University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Investigating some Errors in Aghraz Al-Seyasah by emphasizing a Newly-discovered Manuscript Investigating some Errors in Aghraz Al-Seyasah by emphasizing a Newly-discovered Manuscript 1 18 24368 10.22108/rpll.2019.117906.1535 FA Mokhtar Ebrahimi Assistant Professor in Persian language and literature, Shahid Chamran University of Ahvaz, Iran Nasrallah Emami Professor in Persian language and literature, Shahid Chamran University of Ahvaz, Iran Ghodrat Ghasemimpur Associate Professor in Persian language and literature, Shahid Chamran University of Ahvaz, Iran. Rasoul Kordy Ph.D. Candidates of Persian language and literature, Shahid Chamran University of Ahvaz, Iran. Journal Article 2019 07 03 The words in the Persian literary texts have been distorted because of various reasons such as multiple duplications, different orthographies, and illegible manuscripts. The works of a writer or a poet and his/her stylistic attributes, Divans (collections) of other poets, in addition to different manuscripts of a work can have effective roles in their corrections. Aghraz Al-Seyasah Fi A'araz Al-Reyasah written by Zahiri Samarghandi is also among books which have been distorted over time. Jaafar Sheảr by using four manuscripts (one in written, and three in pictorial formats) of Aghraz Al-Seyasah, without taking advantage of all of them, has corrected and published the printed version of the book for the first time in 1349 (AH). Negligence in using the written version in the correction and trusteeship towards pictorial versions of Aghraz Al-Seyasah, hastiness in correction and weaknesses in typesetting have yielded some errors in the book. In the present paper, the authors, by studying the available manuscripts of Aghraz Al-Seyasah Fi A'araz Al-Reyasah, particularly the newly-discovered manuscript in the library of Khangah-e Ahmadi (Shiraz) and referring to other works written by Zahiri Samarghandi (including Sandbad nameh and Ghorrat–al-Alfaz) and Divans of the other poets, have tried to analyze and correct some distortions and falsification errors in the published text of Aghraz Al-Seyasah. Introduction Aghraz Al-Seyasah fi A'araz Al-Reyasah written by Zahiri Samarghandi is one of the technical prose texts of the sixth century AH full of rich political, social, legal, educational, and ethical teachings. It has a great deal of Persian and Arabic poetic evidence on various occasions. The methods of governing and other teachings mentioned in this book have made this work particularly attractive among classical Persian prose texts, and have attracted many readers, especially government officials in the past. As a result, it has been repeatedly rewritten by scribes and has undergone many falsifications and distortions. An acquaintance with Zahiri’s style, and in particular, the relatively unknown work of Ghorrat al-Alfaz va Nozhat al-alhahaz,a book on the teaching of writing, vocabulary and rhetoric which has been recently published, can help correct some of the errors in Aghraz Al-Seyasah. Material & Methods Considering Zahiriʼs style of writing in his works, and comparing the written manuscripts of Aghraz Al-Seyasah with its printed text, some of the errors in this book have been identified. This article has been written to correct some of these errors. This research is a descriptive-analytic one and with a common method of studies on correction of texts based on manuscripts (especially with an emphasis on the newly-discovered manuscript available at Khanghah-e Ahmadi of Shiraz) and other works of the author. Discussion of Results & Conclusions The stylistics and critical correction of the text are mutually interconnected; the more edited the text is, the more detailed examination of the stylistic properties of the work will be performed. On the other hand, familiarity with the stylistic features of a work also contributes to the scientific and critical correction of the work, which has been used in this study. Also, in this section of the paper, the errors discussed in Aghraz Al-Seyasah are first identified based on the Persian transcript and their English (italic) equivalent within the arc and are arranged in page order. Then, their correct form is suggested based on manuscripts and other documents: Zinat (ornament) (7) Rotbat (rank). Bakhieh (stitch) (10) Takhteh (board). Rowzani (a small hole) (13) Ruze man (my day). Moayiad (assisted) (44) Moabbad (eternal). Benảyeh mahabbat (building of love) (54) Be pảyeh mehnat (due to misery). Be chashm (by eye) (57) Tajassom (embodiment). St (st) (112) Beniat (basis). Marảier (ropes) (123) Sarảier (secrets). Chon mảr (like snake) (163) Khoon bảr (shedding blood). Baghi (remainder) (267) Ta Bi (two perpositios “until” and “without”). Khod (oneself) (311) Chon (because). Margov (expecting) (312) Mazjur (forbidden). Seiảhat (exploration) (317) Masảhat (extent). Tahfif (wear something by clothes) (334) tajfif (make dry). Ghabz (take) (351) Ghanas (hunt). Atmảr (dates) (368) Athmảr (products). Sanảiea (industries) (368) Manabea (sources). Aineh (Mirror) (377) Abneieh (Buildings). Gar (if) (414) Gu (tell). The book of Aghraz Al-Seyasah needs to be re-corrected for the following reasons; numerous manuscripts of this work, inaccuracies and distortions made by scribes, the lack of proofreading of all manuscripts in correction and comparison processes, negligence of the respected editor in lending to the basic version, hastiness and weaknesses in typesetting in the printed text of the book, and the existence of the question mark (meaning that the word is not precisely edited) on pages of the book. In this regard, the authors of this paper have corrected some of the errors in this book and have emphasized the critical correction of this work. The words in the Persian literary texts have been distorted because of various reasons such as multiple duplications, different orthographies, and illegible manuscripts. The works of a writer or a poet and his/her stylistic attributes, Divans (collections) of other poets, in addition to different manuscripts of a work can have effective roles in their corrections. Aghraz Al-Seyasah Fi A'araz Al-Reyasah written by Zahiri Samarghandi is also among books which have been distorted over time. Jaafar Sheảr by using four manuscripts (one in written, and three in pictorial formats) of Aghraz Al-Seyasah, without taking advantage of all of them, has corrected and published the printed version of the book for the first time in 1349 (AH). Negligence in using the written version in the correction and trusteeship towards pictorial versions of Aghraz Al-Seyasah, hastiness in correction and weaknesses in typesetting have yielded some errors in the book. In the present paper, the authors, by studying the available manuscripts of Aghraz Al-Seyasah Fi A'araz Al-Reyasah, particularly the newly-discovered manuscript in the library of Khangah-e Ahmadi (Shiraz) and referring to other works written by Zahiri Samarghandi (including Sandbad nameh and Ghorrat–al-Alfaz) and Divans of the other poets, have tried to analyze and correct some distortions and falsification errors in the published text of Aghraz Al-Seyasah. Introduction Aghraz Al-Seyasah fi A'araz Al-Reyasah written by Zahiri Samarghandi is one of the technical prose texts of the sixth century AH full of rich political, social, legal, educational, and ethical teachings. It has a great deal of Persian and Arabic poetic evidence on various occasions. The methods of governing and other teachings mentioned in this book have made this work particularly attractive among classical Persian prose texts, and have attracted many readers, especially government officials in the past. As a result, it has been repeatedly rewritten by scribes and has undergone many falsifications and distortions. An acquaintance with Zahiri’s style, and in particular, the relatively unknown work of Ghorrat al-Alfaz va Nozhat al-alhahaz,a book on the teaching of writing, vocabulary and rhetoric which has been recently published, can help correct some of the errors in Aghraz Al-Seyasah. Material & Methods Considering Zahiriʼs style of writing in his works, and comparing the written manuscripts of Aghraz Al-Seyasah with its printed text, some of the errors in this book have been identified. This article has been written to correct some of these errors. This research is a descriptive-analytic one and with a common method of studies on correction of texts based on manuscripts (especially with an emphasis on the newly-discovered manuscript available at Khanghah-e Ahmadi of Shiraz) and other works of the author. Discussion of Results & Conclusions The stylistics and critical correction of the text are mutually interconnected; the more edited the text is, the more detailed examination of the stylistic properties of the work will be performed. On the other hand, familiarity with the stylistic features of a work also contributes to the scientific and critical correction of the work, which has been used in this study. Also, in this section of the paper, the errors discussed in Aghraz Al-Seyasah are first identified based on the Persian transcript and their English (italic) equivalent within the arc and are arranged in page order. Then, their correct form is suggested based on manuscripts and other documents: Zinat (ornament) (7) Rotbat (rank). Bakhieh (stitch) (10) Takhteh (board). Rowzani (a small hole) (13) Ruze man (my day). Moayiad (assisted) (44) Moabbad (eternal). Benảyeh mahabbat (building of love) (54) Be pảyeh mehnat (due to misery). Be chashm (by eye) (57) Tajassom (embodiment). St (st) (112) Beniat (basis). Marảier (ropes) (123) Sarảier (secrets). Chon mảr (like snake) (163) Khoon bảr (shedding blood). Baghi (remainder) (267) Ta Bi (two perpositios “until” and “without”). Khod (oneself) (311) Chon (because). Margov (expecting) (312) Mazjur (forbidden). Seiảhat (exploration) (317) Masảhat (extent). Tahfif (wear something by clothes) (334) tajfif (make dry). Ghabz (take) (351) Ghanas (hunt). Atmảr (dates) (368) Athmảr (products). Sanảiea (industries) (368) Manabea (sources). Aineh (Mirror) (377) Abneieh (Buildings). Gar (if) (414) Gu (tell). The book of Aghraz Al-Seyasah needs to be re-corrected for the following reasons; numerous manuscripts of this work, inaccuracies and distortions made by scribes, the lack of proofreading of all manuscripts in correction and comparison processes, negligence of the respected editor in lending to the basic version, hastiness and weaknesses in typesetting in the printed text of the book, and the existence of the question mark (meaning that the word is not precisely edited) on pages of the book. In this regard, the authors of this paper have corrected some of the errors in this book and have emphasized the critical correction of this work.

https://rpll.ui.ac.ir/article_24368_d3f90afe53d23b4ff9852851c7f6eda8.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Investigating the Accuracy of the Recording of the Farsi Poems of Tarikh-e Baihaqi in Two Versions of Fayyaz and Yahaghi–Seyedi Investigating the Accuracy of the Recording of the Farsi Poems of Tarikh-e Baihaqi in Two Versions of Fayyaz and Yahaghi–Seyedi 19 47 24844 10.22108/rpll.2020.121006.1648 FA Yadullah Mohamadi  Professor, Department of Persian Language and Literature, Faculty of Foreign Languages and Literature, University of Kurdistan, Sanandaj, Iran. Sayyed Ahmad Parsa PhD Candidate of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Foreign Languages and Literature, University of Kurdistan, Sanandaj, Iran. Journal Article 2020 01 27 Introduction In more than a quarter of Farsi Poems of Tarikh-e Baihaqi, there are some discrepancies in the recordings of the verses in the two versions of Fayyaz and Yahaghi–Seyedi. This has caused a significant difference. The present study sought to determine the correct recordings of these verses by analyzing the differences. Tarikh-e Baihaqi is an important work from both historical and literal aspects. This study aimed to validate these two recordings of the verses and to provide a better recording of them. It also intended to create a better understanding of the concepts of Tarikh-e Baihaqi. In order to give more weight to historical elements, Baihaqi used a variety of sources including Persian and Arabic verses, the Holy Quran, hadiths (Prophet Mohammad’s narrated words), proverbs, quotations, and other similar elements. He used a total of 321 lines (verses) of Persian poetry. The aim of the research was to compare the meaning of Persian poems in Tarikh-e Baihaqi in two versions of this book (Fayyaz and Yahaghi–Seyedi) and to find out which of these two versions is better and has more value and validity in terms of meaning. Material & Methods In the present study, first, the recordings of these 321 poetic lines in the two versions have been examined comparatively and the differences between these two versions in the recordings of Persian poems have been shown. Then, the cases in which the meaning of a verse or a line is not in harmony with the meaning of the same verse or line in the other versions were identified. The research method of this study was descriptive-analytical. The data were analyzed in a completely inductive way using library and indexing methods. Due attention was paid to vocabulary alignment and selection and their placement in co-occurrence and succession. Also, in analyzing differences in the versions in a discursive-rational way due attention was paid to grammar, semantics, and poetical meters. Among the six published versions of Tarikh-e Baihaqi, the present study has compared the two versions of Fayyaz and Yahaghi–Seyedi for reasons of the accuracy of opinion and obtaining more manuscripts in the field of Persian poetry. Discussion of Results & Conclusions Through a comprehensive study of the Persian poems of Tarikh-e Baihaqi, the authors of the present study found that, for various reasons, some of the verses or stanzas of this work have no clear meaning or no meaning at all. The four long kasidas (odes) of Skafi with 249 lines make up more than 77 percent of the Persian poems in this book. All four odes are about the historical events mentioned in Tarikh-e Baihaqi. Therefore, they are very consistent both horizontally and vertically. Paying attention to this important point in correcting the poems of Tarikh-e Baihaqi is one of the means to achieve a definite corrected version. This research has tried to provide the correct meaning of these lines and, consequently the correct form of these verses following rules of syntax and writing, applying aesthetic criteria, consulting dictionaries of ancient vocabulary, and using reliable emended versions of the poems. The version of Tarikh-e Baihaqi published by Fayyaz came out in 1350 AH and that of Yahaghi-Seyedi was published in 1388 AH. Fayyaz used 12 versions, and Yahaghi and Seyedi used 24 versions to correct the text.‌ Of these 24 versions, two manuscripts, C and N, are the oldest ones, which were both available for Fayyaz. Thus, although Yaghaqi and Seyedi had a significant advantage in the collection of manuscripts in terms of quantity, the manuscripts used in terms of antiquity have no advantage over the manuscripts used by Fayyaz. The results showed that in 81 verses (more than one-fourth) of the 321 verses of Persian verses in Tarikh-e Baihaqi, there are differences in the recording and reporting of the verses in these two corrections. This has created a significant difference. The results indicated that out of 321 Persian poems in Tarikh-e Baihaqi, 240 lines in both versions had no discrepancies and problems. However, there were significant differences in 81 lines. The results also showed that in 53 verses (65.43 percent), Fayyaz recorded and reported sounds better; but in 14 verses (17.28 percent), the Yahaghi-Seyedi’s recording seemed to be better. Furthermore, the correct and clear meaning of 4 verses out of 14 verses which were meaningless in both versions of the book has been presented. The result suggested that Fayyaz’s correction is by far better than the correction of Yahaghi-Seyedi. This is despite the fact that nearly 50 years have passed since its publication and Fayyaz had fewer manuscripts and had no access to present-day advanced electronic search engines. Out of 81 controversial lines, 53 corrected lines by Fayyaz were superior and more valid. Of course, this finding does not mean to disqualify the value of the emended version of Yahaghi-Seyedi, because in correcting the other 14 lines, the scales are in favor of this version. The current recording of these 14 lines contained flaws that the editors themselves and other researchers have pointed out to be misleading and dubious. The authors of the article, considering the total number of the versions of both published texts, have provided suggestions for correcting 4 lines. But, 10 lines are still recorded in such a way that they do not lead to the desired meaning. This shows that other corrections of Tarikh-e Baihaqi are likely to become available. Introduction In more than a quarter of Farsi Poems of Tarikh-e Baihaqi, there are some discrepancies in the recordings of the verses in the two versions of Fayyaz and Yahaghi–Seyedi. This has caused a significant difference. The present study sought to determine the correct recordings of these verses by analyzing the differences. Tarikh-e Baihaqi is an important work from both historical and literal aspects. This study aimed to validate these two recordings of the verses and to provide a better recording of them. It also intended to create a better understanding of the concepts of Tarikh-e Baihaqi. In order to give more weight to historical elements, Baihaqi used a variety of sources including Persian and Arabic verses, the Holy Quran, hadiths (Prophet Mohammad’s narrated words), proverbs, quotations, and other similar elements. He used a total of 321 lines (verses) of Persian poetry. The aim of the research was to compare the meaning of Persian poems in Tarikh-e Baihaqi in two versions of this book (Fayyaz and Yahaghi–Seyedi) and to find out which of these two versions is better and has more value and validity in terms of meaning. Material & Methods In the present study, first, the recordings of these 321 poetic lines in the two versions have been examined comparatively and the differences between these two versions in the recordings of Persian poems have been shown. Then, the cases in which the meaning of a verse or a line is not in harmony with the meaning of the same verse or line in the other versions were identified. The research method of this study was descriptive-analytical. The data were analyzed in a completely inductive way using library and indexing methods. Due attention was paid to vocabulary alignment and selection and their placement in co-occurrence and succession. Also, in analyzing differences in the versions in a discursive-rational way due attention was paid to grammar, semantics, and poetical meters. Among the six published versions of Tarikh-e Baihaqi, the present study has compared the two versions of Fayyaz and Yahaghi–Seyedi for reasons of the accuracy of opinion and obtaining more manuscripts in the field of Persian poetry. Discussion of Results & Conclusions Through a comprehensive study of the Persian poems of Tarikh-e Baihaqi, the authors of the present study found that, for various reasons, some of the verses or stanzas of this work have no clear meaning or no meaning at all. The four long kasidas (odes) of Skafi with 249 lines make up more than 77 percent of the Persian poems in this book. All four odes are about the historical events mentioned in Tarikh-e Baihaqi. Therefore, they are very consistent both horizontally and vertically. Paying attention to this important point in correcting the poems of Tarikh-e Baihaqi is one of the means to achieve a definite corrected version. This research has tried to provide the correct meaning of these lines and, consequently the correct form of these verses following rules of syntax and writing, applying aesthetic criteria, consulting dictionaries of ancient vocabulary, and using reliable emended versions of the poems. The version of Tarikh-e Baihaqi published by Fayyaz came out in 1350 AH and that of Yahaghi-Seyedi was published in 1388 AH. Fayyaz used 12 versions, and Yahaghi and Seyedi used 24 versions to correct the text.‌ Of these 24 versions, two manuscripts, C and N, are the oldest ones, which were both available for Fayyaz. Thus, although Yaghaqi and Seyedi had a significant advantage in the collection of manuscripts in terms of quantity, the manuscripts used in terms of antiquity have no advantage over the manuscripts used by Fayyaz. The results showed that in 81 verses (more than one-fourth) of the 321 verses of Persian verses in Tarikh-e Baihaqi, there are differences in the recording and reporting of the verses in these two corrections. This has created a significant difference. The results indicated that out of 321 Persian poems in Tarikh-e Baihaqi, 240 lines in both versions had no discrepancies and problems. However, there were significant differences in 81 lines. The results also showed that in 53 verses (65.43 percent), Fayyaz recorded and reported sounds better; but in 14 verses (17.28 percent), the Yahaghi-Seyedi’s recording seemed to be better. Furthermore, the correct and clear meaning of 4 verses out of 14 verses which were meaningless in both versions of the book has been presented. The result suggested that Fayyaz’s correction is by far better than the correction of Yahaghi-Seyedi. This is despite the fact that nearly 50 years have passed since its publication and Fayyaz had fewer manuscripts and had no access to present-day advanced electronic search engines. Out of 81 controversial lines, 53 corrected lines by Fayyaz were superior and more valid. Of course, this finding does not mean to disqualify the value of the emended version of Yahaghi-Seyedi, because in correcting the other 14 lines, the scales are in favor of this version. The current recording of these 14 lines contained flaws that the editors themselves and other researchers have pointed out to be misleading and dubious. The authors of the article, considering the total number of the versions of both published texts, have provided suggestions for correcting 4 lines. But, 10 lines are still recorded in such a way that they do not lead to the desired meaning. This shows that other corrections of Tarikh-e Baihaqi are likely to become available.

https://rpll.ui.ac.ir/article_24844_68b0af0d68597372d221de0d2c81b9d2.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Pandnameh is not from Attar ē Neyshaburi Pandnameh is not from Attar ē Neyshaburi 49 70 24459 10.22108/rpll.2019.117650.1526 FA Hamideh Zeynalzadeh Ph.D student of persian language and literature , Faculty of Letters and Humanities, Shahid Madani university of Azarbaijan- Tabriz, Iran. Rahman Moshtaghmehr Professor of Persian Language and Literature, Faculty of Letters and Humanities, Shahid Madani university of Azarbaijan- Tabriz, Iran 0000-0001-5097-651X Ahmad Goli Professor of Persian Language and Literature, Faculty of Letters and Humanities, Shahid Madani university of Azarbaijan- Tabriz, Iran. Journal Article 2019 06 21 Abstract One of the many works attributed mistakenly to Attar ē Neyshaburi is Pandnameh; a poem that its attribution to Attar is still doubtful among some literary critics. This article studies the stylistic features of Pandnameh in terms of aspects of structure, language, and content and compares it with the definitive poems of Attar. The results showed that the attribution of Pandnameh to Attar is wrong; because, this work has a significant difference with the speech and thoughts of Attar in his poems from all three of these stylistic aspects. That is, itʼs form and structure, with the form of Attar’s poems, is neither proportional in terms of volume of verses, nor in terms of the way of expressing the contents. From the point of view of poetic language, which has received a considerable degree of differences between Pandnameh and the works of Attar, there are significant discrepancies in terms of the use of vocabulary and linguistic elements along with the syntax and compilation of the word between these two categories. The ideas in this work are also distinguished from the thoughts of the Attar’s poems, both in the teachings of religion and Sufism and in general ethical advices. Introduction One of the most important topics in literary criticism is research into the correctness and inaccuracy of attributing a work to it's poet or writer. Throughout the history of the literature of various lands and nations, works have been attributed to famous poets and writers for various reasons, including political prejudices and religious Purposes, or similarities in form or theme that either really belonged to other poets and writers or have been works whose authors have been unknown; Attar ē Neyshaburi is one of the poets whose works have been mixed with those of poets of later periods, that have been written in a high degree of weakness in terms of form and structure and poetic language, and also differ from Attar’s definite poems in terms of their content. Undoubtedly various factors, whether intentional or unintentional, played a role in mixing the works of others with the works of Attar. The most famous work attributed mistakenly to Attar ē Neyshaburi is Pandnameh. This poem has about 900 bits, and the oldest Manuscript of it, is dated to 861 A.H.; namely ninth century; just two centuries after Attar's death. The difference between the date of the writing of the first version of Pandnameh since Attar's death, indicates that this poem most likely belongs to the eighth or ninth century and that it's author probably lived in the late eighth or early ninth centuries. Methods & materials In the present study, the attribution of Pandnameh to Attar has been investigated and compared with Attar’s poems in the analytical-inferential way from the point of view of stylistic issues namely structure, language and content. It should be noted that in this review, the printed version of Pandnameh, corrected and annotated by Silvestre de sacy, has been cited. Discussion Pandnameh differs dramatically from the point of view of three stylistic aspects, namely structure, language, and content, with the four definite mystical poems of Attar, Asrarnameh, Elahinameh, Manteqotteyr and Mosibatnameh. For example, besides the boring repetitions and the shortness of volume of the verses, there is no anecdote and allegorical story in the structure of Pandnameh. Whereas one of the most common methods of Attar to express the meaning and contents of his poems to the reader, is the insertion of allegorical stories and narratives. In other words, Attar as a narrator and interpreter tells stories and narrates to teach. The poetic language used in Pandnameh also differs from poetic language used in definite poems of Attar; some of the words and combinations used in the text of Pandnameh are either not used in Attar's poetry or have been used in different forms in his poetry. In terms of syntax and grammar there are also major differences between Pandnameh and Attar's poems; for example, verbs, adjectives, prepositions and other elements used in the verses, and the way of putting the linguistic elements together in verses is contrary with the syntax of Attar’s poems. The content of Pandnameh also differs from the content of Attar's poems; for example, the author of Pandnameh expresses beliefs about love, Health and Silence (in the mystical sense), kings and other topics that are opposed to what Attar thought in his poems. Conclusion In this article, by Scientific study and stylistic comparison of Pandnameh with Attar's poems from three aspects of structure, language and content, it is concluded that this poem is not from Attar, because first of all, the form and structure of Pandnameh is significantly different from which is clearly seen in the four definite works of Attar; because While Attar has attempted to convey the content of his mind and thought to the readers in all four of his poems by using narrative expression and allegory, Pandnameh is devoid of this structure and form of expression. A greater percentage of the poetic language used in Pandnameh is different both in terms of words and idioms and in terms of syntax from Attar's poetic language in his poems; a greater percentage of the content of these two groups of works are dramatically different from each other. The dominant thought in Attar's poems is pure mysticism and Sufism; but, not only is the prevailing thought in Pandnameh sometimes just for expressing religious themes far from the pure mysticism, it is more like other books written on the subject of advice that just teaches and expresses general ethics. Abstract One of the many works attributed mistakenly to Attar ē Neyshaburi is Pandnameh; a poem that its attribution to Attar is still doubtful among some literary critics. This article studies the stylistic features of Pandnameh in terms of aspects of structure, language, and content and compares it with the definitive poems of Attar. The results showed that the attribution of Pandnameh to Attar is wrong; because, this work has a significant difference with the speech and thoughts of Attar in his poems from all three of these stylistic aspects. That is, itʼs form and structure, with the form of Attar’s poems, is neither proportional in terms of volume of verses, nor in terms of the way of expressing the contents. From the point of view of poetic language, which has received a considerable degree of differences between Pandnameh and the works of Attar, there are significant discrepancies in terms of the use of vocabulary and linguistic elements along with the syntax and compilation of the word between these two categories. The ideas in this work are also distinguished from the thoughts of the Attar’s poems, both in the teachings of religion and Sufism and in general ethical advices. Introduction One of the most important topics in literary criticism is research into the correctness and inaccuracy of attributing a work to it's poet or writer. Throughout the history of the literature of various lands and nations, works have been attributed to famous poets and writers for various reasons, including political prejudices and religious Purposes, or similarities in form or theme that either really belonged to other poets and writers or have been works whose authors have been unknown; Attar ē Neyshaburi is one of the poets whose works have been mixed with those of poets of later periods, that have been written in a high degree of weakness in terms of form and structure and poetic language, and also differ from Attar’s definite poems in terms of their content. Undoubtedly various factors, whether intentional or unintentional, played a role in mixing the works of others with the works of Attar. The most famous work attributed mistakenly to Attar ē Neyshaburi is Pandnameh. This poem has about 900 bits, and the oldest Manuscript of it, is dated to 861 A.H.; namely ninth century; just two centuries after Attar's death. The difference between the date of the writing of the first version of Pandnameh since Attar's death, indicates that this poem most likely belongs to the eighth or ninth century and that it's author probably lived in the late eighth or early ninth centuries. Methods & materials In the present study, the attribution of Pandnameh to Attar has been investigated and compared with Attar’s poems in the analytical-inferential way from the point of view of stylistic issues namely structure, language and content. It should be noted that in this review, the printed version of Pandnameh, corrected and annotated by Silvestre de sacy, has been cited. Discussion Pandnameh differs dramatically from the point of view of three stylistic aspects, namely structure, language, and content, with the four definite mystical poems of Attar, Asrarnameh, Elahinameh, Manteqotteyr and Mosibatnameh. For example, besides the boring repetitions and the shortness of volume of the verses, there is no anecdote and allegorical story in the structure of Pandnameh. Whereas one of the most common methods of Attar to express the meaning and contents of his poems to the reader, is the insertion of allegorical stories and narratives. In other words, Attar as a narrator and interpreter tells stories and narrates to teach. The poetic language used in Pandnameh also differs from poetic language used in definite poems of Attar; some of the words and combinations used in the text of Pandnameh are either not used in Attar's poetry or have been used in different forms in his poetry. In terms of syntax and grammar there are also major differences between Pandnameh and Attar's poems; for example, verbs, adjectives, prepositions and other elements used in the verses, and the way of putting the linguistic elements together in verses is contrary with the syntax of Attar’s poems. The content of Pandnameh also differs from the content of Attar's poems; for example, the author of Pandnameh expresses beliefs about love, Health and Silence (in the mystical sense), kings and other topics that are opposed to what Attar thought in his poems. Conclusion In this article, by Scientific study and stylistic comparison of Pandnameh with Attar's poems from three aspects of structure, language and content, it is concluded that this poem is not from Attar, because first of all, the form and structure of Pandnameh is significantly different from which is clearly seen in the four definite works of Attar; because While Attar has attempted to convey the content of his mind and thought to the readers in all four of his poems by using narrative expression and allegory, Pandnameh is devoid of this structure and form of expression. A greater percentage of the poetic language used in Pandnameh is different both in terms of words and idioms and in terms of syntax from Attar's poetic language in his poems; a greater percentage of the content of these two groups of works are dramatically different from each other. The dominant thought in Attar's poems is pure mysticism and Sufism; but, not only is the prevailing thought in Pandnameh sometimes just for expressing religious themes far from the pure mysticism, it is more like other books written on the subject of advice that just teaches and expresses general ethics.

https://rpll.ui.ac.ir/article_24459_d04d1b9aa5dcda2f92ae3117bdb98504.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Sultan Valad’s Revolutionary Points with Regard to the Interpretation of Quranic Revelations in Light of the Earlier Mystical Works Sultan Valad’s Revolutionary Points with Regard to the Interpretation of Quranic Revelations in Light of the Earlier Mystical Works 71 88 24615 10.22108/rpll.2020.119257.1588 FA Mahdi Maleksabet Professor of Persian Literature, Yazd University, Iran. Davood Vaseghi Ph.D. in Persian Literature, Yazd University, Iran. Journal Article 2019 09 29 Abstract Sultan Valad is considered as the elder and pioneer of the Mawlawiyya way who followed his father Mawlana Jaladodin and imitated his father style in creating texture. This way he tried to explain his father thoughts and worldview. Although Sultan was very influenced by his father’s discourse in his works, he has gained some new experiences with practical action, and this has caused the creation of novice ideas on some of the topics of theology, Quran and Hadith and Islamic mysticism. Reflection on Sultan Valad works shows that he has a great tendency to interpret like other elders of Mawlawiyya way. Many of the interpretations seen in Sultan Valad’s works affected by Shams Tabrizi's writings and his father’s works. The authors of this study, which was based on library studies and was done by a descriptive-analytical method, analyzed Sultan Vald's new insight with regard to the interpretation of Quranic revelations in light of the speeches of other Sufi elders, particularly Mawlana and early mystical commentaries. The authors tried to answer this question: what innovations did Vald have in interpreting the Quranic revelations, and to what extent did his attitude differ from that of his predecessors? The result of this research reveals that Sultan Valad considers production of devotees’ poetry as the interpretation and narration of divine words received from words of relation. He believes that the disciples are dominant in all aspects of the Qur'an but all divine secrets cannot be put in tangible words and phrases. In addition, Sultan Valad addresses the appearance and inner meaning of Quran revelations. Introduction The interpretation of Quranic verses, the Hadiths and narrations has a lot of frequency in the followers of Tarighat and the leading mystics. For example, the leaders of Esmailiyoon and Akhavan Al-Safa have tendency toward interpretation (Zarrin Koob, 2008, p. 122). Although, interpretation is specific to the prophets and Imams, other scholars can achieve a level of it by purifying their souls and spiritual conduct (Imam Khomeini, 2008, p. 60-61). In the works of masters of Mawlawiyya way, especially Shams and Mawlana, interpretation has a lot of frequency. Mawlana believed that the Quranic verses have very deep and profound meanings and depending on his power of knowledge and intuition, each person can achieve different degrees of meaning (Forouzanfar 2010, p. 165). Despite different interpretations of Quranic verses provided by Mawlana, he never denies the surface meanings of the verses. In addition to Mawlana, his son, Baha Al-valad was so expert in interpreting the verses. He has been so affected by the wisdom and teaching of his father and follows his thought pattern, but he has some innovation in his work. In this study, considering the previous mystical analyses and the quotes of the scholars, his interpretations have been explained and discussed. Material & Methods This is an explanatory-analytical study based on the library method. The researchers try to extract the innovative views of Sultan Al-valad about the Quranic verses and compare them with mystics such as Mawlana. Also, comparing his spiritual viewpoints with those of the previous ones such as Arayes Al-Bayan, Lataef Al-Esharat, Kashf AL-Asrar, and Ibn Al-Arabi interpretations, we tried to clarify the innovative aspects of Sultan Valad in the field. Discussion & Conclusions Using the rich heritage of the previous mystics, especially the leaders of the Mawlawiyya way, has a great tendency toward interpreting the verses and Hadiths. In his view, the poems of the great mystics are full of Quranic interpretations and have a super-humanity nature. He separates the poems of the poets with those of the leading mystics and believes that there is a great distance between them, because the mystics teach the human the good way of living and bliss using the divine words and the lesson of the leading scholars. The ordinary poets, however, follows their greed and have nothing in their poems, but exaggeration (Khazanedarlou, 1997, p. 206-207). Although the poems of the mystics are the interpretation of the divine words, the whole meanings and secrets cannot be included in the poems and that is why, sometimes the poems are ambiguous and that makes the mystics unhappy. Sultan Al-Valad has been affected by the works of Shams Tabrizi and his father, but in cases he provides some interesting interpretations which clearly indicate his innovativeness and are the result of his revelation. In the following, we deal with some of his Quranic interpretations: 1. Interpretations related to God: 1.1 Interpretations of knowledge to qualities of God 1.2 Interpretation of “Lam Yaled Va Lam Yulad” to the physical birth 2. Interpretation related to the perfect human (the prophets and leading mystics) 2.1 Interpretation of “Al-Ladhin Kafaro Fi- Al- Belad” to those who separate from the divine men. 2.2 Sham’s interpretation of Center and Moon to the real leader (Vali). 2.3 Interpretation of “Ena Al-Arz, Yarethha Ebadiya Al-Salehun” to believer’s treatment of the physical world as a medium to create the Eternal world. 2.4 Interpretation of light to the leader and the interpretation of Zit to his heart. 2.5 Interpretation of “Allah o Yahdi Man Yahsa” to those who perceive the presence of the perfect human. 2.6 Interpretation of the paradise to the heart of the divine leaders. 3. Interpretations related to mystics conduct. 1.3 Interpretation of “Haza Rabbi” to the thought of union with God in Abraham. 2.3 Interpretation of “Man Kana Fi Hazehei Aama” to those who have not reached perfection in their effort. 3.3 Interpretation of Sha’an to the God conduct. 3.4 Interpretation of “Ya Ayoha Al-Ladhin Amanoo” to the believers of Talvin. 4. Interpretations related to vision: 1.4 Interpretation of “Yardhequn” to the vision of God. 2.4 Interpretation of “Lan Tarani” to the request of Musa from God to have the vision specific to those of Mohamadi leaders. 5. Other mystic interpretations: 1.5. Interpretation of “Jolood” to the sins. 2.5 Interpretation of “Falagh” to the inner distance. Abstract Sultan Valad is considered as the elder and pioneer of the Mawlawiyya way who followed his father Mawlana Jaladodin and imitated his father style in creating texture. This way he tried to explain his father thoughts and worldview. Although Sultan was very influenced by his father’s discourse in his works, he has gained some new experiences with practical action, and this has caused the creation of novice ideas on some of the topics of theology, Quran and Hadith and Islamic mysticism. Reflection on Sultan Valad works shows that he has a great tendency to interpret like other elders of Mawlawiyya way. Many of the interpretations seen in Sultan Valad’s works affected by Shams Tabrizi's writings and his father’s works. The authors of this study, which was based on library studies and was done by a descriptive-analytical method, analyzed Sultan Vald's new insight with regard to the interpretation of Quranic revelations in light of the speeches of other Sufi elders, particularly Mawlana and early mystical commentaries. The authors tried to answer this question: what innovations did Vald have in interpreting the Quranic revelations, and to what extent did his attitude differ from that of his predecessors? The result of this research reveals that Sultan Valad considers production of devotees’ poetry as the interpretation and narration of divine words received from words of relation. He believes that the disciples are dominant in all aspects of the Qur'an but all divine secrets cannot be put in tangible words and phrases. In addition, Sultan Valad addresses the appearance and inner meaning of Quran revelations. Introduction The interpretation of Quranic verses, the Hadiths and narrations has a lot of frequency in the followers of Tarighat and the leading mystics. For example, the leaders of Esmailiyoon and Akhavan Al-Safa have tendency toward interpretation (Zarrin Koob, 2008, p. 122). Although, interpretation is specific to the prophets and Imams, other scholars can achieve a level of it by purifying their souls and spiritual conduct (Imam Khomeini, 2008, p. 60-61). In the works of masters of Mawlawiyya way, especially Shams and Mawlana, interpretation has a lot of frequency. Mawlana believed that the Quranic verses have very deep and profound meanings and depending on his power of knowledge and intuition, each person can achieve different degrees of meaning (Forouzanfar 2010, p. 165). Despite different interpretations of Quranic verses provided by Mawlana, he never denies the surface meanings of the verses. In addition to Mawlana, his son, Baha Al-valad was so expert in interpreting the verses. He has been so affected by the wisdom and teaching of his father and follows his thought pattern, but he has some innovation in his work. In this study, considering the previous mystical analyses and the quotes of the scholars, his interpretations have been explained and discussed. Material & Methods This is an explanatory-analytical study based on the library method. The researchers try to extract the innovative views of Sultan Al-valad about the Quranic verses and compare them with mystics such as Mawlana. Also, comparing his spiritual viewpoints with those of the previous ones such as Arayes Al-Bayan, Lataef Al-Esharat, Kashf AL-Asrar, and Ibn Al-Arabi interpretations, we tried to clarify the innovative aspects of Sultan Valad in the field. Discussion & Conclusions Using the rich heritage of the previous mystics, especially the leaders of the Mawlawiyya way, has a great tendency toward interpreting the verses and Hadiths. In his view, the poems of the great mystics are full of Quranic interpretations and have a super-humanity nature. He separates the poems of the poets with those of the leading mystics and believes that there is a great distance between them, because the mystics teach the human the good way of living and bliss using the divine words and the lesson of the leading scholars. The ordinary poets, however, follows their greed and have nothing in their poems, but exaggeration (Khazanedarlou, 1997, p. 206-207). Although the poems of the mystics are the interpretation of the divine words, the whole meanings and secrets cannot be included in the poems and that is why, sometimes the poems are ambiguous and that makes the mystics unhappy. Sultan Al-Valad has been affected by the works of Shams Tabrizi and his father, but in cases he provides some interesting interpretations which clearly indicate his innovativeness and are the result of his revelation. In the following, we deal with some of his Quranic interpretations: 1. Interpretations related to God: 1.1 Interpretations of knowledge to qualities of God 1.2 Interpretation of “Lam Yaled Va Lam Yulad” to the physical birth 2. Interpretation related to the perfect human (the prophets and leading mystics) 2.1 Interpretation of “Al-Ladhin Kafaro Fi- Al- Belad” to those who separate from the divine men. 2.2 Sham’s interpretation of Center and Moon to the real leader (Vali). 2.3 Interpretation of “Ena Al-Arz, Yarethha Ebadiya Al-Salehun” to believer’s treatment of the physical world as a medium to create the Eternal world. 2.4 Interpretation of light to the leader and the interpretation of Zit to his heart. 2.5 Interpretation of “Allah o Yahdi Man Yahsa” to those who perceive the presence of the perfect human. 2.6 Interpretation of the paradise to the heart of the divine leaders. 3. Interpretations related to mystics conduct. 1.3 Interpretation of “Haza Rabbi” to the thought of union with God in Abraham. 2.3 Interpretation of “Man Kana Fi Hazehei Aama” to those who have not reached perfection in their effort. 3.3 Interpretation of Sha’an to the God conduct. 3.4 Interpretation of “Ya Ayoha Al-Ladhin Amanoo” to the believers of Talvin. 4. Interpretations related to vision: 1.4 Interpretation of “Yardhequn” to the vision of God. 2.4 Interpretation of “Lan Tarani” to the request of Musa from God to have the vision specific to those of Mohamadi leaders. 5. Other mystic interpretations: 1.5. Interpretation of “Jolood” to the sins. 2.5 Interpretation of “Falagh” to the inner distance.

https://rpll.ui.ac.ir/article_24615_01e02898fdc1fde549ea208578efe160.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Discourse Analysis of Dorraye Nadere based on Fairclough’s Discourse Analysis Approach Discourse Analysis of Dorraye Nadere based on Fairclough’s Discourse Analysis Approach 89 112 24762 10.22108/rpll.2020.121378.1663 FA Nasrin Khani PhD Graduate of Persian Language and Literature, Razi University, Kermanshah, Iran. Gholamreza Salemian Associate Professor of Persian Language and Literature, Razi University, Kermanshah, Iran Amer Ghaytouri Associate Professor of Linguistics, Razi University, Kermanshah, Iran. Journal Article 2020 02 08 One of the new methods of text analysis is critical discourse analysis. In this way, in order to derive the relations of power and ideology from the underlying layers of the text, in addition to paying attention to the phonetic, linguistic, and literary features of the text, factors outside the context, namely situational, cultural, and social contexts are also considered. The purpose of this study was to explore the verbal strategies proposed by Fairclough in Dorraye Nadere, to explain the role of these strategies or discourse patterns in shaping the specific style of the text, and to find the dominant discourse in the book based on the characteristics of critical discourse analysis. This study was conducted by using the content analysis method with an integrated method (both qualitative and quantitative ways). The statistical population of the present study was the full text of Dorraye Nadere book. The sampling method was randomly selected and the sample size was calculated based on Cochran’s formula. The findings of the study indicated that the text of Dorraye Nadere has discursive structures so that power relations can be achieved in the lower layers. An examination of the Dorraye Nadere from the point of view of vocabulary, grammar, and cohesion showed that the characteristics considered in Fairclough’s approach were within the framework of various formal values in this text. At the level of interpretation, the manifestations of temporal texture and the relationship between power and ideology were quite evident in the text ofDorraye Nadere. Introduction One of the most tumultuous periods in the history of Iran is the last years of the Safavid era the entire Afsharid period. Various historians have reported on that period. One of the most famous of them was Mirza Mehdi Khan Estarabadi. A number of factors have contributed making the works of Mirza Mehdi Khan special. First of all, he lived in the same age and was at the heart of events. Furthermore, he was aware of the internal events of the era, as he was both the official secretary and the official historian of the era. The other issue is Mirza Mahdi’s technical prose which has made Dorraye Nadere one of the most complex Persian texts that has its own stylistic attractive features. In the present study, the investigation of the aforementioned book was considered in order to reach the underlying layers of the text of that book by using one of the theories of text analysis, namely, critical discourse analysis. Materials & Methods This research was done by the content analysis method with a combination of quantitative and qualitative approaches. The statistical society of the present study was the text of the book Dorraye Nadere. In this study, the authors have considered the whole statistical population that was based on systematic random sampling methods (systematic or regular) and have dealt with a part of the text. In this study, the statistical population size included 719 pages and the statistical sample size was 250.5; therefore, the sampling interval was 2.87. Then, between 1 and K, a number was randomly selected, and then the next units or individuals were selected with K distance from the same number; therefore, pages; 1, 4, 7, 10 ... were considered as the examples of this research. But, because in literary research, the sequence and coherence of speech are important for achieving the goal, and breaking the word into 1-page, 4-page pieces does not seem very reasonable, the 719-page text was divided into eight 90-page sections. Then, according to the volume of the extracted samples using Cochran’s formula, which was almost one-third of the text, the initial third of every 90 pages (i.e. 32 pages) was selected. Therefore, 256 pages of the 719-page text form included the volume of the sample study. Discussion of Results & Conclusions Critical discourse analysis is one of the new methods of text analysis. In this way, in addition to paying attention to the phonetic, linguistic and literary features of the text, the factors outside the text (situational, cultural and social context) are also considered with the aim of extracting power-ideology relations from the lower layers of the text. One of the most important approaches in this regard is the approach of Fairclough, an English linguist. In his view, discourse analysis is examined at three levels: description, interpretation, and explanation. It seems that the goal of Fairclough for the division of the critical discourse analysis into three parts is to approach the theoretical basis of the intended approach, otherwise, in practice, the distinction between these three stages may not be very open to reaching the discourse embedded in the text. Therefore, as the researcher describes the text, in order to clarify the discourse, it is necessary to consider the interpretation and explanation as well. In the present study, it has been tried to interpret and explain to some extent at the same stage of the description on the basis of this point and to avoid distancing oneself from other researchers’ methods. The stages of interpretation and explanation should be independent as two parts, after the description. Examining Dorraye Nadere from the perspective of words showed that the features considered in the Fairclough’s approach were within the framework of various formal values in this text. There were several words considering the experimental value of words (phrasal or antithetical expression, extreme phrasing, and main semantic relations), the value of the relation of words (euphemism), and the expressive value of words (metaphor). In grammatical studies of the examined sample, from the perspective of verbal processes, 1040 verbs (equal to 53.06% of verbs) out of 1960 verbs have been assigned to actions. This showed that the author was not passive in expressing events. He was biased instead in his speech. Considering the fact that Dorraye Nadere is a historical text and the doer of the action is recognized in historical reports, the number of active sentences include 1875, while it is 85 for the passive verbs. Also, given that positive sentences are naturally used more than negative sentences in speech and writing, the situation is similar in Dorraye Nadere (1870 positive verbs versus 90 negative verbs). The study of the section showed that out of the total of 1960 verbs in this section, 1797 verbs, that is, 91.6% of the verbs, were predicative. Also, the author has used the tools of probability and certainty in accordance with his intended content and has induced the desired aspect. During the Safavid and Afsharid eras, Iran’s economy was based on agriculture. The heavy taxes were levied on farmers. In addition to relying on the booty, Nader also considered raising taxes to cover the costs of his campaigns, which worsened the economic situation of the people day by day. Among the negative social characteristics of Nader period and, of course, his own traits, we can mention his attention to the slander of the speakers, the appointment of incompetent people instead of the deserving ones, and the violence and cruelty of his heart. Most of the prefaces of Dorraye Nadere are from the Holy Quran and the verses and narrations of the Infallibles (AS). In addition, these texts are full of Persian and Arabic poems and proverbs. Nader Shah made changes both in the structure of power and in the ruling ideology. Nader had realized that leaving the hands of the pillars of power (military-lordly classes, local rulers, bureaucrats, and clerics) might be a problem for him. So, he seriously restricted the influence of these classes. Nader’s works in limiting the power of the first three classes were not difficult, but reducing the influence of the clergy was not easy given their spiritual status. Nader said that changing the official religion was the best way to make this possible. One of the new methods of text analysis is critical discourse analysis. In this way, in order to derive the relations of power and ideology from the underlying layers of the text, in addition to paying attention to the phonetic, linguistic, and literary features of the text, factors outside the context, namely situational, cultural, and social contexts are also considered. The purpose of this study was to explore the verbal strategies proposed by Fairclough in Dorraye Nadere, to explain the role of these strategies or discourse patterns in shaping the specific style of the text, and to find the dominant discourse in the book based on the characteristics of critical discourse analysis. This study was conducted by using the content analysis method with an integrated method (both qualitative and quantitative ways). The statistical population of the present study was the full text of Dorraye Nadere book. The sampling method was randomly selected and the sample size was calculated based on Cochran’s formula. The findings of the study indicated that the text of Dorraye Nadere has discursive structures so that power relations can be achieved in the lower layers. An examination of the Dorraye Nadere from the point of view of vocabulary, grammar, and cohesion showed that the characteristics considered in Fairclough’s approach were within the framework of various formal values in this text. At the level of interpretation, the manifestations of temporal texture and the relationship between power and ideology were quite evident in the text ofDorraye Nadere. Introduction One of the most tumultuous periods in the history of Iran is the last years of the Safavid era the entire Afsharid period. Various historians have reported on that period. One of the most famous of them was Mirza Mehdi Khan Estarabadi. A number of factors have contributed making the works of Mirza Mehdi Khan special. First of all, he lived in the same age and was at the heart of events. Furthermore, he was aware of the internal events of the era, as he was both the official secretary and the official historian of the era. The other issue is Mirza Mahdi’s technical prose which has made Dorraye Nadere one of the most complex Persian texts that has its own stylistic attractive features. In the present study, the investigation of the aforementioned book was considered in order to reach the underlying layers of the text of that book by using one of the theories of text analysis, namely, critical discourse analysis. Materials & Methods This research was done by the content analysis method with a combination of quantitative and qualitative approaches. The statistical society of the present study was the text of the book Dorraye Nadere. In this study, the authors have considered the whole statistical population that was based on systematic random sampling methods (systematic or regular) and have dealt with a part of the text. In this study, the statistical population size included 719 pages and the statistical sample size was 250.5; therefore, the sampling interval was 2.87. Then, between 1 and K, a number was randomly selected, and then the next units or individuals were selected with K distance from the same number; therefore, pages; 1, 4, 7, 10 ... were considered as the examples of this research. But, because in literary research, the sequence and coherence of speech are important for achieving the goal, and breaking the word into 1-page, 4-page pieces does not seem very reasonable, the 719-page text was divided into eight 90-page sections. Then, according to the volume of the extracted samples using Cochran’s formula, which was almost one-third of the text, the initial third of every 90 pages (i.e. 32 pages) was selected. Therefore, 256 pages of the 719-page text form included the volume of the sample study. Discussion of Results & Conclusions Critical discourse analysis is one of the new methods of text analysis. In this way, in addition to paying attention to the phonetic, linguistic and literary features of the text, the factors outside the text (situational, cultural and social context) are also considered with the aim of extracting power-ideology relations from the lower layers of the text. One of the most important approaches in this regard is the approach of Fairclough, an English linguist. In his view, discourse analysis is examined at three levels: description, interpretation, and explanation. It seems that the goal of Fairclough for the division of the critical discourse analysis into three parts is to approach the theoretical basis of the intended approach, otherwise, in practice, the distinction between these three stages may not be very open to reaching the discourse embedded in the text. Therefore, as the researcher describes the text, in order to clarify the discourse, it is necessary to consider the interpretation and explanation as well. In the present study, it has been tried to interpret and explain to some extent at the same stage of the description on the basis of this point and to avoid distancing oneself from other researchers’ methods. The stages of interpretation and explanation should be independent as two parts, after the description. Examining Dorraye Nadere from the perspective of words showed that the features considered in the Fairclough’s approach were within the framework of various formal values in this text. There were several words considering the experimental value of words (phrasal or antithetical expression, extreme phrasing, and main semantic relations), the value of the relation of words (euphemism), and the expressive value of words (metaphor). In grammatical studies of the examined sample, from the perspective of verbal processes, 1040 verbs (equal to 53.06% of verbs) out of 1960 verbs have been assigned to actions. This showed that the author was not passive in expressing events. He was biased instead in his speech. Considering the fact that Dorraye Nadere is a historical text and the doer of the action is recognized in historical reports, the number of active sentences include 1875, while it is 85 for the passive verbs. Also, given that positive sentences are naturally used more than negative sentences in speech and writing, the situation is similar in Dorraye Nadere (1870 positive verbs versus 90 negative verbs). The study of the section showed that out of the total of 1960 verbs in this section, 1797 verbs, that is, 91.6% of the verbs, were predicative. Also, the author has used the tools of probability and certainty in accordance with his intended content and has induced the desired aspect. During the Safavid and Afsharid eras, Iran’s economy was based on agriculture. The heavy taxes were levied on farmers. In addition to relying on the booty, Nader also considered raising taxes to cover the costs of his campaigns, which worsened the economic situation of the people day by day. Among the negative social characteristics of Nader period and, of course, his own traits, we can mention his attention to the slander of the speakers, the appointment of incompetent people instead of the deserving ones, and the violence and cruelty of his heart. Most of the prefaces of Dorraye Nadere are from the Holy Quran and the verses and narrations of the Infallibles (AS). In addition, these texts are full of Persian and Arabic poems and proverbs. Nader Shah made changes both in the structure of power and in the ruling ideology. Nader had realized that leaving the hands of the pillars of power (military-lordly classes, local rulers, bureaucrats, and clerics) might be a problem for him. So, he seriously restricted the influence of these classes. Nader’s works in limiting the power of the first three classes were not difficult, but reducing the influence of the clergy was not easy given their spiritual status. Nader said that changing the official religion was the best way to make this possible.

https://rpll.ui.ac.ir/article_24762_e5cddd33b349cc5b8abd5c78b45f63da.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 The Structural and Semantic Analysis of some Turkish Names in Tārīkh-e Jahāngushāy-e Juvayni The Structural and Semantic Analysis of some Turkish Names in Tārīkh-e Jahāngushāy-e Juvayni 113 127 24845 10.22108/rpll.2020.120911.1643 FA Samaneh Jafari Assistant Professor of Persian Language and Literature, Farhangian University, Tehran, Iran. Mohammad Aalizadeh MA Student of Persian Language and Literature, University of Mazandaran, Babolsar, Iran. Journal Article 2020 01 11 Abstract Tārīkh-e Jahāngushāy-e Juvayni is a valuable book in the history of the Mongols, the Khwarazmian dynasty, and the Ismailis of Alamut by Ata Malik Juvayni. Because of the detailed historical and social issues of that period, names of many of the kings, ministers and great men of that time have been mentioned in the book and many of them are Turkish and Mongolian. Unfortunately, due to the lack of familiarity with the Turkish language, many of these names have been spelled incorrectly even among scholars of history and literature. They, in many cases, have misunderstood the meaning of those names. Given the importance of correct pronouncing of names in reading the text and understanding their correct meaning, this research is a library and field study based on the dictionary of Turkish words, and the use of logical linguistic reasons such as word root verification, referencing to synonyms, using in other sentences, and interviews with scholars from different Turkish speaking regions with the aim of explaining some names in this book and their relatively correct meanings. For this purpose, twenty-five names in this book that contained mistakes in other descriptions and articles in pronouncing or explaining their meaning and some names containing linguistic points were selected and explained. Introduction The entry of Turkish words into Persian has a long history. Therefore, in order to better understand some courses in Persian literature, we need to know the words that come from Turkish. One of these types of words involved are names, that the knowledge of their meanings may not have a direct effect on the meaning of the text, but having a correct understanding of their meanings can lead to a deeper understanding of the culture and its origins. Reading the text correctly will lead to a stronger connection between the audience and the text. Tārīkh-e Jahāngushāy-e Juvayni is one of the valuable books of Persian literature, which in addition to its historical significance, is an important literary work in terms of linguistic issues and topics such as comparative linguistics and the study of the influence of languages on each other. According to the above explanations, the purpose of this study was to describe the correct pronunciation and the meaning of some of the Turkish names in Tārīkh-e Jahāngushā. Material & Methods This research has been done by the descriptive-analytical method based on library and field studies. For this purpose, after reviewing the names in Tārīkh-e Jahāngushā and the explanations written on some of them in the related justifications and articles, a set of names were selected. In this selection, the priority was given to names that were not properly understood in other sources. In the next step, in addition to using dictionaries, in case of need, the desired names were explained using field research and the knowledge of Turkish and Turkmen scholars and according to the structure of the words. In order to facilitate the pronunciation of the names, the phonetic symbols and Persian and English examples have been used. Discussion of Results & Conclusions This research described pronouncing and meaning of names like ‘Bæla bitæktʃi’ that means a writer and a reporter, ‘Tutar oɤul’ that means an attractive and influential boy, ‘Sulamәʃ’ that means bathed and some other names in Tārīkh-e Jahāngushā. In some cases, several possible meanings of a name were also mentioned. For example, in the description of the word ‘ArƔasun’, the two meanings of support as well as the river, which was rooted in the attention to the nature for naming children, or the two meanings of the new moon in the sky and the original land for ‘Köka Ilkaj’ were provided. Also in some cases like Ajdoɤmәʃ, Bærkjariɣ, Otkin, Tæb taŋri and Kökʤe, previous explanations have been criticized on the basis of lexical and grammatical evidence. For example, contrary to Khatami’s opinion, Bærkjariɣ means a person who have a strong armor. Or, Otkin means the one who takes the fire to the stove, not God of fire, as Mousavi said. This article also discussed the unique details of the correct meaning of sobæktegin and tegin and the reason for calling Chengis Khan's eldest son as ʤuʤi and calling Temuchin as ʦanŋiz xan. However, the lack of such studies has led to many mistakes in pronouncing and understanding the meaning of Turkish words and some of them which have even been mentioned in the descriptions. It is hoped that with the description of other names in this book by well-known researchers, the exact themes of both Persian and Turkish languages will endure. Abstract Tārīkh-e Jahāngushāy-e Juvayni is a valuable book in the history of the Mongols, the Khwarazmian dynasty, and the Ismailis of Alamut by Ata Malik Juvayni. Because of the detailed historical and social issues of that period, names of many of the kings, ministers and great men of that time have been mentioned in the book and many of them are Turkish and Mongolian. Unfortunately, due to the lack of familiarity with the Turkish language, many of these names have been spelled incorrectly even among scholars of history and literature. They, in many cases, have misunderstood the meaning of those names. Given the importance of correct pronouncing of names in reading the text and understanding their correct meaning, this research is a library and field study based on the dictionary of Turkish words, and the use of logical linguistic reasons such as word root verification, referencing to synonyms, using in other sentences, and interviews with scholars from different Turkish speaking regions with the aim of explaining some names in this book and their relatively correct meanings. For this purpose, twenty-five names in this book that contained mistakes in other descriptions and articles in pronouncing or explaining their meaning and some names containing linguistic points were selected and explained. Introduction The entry of Turkish words into Persian has a long history. Therefore, in order to better understand some courses in Persian literature, we need to know the words that come from Turkish. One of these types of words involved are names, that the knowledge of their meanings may not have a direct effect on the meaning of the text, but having a correct understanding of their meanings can lead to a deeper understanding of the culture and its origins. Reading the text correctly will lead to a stronger connection between the audience and the text. Tārīkh-e Jahāngushāy-e Juvayni is one of the valuable books of Persian literature, which in addition to its historical significance, is an important literary work in terms of linguistic issues and topics such as comparative linguistics and the study of the influence of languages on each other. According to the above explanations, the purpose of this study was to describe the correct pronunciation and the meaning of some of the Turkish names in Tārīkh-e Jahāngushā. Material & Methods This research has been done by the descriptive-analytical method based on library and field studies. For this purpose, after reviewing the names in Tārīkh-e Jahāngushā and the explanations written on some of them in the related justifications and articles, a set of names were selected. In this selection, the priority was given to names that were not properly understood in other sources. In the next step, in addition to using dictionaries, in case of need, the desired names were explained using field research and the knowledge of Turkish and Turkmen scholars and according to the structure of the words. In order to facilitate the pronunciation of the names, the phonetic symbols and Persian and English examples have been used. Discussion of Results & Conclusions This research described pronouncing and meaning of names like ‘Bæla bitæktʃi’ that means a writer and a reporter, ‘Tutar oɤul’ that means an attractive and influential boy, ‘Sulamәʃ’ that means bathed and some other names in Tārīkh-e Jahāngushā. In some cases, several possible meanings of a name were also mentioned. For example, in the description of the word ‘ArƔasun’, the two meanings of support as well as the river, which was rooted in the attention to the nature for naming children, or the two meanings of the new moon in the sky and the original land for ‘Köka Ilkaj’ were provided. Also in some cases like Ajdoɤmәʃ, Bærkjariɣ, Otkin, Tæb taŋri and Kökʤe, previous explanations have been criticized on the basis of lexical and grammatical evidence. For example, contrary to Khatami’s opinion, Bærkjariɣ means a person who have a strong armor. Or, Otkin means the one who takes the fire to the stove, not God of fire, as Mousavi said. This article also discussed the unique details of the correct meaning of sobæktegin and tegin and the reason for calling Chengis Khan's eldest son as ʤuʤi and calling Temuchin as ʦanŋiz xan. However, the lack of such studies has led to many mistakes in pronouncing and understanding the meaning of Turkish words and some of them which have even been mentioned in the descriptions. It is hoped that with the description of other names in this book by well-known researchers, the exact themes of both Persian and Turkish languages will endure.

https://rpll.ui.ac.ir/article_24845_1ff1e853b6f8d3590ffe76379905184a.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 Research on the attribution of the treatise Ausaaf al-Qolub to Ibn-Khafif Research on the attribution of the treatise Ausaaf al-Qolub to Ibn-Khafif 129 142 24403 10.22108/rpll.2019.118670.1566 FA Moein Kazemifar Assistant Professor, Department of Persian language and Literature, Shiraz university, Shiraz, Iran. Journal Article 2019 09 01 1-Abstract There is a valuable manuscript called Ausaaf al-Qolub which is held in Astaan Qods library in Mashhad. The index of the library attributed the manuscript to Ibn Khafif, great Persian Sufi (from Shiraz in 10/4 century). Although Carl Brockelmann mentioned the manuscript in the index of Ibn Khafif’s works, Annemarie Schimmel hesitated in this attribution because in the old biographies about Ibn Khafif has not mentioned the name of the treatise. The article tries to demonstrate that the manuscript is truly written by Ibn Khafif, great Persian Sufi. Three series of reasons help us with discovering the real author of the manuscript, Firstly ‘chain of narrators’ and secondly Content similarity between Ausaaf al-Qolub and Ibn Khafif’s statements quoted in Helyat al-Aulia by Abu Noaim Isfahani( One of the greatest biographer in Sufi history who personally was familiar with Ibn Khafif and took a part in his lessons as his disciple) and thirdly the similarity between some personal information such as travels to Mekka and Qods mentioned in Ausaaf al-Qolub and the information which is available about Ibn Khafif travels in his biographies. These three series of reasons confidently show the real author of the treatise is Ibn-Khafif and the article suggests that the real name of the treatise is something other than Ausaaf al-Qolub. 2- Introduction However Ibn Khafif is one of the prominent faces of Persian Sufism, his books and treaties have been widely neglected in Iran. Bulks of his works have been edited by non-Iranian scholars. Recently, I have been informed of a manuscript in Astan Qods library attributed to Ibn Khafif. In the later efforts turned out two great scholars- Carl Brockelmann and Annemarie Schimmel- discussed regarding attribution of the manuscript to the Ibn khafif. While Brockelmann mentioned the treaties in the list of Ibn Khafif’s works, Schimmel implicitly refuses the attribution. There for I was motivated to find out the real writer of the treaties. 3- Material & Methods This is a very detailed treatise that except for a few pages, is completely has reached to us. The text mentioned to his author by ‘Abu Abd al-lah’. The real name of the treatise has not been noted in manuscript and it is assumed that the librarian recorded its name ‘Ausaaf al-Qolub’ because this phrase has been mentioned many times in the front pages of the manuscript. This treatise contains an introduction and four chapters in which the author answered to question of an anonymous Questioner. The subjects of the chapters are as follows, heart, Sama of Quran, Existence and Sama of poems. Three groups of proofs support the idea that the treatise is really written by Ibn Khafif. First, chain of narrators; the author of the treatise mentioned name of narrators who narrated Hadith directly or indirectly to him, and name of most of these narrators are found in Sirat Ibn Khafif -an important biography of Ibn Khafif written by his disciple Deylami- as masters of Ibn Khafif in Hadith. Moreover, through comparing content of the treatise with Helyat al-Aulia of Abu Noaim Isfahani( One of the greatest biographer in Sufi history who personally was familiar with Ibn Khafif and took a part in his lessons as his disciple) Undoubted matches were observed i.e. most of content regarding Ibn Khafif’s sayings in Helyat al-Aulia was taken from Ausaaf al-Qolub. Additionally there is some personal information such as travels in Ausaaf al-Qolub that coincides the information from authentic biographies of Ibn khafif; for example, the author of Ausaaf al-Qolub has described some of his observations in Mekka and Quds -The two destinations mentioned in Ibn Khafif’s account of lifelike Sirat Ibn Khafif of Deylami. 4- Discussion of Results & Conclusions Based on these three series of reasons, there is almost no doubt that the ’Abu Abd al-lah’ mentioned in treatise as the author is no one but ‘ Abu Abd al-lah Ibn Khafif’. Also, according to titles of Ibn Khafif’s treatise listed in his biographies and the content of the treatise, it is guessed that the real title of the treatise is ‘al-Fosul fi al-Osul’. Considering length of the treatise which is several times greater than Ibn Khafif’s other books, on the whole, knowing the real author of the manuscript is a great help in recognizing Ibn-Khafif’s beliefs. In addition, if we accept the conclusion, this treatise has a great contribution to the researches regarding Sufism in the fourth century and the recognition of Sufism in Shiraz. 1-Abstract There is a valuable manuscript called Ausaaf al-Qolub which is held in Astaan Qods library in Mashhad. The index of the library attributed the manuscript to Ibn Khafif, great Persian Sufi (from Shiraz in 10/4 century). Although Carl Brockelmann mentioned the manuscript in the index of Ibn Khafif’s works, Annemarie Schimmel hesitated in this attribution because in the old biographies about Ibn Khafif has not mentioned the name of the treatise. The article tries to demonstrate that the manuscript is truly written by Ibn Khafif, great Persian Sufi. Three series of reasons help us with discovering the real author of the manuscript, Firstly ‘chain of narrators’ and secondly Content similarity between Ausaaf al-Qolub and Ibn Khafif’s statements quoted in Helyat al-Aulia by Abu Noaim Isfahani( One of the greatest biographer in Sufi history who personally was familiar with Ibn Khafif and took a part in his lessons as his disciple) and thirdly the similarity between some personal information such as travels to Mekka and Qods mentioned in Ausaaf al-Qolub and the information which is available about Ibn Khafif travels in his biographies. These three series of reasons confidently show the real author of the treatise is Ibn-Khafif and the article suggests that the real name of the treatise is something other than Ausaaf al-Qolub. 2- Introduction However Ibn Khafif is one of the prominent faces of Persian Sufism, his books and treaties have been widely neglected in Iran. Bulks of his works have been edited by non-Iranian scholars. Recently, I have been informed of a manuscript in Astan Qods library attributed to Ibn Khafif. In the later efforts turned out two great scholars- Carl Brockelmann and Annemarie Schimmel- discussed regarding attribution of the manuscript to the Ibn khafif. While Brockelmann mentioned the treaties in the list of Ibn Khafif’s works, Schimmel implicitly refuses the attribution. There for I was motivated to find out the real writer of the treaties. 3- Material & Methods This is a very detailed treatise that except for a few pages, is completely has reached to us. The text mentioned to his author by ‘Abu Abd al-lah’. The real name of the treatise has not been noted in manuscript and it is assumed that the librarian recorded its name ‘Ausaaf al-Qolub’ because this phrase has been mentioned many times in the front pages of the manuscript. This treatise contains an introduction and four chapters in which the author answered to question of an anonymous Questioner. The subjects of the chapters are as follows, heart, Sama of Quran, Existence and Sama of poems. Three groups of proofs support the idea that the treatise is really written by Ibn Khafif. First, chain of narrators; the author of the treatise mentioned name of narrators who narrated Hadith directly or indirectly to him, and name of most of these narrators are found in Sirat Ibn Khafif -an important biography of Ibn Khafif written by his disciple Deylami- as masters of Ibn Khafif in Hadith. Moreover, through comparing content of the treatise with Helyat al-Aulia of Abu Noaim Isfahani( One of the greatest biographer in Sufi history who personally was familiar with Ibn Khafif and took a part in his lessons as his disciple) Undoubted matches were observed i.e. most of content regarding Ibn Khafif’s sayings in Helyat al-Aulia was taken from Ausaaf al-Qolub. Additionally there is some personal information such as travels in Ausaaf al-Qolub that coincides the information from authentic biographies of Ibn khafif; for example, the author of Ausaaf al-Qolub has described some of his observations in Mekka and Quds -The two destinations mentioned in Ibn Khafif’s account of lifelike Sirat Ibn Khafif of Deylami. 4- Discussion of Results & Conclusions Based on these three series of reasons, there is almost no doubt that the ’Abu Abd al-lah’ mentioned in treatise as the author is no one but ‘ Abu Abd al-lah Ibn Khafif’. Also, according to titles of Ibn Khafif’s treatise listed in his biographies and the content of the treatise, it is guessed that the real title of the treatise is ‘al-Fosul fi al-Osul’. Considering length of the treatise which is several times greater than Ibn Khafif’s other books, on the whole, knowing the real author of the manuscript is a great help in recognizing Ibn-Khafif’s beliefs. In addition, if we accept the conclusion, this treatise has a great contribution to the researches regarding Sufism in the fourth century and the recognition of Sufism in Shiraz.

https://rpll.ui.ac.ir/article_24403_86a042f1c823923b3622cb9c43db9eb7.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 3 2020 09 22 A Suggestion for the Correction and Meaning a Few Verses of the Story of Rostam and Sohrab A Suggestion for the Correction and Meaning a Few Verses of the Story of Rostam and Sohrab 143 158 24657 10.22108/rpll.2020.119376.1598 FA Seyed Ali Mahmoudi Lahijani Department of Persian Language and literature, Najafabad Branch, Islamic Azad University, Najafabad, Iran Journal Article 2019 10 05 Abstract The correction of the Shahnameh by Jalal Khaleghi Motlagh, Mahmoud Omid Salar and Abolfazl Khatibi, is one of the most trusted and cited corrections of the Shahnameh. In the previous corrections, there were some drawbacks that Khaleghi Motlagh and his team tried to minimize and resolve it in their work. However, their correction also has some shortcomings that can be addressed and corrected to make a better-edited text of the Shahnameh that can help researchers to have a more trustable source for further studies. Therefore, this question arises: which corrections of verses of the Shahnameh can be suggested by focusing on the exact meaning of some vocabulary and numerous authentic manuscripts? Accordingly, in the present study, regarding the authentic manuscripts and photographic prints of the Shahnameh manuscripts and its provided edits, as well as the reserch presented by the epic scholars in the field of Shahnameh in their books and articles, attempts have been made to suggest the correction and meaning in some of the verses of Rostam and Sohrab story. These suggestions are in accordance with the evidence presented in the Shahnameh including ‘Badandish’ in the meaning of ‘Apprehensive’ or ‘Suspicious’, ‘Khanbidan’ in the meaning of ‘Bend’ and ‘Ahoun’ in the meaning of ‘Tunnel’. Introduction After completing the correction of the Shahnameh by Khaleghi Motlagh and his colleagues, some scholar that worked on the Shahnameh criticized that the published work, although some of these criticisms were based on scientifically accurate points, on the other hand some were based solely on personal tastes. But, over time, this correction has attracted a great deal of attention and has found many fans who, in defense of the khaleghi Motlagh endeavor, consider it to be the best and most accurate edit of Shahnameh that has been done by using of countless manuscripts in a scholarly-critical manner. The considering of multiple versions of Shahnameh is one of the advantages of the Khaleghi Motlagh's correction, while past editors have used only a few manuscripts and even critique the Shahnameh manuscripts regardless of their true value. Khaleghi Motlagh has done a tremendous and hard amount of work on the selection of Shahnameh manuscripts. He has collected almost all known manuscripts of the Shahnameh and has chosen fifteen out of the forty-five cases that were written between the seventh and the tenth AH centuries. In evaluating them, he has considered six principles for the selection of these fifteen manuscripts: punctuation, arrangement, subtraction and adjunct of verses, adjunct narratives, and recorded words in the manuscript. Khaleghi Motlagh has presented his research in three detailed articles entitled ‘Introduction and Evaluation of Some Shahnameh Manuscripts.’ In the meantime, he has carefully examined the oldest version of the Shahnameh in separate articles titled ‘Manuscript of the Shahnameh of the Sixteenth and Fourteenth AH (Florence Manuscript)’ and ‘Review and Evaluation of the Manuscript of the Florence Shahnameh’. He has used it as a basic manuscript in the correction of the Shahnameh. Although the Florence manuscript contains half of the Shahnameh until the end of the ‘The GreatWar of Keikhosrow’ story, it is significant in terms of ancient recordings. Khaleghi Motlagh eventually by using the newest found manuscript of ‘Saint Joseph’ (probably late 7th or early 8th AH), ‘The Second Little Shahnameh’ (probably early 8th AH), ‘Karachi’ (752 AH), ‘Hashiye Zafarnameh’ (807 AH), ‘Saadlu’ (probably from the 8th AH), and ‘Cama’ (the Cama Foundation for Oriental Studies in Mumbai (undated)), and with the suggestions and criticisms of scholars presented his second edition of the Shahnameh. This edition also received the attention of the Shahnameh scholars. Material & Methods Considering the eight-volume edition and the second edition of the Shahnameh by Khaleghi Motlagh written to explain the verses of the story of Rostam and Sohrab, as well as careful attention of the meaning of some words and terms in the Shahnameh, Persian literature texts and dictionaries, some correction of the verses in the story of Rostam and Sohrab can be suggested which had previously received less attention. Discussion of Results & Conclusions One of the stories of the Shahnameh that has controversial and difficult verses is the story of Rostam and Sohrab. To understand these difficulties and complexities, it is sufficient to pay attention to the previous articles about the first verses of this story. Moreover, there are other verses that can be focused to find some useful details and corrections. In the following there are some of these verses: 1. ‘Badandish’ means ‘Apprehensive’ or ‘Suspicious’ instead of ‘Barain’: ‘Yaki Khaharash Bood Gord va Sovar/ Badandish va Gardankesh va Namdar’. 2. ‘Bekhanbid’ from infinitive ‘Khanbidan’ means ‘bend’ instead of ‘Bepichid’ and ‘Bekhammid’ :’Cho Amad Khorooshan be Tang Andarash/ Bekhanbid va Bardasht Khood az Sarash’ 3. Furthermore, in the story of ‘Kineye Siavash’, the verse: ‘Gerayande Bod Bande Romi Zereh/ Bepichid va Nagshad Band-e Gereh’ should be replaced by the following verse: ‘Gerayande Bod Marde Romi Zereh/ Bekhanbid va Bogshad Bande Gereh’ 4. ‘Soon’ instead of ‘Sooy’ or ‘Soo’ and ‘Bi Ahoun’ instead of ‘Pay Ahou’ or ‘Bi Ahou’ in the following verse should be corrected: ‘Bedoo Goft az Idar be Yak Soon Shavim/ be Avardgahi bi Ahoun Shavim’. Finally, it should be noted that despite the particular value and validity of Khaleghi Motlagh’s correction, scholars can accurately reach the points that would lead to a more accurate correction of the Iranian National Epic by considering the meaning of numerous words and manuscripts of the Shahnameh and avoiding the apparent meaning of the verses. Abstract The correction of the Shahnameh by Jalal Khaleghi Motlagh, Mahmoud Omid Salar and Abolfazl Khatibi, is one of the most trusted and cited corrections of the Shahnameh. In the previous corrections, there were some drawbacks that Khaleghi Motlagh and his team tried to minimize and resolve it in their work. However, their correction also has some shortcomings that can be addressed and corrected to make a better-edited text of the Shahnameh that can help researchers to have a more trustable source for further studies. Therefore, this question arises: which corrections of verses of the Shahnameh can be suggested by focusing on the exact meaning of some vocabulary and numerous authentic manuscripts? Accordingly, in the present study, regarding the authentic manuscripts and photographic prints of the Shahnameh manuscripts and its provided edits, as well as the reserch presented by the epic scholars in the field of Shahnameh in their books and articles, attempts have been made to suggest the correction and meaning in some of the verses of Rostam and Sohrab story. These suggestions are in accordance with the evidence presented in the Shahnameh including ‘Badandish’ in the meaning of ‘Apprehensive’ or ‘Suspicious’, ‘Khanbidan’ in the meaning of ‘Bend’ and ‘Ahoun’ in the meaning of ‘Tunnel’. Introduction After completing the correction of the Shahnameh by Khaleghi Motlagh and his colleagues, some scholar that worked on the Shahnameh criticized that the published work, although some of these criticisms were based on scientifically accurate points, on the other hand some were based solely on personal tastes. But, over time, this correction has attracted a great deal of attention and has found many fans who, in defense of the khaleghi Motlagh endeavor, consider it to be the best and most accurate edit of Shahnameh that has been done by using of countless manuscripts in a scholarly-critical manner. The considering of multiple versions of Shahnameh is one of the advantages of the Khaleghi Motlagh's correction, while past editors have used only a few manuscripts and even critique the Shahnameh manuscripts regardless of their true value. Khaleghi Motlagh has done a tremendous and hard amount of work on the selection of Shahnameh manuscripts. He has collected almost all known manuscripts of the Shahnameh and has chosen fifteen out of the forty-five cases that were written between the seventh and the tenth AH centuries. In evaluating them, he has considered six principles for the selection of these fifteen manuscripts: punctuation, arrangement, subtraction and adjunct of verses, adjunct narratives, and recorded words in the manuscript. Khaleghi Motlagh has presented his research in three detailed articles entitled ‘Introduction and Evaluation of Some Shahnameh Manuscripts.’ In the meantime, he has carefully examined the oldest version of the Shahnameh in separate articles titled ‘Manuscript of the Shahnameh of the Sixteenth and Fourteenth AH (Florence Manuscript)’ and ‘Review and Evaluation of the Manuscript of the Florence Shahnameh’. He has used it as a basic manuscript in the correction of the Shahnameh. Although the Florence manuscript contains half of the Shahnameh until the end of the ‘The GreatWar of Keikhosrow’ story, it is significant in terms of ancient recordings. Khaleghi Motlagh eventually by using the newest found manuscript of ‘Saint Joseph’ (probably late 7th or early 8th AH), ‘The Second Little Shahnameh’ (probably early 8th AH), ‘Karachi’ (752 AH), ‘Hashiye Zafarnameh’ (807 AH), ‘Saadlu’ (probably from the 8th AH), and ‘Cama’ (the Cama Foundation for Oriental Studies in Mumbai (undated)), and with the suggestions and criticisms of scholars presented his second edition of the Shahnameh. This edition also received the attention of the Shahnameh scholars. Material & Methods Considering the eight-volume edition and the second edition of the Shahnameh by Khaleghi Motlagh written to explain the verses of the story of Rostam and Sohrab, as well as careful attention of the meaning of some words and terms in the Shahnameh, Persian literature texts and dictionaries, some correction of the verses in the story of Rostam and Sohrab can be suggested which had previously received less attention. Discussion of Results & Conclusions One of the stories of the Shahnameh that has controversial and difficult verses is the story of Rostam and Sohrab. To understand these difficulties and complexities, it is sufficient to pay attention to the previous articles about the first verses of this story. Moreover, there are other verses that can be focused to find some useful details and corrections. In the following there are some of these verses: 1. ‘Badandish’ means ‘Apprehensive’ or ‘Suspicious’ instead of ‘Barain’: ‘Yaki Khaharash Bood Gord va Sovar/ Badandish va Gardankesh va Namdar’. 2. ‘Bekhanbid’ from infinitive ‘Khanbidan’ means ‘bend’ instead of ‘Bepichid’ and ‘Bekhammid’ :’Cho Amad Khorooshan be Tang Andarash/ Bekhanbid va Bardasht Khood az Sarash’ 3. Furthermore, in the story of ‘Kineye Siavash’, the verse: ‘Gerayande Bod Bande Romi Zereh/ Bepichid va Nagshad Band-e Gereh’ should be replaced by the following verse: ‘Gerayande Bod Marde Romi Zereh/ Bekhanbid va Bogshad Bande Gereh’ 4. ‘Soon’ instead of ‘Sooy’ or ‘Soo’ and ‘Bi Ahoun’ instead of ‘Pay Ahou’ or ‘Bi Ahou’ in the following verse should be corrected: ‘Bedoo Goft az Idar be Yak Soon Shavim/ be Avardgahi bi Ahoun Shavim’. Finally, it should be noted that despite the particular value and validity of Khaleghi Motlagh’s correction, scholars can accurately reach the points that would lead to a more accurate correction of the Iranian National Epic by considering the meaning of numerous words and manuscripts of the Shahnameh and avoiding the apparent meaning of the verses.

https://rpll.ui.ac.ir/article_24657_40417912fa61d8c2a82d6c9f59da32e0.pdf