise and mystical literature using the element of satire, along with the shaking of the dominant philosophical elements of society, which is condemned to be inferior and presided over And self-made constructs of reality in the form of a pseudo-independent society on paper. And using the double confrontation of the Kharabat against the Khaneghah, Pir-e Khanqah is placed against Pir-e Moghan and.... He does not seek to sit his own theory in this direction, but also opposes the voices of the opposition. In this article we have tried to match the postmodern philosophical school in the ghazels of HAFEZ measure and as much as possible we show the space and transcendental poets and classical world literature. In addition to the adaptation, postmodern components of uncertainty, carnival, decay of narratives, and short stories have survived in the nuns.

HAFEZ was bold enough to repeat the meaning (not the words) in the lines of his SONNETS. His use of synonymous words and phrases is evidence of this fact. HAFEZ is unique in paying attention to and employing the subtle differences between words which have similar meanings. He not only pays attention to the synonymous words but also takes account of the opposite meanings of such keywords as synonym; he substitutes apparently synonymous words and uses each word in the appropriate context of words and phrases in the lines composed. He does not use the similar concepts in the form of a stretch of words coming in a sequence. Instead, he substitutes the second word in a separate sentence with the first word. This is his unique way of creating new meanings. The arrangement of synonymous words, attending to the subtle differences between words and their use in appropriate contexts have given HAFEZ a special ability to create new meanings. This technique has also led to new paradoxes and sweet scoffing. By so doing, he ascends to the figurative meaning of the language. This happens in 5% of HAFEZ’ lines seeking new structures and meanings.

Researches done on Mowlana’s and HAFEZ’s poems abound in numbers leaving the readers with the idea that no other concept has been left unexplored. But once all these researches re-examined, one finds that a part of the Iranian and Islamic literature has not been thoroughly explored and explained by the researchers in the field. This is where we come to the Arabic poems composed by these two poets which in themselves exemplify their poetic craftsmanship as well as their mastery, especially Mowlana, of the Arabic language. After a-examination of the poetry of these two great poets one comes to the conclusion that they take their philosophical sustenance from the teachings of Quran. This is apparently detectible through the liens of all these Arabic poems which reflect the impact of the Abasid era literature on them using a very simple and down to earth language and bearing the vast power of imagination and some motives of Arabic poetry. This article is an attempt to compare the Arabic poems composed by Mowlana and HAFEZ and, through a new perspective, present these two poets in different dimensions and perspectives which have not been explored therewith informing the readers who have not been acquainted with them by examining their mutual spiritual experience they both provide.

The source of a structuralism Is a Russian formalism. In the first half of the 20th century, Russian and CzechFederation theorists tried to expanded theory that is about literacy. they Wanted to answerThere question about what is the distinguishes between literary Texts from common text? Formalisms Believed that literary Language by using technics Getting away from auto language and routinLanguage and familiar forms, It’ s because to alienation And eventually makes a distinction from other texts. The structuralists Pursue the formalists, Extended allegation alienation. they contrastWith formalists; So they considered the text as one structure and they put up alienation in it. The structuralists By Borrowing from psychological studies, they subrogated the accentuate instead of alienation. TheDistinguishes between structuralists from formalists Was that formalists Take less attention to the elements InContext we’ d have no direct relation with alienation process, While the View point of is structuralists All the elements four main rules in Formation of text performance. The most important idea of the structuralists of Parague Is the Attention to literary text, As a coherent structure in which all exsisting Elements are mutually interdependent and they’ re Reinforced. From their point of view, There is nothing in a literary trace that can be distinguishes and visible. Every individual elements have the Specific Performance and by that it’ s linked in the whole text. HAFEZ Is one of the Poets who lived with his poetry, This is the Mysterious of lasting his poem. khoramshahi Says about the secretary of the novelty and immortality of the words of Hafiz: Hafiz’ s Works is not just an Office and a work he is beyond literature. Hafiz is Noble who has deep thought of wisdom, theosophical deep sentiment hummanity. Hafiz among the poets choose as an International poet is due to they made poem but Hafiz made life. In one ward he talked about wishes and routine suffered of human and he tend to Eternal issues instead of literary issues. (Farsian & Rezai 1391, 54) Abdolvahab penname to Neshat was born in 1175 A. H. in Esfahan where it’ s his birthplce. Neshat In addition to dominated to Persian Language he was learnt Turkish and Arabic language. he became Proficient: in literacy knowledge, rationale wisdom, normal and Math. He returned to Tehran At age of 43 in 1218 and at the court of The king of the time, Fath ali shah, Was called Motamedo dowle. He’ d go to clerical and then he adopted as management of Rasael court. Neshat Wrote Royall sentences, married certification and court correspondence with Beautiful hand writing. He was accompanied by King for many years in travelling and another things that. until He was Died because of tuberculosis Sickness. what was left of him was he is famous book named (Gangineh)at 5insertion Includes poems and writing that have been written over their life time. Another novel of Neshat is treaties on the method of Golestan saadi. Which was In the presence of the Bahar master. 1-1 Proposition Statement and questions of research: The proposition is this research is that in terms of structure and relation of structural elements which SONNETS Is more coherent than the other? 1. Imitation Neshat of Hafiz in terms of structure is the absolute or relative imitation? 2. Does the relation between the structural elements constituting The structure in both SONNETS are eurythmics and harmonious. 1-2 The target of this research is investigate between two SONNETS that’ s one of them is written by imitation of one anotherAnd which has Written with several intervals centuries Which relationship between components is more Is tracked Raleigh consistent. and in which a structural elements have more harmony and coordination in line with content and issue. 1-3 Research history Regarding the comparison or influence of Neshat SONNETS from Hafiz, Many research have been done that majority of them are in stylist district investigation. Including them stylist influence (Neshat from Hafiz)Article that written by Abdolah vasegh Abasi (Bahar adab magazines, fourth year, first number, 1390 in spring, seeial number 11)With a stylist impacted Neshat from Hafiz: Eterion and Side music, language and lexical axis, themes and poetric themes And expression are the context he was dealing with them. Into coherent structure of Hafiz’ s SONNETS Written by Teimoor Malmir, (Journal of literary techniques, First year, number wrong, autumn and winter 1388). For the purpose of the structure of longitudinal Relationship and their semantic cohesion of SONNETS and structural element and investigate them As it is at tension in a structuralist It doesn’ t relevant. Also Een investigate the language style of Neshat Esfahani article. That’ s written by Amin Rahimi & Amin Rezai (Science literary magazine, fiefs year, seven number, autumn and winter 1394). The stylistics of Neshat Esfahani has been studied.

Introduction Irony such as quibble is one of HAFEZ's the most important of stylistic characteristics. The basis of HAFEZ's irony is an extra ordinary which is created in different methods. HAFEZ's irony despite of other authors and poets irony (that sometime has led to smut and libel) is melodious, closet, and punctual. One of evidence for being melodious and hidden irony used by HAFEZ is his special way in entrance to the sources of irony-creating. This way has been neglected by others to some extent. One of the HAFEZ's method of irony creating is substituting vocabulary in to hemistiches of a verse from different fields. In the two ways that some of the concepts of the second hemistich of the verse and is substituted by the other concepts of the first hemistich of the verse by Rhetorical relations. This method is termed Rhetorical opposition". (see: shemisa1388, p: 409). He sometimes in order to avoid from repetition of words, compounds and concepts used in hemistich prefer to use the synonym, similar or even antonym of them in the second hemistich, these substitutions besides of avoidance of the tautology (repetition), disaster of the underlying various and different Rhetorical and artificial points. One of these techniques by these substitution (Rhetorical opposition) created, is irony. HAFEZ's the highest art in this technique is forming words, compounds and concepts of antonym and dissimilar from semantic fields that are clearly different. Instead of similarity this summation of contradictions opposition by means of HAFEZ's magical art has created irony in the most cases. It's obvious that not all HAFEZ's rhythm-opposition-led to irony and vice verses. Even among irony which are made by this technique we can't always see antonym relation between two substituted concepts. But substituting different concepts causes deletion of differences and creating sameness among them. The sameness of different concepts is a kind of extraordinary that create irony in HAFEZ's utterance: With pride in science, you can not be relieved of joy Come on cup-bearer, you are more beautiful than the ignorant. ( HAFEZ the say)"Aliment" in popular tradition bodes to the god's lawful gifts for servant, but in this verse is termed as joviality instruments (causes) which, is counted height the lawful nor livelihood. HAFEZ by substituting these dissimilar meanings created equality between them. Equality caused in coherent co and creates irony. The present article introduces the structure of this technique for gibing (irony making) according to concepts in this verse. The aim of the article is answering the following questions. 1. How can we create relation substitution and equality between concepts? 2. How does this technique create irony in this verse? 3. What is the reason for brevity and its hideness of this irony? 4. What are the reasons why we precept two ironic, symbolic and irony concepts from some verses? Research method This present article aims to study forming of irony by means of the Rhetorical opposition in HAFEZ's Divan by analytical-descriptive method. It expresses that why and how has HAFEZ used this technique for irony creating. It seems that a new model of irony creating can be explained by this technique. Discussion Irony creating by substitution of concepts in some cases are obvious (clear) and in some other ones is covert (hidden). The method of reference of concepts to each other is the creation of this quality. In some cases the substituted word (opposition) has direct reference to the first word (from substituted and apparition is referred to substituting by demonstrative such as "this" and "that. "The face and eyes this beautiful, you say forgetGo! This meaningless scold enters my head not. (HAFEZ, 1385: 294) Meaningless sermon (advice) is the ironic descriptive of the preachers speech (utterance) that wants to prevent HAFEZ from seeing the handsome "face" and "eyes". This description by demonstratives has direct reference to the hemistich of verse, so the irony of this verse is obvious. In the most cases the irony which is created by this technique is covert and ambiguous, because reference of concepts to each other is covert and opposition beside of reference to first concept keeps the main meaning. The mention of thy face and tress, to my heart, Is a great pain that, morning and evening, it hath. (the same: 273) The irony of this verse is covert and only by paying attention to metaphoric relations are conceived by words as "morning" and "night" or "face" and "hair". The first meaning that is conceived from this verse is that speaking about your hair and face for me is such as prayer and rosary that i repeat in every prayer and citation. (Haravi, 1386, 1/505. If we consider the meaning of the word(have) "darad" as "possession" not "continuous", another meaning of the verse is conceived which as: the mention of your "face" and your "hair" for me is such as rosary and recitation that i repeat each morning and night. It means that HAFEZ's heart repeats his minion's "face and hair" instead of the repetition of the gods names and adjectives. As it's popular. People utilize Allah's names and adjective in their prayers and rosaries for blessing. HAFEZ by creating the simile for preference of "her" "face" and hair to god's names, and using irony and addresses his minion and says that I despite of the pious theosophists, repeat the words instead of the gods names "hair" and "face" continuously. Here assuming the sameness of the "face and hair" with gods names has created irony. Conclusion Claiming the sameness between two different things is an extraordinary matter. It makes contrastive meaning and sometimes meaning mixed with irony. This irony, encompass subjects as religion, theosophy and amorous meanings, of course in this article have not discussed all kinds of irony in this fields. Most expressions of these fields are popular concepts in language that because of their extra application in these fields, have lost their elementary (primary) meaning, they have gotten spiritual, religious, theosophists or amorous meanings. HAFEZ contrasts these expressive with usual meanings. He gets their colloquial meanings and converts them to a usual concept or popular meaning. In to most cases this causes the creation of the utterance irony. In other case a some of customary and juridical persons are substituted by unvalued adjectives and low meaning, and lowers a specious person and apparently sacred. It is interesting that HAFEZ even don't bear symbolic meanings of the amorous poetry (poetical tradition). He substitutes elegance elements of the traditional poetry by ugly symbols. This opposition and disproportion of the poetical figures sometime approximates and lowers the minion to his academy. Among the characteristics of this kind of irony, ambiguity, brevity can be enumerated. When opposition not only refers to (from opposition) and refers to it but also refers to the causes of the grammatical independence of two parts of the verse and refers to the main and real meaning of them too. Brevity is created which the deletion of relations and substitution of vocabulary and utterance causes approximation to metaphor in this technique. The ambiguity of irony also is created when rhetorical relations of two sides have covert substitution. The reader must deducts them by mental investigation. Sometimes opposition refers to several antecedent (from opposition). This causes ambiguity and hide ness of the irony meaning.

Denotation of phrases in Saeb’ s writings show that his works were greatly influenced by the works of HAFEZ. However, considering the intertextuality among texts and looking deeper into the works of these two poets, we propose that Saeb is semantically defamiliarizing themes and phrases central to the works of HAFEZ. In fact, Saeb’ s use of Hafiz’ s themes and phrases was accompanied by a negative connotation, suggesting that perhaps, Saeb was envious of HAFEZ’ s given title-Lesan ol Gheyb. It appeared that Saeb understood HAFEZ’ s poetic language tricks in utilization of phrases and took a step further to manipulate HAFEZ’ s themes and phrases in a way that is not superficially noticeable, but a deeper analysis can reveal this manipulation of lexical semantics. To substantiate this hypothesis, we used intertextuality method to make a comparative analysis of two SONNETS of HAFEZ adapted by Saeb. Our intertextual analysis revealed that Saeb selectively and purposefully took advantage of HAFEZ’ s phrases to ameliorate his own works. The finding supported our hypothesis, using intertextuality method.

Examining the factors of joy in Movlavi's SONNETS, we concluded that seeking and discovering the truth and gaining the satisfaction of the Almighty, which indicates the perfection and servitude of man to his god and creates spiritual joy in him. Movlavi's kind of joy is psychic and inner. The coexistence of sorrow and joy in Movlavi's worldview with musical effects and dynamic images to express Movlavi's drunkenness and joy and spiritual joy that brings him from the world of horizons to the soul. Movlavi's approach can be described in the area of divine knowledge, especially in the" Kabir Divan, "based on enthusiasm,And in proving such a claim, significant verses appear in this valuable mystical work. On the other hand, sadness and joy also play a significant role in HAFEZ's SONNETS,HAFEZ considers sadness and happiness as two sides of life and emphasizes their role in life. The present article is the result of reflection and contemplation on the most prominent themes related to joy in" Koliat Shams "and HAFEZ's Divan.