This article presents a critical study of two groups of Hafiz’s poetry commentators who have introduced   him as Malamati or as a poet inclined to the customs of Malamat. Due to the wide time gap between the mallamat epoch and the time Hafiz lived, the first group’s emphasis on Hafiz as being a Malamati is doubtful. This article seeks to refute the claim made by the second group that Hafiz was inclined to mallamati thoughts by adhering to their doctrines. The same group has charecrterised gafiz's Erfan as a Malamt one.To this end; this article discusses seven cases of agreement and disagreement between Hafiz’s poetry and Malamatis’ opinions in order to highlight contradictory interpretations in his poetry and the lack of such   interpretations in the discourse of Malamati proponents. Then, this study has attempted to find a reason compatible with his linguistic logic and poetic construction for agreements and disagreements between Hafiz’s poetry and Malamatis’ opinions. Eventually, according to the reasons presented, it is concluded that Hafiz is by no means a propagandist for any official or unofficial thought. He is a freethinking poet who doesn’t fit any sort of mystical or nonmystical doctrines, and his art is of the highest value to him. Nevertheless, his poetry’s interpretability and, on the other hand, commentators’ efforts to present a response more compatible with the current expectations have led to attributing the title Malamat to him.

Recounting or reading a story, a tale, or an anecdote in ceremonies has a long history in Iranian culture. A type of this tradition has been widespread in Ferdowsi’s era which emerged in the form of public reading of Shahnameh. Ferdowsi has acted masterfully in choosing words of special speech sounds being aware of his subject and audiences and thus has made listening to Shahnameh being read a delightful experience for the listeners. This research is both analytic and descriptive in method and shows that Ferdowsi has selected his diction with a special regard  for its sound effect. These words either had the very widespread semantic scope or Ferdowsi himself expanded their semantic scope and thus attracted the attention of the listeners and made them attentive to finding the source of the sounds’ production. The researcher admits that the method of choosing diction which has been discussed in this article is not the only method which results in waiting and listening to the reading of Shahnameh has many other artistic methods to encourage anticipation in this huge work. This article studies Ferdowsi’s skill and innovation in making his language pleasant and effective and the reading of Shahnameh such an exciting and hilarious experience for both readers and listeners.