نامه فرهنگستان
سال شانزدهم شماره 1 (پاییز و زمستان 1396)

In the Indian Style, half-verse has a distinct role and value. The top poets of this school have frequently spoken about the half-verse features, its value and application. In the 11th and 12th A.H. books, the diversity of discussion on the halfverse and its features clearly signify the precedence of the half-verse over the couplet in the poetry technique of the Indian Style. However, it is commonly believed that in the Indian Style, the emphasis is placed on the couplet, and that for the selection of the verses, the Tazkeres (memoirs) focus on the single couplets. In this article, we will notice that the major framework of the poetical experience in the school of Nazok-khiali is the distinct half-verse rather than the couplet. The aim of the present article is to study the place of the distinct half-verse in the school of Nazok-khiali, and to identify the nature of the distinct half-verse, its features, types and role in the literary world of the Safavid era through the review of the viewpoints of the contemporary poets. To achieve this aim, the descriptions, applications and features of the half-verse will be derived from the views of the poets themselves to categorize the types of the half-verse and to define its features and applications. The metaphors employed by the poets to define the feature of the distinct half-verse will be analyzed to identify and define clear concepts of the distinct half-verse.

In this article, twenty seven lyrics, of other poets present in the Amir Khosro Dehlavi’s Divan will be named. These lyrics have been included in some versions as well as the corrected versions of the above Divan from Divans of Khajou-Kermani, Ohadi-Maraghei, Salman Saveji, and Saadi. In some lyrics, there are deletions or additions in the number of couplets. The strangest point that is northworthy while comparing these lyrics is the wrong pen-names used or its deletion. While comparing these lyrics in the Amir Khosro’s Divan with the original lyrics included in the the Divans of the Manahn Fee, some sugestions have been presented to correct them. An attempt has been made to find the origin for the inclusion of these lyrics in the above Divan.

Abdolraim ibn Abdolkarim Safipouri is a Muslim scholar of the 13th A.H. in India. He has left numerous works in Persian and Arabic pertaining to a variety of scientific and literary fields. Safipouri’s birth day is unknown, but he died in 1260 A.H. in Calcutta. His works are in the domain of Arabic-Persian dictionary, Arabic syntax, comprising writing, compilation, description and analysis. Safipour’s most significant work is “Montahi-al-Areb Fee Loghat-al-Arab, firstly compiled in 12521257 A.H. under his supervision in Calutta and then with Chinese transcripts and frequent subsequent lithography in Iran and the Subcontinent. The new typesetting lacks precision as many misspellings are found in this work. The book is formed on the basis of “Ghamous-al-Mohit” but is not the translated version of it. The author’s additions, modifications, comments on the sources as well as his genuine views has turned “Montahi-al-Areb” into a comprehensive, perfect and original Arabic-Persion Dictionary.

One of the major branches of studies in the area of Book of the Kings research, is the study of the groups of epical poems whose rhythm are identical to those of the Book of the Kings and whose composers aimed at versifying certain stories in the same manner and language of Ferdowsi’s epic.
A number of these works such as Bahman Nameh, Koush Nameh, and Faramarz Nameh contain ancient narratives, whereas others like Rostam Nameh and Khavaranb Nameh are the essence of the imagination and storytelling skill of their composers and lack an ancient narrative root. Korsid Nameh poems composed by Nayyeri Shirazi, is another example of such epical stories that follow the style of Ferdowsi’s Book of the Kings. This epical poem is a heritage of Persian iterature in the Subcontinent which has been neglected by the Book of the Kings scholars. The aim of the present article is to introduce and study the linguistic and literary features of this work.

The 10th A.H. Century is commonly identified with its Voghoei (eventuative) poems. In researching literary history, the existence of Nazok Khial trend has been neglected. The trend which laid the ground for the formation of the Nazok Khial style in the 11th A.H. In the present article, initially we are going to prove the existence of the Nazok Khial trend in the 10th A.H. century on the basis of the historical and literary sources of the Safavid era. Then the significance and influence of the Khorasan region in the dissemination of the Nazok Khial trend in this period will be shown. This article claims that in the 10th A.H.century, the poetical trend of Nazok Khial did exist along with the Voghoei poem trend, and that the Khorasan region was one of the major focal points for its dissemination. One of major reasons for the significance of the Khorasan region in the development of Nazok Khiali in the 10th A.H. century is the existence of at least 11 Nazok Khial poets in this region at the time.

The epoch of Gorkanian may be considered as a turning point in the soaring of the Iranian culture and art in the Subcontinent. The continuous support given by the kings of this dynasty to Iranian migrant painters has had a great impact on the paintings of the Subcontinent of that era. The climax of this trend is manifested in the remaining paintings of the time. This art had a different route and style in the era of the succeeding kings, as gradually the influence of the Iranian paintings diminished with time. The present study will explore the causes of the rise and fall of this art in the Subcontinent.

The 12th A.H. Century was the period of the popularity and majesty of the Iranian mysticism in the Subcontinent. It was in this period that numerous works in different areas of mysticism, particularly the memoirs of the mystics and Mashayekhs (learned men), were written. For instance, Tohfat-al-Ma’asoum, was written by Khajeh Mir Ghias-odin Ghiasi. It is the memoir of his Morshed, Shah Ma’asoum (Gholam Mohammad known as Second Ma’asoum) and contains ten tohfehs. The manuscripts and styles will be described in this article. Moreover, this work will be introduced, studied and analyzed, and its peculiar features will be shown. There is also a list of the sofis whose names are mentioned in the book. A brief account of some of the prominent figures have been presented.

In lyrical literature, Sarapasaraei is one of the styles for describing the beloved. Some scholars hold that this style is influenced by the artistic culture. This genre was commonly used in the Persian literature in the era of Timorids and Ghajars. In terms of form, it follows no particular pattern. There are both proses and poems in this genre. Nevertheless, the majority of the samples of this genre are in the versified traditional eloquent form. Rather than composing a thorough Sarapa, at times, the creators of this genre used to provide an anthology of the poems of other poets on the appearance of the beloved. Varesteh’s Sarapa belongs to the latter category. In this article, the authors will introduce Sarapa Nameh and the forming trend of composing sarapa in Iran. Then the features of this genre will be discussed and eventually certain parts of the work will be presented.

GhaznƯ capital city of Ghaznavid Empire witnessed bloody battle between pretenders (between 1115 to 1118 AD) to the throne after the death of Masud Ibn IbrƗhim Sultan GhaznavƯ (rolling between 1098 AD to 1114 AD). There is mystery behind the death of one of his sons, one of pretenders of his throne ŠirzƗd Ibn Mas’ud Ibn IbrƗhim (living 1064/1115 or rough estimation 1116). There was bloody battle between the sons of Mas’ud Ibn IbrƗhim to claim the throne. The question is who was killed first. Was it ŠirzƗd or somebody else?