University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 Methodology of Knowledge in Mawlana's Masnavi (Relying on the Tradition and Mystical Disposition) Methodology of Knowledge in Mawlana's Masnavi (Relying on the Tradition and Mystical Disposition) 1 18 24404 10.22108/rpll.2019.118354.1551 FA Samaneh Al-Sadat Aghadadi PhD Candidate of Persian Language and Literature, University of Isfahan, Iran Sayyed Ali Asghar Mirbagherifard Professor of Persian Language and Literature, University of Isfahan, Iran Tahereh Khoshhal Dastjerdi Professor of Persian Language and Literature, University of Isfahan, Iran Sayyedeh Maryam Rozatian Associate Professor of Persian Language and Literature, University of Isfahan, Iran Journal Article 2019 07 23 One of the important conditions for the use of scientific, purposeful and program-based method in mystical research is to determine and explain the tradition and mystical disposition of mystics, or in other words, the principles and practices of Islamic mysticism. The methodology of knowledge is one of the main features of mystical traditions that can be derived from various sources, quotes, and, discovery and intuition. This study seeks to investigate the reflection of traditional and rational methods in Masnavi, and to prove ‘discovery and intuition’ as the only reliable epistemological method. The other two methods are valuable when they are consistent with discovery and intuition. In other words, according to Mawlana's tradition and mystical disposition, theology (the knowledge about God) depends on self-knowledge (the knowledge of the Self). Therefore, the seeker, using various tools of intuition, strives to gradually increase his mystical sensations to come out of himself and what is beyond God and to reach to knowledge. In Masnavi- Ma'navi, it starts from the order of the purity of the inside and goes on with love. It is then perfected in a state of intoxication and amazement, until at least the seeker at the ending stage is completely devoid of non-God entities and moves only in His power and will. At this stage, the seeker achieves his ultimate goal, that is, monotheism or the knowledge of God. One of the important conditions for the use of scientific, purposeful and program-based method in mystical research is to determine and explain the tradition and mystical disposition of mystics, or in other words, the principles and practices of Islamic mysticism. The methodology of knowledge is one of the main features of mystical traditions that can be derived from various sources, quotes, and, discovery and intuition. This study seeks to investigate the reflection of traditional and rational methods in Masnavi, and to prove ‘discovery and intuition’ as the only reliable epistemological method. The other two methods are valuable when they are consistent with discovery and intuition. In other words, according to Mawlana's tradition and mystical disposition, theology (the knowledge about God) depends on self-knowledge (the knowledge of the Self). Therefore, the seeker, using various tools of intuition, strives to gradually increase his mystical sensations to come out of himself and what is beyond God and to reach to knowledge. In Masnavi- Ma'navi, it starts from the order of the purity of the inside and goes on with love. It is then perfected in a state of intoxication and amazement, until at least the seeker at the ending stage is completely devoid of non-God entities and moves only in His power and will. At this stage, the seeker achieves his ultimate goal, that is, monotheism or the knowledge of God.

https://rpll.ui.ac.ir/article_24404_e977c528a69c6b02e18411cc549a1e1c.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 The face of the Ismailis of Iran in the historical epics of the Ilkhanid period The face of the Ismailis of Iran in the historical epics of the Ilkhanid period 19 36 25165 10.22108/rpll.2020.119980.1613 FA Mahshid Gohari Kakhki Persian literature group, Faculty of Literature, Ferdowsi University of Mashhad, Mashhad, Iran Mohamadjafar Yahaghi Department of Persian language and literature, faculty of literature and human science, ferdowsi university, Mashhad, Iran Journal Article 2019 11 09 This study examines how the Ismailis of Alamut portrayed in three important historical epics of the Ilkhanid era-Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh- and also The Mongols' motives for the extermination of the Ismailis of Iran have been discussed. In addition, a comparison is made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh, in order to better determine each poet's general attitude to this historical event and the causes of their different viewpoints. There appear to be three different approaches to these works: In Zafarnameh have been created a very negative image from Ismaili leaders and their followers, and Mostufi has a fanatical view to them. This negative image of them is very close to the look and expression of Joveyni. Like Rashid-al-Din Hamadani, Kashani has a more rational and balanced attitude toward the Ismailis and has attributed less negative traits to them that usually have no religious color. Shahanshahnameh rarely has mentioned Ismailis in a negative way and never used religious interpretations about them. Tabrizi has repeatedly praised the latest Ismaili leader and has expressed regret over the destruction of the Ismailis. Perhaps the reason for this approach in the Shahanshahnameh is that Tabrizi regarded the Ismaili movement as an Iranian uprising and his Iranian-friendly spirit was effective in interpreting this historical event 2- Introduction Historians and writers have always been interested in the history of the Ismaili sect and their views and opinions throughout history. Each author and historian has presented a different picture of this group based on their ideology and worldview. For example, Sunni theologians and writers portrayed the Ismailia as an atheism religion in Islam. There are also different views among the historians who wrote their history during the Ismaili period of Iran or in the early decades after the collapse of the Ismailis. The main purpose of this study is to describe and explain the approach of the poets of the historical epics of the Ilkhanid era to the Ismailis of Alamut. To this end, it has been studied how the Ismailis of Iran were depicted in three important historical epics of the Ilkhanid period, Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh. 3- Material & Methods Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi and Tabrizi’s Shahanshahnameh is the three most important historical poems of the Ilkhanid era. Tarikh Manzoom is one of the public Mongol dates that Shams Kashani ended it in the early reign of Sultan Muhammad Khodabandeh . In this poem, which contains more than 8,000 bits, the history of the Mongols people is narrated from the beginning to the time of this Ilkhan. Zafarnameh, by Hamdollah Mostufi, has three types: Islamic, Ahkami (Ajami) and Sultani. The poet has detailed the life of Hassan Sabbah and his successors in Ahkami section. Furthermore in the Sultani part, in the section on the conquest of Ismailia by Hulagu Khan, this group has been mentioned again. Shahnamehnameh is another important historical poem written by Ahmad Tabrizi in the court of Sultan AbuSa'id, in which the poet narrated the situation of Genghis Khan and his successors until two years after the last Ilkhan's death. This article discusses how to utilize linguistic and rhetorical tools and how to refer to the discourse of religion in the three above mentioned poems and discusses the motives mentioned by the poets for conquering the Ismailis. A comparison has also been made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh to determine the poets' general view of this subject, the extent to which they have been influenced by prose and poetic works, and how they interacted with the power center. 4- Discussion of Results & Conclusions Although all three historical epics have been composed in the Ilkhanid court, by examining how the Ismailis were portrayed in the three historical epics and also by Hulagu Khan's motives for attacking the Ismailis, it identified that There are three approaches in these works: Mostufi has presented a very negative image of the Ismailis with a religious approach, for personal and ideological reasons, which is close to the Joveyni views. Like Rashid-al-Din Hamadani, Kashani has spoken about the Ismailis in a softer and more moderate language, and has used fewer negative traits. Tabrizi, perhaps because of his Iranian-orientated tendency, usually has presented a positive image of the Ismailis and rarely dispraised them. Therefore, it can be seen that each of these poets had a different approach to this issue according to their beliefs and views. They have in many cases consciously and purposefully used traits, combinations and imaginary elements and have been purposeful in how they narrate, omit, or emphasize certain events. This study examines how the Ismailis of Alamut portrayed in three important historical epics of the Ilkhanid era-Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh- and also The Mongols' motives for the extermination of the Ismailis of Iran have been discussed. In addition, a comparison is made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh, in order to better determine each poet's general attitude to this historical event and the causes of their different viewpoints. There appear to be three different approaches to these works: In Zafarnameh have been created a very negative image from Ismaili leaders and their followers, and Mostufi has a fanatical view to them. This negative image of them is very close to the look and expression of Joveyni. Like Rashid-al-Din Hamadani, Kashani has a more rational and balanced attitude toward the Ismailis and has attributed less negative traits to them that usually have no religious color. Shahanshahnameh rarely has mentioned Ismailis in a negative way and never used religious interpretations about them. Tabrizi has repeatedly praised the latest Ismaili leader and has expressed regret over the destruction of the Ismailis. Perhaps the reason for this approach in the Shahanshahnameh is that Tabrizi regarded the Ismaili movement as an Iranian uprising and his Iranian-friendly spirit was effective in interpreting this historical event 2- Introduction Historians and writers have always been interested in the history of the Ismaili sect and their views and opinions throughout history. Each author and historian has presented a different picture of this group based on their ideology and worldview. For example, Sunni theologians and writers portrayed the Ismailia as an atheism religion in Islam. There are also different views among the historians who wrote their history during the Ismaili period of Iran or in the early decades after the collapse of the Ismailis. The main purpose of this study is to describe and explain the approach of the poets of the historical epics of the Ilkhanid era to the Ismailis of Alamut. To this end, it has been studied how the Ismailis of Iran were depicted in three important historical epics of the Ilkhanid period, Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi, Tabrizi’s Shahanshahnameh. 3- Material & Methods Kashani’s Tarikh Manzoom, Zafarnameh of Mostufi and Tabrizi’s Shahanshahnameh is the three most important historical poems of the Ilkhanid era. Tarikh Manzoom is one of the public Mongol dates that Shams Kashani ended it in the early reign of Sultan Muhammad Khodabandeh . In this poem, which contains more than 8,000 bits, the history of the Mongols people is narrated from the beginning to the time of this Ilkhan. Zafarnameh, by Hamdollah Mostufi, has three types: Islamic, Ahkami (Ajami) and Sultani. The poet has detailed the life of Hassan Sabbah and his successors in Ahkami section. Furthermore in the Sultani part, in the section on the conquest of Ismailia by Hulagu Khan, this group has been mentioned again. Shahnamehnameh is another important historical poem written by Ahmad Tabrizi in the court of Sultan AbuSa'id, in which the poet narrated the situation of Genghis Khan and his successors until two years after the last Ilkhan's death. This article discusses how to utilize linguistic and rhetorical tools and how to refer to the discourse of religion in the three above mentioned poems and discusses the motives mentioned by the poets for conquering the Ismailis. A comparison has also been made with Jame-al-Tavarikh, Tarikhe Jahangoshaye Joveyni and Tarikhe Gozideh to determine the poets' general view of this subject, the extent to which they have been influenced by prose and poetic works, and how they interacted with the power center. 4- Discussion of Results & Conclusions Although all three historical epics have been composed in the Ilkhanid court, by examining how the Ismailis were portrayed in the three historical epics and also by Hulagu Khan's motives for attacking the Ismailis, it identified that There are three approaches in these works: Mostufi has presented a very negative image of the Ismailis with a religious approach, for personal and ideological reasons, which is close to the Joveyni views. Like Rashid-al-Din Hamadani, Kashani has spoken about the Ismailis in a softer and more moderate language, and has used fewer negative traits. Tabrizi, perhaps because of his Iranian-orientated tendency, usually has presented a positive image of the Ismailis and rarely dispraised them. Therefore, it can be seen that each of these poets had a different approach to this issue according to their beliefs and views. They have in many cases consciously and purposefully used traits, combinations and imaginary elements and have been purposeful in how they narrate, omit, or emphasize certain events.

https://rpll.ui.ac.ir/article_25165_b83cd0b3a6a46b51fb9d9df0a7490f78.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 Editing Some Verses of Rashid-al-din Vatvat’s Divan Editing Some Verses of Rashid-al-din Vatvat’s Divan 37 51 24968 10.22108/rpll.2020.120663.1635 FA Sarah Saeidi Visiting professor of Persian language and Literature,Tokyo University of Foreign Studies, Department of Persian language, Tokyo, Japan Mohammad Ahmadi Lecturer of Intercultural Communication, Rikkyo University, Department of Intercultural Communication, Tokyo, Japan. Journal Article 2019 12 23 Abstract Saʿid Nafisi’s critical edition of Rashid-al-din Vatvat’s Divan is up-to-date and the only available edition of the poet’s Divan. It is also the only edition presented to academic assemblies. This book was published by Barani library in Tehran in 1960. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from other contemporary or subsequent poets to Rashid-al-din Vatvat. Some scholars have already pointed out some of these errors and deficiencies in their published research papers. These scholars have also stressed the need for a new critical edition of this precious heritage from 12th century AH based on newly-found sources and the poet’s style of poetry. This paper also highlights fourteen important errors in Sa’id Nafisi’s edition of Rashid-al-din Vatvat’s Divan based on eleven old manuscripts and handwritten anthologies from previous centuries. This study not only can collaborate and contribute to enriching studies related to Rashid-al-din Vatvat and Persian literary manuscript analysis, critical edition studies, and textual analysis but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts. Introduction Rashid al-din Mohammad bin Mohammad bin Abd al-Jalil al-Umari, known as Vatvat, was a poet, secretary, and prolific author in Arabic and Persian. He was born in Balkh and later went to study in the Nizamiyyah school of this city and soon became one of the most eminent figures of his time. Vatvat was chief secretary under the Khwarazm Shah Atsiz and served the Khwarazmian court for nearly thirty years. It is clear from the old biographers’ account and anthologies that his fame and reputation in his lifetime went beyond Khwarazm and spread all over ancient Persia. The biographers of his time and after recorded an extensive account of his life and considered him as one of the best panegyric poets of the 12th century. Vatvat’s Persian divan, containing more than 8500 verses in Nafisi’s edition (1960), consists largely of poems eulogizing Atsiz. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from poets other than Vatvat. One major defect in Nafisi’s edition is that almost all the manuscripts of Vatvat’s poems he used were transcribed in recent centuries and nearly none of them were written before the 17th century. Since today’s scholars of Persian language and literature have found and identified new manuscripts and anthologies that contain Vatvat’s poetry, a new edition of his Divan based on these new sources seems to be highly necessary. Due to this fact, the present study highlights fourteen important errors in Nafisi’s edition based on some of these new sources (eleven old manuscripts and handwritten anthologies) and stresses the need for a new critical edition of this valuable heritage from the 12th century. Material & Methods In this paper, based on library resources and the comparative method, eleven manuscripts that contain Rashid-al-din Vatvat’s poetry have been compared with Said Nafisi’s edition of his Divan. Then, the differences and the preferred records have been noted down and the most important ones with considering the poet’s style of poetry have been chosen for presenting in this research. The manuscripts that have been studied in this paper are: Manuscript No: 103 in Chester Beatty Library in Dublin, dated late seventh century AH (699). Manuscript No: 120 in Feyziyeh Library in Qom, dated probably around the eleventh century AH. Manuscript No: 4841/2 in Library and Document Center of Iran Parliament, dated tenth century AH (996). Manuscript No: ps/2485 in British Museum, dated eleventh century AH (1002). Manuscript No: 13601 in Library and Document Center of Iran Parliament, dated eleventh century Ah (1018). Manuscript No: p.51429 in British Museum, dated probably around the eleventh century AH. Manuscript No: 1984 in Iran’s National Library, dated probably around the eleventh century AH. Manuscript No: 4716/1 in Malek National Library and Museum, dated probably around the beginning of the eleventh century AH. Manuscript No: 4549 in Library and Document Center of Iran Parliament, dated probably around the thirteenth century AH. Manuscript No: 2517/2 in Iran’s National Library, dated thirteenth century AH (1264). Manuscript No: s.p.799 in Paris National Library, dated probably around the beginning of the eleventh century AH. Discussion of Results & Conclusions In Said Nafisi’s edition of Rashid-al-din Vatvat’s Divan, many deficiencies and errors can be identified which at times have altered or twisted the meaning of some verses. Several scholars have pointed out some of these errors and flaws in their research papers and have stressed the need for a new critical edition based on newly-found sources. This paper investigated fourteen important errors in Nafisi’s edition according to some of these sources and based on other references with considering the poet’s style of poetry. The findings of this paper showed that there were three misreadings of verses, eight distortions in editing verses, and three wrong records of words in Nafisi’s edition. This data not only can contribute to Persian literary manuscript analysis, critical edition studies, and textual analysis, but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts. Abstract Saʿid Nafisi’s critical edition of Rashid-al-din Vatvat’s Divan is up-to-date and the only available edition of the poet’s Divan. It is also the only edition presented to academic assemblies. This book was published by Barani library in Tehran in 1960. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from other contemporary or subsequent poets to Rashid-al-din Vatvat. Some scholars have already pointed out some of these errors and deficiencies in their published research papers. These scholars have also stressed the need for a new critical edition of this precious heritage from 12th century AH based on newly-found sources and the poet’s style of poetry. This paper also highlights fourteen important errors in Sa’id Nafisi’s edition of Rashid-al-din Vatvat’s Divan based on eleven old manuscripts and handwritten anthologies from previous centuries. This study not only can collaborate and contribute to enriching studies related to Rashid-al-din Vatvat and Persian literary manuscript analysis, critical edition studies, and textual analysis but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts. Introduction Rashid al-din Mohammad bin Mohammad bin Abd al-Jalil al-Umari, known as Vatvat, was a poet, secretary, and prolific author in Arabic and Persian. He was born in Balkh and later went to study in the Nizamiyyah school of this city and soon became one of the most eminent figures of his time. Vatvat was chief secretary under the Khwarazm Shah Atsiz and served the Khwarazmian court for nearly thirty years. It is clear from the old biographers’ account and anthologies that his fame and reputation in his lifetime went beyond Khwarazm and spread all over ancient Persia. The biographers of his time and after recorded an extensive account of his life and considered him as one of the best panegyric poets of the 12th century. Vatvat’s Persian divan, containing more than 8500 verses in Nafisi’s edition (1960), consists largely of poems eulogizing Atsiz. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from poets other than Vatvat. One major defect in Nafisi’s edition is that almost all the manuscripts of Vatvat’s poems he used were transcribed in recent centuries and nearly none of them were written before the 17th century. Since today’s scholars of Persian language and literature have found and identified new manuscripts and anthologies that contain Vatvat’s poetry, a new edition of his Divan based on these new sources seems to be highly necessary. Due to this fact, the present study highlights fourteen important errors in Nafisi’s edition based on some of these new sources (eleven old manuscripts and handwritten anthologies) and stresses the need for a new critical edition of this valuable heritage from the 12th century. Material & Methods In this paper, based on library resources and the comparative method, eleven manuscripts that contain Rashid-al-din Vatvat’s poetry have been compared with Said Nafisi’s edition of his Divan. Then, the differences and the preferred records have been noted down and the most important ones with considering the poet’s style of poetry have been chosen for presenting in this research. The manuscripts that have been studied in this paper are: Manuscript No: 103 in Chester Beatty Library in Dublin, dated late seventh century AH (699). Manuscript No: 120 in Feyziyeh Library in Qom, dated probably around the eleventh century AH. Manuscript No: 4841/2 in Library and Document Center of Iran Parliament, dated tenth century AH (996). Manuscript No: ps/2485 in British Museum, dated eleventh century AH (1002). Manuscript No: 13601 in Library and Document Center of Iran Parliament, dated eleventh century Ah (1018). Manuscript No: p.51429 in British Museum, dated probably around the eleventh century AH. Manuscript No: 1984 in Iran’s National Library, dated probably around the eleventh century AH. Manuscript No: 4716/1 in Malek National Library and Museum, dated probably around the beginning of the eleventh century AH. Manuscript No: 4549 in Library and Document Center of Iran Parliament, dated probably around the thirteenth century AH. Manuscript No: 2517/2 in Iran’s National Library, dated thirteenth century AH (1264). Manuscript No: s.p.799 in Paris National Library, dated probably around the beginning of the eleventh century AH. Discussion of Results & Conclusions In Said Nafisi’s edition of Rashid-al-din Vatvat’s Divan, many deficiencies and errors can be identified which at times have altered or twisted the meaning of some verses. Several scholars have pointed out some of these errors and flaws in their research papers and have stressed the need for a new critical edition based on newly-found sources. This paper investigated fourteen important errors in Nafisi’s edition according to some of these sources and based on other references with considering the poet’s style of poetry. The findings of this paper showed that there were three misreadings of verses, eight distortions in editing verses, and three wrong records of words in Nafisi’s edition. This data not only can contribute to Persian literary manuscript analysis, critical edition studies, and textual analysis, but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts.

https://rpll.ui.ac.ir/article_24968_48d9dc581d4a2e72c660bad9456d725a.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 A Comparison of Relative Clause Extraposition in Persian Travelogues: A Case Study of Three Travelogues A Comparison of Relative Clause Extraposition in Persian Travelogues: A Case Study of Three Travelogues 53 71 24857 10.22108/rpll.2020.120969.1646 FA Elham Mizban MA Student of Linguistics, Department of Linguistics, Faculty of Literature and Humanities, Ferdowsi University of Mashhad, Iran. Ali Alizadeh Associate Professor of Linguistics, Department of Linguistics, Faculty of Literature and Humanities, Ferdowsi University of Mashhad, Iran Azam Estaji Associate Professor of Linguistics, Department of Linguistics, Faculty of Literature and Humanities, Ferdowsi University of Mashhad, Iran. Journal Article 2020 01 19 Introduction Farsi travelogues are valuable books. Some especially remaining from the 5th century (more than 1000 years ago) have been the subject matter of many studies in a variety of fields including literature, historical and social studies, or even historical architecture studies. Yet, few studies have been carried out from a linguistic viewpoint to show their capacities as a linguistic data source. The current study investigated relative clause extraposition and its motivations as a non-obligatory movement mostly based on functional and discourse criteria. In many languages, the relative clause is mostly a clause acting as a modifier for a head ‘noun phrase’ (NP) located in the main clause. This modifier clause can appear right after (or based on the language word order before) the NP that is defined by the clause and in this case it is named canonical relative clause. Alternatively, it can be dislocated and be moved to the end of the sentence (named extraposed relative clause). Since there is no syntactic need to force this movement, the motivations of relative clause extraposition were explained to be discourse factors such as the grammatical weight of the clause, verb information structure, and a combination of some different factors together. The current study aimed to analyze the motivation of extraposition relative clauses in historical proses. Materials and Methods In this paper, three travelogues belonging to three different historical periods were studied and compared. They were 1) Nasir Khusraw’s Travelogue (Safarnameh) written in the 5th century AH, 2) Khatay Namih written by Ali Akbar Khatay in the 10th century AH, and 3) Karnameh Safar Be Chin (A Travel record to China) by Mohammad Ali Eslami Nodooshan written in the 14th century AH. All relative clauses were extracted based on systematic sampling which covered nearly more than half of each book, and 221 relative clauses were finally extracted. All relative clauses were grouped into 2 main categories based on their position in the sentence: 1) canonical relative clauses which appeared right after the head of NP they modify; and 2) those extraposed to the end of the sentence after the main verb. The extraposed relative clauses were analyzed based on their head NP role in the main and subordinate clause, verb information structure, and grammatical weight. Discussion of Results and Conclusions Comparing the three books, the rate of relative clause extraposition was higher in Nasir Khosraw’s Travelogue and Karnameh Safar Be Chin since both are simple proses, and less relative clause extraposition was seen in Khatay Namih which is a technical prose. All extraposed relative clauses were analyzed to figure out the head NP role in the main and subordinate clauses. The findings suggest that in the main clause, most extraposed clauses modify subject and object NP according to accessibility hierarchy (Keenan & Comrie, 1977); yet some different patterns were also observed in subordinate clauses. In Nasir Khosraw’s Travelogue, the top position was occupied by object NP instead of subject NP while in Khatay Namih and Karnameh Safar Be Chin, the object of preposition was placed in the second position showing a little deviation of accessibility hierarchy. Head NP definiteness was also studied in all extraposed relative clauses of these three travelogues. In Persian, unlike some languages such as German or English, there is no limitation on head NP definiteness and all types of NPs can be used in this position. However, only 4% of head NPs were pronouns. This means that although using the pronoun as a head NP is not ungrammatical in Persian, it was not very common neither in Nasir Khosraw’s Travelogue and Khatay Namih, nor in Karnameh Safar Be Chin which is a contemporary text. This book has also the greater rate of using relative clauses as a modifier of adjunct position in subordinate clauses and higher grammatical weight of extraposed relative clauses. Such differences between Khatay Namih and two other travelogues suggest a significant agreement between stylistics claim about technical prose and linguistic analyses concerning the role of relative clause extraposition in facilitating the understanding of the text. The Vverb information structure is another extraposition motivator mentioned in the literature. It is supposed that when the verb of the main clause has old-given information, it is most likely for the relative clause to be extraposed and the idea is supported by findings in the current study. In Nasir Khosraw’s Travelogue, 50%, in Khatay Namih, 51%, and in Karnameh Safar Be Chin, 76% of relative clauses were extraposed from the main clauses with linking verbs. These connecting verbs are supposed to bear old-given information. The last factor studied in this paper was the relative clause grammatical weight. Based on Francis (2010) “grammatical weight refers to the length and/or complexity of a phrase concerning the other phrases in the same sentence” (P. 6) and “it can be calculated by the number of verb immediate constituent to word-ratios” (P. 12). Comparing these three travelogues, the average length of extraposed relative clauses was higher in Khatay Namih which is a technical prose, and less in Nasir Khosraw’s Travelogue and Karnameh Safar Be Chin both representing simple proses. Based on the rate of extraposed relative clause, the rate of using relative clauses as a modifier of adjunct position in subordinate clauses, and higher grammatical weight of extraposed relative clauses, a number of differences were observed between Khatay Namih and the other two travelogues supporting the stylistics claim about technical proses and linguistics analyses regarding the role of relative clause extraposition in facilitating the understanding of a text. Introduction Farsi travelogues are valuable books. Some especially remaining from the 5th century (more than 1000 years ago) have been the subject matter of many studies in a variety of fields including literature, historical and social studies, or even historical architecture studies. Yet, few studies have been carried out from a linguistic viewpoint to show their capacities as a linguistic data source. The current study investigated relative clause extraposition and its motivations as a non-obligatory movement mostly based on functional and discourse criteria. In many languages, the relative clause is mostly a clause acting as a modifier for a head ‘noun phrase’ (NP) located in the main clause. This modifier clause can appear right after (or based on the language word order before) the NP that is defined by the clause and in this case it is named canonical relative clause. Alternatively, it can be dislocated and be moved to the end of the sentence (named extraposed relative clause). Since there is no syntactic need to force this movement, the motivations of relative clause extraposition were explained to be discourse factors such as the grammatical weight of the clause, verb information structure, and a combination of some different factors together. The current study aimed to analyze the motivation of extraposition relative clauses in historical proses. Materials and Methods In this paper, three travelogues belonging to three different historical periods were studied and compared. They were 1) Nasir Khusraw’s Travelogue (Safarnameh) written in the 5th century AH, 2) Khatay Namih written by Ali Akbar Khatay in the 10th century AH, and 3) Karnameh Safar Be Chin (A Travel record to China) by Mohammad Ali Eslami Nodooshan written in the 14th century AH. All relative clauses were extracted based on systematic sampling which covered nearly more than half of each book, and 221 relative clauses were finally extracted. All relative clauses were grouped into 2 main categories based on their position in the sentence: 1) canonical relative clauses which appeared right after the head of NP they modify; and 2) those extraposed to the end of the sentence after the main verb. The extraposed relative clauses were analyzed based on their head NP role in the main and subordinate clause, verb information structure, and grammatical weight. Discussion of Results and Conclusions Comparing the three books, the rate of relative clause extraposition was higher in Nasir Khosraw’s Travelogue and Karnameh Safar Be Chin since both are simple proses, and less relative clause extraposition was seen in Khatay Namih which is a technical prose. All extraposed relative clauses were analyzed to figure out the head NP role in the main and subordinate clauses. The findings suggest that in the main clause, most extraposed clauses modify subject and object NP according to accessibility hierarchy (Keenan & Comrie, 1977); yet some different patterns were also observed in subordinate clauses. In Nasir Khosraw’s Travelogue, the top position was occupied by object NP instead of subject NP while in Khatay Namih and Karnameh Safar Be Chin, the object of preposition was placed in the second position showing a little deviation of accessibility hierarchy. Head NP definiteness was also studied in all extraposed relative clauses of these three travelogues. In Persian, unlike some languages such as German or English, there is no limitation on head NP definiteness and all types of NPs can be used in this position. However, only 4% of head NPs were pronouns. This means that although using the pronoun as a head NP is not ungrammatical in Persian, it was not very common neither in Nasir Khosraw’s Travelogue and Khatay Namih, nor in Karnameh Safar Be Chin which is a contemporary text. This book has also the greater rate of using relative clauses as a modifier of adjunct position in subordinate clauses and higher grammatical weight of extraposed relative clauses. Such differences between Khatay Namih and two other travelogues suggest a significant agreement between stylistics claim about technical prose and linguistic analyses concerning the role of relative clause extraposition in facilitating the understanding of the text. The Vverb information structure is another extraposition motivator mentioned in the literature. It is supposed that when the verb of the main clause has old-given information, it is most likely for the relative clause to be extraposed and the idea is supported by findings in the current study. In Nasir Khosraw’s Travelogue, 50%, in Khatay Namih, 51%, and in Karnameh Safar Be Chin, 76% of relative clauses were extraposed from the main clauses with linking verbs. These connecting verbs are supposed to bear old-given information. The last factor studied in this paper was the relative clause grammatical weight. Based on Francis (2010) “grammatical weight refers to the length and/or complexity of a phrase concerning the other phrases in the same sentence” (P. 6) and “it can be calculated by the number of verb immediate constituent to word-ratios” (P. 12). Comparing these three travelogues, the average length of extraposed relative clauses was higher in Khatay Namih which is a technical prose, and less in Nasir Khosraw’s Travelogue and Karnameh Safar Be Chin both representing simple proses. Based on the rate of extraposed relative clause, the rate of using relative clauses as a modifier of adjunct position in subordinate clauses, and higher grammatical weight of extraposed relative clauses, a number of differences were observed between Khatay Namih and the other two travelogues supporting the stylistics claim about technical proses and linguistics analyses regarding the role of relative clause extraposition in facilitating the understanding of a text.

https://rpll.ui.ac.ir/article_24857_4b4fa29b9da659c44cd34c654d178429.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 Analyzing Desirable Capacities of Borzounameh for the Adaptation of Hack and Slash Computer Game Analyzing Desirable Capacities of Borzounameh for the Adaptation of Hack and Slash Computer Game 73 90 24897 10.22108/rpll.2020.122118.1681 FA Alireza Pourshabanan Assistant Professor, Faculty Member at Art University of Tehran 0000-0002-6183-6376 Amirhossein Pourshabanan Master Degree in Art Research, Islamic Azad University, Najaf Abad, Isfahan, Iran. Journal Article 2020 03 14 Abstract Computer games are a combination of the arts of cinema, graphics, music, literature, and their subsets that, despite having an applicant and a consumer, have not been considered in Iran in terms of production for various reasons. However, by adapting literary works as the axis of creative ideation in connection with the narration of computer games, a more effective platform can be created in the production of such products. Therefore, in the present study, the aim was to investigate this issue by a descriptive-analytical method, relying on the desirable features of classical Persian literature that has a range of epic works and texts such as Borzounameh and similar examples. The question posed in this study is: What are the characteristics of existence, multiplicity, and diversity that make adaptation desirable for computer games with an indigenous culture approach and considering appropriate value-ethical norms? It seems that features such as the presence of a compelling story and lively narrative, the presence of a hero (anti-hero), and the multiplicity of attractive characters with the ability to interact in the context of various conflicts and image-based expression of appropriate themes in epic works have turned these types of texts into desirable options for adapting computer games with a loyal approach and with small changes appropriate to the age and culture of the target audience in the widely-used martial-combat genre. Introduction Today, the art-industry or art-media of computer games is known as one of the most economical fields of culture and entertainment production in the world, which is consumed by consumers due to their emotional and sometimes intellectual pleasures along with visual attractions. Many contributors are presented with a new form of storytelling, a new mix of literature, theater and film (in the traditional form), and an interactive aspect (as a modern dimension). This effect on the entertainment of audiences of different ages is growing day by day. From this point of view, computer games have an undeniable impact on the mood and actions of users as a product of entertainment and can be selected by choosing narratives and stories. In accordance with the Iranian culture in terms of content, professionals started to make national games with local values with the consideration of the domestic literary works to meet the needs of Iranian users as well as international audience. But, in selecting such works, the basic indicators appropriate to the needs of the game world should be considered. Some of these indicators and characteristics are the existence of a hero character (superhero), the multiplicity of types of fictional and dynamic characters in the context of various conflicts, the variety of locations of events, and concise expression of appropriate themes. Materials and Methods In this research, a descriptive-analytical method was used to examine the text of Borzounameh as an example of epic literature in terms of the existence of desirable adaptation capacities for computer games and to answer the main question posed above. Discussion of Results and Conclusions The results showed that considering the capacities in the classical Persian epic literature, it seems that this type of literature is a desirable platform that can be considered by its inherent indicators and works tailored to the needs of the world. Computer games, and especially the popular Hack and Slash Genre, were nominated for adaptation, and in response to the main research question, it was concluded that in the range of Persian epic works, a text such as Borzounameh and similar examples, due to the presence of elements such as illustrated and divisible story to create different stages of the game with a happy, fun ending along with the benefit of superhero characters (anti-hero), and a variety of attractive characters, have the capacity for popular adaptations. On the other hand, there are many kinds of exciting and full of movement conflicts that create the right rhythm for the new generation of combat-fighting games and in a range of themes appropriate to the native and Iranian culture which could make this type of text one of the best choices for reproducing computer games. Having this in mind, the author made an attempt to make computer games by maintaining the action-oriented framework of the text considering cultural values including avoiding the display of images and actions contrary to the moral norms of society, with relatively high fidelity to the ups and downs in a text such as Borzounameh. The up-to-dateness of the types of indicators available in the profile, such as the variety of weapons and the distinction in using different types of challenges and battles, especially in comparison with the works of the world, should be considered. In the production of adapted games, more issues can be examined and it is necessary to pay attention to highlighting and strengthening elements such as story suspension in the form of various adventures, adding characters and amazing creatures common in epic works. Special attention should be paid to the elements of nature and the creation of magnificent spaces and situations, the use of a variety of roles in the text in the process of the game, as well as an emphasis on exaggerated and epic aspects of weapons, wars, individual and group struggles. Abstract Computer games are a combination of the arts of cinema, graphics, music, literature, and their subsets that, despite having an applicant and a consumer, have not been considered in Iran in terms of production for various reasons. However, by adapting literary works as the axis of creative ideation in connection with the narration of computer games, a more effective platform can be created in the production of such products. Therefore, in the present study, the aim was to investigate this issue by a descriptive-analytical method, relying on the desirable features of classical Persian literature that has a range of epic works and texts such as Borzounameh and similar examples. The question posed in this study is: What are the characteristics of existence, multiplicity, and diversity that make adaptation desirable for computer games with an indigenous culture approach and considering appropriate value-ethical norms? It seems that features such as the presence of a compelling story and lively narrative, the presence of a hero (anti-hero), and the multiplicity of attractive characters with the ability to interact in the context of various conflicts and image-based expression of appropriate themes in epic works have turned these types of texts into desirable options for adapting computer games with a loyal approach and with small changes appropriate to the age and culture of the target audience in the widely-used martial-combat genre. Introduction Today, the art-industry or art-media of computer games is known as one of the most economical fields of culture and entertainment production in the world, which is consumed by consumers due to their emotional and sometimes intellectual pleasures along with visual attractions. Many contributors are presented with a new form of storytelling, a new mix of literature, theater and film (in the traditional form), and an interactive aspect (as a modern dimension). This effect on the entertainment of audiences of different ages is growing day by day. From this point of view, computer games have an undeniable impact on the mood and actions of users as a product of entertainment and can be selected by choosing narratives and stories. In accordance with the Iranian culture in terms of content, professionals started to make national games with local values with the consideration of the domestic literary works to meet the needs of Iranian users as well as international audience. But, in selecting such works, the basic indicators appropriate to the needs of the game world should be considered. Some of these indicators and characteristics are the existence of a hero character (superhero), the multiplicity of types of fictional and dynamic characters in the context of various conflicts, the variety of locations of events, and concise expression of appropriate themes. Materials and Methods In this research, a descriptive-analytical method was used to examine the text of Borzounameh as an example of epic literature in terms of the existence of desirable adaptation capacities for computer games and to answer the main question posed above. Discussion of Results and Conclusions The results showed that considering the capacities in the classical Persian epic literature, it seems that this type of literature is a desirable platform that can be considered by its inherent indicators and works tailored to the needs of the world. Computer games, and especially the popular Hack and Slash Genre, were nominated for adaptation, and in response to the main research question, it was concluded that in the range of Persian epic works, a text such as Borzounameh and similar examples, due to the presence of elements such as illustrated and divisible story to create different stages of the game with a happy, fun ending along with the benefit of superhero characters (anti-hero), and a variety of attractive characters, have the capacity for popular adaptations. On the other hand, there are many kinds of exciting and full of movement conflicts that create the right rhythm for the new generation of combat-fighting games and in a range of themes appropriate to the native and Iranian culture which could make this type of text one of the best choices for reproducing computer games. Having this in mind, the author made an attempt to make computer games by maintaining the action-oriented framework of the text considering cultural values including avoiding the display of images and actions contrary to the moral norms of society, with relatively high fidelity to the ups and downs in a text such as Borzounameh. The up-to-dateness of the types of indicators available in the profile, such as the variety of weapons and the distinction in using different types of challenges and battles, especially in comparison with the works of the world, should be considered. In the production of adapted games, more issues can be examined and it is necessary to pay attention to highlighting and strengthening elements such as story suspension in the form of various adventures, adding characters and amazing creatures common in epic works. Special attention should be paid to the elements of nature and the creation of magnificent spaces and situations, the use of a variety of roles in the text in the process of the game, as well as an emphasis on exaggerated and epic aspects of weapons, wars, individual and group struggles.

https://rpll.ui.ac.ir/article_24897_2f23daa5124478ab0293b16cd2d5d224.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 Sana'i Ghaznavi, Correction of Hadiqat al-Haqiqa, Critique of Hadiqat al-Haqiqa, Mohammad Jafar Yahaghi, Sayyed Mehdi Zarqhani. Sana'i Ghaznavi, Correction of Hadiqat al-Haqiqa, Critique of Hadiqat al-Haqiqa, Mohammad Jafar Yahaghi, Sayyed Mehdi Zarqhani. 91 116 24927 10.22108/rpll.2020.120211.1620 FA Seyyed Mehdi Tabatabaei Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Shahid Beheshti University, Tehran, Iran. Journal Article 2019 12 02 Abstract The high position of Hadiqah al-Haqiqa in Persian literature has led to a lot of research on it; nevertheless, issues such as linguistic complexities, the use of other scientific terms, the obsolescence of the language, historical and religious references, and the irregular structure of the poem have left some of the ambiguities of this work unresolved. In the meantime, one should not be ignorant of a proper correction of Hadiqat al-Haqiqa; a correction that can take into account all aspects of this book and Sanai’s mental geometry, to provide the literary community with a text closest to the author’s. This issue has attracted the attention of contemporary Persian language scholars, hence remarkable studies in the field of correcting or describing the problems of this book have been done in the last century. In this study, the newest correction of Hadiqat al-Haqiqa will be investigated, and its weaknesses will be highlighted using the descriptive-analytical method and library resources. The necessity of the study is the need for both studying Sanai and his works in Persian literature and reviewing their corrections. It seems that in Yahaghi and Zarghani’s correction, using the method of correction in the form of the base manuscript as well as selecting the Manchester manuscript as the base version has resulted in some deficiencies in the corrected text, which will be addressed in this study in four general formats. Also, the concept of certain words, phrases, expressions, and couplets of Hadiqat al-Haqiqa will be clarified. Introduction It is the pleasure of literary lovers to make any correction of Persian literary texts. It will be more gratifying if the correction is made by two well-known figures in the field. Correction of Sanai’s Hadiqah al-Haqiqah, which is published by Mohammad Jafar Yahaghi and Seyed Mehdi Zarghani in 2018 (1397 AH), is one of the studies that was done according to the needs assessment of the literary society. But, in the end, when it was published, it became clear that unfortunately there were many deficiencies in the research method, as well as its comments and explanations in a way that it is sometimes perceived that what is written in the text of the book is far from the academic position of the two researchers. Although it has been difficult to write this book, admittedly, some verses in Hadiqat al-Haqiqa need further explanation. There are also discrepancies between the text and the comments, or there are shortcomings in reporting and recording verses. All of these have been discussed in this article. Material & Methods In this research, which has been done with the descriptive-analytical method and using library resources, the first correction of Hadiqat al-Haqiqa entitled Latiyef al-Hadaieq (Abdul Latif Abbasi between the years 1037 to 1044 AH, the correction of Modarres Razavi (1320 AH), the correction of Maryam Hosseini (1382 AH) entitled Fakhri Nameh, and other related works such as Talighate Hadiqah from Modarres Razavi (1341 AH), Sharhe Moshkelate Hadiqahe Sanaei from Ishaq Toghyani (1382 AH), and Sharhe Doshvarihaei Az Hadiqahe Sanaei by Zahra Dori (1383 AH) have been used. Discussion of Results & Conclusions One of the biggest reasons why there are many deficiencies is the correction of Yahaghi and Zarghani is choosing the Manchester manuscript (dated 681) as the base version, and abandoning the old manuscripts such as 552 and 558. It should be noted that the Manchester manuscript does not have the original characteristics of a basic manuscript. Perhaps the proofreaders’ argument for omitting these manuscripts is that they do not include all of Hadiqat al-Haqiqa poems. But, even with this argument, the antiquity, validity, and originality of these manuscripts cannot be ignored. Another reason is the text correction method that is chosen by the correctors. Considering the manuscripts used in this correction, it seems that the correction by using the ‘intermediate’ method could be the best method that the two researchers could use. Additionally, the corrected text should have been compared with one of the previous corrections. These factors have led to fundamental shortcomings in correcting and reducing its scientific value. Abstract The high position of Hadiqah al-Haqiqa in Persian literature has led to a lot of research on it; nevertheless, issues such as linguistic complexities, the use of other scientific terms, the obsolescence of the language, historical and religious references, and the irregular structure of the poem have left some of the ambiguities of this work unresolved. In the meantime, one should not be ignorant of a proper correction of Hadiqat al-Haqiqa; a correction that can take into account all aspects of this book and Sanai’s mental geometry, to provide the literary community with a text closest to the author’s. This issue has attracted the attention of contemporary Persian language scholars, hence remarkable studies in the field of correcting or describing the problems of this book have been done in the last century. In this study, the newest correction of Hadiqat al-Haqiqa will be investigated, and its weaknesses will be highlighted using the descriptive-analytical method and library resources. The necessity of the study is the need for both studying Sanai and his works in Persian literature and reviewing their corrections. It seems that in Yahaghi and Zarghani’s correction, using the method of correction in the form of the base manuscript as well as selecting the Manchester manuscript as the base version has resulted in some deficiencies in the corrected text, which will be addressed in this study in four general formats. Also, the concept of certain words, phrases, expressions, and couplets of Hadiqat al-Haqiqa will be clarified. Introduction It is the pleasure of literary lovers to make any correction of Persian literary texts. It will be more gratifying if the correction is made by two well-known figures in the field. Correction of Sanai’s Hadiqah al-Haqiqah, which is published by Mohammad Jafar Yahaghi and Seyed Mehdi Zarghani in 2018 (1397 AH), is one of the studies that was done according to the needs assessment of the literary society. But, in the end, when it was published, it became clear that unfortunately there were many deficiencies in the research method, as well as its comments and explanations in a way that it is sometimes perceived that what is written in the text of the book is far from the academic position of the two researchers. Although it has been difficult to write this book, admittedly, some verses in Hadiqat al-Haqiqa need further explanation. There are also discrepancies between the text and the comments, or there are shortcomings in reporting and recording verses. All of these have been discussed in this article. Material & Methods In this research, which has been done with the descriptive-analytical method and using library resources, the first correction of Hadiqat al-Haqiqa entitled Latiyef al-Hadaieq (Abdul Latif Abbasi between the years 1037 to 1044 AH, the correction of Modarres Razavi (1320 AH), the correction of Maryam Hosseini (1382 AH) entitled Fakhri Nameh, and other related works such as Talighate Hadiqah from Modarres Razavi (1341 AH), Sharhe Moshkelate Hadiqahe Sanaei from Ishaq Toghyani (1382 AH), and Sharhe Doshvarihaei Az Hadiqahe Sanaei by Zahra Dori (1383 AH) have been used. Discussion of Results & Conclusions One of the biggest reasons why there are many deficiencies is the correction of Yahaghi and Zarghani is choosing the Manchester manuscript (dated 681) as the base version, and abandoning the old manuscripts such as 552 and 558. It should be noted that the Manchester manuscript does not have the original characteristics of a basic manuscript. Perhaps the proofreaders’ argument for omitting these manuscripts is that they do not include all of Hadiqat al-Haqiqa poems. But, even with this argument, the antiquity, validity, and originality of these manuscripts cannot be ignored. Another reason is the text correction method that is chosen by the correctors. Considering the manuscripts used in this correction, it seems that the correction by using the ‘intermediate’ method could be the best method that the two researchers could use. Additionally, the corrected text should have been compared with one of the previous corrections. These factors have led to fundamental shortcomings in correcting and reducing its scientific value.

https://rpll.ui.ac.ir/article_24927_d7e99e09d1c0e24860b5a83ad9b254e0.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 The Snatcher of Portions Cow The Snatcher of Portions Cow 117 125 25124 10.22108/rpll.2020.121278.1659 FA Gholamali Izadi PhD, Department of Persian Language and Literature, Faculty of Humanities, Islamic Azad University, Shushtar Branch, Shushtar, Iran. Journal Article 2020 02 02 Abstract No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. When the most divine meanings and concepts are expressed in a phrase, they require description and commentary. Mathnavi has attracted the attention of many commentators because it contains the best speeches. Most commentators of Mathnavi are frustrated with reading and understanding the concept of the above-mentioned verse in the second book of Mathnavi. In this study, data gathering and content analysis are reviewed, and their points are stated. After quoting and criticizing what commentators have said, the precise meaning of the verse is finally stated. Improper reading of the verse has caused some commentators to question the authenticity of the verse and refer to the incorrect versions, which does not help understanding it. In addition to relying on versions, most commentators of the Mathnavi, citing what the Goharin has brought to the Mathnavi vocabulary and interpretation as ‘taking a cow’, have another mistake and have considered it a mere rant, and there is no such irony in the Dictionary Dehkhoda. In the present study, ‘take’ is the main verb in the sense of stealing and cow, the metaphor of the rumen man. This is not a difficult heroic couplet verse that needs commentary, but its incorrect reading and subsequent misinterpretations, in the name of the most familiar of scholars Mathnavi, have made it a controversial verse. Introduction The questions posed in this research are: How is the following verse from the second book of Masnavi read? And what does it mean? No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. Commentators fail to understand the truth of the verse and have mentioned wrong concepts for it out of helplessness. Most commentators, due to incorrect reading, have made the ironic combination of ‘taking a cow’ which has no background in Persian and has not been mentioned in the Dictionary of Dehkhoda and have compared it with ‘bringing a cow’. While paying tribute to the scientific field of all commentators of Masnavi, in this research, the explanations of Masnavi commentators on the above-mentioned verse have been quoted and their shortcomings were shown. The purpose of this paper was to obtain a correct reading and understanding of the concept that Maulana intended. The importance and purpose of such research were to be aware of and ensure the accuracy and authenticity of Persian literary texts and to read them correctly and to understand their concepts more accurately. Material & Methods The present research has been done by the descriptive-analytical method, known as the library method. In this way, the opinions of the commentators and their differences were discussed first. Then, their sayings were criticized and judged, and finally, the sayings were summarized and read correctly, which has a reasonable meaning and is in line with all the components of the story. Discussion Studying Masnavi has long been the subject of much research in Iran, Turkey, the subcontinent, and Europe. The volume and scope of research in this field and the development and spread of the Persian language in these areas indicate the importance of the book Masnavi for different societies. Since the subject of this study was to remove ambiguity from a verse of the second book of Masnavi, so all the explanations that have made even the slightest reference to the verse in question were referred to and the correctness of their views on this subject was discussed. These explanations are: Sharh Zamani (2003) is one of the best explanations of Masnavi and it deserves the title of ‘a comprehensive description of Masnavi Manavi’. This description is good and methodical in terms of addressing the lexical, semantic, content, and containing the source of the anecdotes. Shahidi's commentary (2001) has been written using the method of Forouzanfar’s commentary and complements it. Sharh Anqrawi (1995), known as Sharh Kabir, is very detailed. It is a good and useful explanation in terms of lexical allusions and philosophical concepts. However, Anqrawi has viewed Masnavi in a philosophical way and has considered Rumi's thoughts to be related to Ibn Arabi. This description does not help to explain the lexical points. Sharh Parsa (1998), which is also called Asrar Al-Ghayub, is one of the brief explanations of Masnavi that has explained some verses after revising and modifying the opinion of others. The version he has used was not very credible. Sharh Akbarabadi (1989), which is known as the Reservoir of Secrets, written in India, is a good and useful explanation. In this commentary, the author is also influenced by Ibn Arabi's thoughts. The description of Golpinarli (2002) is written in Turkish and Sobhani has translated it under the title of prose and description of Masnavi. Because his explanation was from Rumi and the author was familiar with his sources and sayings, he has written a simple and useful description. The description of Parto (2004) is very brief and describes some of the verses of Masnavi. Sharh Estelami (the inquiry description) (2008) is methodical and documented in the statements of the commentators. It has explained hints and terms well. But sometimes there are slips in the meaning of the verses. Nicholson (2005) has written a complete description because he used good versions and was familiar enough with the sources of Rumi’s ideas. He has avoided gossip. Zarrinkoob (1993) has introduced the themes, style, and religious sources of Rumi’s ideas and the vulgarity of some folk tales and applications in Masnavi in a thematic manner in Ser-e Ney, and at the end of the second volume, he has presented his cited verses. Conclusions From what has been said, the following points can be concluded: 1- The versions given by ‘Kavosh Barad, ‘Kavosh Bord’, ‘Chabok Barad’, or ‘Gameash Barad are not very original and do not make sense. As a result, the verse, as Nicholson has recorded, is based on authentic versions. What has led the commentators to incorrect manuscripts has in fact arisen from their inability to read the text correctly and understand Rumi. 2- What Goharin and Alavi have said does not justify it. Because taking a cow with the meaning that they have written is not an allusion, and as far as the author knows, according to his insufficient knowledge, there is such an allusion in Persian. It is not mentioned in the Dictionary of Dehkhoda. In addition, Rumi’s emphasis at the beginning of the story is on the gluttonousness of the imprisoned man, and what more easily conveys this concept to the reader or listener is the concept of eating a lot, which the cow is like in Persian. 3- Other commentators have been influenced by the words of their predecessors and have repeated this misreading and consequently the misunderstanding. 4- In this verse, a bite of the cow is an imitated adjective. That is, the cow is like a belly, and Jawa al-Baqir is like a familiar example. As a result of what Rumi has said: No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. That is, no one dared to eat a bite, because that cow (belly) was eating that bite. Abstract No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. When the most divine meanings and concepts are expressed in a phrase, they require description and commentary. Mathnavi has attracted the attention of many commentators because it contains the best speeches. Most commentators of Mathnavi are frustrated with reading and understanding the concept of the above-mentioned verse in the second book of Mathnavi. In this study, data gathering and content analysis are reviewed, and their points are stated. After quoting and criticizing what commentators have said, the precise meaning of the verse is finally stated. Improper reading of the verse has caused some commentators to question the authenticity of the verse and refer to the incorrect versions, which does not help understanding it. In addition to relying on versions, most commentators of the Mathnavi, citing what the Goharin has brought to the Mathnavi vocabulary and interpretation as ‘taking a cow’, have another mistake and have considered it a mere rant, and there is no such irony in the Dictionary Dehkhoda. In the present study, ‘take’ is the main verb in the sense of stealing and cow, the metaphor of the rumen man. This is not a difficult heroic couplet verse that needs commentary, but its incorrect reading and subsequent misinterpretations, in the name of the most familiar of scholars Mathnavi, have made it a controversial verse. Introduction The questions posed in this research are: How is the following verse from the second book of Masnavi read? And what does it mean? No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. Commentators fail to understand the truth of the verse and have mentioned wrong concepts for it out of helplessness. Most commentators, due to incorrect reading, have made the ironic combination of ‘taking a cow’ which has no background in Persian and has not been mentioned in the Dictionary of Dehkhoda and have compared it with ‘bringing a cow’. While paying tribute to the scientific field of all commentators of Masnavi, in this research, the explanations of Masnavi commentators on the above-mentioned verse have been quoted and their shortcomings were shown. The purpose of this paper was to obtain a correct reading and understanding of the concept that Maulana intended. The importance and purpose of such research were to be aware of and ensure the accuracy and authenticity of Persian literary texts and to read them correctly and to understand their concepts more accurately. Material & Methods The present research has been done by the descriptive-analytical method, known as the library method. In this way, the opinions of the commentators and their differences were discussed first. Then, their sayings were criticized and judged, and finally, the sayings were summarized and read correctly, which has a reasonable meaning and is in line with all the components of the story. Discussion Studying Masnavi has long been the subject of much research in Iran, Turkey, the subcontinent, and Europe. The volume and scope of research in this field and the development and spread of the Persian language in these areas indicate the importance of the book Masnavi for different societies. Since the subject of this study was to remove ambiguity from a verse of the second book of Masnavi, so all the explanations that have made even the slightest reference to the verse in question were referred to and the correctness of their views on this subject was discussed. These explanations are: Sharh Zamani (2003) is one of the best explanations of Masnavi and it deserves the title of ‘a comprehensive description of Masnavi Manavi’. This description is good and methodical in terms of addressing the lexical, semantic, content, and containing the source of the anecdotes. Shahidi's commentary (2001) has been written using the method of Forouzanfar’s commentary and complements it. Sharh Anqrawi (1995), known as Sharh Kabir, is very detailed. It is a good and useful explanation in terms of lexical allusions and philosophical concepts. However, Anqrawi has viewed Masnavi in a philosophical way and has considered Rumi's thoughts to be related to Ibn Arabi. This description does not help to explain the lexical points. Sharh Parsa (1998), which is also called Asrar Al-Ghayub, is one of the brief explanations of Masnavi that has explained some verses after revising and modifying the opinion of others. The version he has used was not very credible. Sharh Akbarabadi (1989), which is known as the Reservoir of Secrets, written in India, is a good and useful explanation. In this commentary, the author is also influenced by Ibn Arabi's thoughts. The description of Golpinarli (2002) is written in Turkish and Sobhani has translated it under the title of prose and description of Masnavi. Because his explanation was from Rumi and the author was familiar with his sources and sayings, he has written a simple and useful description. The description of Parto (2004) is very brief and describes some of the verses of Masnavi. Sharh Estelami (the inquiry description) (2008) is methodical and documented in the statements of the commentators. It has explained hints and terms well. But sometimes there are slips in the meaning of the verses. Nicholson (2005) has written a complete description because he used good versions and was familiar enough with the sources of Rumi’s ideas. He has avoided gossip. Zarrinkoob (1993) has introduced the themes, style, and religious sources of Rumi’s ideas and the vulgarity of some folk tales and applications in Masnavi in a thematic manner in Ser-e Ney, and at the end of the second volume, he has presented his cited verses. Conclusions From what has been said, the following points can be concluded: 1- The versions given by ‘Kavosh Barad, ‘Kavosh Bord’, ‘Chabok Barad’, or ‘Gameash Barad are not very original and do not make sense. As a result, the verse, as Nicholson has recorded, is based on authentic versions. What has led the commentators to incorrect manuscripts has in fact arisen from their inability to read the text correctly and understand Rumi. 2- What Goharin and Alavi have said does not justify it. Because taking a cow with the meaning that they have written is not an allusion, and as far as the author knows, according to his insufficient knowledge, there is such an allusion in Persian. It is not mentioned in the Dictionary of Dehkhoda. In addition, Rumi’s emphasis at the beginning of the story is on the gluttonousness of the imprisoned man, and what more easily conveys this concept to the reader or listener is the concept of eating a lot, which the cow is like in Persian. 3- Other commentators have been influenced by the words of their predecessors and have repeated this misreading and consequently the misunderstanding. 4- In this verse, a bite of the cow is an imitated adjective. That is, the cow is like a belly, and Jawa al-Baqir is like a familiar example. As a result of what Rumi has said: No one had the pluck to eat a mouthful of bread, because that snatcher of portions would carry off his entire meal. That is, no one dared to eat a bite, because that cow (belly) was eating that bite.

https://rpll.ui.ac.ir/article_25124_c0f04ee81d3eceac08af208388f32d9e.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 12 4 2020 12 21 Majdoddin Hamgar, Divan, Karami’s Correction, Re-correction Majdoddin Hamgar, Divan, Karami’s Correction, Re-correction 127 146 24781 10.22108/rpll.2020.121521.1667 FA Farahnaz Vatankhah PhD, Faculty Member, Department of Literature and Humanities, Islamic Azad University of Khomeinishahr, Isfahan, Iran Journal Article 2020 02 10 Abstract Khajeh Majdoddin Hamgar is a proficient poet of the Atabakan era of Persia, especially Abu Bakr Sa'd and Sa'd Abu Bakr Zangi. A scholarly correction of his divan with more than 7000 verses, like other written heritage, is necessarynot only because of preserving and perpetuating examples from ancient texts historically, intellectually, politically, socially, and literary but also because of showing aspects of the poet's life and works. Divan Majd was first published by Ahmad Karami in 1996, and, then in 1997, part of it was corrected by Mostafa Monsef, as a master thesis. Considering the necessity of re-correcting, examining, and comparing 18 manuscripts and anthologies, the present study illustrates cases of failures and errors in the two previous corrections (especially in the printed copy) including not introducing the exact version, not recording the full version of the alternatives, errors in expressing the format of the poems, many errors in the text, misreading of the copies, and so on. Also, the re-correction contains newly-written poems in odes and quatrains that the printed version lacks. Due to the unavailability of a complete copy and the precedence of one or more copies over another version (except in quatrains, which are sometimes incomplete) in the re-correction, the proofreader has tried to obtain a text close to what emerges from the poet’s mind in an eclectic and intermediate method. In addition, by examining the memoirs and some of Majd’s poems on the anthologies and setting up introductions and annotations on some of the cases, some vital neglected points are presented. Introduction Khajeh Majdoddin Hamgar (607-686 AH) was a poet during the chaotic period of Mongol’s attacks. Once, running from the chaotic situation to find the pacifism, he took refuge to Atabakan Solghori shrine, Joveinin clan, and Gharakhataian in Kerman and tested his perception in various literary genres. The important issue about Majd’s Divan is the difference regarding the number of his verses. Some believe that his verses are a few (Hedayat, 1340 AH/ 1951). In some references, the number of his verses reach 12000 verses (Manuscript No. 2367). It seems that the number of his verses ranges from 2000 to 12000. This difference partly is due to the lack of a comprehensive and precise divan close to the poet’s era. Another reason is that attention at that time was paid to odes and other genres of the divan, especially lyrics and pieces were ignored. In the present edition of the divan, edited by Ahamd Karami, the number of verses reaches 6000. However, the number of verses in the edition, edited by Mustafa Monsef, reaches 2645 verses. The number of verses in the new edition is more than 7000 and the main reason for this difference is in the quatrains, then odes and pieces. Materials and Methods In proofreading of the divan, the author of the present study has used 18 manuscripts and compilations, some of which are as follows: Manuscript No. 3713, British Museum Library, written in 697 AH by Mohammad Alishah ben Ali ben Mahmood Esfahani. A manuscript of Majd Rubaiyat is available which has 610 quatrains. The picture of this manuscript is available in Minovi library (numbers 234 and 235). Manuscript No. 582, Tehran University, 255 pages with 15 lines per each page, in the 10th and 11th centuries AH. Manuscript No. 6041, Tehran University: with no date, 93 pages with various lines. Manuscript available in Paris Library No.1/791, 72 pages with 18 lines on each page. The video of it is available at Tehran University (number 1322). Manuscript of Bodleian Library No. 678 Eliot 56: with no date, 191 pages with 15 lines per each page, written by Mohammad Shirazi, its film is available in Tehran University (number 894). Manuscript of Istanbul University Library No.UK.FY.377, 219 pages with 12 lines on each page. Two vignettes with inlaid and illumination, written about the 9th century AH. Manuscript of Islamic Parliament Library: 150 pages with 18 lines on each page. At the end of the edition, this line is available: “Finished”. Manuscript No. 2660 Parliament Library, 22 lines written by Mohammad Hassan including three divans by Imami, Zahir Faryabi, and Majd Hamgar. Manuscript No. 1915 National Library, 74 pages 15 lines. At the end of the book after the description of Majd Hamgar, we have this line: “Finished the book by the help of great God”. It has been written on the 24th of Ramadan 1263 AH. Manuscript No. 5514, Malik Library, 110 pages with 11 lines each page, written in 1283 AH. Discussion of Results and Conclusions The Divan Majdoddin Hamgar’s, the famous poet of the 7th century AH, was proofread twenty years ago by Ahamd Karami and then published. Later, with comparing some other manuscripts, it was proofread critically as a MA thesis. However, these editions have some mistakes. The most important mistakes in Karami’s correction are: not recording the full version of the alternatives, error reading, misreading, spelling mistakes and disorders, punctuation, rhythm, etc. In the second correction, there are some misreading and copy defects. Hence, the author of the present study, by understanding the importance of proofreading again, has tried correcting some of the mistakes and defects by comparing the available editions again. Although selecting the basic edition has been impossible due to the principles of such selection, it provides a corrected text which is done through a critical and eclectic method by comparing 18 manuscripts and anthologies. Abstract Khajeh Majdoddin Hamgar is a proficient poet of the Atabakan era of Persia, especially Abu Bakr Sa'd and Sa'd Abu Bakr Zangi. A scholarly correction of his divan with more than 7000 verses, like other written heritage, is necessarynot only because of preserving and perpetuating examples from ancient texts historically, intellectually, politically, socially, and literary but also because of showing aspects of the poet's life and works. Divan Majd was first published by Ahmad Karami in 1996, and, then in 1997, part of it was corrected by Mostafa Monsef, as a master thesis. Considering the necessity of re-correcting, examining, and comparing 18 manuscripts and anthologies, the present study illustrates cases of failures and errors in the two previous corrections (especially in the printed copy) including not introducing the exact version, not recording the full version of the alternatives, errors in expressing the format of the poems, many errors in the text, misreading of the copies, and so on. Also, the re-correction contains newly-written poems in odes and quatrains that the printed version lacks. Due to the unavailability of a complete copy and the precedence of one or more copies over another version (except in quatrains, which are sometimes incomplete) in the re-correction, the proofreader has tried to obtain a text close to what emerges from the poet’s mind in an eclectic and intermediate method. In addition, by examining the memoirs and some of Majd’s poems on the anthologies and setting up introductions and annotations on some of the cases, some vital neglected points are presented. Introduction Khajeh Majdoddin Hamgar (607-686 AH) was a poet during the chaotic period of Mongol’s attacks. Once, running from the chaotic situation to find the pacifism, he took refuge to Atabakan Solghori shrine, Joveinin clan, and Gharakhataian in Kerman and tested his perception in various literary genres. The important issue about Majd’s Divan is the difference regarding the number of his verses. Some believe that his verses are a few (Hedayat, 1340 AH/ 1951). In some references, the number of his verses reach 12000 verses (Manuscript No. 2367). It seems that the number of his verses ranges from 2000 to 12000. This difference partly is due to the lack of a comprehensive and precise divan close to the poet’s era. Another reason is that attention at that time was paid to odes and other genres of the divan, especially lyrics and pieces were ignored. In the present edition of the divan, edited by Ahamd Karami, the number of verses reaches 6000. However, the number of verses in the edition, edited by Mustafa Monsef, reaches 2645 verses. The number of verses in the new edition is more than 7000 and the main reason for this difference is in the quatrains, then odes and pieces. Materials and Methods In proofreading of the divan, the author of the present study has used 18 manuscripts and compilations, some of which are as follows: Manuscript No. 3713, British Museum Library, written in 697 AH by Mohammad Alishah ben Ali ben Mahmood Esfahani. A manuscript of Majd Rubaiyat is available which has 610 quatrains. The picture of this manuscript is available in Minovi library (numbers 234 and 235). Manuscript No. 582, Tehran University, 255 pages with 15 lines per each page, in the 10th and 11th centuries AH. Manuscript No. 6041, Tehran University: with no date, 93 pages with various lines. Manuscript available in Paris Library No.1/791, 72 pages with 18 lines on each page. The video of it is available at Tehran University (number 1322). Manuscript of Bodleian Library No. 678 Eliot 56: with no date, 191 pages with 15 lines per each page, written by Mohammad Shirazi, its film is available in Tehran University (number 894). Manuscript of Istanbul University Library No.UK.FY.377, 219 pages with 12 lines on each page. Two vignettes with inlaid and illumination, written about the 9th century AH. Manuscript of Islamic Parliament Library: 150 pages with 18 lines on each page. At the end of the edition, this line is available: “Finished”. Manuscript No. 2660 Parliament Library, 22 lines written by Mohammad Hassan including three divans by Imami, Zahir Faryabi, and Majd Hamgar. Manuscript No. 1915 National Library, 74 pages 15 lines. At the end of the book after the description of Majd Hamgar, we have this line: “Finished the book by the help of great God”. It has been written on the 24th of Ramadan 1263 AH. Manuscript No. 5514, Malik Library, 110 pages with 11 lines each page, written in 1283 AH. Discussion of Results and Conclusions The Divan Majdoddin Hamgar’s, the famous poet of the 7th century AH, was proofread twenty years ago by Ahamd Karami and then published. Later, with comparing some other manuscripts, it was proofread critically as a MA thesis. However, these editions have some mistakes. The most important mistakes in Karami’s correction are: not recording the full version of the alternatives, error reading, misreading, spelling mistakes and disorders, punctuation, rhythm, etc. In the second correction, there are some misreading and copy defects. Hence, the author of the present study, by understanding the importance of proofreading again, has tried correcting some of the mistakes and defects by comparing the available editions again. Although selecting the basic edition has been impossible due to the principles of such selection, it provides a corrected text which is done through a critical and eclectic method by comparing 18 manuscripts and anthologies.

https://rpll.ui.ac.ir/article_24781_53bf687846b54f1be39788a3aae9b84a.pdf