Based on Mikhail Bakhtin's theory of dialogism, the present study analyzes the communicative and interactive structure of Hafez's sonnets. Hafez's sonnets have often been studied from the perspective of aesthetics and traditional mysticism, and the conversational dimensions and the presence of various voices in them have received less attention; therefore, it is necessary to explain the dynamics of Hafez's verbal structure and how meaning is formed in opposition to the "other" by applying modern literary theories. This study, with the aim of analyzing the relationships between the poet, the audience, and the poetic characters, seeks to answer the question of how the elements of dialogicity and responsiveness are woven into the fabric of Hafez's sonnets and what is the role of the "other" in the formation of the meaning of the poem? The method of this research is descriptive-analytical with a structuralist and dialogic critical approach, which is based on library studies and textual analysis of the sonnets. The findings of the research show that Hafez's ghazal is not a monologue and closed text, but rather a dynamic and responsive space in which characters such as the preacher, the Sufi, the butler, the old man of the Maghrib, and even the heart and soul are not merely rhetorical devices, but appear as independent and active voices