مجله متن شناسی ادب فارسی
سال دوازدهم شماره 2 (پیاپی 46، تابستان 1399)

Olfati Savoji" is the Shiie poet of the court of Abdullah Qutb Shah,The seventh QotbShahian king, The kings who Ruled from 924-1098 in Deccan, Golkonda and Heydarabad. We don't know much about his life.Based on Little information about Olftie's life and A great number of poets named Olfat stayed in the Indian courts, Some biographies have referred to him as "Olfati Yazdi".and Biographers have said that the Author of Qlfati Savoji's books is Qlfati Yazdi. Olfati Savoji has two books: Reyaz -al- Sanaye Qotbsgahi and Ravayeh Golshan Qotbshahi. Two of his works have not yet been edited:"Riyaz-al-Sanaye" A book about the Prosody and Rhyme and The imagination of poetry and "Ravayeh_e_golshan QutbShahi" A book about the Praise of "Abdullah Qutb Shah" and a description of the royal monuments and some of his court customs. Through the study of the manuscript of Savoji's works and the study, analysis and historical adaptation of Things that biographers have written about him, This study tries to give correct and accurate information about his life and his works. The findings of this study can be helpful in further studies of Persian literature history and stylistics in the 10th to 11th centuries. Key Words: Olfati Savoji, Riyaz-al-Sanaye,Ravayeh Golshan Qotbshahi.

Structuralism is an attempt to apply linguistic theory to non-linguistic subjects and activities. In this paper, the narrative of Zahak Mardush is examined based on the theory of Claude Bremond, the French structuralist narrator. Bremond considers sequence to be an essential element of narrative. His model is based on the dual approach of winning or not winning the champion. In this paper, the narrative has been analyzed by a descriptive-analytical method. After examining it, it was concluded that the narrative has a systematic design and has used the method of narration linearly.

One of the issues raised in the study of ancient texts is the problem of distortion, and perhaps this is one of the important factors in creating ambiguity in these texts. Detecting and correcting these distortions can provide readers a more readable text and make it easier to access the information or knowledge presented in these works. One of the famous Persian works is Tarikh-e Beyhaqi (history of Bayaqi) that, despite the publication of valuable corrections, the exact meaning of some of its terms and expressions is not yet clear. One of these expressions is ‘qafa daridan’, which both the commentators and expositors of this work, as well as those who who have already discussed this issue, have accepted it in the same way and all have defined it as a metaphor for ‘discredit and disgrace’. The question of this article is whether this term could have the correct meaning in the same way or is its original form somewhat different and distorted? Based on this, it has been shown with the help of evidence and reasons that the present form of the term and the interpretations that the distinguished commentators have made cannot be correct. Then, with the help of the text of the Tarikh-e Beyhaqi as well as evidence from other ancient Persian manuscripts, the correct form is presented.

Statistical consideration of syntactic issues in verse and prose makes the analysis of verse and prose structure easier and helps us to understand how two poets use acquaintance techniques in conveying the message in their poems. Naser Khosrow and Sanaei are prominent ode composers in Persian literature. Investigating the syntactic structure of two odes composed in Bahr Hazaj shows the frequency of informative form, variety of adjectives, conjunction and simple sentences in Naser Khosrow poems. Meanwhile, the rate of verb transfer, prepositions, and conjunctions has more frequency in Sanaei’s poem. This feature makes Sanaei’s poem more technical. Examination of the lexical arrangement of the poems shows that Naser Khosrow’s poetry is closer to the standard and aimless language. The frequency of words related to the wisdom motif in Naser Khosrow’s poetry and words associated with the Love motif in Sanaei’s poetry are largely related to the dominant aspect in each of these two poems. This case study reveals that the dominant aspect in the formation of the syntactic structure and lexical arrangement of the poems of both poets have a direct and significant relationship. One of the reasons for the significant change in the syntactic structure of Nasser Khosrow's poems with Sanaei’s poems, which distinguishes each style of poetry, is the change in the dominant aspect. This research provides a model for examining the linguistic and literary characteristics of poets that can provide remarkable and authentic results.

Shawkat Bukhari is one of the prominent poets of the early twelfth century (LH) and of the late Safavid and Indian style whose poetry was only once edited and published by Dr. Sirus Shamisa, using two manuscripts. In this article, we will examine the descriptive-analytical criticism of the Shukat Bukhari Court's correction by Dr. Shamisa and prove its necessity by reiterating its shortcomings. The results are as follows: Use of limited edition due to lack of knowledge of available copies at home and abroad, achieving correction without focus and interest in the work, according to the Honorable Editor The use of two versions (practically) of the idea of ​​resuscitation and transcription of the trace work by transcribing it to the printing press has provided a version that has: First, a lot of loyalty. Secondly, due to the lack of use of other existing manuscripts, it does not have a scientific and critical form. Thirdly, the book has a short list and no suspensions. Therefore, for the above reasons, we attempted to remake the Tribunal using six new validated manuscripts selected from the 30 available manuscripts available. We presented it and other available versions, which included seventy-seven sonnets, one piece, five quatrains, and one hundred fifty-six additional single bits.

 Taleb Amoli is one of the greatest speakers of the eleventh century AH which has played a significant role in the development of Indian style. The most respected researchers are on the aspect of imagination and the theme of his poetry. In the meantime, less emphasis is placed on the structure and linguistic aspects of his poetry, in particular the art of composing. In this essay, he addresses this aspect of his language. One of the most important elements in the style of poetry is the linguitic strueture of the poem one of the tools that talib has used in has poetic lingustic stracture is highligting.Taleb has made the most of this principle in order to combine it And most of his compositions follow the principle of the audience. Compositions derived from the Amolite Tribunal have been reviewed and analyzed under titles such as combinations of compounds, pseudo-combinations, compound and compound adjectives, compound formulations and compounds. Finally, the main point of the article is that Amoli's Taleb has entered countless combinations in the Persian vocabulary range. Many of these compounds are eye-catching and delicate, and the separation from being distracted gives a fresh look to the language of his poem. Taleb's performance has led these derived combinations to take place in a suitable position that enhances both the formal value of the word and the meaning of its word. Therefore, it can be said that the dominant language of the Taleb Amoli, the combination and the necessity of special interest in these compounds is obvious.

Editing manuscripts is the most fundamental type of research in academic research. Taleb-e Amoli is among the most well-known poets in the eleventh century AH. His sonnets, which include more than half of his songs, contain nearly 13000 verses. Although Taheri Shahab (in 1968) has corrected and published Taleb-e-Amoli's Divan (collection), in order to correct, it is necessary to use all the authentic sources and copies available. Issues such as not using numerous available manuscripts, not reporting inaccurate versions and alternatives in the printed version, and wrong selections lead the authors of this paper while introducing a valid manuscript not used in the previous correction of this work, to criticize and investigate the previous correction of the book. This re-examination attempts to address some of these shortcomings and misreading by researching the text and using the new manuscript. As a result of the present study, a number of new sonnets and verses were added to Taleb’s collection. This completes the shortcomings of the printed version as far as possible. Recording the duplicate version and some new vocabulary is another result of this study. In addition, research into the work makes a new introduction to the stylistic features of Taleb's sonnets and other related topics to be made easier for scholars of Persian poetry and literature to ensure proper judgment and interpretation about Taleb's collection.

In the treasury of Persian manuscripts, there are many books on the subject of mineralogy under the name of ‘Javāhir-nāmeh’ or ‘Marifat-al-jawāhir’. The subject of jewelry is the introduction of gems, the description of traits, types, mines, flaws, maintenance methods, their medical properties and prices, and even the recognition of some of the least valuable gems, metals, and sometimes perfumes. Similar to other works in the field of natural sciences, they are written in a scientific, simple and fluent prose and their contents involve repeated themes adapted from Al- Jamāhir’ and ‘Javāhir nāmeh’ by AbuRayhān Al-Biruni and Nezāmi, respectively. A unique version of ‘Monazere-y-e Goharha’ (Debate of Jewels), which is held in the Islamic Consultative Assembly Library, is written in a completely different style. Its unknown author has used an inventive format of debate to introduce twelve jewels. In this way, he/she has shifted from a scientific style to a narrative and attractive one and has created the most comprehensive Persian prose debate. It’s exact and, sometimes, unique information about some jewels and their Indian synonyms have added to the distinctiveness of the work.