جستجوی مقالات مرتبط با کلیدواژه "correction" در نشریات گروه "ادبیات و زبان ها"

"Aliyya Ghurra" is a work by Maktabi Shirazi (c. 865 - after 941 AD) written in the meter of Nezami Ganjavi's "Seven Bodies". This work is a translation of Imam Ali's precious sayings into verse form. The poet selected one hundred words from "Al-Laali Prose" and translated each saying into one or more couplets accompanied by a poetic anecdote. The book was first published in 1313 AH by Hossein Kuhi Kermani based on the only known manuscript belonging to Malek al-Shoara Bahar.This initial publication was riddled with errors and inaccuracies. In the next attempt, Mahmoud Abadi published a corrected edition in 1999. However, Abadi did not have access to the original handwritten manuscript and could only work with the flawed Koohe edition. WhileAbadi's corrections were a step in the right direction, the text still requires further refinement. In this discourse, the researcher had access to Bahar's original manuscript, as well as another complete handwritten copy of the poem. By comparing these sources to Koohe and Abadi’s editions, the researcher identified the remaining mistakes in Abadi's correction and noted the missing words from the earlier published versions in order to present a more comprehensive and accurate version of "Gol-e Sad Barg-e Bagh-e Morteza" (The Flower of a Hundred Leaves from the Garden of Morteza).

Tarikh-e Beyhaghi (Beyhaghi’s History) is a seminal work in Persian literature and historiography. Fayyaz dedicated his life to correcting and improving this text. In 2009, a revised edition of the work edited by Yahagghi and Seyyedi was published. The primary advantage of this new edition was the detailed introduction, annotations, and supplementary materials, which greatly facilitated the work of readers and researchers. However, the editors had made numerous unjustified interventions in the text, to the extent that this benefit was largely overshadowed by the distortion of the original work of such great significance. It was anticipated that after more than a decade since the initial publication and appearance of numerous scholarly articles on the topic, many of the problems would have been addressed in the new edition. Regrettably, the 2022 edition, which claimed to incorporate "complete revision, additions, and corrections", failed to live up to these expectations as only a few of the numerous issues were rectified. Due to the impracticality of addressing all the flaws of this editorial effort in a single article, the present work examined select problems under the following headings: "Departure from the normative contextual meaning", "Disregard for Bayhaghi's stylistic features", "Ignoring the frequency of evidence", "Unjustified textual changes", "Unsupported readings of the text", and "Neglect of literary sensibilities in text correction".

The Jami’s “Haft Awrang” and its consequent work, "Sobhat Al-Abrar," despite its language's lack of complexity, has remained unaltered from tampering and distortions by abrogators and copyists. This fact has prevented the proponents from having a reliable printed version of it. Apart from publications outside of Iran, the printed version by Mostafa Modarresi Gilani (1958) and the edition by Miras-e-Maktoob Publications (2012) are two widely used and trusted versions within Iran. The “Miras-e Maktoob” Publications' printed edition, despite being the most recent edition of this work, is not free from errors and misreadings. In this article, the text of "Sobhat Al-Abrar" from the Miras-e Maktoob Publications is examined and edited based on three handwritten copies (two from the Ayasofya Library and one from the Library of the Islamic Consultative Assembly), the variants mentioned in the footnotes of the Miras-e-Maktoob Publications' edition, and Modarresi Gilani's printed edition. The results indicate that, in most cases, Modarresi Gilani's printed edition is superior to the corrected Miras-e-Maktoob Publications' version despite the latter's chronological precedence. The handwritten copies used, the variants and literary traditions, also confirm this. Additionally, this article addresses other errors and editorial mistakes found in this correction. 

Golzar's essay is a work of order and prose that was written in the eleventh century AH and imitated by Saadi Golestan. Although this treatise is a successful example of imitation of Sa'di's Golestan, it remains uncorrected. The introduction of this lesser-known work and its authorship style in imitation of Golestan is the main topic of this research.

This study was conducted in a descriptive-analytical manner. In this research, in addition to introducing Golzar's treatise, the author's style in imitation of Sa'di's Golestan has been discussed.

This work consists of eight chapters which includes 142 stories of the lives of sultans, ordinary people and mythical figures, historical and religious anecdotes. It seems that other poems narrated from Sa'di, Hafez, Rumi, and Ibn Fajr are other poems of the author of this work. By following Golestan's writing style, the author of Golestan has turned Golzar's essay into a remarkable example of educational works in terms of the psychological and steadfastness of words, the application of literary arrays, the selection of anecdotes, and the strength of poems, but its prose has been approached to technical prose and in some cases to the prose of the artifact.

Golzar's treatise which is included in the collection of works by the imitators of Golestan Sa'di, in its formal features include: compilation of the foreground, the reason for the compilation of the book, its dedication to the king of the time of the author, the titles of the gates, the themes and their plurality and linguistic features including: narrative centered, observance of arrogance and abbreviation, politeness, simplicity and mentality, the use of literary arrays (similes, metaphors, metaphors, metaphors, allegories, allegations, saja and descriptions) directly from Golestan Sa'di. Influence is accepted.

Hakim Sanai Ghaznavi is a revolutionary poet in the history of Persian poetry who was at the forefront of innovation when it comes to the forms of Masnavi (couplet poem), ode, and sonnet by introducing new concepts. Sanai’s collection of poems has been revised several times so far, among which we can mention the corrections by Modares-Razavi, Mazaher Mosfa, Shafi'i Kadkani (selection of sonnets and odes), and Jalali Pandri (sonnets). In one of his Ghalandari (wandering Dervish) sonnets, there is a composition that seems to render a more accurate meaning with a different reading of the sonnet. Intratextual signs, as well as the frequency and functions of the new readings in the rest of Sana'i poems, make the new reading more likely. This review study applies a descriptive-analytical method based on the analyses of the critics’ readings of the target composition. Among those who have modified Sanai, Modares Razavi, Mosfa and Shafii Kadakani have come up with similar recordings. Only Jalali Pandri and later Barzegar Khaleghi have proposed the new readings. This means that the collection of poems by Sannai is still in need of review and correction.

Ghazaliyat Shams is one of the valuable works of Rumi along with Masnavi. Research on Shams lyric poems is much less than Masnavi and not in its proper place. After Forouzanfar's publication of Shams lyric poems, research works should be taken from the text of this publication and if another edition was done, it would not be enough to research and correct Forouzanfar at all. Ghazaliyat Shams is a work that needs more copies and more extensive research to provide a better edition. Forouzanfar correction although one of the best examples of research in this field, is not without its drawbacks. The drawbacks of this edition, apart from the discussion of typography and how to use them, fall into two categories: The first category is related to Forouzanfar's choices, which sometimes ignore the artistic and narrative infrastructures and cause wrong choices. This negligence and wrong choice has naturally damaged the meaning of the bit as well. Paying attention to some versions of exchanges and infrastructures will make a better choice. The second category is related to the problems that seem to be most of the printing defects that have been done in the printing house and have entered the text.

The manuscripts from past centuries contain valuable historical and literary achievements, and their correction leads to the solution of many problems and ambiguities in both prose and verse texts. Jongs are one type of literary manuscript that are important sources for identifying poets, their lives, and their works. Identifying the poets of verses, gaining access to forgotten, lost, and new or old forms of known poems are also other advantages of research on literary jongs. Jong No. 3423 of the National Library of Paris is a jong mixed with prose notes and Persian and Arabic verses dating back to the 9th century AH that provides researchers with useful information about the poems of famous, anonymous, and unknown poets. More than one third of the Persian poems in this jong are newly discovered, and the new readings recorded in it resolve many of the ambiguous meanings and weighty disturbances of verses in literary works. In this research, in addition to a brief introduction to this manuscript, the Persian poems of the poet kings of this manuscript have been corrected and presented for the first time. By referring to tazkiras, literary histories, and poetic collections about their poets, the new readings and their newness have been investigated.

Sultani Kermanshahi is one of the poets of the Qajar era, whose divinity remains uncorrected despite his power of poetry and his unparalleled ability to imitate early poets. The lithograph published by this divan contains many problems that are caused by the decline of some words, false readings and defects of poetry that the manuscripts obtained from the Sultani Divan of Kermanshah resolve a large part of these defects and defects. The poems of this court are lauded in terms of the coherence of speech, the application of literary decorations and the introduction of court figures. Imitation and welcoming of early and contemporary poets and ensuring their poetry is one of the outstanding features of this The poems of this court can be divided into three thematic categories of praises, praises and festivals. The poet's Divan is one of the most important literary works of this era due to the names of 42 important figures of the Qajar dynasty. Sultani has imitated, welcomed and guaranteed Amir Moezzi's poems. Similitude, metaphor, assurance, plural and division and allusion are the most widely used literary arrays of his The poet's way of writing poetry is in the style of Khorasani poets in terms of language and thought in terms of Iraqi poets

verse by Amir Khosro DehlaviAbstract:In the poem Shirin and Khosro by Amir Khosro Dehlavi (born: 651 AH, died: 725 AH), which was collected in imitation of Khosro and Shirin Nizami, there is a verse as follows:I am a subservient for your slaves to worshipThis verse in Shirin and Khosro, which was edited by Ghazanfar Aliyev and published by the Institute of Asian Nations in Moscow (1961) and also in Khamseh of Amir Khosro Dehlavi, which was revised by Amir Ahmad Ashrafi (1983), is the same as mentioned, means, in that verse, the above combination "Religion" is stated.In the present research, which was conducted in the field and in the library, this researcher faced the question of whether there was any revision in the above work or not? Because the key words of this verse such as "servant", "subservient" and "maid" do not have a precise semantic relationship with "ritual worship or religion".On the other hand, in the three manuscripts of Amir Khosrow's khumsa in the library of the Islamic Council, instead of religion-worship, low-level worship is mentioned to prove that it is a valid combination that Amir Khosrow borrowed from Nezami, but due to the low prevalence of this combination in Persian literature and the closeness of the writings of ritual and low in the manuscripts, it was corrected or distorted by the hand writers.

One of the most popular Persian folk tales is the story of Amir Hamzah Sahebqeran, which has been written in Arabic, Persian, Urdu, Arabic, and Turkish. There are many manuscripts of this story, some of which are incomplete and the end of the story is unclear. Apparently, the latest version of this story - that has been known - is the version that was written by a poorly educated but tasteful scribe, named Mashadi Baqer Bazari, in Shaban 1339 A.H, and recently, with the efforts of Masoumeh Talebi, it has been corrected, and published under the title "The Tale of coffee shop ". Despite the corrector's efforts, there are several flaws in the correcting of this book, which the author reminds in this article, Since the corrected version was unique, therefore, due to the lack of another version of the work, the author of this research with a descriptive-analytical method and using things such as: stylistic features, historical sources, contemporary sources with The target version, the divans of the poems that the author used in his work, and even the references to some issues in the book itself, provide suggestions for revising parts of the correction of the legend of the coffeehouse. The result of this research, in addition to showing the correct recording of some words, and sentences, includes the necessity and necessity of adding headings in the text, , not changing some words in the base version and Indexes are also listed at the end of the book

In recent years, the identification and correction of the Nakkali of Shahnameh scrolls have greatly impacted the view of Shahnameh-scholars toward the scrolls. The findings indicate that the Nakkali scrolls were not just a product of the mind and imagination of the bards; even in some cases, the scrolls date back to the pre-Islamic or, at times, the Islamic era preceding the compilation of the Shahnameh, by Hakim Abulqasem Ferdowsi. On the other hand, the corrected Nakkali scrolls differed in language and style from what the bards recited in a bardic assemblage. Consequently, the correction of the Nakkali scrolls should be done in a specialised manner and in accordance with the correct scientific standards so that the results could lead to a better understanding of the scrolls and their sources. Edited by Jalil Doostkhah and published in 1396 [2017], Shahnameh Nakkalan is among the best researched Nakkali Shahnameh scrolls. This article investigates Shahnameh Nakkalan from two perspectives: the first part will explore the mistakes and contradictions of the author, Murshid Zariri, and the second part conducts a thorough investigation of Jalil Doostkhah’s editing methodology. This critique concludes that both the authorship and curation have been unfaithful to some sections.

Various editions of Ferdowsi's Shahnameh have been attempted over the past two hundred years to bring the epic closer to what Ferdowsi originally penned. Despite these efforts, the valuable verses, numerous appended couplets, and various other flaws persist in this epic masterpiece. The absence of ancient manuscripts emphasizes the need to consider alternative methods in correcting Shahnameh. One such approach is self-correction, considering elements such as similes, metaphors, interpretations, and their equivalents. This method can rectify many discrepancies. In this article, the second hemistich of the couplet “kherad chon shaved kehtar-e kam o rashk /Chonan dan ke divane khanad pezeshk (When wisdom becomes less than desire and envy, know it like a physician who considers someone insane)” is corrected and analyzed based on the proverb “Hasad [rashk] dardist bi-darman (Envy is an incurable pain)” and the recurrence of this proverb in other verses of Shahnameh and Persian literary texts, presented as “Chonan dan ke daroo na-danad pezeshk (Know that, like a physician who does not know the remedy)”.

Among the famous and reliable corrections of Saadi's Bustan, including the corrected version of Professor Gholam Hossein Yousefi, despite many merits, there are some mistakes.
Professor Yousefi's proofreading is important in the literary and academic community and is used and cited by professors and students as one of the main sources of Saadi's poetry. The author, who has been teaching Busan at the university for several years, while appreciating the valuable efforts of Professor Yousefi, considers it her duty to share with the readers of this work, the problems that have occurred to her while studying and teaching.
For this purpose, she first extracted the verses that seemed to have a connection with other verses in terms of meaning or syntactic structure, etc. Saadi and sometimes other poets chose the preferred recording.
Therefore, in this article, twenty-six examples of these problems are classified and discussed in the following order:Problems related to the meaning of the word or sentence.
Verses that do not match Saadi's speech style.
Problems that are related to the syntax of words.
Problems caused by not paying attention to the script of the text.
Problems related to the connection of verses.

Sad Meydan is one of the oldest mystical works in the Persian language, which was the result of Khajeh Abdollah Ansari's sermons in Muharram 448 AH. The twenty-first field (Meydan) of Sad Meydan is about ‘tavakkol’ (trust) and it is stated in it: “Trust is ghantare-ye yaghin (the bridge of certainty) and emad-e iman (the pillar of faith) and mahall-e ekhlas (the place of sincerity)”. This statement is also mentioned in other books such as Tafsir Kashf al-Asrar, Ons al-Taebin and Hadighat al-Haghighat. However, in the manuscripts and prints of these texts, the combination of ‘mahall-e ekhlas’ (The place of sincerity) is also found in four other forms: mahakk-e ekhlas (the touchstone of sincerity), mokh-e ekhlas (the brain of sincerity), mikh-e ekhlas (the peg of sincerity), mahz-e ekhlas (the absolute of sincerity). Each of the editors of these texts has accepted and printed this combination in some way.

This study examines a verse used in Lataif al-Tafsir of Zahed Darwajeki. In this context, in addition to mentioning the relatively remarkable mistakes in correcting and using the manuscripts, we focused one verse of this commentary, containing a very important from the viewpoint textual criticism studies. The editor, informed by his wrong reading of the available manuscripts, have impaired the authenticity. According to the available manuscripts of Lataif al-Tafsir and other secondary sources, it seems that a part of the commentary has been misinterpret, which contains verses by Muhammad Kateb Abdoh, and this reference of Zahed Darwajeki could be one of the oldest sources for the poems of this poet.

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.

Saif al-Din Asfarangi is one of the Iranian poets in the late sixth and mid-seventh centuries AH. His divan is only surviving work of this poet. Esfarangi Divan firstly corrected and lithographed in Pakistan in 1978. This divan was corrected in 2017 by Farzad Jafari; Several manuscription of this work are available, such as the manuscripts of the Russian State Public Library, the manuscript of the Pakistan Treasure Library, the manuscript of the Turkey Topkapusaray Library, the manuscript of the Sepahsalar Library, and so on. Among the manuscripts, Jafari has chosen the manuscript of the Russian State Library (A) as the basic manuscript and has used other manuscripts in the correction. Although the correction presented is scientific and critical, there are errors and mistakes in it, and in some cases, carelessness in the correction is obvious. The present article tries to reveal and correct some of these errors and mistakes in this correction with a scientific and critical way.

One of the most significant Persian histories is Jami’ al-Tawarikh by Khajeh Rashid al-Din Hamadani. It includes the chronicles of different ethnic groups and nations. Its “history of Iran and Islam section” was textually criticized by Mohammad Roshan based on the manuscript of the Archive and Library of the Topkapı Palace Museum in Istanbul, No. 1653, and published by Mirath Makhtub Publishing House. This manuscript is a collection of chronicles by Hafez Abrous that Mirath Maktub has published its translation. There are several errors and slips in the textually criticized text. The proofreader could not read words, he replaced them with dotted lines. In the present article, the errors were corrected, and some words replaced by dotted lines were identified. The correction method is comparative: Roshan’s textually criticized text was compared with the translation of (Majma ul-Tawarikh) and the correct forms of some of the wrong words were retrieved. In the cases of dotted lines, the text was supplemented. The research result shows that the number of errors in the textual critic’s manuscript and the number of cases left blank are considerable. Apparently, one of the main reasons that caused the textual critic to slip in reading some words or leave them blank is that most of the words in the manuscript were the basis. This article aims to make the next edition of this section more complete by showing these flaws and errors, presenting the correct forms, and completing the parts with dotted lines.

Manuscripts are the precious written heritage of any nation. Correcting and recognizing these texts is the first and most important step in reviving these works. One of the manuscripts that has not been studied and scientifically corrected by researchers is the manuscript of Dor Al-Majales by Seif-Al-Din Zafar Ibn Borhan Nobahari which is attributed to the seventh century AH because of calligraphy and writing style. This study aims to introduce briefly the manuscript of Dor Al-Majales and check its linguistic coordinates.The present study was conducted using content analysis method with library tools and descriptive-analytical method. The study area and population is the manuscript of Dor-Al-Majales preserved in the library of the Islamic Consultative Assembly.Seven versions of the manuscript of Dor-Al-Majales are available in Iranian libraries based on the catalogs of manuscripts. There is no information about the author's name in the biographies. This manuscript is a kind of event writing as pemonstrative prose which contains a short introduction and thirty-three chapters. The themes of each chapter are educational, religious and historical concepts. The structure of this version in each chapter is as an anecdote in the anecdote. The most important excellent feature of style in Majales is the simplicity, fluency and easy-understanding its language and expression.By examining the manuscript of Dor-Al-Majales, the extent and quality of linguistic changes in phonetic, lexical and syntactic dimensions are largely understood. At the phonetic level of language, pemonstrative prose reveals spoken expressions.

In the republishing of the Adventures of Hajji Baba of Ispahan, Jamalzadeh made changes so that the language, expression, tone and writing style of Mirza Habib Isfahani were altered. His changes in the “fragments of old phrases” and “morphology and syntax of sentences” aroused the reaction of the literary community of that time. While Jamalzadeh retained the main framework of the book, his method does not correspond to any of the technical terms for critical correction of texts. In order to understand the whys and wherefores of his method for republishing the book, the present study compared and analyzed three works: Mirza Habib Isfahani’s manuscript, Phillott’s edition, and Jamalzadeh’s reprint. Twenty percent of the volume of the book was selected for analysis: the author’s preface and fifteen chapters (five chapters from the beginning, middle and end of the work). The results indicate that the changes can be subsumed under three categories: 1. reduction through deletion or replacement; 2. expansion and finding equivalents; 3. transposition of parts of speech. The largest volume of changes in the text were created by expansions and finding equivalents for words, phrases and sentences and transpositions of parts of speech while deletions and replacements were used the least. These changes serve two main purposes 1. strengthening the fictional elements of the book and 2. bringing the story closer to the understanding of the common people based on the capabilities of the popular language, in the continuation of the simple writing movement of the Qajar era. However, Jamalzadeh inflicted irreparable blows on the prose rhetoric of Mirza Habib’s translation.