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Unlike ancient rhetoricians who rejected ambiguity altogether, modern theorists consider it as a value. This article, initially, presents a historical survey as well as the modern approaches to ambiguity and highlights the modern aesthetic tendency toward ambiguity and polysemy. After the early years of 20^th century, ambiguity was considered as the essential essence of literary texts by literary critics and theorists. Second, the article discusses the value of ambiguity in literary works and draws a borderline between difficulty and polysemy (i.e. pluralization and multiple meaning). Then, it introduces some kinds of ambiguity and elaborates on their distinct features. Meanwhile, this article pinpoints the basic deference between language and literature through emphasizing the value and function of ambiguity.  The main purpose of the article, then, is to emphasis that "ambiguity as inherent nature of literature" and stresses the principle saying: "the artistic value of a literary work and the secret of its eternality depend on the amount of its ambiguity". If one ignores the ambiguity in literary texts, he would lose its spirit and essential essence. Ambiguity causes an interaction between   reader and text and fosters the ability of meaning creation by readers.  Through persuading the readers to react to the content of text, ambiguity provides the opportunities for generations to engage in different dialogues with text across time and history.

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The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.  
 

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The present article identified the morphological characteristics of the Arabic noun as a feature preventing various interpretations of literary texts. Arabic nouns enjoy intrinsic features such as masculinity and femininity, solidness or derivativeness, morphological weight, duality, plurality, precise pronouns, relativity, demonstratives, etc., which determine and give rise to special associations in the mind of the audience. Although the precision of Arabic morphology in scientific and philosophical prose is a privilege with the help of which scholars can clearly express their intentions, it seems to be a defect in literary texts that reduces the multifariousness and artistic delicacy of the works. The absence of some of these features in the morphology of Persian nouns contributes to the ambiguity and literariness of the poem. In Hafez’s Diwān, there are seven bilingual lyrics (Molamma’āt) that allow such a comparison. The presence of some Persian and Arabic stanzas in a ghazal lyric of Hafez clearly shows the difference between the morphological possibilities in Persian and Arabic. In general, the absence or existence of such features in Persian words brings with it a wider audience and expands the range of different interpretations of a poetic work.
 

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