جستجوی مقالات مرتبط با کلیدواژه « تاریخ ادبیات » در نشریات گروه « علوم انسانی »

The book of literary sciences and techniques is a dedicated resource for teaching Persian literature in the second secondary school for the fields of literature and humanities and Islamic sciences and education. As the beginning part of this book, the history of literature section is one of the most important lessons that students sometimes do not want to learn due to the high volume and similarity between some materials and the memorization of the lesson, and generally refuse to read it. The authors of this book, despite simplifying and reducing its volume compared to the book on the history of literature of the old system, have not observed some important issues, and this has caused the book to be criticized in terms of structure, content, science and meaning.Reviewing and rewriting the book based on the two approaches of genre or literary type and flowology is a method that can provide useful information for students and teachers in addition to the ease of learning literary history. The method that has dominated the history of Persian literature in textbooks is mostly about biographies and naming the works of poets and writers, and sometimes it has brought up things that are not very important and useful. In this research, in addition to criticizing the history of literature section of each of the three books of literary sciences and techniques, we separately discuss the proposed design of the history of Persian literature based on two approaches of genre (before Islam to the 12th century)

The preparation and compilation of a comprehensive educational curriculum is closely related to the writing of the textbooks. The periodization of Persian literary history, in accordance with educational goals, can provide a theoretical framework for Persian language training program to non-natives. In this paper, we argue for a particular approach to this periodization. The periodization is based on the reverse historical order, literary genre, literary form and literary figures. These criteria are moving in reverse historical arrangements from the contemporary period to the past and narrates the variety of literary forms and genres around prominent poets and writers of each period. For evaluating the function and the validity of this approach, the produced content (the book: The Living Tree) were taught to two groups of non-native students of Persian language (intermediate and upper-intermediate levels) and the results of a survey on their learning are analyzed. The analysis showed that both levels are satisfied with the resulting educational contents.

According to the experts in the field of history of literature, enough attention has not been paid to the history of Iranian folk literature so far. Among the reasons for this problem could be the obstacles in compiling the history of folk literature. According to the authors of this article, one of these obstacles is ignoring the importance of the Arabic sources of the first centuries of Islam and also the translation movement in preserving Iranian folk literature while compiling the history of folk literature. The importance of these sources is in preserving the identity, original form, and evolution of the components of Iranian folk culture and literature as well as the reflections on how Iranian culture is blended with Arabic-Islamic culture. Nevertheless, even in the most significant previous researches, such as the folk literature entry in the Encyclopedia of Persian Language and Literature, Folk Language and Literature of Iran by Hassan Zulfaqari, Research and Study on Iranian Folk Culture by Hossein Ali Beyhaqi, or Folk Literature of Iran by Mohammad Jaafar Mahjoub, the role of Arabic sources in the preservation of Iranian folk culture and literature has been relatively overlooked; or in exceptional cases, such as a part of the collection of articles The Context of People's Culture by Jalal Sattari, only the texts containing information about public morality have been emphasized. One of the leading writers whose works are worthy of attention and research in terms of reflecting the components of Iranian folk literature is Ibn al-Muqaffa’. The results of this study show that his works contain an enormous collection of Iranian folk literature components, especially proverbs, sayings, and didactic anecdotes, which are very useful in explaining the historical course, types, and context of using these components.

In Persian literary history, many readers of Persian poetry and even those contemporary with old and new poets have not often known the correct and real name of many poets and most poets have been known by their pen names or nom de plumes. Therefore, the poets have always tried scrupulously to choose the most beautiful and appropriate pen names with utmost precision; this is why some poets, due to various reasons, realized after a while that they needed to change their pen names. It must be noted that changing pen names has had a tremendous impact on the formation and durability of the poets' poetry; That is, when a poet with an old pen name had provided a name for himself, and that pen name was the best choice for his poems, there was a possibility that by changing his pen name, he would face many problems in keeping the durability of his poems. In this research, some reasons for changing poets' pen names were analyzed descriptively and analytically and it was shown that changing poets' pen names, as a literary tradition, is influenced by political, social, literal, and individual characteristics among others. Meanwhile, some poets, while choosing new pen names, did not abandon their previous pen names, and some others have replaced their old pen names with the new pen names in their old poems, and still others did not stick to the new pen names either - sometimes using the previous pen names again and sometimes newer ones. All these cases are investigable separately for each poet.

Nasir Khusraw is one of the great and influential figures in the history, culture, and literature of Iran. But because of his political and ideological activity in the dominant religion, some have sometimes deliberately ignored him, and beyond that, some have sometimes insulted him the worst. Nevertheless, the Iranian literary friend taste has always praised the eloquence of his poems, regardless of the religion of the poet, and some of those poems have been remembered and preserved over the centuries. This article intends to examine and analyze the extent and manner of his presence in the long-term written memory of Iranians by collecting any mention of Nasir Khusraw's name from the time after his life until the year 1000 AH. This research has been done by a descriptive-analytical method. According to the findings of this study, there are three different approaches to Nasir Khusraw in the texts: he is often referred to as ugly in the Islamic sectology texts. In some texts, regardless of ideological point of view, his poems are praised and his life is discussed, and the approach of some texts to his character is more mythical than real. The hostile mention of Nasir Khusraw's name has diminished since the military and propaganda activities of the Ismaili sect declined, and Nasir Khusrow's image has changed from a religious preacher to a Sufi that has miracles.

Despite the importance of the masnavi as a poetic form in Persian literature, many authors of tazkeres (compendiums of poets’ biographies) have not paid adequate attention to this form. They have been parsimonious in mentioning masnavi poems in their tazkeres. Notwithstanding the fame of some poets in composing masnavi, other forms of their lyrics are mentioned in tazkeres. This article examines masnavi form in Persian tazkeres and the reasons for the negligence mentioned above. To this purpose, the existence and development of the masnavi form are studied in twenty Persian tazkeres. The main reasons for excluding masnavi poems are their length, the unwillingness of the authors to summarize verses for its difficulty, the limits in the size of the tazkeres, the dominance of other forms, and the unavailability of the poems. In the early tazkeres (Lobab ol-albab and Tazkerat al-shoʻara), there is no reference to the lyrics, or if they are, the verses are not cited. From late 9th AH/ 15th century, restricting poems to their significant verses and the increase in poems led to noting one or some limited verses in tazkeres, and during the following centuries, the number of masnavi poems increased. The compilers of exclusive tazkeres and some later public tazkeres, such as Majmaʻ ol-Fosaha, included masnavi poems without any restrictions. Despite some verses mentioned in sources such as dictionaries, ignoring the masnavi form has caused ambiguities about the works and the correctness of their attribution, their topics, and the time they disappeared. Therefore, the two categories of sources (tazkeres and secondary sources such as dictionaries) are non-complementary.

Not only was Sanai a literary man and a poet who was praised and imitated by other poets, he was also - as researchers studying his works believe - the one who systematically blended mysticism into poetry and made the chapters of Sufism - up until then articulated in prose - eternal by exposing them in poetry. He gathered all Islamic teachings - which were scattered in other writers’ works until his time - in his works. Sanai has a special place in the history and chronology of literature and mysticism because of his contributions to changing the context and contents of Persian poetry; therefore, acknowledging his place and studying his works and life are a step in understanding the knowledge, wisdom, culture and society of his age i.e. the late 5th century and early 6th century. Sanai was praised and introduced by scholars of his homeland 60 years ago, a time in which the works concerning Sanai and his life were widely recognized by researchers from all over the world, particularly Iran. Later, due to wars, coup d’état, and Soviet invasion in Afghanistan, these studies came to a halt; as a result, the Afghan researchers were influenced by their non-Afghan (especially Iranian) peers. Analyzing the three historical periods of researching Sanai in Afghanistan and the influence of afghan researchers on Iranian ones and vice versa, and the reasons of these influences, by using descriptive analytical method and deploying library means, are the pivot and central concerns of this article.

Comparative Literature and Translation Studies have so far expanded the frontiers of their own disciplines beyond their traditional conventional sense. Individually or in cooperation with the other, either discipline can lead to a more comprehensive understanding of literatures and cultures. The synergy between the two disciplines through bringing together methods and theories from both can result in innovative studies that cannot be properly conducted within the boundaries of either discipline separately. Adopting a historical perspective, the present paper highlighted the points of convergence between the two disciplines in order to identify the fields of research which can benefit most from the cooperation between the scholars of comparative literature and translation studies. Literary history, translation history, and reception studies belong to such fields of research.

The linear style has been the common approach of literary historiography from the past to the present. Despite its educational value and facilitating the learning of literary history, this method cannot be an effective method for accurate literary historiography, and ultimately leads to incomplete and ambiguous reports about literary events. The present article examines some of the weaknesses of this method in the study of the history of literature and identifies five common shortcomings that exist in contemporary literary historiography: Failing to describe gradual changes in literary works and traditions Failing to identify multiple relationships between literary events Symbolically interconnecting points of rupture Homogenizing different historical periods regardless of the actual contribution of each Determining the beginning and end of literary events contrary to historical facts.

Biographies have been a medium to reflect literary thoughts and ideas. Biographers have presented their ideas and sometimes reacted to their opponents through writing biographies. Therefore, it is expected that two contemporary biographers hold different and even opposite views on the literature of their time. Some of these biographers have defended the literature of their time and have written to confirm and consolidate it, though they have sometimes hardly criticized it. The late ninth century AH - coinciding with the last years of the Timurid government - was a historic turning point in the struggle between defending the literary past and present. In the present paper, we showed that Tadhkira-Al-Shoara and Majales-Al-Nafayes, as two biographies of the aforementioned period, were written to answer the question of “how do you see the literary situation of your time?” to which they provided different answers. Specifically, the present study showed that Tadhkira-Al-Shoara and Majales-Al-Nafayes are two literary works that, despite being written in a common temporal and spatial boundary, are dominated by two different and opposing attitudes towards their contemporary literature. One is written in defense of the currents and literary thoughts of its day, and the other stands against the literature of its day.

Long after the creation of the first Persian novels and short stories, research works were created in connection with these works of fiction. In this study, the method of historiography of the first history of fiction (ie “The History and Evolution of Modern Iranian Literature and The Founders of Modern Persian Prose”) that have been published abroad at the same time has been investigated. In this article, with a descriptive-analytical approach and based on the components that the authors of this research have considered for the type of literary history, the discourse of these two works has been studied. The results show that Alavi and Kamshad studied literary works without being influenced by the ideology of the government of the time and with the aim of finding two-way links between literature and current political events. Of course, they have their drawbacks; structural weaknesses in the arrangement of materials, not addressing the literary style of works and not analyzing the literary and artistic aspects of literary works, using second- and third-degree sources, basing on selections of previous critical works are among these weaknesses, often due to distance from institutional contexts and contexts are related to literary works, which has caused significant damage to these two histories of literature.

Edward Granville Browne, the British Orientalist, wrote several books in the field of Iranian studies, among which reference can be made to his A Literary History of Persia. This work which had been written under the influence of great European Orientalists and their methods was later used as a model for the writers of books on history of literature. This paper discusses the role of Edward Granville Browne in Iranian studies. In the view of literary scholarly and researchers, his attempts as an Orientalists and lover of Iranian culture are praiseworthy. His comprehensive view of Iranology, on the one hand, and his reliance on historical narratives and documents, on the other hand, have given rise to various views regarding his works; some people criticize him, while some others admire him. In this study, which has been conducted following the library method, the writer initially introduces Browne briefly and, then, investigates his role in Iranian studies with an emphasis on his A Literary History of Persia in order to determine his status in the view of literary scholars. The findings of the study demonstrate that, among the Orientalists who dealt with Iran, Browne had a great share in introducing Iran and Iranian literature to Europeans. They also indicate that, after the publication of this book, Iranian researchers abandoned their methods of purely narrative and biographical historiography in their literary studies and adopted the method that Browne had employed in the composition of A Literary History of Persia.

The present study investigates the historical significance of contemporary developments of each period in composing Persian Tadhkiras. Throughout history, the historical significance of writing about contemporaneity of each period in literature has undergone internal and external changes. The study utilizes the descriptiveanalytic research methodology. The historical significance of writing about contemporaneity of each period through Persian Tadhkiras needs to be persuaded through the following categories: The Absence (covering the period before the 9th Century AH), the Beginning and the Rise (covering the years between 896 AH and the first half of the 14th Century AH), and the Fall (covering the second half of the 14th Century AH). It is of utmost importance to understand the significance of new frameworks for recording contemporaneity of each period in correspondence with these general categories so that all historical, political, and cultural factors can be considered in the study‘s academic pursuit.

In their encounter with a literary phenomenon, scholars of literary history consider the literariness of such a phenomenon to have an independent and trans-historical value. Scholars have regarded the present set of circumstances of the literary phenomenon as their starting point. Under such set of circumstances, the text can present scholars with what history has desired to prove in the first place. In its passing through a social, political and historical path, and before attaining its present position, the literary phenomenon has positioned itself towards attaining a textual evolution. The historical path of a literary phenomenon covers concepts such as unity with life and structural independence. Jāhili Qasida is a poetic form that is in unity with life forces of its time, and every part of its structure reflects an aspect of the age of Jāhiliyyat. Such reflection also attests to the interconstruction of the art, thought and life in Jāhillīyah. Through the utilization of its structuralist framework, the present research studies the beginning of the age of Jāhilīyah. Such an investigation can help the research reach a hermeneutic understanding of the age as well. The research explains that the literariness of Jāhili Qasida emerges from the relationship between Qasida as a poetic form and the historical inklings of the age of Jahilliyat. After the emergence of Islam, Qasida loses its original Jahili contours and becomes a key poetic in classical literatures written in Arabic and Persian.

Biographers' reports on the life and art of their contemporaries constitute and reconstruct the main part of our literary historical knowledge. However, the reality is that the reports of contemporaries about the personality of co-author and artworks are not coherent and that there are many conflicts and contradictions in those reports. There are also many conflicts and contradictions in those reports even from that time on, and it has been constantly changed and transformed. The diversity of opinions among critics can be a worrying issue for a literary historian, which makes it difficult for him to work. Another problem is that this multiplicity of opinions about Mohtasham vanishes in one or two centuries after the death of the poet, and a unified narrative about his character and his poetry governs Persian biographies (Tadhkiras). In fact, the historian faces two major problems: first, the fluidity of opinions and contradictions in the poet's contemporary reports; secondly, the certainty of the literary historians' opinions about Mohtasham. But what makes Mohtasham famous? Does it contain all aspects of his personality and art? Or is it a historical and discursive selection of his works?

The present authors' points of view is based upon Hermeneutical literary history. In this theory, the literary works are historical. The work has a dialogue with audience via history. In this dialogue, the meanings of works get pluralized. The work has a dialogue with its contemporaries. They interpreted their contemporaries' works upon horizon.

In order to answer the research questions, we first extracted a set of reports about Mohtasham from his contemporary biographers and described the multiplicity and non-occurrence of the reports. Then we showed the process of overcoming and defining some opinions in terms of the chronological era. Our attitude in this paper is based on the method of the history of hermeneutic literature.

Before examining the reports of Mohtasham’s contemporaries and the subsequent biographers, it is necessary to specify the period of the biographies which were with Mohtasham at the same time. If we decrease the contemporary period of time to his own lifetime (1529-1588/935-996) and his generation, we should dedicate all the time (contemporary period of time) to Mohtasham by the year 1602/1010 AH. But if we extend this time to the lives of those who realized Mohtasham’s presence, it includes at least 30 years after the death of Mohtasham, and those who wrote their works from Seventh decade of 15th/10th century to the third decade of the 16th/11th century (about Years 1553 to 1621/ 960 to 1030 AH) will be considered as his contemporaries. One of the presuppositions related to the information of contemporary biographies is to find a true and definite narrative about his poet and poetry. Such a presupposition is based on the coincidence of the reports with the literary event and is usually based on biographer’s observations but with no go-betweens. The more the poet's reputation is, the more the difference in the views of contemporaries toward him is. This point is certain about Mohtasham Kashani. Different causes have been involved in the emergence of controversy among contemporaries, which we interpret them as constitutive variables of ‘contemporaneity blindness’. The three variables of time, environment, and social relationships presented in this section have led to the emergence of differences, contradictions, and ultimately the multiplicity of contemporary biographers' opinions. The two sides of contemporaneity are multiple and non-deterministic due to the fact that they are influenced by the time, place, relationship, and discursive contradictions caused by these variables and present a changeable and multifaceted image of the poet and his poetry. This kind of plurality and alterability of the two sides of contemporaneity has turned the reports of the contemporary biographers into a complex of disproportionate, weak and sparse opinions about the poet (Mohtasham). These three variables will affect both sides of contemporaneity, both the historian’s opinions and literary critics as well as the subject of literary history (i.e. literary event). We can say that contemporaneity blindness is, in fact, the outcome of instability subject and object (biographer and poet). This is the case that cause the contemporaries not to have a true and clear belief of their understanding. As far as we are from the time of Mohtasham, the biographers bring about a single narrative of his life and also his art. They select specific issues from the contradictory opinions of his contemporaries. Soon, all reports, descriptions and indices related to the poet would be considered definite and is spread in all biographies with different words and phrases and that limited selection gradually emerges in the center of the biography of the poet.

The narrative of the Safā's history of literature from Mohtasham also stayed in the tradition of biography writing (writing of Tadhkira), the narrative of Golčin Maʿāni in the book of the Maktab-e woquʿ dar šeʿr-e fārsi, and various reports are collected about MOḤTAŠAM. The narrative that the commentators of Mohtasham’ Divan have made in the introduction is also the same. None of these three current studies has questioned the process of evolution of reports, the focus of opinions and selections during his lifetime and in the history of his audience and has not explained the origin, habitat, and credibility of the data and judgments of their sources.This article showed how and under what circumstances the index of Mohtasham's reputation was shaped. Traditional literary histories are mostly introduced, analyzed and evaluated by poets and their works based on their popularity indices. In criticizing the history of literature, this question has a significant role in how the reputation index is formed. The audience-focused literary history will give a clear picture of the presence and the life history of Mohtasham. Mohtasham has a multidimensional personality in reality; however, he is downgraded in the history of literature. Some of his artistic outcomes include the invention of the method of ‘Vasoukht’ and ‘Woqu’, the openness of male love, the eulogy of monarchy and power, the Shi'ite elegy, the Quatrain (Robaei), the history maker material (Madde Tarikh), the plotter, and he was outstanding in each of these aspects in his time. But among these, he became famous for his elegy. It is worth noting that the determination of the poet's index of reputation in literary history is necessarily reductive, indicating that any discourse reduces the dimensions of artist's creativity to only one dimension that is consistent with the horizon of expectations of that discourse. Although Mohtasham has a high position in a religious group due to his elegies, this discursive growth has diminished two aspects of the poetry: One is the reduction of his works to the elegy and the other one is the reduction of his audience and leading them to a belief group. Of the two aspects of his art, which has been highlighted at least in the history of the biographies, the elegy and the Ghazal (Woqu), only the elegy in his biography has been focused, whereas his creative individuality has been marginalized in the way of inventing and shaping the theory of Woqu/Vasoukht. His creativity in terms of ‘Qasida’ and ‘Robaei’, particularly in his two works,  treatises of Jalaliyah and the story of lovers.The true report of the poet's personality and individuality and artistic rank should be sought not only in the reports of one or more reliable sources along with him, but also in the process of his movement. The literary historian should represent the process of movement of the poet throughout his life as well as the movement related to his works in literary history with a precise timetable. How did the poet live in different ages? What had he been thinking about? What are the aspects of change in his life? Which works belong to what period of his life? On the other hand, the history of the reactions of the audience of his works must also be written separately, in different times, such as in geographic regions, what reactions have appeared in different discourses in relation to his works? His fame index has changed throughout history after his life. What was the basis for those changes? This is a report from Mohtasham Kashani, which parallels the reports of the content and values of his works and gives us a reliable knowledge of him. Mohtasham and his works are considered as a 'literary event', which is a live and eloquent event. The changing position of Mohtasham Kashani depends on the various responses that his works have received.. Finally, the reason for the survival of the literary event are determined by all disagreements.

The present paper is the eighteenth paper which focuses on the findings related to the history of literature, textology, and codicology. Some of the introduced sources and provided information are as follows: Two fifth-century suhuf in East Kufic script in Pakistan The relationship between one of Seyyed Hasan Qaznavi's poems and a newspaper from 6th century "Badrqarn" or "Deramzan" from Isfahan Some new information about Zeinoddin Ali Kolah Shirazi Two-volume Persian commentary in Goharshad Mosque Library, dated 897 AH "Jāst", still "Jāst" up to the 10th century AH Allame Qazvini who ate halal food.

The Safavid Period (1148-1906 AH.) and the Ottoman Period (923- 1213 AH.) can be called the "Biography Era" in the history of Persian and Arabic literature because of the variety of approaches to biography writing and high number of biographies written in the era. This tendency to biography writing has led authors to have even more than one biographic work during this period. The increasing development of this type of writing over the mentioned periods has resulted in the development of works with different writing styles, which is, in fact, the drafting stage of modern histories of literature.

In the present study, we have attempted to classify this type of writing systematically by comparing the common features of Persian and Arabic biographies compiled during this period. In this segmentation we have tried to name the works in a way that Persian and Arabic biographies could be classified and introduced into distinct classes based on the following criteria: author motivations, collecting and editing approaches, including the time, place, and social origins of poets and writers, as well as the inner form (type of prose).

Persian and Arabic biographies of the period under study can be examined in three respects in terms of frequency, characteristics, causes and motivations of compilation. The remarkable increase in the number of Persian and Arabic biographies of this period is a result of the factors most importantly the increasing growth of poets and writers of every social class.

Contain a variety of classes, including literati, scholars, Sufis, Shiites, political figures and etc. and often do not include a limited time frame. These Biographies can also be named "general" as they contain information about personality and works of the authors who existed before the biographer.

They have specifically collected translations and works of one of the social classes of poets and writers, such as the biographies of scholars and grammarians; a description of the Iranian poets who have gone to India; a description of the works of the female poets and different classes of artists.

There are works that cover a specific time period, such as a century, the authors lifetime and the monarchy's history of one or more kings; Such as: Al-Nour al-Safer fi Tarajem al-Qarn al-asher by Abd al-Qadir Eidroos and the Tazkere-ye Nasrabadi, which mention the four classes of political figures, scholars, wise men, Sadat and noblemen and poets of the Safavid era.

Biographies that only mention one person's life story, such as: The Tarikh-e Fakhr al-Din bin Ma'n of al-Khaledi and Ma'aser-e Rahimi by Mir Abd al-Baqi Nahavandi (d. 1042 AH), a detailed biography of Mirza Abd al-Rahim Khan Khanan.

Some Persian and Arabic biographies have been compiled based on the order of literary centers, so the latter can be called territorial and regional biographies. The first issue in identifying the literary centers is the criterion of being "focal". This criterion is a combination of three components of language, time and place; namely the prevalence of a language's literature in a specific geographical area and time range. Thus, there are three types of literary centers: national (territorial), regional, and urban. Biography of Nafhat al-Rayhana consists of eight chapters, each introducing poets and writers to one of the centers of Arabic literature. These centers include Damascus and its regions, Aleppo, Rome, Iraq and Bahrain, Yemen, Hejaz, Egypt and the Maghreb. Persian Examples: Jam’a al-Kheyir Mir Monshi Qomi is composed by the poets and writers of Azerbaijan, Saudi Arabia, Iraq and Khuzestan.

This type is a subset of implicit biographies; that is to say, in addition to historiography, the author has also referred to biography. But there are other types of biographies whose biographic aspect overcomes historical records, that is, biographies that, in addition to translation, have also authored the expression of historical events of the period under study. Hence, it is more appropriate to name them "biography-history". In the history of Persian biographies, about seventy titles of such works date back from the 10th to the late 12th century AH. beginning with the Asar-e Ajam and ending with the Vaqeat-e Kashmir ,some of them being "history-biography" and others "biography-history".

These works are excerpts provided by some authors from their own or others' works. In Arabic, Shahab al-Din Khafaji provided a summary of the khabya al-Zawaya and named it Rayhanat al-Alebba and Nazhat al-Hayat al-Donya, which is compiled for the poets. Ohadi Balyani provided an excerpt from Arafat al-Asheqin and named it Ka'be-ye Erfan, then Abd al-Wahhab al-Alamgiri in 1155 AH. has provided excerpt from the Ka'be-ye Erfan and named it Goldaste.

Such biographies are in fact compiled as a complement or as a follow-up to a previous author's work and have attempted to complete the work. Among Arabic examples, Mohebbi, in the Kholasat al-asar biography, has mentioned the complementing and extending the works of earlier historians and biographers such as Bourini, Khafaji, Eidroos, and Ibn Ma'soom, as his intentions of the compilation of the biography.

The Rhymed prose, which is found in the introduction and the text of some of the biographies, is one of the other common Persian and Arabic biographies of this period. Examples of these biographies in Arabic and Persian include: Tarajem al- a'yan and Tazkere-ye Bazmaray.

The results show that the remarkable increase of poets and writers and the wide range of literary centers of the era have led to the tendency of authors to use new approaches in the compilation and edition of this kind of writing.