جستجوی مقالات مرتبط با کلیدواژه « انتحال » در نشریات گروه « ادبیات و زبان ها »

The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern Iran. There, the successor and grandson of Sheikh Ahmad Jami, Qutb al-Din Muhammad Jami, stole two books from Rozbahan Baghli Shirazi (Rasala al-Quds and Ghalatat al-Salekin). Qutb al-Din Muhammad Jami was known among mystics and scholars of that time, and he was considered a mystical writer. Rozbahan lived before Qutbuddin. He is a great mystic. A mystic who has written more than fifty books. His books are taken all over Iran. It seems that Qutb al-Din was unaware of this issue. Qutb al-Din has included two books of Rozbahan in one volume and presented them to the audience under the name of Hadiqah al-Haqiyah. To start the work, it was necessary to determine who the books were written by. I have provided a lot of evidence to identify which author each book belongs to. In this article, I have determined with what tricks Qutb al-Din did this plagiarism. In order to hide his plagiarism, he asked the scholars of his time to confirm the authenticity of his writings. I have examined these confirmations from another point of view. I have also determined which manuscripts of Rozbahan's books he had access to. For this purpose, I have compared the manuscripts of the books. Qutb al-Din stole Rozbahan's books but did not agree with all his opinions. In the investigation of this plagiarism, I have examined the difference in the views of these two people. These differences can be called ideological differences. This article is done by descriptive analytical method. Examining and comparing Roozbahan's books with Qutb al-Din Muhammad's Hudiq al-Haqiq shows that he stole Rozbahan's Risal al-Quds and Ghalatat al-Salekin, with minor changes, and presented them in his own name. The concern of convincing the audience has caused Qutb al-Din to change some signs of dependency of Rozbahan's books and remove others in a process that we have called the process of personalization. The most important characteristics of personalization of the text are: removing Rozbahan's rejection, modifying some of his views, extensive quoting of poems attributed to Sheikh Jam's family, adding the text of Sheikh Jam's treatises and adding personal views; In addition, in order to stay away from the disciples' question, he has asked the elders approved by Sheikh Jam's family to confirm that the text of Hadiqa al-Haqiyah is in accordance with Mustafa's Shariah; But now we know that Qutb al-Din, in this way, sought to prove the dependence of this work on himself and remove the accusation of plagiarism. The issue of including the poems of Sheikh Jam and his family in Hadiqah is also one of the issues to consider. By comparing the poems in the treatises and Hadiqa, it became clear that Qutb al-Din did not follow the trust in attributing poems and attributed other people's poems to Sheikh Ahmad Jam. Based on this, the attribution of the poems to the narrators claimed by Qutb al-Din is seriously doubtful. Some changes applied in the course of this plagiarism have gone beyond a simple difference and can be called an ideological difference. Differences in topics such as al-Tabas, unity, hearing, the expression of mystical experiences and the issue of vision are among these ideological differences. The revelation of this plagirismalso helps to examine the etymology of Rozbahan treatises. In this way, by examining the degree of correspondence between the versions of Risal al-Quds and Ghalatat al-Salekin with Hadiqa al-Haqiqah, we can approach the original version of Rozbahan's treatises. In the review of the versions, it was found that version "A", which was written in 817-822 A.H., is the closest version to the versions of Hadiqa al-Haqiqah and the closest version to the version approved by Rozbahan.

Khosrow Dehlavi is one of the most influential and popular poets in Persian literature; however, his poems have not been accurately counted and comprehensively edited yet. Many poets have imitated his poetry (Tatabboʻ), and these imitations (Mojabat) were the benchmark for their poetic power. One of these poets is Jalal Azod Yazdi, that according to the author's research, he was influenced by Khosrow's poetry. This influence was not limited to the usual poetic imitations, and led to plagiarism of Khosrow's poems. In this study, the manuscripts and printed poems of Khosrow and Jalal are accurately evaluated, and the imitations of Jalal and his plagiarism is investigated. The collection of Jalal’s Ghazals in his published Divan includes 257 poems, about fifty of which are influenced by Khosrow's poetry, and around forty of these poems are possibly associated to plagiarism. Identical verses and intact quotations (Tazmin) of Khosrow's poems without mentioning his name, and the imitation (Esteqbal) of the metre, radif (identical ending syllable), rhymes and the structure of Khosrow’s poetry indicates that Jalal had access to Khosrow's poems. Replacing the pen name of Khosrow with Jalal, adding one or more new couplets to some of Khosrow’s Ghazals, and the presence of Khosrow’s Ghazals in the old manuscripts of Jalal eliminates the possibility of interference or error of the scribes, and reveals Jalal’s plagiarism of Khosrow Dehlavi's poems.

Shahriār-nāma is one of the most remarkable Persian epics. In spite of many years of research in this regard, still there are fundamental ambiguities about it: the attribute of the work to some other famous poets, speculations about the exact time of its compilation from the sixth to the twelfth century (the end of Safavid dynasty), a hypothesis of the two long parts and a long and short pieces that the second part of the Shahriār-nāma was the a continuation of the first part. In this research, these theories are discussed and criticized. In this essay, for the first time, all four manuscripts of the Shahriār-nāma were carefully studied. According to the content of the work and other woks, it became clear that the main poet of Shahriār-nāma, named Farrokhi, lived in the ninth or tenth century or even some centuries earlier, who donated his to a king called Mahmoudshah. Some unknown events have caused, after the death of Farrokhi, another poet seemed to be called Mokhtāri, assumed the book. Making the work smaller, making slight or big changes in lexicon, syntax and images of the verses, and shortening the text, Mokhtāri plagiarized and reversified the work. He assumed the book and present it as a new work to the son of previous king, called Masoud.

In this article, twenty seven lyrics, of other poets present in the Amir Khosro Dehlavi’s Divan will be named. These lyrics have been included in some versions as well as the corrected versions of the above Divan from Divans of Khajou-Kermani, Ohadi-Maraghei, Salman Saveji, and Saadi. In some lyrics, there are deletions or additions in the number of couplets. The strangest point that is northworthy while comparing these lyrics is the wrong pen-names used or its deletion. While comparing these lyrics in the Amir Khosro’s Divan with the original lyrics included in the the Divans of the Manahn Fee, some sugestions have been presented to correct them. An attempt has been made to find the origin for the inclusion of these lyrics in the above Divan.

Adherence to the principles of eloquence and commitment to the moral principles in Persian literature has always been of great significance، as in most rhetorical and literary works، there can be seen some chapters under title of plagiarism. Copyright or the right of the author in modern life، is somehow a reminder of narrow criticism of great literary scholars regarding Plagiarism. Anvari، who is one of the great men in Persian literature and had shown his talent in most poetic styles، has attracted the attention of a large number of poets. Great poets like Attar،Molavi،Saadi، Khaghani and others have repeatedly literary imitated his poems and borrowed some verses. The poets who started saying poets after him، also did not see themselves needless of his poems and having his Divan in their hands، tried to imitate him. Sometimes they were not able to get out of his shadow on their poems. This is to the extent that sometimes they took profit of his poems in unfavorable ways. By careful and diligent studies in this paper، we have found some poems of Anvari in Divans of some poets with very strong and documented evidences of Plagiarism in the form of Direct Plagiarism، Modified Plagiarism and surface- modified Plagiarism. While indicating these types of Plagiarism، specifically the direct Plagiarism of one of Anvari''s poems seen in the divan of RahiMoayyeri، one of contemporary poets، is introduced. Some verses Plagiarized from Anvari by SeifFarghani have also been carefully studied in this paper