جستجوی مقالات مرتبط با کلیدواژه "نسخه های خطی" در نشریات گروه "ادبیات و زبان ها"

AbstractIf we consider the fame and popularity of Ferdowsi's Shahnameh as the first and most important reason for the anonymity of Toussi’s Grashasbnamah, the second reason for this oblivion must have something to do with the only existing edition of this literary work. Garshasbnameh was first completely edited and published by Habib Yaghmai in 1938. This edition has some problems. By comparing manuscripts that Yaghmai used in the process of editing as well as the newly-found ones, we seek to analyze and criticize the methodology and result of Yaghmai's edition and provide some suggestions. The findings of this research shows that the editor deviated many times from his declared method. Sometimes he did not mention textual variants, and in some cases textual variants were given partly. Also, shifting of the copy-text and other textual variants from text to margin is sometimes unjustified. In addition, the edition lacks comprehensive, useful, enlightening and guiding commentaries.

The book of Anhar al-Asrar is one of the books written in the description of Bostan Saadi by Alimullah Balkhi in the 12th century.This book contains useful information about mystic pointsThere are several manuscripts of this work that have not been matched, verified and corrected so far. Therefore, it is necessary to present a corrected version along with lists and notes about the content of the book. The purpose of this research is to introduce the book of Ahar al-Asrar, its author, and some of the existing versions of this work, and based on this, some of its literary features have been examined and the necessity of correcting this book has been discussed. Therefore, among the available versions of this work, the version available in Maulana Azad Aligarh University can be the preferred version. Based on this, this research shows that the description of Saadi's Bostan is based on a mystical perspective, which, considering topics such as mysticism, the words of the text have many complexities in terms of understanding and meaning. Also, in spite of the use of simple and sentient prose, the use of sophisticated prose as well as technical prose, as a result of the presence of literary arrays and a lot of Arabicism, has made it somewhat difficult to understand the meaning of this work.

Since Saeed Nafisi's research, many corrections of Rudaki's poems (Divan-e Rudaki) are published, where the authors have sought to provide a more accurate correction and explanation. The disappearance of Rudaki's Divan and the scattering of his poems in different versions have made the compilation of all versions and providing texts containing Rudaki's poems a challenging task for researchers. Consequently, correcting Rudaki's verses to achieve a revised and refined text is difficult. Sometimes, despite the existence of versions, researchers have incorrectly incorporated deviations into the text of their books which are not supported by any available version. In such cases, researchers have either followed Nafisi's corrections and his alternative versions or been indifferent to the old and challenging versions, by neglecting the distortions and alterations introduced by copyists. Careful consideration of the aforementioned issues and considering the recurring mistakes in Rudaki's collections raises the question: Which are verses of Rudaki's Divan in the available books where the accuracy of versions is disregarded. In this study, an attempt is made to propose corrections for some of Rudaki's verses, supported by precision in manuscript versions, including the vocabulary versions of Asadi Tusi (Lughat-e Furs) and the historical version of Sistan.

Khajeh Ahmad Kasani (866-949 A.H.), one of the famous mystics of the Naqshbandi dynasty in Mavara-o-Nahr, is the founder of the Deh-Bidiyyah or Kasaniyya school, and has more than thirty mystical treatises. Most of these treatises, which are available in manuscript form in various libraries and are few and scattered, have been introduced or corrected in various researches. The current research, with a descriptive-analytical method, is an inquiry on the art of gilding, page layout and the features used in two manuscripts of Kasani's letters in the Qajar era. These include Majlis 335 and Ganjbakhsh 2262, from the point of view of the composition within the text, examining the colors and frequently used motifs. . The beginning and title pages in many editions, including these two editions, are worthy of attention and a lot of care has been taken in decorating and arranging them. The opening pages of these two versions have similar inscriptions, and the majority of the inscriptions are domes or altars, which indicate the prevalence and development of the art of gilding in the Qajar period. Colorful flowers are often seen in the gilded text and sometimes seen in the page layout of the title pages of these works. Between the lines in the opening pages is gilded and the middle pages of the versions are tabulated. In these two editions, there are arranged borders in red on the opening pages and all pages; but these borders are without religion, inlays, flowers, leaves and colors.

The manuscripts of Me’rajiye, Talvihat and Favayed are three dissertations among the mystical and educational prose works of the Timurid period written by Mohammad Nourbakhsh. The prose style of the mentioned treatises is mostly technical since the author has employed more Arabic compounds , Ayas, haiths, literary devices such as rhyme, parallelism, derivations, synonyms, alliterations, paradoxes , allusion and similes. In the Meʼrajiye dissertation, the Miraj of the Holy Prophet (PBUH) was explained through a mystical method. Nourbakhsh Khorasani believed that holy prophet Mohammad travelled to Me’raj in an exemplary body. He also had observed everything in their exemplary shapes. There are 11 surviving copies of this manuscript preserved in the libraries of Iran. It is worth noting that Talvihat and Favayed are single-copy dissertations. The Talvihat concerns the position of prophets and, the differences and similarities between the Prophet and the saints, the erroneous beliefs of the superficial scholars and the common people about the prophets and the saints, unusual habits, the austerity of Indian yogis, the raising consciousness and love for the saints of God . The Favayed includes the influences of sin and oppression on humankind, the self-purification, appealing to the men of God, criticizing the extremist views of the superficial people on the boundaries of knowledge, facilities and possessions of the saints of God, the truth of astronomy and the descents of unseen world. Using a library, analytical and descriptive methods, this research briefly refers to the life of Seyyed Mohammad Nourbakhsh Khorasani and introduces the Me’rajiye, the Talvihat, and the Favayed dissertations. The stylistic characteristics of these works are also investigated in terms of language, expression, and thought.

Manuscripts are among the most valuable cultural heritage of nations. Dealing with these sources is actually recognizing the identity of a nation and protecting it, and it is a way that leads to the realization of the ideals of that nation. A huge part of our cultural background is locked up in these precious works and is not adorned with the ornament of desire; therefore, the need to revive these texts is obvious to everyone. Shah Daei Allah Shirazi is a mystic of the 9th century AH and one of the successors of Shah Nematollah Vali Kermani. He was engaged in preaching in Shiraz for thirty years. First, he became one of the companions of Sheikh Abu Ishaq Bahrami, then he went to Kerman in order to fulfill his soul and desire to visit Shah Nematollah Vali. He has an honorable position as a poet and a high thought. Among his works, we can mention his Divan, which includes Setteh Masnavis, Sanctums Divan, Import Divan, Export Divan, the new word, the renewed grace. Among his other works are Nasaiem al-Ashar in the description of "Golshan Raz" and Javahar al-Konooz in the description of "Saad al-Din Hamouyeh's quatrains". In addition, he has an apostolate on mystical issues; among them, Osveh-al-Kasveh, an explicit expression, Tohfa Al-Mushtaq, Solveh Al-Qulob. One of the valuable works of Shah Daei Shirazi is his Setteh Masnavis. This book mentions mystical issues, examines the principles and rules of spiritual journey, and describes the stages of Sufism.
Methodology.

 The Setteh Masnavis of Shah Daei was published only once in the year (1339) by the efforts and corrections of Mohammad Dabirsiyaghi, and after that no further corrections were made. In his correction, the late Dabirsiaghi used the copy of the Malek library numbered (4912) with the abbreviation "Mel" and the copy of the Majles library with the abbreviation "Maj", and in both versions, the Masnavi of "The love letter" is incomplete. Also, he mentions the British Museum copy numbered (B.P.5268 MS. Elliot 48) to which the abbreviation "B" has been assigned and mentions it as the most complete and best copy of Shah Daei's collections; and in fact, it is the same version as the Badalian library. Despite the fact that the late Dabirsiaghi saw the British Museum copy and considered it the most complete copy; but unfortunately, it has not been used and it has not been mentioned except for a few cases; however, many of the defects in his edition can be corrected with this edition.

Discussion and review:

In this research, which is the result of the re-correction of " Setteh Masnavis", the reasons for the need to re-correct this work, including the problems related to the correction method, misreading and incorrect reading of the text, neglecting the sources, comparative correction and misappropriation in the text and incorrect selection are examined. It is placed and many examples have been proposed for each title. Another disadvantage of Dabirsiaghi printing is the weakness in providing annotations. In this book, annotations are given in a brief and indicative form at the bottom of each page. What is certain is that not having an authentic version in one's possession, along with irregularity in the method of correction and arbitrary correction, anxiety in choosing the main and replacement version, disregarding external sources and carelessness in editing the text, are the main reasons for the occurrence of these errors and the corrections in Setteh Masnavis.

Although the correction of Professor Dabirsiaghi's Masnavis of Setteh Shah Daei is very valuable and valid, it is not without the need for correction, revision and correction of defects, and what has been said is only a small part of the errors, misreading and defects introduced, it is valuable in correcting this work. . By confronting the existing versions and studying secondary sources such as cultures, reminders and other works of Shah Daei, we tried to provide the readers with a revised and scientific correction of this work. Relying on these sources, especially the valuable copy of the Badalian Museum (Britain) or the copy of the University of Tehran, many misreading, omissions, and ambiguities can be resolved in the correction of Dabirsiaghi.

The importance of the technique of text correction, which is the main basis of other research, is clear to everyone. From the past until now, many proofreaders have spent their time and knowledge in this field and tried to provide revised and trustable texts. However, due to its special nature, which is the result of the author's absence, this field always provides the opportunity for new observations. Therefore, sometimes a text is recorrected and represented differently after the first time. The reason for this is usually finding a valid version or versions or trying to fix the bugs and shortcomings of the previous correction. One of these texts is Diwan of Rafiuddin Lonbani.Rafiuddin Abdulaziz Lonbani is one of the poets of the late 6th and early 7th century, from Lanban. There is limited information about Rafi al-Din's biography and life events, like many others before the Mongols. From Divan Rafi, more than 1500 verses have been left in the form of odes, sonnets, quatrain, stanzas and Ghat’e. His poetry is important in terms of various linguistic and literary benefits, reflecting some social customs. Divan Rafi has been published twice so far, But there are still errors in the text and weaknesses in the correction method, lack of needed details and lists.

Taghi Binesh (1990) was the first in correcting and presenting Rafi’s Divān, shortly followed by Mohammad Hoveida (1994), a couple of years later. Since then, despite the mistakes and shortcomings that are evident in both editions, no criticism has been made about these two corrections. This article, by criticizing the previous two corrections, shows the necessity of recorrecting this text. For this purpose, six manuscripts have been used in the following order:From collection number 103 of the Chesterbiti library, in manuscript, written on Saturday 23 Dhu al-Hijjah 699. From a collection in the Hakimoglu library with number 669. Without the name of the author and the date of writing, in the manuscript. From a collection numbered 3/16-I belonging to the library of the Islamic Council, in Nastaliq script, written by Qutbuddin Kermani, dated 1017. The copy of the library of the Islamic Council, number 986. In Nastaliq's handwriting, without the name of the author and the date of writing. From a collection numbered 2846 belonging to the British Museum. The book of Mohammad Taleghani, in Nastaliq script. From collection No. 135-3 belonging to the library of the Islamic Council. Without the name of the scribe, in Nastaliq script, written in 1241-1242.

Disccusion:

manuscripts Binesh has done his work based on the Chesterbiti version (the oldest version dated 699) and against the two versions of the British Museum and Turkey (around the 11th century). Hoveida used six manuscripts which he did not introduce well; Therefore, the value and validity of the copies are not clear. correction method Among the types of correction methods, for a text whose version is superior to other versions in terms of age and accuracy, the best method is critical correction by determining the primary version; As Binesh has chosen it. Hoveyda did not explain his correction method. In addition to this, his correction has two major problems:- Changing the correct recordings of the previous correction to incorrect recordings  Failure to observe modern calligraphy and incorrect spelling variants report The narrative of the replacements in the edition of Binish is based on trustworthiness and correct ijtihads. Hoveida has reported only the replacements. Two major forms can also be seen in his work:Single numbers are not being placed in their correct place Confusion in the use of version abbreviations Shortcomings of both editions weakness in writing the introduction, lack of needed details and lists missed poems failure to identify whether the poems attribution is correct intermingling poetic forms unidentified qasidahs’ praised subject Re-correction of some verses which are wrong in both corrections. For example:Cheninsefat (lonbani, 1990: 144; lonbani, 1994: 61) correct form: janinsefat The correctness of the recording of janinsefat is well evident in terms of observing the semantic and lexical proportions, and the mistake made in the previous two corrections is only the result of the haste and carelessness of the correctors and not paying attention to the meaning.

Taghi Binesh (1990) was the first in correcting and presenting Rafi’s Divān, shortly followed by Mohammad Hoveida (1994), a couple of years later. The review and evaluation of these two corrections showed that despite the presence of some new material in the preface of the Hoveida's edition and the correction of some incorrect recordings of the previous correction, the correction of Binesh due to the use of authentic versions, the methodical nature of the correction, and the presence of the corrector with various ijtihads and some useful explanations, it is superior to Hoveida's correction. However, Binish did not present Divan Rafi as it should. The : weakness of both editions in writing the introduction, lack of needed details and lists, missed poems ,not identifying the correctness of the attribution of the poems that appear in the Diwan of other poets, intermingling poetic forms and unidentified qasidahs’ praised subject in addition to the Diwan of Lonbani, as well as the many mistakes that still exist in the text, show the necessity of another correction of the Diwan of this lesser-known poet of the 7th century.

Nozhat-Nameh Alaie is one of the most important ancient encyclopedias in the history of Persian literature that, due to its specific nature, is considered a multi-competent text and exposes the reader to a diverse number of genera. This text is composed of the knowledge of zoology, mineralogy, agriculture, astrology, history, geography, mythology and epic, talisman, insight, and so forth, which have been mixed with different popular customs and beliefs giving it a close resemblance to the Persian fantasy literature. Contrary to its significance, this text has been edited by Farhang Jahanpour and has been published without any endnote section. Despite using original and reliable manuscripts, this edition suffers from a lot of shortcomings. The present study takes a descriptive-analytical approach to edit and report a number of words, idioms, and phrases of Nozhat-Nameh Alaie. The main objective of the study is to edit a number of positions from the book on the basis of the original editor’s referred manuscripts, in order to further explain and analyze them with reference to other similar and corresponding texts. The results of the study show that although the original editor had access to dependable copies of manuscripts, lacking a definite methodology and criteria in editing the text, on one hand, and paying scares attention to the various knowledge of the text and its cultural backbone on the other hand, have led to many errors and shortcomings in Nozhat-Nameh Alaie. However, by reflecting on the manuscripts and referring to parallel and proper similar resources, these failures are rectifiable.

TalebAmoli m[1] is one of the prominent and famous poets of Iran in 11th century AH. All of his poems have been corrected and published.Intheintroduction to poems of Taleb, the sources that have been used to correct and compile it are mentioned. After that, by studying this issue, some scholars have proved that the poems collected in the poems of Taleb were not available according to all sources.While reviewing a work called "The Anthology of Poetic and Prose," authors of this article have found new poems by TalebAmoli.TheAnthology of Poetic and Prose has been written by an anonymous author and is kept in Islamic Consultative Assembly library with No. 8982. In this anthology, the poems of several poets have been collected. In terms of content, this anthology deserves attention due to its newly found poems.The existence of newly found poems by TalebAmoli and other poets confirms the richness of anthology. Also, mentioning poems that are not mentioned in other sources adds to the value of this work.The present research is a theoretical study done in library rstyle. The authors have first dealt with the character of TalebAmoli and secondly with the newly found return tie from him.In this way, this great poet's position will be known and presenting 103 newly found verses in form of a return tie, which has not been mentioned in other sources today, help complete the book of poet.
 
[1]As known TalibAmuli

Aghraz Al-Seyasah Fi A'araz Al-Reyasah, authored by Zahiry Samarghandy has become one of the excellent and outstanding old prose texts, because of containing technical, political, social, philosophical, didactic, and ethical teachings and addressing governance practices. These practical and miscellaneous teachings have led to frequent transcriptions and insertion of significant distortions and falsifications into the text of the mentioned book. Jaafar Sheảr by having in hand four manuscripts of Aghraz Al-Seyasah but without benefitting all of them (specially Meshkảt᾿s transcript) has corrected and printed it in many cases mentioned the manuscript᾿s differences. Furthermore, negligence in trusteeship towards manuscripts, especially the base manuscript, hastiness in correction, and the weakness and indifference in typesetting have inserted some other distortions, falsifications, and errors in the aforesaid book. This study has tried to countercheck the printed copy of Aghraz Al-Seyasah with the base and Meshkảt᾿s manuscript, and then by comparing some phrases of it with the other works of Zahiry Samarghandy (Sandbadnameh and Ghorrat–al-Alfaz wa Nozhat-al-Alhaz) and writer᾿s stylistic norms analyze and correct some distortions falsifications and errors in the printed text of Aghraz Al-Seyasah.

Najmuddin Mohammad Falaki Shervani is one of the poets of the sixth century AH and the poet of the court of Manouchehr ibn Fereydoun Shervanshah. biographers have written the number of verses of the falaki's Divan from five thousand verses to fourteen thousand verses; But what is left of his poems does not reach two thousand verses. Research and search in the falaki's Divan and the manuscripts of his divan, shows the fusion of some poets' poetry with Falaki Shervani's poems. In this research, after studying and carefully examining the Divan of Falaki and its manuscripts and searching in the Divan of poets of the fifth to seventh centuries AH and the wars and manuscripts of their poems, the poetry of some poets, such as: Asjadi, Masoud Saad Salman, Qatran Tabrizi, Adib Saber Termedhi, Majd Hamgar and Jalaluddin Mohammad Molavi, we found out that either his poems were recorded in the Falaki printed Divan and its manuscripts, or Falaki poetry was published in their Divan. In this research, these poems have been studied and their true poet has been determined, In order to provide a complete correction from the divan of the mentioned poets, than this be the helper of the proofreaders as well as the researchers of theyr poems.

Writing according to his extensive knowledge in poetry and insisting on the difficulty, complexity, and ambiguity, Athir al-Din culminated the meaning of verses. Athir al-Din, whose qaṣīdah (ode) verses have been introduced in some poetic memoirs as an instance of difficult verses of poetry, is considered one of the most prominent qaṣīdah (ode) poets of the sixth century. Owing to this poet’s position in the canon of Persian literature, contemporary scholars have paid special attention to textual criticism of his diwan; therefore, his poetry collection has textually been criticized triple in the present century. The first correction was made by Rokn al-Din Homayoun Farrokh between 1957 and 1958 in the form of 6537 verses; The second correction was made by Mahmoud Barati Khansari in 2019 in 12,000 verses. The third correction was the Ph.D. dissertation of Professor Abbas Mahyar, published in 2020 and a few years after his demise. Examination of the corrected texts and manuscripts of this poet's diwan shows that there are shortcomings in the writing of the manuscripts and the account of the criticisms so that it can be claimed there is a long way to go before reaching a revised text from the diwan. To prove this claim, in this research, by descriptive-analytical method, difficult verses of a poem by Athir al-Din will be examined based on the account of corrected texts, and their comparison with the writing of ancient manuscripts. Many of the versions cited in this study are the same as those that were available to the textual critics, but they did not use the necessary care in selecting or reading words, combinations, and interpretations. The research findings display that among the three corrections made, the correction of the late Mahyar is better than the other two since he has chosen an eclectic method of correction and the other two correctors have worked according to the base version. From a textual criticism perspective, according to the existing versions of Athir al-Din's Diwan, it seems that using the "base version" method in criticizing cannot have the necessary efficiency. Further, to criticize this poet's diwan textually, while grasping his mentality, language, and scope of knowledge, one should use other knowledge in the field of literature such as lexicography, stylistics, and criticism.

Most of the epic poetic texts in the west of Iran have been written in the literary language of Gorani. Some of these texts correspond to the Shahnamehchr('39')s report, some according to the narrative texts and some independent epic narrations. The oldest remained hand-written manuscripts of these works were written in the eighth century AH, but the narrations of these texts often have very ancient epic elements. Seven Army, written by Mustafa bin Mahmoud Gorani, is one of the valuable surviving texts in this language, which has often been considered to be composed by Almas-khan Kondolei. Numerous manuscripts of this text are kept in the libraries of Iran and around the world, some of which date back to 150 years. The narration of Seven Army of Gorani is to some extent similar to Naqali, and in some other aspects similar to the prose version of Seven Army. It also has prominent elements such as The Seven Khan of Jahanbakhsh, and includes stories such as "Yaghut-push and Laal-push", "Bahram Javaher-push", and the independent narration of "Rostam and Xenon". The aim of this research, which borrows a descriptive-analytic method for analyzing the ancient manuscripts as well as other library sources, is to introduce, critique, and analyze this system, express its values and novelties, discover its similarities and differences with Persian texts, introduce the hand-written manuscripts, and note the necessity of its correction.

Over time, part of the written heritage of this frontier has been protected from invasion by unsafe or isolated anonymity and has deprived the scientific and research community. A manuscript is kept at the Astan Research Center of Hazrat Shah Cheragh (AS) known as Salar al-Dawlah sedition No. 243. This manuscript is arranged in 12 pages in the form of Masnavi. The manuscript is a unique version of an anonymous poet with the book "Bookmaker".Abul Fateh Mirza is also known as Salar al-Dowleh, the third son of Muzaffar al-Din Shah Qajar. Salar al-Dawlah rebelled in Hamadan against his brother Mohammad Ali Shah, who had just come to the throne. Muhammad Ali Shah suppresses this rebellion and brotherly revolt very soonIn the history of this event is referred to as Salar al-Dawlah's sedition and sedition. The anonymous poet's bookmaker has depicted the event in 84 bits.This article attempts to study and analyze the style and content of this Masnavi for the first time introducing the manuscript. It also clarifies the poet's imitation or creativity and draws conclusions.