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

Abstract
Zahir Faryabi (died 1201 AD) is one of the prominent figures and poets of Iran's odes in the 13th century. His Divan has been published several times in Iran and India. The late Yazdgerdi's correction of Zahir Faryabi's Divan, originally published in 2013 by his student Asghar Dadbeh, can be considered the best and most revised correction of Zahir's Divan, but in this version, the corrector did not use older versions, including the version of Noor Usmaniyeh Library, the manuscript of Hakim Oglu, and the manuscript of Safineh Tabriz. We can find some problems in this Divan. To date, many researchers have focused on the late Yazdgerdi's edition and its errors including Seyyed Ali Mirafazli and Sharifi Sahi. They have addressed these problems based on the Safineh Tabriz and the manuscript of the Noor Osmaniye library. In the present study, the authors have addressed some of these shortcomings using the descriptive-analytical method and by comparing the late Yazdgerdi's correction with Hakim Oglu's copy. Hakim Oglu's copy is one of the looted copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of writing and its contents, it was probably written in the 7th century AH from the original copies. The present study shows that by collecting better editions and other collections such as essays and tazkiras, a comprehensive and revised edition of this divan can be available. It can also be used as a reference for researchers.
Zahir Faryabi is one of the distinguished figures and poets of Iran's odes in the 13th century AD. Zahir was born in Faryab and passed his elementary education there. Then, he went to Neishabur to complete his studies and stayed in this city for six years. Apparently, during this period, he entered the court of the ruler of Neishabur, Taghanshah, but he did not receive favors from him according to his position. After Neishabur, Zahir went to Isfahan and as it appears from his odes, he stayed in Isfahan for a year and a half to two years. In Isfahan, Sadruddin Khojandi did not pay much attention to him. So, he traveled to Mazandaran. In Mazandaran, Hossam al-Daulah Ardeshir visited him and the poet received his blessings.
Zahir's next destination was Azerbaijan. Before that, he stayed with a person named Safiuddin in Ardabil for two months, but he did not pay attention to him as expected by the poet. Therefore, he left Tabriz by way of Sarab and entered the court of Qezel Arsalan who praised him. Zahir achieved a high position in the court of Qezel Arslan. Finally, he passed away in 1201 AD.
Zahir Faryabi followed Anvari's method and brought it to perfection. For this reason, some of the critics have exaggerated him and even preferred him to Anvari. Zahir's poetry is like Anvari's fluent and full of precise meanings. In Zahir's poetry, we rarely come across complicated cases, and those cases are not comparable to the poems of his contemporary poets in Iraq and Azerbaijan in terms of ambiguity. At the same time that Zahir commits difficult lines, his poetry is easy and the lines are defeated by his power of expression. Zahir's power is great in the eulogy, and in this field, he creates many meanings (Safa, 1990, p. 757).
In this study, we have addressed some of the shortcomings of Zahir’s Divan using the descriptive-analytical method and comparing the late Yazdgerdi's correction with Hakim Oglu's version. Hakim Oglu's copy is one of the remarkable copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of script and its contents, it was probably written in the 7th century AH from the original copies.
Research The present study shows that by collecting better editions and other collections such as anthology and tazkira, a more revised edition of the so-called divan can be achieved. It can also be used as a reference for Zahir Faryabi’s researchers and prevent future possible shortcomings. The shortcomings and defects of Yazdgerdi's correction, which could be minimized by referring to the two mentioned versions, are as follows:1) Writing two stanzas of two consecutive verses in the form of one verse:By comparing the late Yazdgerdi’s book with the Hakimoglu library's manuscript, it was seen only in one case that the poetic stanzas were moved. In this case, due to the mistake of the scribe, a stanza of a verse that was not in the original version was added to another stanza of another verse.
2) Gross mistakes:In some cases, the shortcomings of Yazdgerdi's correction are obvious errors that cannot be considered typographical errors.
3) Incorrect preferences in Yazdgerdi's correction:There are some cases in Yazdgerdi's correction that the recording of Hakimoglu's version is preferable.
4) Typographical errors:In Yazdgardi's correction, there are many cases that should be considered typographical errors.
5) Correct recordings in Safine Tabriz and Hakimoglu's copy:In Hakim Oglu's version, there are also recordings that confirm the recording of the Safine Tabriz version. It would have been better if it had been used in Yazdgerdi's correction.
Discussion of Results and By examining and comparing the proofreads of the late Yazdgerdi and the copies that he did not have access to, the conclusion is reached that despite the hard work of the proofreader, there were shortcomings and confusions in the proofreading of this Divan. Considering the importance of Zahir Faryabi in the history of Persian literature and in the field of odes and praise poems, it is necessary to have access to a revised text in the re-editing of the Divan from all the manuscripts that the editor of the Divan at that time had access to. Therefore, it is necessary to use secondary sources such as Nizheh Majles of Sharvani in the revision.

The admirable book “Nafsat ol-Masdour” isone of the most important and authoritative books in the realm of literature and history. Despite the praiseworthy efforts of Professor Amir Hassan Yazdgerdi to correct and describe this book, the extremely difficult and artistic text of the book has led some of the content remains obscure and/or some of the explanations soundsto be not correct.This difficult text has always been discussed in various ways. In this paper, the author has been focused on some of these ambiguities and errors to uncover some of the difficulties and complexities of this seminal work. To this end, in the preface, a brief introduction of Nafsat ol-Masdour was given, as well as the goals and background of the research. Thenthe discussed issues have been immediately addressed and an attempt was to analyze and explain them.The goal is to make the enthusiasts of this important book safer and smoother than this book.

Shahabuddin Zaidari Nasawi is the prominent writer of Naftis al-Massoudar, who has played a significant role in the history of Persian literature. Following this book, various people have come up with it. This reference is either through adaptation and imitation or decoding of the nodes in the phrase, critique, analysis, and aesthetics. One of the most famous examples of al-Nusrat's al-Musstaur is the description of Amir Hasan Yazdgerdi's efforts, which has provided a unique example. In spite of this effort, it is possible to review other critics. This research looks at some of the terms described in the commentary above and identifies their forms and proposes corrective actions These bugs are either related to the text of the effect or a statement written on it. This research is descriptive and with a library method and, if necessary, reliable and reliable documents are referred.