فهرست مطالب mahmud abedi

 One of the valuable literary activities in the contemporary era is correcting the texts left by the predecessors. The Divan of Shervani, the poet of the sixth century (AD 540), is one of the texts from which has not yet received a proper revision.This is mainly because of the unavailability of a reliable manuscript, collected during or close to the poet's era. In addition, those who have attemplted to correct the available manuscripts, have not observed the proper critical methods of text correction. The existing version corrected by Taheri Shahab in 1345 AH suffers numerous methodological and typographical defects. In this study, while showing the main correction defects of the existing version, such as "improper recordings", "displacement of verses", "scattered poem lines " and "typographical errors", it tends to introduce the new versions and explain their role in correcting the poems of Shervani. The poems of this poet are discussed in order to highlight the necessity of re-correcting the Divan of  Falaki Shirvani, which, in addition to presenting a revised text of his poems, undoubtedly has a great impact on recognizing the stylistic features of Azerbaijani poetry and solving some problems of poems following this school .

Amongst the works of Persian poets, Mawlana’s ghazaliyat (lyrics) are, in addition to their many other aspects, unique in terms of the kind of the words used in them. The extent of Mawlana’s lexicon is in direct proportion with the extent of the motifs and themes of his poetry. His fluid mind, just as it is often active in creating novel ideas, hardly confines itself to the narrow circle of conventional stock words, fresh experiences in ideas and rhythms automatically filling his speech with new simple words as well as compounds and phrasal combinations. A number of words in Mawlana’s poetry are Turkish-Mongolian. Of these some have come to him from the linguistic literary legacy of Khorasani folks, and some others have entered his verses as a result of his stay in Konya and close association with Turkish speakers. Exploring the number of these two groups of words and identifying and differentiating them is in itself useful, including the understanding of Mawlana’s nature of inclination to Turkish and the degree of the impact on his poetry of the language and speech of those around him. Studies show that this topic has so far not been addressed as properly as it should, and that the definitions suggested by some of Mawlana’s commentators for a group of such lexical items are to be doubted. In the present article, while presenting kinds of the Turkish-Mongolian words in gazaliyat-e Shams and the sort of changes Mawlana has made in them, the writers address the meanings of those words that had been used in Persian prose and poetry before Mawlana. Besides underlining the extent of the poet’s vocabulary, this study could play its part in assisting readers and researchers to further understand the language of Mawlana’s poetry.

The attribution of a poem (qasideh, ghazal, and …) to two or several poets is fairly widespread in the history of Persian literature. In order to ascertain the accuracy or inaccuracy of such attribution, our scholars have usually applied certain techniques that are based on their own personal taste, having devised in this respect no practical and acceptable guidelines. Nowadays, the expansion of stylistic and linguistic sciences provides us with cognitive means with the help of which old texts can be satisfactorily assessed and the true author be identified. One of the qasidehs attributed to two contemporary poets and fellowcitizens is the one appearing both in Sana’i’s and Sayyed Hasan of Ghazne’s Divans. In the present article, by identifying and introducing the causes of such confusion and erroneous attribution, the qaside in question has been examined from a codicological and stylistic perspective, and its ascription to Sayyed Hasan has bee shown. In the end, by presenting a new version of the qasideh, its errors in the poet’s printed Divan have been demonstrated.