Based on Bakhtin’s theory of dialogue and polyphony, this article examines the contrast of voices in Hafez’s sonnets, focusing on four characters/discursive positions: Rand, Zahid, Vaez, and Muhtasib. The context and purpose of the research is to show that Hafez’s sonnets are not simply expressions of individual emotion, but rather a scene of confrontation and response between conflicting voices, in which the formal, moral, and religious language is contrasted with Rand’s critical and free-spirited language. The necessity of the research stems from the fact that many traditional readings of Hafez’s sonnets have examined them more from a thematic or mystical perspective, and less attention has been paid to the dialogical mechanism of the text and the role of the contrast of voices. The main question of the research is how Hafez creates the polyphonic and critical structure of his ghazal through the opposition of Rand, Zahid, Vaez, and Muhtasib, and what role does this opposition play in the production of meaning. The research method is descriptive-analytical and based on a text-oriented reading of Hafez’s poems in the light of Bakhtinian concepts. The results of the research show that in Hafez’s ghazal, meaning is not fixed in a single voice, but is formed in the conflict of opposing voices; in such a way that Rand represents critical consciousness, Zahid and Vaez represent externalist language, and Muhtasib symbolizes social surveillance and limitation. Muhtasib symbolizes social surveillance and limitation.