يك ايهام نادر (ايهام تصحيف) در ديوان حافظ و تلاقي وجوه

A rare opacity (tashif opacity) in Hafez poetry and confluence of variances

حافظ شيرازي يكي از محبوب­ترين شاعران پارسي­زبان است. اين محبوبيت در گرو زبدگي اشعار او و به اوج رساندن معنا و صورت در خلق شعر است. وي معاني بلند را از مباني ديني و عرفاني و مضامين متعالي را از شاعراني چون سنايي، عطار، مولوي، عراقي، سعدي و ديگر شعراي بزرگ فارسي­زبان گرفته و در صورت­آرايي كساني چون خاقاني را الگو قرار داده ­است و شعر را به پايگاهي رسانده­ كه دستيابي بدان محال شده ­است. يكي از ويژگي­هاي منحصربه­فرد حافظ توجه ژرف و باريك‌بينانة او به آراستن صورت شعر است. از­اين­رو وي از تمام قابليت­هاي زباني به­خصوص قابليت نوشتاري و خطي بهره جسته ­است تا لايه­هاي شعر را زيبا و عميق سازد. ازآنجاكه نگارش متون در قديم، به شكل ماشيني نبود و در گذاشتن نقطه و سركش اهمال و امساك صورت مي­گرفت، حافظ با بهره­گيري از همين اصل از رسم­الخط قديم، واژگاني را كه با گذاشتن يا نگذاشتن نقطه و سركش متفاوت قرائت مي­شدند، در موضعي قرار مي­داد­ كه قابليت خوانش به دو شكل را داشته ­باشند و به اين شكل آرايه­اي بسيار نادر با عنوان «ايهام تصحيف» خلق كرده ­است. بررسي نمونه­ هايي از اين آرايه گوياي نكته­اي نسخه‌شناسي است و آن اينكه برخي از اختلاف ضبط­هاي بحث­انگيز حاصل همين ابتكار حافظ بوده كه از قضا در برخي از نسخ هنوز ردِپاي اين خلاقيت حافظ باقي مانده ­است. با شناسايي اين خلاقيتِ حافظ (به كارگيري ايهام تصحيف) مي­توان به نقطة «تلاقي وجوه» يا «آشتي وجوه» در برخي از ضبط­ها در ديوان حافظ دست يافت. اين نكته نشان مي­دهد رسم­الخط كنوني حداقل در برخي مجال­ها تصحيح ديوان حافظ را غيرممكن مي­سازد.

Opacity one of the literary arenas is considered by poets who are interested in poetry. Its different forms, such as proportions, contrasts, and variations of the early poetry periods, have attracted literary critics and poets. Poets have had a great deal to take advantage of this beautiful array and evolve it. Particularly poets who have also been focused on poetic beauties alongside the meaning of poetry. Examples of using this array were evident in the Azerbaijani style, and later in more detail in the Iraqi style. Nezami and Khaghani are poets who have used this array and its many types. Later in the Iraqi style, which was presented with imagination alongside meaning, this array was also used by many poets. Hafez, through the use of the past poetry tradition, has fertilized his poem both in Arabic and in Persian. In the context of illustration, he has also benefited from the past poetry tradition. He has brought the best meaning alongside the best of the poetic images. an‎d created the best examples of Persian poetry. It is one of the artifacts Hafiz has used in his image. In addition to Hafez's attention to the array of archetypes, Hafez's social and cultural atmosphere has not been affected by the use of ambiguity. In a society protected by hypocrisy if it has the equivalent of an array, it is undoubtedly absurd. In addition, the words have two meanings and in fact two faces. Among the cases Hafez has used, the opacity symmetry is most applicable. But there is a kind of opacity that hobbyists have not paid much attention to. This is an excuse to read. The reason for the lack of attention to this idea is due to the weariness of this collection and other printing facilities and contemporary writing conditions. In the past, they transcribed poetry books to replicate them. Although each episode had a variety of linear features, it was not significant at all in the written terms. This writing culture has made some poets, using this same feature, use words that have different meanings displaced in such a way that two different forms of reading can be read. Hafez also occasionally uses the same method to write words without a point and put that word in a condition that can be read in two forms. This kind of exploitation of the guard has made some of the scribers one of these variants real. But with care in the context of poetry, we find that Hafiz has placed signs for each face, and this shows that Hafez has used both words for the meaning of his poem. As a result, it is not necessary to discuss some of the arguments that are used to select some of the faces, since Hafez has taken into consideration both the array of both. But the new line-up does not have the capability to provide both forms of the word, and therefore, in some prints, only one word form is entered. Consequently, in the case of controversial examples, such as prepared (Mohaya) and well-off (Mohana), Nest (Ashyane) and Threshold (Astane), My awareness (Khebratam) and my astonishment (Heyratam) Luxury (Tajamol) and tolerance (Tahamol) Black (Siahi) and brave(Sepahi), crooked (kaj) and deaf (kar) Mole (khal) and status (Hal) an‎d so on Hafez has been considered in both forms.