University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Olfati Savoji and his works Olfati Savoji and his works 1 18 24364 10.22108/rpll.2019.118803.1569 FA Mohammadsadegh Basiri Department of Persian Language and Literature, Literature and Humanities Faculty , Shahid Bahonar University of Kerman, Kerman, Iran Najme Hosseini Sarvari Department of Persian Language and Literature,Humanities and Literature Faculty, Shahid Bahonar University of Kerman, Kerman, Iran 0000-0002-3866-8036 Ali Jahanshahiafshar Department of Persian Language and Literature, Literature and Humanities Faculty , Shahid Bahonar University of Kerman, Kerman, Iran Journal Article 2019 08 25 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. 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.

https://rpll.ui.ac.ir/article_24364_3f247ea0dcf2d5a1207c4d0c9853180d.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Structural Analysis of Zahak’s Story based on Claude Bremond’s Pattern of Action Structural Analysis of Zahak’s Story based on Claude Bremond’s Pattern of Action 19 36 24214 10.22108/rpll.2019.118076.1541 FA Mahdieh Melaly PhD Candidate of Persian Language and Literature, University of Isfahan, Iran. Mohammadreza Nasresfahani Associate Professor of Persian Language and Literature, University of Isfahan, Iran. Zohre Najafi Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Iran. Eshagh Toghiani Professor of Persian Language and Literature, University of Isfahan, Iran. Journal Article 2019 07 10 Abstract 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. Introduction Structuralism was introduced in France in the 1950s and 1960s and was based on the assumption that if human actions and achievements are meaningful, so there must be a system of distinctions and relations between units of action and production that allows the presence of meaning (Ahmadi, 1992). Statement of the Problem Understanding the narrative function of Zahak's story based on Claude Bremond’s Narrative Theory. Research Questions 1. How can Zahak's narrative structure be interpreted in terms of Claude Bremond's components? 2. Which procedures, events, and processes contribute to the systematization and coherence of the narrative? Research Purposes Understanding the narrative structure of the narration, Understanding the fundamental relationships between the narrative elements and the systematic structure of the narrative. Literature Review any articles have been written on the story of Zahak. Tabassi and Tavousi (2005) in the article ‘Zahak Mardoush in Ferdowsi's Shahnameh’ have investigated this narrative in two axes of alternation of darkness and illumination, and punishment of sinners. Shafi'i and Ghobadi (2017), in their paper ‘Semiotic-Semantic Analysis of Zahak's and Fereidun's Narrative Discourse based on the Theory of Grimes’, have examined this narrative in the form of the Grimes’ action diagram. Material & Methods Narration Scholes and Claught define the narrative as follows: “All literary texts which have the two characteristics of storytelling and the presence of the storyteller can be considered as a narrative text” (as cited in Okhovat, 1993, p. 36). Narrative history is divided into three periods: the pre-structuralist period (until 1960), the structuralist period (from 1960 to 1980), and the post-structuralist period (Makaryk, 2005, p. 149). Post-structuralism involves a critique of metaphysics, and concepts such as causality, identity, subject, and truth (Sarup, 2003, p. 11-13). Story Analysis Zahak's narrative, based on Bremond's theory, consists of three sequences with three functions. The First Sequence (first phase of effective action) 1. The prestigious Mardas Shah has a son of unreason named Zahak. 2. One day Iblis comes to Zahak and promises him not to talk to anyone about his sinister plan and nurtures the wish of becoming king in his head. To reach this position, Iblis forced him to kill his father. 3. Zahak kills his father to reach the kingdom. The Second Sequence (Second Phase of Effective Action) 1. Zahak sits on the throne of the kingdom. 2. People have been saddened by the oppression of Jamshid. They come to Zahak and ask him to redress them. 3. Eventually, Jamshid was arrested by Zahak and was bisected with a saw. Third Sequence 1. The reign of Zahak. 2. Killing many people to use their brains for feeding his snakes, exhaustion of people, entering Kaveh into Zahak's palace, Kaveh's uprising against Zahak, and calling for Fereidon. 3. Fereidon enters the Zahak palace, Zahak being tied in Mount Damavand. Discussion of Results & Conclusions In this paper, the linearity of time and the simplicity of the narrative scheme led the authors to identification of some sequences in the text. The phases of action were distinguished based on causal relationships. Each of these phases had three functions: 1) potentiality or the ability of the narrative in causal relation of sequences; 2) the process phase, or the way in which the narrative proceeds perfection; 3) the outcome phase, which deals with the final plot of the narrative and the main characteristics of the narrative hero. Analyzing each phase of the effective action, the reader finds out that the hero is not always victorious, as seen in the first and second sequences of the analysis. Zahak who is one of the most hated figures in the Shahnameh won over Mardas whom Ferdowsi as being ‘Prestigious’ and ‘Beloved’, and even Jamshid who was called the monarch of the Golden Age. Abstract 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. Introduction Structuralism was introduced in France in the 1950s and 1960s and was based on the assumption that if human actions and achievements are meaningful, so there must be a system of distinctions and relations between units of action and production that allows the presence of meaning (Ahmadi, 1992). Statement of the Problem Understanding the narrative function of Zahak's story based on Claude Bremond’s Narrative Theory. Research Questions 1. How can Zahak's narrative structure be interpreted in terms of Claude Bremond's components? 2. Which procedures, events, and processes contribute to the systematization and coherence of the narrative? Research Purposes Understanding the narrative structure of the narration, Understanding the fundamental relationships between the narrative elements and the systematic structure of the narrative. Literature Review any articles have been written on the story of Zahak. Tabassi and Tavousi (2005) in the article ‘Zahak Mardoush in Ferdowsi's Shahnameh’ have investigated this narrative in two axes of alternation of darkness and illumination, and punishment of sinners. Shafi'i and Ghobadi (2017), in their paper ‘Semiotic-Semantic Analysis of Zahak's and Fereidun's Narrative Discourse based on the Theory of Grimes’, have examined this narrative in the form of the Grimes’ action diagram. Material & Methods Narration Scholes and Claught define the narrative as follows: “All literary texts which have the two characteristics of storytelling and the presence of the storyteller can be considered as a narrative text” (as cited in Okhovat, 1993, p. 36). Narrative history is divided into three periods: the pre-structuralist period (until 1960), the structuralist period (from 1960 to 1980), and the post-structuralist period (Makaryk, 2005, p. 149). Post-structuralism involves a critique of metaphysics, and concepts such as causality, identity, subject, and truth (Sarup, 2003, p. 11-13). Story Analysis Zahak's narrative, based on Bremond's theory, consists of three sequences with three functions. The First Sequence (first phase of effective action) 1. The prestigious Mardas Shah has a son of unreason named Zahak. 2. One day Iblis comes to Zahak and promises him not to talk to anyone about his sinister plan and nurtures the wish of becoming king in his head. To reach this position, Iblis forced him to kill his father. 3. Zahak kills his father to reach the kingdom. The Second Sequence (Second Phase of Effective Action) 1. Zahak sits on the throne of the kingdom. 2. People have been saddened by the oppression of Jamshid. They come to Zahak and ask him to redress them. 3. Eventually, Jamshid was arrested by Zahak and was bisected with a saw. Third Sequence 1. The reign of Zahak. 2. Killing many people to use their brains for feeding his snakes, exhaustion of people, entering Kaveh into Zahak's palace, Kaveh's uprising against Zahak, and calling for Fereidon. 3. Fereidon enters the Zahak palace, Zahak being tied in Mount Damavand. Discussion of Results & Conclusions In this paper, the linearity of time and the simplicity of the narrative scheme led the authors to identification of some sequences in the text. The phases of action were distinguished based on causal relationships. Each of these phases had three functions: 1) potentiality or the ability of the narrative in causal relation of sequences; 2) the process phase, or the way in which the narrative proceeds perfection; 3) the outcome phase, which deals with the final plot of the narrative and the main characteristics of the narrative hero. Analyzing each phase of the effective action, the reader finds out that the hero is not always victorious, as seen in the first and second sequences of the analysis. Zahak who is one of the most hated figures in the Shahnameh won over Mardas whom Ferdowsi as being ‘Prestigious’ and ‘Beloved’, and even Jamshid who was called the monarch of the Golden Age.

https://rpll.ui.ac.ir/article_24214_f715a1abfec49bd3bbdb7c2e7ca6c50f.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Contemplation on One of the Tarikh-e Beyhaqi’s Terms: ‘Qafa Daridan’ Contemplation on One of the Tarikh-e Beyhaqi’s Terms: ‘Qafa Daridan’ 37 42 24235 10.22108/rpll.2019.116912.1498 FA Jamileh Akhyani Associate Professor, Department of Persian Language and Literature, Faculty of Humanities, Zanjan University, Zanjan. Iran, Journal Article 2019 05 09 Abstract 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. Introduction Tarikh-e-Beyhaqiis one of the most valuable Persian texts of the fifth century AH. Therefore, looking at its words and terms and trying to discover their authenticity can be a worthwhile endeavor. One of the terms used in Tarikh-e Beyhaqi but ignored by scholars is ‘Qafa Daridan’. In this article, we will attempt to refute its present form by providing reasons and evidence and will find the correct form. Material & Methods The word ‘Qafa’ has been used 9 times in Tarikh-e Baihaqi: six times in the sense of ‘behind’, two times in the sense of ‘above’, and once in the sense of ‘hit on the neck’. Also, it has been used once as a verb with the word ‘khordan’ (eating) meaning ‘to punish, to beat’. ‘Qafa Daridan’ has also been used three times in Tarikh-e Beyhaqi: 1- In the story of the arrival of the ministry of Khwaja Ahmad Meimandi and the king’s first formal and secret meeting with him: “Some were given jobs, and some were dismissed and them (Qafq Daridan)” (Modarres Sadeghi, 2009, p. 170) 2- In the Turkmen story, when the Minister talks about bringing Turkmens to Khorasan by Soltan Mahmud and its negative results: “There was so much trouble them … (Qafq Daridan) and they drove him out of Khorasan” (ibid., p. 272) 3- In the story of Masoud’s conversation with Bunasr Moshkan about a secretary named Bulfath and revealing that Bulafat has been Masoud’s secret spy in the Divan’s Correspondence: “I used to say that his … (Qafq Daridan) and be expelled from the court so that the secretary of the traitor would not be employed” (ibid., p. 310). ‘Qafa Daridan’ in both dictionaries and descriptions of Tarikh-e Beyhaqi has come to mean disgrace and discredit. Also, some refer to it as the story of Yusuf and Zulaikha and the tearing of Yusuf’s clothes by Zulaikha. This does not seem to be the correct interpretation, as in the story above Yusuf’s tearing of the clothes is a sign of his sincerity, not his scandal. Moreover, the meaning cannot be true in Tarikh-e Beyhaqi for the following reasons: 1) Why should the king and the Minister discredit one group at their first official meeting? And why Beyhaqi who talked about all the details, didn't talk about their disgrace? 2) The Turkmens were wandering tribes whose job was to flee and gain or lose their land, and to expel them from Khorasan would not be considered a scandal. 3) Revealing spying on the King not only does not discredit him, but adds to his credibility. Discussion of Results & Conclusions It is supposed that the term is this text is distorted and the above word refers to ‘Qaba Daridan’ (tearing up Qaba= a long shirt for men) not ‘Qafa Daridan’. Qaba has been a court dress and government agent in general and no one went to the king without it. In Beihaqi's History, where the author intended to talk of appointing individuals to important occupations, there is also talk of wearing a special Khel’t (robe of honor) that was the main part of Qaba. Therefore, the dismissal of some agent from his position, likewise, required him to be unfrocked. In Tarikh-e Beyhaqi, in describing the dismissed or arrested individuals, we see them without Qaba. In all three pieces of evidence mentioned above, there is talk of ‘firing’ them. Accordingly, the meaning of “Qaba Daridan” has gradually become "firing". Abstract 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. Introduction Tarikh-e-Beyhaqiis one of the most valuable Persian texts of the fifth century AH. Therefore, looking at its words and terms and trying to discover their authenticity can be a worthwhile endeavor. One of the terms used in Tarikh-e Beyhaqi but ignored by scholars is ‘Qafa Daridan’. In this article, we will attempt to refute its present form by providing reasons and evidence and will find the correct form. Material & Methods The word ‘Qafa’ has been used 9 times in Tarikh-e Baihaqi: six times in the sense of ‘behind’, two times in the sense of ‘above’, and once in the sense of ‘hit on the neck’. Also, it has been used once as a verb with the word ‘khordan’ (eating) meaning ‘to punish, to beat’. ‘Qafa Daridan’ has also been used three times in Tarikh-e Beyhaqi: 1- In the story of the arrival of the ministry of Khwaja Ahmad Meimandi and the king’s first formal and secret meeting with him: “Some were given jobs, and some were dismissed and them (Qafq Daridan)” (Modarres Sadeghi, 2009, p. 170) 2- In the Turkmen story, when the Minister talks about bringing Turkmens to Khorasan by Soltan Mahmud and its negative results: “There was so much trouble them … (Qafq Daridan) and they drove him out of Khorasan” (ibid., p. 272) 3- In the story of Masoud’s conversation with Bunasr Moshkan about a secretary named Bulfath and revealing that Bulafat has been Masoud’s secret spy in the Divan’s Correspondence: “I used to say that his … (Qafq Daridan) and be expelled from the court so that the secretary of the traitor would not be employed” (ibid., p. 310). ‘Qafa Daridan’ in both dictionaries and descriptions of Tarikh-e Beyhaqi has come to mean disgrace and discredit. Also, some refer to it as the story of Yusuf and Zulaikha and the tearing of Yusuf’s clothes by Zulaikha. This does not seem to be the correct interpretation, as in the story above Yusuf’s tearing of the clothes is a sign of his sincerity, not his scandal. Moreover, the meaning cannot be true in Tarikh-e Beyhaqi for the following reasons: 1) Why should the king and the Minister discredit one group at their first official meeting? And why Beyhaqi who talked about all the details, didn't talk about their disgrace? 2) The Turkmens were wandering tribes whose job was to flee and gain or lose their land, and to expel them from Khorasan would not be considered a scandal. 3) Revealing spying on the King not only does not discredit him, but adds to his credibility. Discussion of Results & Conclusions It is supposed that the term is this text is distorted and the above word refers to ‘Qaba Daridan’ (tearing up Qaba= a long shirt for men) not ‘Qafa Daridan’. Qaba has been a court dress and government agent in general and no one went to the king without it. In Beihaqi's History, where the author intended to talk of appointing individuals to important occupations, there is also talk of wearing a special Khel’t (robe of honor) that was the main part of Qaba. Therefore, the dismissal of some agent from his position, likewise, required him to be unfrocked. In Tarikh-e Beyhaqi, in describing the dismissed or arrested individuals, we see them without Qaba. In all three pieces of evidence mentioned above, there is talk of ‘firing’ them. Accordingly, the meaning of “Qaba Daridan” has gradually become "firing".

https://rpll.ui.ac.ir/article_24235_c39352146b6c520dc92db35adca07613.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 A Comparative Investigation of Syntactic Structures in Naser Khosrow and Sanaei’s Odes according to the Dominant Aspect (Case Study: A Famous Ode from Each Poet) A Comparative Investigation of Syntactic Structures in Naser Khosrow and Sanaei’s Odes according to the Dominant Aspect (Case Study: A Famous Ode from Each Poet) 43 60 24380 10.22108/rpll.2019.119359.1592 FA Mohammadreza Irvani Assistant professor of Persian literature, General Studies Department, Fundamental Sciences Department, Imam Ali University, Tehran, Iran HAMID ABDOLLAHIAN Associate Professor of Persian Literature, Department of Persian Literature, Faculty of Humanities, Arak University, Arak, Iran. Journal Article 2019 09 30 Abstract 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. Introduction The syntax is one of the domains determines the style and manner of expression of each literary work and affects its coherence. The system is naturally more abstract than the structure. The structure is the order of coherence in language. In contrast, the syntax is the order of replacement. In analyzing the sentence structure of literary works, one should pay attention to the differences between artistic and rhetorical delicacies and their differences with ordinary language especially in poems where the appropriateness of the subject and various variables such as meter affect its quality. The natural rhetoric of Persian language also gives the poet the opportunity to change the order of the vocabulary, as he wishes, depending on the mood and meter of the poem to emphasize something in order to influence the audience. Vocabulary arrangement, on one hand, is associated with the exterior music of the poem and its sentence and rhythm, and, on the other hand, it is a field of syntactic defamiliarization and poetic liberation. Material & Methods Given that there are structural features at all levels of a text, the analysis of some parts of a text represents its overall characteristics. From this point of view, according to the Structuralists’ view and Dr. Shafiei’s opinion, selecting a smaller structure can greatly represent the larger structure. Thus, the selection of an ode, as the smaller structure, from a poet’s divan (collection), as the larger structure, and a careful examination of their syntactic structure reveals the linguistic skills and the syntactic structure of the poet’s divan and identify issues such as defamiliarization and the influence of dominant aspect on the syntactic structure of divan. It can be generalized to the whole work. Discussion of Results & Conclusions Taking into account these three points, one ode was chosen from each poet’s divan. Nasser Khosrow's ode is written in fifty lines and in the meter of the 'Mafailon, Mafailon, Mafailon, Faoolon'. Its overall theme is a kind of wise advice. The meter of Sana'i Ghaznavi's is ‘Mafailon, Mafailon, Mafailon, Mafailon’ which has one more ‘Mafailon’ and Contains a longer syllable more than Nasser Khosrow’s ode. For a comparative study of the two odes, this point was examined via statistics and was modified proportionately. The following conclusions were derived from the analysis of these two odes. The higher frequency of informative form in Naser Khosrow’s poetry has a direct relation with the dominant of rationalism. The rate of changing the place of verbs is higher in Sanaei’s Poetry than Nasser Khosrow’s. This shows that Sanaei’s poetry is more dynamic. The frequency of prepositions and conjunctions in Sanaei’s poetry is greater than that of Naser Khosrow, which indicates Sanaei’s more and varied use of these elements. The higher number of derivative and simple adjectives clearly shows his greater tendency to describe various events and issues and his attention to external phenomena. The higher frequency of vocabulary related to the subject of wisdom such as wise unaware consciousness in Nasser Khosrow’s poems shows his rational mentality. The higher use of words related to the subject of love, such as lover, beloved, desire in Sanaei’s poem indicates his spiritual romantic mentality and that love is dominant in his poems. Abstract 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. Introduction The syntax is one of the domains determines the style and manner of expression of each literary work and affects its coherence. The system is naturally more abstract than the structure. The structure is the order of coherence in language. In contrast, the syntax is the order of replacement. In analyzing the sentence structure of literary works, one should pay attention to the differences between artistic and rhetorical delicacies and their differences with ordinary language especially in poems where the appropriateness of the subject and various variables such as meter affect its quality. The natural rhetoric of Persian language also gives the poet the opportunity to change the order of the vocabulary, as he wishes, depending on the mood and meter of the poem to emphasize something in order to influence the audience. Vocabulary arrangement, on one hand, is associated with the exterior music of the poem and its sentence and rhythm, and, on the other hand, it is a field of syntactic defamiliarization and poetic liberation. Material & Methods Given that there are structural features at all levels of a text, the analysis of some parts of a text represents its overall characteristics. From this point of view, according to the Structuralists’ view and Dr. Shafiei’s opinion, selecting a smaller structure can greatly represent the larger structure. Thus, the selection of an ode, as the smaller structure, from a poet’s divan (collection), as the larger structure, and a careful examination of their syntactic structure reveals the linguistic skills and the syntactic structure of the poet’s divan and identify issues such as defamiliarization and the influence of dominant aspect on the syntactic structure of divan. It can be generalized to the whole work. Discussion of Results & Conclusions Taking into account these three points, one ode was chosen from each poet’s divan. Nasser Khosrow's ode is written in fifty lines and in the meter of the 'Mafailon, Mafailon, Mafailon, Faoolon'. Its overall theme is a kind of wise advice. The meter of Sana'i Ghaznavi's is ‘Mafailon, Mafailon, Mafailon, Mafailon’ which has one more ‘Mafailon’ and Contains a longer syllable more than Nasser Khosrow’s ode. For a comparative study of the two odes, this point was examined via statistics and was modified proportionately. The following conclusions were derived from the analysis of these two odes. The higher frequency of informative form in Naser Khosrow’s poetry has a direct relation with the dominant of rationalism. The rate of changing the place of verbs is higher in Sanaei’s Poetry than Nasser Khosrow’s. This shows that Sanaei’s poetry is more dynamic. The frequency of prepositions and conjunctions in Sanaei’s poetry is greater than that of Naser Khosrow, which indicates Sanaei’s more and varied use of these elements. The higher number of derivative and simple adjectives clearly shows his greater tendency to describe various events and issues and his attention to external phenomena. The higher frequency of vocabulary related to the subject of wisdom such as wise unaware consciousness in Nasser Khosrow’s poems shows his rational mentality. The higher use of words related to the subject of love, such as lover, beloved, desire in Sanaei’s poem indicates his spiritual romantic mentality and that love is dominant in his poems.

https://rpll.ui.ac.ir/article_24380_c98f573c869d4d0af61c2380ed4183d9.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Criticism of Shukat Bukhari's printed court and its need to be rectified Criticism of Shukat Bukhari's printed court and its need to be rectified 61 80 24462 10.22108/rpll.2020.119163.1585 FA Mohamad Bahramiasl PhD student of persian language and literature of islamic Azad Univercity of Tabriz - Iran Aiyoub Koushan Academic member (assistant professor) of department of Persian literature and language of Islamic Azad University of Tabriz, Iran Hamidreza Farzi Academic member Associate professor of department of persian literature and languag of azad univercity of Tabriz ,Iran Journal Article 2019 09 28 Abstract: 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, achieve 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. Introduction : The elixir of euphoria has buryed us alive The above bit is one of the verses that is similar to the Saree, which is popular in Sari, but rare are those who know who this valuable talk is and who wrote it. While this bit, a bit of Shookat Bukhari's sonnet informs: Make us mad friends of yours, Make our chain of parliament loose Shukhat Bukharai is one of the prominent poets of the early twelfth century and a late Indian Safavid and Indian style who despite his fame and high vocation in the Ottoman and Indian states and in Herat and Transnistria and his life and death in Iran. Strange and mysterious, even among the properties of the polite country is unknown. Among the most important features of Shawkat's poetry are note-taking, theme-making, slim-thinking, imaginary thin, imaginative, fresh and colorful. Shawkat has been an outspoken poet of his day, a fabulous Indian style admirer of the day, to the point that some say that fantasy and the use of off-topic themes have made it difficult to understand his poetry. Is . Shawkat is fond of Saeb Tabrizi and his followers. Numerous copies of Shawkat's Divan are kept in Iranian libraries, but due to the interest of the Ottoman poets and his reputation in the country, most of his Divan manuscripts are kept in Ottoman libraries. He has appeared in a variety of Persian poetry, including Qasida, Ghazal, Masnavi, Rabbi, Dabbiti, and Taekwit Beit, and was, according to Gabe, an astronaut who guided most Ottoman poets for more than half a century. The plethora of inventions and permutations and popular similes were universal. "(Brown, 1316: 167) In this study we will point out numerous shortcomings, omissions in the printed version, and we will prove the necessity of revising the Shukat Bukhara court and its method. Our criticism in this article is comparative criticism of the printed version with the preferred manuscript, and Other areas of criticism will not be due to the limited volume of scientific journals Research Methodology : In this study, six new weighted and validated manuscripts were selected from among the 30 available manuscripts to correct the complexity of the print version. So first of all, we introduce the manuscripts used and then we present the problems and omissions in the printed version by bringing up a bit or a concise version and comparing it to our corrected version. We present the word or bit. It should be noted that the bugs of the printed copy have been eliminated by adopting the intermediate correction method. Introducing the manuscripts used in our correction: 1- Manuscript of 888 (Kaman) belonging to the library of Ayatollah ... Marashi Najafi: Book Name: Divan Shukat Bukharai, Author: Mohammad Ishaq Authentic to Shukat Bukhari, Issue 235, This is a 476-page version and is written by Sheikh Saleh Ghaderi, son of Sheikh Ahmad Khalooti Mansari, who died on Sunday at the age of 1178 It has been written since the death of the poet. Version with bit: Enough of the madness pouring over my head Soda into the henna in my brain Started with nine storylines, the pages of the edition have 15 lines and are written in a line similar to the Nastaliq script, which is a common and legible script. This edition contains 9 chapters, 698 sonnets, 16 quatrains, 281 two-bit and 407 single-bit versions, and is one of the most valuable manuscripts of the Shukat Bukhari Divan. 2- Manuscript of 2613 (Matt 1) belonging to Tabriz Central Library: "Row Number: 518 Office Number: 2613, Book Name: Divan Shukat, Author Name: Mohammad Ishaq Shukat Bukhari surnamed" thin "who later converted his purity to" Shukat ". "From the maddening pouring paint on my air Soda into the henna in my brain ... » Do: "... the infidelity of Kobra came and Hia became a minor Bring him out of government Chu was found to be inferior History of the result of infidelity » Line type: Nastaliq. Writer: Feizullah. Sheet 190, Line 19, Cover Type: Cardboard. Size 13 x 21.5 Make-up and Historical Notes: No Make-up, Supplemental Note: "Al-Qafir Muhammad Thaqib bin Amrullah al-Mawlawi Afi Anhama's" will be seen on the back of the first leaf and the back and on the first leaf with "seals" on it. Allah, the God of the Balla "and" I am the owner of the Al-Qufir al-Hajj Mustafa Sadiqi Ghafrallah "... ... This version has 9 chapters, 742 sonnets, 22 quatrains, 283 two-bit, and 399 single-bit versions and valuable versions. It is a shock to the Divine Court. 3. Manuscript of Tabriz Central Library No. 2698 (Matt. 2): "Row Number 519, Office Number 2698, Book Name: Divan Shockett. RK No. 2698. Beginning: "From the maddening pouring paint on my air Soda into the henna in my brain ... » Do: "... the infidelity of Kobra came and Hia became a minor Bring him out of government Chu was found to be inferior History of the result of infidelity » Line type: Nastaliq. Written by: Sayed Hussein Usman Afandi Diar Bakri, Date: 1197 AH. Sheet 146. Row: 16. Cover Type: Multicolored Leather. Size 15/20/20, Ornamentation and Historical Notes: No Ornamentation and Supplementary Note "I was born in Tabriz under the tutelage of Amanullah Khan Hashemzadeh and in the home government of the late Mr. Agamirza Mohammad Dab Iqbal." "Tangozoil 1317" can be seen beginning the book with a stamp referring to "Hussein 1193" and other illicit stamps. This edition has 9 chapters, 596 sonnets, 14 quatrains, 155 two-bit and 85 single-bit, and is one of the selected Divan of Shukat Bukhari. It should be noted that this version has repeated 3 versions in the margin. 4. Manuscript No. 922 belonging to the Majlis: The above mentioned version with a note to the informant: Enough of the madness pouring over my head Soda into the henna in my brain In other passages of the Divine Court, Shookat is the first to begin. Version pages contain 23 rows. This edition, which is a summary of Shukat Bukhari's poems, has eight tales and one: Thirsty dew in the water Hello, sunshine It does not have the verse that has been written in the eulogy of the Prophet and is in the other versions as the third verse. The beginning of the sonnets beginning with sheet 16 or page 31 God restores my troubled sleep Neglected my green eyelashes It has been opened, the pages of the sonnets are 23 rows, and the edition is written in lower than average script. The end of Sheet 127 or page 253 is the following, with the following two bits quoted in the rest of the Divan of Shockat: The infidelity of Kobra came and she became a minor Bring him out of government Chu was found to be inferior History of the result of devotion The history of the book is 1094, which is 13 years before the death of the poet and "Temat al-Allah, the Almighty." Secondly, although the name of the scribe is not mentioned, it is precisely with the same pen that the text of the book was written that the date of the book was printed. Third, the version is legible and we have less reading problems. This edition contains 8 rhymes, 615 sonnets, 13 quatrains, 175 two-bit and 132 single-bit. One of the problems with this version is that the poet's life is incomplete and incomplete. 5- Linear manuscript 3671 (DET) belonging to the University of Tehran manuscript reservoir: Start this release with a bit: String to the plains of the gloomy stages of the stages Fill the glass with thorns in the water And the end of the quatrain version: Flowers are coming from the grass on the way Resident in your nose of short-sightedness Master the same way These red tribes looked at the punishment Version Date: Nineteenth Century of Muharram on Saturday, 1254 AH, Name of the Book: Mir Hossein Ajnezhad, Manuscript Version: Nastaliq Special Mixed Fracture, a special line that was common in the ancient times Each page has 10 lines and scripts without pen And he wrote very neat and tidy. The version is 253 pages and 506 pages and does not contain quotations and some miscellaneous (singular sonnets and single bits), although it is well written that: Divan poetry and general works of Shockton but with the explanations given, it becomes clear. That this version is minus the quotes, a collection of shockwaves Bukhari's sonnets is in addition to the poets' dissertation, and this mistake is due to the author's inaccurate examination of Shukat's writings and poems. It has been written. 6. Version 131 (COM) of the National Library of the Islamic Republic of Iran: On the first page, before the beginning of the poems, there is a relatively good-naturedly written Nastaaliq script: (owned by Haji Mohammad Khan) and the page is a seal (or Mohammad) written with a prominent Nastaliq script, beginning with the following " Bismillah Al-Rahim al-Rahim »With Qassidi: From the pouring paint of madness on my air Soda into the henna in my brain It has 9 copies in the margins of which there are poems by Hatef Isfahani and ... with a script other than the scripted script and with a good break. Each page has 17 rows, starting with Bismillah Al-Rahim Al-Rahim with the following verse: GOD I have the affective color of dignity Give me ten blades of water to the tears of the nightingale And each page of the sonnets is 17 rows. Scripture: Nastaliq is the usual readable version with no punctuation problems. On the margins of the ghazals, there are quotes from other poets. Shockwave's valuable overview on page 352, like some other two-bit manuscripts: The infidelity of Kobra came and she became a minor Bring him out of government Chu was found to be inferior History of the result of devotion It is over. The present edition, which is a valuable edition of the Shukat Bukhari Divan, has no figures and the history of the book and its books is not known. It has no digits but it is literate by the scribes. Conclusion : The Shawkat Bukharai Divan was corrected and published in 2003 by Dr. Sirus Shamisa using two manuscripts and was published by Ferdows Publications with a circular, but since Shawkat was a great Indian-style poet and his Divan of Weights. And valuable in Indian style, due to the limited availability of revised editions and lack of intrinsic focus and correction to work on its noble statement and the thought of reviving and saving the valuable work of transcribing and not too scientifically correcting it to the printing press. , There was a version that came first: there was a lot of good faith in it, second Due to the lack of other available weighty manuscripts, scientifically not critical. Thirdly, the alphabetical arrangement of alphabetical, but fragmentary, alphabets, chapters, quatrains, quatrains, and quotes, we decided to make using six selected manuscripts. Try the 30 manuscripts available for correction of the Tribunal, and finally, by choosing among the modes of correction, the bugs found in the Tribunal that we have recorded in 360, and in 9 sections: 1- Matching letters 2 - Increasing or increasing letters or words 3 - Adding or adding points and letters 4 - Moving letters and words 5 - Line drawing bugs 6 - Weight shapes 7 - Current Forms 8 - Rhyme Forms 9 - False Preferences We have categorized and rendered a more complete and complete version than all available versions, which paves the way for dear researchers' research in future research. The print contains 9 butchers, 641 sonnets, 1 piece, 300 dbits, 15 quatrains and 246 single bits and our correction version has 9 bits, 728 sonatas, 2 bits, 296 dbits, 20 quatrains and 402 single bits, of which 77 sonnets, 1 piece, It has 5 quotes and 156 single bits more than the printed version. Abstract: 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, achieve 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. Introduction : The elixir of euphoria has buryed us alive The above bit is one of the verses that is similar to the Saree, which is popular in Sari, but rare are those who know who this valuable talk is and who wrote it. While this bit, a bit of Shookat Bukhari's sonnet informs: Make us mad friends of yours, Make our chain of parliament loose Shukhat Bukharai is one of the prominent poets of the early twelfth century and a late Indian Safavid and Indian style who despite his fame and high vocation in the Ottoman and Indian states and in Herat and Transnistria and his life and death in Iran. Strange and mysterious, even among the properties of the polite country is unknown. Among the most important features of Shawkat's poetry are note-taking, theme-making, slim-thinking, imaginary thin, imaginative, fresh and colorful. Shawkat has been an outspoken poet of his day, a fabulous Indian style admirer of the day, to the point that some say that fantasy and the use of off-topic themes have made it difficult to understand his poetry. Is . Shawkat is fond of Saeb Tabrizi and his followers. Numerous copies of Shawkat's Divan are kept in Iranian libraries, but due to the interest of the Ottoman poets and his reputation in the country, most of his Divan manuscripts are kept in Ottoman libraries. He has appeared in a variety of Persian poetry, including Qasida, Ghazal, Masnavi, Rabbi, Dabbiti, and Taekwit Beit, and was, according to Gabe, an astronaut who guided most Ottoman poets for more than half a century. The plethora of inventions and permutations and popular similes were universal. "(Brown, 1316: 167) In this study we will point out numerous shortcomings, omissions in the printed version, and we will prove the necessity of revising the Shukat Bukhara court and its method. Our criticism in this article is comparative criticism of the printed version with the preferred manuscript, and Other areas of criticism will not be due to the limited volume of scientific journals Research Methodology : In this study, six new weighted and validated manuscripts were selected from among the 30 available manuscripts to correct the complexity of the print version. So first of all, we introduce the manuscripts used and then we present the problems and omissions in the printed version by bringing up a bit or a concise version and comparing it to our corrected version. We present the word or bit. It should be noted that the bugs of the printed copy have been eliminated by adopting the intermediate correction method. Introducing the manuscripts used in our correction: 1- Manuscript of 888 (Kaman) belonging to the library of Ayatollah ... Marashi Najafi: Book Name: Divan Shukat Bukharai, Author: Mohammad Ishaq Authentic to Shukat Bukhari, Issue 235, This is a 476-page version and is written by Sheikh Saleh Ghaderi, son of Sheikh Ahmad Khalooti Mansari, who died on Sunday at the age of 1178 It has been written since the death of the poet. Version with bit: Enough of the madness pouring over my head Soda into the henna in my brain Started with nine storylines, the pages of the edition have 15 lines and are written in a line similar to the Nastaliq script, which is a common and legible script. This edition contains 9 chapters, 698 sonnets, 16 quatrains, 281 two-bit and 407 single-bit versions, and is one of the most valuable manuscripts of the Shukat Bukhari Divan. 2- Manuscript of 2613 (Matt 1) belonging to Tabriz Central Library: "Row Number: 518 Office Number: 2613, Book Name: Divan Shukat, Author Name: Mohammad Ishaq Shukat Bukhari surnamed" thin "who later converted his purity to" Shukat ". "From the maddening pouring paint on my air Soda into the henna in my brain ... » Do: "... the infidelity of Kobra came and Hia became a minor Bring him out of government Chu was found to be inferior History of the result of infidelity » Line type: Nastaliq. Writer: Feizullah. Sheet 190, Line 19, Cover Type: Cardboard. Size 13 x 21.5 Make-up and Historical Notes: No Make-up, Supplemental Note: "Al-Qafir Muhammad Thaqib bin Amrullah al-Mawlawi Afi Anhama's" will be seen on the back of the first leaf and the back and on the first leaf with "seals" on it. Allah, the God of the Balla "and" I am the owner of the Al-Qufir al-Hajj Mustafa Sadiqi Ghafrallah "... ... This version has 9 chapters, 742 sonnets, 22 quatrains, 283 two-bit, and 399 single-bit versions and valuable versions. It is a shock to the Divine Court. 3. Manuscript of Tabriz Central Library No. 2698 (Matt. 2): "Row Number 519, Office Number 2698, Book Name: Divan Shockett. RK No. 2698. Beginning: "From the maddening pouring paint on my air Soda into the henna in my brain ... » Do: "... the infidelity of Kobra came and Hia became a minor Bring him out of government Chu was found to be inferior History of the result of infidelity » Line type: Nastaliq. Written by: Sayed Hussein Usman Afandi Diar Bakri, Date: 1197 AH. Sheet 146. Row: 16. Cover Type: Multicolored Leather. Size 15/20/20, Ornamentation and Historical Notes: No Ornamentation and Supplementary Note "I was born in Tabriz under the tutelage of Amanullah Khan Hashemzadeh and in the home government of the late Mr. Agamirza Mohammad Dab Iqbal." "Tangozoil 1317" can be seen beginning the book with a stamp referring to "Hussein 1193" and other illicit stamps. This edition has 9 chapters, 596 sonnets, 14 quatrains, 155 two-bit and 85 single-bit, and is one of the selected Divan of Shukat Bukhari. It should be noted that this version has repeated 3 versions in the margin. 4. Manuscript No. 922 belonging to the Majlis: The above mentioned version with a note to the informant: Enough of the madness pouring over my head Soda into the henna in my brain In other passages of the Divine Court, Shookat is the first to begin. Version pages contain 23 rows. This edition, which is a summary of Shukat Bukhari's poems, has eight tales and one: Thirsty dew in the water Hello, sunshine It does not have the verse that has been written in the eulogy of the Prophet and is in the other versions as the third verse. The beginning of the sonnets beginning with sheet 16 or page 31 God restores my troubled sleep Neglected my green eyelashes It has been opened, the pages of the sonnets are 23 rows, and the edition is written in lower than average script. The end of Sheet 127 or page 253 is the following, with the following two bits quoted in the rest of the Divan of Shockat: The infidelity of Kobra came and she became a minor Bring him out of government Chu was found to be inferior History of the result of devotion The history of the book is 1094, which is 13 years before the death of the poet and "Temat al-Allah, the Almighty." Secondly, although the name of the scribe is not mentioned, it is precisely with the same pen that the text of the book was written that the date of the book was printed. Third, the version is legible and we have less reading problems. This edition contains 8 rhymes, 615 sonnets, 13 quatrains, 175 two-bit and 132 single-bit. One of the problems with this version is that the poet's life is incomplete and incomplete. 5- Linear manuscript 3671 (DET) belonging to the University of Tehran manuscript reservoir: Start this release with a bit: String to the plains of the gloomy stages of the stages Fill the glass with thorns in the water And the end of the quatrain version: Flowers are coming from the grass on the way Resident in your nose of short-sightedness Master the same way These red tribes looked at the punishment Version Date: Nineteenth Century of Muharram on Saturday, 1254 AH, Name of the Book: Mir Hossein Ajnezhad, Manuscript Version: Nastaliq Special Mixed Fracture, a special line that was common in the ancient times Each page has 10 lines and scripts without pen And he wrote very neat and tidy. The version is 253 pages and 506 pages and does not contain quotations and some miscellaneous (singular sonnets and single bits), although it is well written that: Divan poetry and general works of Shockton but with the explanations given, it becomes clear. That this version is minus the quotes, a collection of shockwaves Bukhari's sonnets is in addition to the poets' dissertation, and this mistake is due to the author's inaccurate examination of Shukat's writings and poems. It has been written. 6. Version 131 (COM) of the National Library of the Islamic Republic of Iran: On the first page, before the beginning of the poems, there is a relatively good-naturedly written Nastaaliq script: (owned by Haji Mohammad Khan) and the page is a seal (or Mohammad) written with a prominent Nastaliq script, beginning with the following " Bismillah Al-Rahim al-Rahim »With Qassidi: From the pouring paint of madness on my air Soda into the henna in my brain It has 9 copies in the margins of which there are poems by Hatef Isfahani and ... with a script other than the scripted script and with a good break. Each page has 17 rows, starting with Bismillah Al-Rahim Al-Rahim with the following verse: GOD I have the affective color of dignity Give me ten blades of water to the tears of the nightingale And each page of the sonnets is 17 rows. Scripture: Nastaliq is the usual readable version with no punctuation problems. On the margins of the ghazals, there are quotes from other poets. Shockwave's valuable overview on page 352, like some other two-bit manuscripts: The infidelity of Kobra came and she became a minor Bring him out of government Chu was found to be inferior History of the result of devotion It is over. The present edition, which is a valuable edition of the Shukat Bukhari Divan, has no figures and the history of the book and its books is not known. It has no digits but it is literate by the scribes. Conclusion : The Shawkat Bukharai Divan was corrected and published in 2003 by Dr. Sirus Shamisa using two manuscripts and was published by Ferdows Publications with a circular, but since Shawkat was a great Indian-style poet and his Divan of Weights. And valuable in Indian style, due to the limited availability of revised editions and lack of intrinsic focus and correction to work on its noble statement and the thought of reviving and saving the valuable work of transcribing and not too scientifically correcting it to the printing press. , There was a version that came first: there was a lot of good faith in it, second Due to the lack of other available weighty manuscripts, scientifically not critical. Thirdly, the alphabetical arrangement of alphabetical, but fragmentary, alphabets, chapters, quatrains, quatrains, and quotes, we decided to make using six selected manuscripts. Try the 30 manuscripts available for correction of the Tribunal, and finally, by choosing among the modes of correction, the bugs found in the Tribunal that we have recorded in 360, and in 9 sections: 1- Matching letters 2 - Increasing or increasing letters or words 3 - Adding or adding points and letters 4 - Moving letters and words 5 - Line drawing bugs 6 - Weight shapes 7 - Current Forms 8 - Rhyme Forms 9 - False Preferences We have categorized and rendered a more complete and complete version than all available versions, which paves the way for dear researchers' research in future research. The print contains 9 butchers, 641 sonnets, 1 piece, 300 dbits, 15 quatrains and 246 single bits and our correction version has 9 bits, 728 sonatas, 2 bits, 296 dbits, 20 quatrains and 402 single bits, of which 77 sonnets, 1 piece, It has 5 quotes and 156 single bits more than the printed version.

https://rpll.ui.ac.ir/article_24462_f1314cd9cc79184dc180b7e982d9e223.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Investigating the structure of derivative compositions of talib Amoli poetry from the perspective linguistic stylistics Investigating the structure of derivative compositions of talib Amoli poetry from the perspective linguistic stylistics 81 94 24087 10.22108/rpll.2019.114700.1423 FA Parvin Golizadeh Associate Professor, Department of Literature, Faculty of Literature, Shahid Chamran University of Ahvaz, Iran. Mokhtar Ebrahimi Assistant Professor, Department of Literature, Faculty of Literature, Shahid Chamran University of Ahvaz, Iran. Reza Goroue PhD Candidate, Department of Literature, Faculty of Literature, Shahid Chamran University of Ahvaz, Iran. Journal Article 2019 01 16 Abstract 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. Abstract 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.

https://rpll.ui.ac.ir/article_24087_d57b40d6555e40489370c993e6b314e3.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 The Necessity of the Re-correcting Taleb-e-Amoli’s Sonnets (Ghazaliat) The Necessity of the Re-correcting Taleb-e-Amoli’s Sonnets (Ghazaliat) 95 114 24001 10.22108/rpll.2019.115411.1449 FA Roohollah Askari PhD Candidate, Department of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University of Kazerun, Iran. Seyyedmohammad Dashti Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Salman Farsi University of Kazerun, Iran. Journal Article 2019 04 22 Abstract 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. Introduction The authors of this paper examined the need to redefine Amoli's sonnets. In this article, first, the position of Taleb Amoli's sonnets in the Indian style of Persian poetry is briefly stated, the research that has been done in this regard is presented and the importance of this research is stated. The manuscripts used in this research are introduced and the characteristics of these sources are briefly described. New sources are very useful in achieving the goals of this research. However, the published version is also one of the most important sources of this research and new sources are considered as complementary. Even the printed text sometimes prevails over new sources and editions and corrects their mistakes. The authors illustrate and attempt to correct the defects of the printed version by providing examples of it and comparing it with new sources. One of the defects is that sonnets are not written in the printed version. Also, bits that are in the sonnets, missing words, or the misspelled words are other defects. Considering that the printed version did not use these manuscripts, it is necessary to revise Amoli's sonnets. Material & Methods The authors of this study, first by looking at existing sources and versions, have considered one version as the base version. However, this version is not completely alone and has been used in several other versions such as new manuscripts and the print edition. It has also been cited as an important and credible resource. By comparing the base version and other versions used with the print version, we have tried to provide a new correction as far as possible without any error. The reading and correction of the text used the characteristics of the poet’s stylistic, linguistic, literary, and aesthetic aspects. Sometimes examples of other poets and contemporaries of the poet helped to correct it. In this research, the method of eclectic correction has been used. Discussion of Results & Conclusions Having multiple versions makes it difficult to investigate a work, but given that each version has its own set of features, it is very useful in reaching a well-cited and well-cited text. Correcting texts repeatedly does not exclude one or two prints from the same work. Taheri Shahab has edited and published Taleb Amoli's poetry based on an old and authentic manuscript, but having access to other authentic versions has allowed him to oppose the printed version in order to make a new correction of Taleb Amoli's sonnets. The following are the results of this study: (A) With the addition of new sonnets that did not appear in the print edition, the collection of Taleb has become more complete. B) The fallen bits in the printed version have been added to the sonnets to counter new and authentic versions. (C) Coping with new versions has made it possible to correctly record some words in the text of the verse, or at least it has been possible to select from among several recordings by copying transcripts. (D) Re-corrections have been made to the suspensions and directories which do not appear in the printed version. The authors of this article hope that the new correction of Taleb Amoli's sonnets will open up new vistas in the field of correction of other literary works and will be useful for researchers and enthusiasts of Persian language and poetry. Abstract 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. Introduction The authors of this paper examined the need to redefine Amoli's sonnets. In this article, first, the position of Taleb Amoli's sonnets in the Indian style of Persian poetry is briefly stated, the research that has been done in this regard is presented and the importance of this research is stated. The manuscripts used in this research are introduced and the characteristics of these sources are briefly described. New sources are very useful in achieving the goals of this research. However, the published version is also one of the most important sources of this research and new sources are considered as complementary. Even the printed text sometimes prevails over new sources and editions and corrects their mistakes. The authors illustrate and attempt to correct the defects of the printed version by providing examples of it and comparing it with new sources. One of the defects is that sonnets are not written in the printed version. Also, bits that are in the sonnets, missing words, or the misspelled words are other defects. Considering that the printed version did not use these manuscripts, it is necessary to revise Amoli's sonnets. Material & Methods The authors of this study, first by looking at existing sources and versions, have considered one version as the base version. However, this version is not completely alone and has been used in several other versions such as new manuscripts and the print edition. It has also been cited as an important and credible resource. By comparing the base version and other versions used with the print version, we have tried to provide a new correction as far as possible without any error. The reading and correction of the text used the characteristics of the poet’s stylistic, linguistic, literary, and aesthetic aspects. Sometimes examples of other poets and contemporaries of the poet helped to correct it. In this research, the method of eclectic correction has been used. Discussion of Results & Conclusions Having multiple versions makes it difficult to investigate a work, but given that each version has its own set of features, it is very useful in reaching a well-cited and well-cited text. Correcting texts repeatedly does not exclude one or two prints from the same work. Taheri Shahab has edited and published Taleb Amoli's poetry based on an old and authentic manuscript, but having access to other authentic versions has allowed him to oppose the printed version in order to make a new correction of Taleb Amoli's sonnets. The following are the results of this study: (A) With the addition of new sonnets that did not appear in the print edition, the collection of Taleb has become more complete. B) The fallen bits in the printed version have been added to the sonnets to counter new and authentic versions. (C) Coping with new versions has made it possible to correctly record some words in the text of the verse, or at least it has been possible to select from among several recordings by copying transcripts. (D) Re-corrections have been made to the suspensions and directories which do not appear in the printed version. The authors of this article hope that the new correction of Taleb Amoli's sonnets will open up new vistas in the field of correction of other literary works and will be useful for researchers and enthusiasts of Persian language and poetry.

https://rpll.ui.ac.ir/article_24001_67968339a80c258dd42a80f07db98580.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 2 2020 06 21 Introduction of ‘Monazere-y-e Goharhā’ (Debate of Jewels): the most comprehensive prose debate in the Persian literature Introduction of ‘Monazere-y-e Goharhā’ (Debate of Jewels): the most comprehensive prose debate in the Persian literature 115 131 24084 10.22108/rpll.2019.115848.1470 FA Eehteram Rezaee Assistant Professor of Payame Noor University, Iran. Sekineh Gholampour Dehaki Department of Persian Language and Literature, Islamic Azad University, Joybar Branch, Mazandaran, Iran. Journal Article 2019 04 14 Abstract 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. Introduction The Jewels’ Debate is the 4th part of a collection with record index of 492597 and recognition No. of 5/56 which is bestowed by Commander Majid Firouz (Nasir-ul-Dolah) to the library of Islamic Consultative Assembly. This book is compiled in small square format of 12/5×20 sizes. Its cover is a one-fold red color one with vermeil titles within the book. Its lines and pages are written in different Nastaliq and broken Nastaliq calligraphy styles. The monograph constitutes 141-160 pages of the collection and is written in broken Nastaliq style. Similar to other monographs, each page involves 14 lines and all pages have Rekabah (footnotes). Within the text, there are vermeil signs of comma, dash and three triangular commas. About the Author Unfortunately, some parts of the preface and some pages of the debate itself are lost. Because of this, we have no correct information about the book’s name and its writing date or reason. But, the author’s exact information about the types of jewels and their Indian equivalents, citing some Hadiths about stones from Imams (religious leaders) and his/her reference to ‘General Peace’ (which is more related to Akbar Shah Gurkani), suggest that he/she has been an Iranian Shiite who has emigrated to India during the Safavid Dynasty and has spent most part of his/her life over there. The writing features of the work, especially frequent use of incomplete verbs such as ‘Kardeh’ and ‘Rafteh’ instead of ‘Kardeh ast’ and ‘Rafteh ast’, the Indian equivalent of some words, using of the term ‘General Peace’, and its recommendation, and, particularly, exact information about stones and their traditional names, make us admit that the work is written during the 11th century. Discussion The narrative style and debate like the structure of the work and its literary tune make it thoroughly different from the other works written in this field. The author’s use of the narrative language and debate makes the work a pleasant and attractive one. The debate is a method to convince audiences (readers), so its implementation increases the author’s success level in drawing readers’ attention to his/her work and the speech impact. This way, the author personifies jewels. These abstract and unreal characters, all of which are formed within the author’s mind, determine the narration progress by their speeches. The debate includes 12 distinct parts. In each part, the author, also as the narrator, describes one jewel’s features and its types. The described jewels include crystal, jade, opal, turquoise, cats-eye, ruby, emerald, sapphire, pearl, and coral. Toward the end of the last part, when the debate reaches its peak, and insults are emerged, a heavenly voice is heard. It advices and reproaches jewels and talks about their essence unity and invites them to General Peace. The narrator follows that heavenly voice. Unfortunately, the next pages are lost and the debate is incomplete. Conclusion Totally, this work is valuable because of its use of narrative structure. Also, from the subject perspective, there are exact and detailed information about types of jewels, their Indian equivalents, verses, and hadith about jewels, all of which add to its content richness. Abstract 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. Introduction The Jewels’ Debate is the 4th part of a collection with record index of 492597 and recognition No. of 5/56 which is bestowed by Commander Majid Firouz (Nasir-ul-Dolah) to the library of Islamic Consultative Assembly. This book is compiled in small square format of 12/5×20 sizes. Its cover is a one-fold red color one with vermeil titles within the book. Its lines and pages are written in different Nastaliq and broken Nastaliq calligraphy styles. The monograph constitutes 141-160 pages of the collection and is written in broken Nastaliq style. Similar to other monographs, each page involves 14 lines and all pages have Rekabah (footnotes). Within the text, there are vermeil signs of comma, dash and three triangular commas. About the Author Unfortunately, some parts of the preface and some pages of the debate itself are lost. Because of this, we have no correct information about the book’s name and its writing date or reason. But, the author’s exact information about the types of jewels and their Indian equivalents, citing some Hadiths about stones from Imams (religious leaders) and his/her reference to ‘General Peace’ (which is more related to Akbar Shah Gurkani), suggest that he/she has been an Iranian Shiite who has emigrated to India during the Safavid Dynasty and has spent most part of his/her life over there. The writing features of the work, especially frequent use of incomplete verbs such as ‘Kardeh’ and ‘Rafteh’ instead of ‘Kardeh ast’ and ‘Rafteh ast’, the Indian equivalent of some words, using of the term ‘General Peace’, and its recommendation, and, particularly, exact information about stones and their traditional names, make us admit that the work is written during the 11th century. Discussion The narrative style and debate like the structure of the work and its literary tune make it thoroughly different from the other works written in this field. The author’s use of the narrative language and debate makes the work a pleasant and attractive one. The debate is a method to convince audiences (readers), so its implementation increases the author’s success level in drawing readers’ attention to his/her work and the speech impact. This way, the author personifies jewels. These abstract and unreal characters, all of which are formed within the author’s mind, determine the narration progress by their speeches. The debate includes 12 distinct parts. In each part, the author, also as the narrator, describes one jewel’s features and its types. The described jewels include crystal, jade, opal, turquoise, cats-eye, ruby, emerald, sapphire, pearl, and coral. Toward the end of the last part, when the debate reaches its peak, and insults are emerged, a heavenly voice is heard. It advices and reproaches jewels and talks about their essence unity and invites them to General Peace. The narrator follows that heavenly voice. Unfortunately, the next pages are lost and the debate is incomplete. Conclusion Totally, this work is valuable because of its use of narrative structure. Also, from the subject perspective, there are exact and detailed information about types of jewels, their Indian equivalents, verses, and hadith about jewels, all of which add to its content richness.

https://rpll.ui.ac.ir/article_24084_c13beea2764a6e7c865eb4e0dc029638.pdf