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

The book Ma’dan ol-Javaher (Mine of Gemes) is the only available work written by Doulat Khan-e Tarzi Dehlavi, a poet and writer in the Indian subcontinent, authored in the years 1024-1025 AH and dedicated to Jahangir Shah Gourkani. This book is being kept in the form of manuscripts with libraries around the world and among them, three manuscripts are available in Iran. The present descriptive study aims to introduce and analyze the text of Ma’dan ol-Javaher. Research findings indicate that the book is composed of seventeen chapters in the same format as Golestan of Saadi, that is a mixture of prose and poetry. The book consists of thirty-six stories, and Tarzi Dehlavi considers himself the compiler of these tales, not the creator of them. Most of the poetic evidence of the book belongs to the author himself, but the verses of other Persian poets such as Saadi, Hafez, Nezami, Jami, and others have also been cited. Most of the poems cited from others belong to Saadi. This shows that Tarzi, in addition to imitating Golestan in his prose, had also an eye on Saadi's Bustan. Employing rare Indian words such as ‘sokhpal’, ‘mooti’, ‘joogi’, etc., agreements of adjectives and adverbs, word formation and the use of verbs in special meanings, the use of redundancy, and the like are among the stylistic features of Ma’dan ol-Javaher.

Mirza Mohammad Hossein Shuae Shirazi, pen named "Shuae" and tagged "Shuae al-Mulk", is one of the great biographers and poets of the Qajar era and the early Pahlavi age. Earlier researchers have talked briefly about his life and circumstances and they have not mentioned some of his works or have even made mistakes which are addressed in this essay. Unfortunately, although he is considered one of the greatest poets of Fars in that age, his bulky Divan has not been published yet. There are thirteen manuscripts of his poems scattered in the libraries of the University of Tehran, the center of the Great Islamic Encyclopedia, and the Farmanfarmayan Library; each of those copies will be introduced and discussed in this article. The data of this article have been collected using library sources and an attempt has been made for the first time to analyze the texts that Shuae Shirazi edited, wrote, or composed. In this research, Shuae's personal library, one of the few private libraries in Iran, is recognized as containing the main sources for compiling his biography; besides, some books available in that library have been identified and introduced.

In the midst of the Mongol invasion of Iran and the subjugation of the cities, two authors with a time difference of a few years, translated Marzbanname of Marzban bin Rostam bin Shahryar bin Shervin bin Rostam bin Qaran, from the simple prose of the first centuries of Persian prose style, into the artificial prose style; these works were produced in the sixth and seventh centuries. (Mojtabaei, 1390: 185). First, in 598 AH (about 15 years before Varavini), Muhammad bin Ghazi Malatiwi wrote his version of Marzbannameh called Roza-tol-Oqul in artificial and mutakalf prose style. This work is closer to the Marzbannameh of Marzban bin Rostam from two perspectives: firstly, (unlike Varavini's Marzbannameh), the anecdotes and chapters are not summarized, and secondly, the translation or rendering of phrases, from the semantic point of view, is much more trustworthy than the Varavini Marzbannameh. (Varavini, 1376: nineteen). A few years after that, Saad al-Din Varavini wrote another version of Marzbannameh; this work is a rewriting and a summarizing of Marzbannameh of Marzban bin Rostam through its removing, introducing, and delaying chapters and anecdotes.
A comparison of the number of articles, treatises, and books written about Varavini's Marzbannameh and Roza-tol-Oqul Malativi reveals that of these two texts, Marzbanamah written by Saad al-Din Varavini has been popular with readers and researchers from the past centuries until now, and that Roza-tol-Oqul has been less the subject of criticism and research. Perhaps the efforts of researchers and the title of the book chosen as “Marzbannameh” can be considered as one of the main reasons for the popularity of Varavini’s work.


In this study, based on the version of the National Library of Iran, some errors in Marzbannameh have been corrected, and in some cases, suggestions have been made for the comparative correction of some other distortions. Based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


Conducting research on ancient texts of Persian literature without having a neat and original text is subject to all kinds of errors. Marzbannameh is one of the forerunners of Persian prose texts, which has been discussed in various studies from stylistics, rhetoric, historical, grammatical, and many lexical perspectives. However, despite several corrections, and writing of numerous commentaries on this book, misreadings and omissions have made their way into it, and these errors need to be corrected.
As mentioned earlier, in this study, suggestions have been made for correcting several spellings in different chapters of Marzbannameh, some of which are supported by the version of the National Library of Iran ‒ which has not been used by any of the correctors of Marzbannameh. Accompanied by evidence from Persian literary texts, comparative corrections are suggested, and based on evidence from Marzbannameh and other old texts, numerous examples are given to confirm the acceptable recording.
 


In the last century, three corrections of Varavini's Marzbannameh have been printed; however, there is still room for correction and an original and worthy report of this important and valuable text. Being in a rush and not knowing about the existing versions, or the unavailability of all the old versions of Marzbannameh made the task difficult for the correctors of this technical and complicated text, and caused various changes and spellings to remain hidden from their eyes. In this study, relying on the version of the National Library of Iran and some other versions, as well as citing evidence from ancient Persian literary texts, some deviations in Marzbannameh were reported and corrected.
Also, in other cases, suggestions were made for comparative correction of several other spellings in Marzbannameh, and efforts were made to emphasize the correctness of these suggestions based on intratextual and extratextual evidence.

Examining the artistic values and manuscript illumination can be considered as one of the important issues in the field of integrating literary elements, concepts and themes. Although dealing with the artistic secrets of these types of writings requires special knowledge in each field of calligraphy and gilding, header making, table drawing, etc., there are secrets found in them that by addressing them and examining those elements, the hidden values of these works will be revealed to the readers. In the first step, this requires knowing the different types of book layout elements in previous periods, especially the Safavid era, and then it is related to the examination of the frequency of these symbols that provide the style and elements of beauty in the work. Although in the Masnavi of Bahr al-Ma'rif, due to the importance of the book or the author's fame, etc., not all manuscript illumination techniques have been used, the use of cover decorations (binding), title and its colors, tabularity and lines are eye-catching and each of them contains secrets of art. In the present research, without considering the various techniques of book illumination  in their specialized field, we will examine the aesthetic elements of Bahr al-Maarif manuscripts.

The works left from the past are considered the cultural heritage of a land and provide extensive information about the intellectual, belief and linguistic structure of its authors to today's generation. The creation of literary works has had ups and downs in different periods. In some periods, including the Qajar period, based on political developments and occasions that have been established in governments, different methods and styles have emerged; In such a way that the years of the Qajar period have been very rich and diverse in terms of the creation of works of prose and poetry.

In this study, the work of the mentioned work has been studied with the stylistic approach and content analysis method and using the library resources.

Meftah al-Futuh is a book of prose by the works of Mirza Mohammad Hossein Sharif Kermani, including the performance of miracles, the expression of battles and the states of Imam Ali (as) in the battle with the Nakesin, Qaseteen and Mareqin. This book has an acceptable and pleasant style due to the author's efforts to decorate the words and use novel expressions and bring beautiful poems from different poets, as well as bringing beautiful verses, hadiths and combinations in praise of Ali (AS).

Meftah Al-Futuh is important on the one hand due to its content characteristics and religious beliefs and the inclusion of historical narrations, and on the other hand in terms of the author's mastery of literature, culture and customs of society and the use of folklore works. In addition, in terms of sources and content, Meftah al-Futuh is based on quoting historical narrations from authentic Shiite and Sunni books, including the book Al-Fi. AlMuftah al-Futuh in terms of using folklore literature related to popular culture, the author's writing power, strong expression and the use of narrative tricks to create tension in historical narratives and create excitement and desire in the audience, use instructive poems, original phrases, and new combinations Attention and contemplation.

Following the style of Shahnameh, the War of Khorasan poem is an historical epic belonging to the second half of the thirteenth century composed by an unknown poet whose pseudonym is Mohtaj. Using the Moteghareb mode, he versified the events related to Salar’s uprising which began in Khorasan in the reign of Naseredin Shah Qajar and  involved the central estate.   This article first introduces and studies this work, then by analyzing its textual and meta textual features show that in order to explain the concepts which form the Persian identity in the Qajar period and the eras leading to the contemporary era alongside the exaggerated ancient outlook which is solely due to the influence of the dominant discouse over the Qajar period is more familiar, one can pay attention to the new Persian identity through the examination of the epic poems belonging to the recent periods, a subject often neglected in contemporary cultural studies.

Saeed Nafisi’s critical edition of Rashid-al-din Watwat’s Divan, published in 1960, is the only edition available. Due to Nafisi’s lack of access to many manuscripts of Rashid-al-din Watwat’s Divan and many old anthologies and miscellanies containing his poetry, plenty of errors and flaws entered his edition. One of these flaws, neglected in the studies of the researchers, is the absence of some verses in qasidas, tarkibbands, tarjiʻbands, ghetʻehs, and ghazals, and in some cases, the elimination of the whole poem or some scattered verses. So far, the studies have focused primarily on vocabulary errors and the need to re-edit his divan. Still, no separate research has been done on the poet’s newly-found poems regarding the manuscripts and anthologies that include his poems. This study presents 75 newly-found verses of Rashid-al-din Watwat based on seventeen manuscripts and four old anthologies and discusses the reasons for their attribution to Watwat.

Copying, collecting and compiling poems of poets in previous centuries was done in several ways. Sometimes the poet wrote his poem in his notebook during his life and over time, and after his death, that notebook remained the same. Sometimes the poet himself would collect his poetry collection and arrange it according to his own taste. Sometimes his friends and supporters compiled his poetry collection after his death, and sometimes in later centuries his poetry collection was compiled by a scribe according to himself taste. In each of these methods, the order of the poems (especially the sonnets) has been specific. In this research, we intend to deal with the methods of arranging poems in the books of poets and see which method is more logical, and what are the advantages and disadvantages of each method.The results of this study show that the alphabetical order of the poetry collections is by no means based on stylistic studies and research related to the evolution of Iranian thought and art, and the best method is the way in which poetry books are compiled today.

One of the poets whose quatrains can be traced in various forms among the quatrains of Rumi's Divan-e Kabir is Sana'i. After reviewing "Nozha Al-Majalis" and several valid manuscripts from Sanai's Divan, the number of common and similar quatrains to Sanai's Divan corrected by Modarres Razavi and Rumi's Divan-e Kabir corrected by Forouzanfar increased from 26 quatrains to 35 quatrains. In order to perform an accurate attribution analysis in the field of common and similar quatrains of these two poets, the works of poetry and prose of other poets and writers before Rumi, in addition to the mentioned sources, were also investigated. Out of a total of 35 common and similar quatrains, 24 quatrains from the Divan-e Kabir definitely belong to Sanai, or are guaranteed and adapted from his quatrains. 8 quatrains are most  likely from Sanai, and the other 3 quatrains have been attributed to other poets in addition to Sanai. Of the Sana'i quatrains, only four quatrains are mentioned in complete and unchanged form in the Divan-e Kabir. In other cases, the quatrains are accompanied by changes that vary from a change in a few words to a change in three lines.   

One of the Rumi's most important works in Persian literature is his quatrains. In Badi-ol-Zaman Forouzanfar's edition of Rumi's Divan, 1983 quatrains are attributed to him. In this work, traces of several quatrains can be found that belong to Sufi and non-Sufi poets before Rumi.One of the poets whose quatrains can be traced in various forms among the quatrains of Rumi's Divan-e Kabiris Sana'i. Rumi's poetic thought and style of expression, in his quatrains, like his other poems, has been influenced by Sanai's poetic thought and style of expression. The important point about the common quatrains of the Sanai's Divan and Rumi's Divan-e Kabir  is that Rumi is not only the narrator of the Sanai's quatrains, in the form of direct and unchangeable quotations, but in most cases these quatrains in the Divan-e Kabirare accompanied by changes. 

Several researchers such as Franklin D. Lewis, Badi-ol-Zaman Forouzanfar, Mohammad Amin Riahi, and also the prominent researcher of Persian quatrains, Sayyid Ali Mirafzali, have mentioned the existence of quatrains from other earlier poets among the quatrains of the Rumi's Divan-e Kabir. However, the only research that has been written in this field is an article entitled "Recognition of the source of 38 quatrains attributed to Rumi in literary and historical texts." In this research, in most cases, the quatrains have been investigated which are mentioned in earlier prose texts from previous poets. However, studying the common quatrains of Rumi's Divan-e Kabir   cannot be performed in such a generalized study. Conducting more specialized research, the subject can be studied better and more accurately so that more new results can be achieved. In this study, by examining the Sanai's quatrains and comparing it with Rumi's quatrains, in addition to examining other earlier works, it has been tried to investigate the traces of the Sanai's quatrains in the Divan-e Kabir   more carefully. 

The most famous correction of the Sanai's Divan is the correction of the Modarres Razavi, however, none of the editions of the Sanai's Divan incompass all his quatrains. Therefore, in this article, we have also referred to the authentic manuscripts of Sanai's Divan. We argue that through finding all the common and similar quatrains of Sanai and Rumi, an accurate analysis in attributing the common quatrains according to the date of writing of this manuscripts can be achieved. Of course, in order to search for Sanai's quatrains among Rumi's quatrains, we did not just suffice to the Sanai's printed divan and the manuscripts of his divan, Because many wandering quatrains have been repeated many times in the Divans of early Poets that, in most cases, the poet of these quatrains cannot be determined with certainty, so in addition to examining the printed Divan and the most important manuscripts of the Sanai's Divan, other works of earlier poets and writers, Rumi was also examined in order to obtain more accurate results. 

The study of the common quatrains of Divan-e Kabirand the Sanai's quatrains shows that Rumi, with his own style, often uttered the Sanai's quatrains with changes, so that 35 common and similar quatrains of these two poets can be divided into five following categories: 1. Four quatrains of the Divan-e Kabir   in all four lines are completely similar to the Sanai's quatrains. 2. Sixteen quatrains from the Divan-e Kabir, while being similar to the Sanai's quatrains in all four lines, show some differences. 3. Four quatrains of the common quatrains of the Divan-e Kabir and Sanai's quatrains are similar in three lines. 4. Seven quatrains of the Divan-e Kabir are similar to the quatrains of the Sanai's Divan in only two lines. 5. Four quatrains of the Divan-e Kabir are similar to the quatrains of the Sanai's Divan in only one line. 

After examining the quatrains of the "Nozhat Al-Majalis" collection and four manuscripts of Sanai's Divan, another 9 quatrains were added to the common and similar quatrains of Rumi's Divan-e  Kabir and Sanai's printed Divan, and based on this, the number of common and similar quatrains of the two poets reached 35 quatrains. According to the present study, 24 quatrains from the Divan-e Kabir, based on two ancient manuscripts from the Sanai's Divan, as well as the collection of quatrains, "Nozhat Al-Majalis" and certain earlier prose texts, are definitely from Sanai, or have been guaranteed and adapted from his quatrains. The 8 common quatrains are most likely to belong to Sanai, based on the recent manuscripts of the Sanai's Divan and some stylistic features. The other three common quatrains are probably by Sanai, or another poet. In other words, these quatrains, in addition to Sanai, are also attributed to one or more other early poets.   

Sultan Valad is one of the gifted Persian poets, but unfortunately, his poems have not been precisely studied. It seems that the beauty of Sultan Valdchr('39')s Ghazals have been neglected in the light of radiance of his father. Like many other Persian texts, the Valda’s Divan does not yet have a reliable edition. By studying one of the existing poetry collection, we have shown that the edition of the Sultan Valad’s Divan is one of the essentials in the field of research. In this study, we have introduced two new Ghazals relying on the Afandi Collection, which we have described it in the article and two authentic manuscripts. We mentioned two Ghazals of Valad according to the old Afandi collection and manuscripts that were not in Valadchr('39')s Divan up to now. Valadchr('39')s Divan has edited by by Asghar Rabbani  with the introduction of Saeed Nafisi. It is important to note, however, that Nafisi has not edited the Valadchr('39')s Divan, but has published Rabbani’s edition in Iran. There are also many verses in this collection that have been removed from the printed Divan. Finally, under the heading "K" and "G", we have referred to the mistakes that occurred in the printed Divan, also many verses are re-edited according to authentic manuscripts. Considering the criticisms of the printed Divan of Sultan Valadchr('39')s edited by Asghar Rabbani (Hamed) with the introduction of Saeed Nafisi, the necessity of re-edition of the Sultan Valadchr('39')s Divan becomes more evident.

The revival of the manuscript is an effective step in recognizing the cultural and literary heritage of each nation. Progress and advancement of any nation is not possible unless it is aware of the background of its culture and literary history. Therefore, transferring the works of the past people in a proper way and far from manipulation is the cultural necessities of any society. The manuscript of "The Absent Witness", one of these mystical works in the form of Masnavi in Bahr Hazaj Mosades Mahzuf is in the Persian language which was written by the poet "Ahmad" in 1953. This unique version has two parts: A: The first part describes the circumstances of Mir Mohammed Zivar Al-Din son of Mir Hossein Baghdadi, whose ancestry reaches Sheikh Abdul Qadar Gilani, and the second part deals with the Naghshbandieh dynasty and the practices of this conduct. The present study, while providing an explanation about the content of the manuscript of "absent witness", examines its structure and most important stylistic features at three levels of intellectual, literary and linguistic levels. The research method was library and content analysis and based on the principle of works and evidence derived from it.

Sultan Baha'uddin Muhammad Walad, the eldest son of Rumi Jalaluddin Mohammad Balkhi, has numerous valuable works in the field of mystical poetry that can no doubt be traced to Rumi's poetic moment in his poetic world. The Sultan Walad Divan, which contains about thirteen thousand distiches, has been written in a simple yet sophisticated way to the extent that some of these sonnets come from the similarity of the father's poems mistakenly recorded in the Divan Kabir sonnets and named after Rumi. When we began the critical correction of this Divan, we encountered two types of manuscripts whose differences were so far from being relevant to the error and arrest of the scribes; rather, they reported on two different versions of this noble court. In the present article, we have tried to prove, in addition to presenting their differences, with various evidences, that both writers are probably the creator of this work, Sultan Walad. We will also introduce a unique version of the Divan, written by Nizam al-Din, Sultan Walad‟s brother-in-low, which includes both writings and is likely reviewed and revised by Sultan Walad himself.

Hakim Hajj Mullah Hadi Sabzavari known as “Asrar” was born in the13th century AH (1312AH) in Sabzevar. He is one of the philosophers who honed his skills in theoretical and practical wisdom of his time. He could achieve a great degree of intuition and mysticism and flourish his talents in the world of mysticism and knowledge. He has written and classified many works in philosophy and wisdom, and has also left a collection of poems that contains elegant and beautiful mystical (gnostic), philosophical, wisdom, desire and passion. His genealogy has been published several times, however it has not been done based on scientific criteria of correcting texts. One instance is that none of these editions have a well-de fined methodology and it is not clear to reader or the researcher that besed on which editionor manauscript the task of editing is carried out and some of these editions (e.g the Hassan Amin edition) are completely basedon taste.The basis of three manuscripts, one of which is a new edition, deals with the publication of the Supreme Court's publications, indicating the shortcomings and disadvantages of what has been published so far as the correction of the Hajj Mullah Hadi Sabzevari's divan they are not reliable because of numerous abnormalities mentioned referred to in this thesis and the necessity of writing a critical review on his Divan (collection of poem) is inevitable. Obviously, if his work is corrected and republished both readers and researchers will be availed whit a meaningful text representing the closest intention of the poet. Keywords: Hajj Mullah Hadi Sabzavari, divan (collection of poems), Critical Review, manuscripts.

Manuscripts have been the most important written historical achievements of human being for the development and evolution of science. Scribes play an undeniable role in preserving and transmitting these achievements. Unfortunately, there has not been any appropriate research carried on about this cultural class. Codicology provides maximum information about scribes through catalogs of manuscripts. The most important indicators considered in this study include the scribe’s name and work, the script and its date of writing, where the text was written and where it is preserved. This study aims at introducing the scribes and their works, and to analyze the features of their manuscripts. Results indicate that theology comprises the most frequent occurrence written in Naskh and Nastaligh styls of calligraphy and that the thirteenth century AH has the largest number of scribes, which could be a result of the emergence of paper industry and the improvement of writing facility. The results of this study are consistent with other studies regarding preserving manuscripts and their place of preservation; the largest number of manuscripts can be found in the most highlighted libraries in Iran such as Tehran University library, Library of Congress, Marashi Library, and Malek Library. Writing places indicate the geographical distribution of the scribes and their residential places, at least at the time of writing.

The present paper is a critical introduction on life and writings of Ali Ibn Teyfoor Bastami, the Iranian translator and author, who lived in India in 11th century A.H. As a sublime writer from Khorasan and despite many writings and translations in the fields of Religious, literary and lingual sciences in Persian resources, he has not received sufficient attention. What have been presented in these resources about his life and writings is few, often sparse and sometimes inconsistent.
In this research it has been attempted to explain Ali Ibn Teyfoor's life and writings, with regard to the existing, valid documents and manuscripts of his works, using the descriptive method. The results of the study present a more complete recognition of his life and writings and it was achieved by searching in the manuscripts of his works and reviewing the predecessor's words