‘Ta‘vil, (Hermeneutics) has long been one of the widely-debated terminologies particularly in the field  of Quranic research. Drawing upon  the earliest lexicographical documents,  the author argues that the term was originally used to mean, changing from potentiality to practice. Sinc this sens of ‘ta‘vil, goes and collocates with ‘Beginning’ ‘End, "Ultimate goal",  and‘ inward nature, the term has gradually acguired these meanings as well.

Then, attempts are made to show how the frequent applications of ta’vil, in the Holy Quran (17 times) go with the original sense of the key word. Towards the end of the paper, the hermeneutics of Quran is discussed vis ―a― vis its being sent down ; the latter has a descending dirction whereas the former has got an ascending movement.

Hence, hermeneutics facilitates man's journey from the explicit structural meaning of the Quran to its inward and superior word. For economy reasons , the author has deliberately skipped the other scholars’ views on this issue.

Geometry, norm, and exact and contemplated plot/form are considered as distinct features of Hafez's poems. The manipulation of these features will entail the loss of some grace. A part of these poems which can be improved is geometry and bihanbaz norm. That's the continuous attempts and deliberations made by Hafez to revise, manipulate and improve his own poems. The revisions and manipulations resulted in various versions and revised scripts all of which can be found in his Divan. Thus, those editing Hafez's Divan should necessarily recognize and include in the texts the versions derived from the revisions and manipulations on the basis of accepted norms.

In this article, first these developments will be presented by showing some revised scripts and versions. Then, an attempt will be made to delineate some of Hafez's manipulations in his poems for the purpose of accomplishing geometry of such exactness and contemplation.