تأثیر پذیری رتن سینگ متخلص به زخمی از حافظ شیرازی

Hafez Shirazi is one of the geniuses of Persian poetry and literature, and his Poetry have inspired many poets after him. Among the poets of sweet Persian speech of the 13th century of Hijri in India, who is strongly influenced by Hafez, is Ratan Singh, nicknamed "Zakhmi". The themes of his poetry is romantic-mysticall. Zakhmi is a follower of the Iraqi style and in his Ghazal,
The present study is the result of a theoretical study, in this library method, which was carried out in an analytical and descriptive way,
The findings of the research show that 1) the structure and coherence of the form and content of Ghazal is influenced by the Iraqi style and especially by Hafez. 2) Zakhmi`s effect of Hafez's sonnet is obvious and obvious from different scenes, form and content.
By examining and analyzing Zakhmi's poetry, it was found that Zakhmi welcomed many of Hafez's sonnets and guaranteed the verses of Hafez's poetry, and also influenced the language combinations, themes, and music, as well as the extensive use of Hafez's sonnets.

Introduction

The two nations living in the lands of Iran and India have had a long-standing cultural and neighborly relationship, and their language and race have a common root and origin in some ways. (Ghaleb Dehlavi, 1376: 11) The Persian language spread in India with the conquest of the world by Sultan Mahmud of Ghaznavi; because Mahmud’s companions in India were Persian speakers. In the 12th century AD, the Persian language thus reached Western India. (Yektaei, 1353: 83) “The sweet Persian language reached the subcontinent at the same time as the entry of the Ghaznavids and was chosen as the court and official language at that time, and this position continued until the following periods; “Ghorians”, “Delhi Sultans” (Khalji, Tughlaq, Sadat and Lodi), “Ghorkani Sultans” (such as Babur, Humayun, Akbar, Jahangir, Shah Jahan, Aurangzeb Alamgir and Bahadur Shah Zafar)”. (Moezini, 2002: 136) The present study examines and recognizes the influence of Persian culture and literature on the literature of the subcontinent, and in particular the unique position of the great Persian poet Hafez Shirazi on the poet of the land of India. Without a doubt, Hazrat Hafez Simorgh is the pinnacle of Persian ghazal poetry.... The hadith of his bewitching charm has gone beyond Egypt and China and reached the outskirts of Rome. (Mashadi et al., 2009: 106) In order to better and more accurately understand and recognize the poetry of the poet of the thirteenth century AH, the answers to the following questions are helpful. 1. Is the poetry of the poet of the thirteenth century AH in the Indian style and has difficult themes and interpretations? 2. To what extent is the style of the poet of the poet of the return style similar to that of the poet of Hafez Shirazi in particular? 3. The influence of the poet's ghazal on Hafez's ghazal and the mental and linguistic similarities between the two poets are in which subject and in what contexts
1.1. Research Methodology
The present research is the result of a theoretical study. In this library method, which was conducted in an analytical and descriptive manner on the style of Zari, we have tried to examine and understand the influence of Persian culture and literature on the literature of the subcontinent, especially the unique position of the great Persian poet Hafez Shirazi on Zari, the poet of India, and also to explain Zari's influence on Hafez's ghazal, and also to show some of the mental and linguistic similarities between Zari and Hafez. This article, for the first time, deals with the recognition of the position and influence of Hafez's ghazal on Zari's ghazal; also, all references to the verses are to the Divan of Hafez, edited by Mohammad Qazvini and Qasim Ghani, published in 1988 by Zovar Publications, and the Divan of Ratan Singh, pen name Zari, edited by Babar Nasim Asi, published in 1998 by Asateed University Publications (Tehran), and only to the page number.
 

Discussion

Syed Ali Reza Naqvi writes about Zakhmi in his Persian Tazkira Writing in India and Pakistan: “The name of the author of this Tazkira (Anis al-Ashiqin) is Kunwar Rattan Singh, pseudonym of Zakhmi.... Zakhmi learned the art of poetry through the patronage of Mirza Hassan, pseudonym of Qatil,... and composed poetry in the style of earlier poets. He has composed a Diwan in Persian.” (Naqvi, 1343: 521-523) The author of Hadiqa al-Shu’ara writes about Rattan Singh’s (Zakhmi) linguistics and mastery: “... He was knowledgeable in most sciences and in Persian, Arabic, Turkish and English...” (Beigi Shirazi, 1364: 704) Zakhmi has left behind numerous works that show his extensive skill and knowledge in various sciences; among the most important works of Zakhmi are: Diwan Zakhmi: Zakhmi’s most important work is his Persian Diwan, which mostly consists of ghazals. The number of ghazals in the Divan of Zahmi is over 1038 ghazals and the number of verses in each ghazal is mostly seven verses and the total number of verses in his ghazals is more than seven thousand verses. 2) Anis al-Asheqeen: This book is a memoir of poets and includes the states and poems of early and late poets, the number of whom is more than two thousand poets. (Naqvi, 1343: 525) 3)
Zahmi welcomed Hafez's ghazals and guaranteed the verses of Hafez's poetry and was also influenced by Hafez's ghazals in linguistic compositions, themes and music as well as the extensive use of radif. Zahmi's ghazals returned to the style and especially imitated Hafez's ghazals; but he is an imitative poet, not an innovator. In Zahmi's ghazals, colloquial words are seen in poetry. He used more innovative verbal techniques such as observing similes, contrast, exaggeration and puns, and in the techniques of expression, he used more of Hafez's poetry's similes and metaphors. Zahmi used clear, explicit words without prejudice and the language of his poetry appears natural and ordinary; Although he was familiar with many different sciences and languages ​​and wrote in them, he did not use the terms of sciences and words of those languages ​​in his ghazal. His ghazal is completely romantic and lyrical. Arabic phrases and words are rarely used in Zari's poetry. In terms of the vertical axis, the themes of most ghazals are uninterrupted and have a spiritual connection; unlike Hafez's ghazal, where the overall coherence of the ghazal themes in the vertical axis is less observed. Another characteristic of Zari's poetry is criticism and satire of the hypocrisy of the work of the advisor, the ascetic, and the orator, which is used in his poetry. Also, the use of the words kharabat, mi, rand, and badeh safi shows that he had an opinion on Hafez's ghazals.
 

Conclusion

The pure ghazal of Hafez has had a great influence on many Indian poets, especially Zari. Zari has benefited greatly from Hafez's ghazal in terms of linguistic structure (phrases, combinations, special and prominent words), thought and themes, literary beauties and music. There is also a great deal of continuity and similarity in the themes of their ghazals, especially in the subject of love, and in this regard, Zari has welcomed some of Hafez's verses and has also guaranteed Hafez's poetry. The most important influence of Hafez's ghazal on Zari is in the field of music. Zari has collaborated with Hafez's ghazal by composing beautiful ghazals with the same meter, radif and rhyme, as well as ghazals with the same meter and radif with different rhymes; in addition, the similarity of the radif (external music) of Zari's ghazal and the simple present radifs of Hafez's ghazal also proves that Zari's ghazal is also strongly influenced by Hafez's ghazal in terms of music.
 

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