جستجوی مقالات مرتبط با کلیدواژه « نسخه ها » در نشریات گروه « علوم انسانی »

1- It is forbidden to use "Kazaa" (mean's: So it was) repeatedly in research studies and manuscript correction. 2- In special cases, in the explanations below, all the information and progress of the research and close or correct suggestions should be included. Non-observance of these two rules and the indiscriminate and frequent use of "kazaa" in the research of a manuscript has reduced it from the high level of "research and correction" to the mediocre "pure correction". with excessive use of "kazaa" and research laziness, each effort will fall into the abyss of "reproduction" and such a work will not have the validity of research and scientific research value.

 After the arrival of Islam in the land of Iran, a number of virtuous Iranians translated the Qur"an into Persian until the tradition of translating the Qur"an continued for centuries in the land of Iran and its neighboring countries. Some of these translations of the Qur"an, which are sometimes exquisite and precious, are kept in different libraries of the world today, which need to be introduced and corrected by copyists and proofreaders. One of these translations is the translation of the Qur"an preserved in the Ganj Bakhsh Library of Pakistan. This version is registered in this library with the number 11559.

 The method of gathering the contents of this article is based on the sources and findings of a library, and a descriptive analytical method was used in its writing.

 The translation in this article It was introduced and apparently belongs to the 7th century of Hijri. Its author is mentioned in several places with different names. In the leaves of this edition, the name of the translator of Mosleh al-Din Sheikh Saadi Shirazi, a famous poet of the 7th century of Hijri, is explicitly written. This translation includes all the surahs of the Quran. In this article, an attempt has been made to examine the features of this version, including the age of the version, the spelling of the version, vocabulary and grammatical features. Also, the relation of this translation to Saadi Shirazi has been evaluated.

 With a close look at this translation of the Qur"an attributed to Sheikh Saadi Shirazi, it was determined that the attribution of this work to Saadi Bana is far from reasonable and does not have much scientific support. Also, the name of the author or possible authors of this work was also checked. In the first possibility, it was said that the authors of the version were two people named Fazl Heravi and Fazl Farahi. In another possibility, it was stated that probably the name of both scribes was the same person, Fazl Heravi. In the third possibility, it was stated that the writing of the entire current version, which probably dates back to the 11th century, was done by Hossein bin Yahya Ajmi. It was also found that this translation was not immune to errors and in some cases the translator made mistakes in his translation. In addition, it became clear that the scribe of the copy also made mistakes in some cases and due to his lack of mastery of the Persian language, he made mistakes in his copying. On the other hand, in this article, the linguistic and grammatical features of the work, calligraphy and spelling of the version are also discussed.

Fotowwatname`s are the practical treatises of Fetyan compiled by the elders of the Tariqat and the principles, customs, rituals and religious roots of darvish practices such as shad, kachkul, kherqe, etc. teaches the mofrad`s. Since the intellectual flow of fotowwat in different classes of the common people was popular, their correction, in addition to explaining the principles of their beliefs - as a prominent intellectual, religious, social and political current - can widened dimensions of the life angles of Iranian and non-Iranian Muslims to clarify in historical periods. Carrying out this library research with analytical-descriptive method has investigated and recognized various aspects of the manuscript version of Jafari's Fotowwatname. The handwritten version under study is a Fotowwatname, which was written by one of the elders of Fetyan known as Jafari al-Qasimi al-Husseini, and it belongs to the personal library of the late Haj Ali Eshaghi, one of the cultural scholars of Kuhpaye (Isfahan) and it has valuable content in verse and prose in three parts. Introducing the content of this edition can be of interest and use by those interested in the fields of Fotowwat, Sufism, and mysticism.

Abu Mekhnaf Lot bin Yahya Azdi, who died in 157 AH, has been remembered by many books, one of his works, which is only mentioned in the book of al-Dhari'a by Agha Bozur Tehrani, is the book "The Birth of Amir al-Mu'minin (AS)". A copy of the birth certificate of Hazrat Amir al-Mu'min (a.s.) attributed to Lot bin Yahya Azdi and translated by Mohammad Taqi Mousavi has been registered in the catalog of Ayatollah Golpayegani's library under number 8246-96/56; Also, there are copies of this work in Dashtestan, where the tradition of reciting is still standing. In this article, the author has investigated and analyzed this birth certificate in a descriptive and analytical way; It also expresses the characteristics and shortcomings and unknown dimensions of this work in three linguistic, syntactic and rhetorical levels. Then it deals with the story of the birth of Imam Ali (a.s.) until his migration from Mecca to Madinah and the plots of Quraysh and finally ends with the topic of his marriage with Hazrat Fatima Zahra (AS). Despite doubting the validity of the claim of "Mohammed Taqi Mousavi" in the translation of the birth certificate of Amir al-Mu'minin Ali (AS) by "Abu Mekhnaf"; But his translation is a valuable work in its own kind because of its linguistic, syntactic and rhetorical features and the meaningful poems he added to the text.

The debate "Al-Lail and Nahar" is written by Ali bin Fathullah Madani Isfahani, which was writtenin the 9th century. Madani is one of the 9th century writers in Isfahan. The "Al-Lail and Nahar Debate" is one of the most important works in the field of prose debates. Therefore, the author introduced the version due to the importance of the topic and its pioneering in the evolution of prose debate writing. The only manuscript of this work is kept in Istanbul University Library Museum in Turkey. The collection of information in this article was done in a library method and it was written in a descriptive and analytical way. The current research examined this debate on three intellectual, literary and linguistic levels. Among the results obtained, some features are worth mentioning: the use of Masja's prose- extensive attention to the use of Persian poems, verses and hadiths - extensive use of arrays of similes, metaphors and irony - frequent replacement of sentence elements and descriptive sentences - as well as saj' Repetition and puns, frequent Arabic sentences and combinations are prominent stylistic features of the work. Although Madani Esfahani wrote the debate of Lail and Nahar in accordance with the prose style of the Timurid era, but there are innovations in the author's linguistic behavior that make his individual style an indicator. However, in terms of the topic of the debate and its moral result, it does not have significant innovation compared to other debates.

The Book Al-Kashkul is written by Bahāʾ al-Dīn Muhammad ʿAmilī known as Sheikh Bahāʾi. This book is one of the valuable and precious works of Sheikh Bahāʾi and is considered as a mirror of his knowledge and inspiration. According to the researches, the date of its writing was between 988 and 1029 AH and has been organized in a collection of five sections which include various scientific terms in an irregular format in verse and prose in Arabic and Persian, a mixture of the hadiths of the Holy Prophet (PBUH) and the infallible imams, philosophical, theological, ethical, mystical, exegesis, hei’at (traditional astronomy), astronomy texts, geometric proofs, syntactical rules, anecdotes, historical materials, poems, etc. and nearly a hundred manuscripts of this book have been identified so far. Examining the manuscripts shows that this book is accompanied by a lot of confusion and disorganization in terms of the text, such that most of its manuscripts are not consistent and harmonious in terms of arrangement, and there is no proper logical order in these manuscripts. In addition to the descriptions of the content of the book and the brief introduction of the author and the genealogy of Kashkul, this study, through a descriptive-analytical method, seeks to examine the features of the selected manuscripts, of this work in terms of the text, the composition of the content, the features of the new correction, and the shortcomings of its former correction.

 Haji Mohammad Gilani is one of the 10th century poets of Indian style. He learned mysticism from Allameh Maulana Mohammad Baqer Khorasani and Mullah Hasan Gilani, and his lyrical poems are full of mystic-romantic themes. The purpose of this article is to examine the style. The study of Haji Mohammad Gilani"s Diwan and the introduction of its unique manuscript.

 This research is descriptive-analytical.

 During the analysis of the style of Divan, it was found that the poet used different weights to convey mystical-romantic concepts. The use of current lines is noticeably repeated in his poems. At the lexical level, the use of slang words and terms has a high frequency. Also, his poems show a relatively high deviation in new compositions. At the intellectual level, mystic-romantic poems have the highest frequency.

 Haji Mohammad Gilani is one of the poets of Indian style and his poems are simple and free of difficulties. He has paid more attention to mystical and romantic topics and his poems have relatively little coherence in the vertical axis. Almost 90% of his poems are mirdf.

Masnavi of Bagh_e_ Eram composed by Kamal al-Din Shir Ali Banaei Heravi, poet of the Timurid period that is one of a the important and prominent works of the Timurid era in terms of structure and subject. This Masnavi (7500 verses) was made by comparing four manuscripts. Based on this correction and research, some features of the calligraphy of Bagh-e- Eram versions have been introduced. In this investigation and research, it was found that the Badalian version and the National Library of Pakistan are parallel in terms of the subject and the number of verses.In terms of structure the Masnavi of Bagh_e_ Eram in order to convey meaning is included of a main story called Bahram and Behrooz and many short stories during the story, which their theme is advice, mystical and moral points, and recording the historical events of the poet's era. Due to the fact that, in addition to being a poet, Banaei was interested in recording historical events, he has written works in this field. In this masnavi, the events of the Timurid era and the praise of people such as Sultan Yaqoob, Khwaja Obaidullah Ahrar, Khwaja Mohammad Yahya, Abdul Ghafoor Lari, etc., are historically important. Considering his style and bringing a sonnet among the Masnavi of Bagh-e- Eram, Banaei Heravi can be one of the pioneers of Sukht and Vasukht school, which is worthy of reflection.

 Momen Arashi is one of the mystical poets and writers of the 11th century. His interest in Saadi and Jami led him to write the book of Shekarestan, close to the style of Golestan and Baharestan. This book has been written in the form of prose along with Persian and Arabic poems, decorated with verbal and spiritual arts and in the form of short and informative sentences. Shekarestan includes six chapters and has various stories based on mystical, religious and moral principles. What adds to the importance of this edition is the introduction of mystics and great men of Persian literature and bringing instructive anecdotes from them.

 This article, using descriptive-analytical method, tries to introduce Momen Arashi and his works in detail, while introducing the Shekarestan manuscript in detail. Then, the stylistic and content characteristics of this work are examined at three linguistic, literary and intellectual levels.

 The results indicate that the Arabic language and the composition of Persian sentences in the context of the Arabic language syntax, reference to Quranic verses and hadiths, abundance of words and attention to the use of Persian words and combinations, innovation in the use of words and many combinations, a lot of attention Verbal and spiritual arrangements are considered as elements of its style.

 From the structural and content aspects, Shekarestan can be considered as one of the successful mystical works in which the author has been able to create a beautiful and, at the same time, strong prose by understanding the spirit of the languages of Saadi and Jami and their mysteries.

Some cast doubt and claim that the final fragment of the well-known Zīyārat 'āshourā had not been authentically a part of the original text, rather they are later additions to the text earlier anthologized in Misbah al-Mutahajjid of Sheikh al-Tousī (d. 460 AH/ 1067). Their most important reasons for the existence of distortion in this pilgrimage are 1) the original text of the previous manuscript of Misbah al-Mutahajjid (the Naqqāsh Rādī's manuscript), 2) the complete text of this pilgrimage in Kāmil al-Zīyārāt. It is proved in this article that applying dissimulation (taqīyyah) by pre-Safavid Shiite scribes and leading scholars was the prime reason for such a misunderstanding. To solve the problem in those versions in which the final fragment is not mentioned, it is proved here that the scholars did dissimulation in their version. To illustrate that the version had not originally been subject to dissimulation, also, facsimiles of this pilgrimage from the famous and authentic version of Mukhtasar al-Misbāh, as transcribed by Ibn Sakkoun al-Hillī (d. 600 AH/ 1203) are reprinted wherein the final curse-phrases appear in the text. Therefore, the final curse paragraph of the pilgrimage that was issued to declare the renunciation of the enemies of Ahl al-Bayt (as) is authentic.

 Nematkhan Aali Shirazi is one of the Iranian poets who lived in India in the 11th and 12th centuries. Although he has experimented in composing all kinds of poetry, he has been more skilled in composing sonnet, and he is one of the prominent examples of Indian style sonnet in terms of wording and meaning. In this essay, in addition to introducing this poet, our goal is to examine his sonnets from a stylistic point of view, and especially to show the prominent motifs of his compositions; Motif - which is one of the rhetorical terms - is a word or combination or image or theme that is repeated and highlighted in a significant way and shows a person"s mental and intellectual concerns to a great extent. Therefore, the motif is especially important in literary criticism and structural and content analyzes of a literary or artistic work.

 This research is a theoretical study that was conducted in the library research method. The scope of the study is Diwan Nemat Khan Aali Shirazi, which remains in the form of a manuscript and the authors are in the process of correcting and suspending it.

 Nematkhan"s poetry is full of artistic and rhetorical techniques, which are the basis of the style and structure of his poetry. One of the most prominent of these techniques is the motif, which is reflected in Nematkhan"s poetry in various forms: semantic and thematic motifs such as love, morality, randy, etc., rhetorical motifs such as simile, metaphor, paradox, etc., lexical motifs such as love, heart, night, day, flower, nightingale, deer, and...

 Nematkhan has used various artistic and rhetorical methods such as simile, metaphor, hint, paradox based on his intellectual concerns and with the intention of creating art and creating themes. He has also repeated various words and combinations in the form of motifs and highlighted some of his thoughts and feelings and has given his speech a colorful variety.

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.

Considering the central position of the holy texts in the two religions of Islam and Christianity, it is necessary to carry out comprehensive studies about the holy texts of these two great religions. In this regard, comparative studies have a special place in explaining this. Using the analytical-descriptive and critical method, this research examines the manuscripts of the New Testament and the Holy Quran and seeks to compare the validity and reliability of these two texts from the perspective of manuscript criticism. Examining the oldest manuscripts of the New Testament indicates that the New Testament underwent changes by the copyists and these changes were not simply caused by the mistakes of the copyists, and in some cases, these texts underwent changes due to the emphasis on the theological teachings disputed by the first Christians. On the other hand, there is very little difference between the manuscripts of the Holy Quran, and if we want to examine the New Testament and the Quran solely in terms of the reliability of their manuscripts, the copyists of the Quran paid much more attention and effort to preserve this book. However, the copyists of the New Testament have freely changed the text in many cases.

Manuscripts are the capital and cultural support of every nation. These treasures represent the history of science and artistic values ​​in different centuries. Examining the content and structure of manuscripts can be an effective help in understanding the style of each period and the factors influencing it, as well as the recognition and promotion of scientific, cultural and intellectual achievements of different ages. One of these lasting legacies is the manuscript of the Divan Poems of Mirza Baqer Hosseini Nazhanzi, a poet of the Safavid era. is. He is definitely one of the poets of the Shiite religion, who has praised the imams of Athar many times in his poems. His divan includes ghazals, masnavis, quatrains, pieces, etc. The purpose of this research is to introduce the manuscript and examine its stylistic features from a linguistic, literary, and intellectual perspective.

The present research is a theoretical study that was carried out using a library method and a descriptive-analytical method. The scope and society of our study, the manuscript of Diwan Mirza Baqer Hosseini, which is available in the library of the Islamic Council.

Based on the findings of this research, compared to other poets of Indian style, Mirza Baqer"s poetry does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent. He has rarely used prefixed verbs and Old Persian adjectives. There are no heavy and unusual Arabic words in his poetry. Also, according to the time situation (Indian style), the Divan of the poet is full of popular phrases and expressions. Repetition and puns are at the top in the verbal industries. The style of simile and allegory also have a high frequency. In his quatrains, he is close to Khayyami"s thought and points to the shortness of the world and the seizing of opportunities.

The lines in Mirza Baqir"s poetry are very diverse, and among them, the current line has a high frequency. Simile and its types, metaphor and allusion are at the top among expressive industries. The theme of his lyrical poetry is love, and it is almost in accordance with the Iraqi school, and he loves the unlucky face and the lover at the peak of cruelty. Mirza Baqir is a poet of the Shiite religion, and the description of the imams of purification, especially Hazrat Ali, adorns his poems. Sufi and Qalandar themes can also be seen in his poems. He has written poetry in all kinds of poetry formats, such as Masnavi, Ghazal, Rabai, etc. 

"Ma'arif al-Haqayiq fi Tahqiq al-Daqayiq" falls under the category of mystical writings. The author, Mirpadshah, identifies himself in his book as a descendant of Mir Haider Kasbi, a sheikh of the Naqshbandi sect. Mir Haider Kasbi's grave is now a shrine in the province of Nakhshab (currently Qarshi). He is a relative of Khwaja Saad and the author of "Ma'arif al-Haqayq" and "Izah al-Istlahat Va Tafsil Al-Maqamat". Written in 1003 AH during the reign of Abdullah Bahadur Khan, "Ma'arif al-Haqayq" is a commentary on "Lama'at" by Fakhr al-Din Iraqi, inspired by a man named Mirak Sufi. The author defines and explains mystical concepts at the beginning of the book. He also adds his explanations while writing Iraqi's words, whom he calls Musannef. He writes down the words of the Iraqi in red and his explanations in black. This document lacks history, including articles, dissertations, and books; however, Iraqi's existing explanations are given as background. The thorough definitions of mystical terminology are found in the preface of the version and in the section preceding the main text, which are not found in other explanations and are considered innovative. There are no duplicate manuscripts for this version. It is readable, written by the author, and contains very few omissions. The detailed description of the text "Lamaat" combined with the thorough explanations of the mystical terms, the detailed explanations of mystical terms, the elegant and eloquent choice of words, the use of literary structures such as similes, the abundance of adjectives and the information of the Naqshbandi sect make this description an effective example. During the time regarded as the decline of Persian prose, it is of great importance for prose. The command of mystical topics and the coherence of the author's writing remind me of Lahiji's account of Shabestari’s "Golshan Raz." It must therefore be corrected, in order to provide the audience with a comprehensive description of the Lamaat, in addition to the richness of spiritual literature.

Manuscripts contain valuable historical, literary, and mystical information for literary scholars. In particular, one of these manuscripts (with reference to the two cited manuscripts) is the valuable work of Saba Sanabel by Abdul Wahed Muhammad Belgrami (d. 912 AH or 915 AH?) On the subject of mysticism and Sufism and the description of the Sufis of India. In the present research, a descriptive-analytical method has been tried to provide a corrected and revised description of the mentioned version and the content of this work for those who are interested. "Saba Sanabel" is the work of Mir Abdul Wahed Belgrami, a prose and includes seven spikes in Persian, with mystical content, and masterful and fluent methods. The prose of this work is simple and, in some parts, concise. Most of the verses used in the text of the poem are the author. In this work, the author, while expressing his beliefs, has brought pure anecdotes in various mystical subjects and has strengthened the principles of his beliefs by quoting verses and hadiths. A careful study of this work is a reflection of the principles of Belgrami mystical beliefs as much as possible, along with newly discovered points, such as the fact that a Sufi is created with good morals such as love, good fortune, courage, forgiveness ...

The Tafsīr of Sūrābādī (Sūrābānī), also known as the Tafsīr al-Tafāsīr, is a concise Persian commentary on the entire Qurʾān authored by Abu-Bakr ʿAtīq Neyšābūrī around 470 to 480 AH. Various sections, stories, manuscripts, and ultimately the entire work have been published in different forms, with the complete version printed in five volumes by Ali Akbar Saeedi Sirjani in 1381 AH (2002 CE). This article attempts to highlight the shortcomings and errors of this edition, emphasizing the need for a re-edition. To this end, in addition to Sirjani's edition, three manuscripts are also utilized: Konya (dated 723-725 AH), India Office (730 AH), and Leiden (769 AH). This article demonstrates that the primary problems with this edition include the unknown status of the base manuscript(s), lack of an introduction and description of the manuscripts and their characteristics, unclear method of edition, non-critical approach, incomplete recording of variant readings, disregard for phonetic changes and diacritized words, omissions, misreadings, and errors in the correction of some less common words. These issues are significant enough to alter the meaning of some words, differing from what the author intended to convey.

Text editing, in whatever manner it may be, is based on the manuscript or manuscripts, and the editor's departure from the basic recorded manuscripts is only permissible and acceptable when the editor's choice corrects a clear error in the text, is confirmed by evidence from the text, and is consistent with the language and subject matter of the text. However, sometimes reliance on consistent recordings of manuscripts, the deception of incorrect recordings, and consequently the acceptance of distorted and altered forms have led to the researcher's precise view and point of understanding deviating from the original, resulting in a phrase or verse with the same erroneous form being inserted into the text. In this article, the author provides several examples of errors that have occurred due to tampering and alteration in manuscripts and have been overlooked by the editors; examples from "Kalīla wa-Dimna," the "Divan of Ẓahīr Fāriyābī," Kulliyāt (Complete Works) of Sa'dī," and "Tārīkh-e Jahāngushā" by Juveinī.

Ganjineh Raz is a book written by Owais ibn Ghiyath al-Din Rostamdari, the oldest manuscript of which was recorded by an inscriber halfway through the eleventh century A.H. This manuscript was probably contemporaneous with the author, who is not found in any bibliographical biographies (Tazkires). In this book, Rostamdari presents an exposition of sixteen scattered verses by Nizami which are taken from Makhzan-ol-Asrâr, Khosrow o Shirin, Haft Peykar and Sharafnameh. These verses of Khamsa are claimed by a follower of Jami to have been deemed meaningless by this poet. Rostamdari continues to present another exposition of seventy nine other verses of Khamsa which he believes to be of more complexity than these sixteen verses, and since Rostamdari is of Shiite faith, he brings the book to an end, out of blessedness and sacredness, by presenting yet another exposition of three odes by Nasir Khusraw, which include praise and glorification upon the great Imams and personages of Shiite faith.

This research was done in a descriptive-analytical way. Authors have carried out using the library and documentary tools. They have been carried out using the library research method, rely on three manuscripts of this book. in addition to recording the differences between the manuscripts and published versions and embark on a comparison of Rostamdari’s exposition of these sixteen verses with those of others.

Rostamdari’s explanations about verses 5, 6, 13 14 are illustrative and explain meanings clearly. In other verses, although his effort is appreciable, but he failed to understand the poet’s intention. Other editors have sometimes succeeded in description of meanings and sometimes they failed.

Rostamdari’s success in disambiguation of the verses is only relative and the explanations provided by contemporaries are sometimes unhelpful. the expositions have in some instances led to resolution and disambiguation and in some other instances the ambiguity remains unsolved.