دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 Assessing the Stylistics of the Manuscript ‘Translation of the History of Al-Uthman’ معرفی و سبک‌شناسی نسخۀ خطی ترجمۀ تاریخ آل‌عثمان 1 18 26556 10.22108/rpll.2022.131244.1986 FA طالب ربیع دانشجوی دکتری زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران کاظم دزفولیان استاد زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران سیدمهدی طباطبائی استادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه شهید بهشتی، تهران، ایران Journal Article 2021 11 01 The events and happenings of the Ottoman government from the beginning of its emergence to the time of Ragheb Pasha are perfectly illustrated in the History of Al-Uthman. Next to its historical value, this work provides valuable knowledge about the social situation of the people, their behavior, cultural changes, and thinking patterns of the population in that period. The author of this work, Ahmad Judet Pasha, born in Bulgaria in 1823 was a very prominent and influential person in the Ottoman government. This book is translated by Mohammad Hossein Khoei by the order of Naser al-Din Shah in 1900. The prose of this work, excluding the introduction, which is an artificial one, is in colloquial language and is one of the anonymous texts of the Qajar era. There are two manuscripts of this book, both dating back to the thirteenth century. The first version is complete and the second version is incomplete. Due to the importance of the Qajar colloquial language in the changes and developments of modern Persian, the objective here is to assess the position of the author and translator and its translation style to elucidate the worth of this anonymous historical version alongside its linguistic significance. Introduction The identity of any nation relies on its history, which is always extracted from the literary texts and manuscripts belonging past. These literary and historical texts need special amendment and revision as a result of the passage of time and the countless alterations in them. In this study, it is sought to answer the question: What is the effect of translating the History of Al-Uthman and what are its stylistic features? A complete presentation of this manuscript to its audience, particularly those enthusiastic about manuscripts and the students and researchers of history and literature is the objective here. Regarding the History of the Ottomans in Iran, works like The Chronicles of Al-Uthman by Muhammad ibn Haji Khalil al-Qanwi, The History of Uthman Pasha by Abu Bakr ibn Abdullah in the account of the Ottoman invasion of the Safavid Empire in the Caucasus and the conquest of these areas, Kunha al-Akhbar by Mustafa Ali has been published. With due respect to all, none have assessed the manuscripts, their modified versions, and their stylistics. The History of Al-Uthman is a comprehensive work on the history and politics of the Ottoman government written in an introduction (in its biography and the reason for writing the book) and twelve related articles. In the introduction of the work ordered by Abdul Majid Khan, the author recognizes that the depiction of the events of the Ottoman government endured a state of ambiguity since 1677, (Judat Pasha, 1900, p. 5). The author of this book is Ahmad Judet Pasha, born in the Bulgarian, Lufcha province in 1823 where his father and grandfather were local dignitaries. Due to his inherent intelligence, he became a member of the General Education Assembly and the director of the Teachers' College. At a young age, because the Yeniçeri Corps was dispersed, he was appointed to write Ottoman history from 1774 to 1826. When he became a government officials, he wrote valuable books like the Tazkar, Judith History, Debates, and Al-Adwar Calendar, which are the solicited works for understanding the history of that era. His works are considered a turning point in the history of Turkish literature. Unfortunately, there exist no reliable sources and our information is restricted to the statements of the translator in the introduction of the book. His name is not stated in the annual book of the government against Iran, where the names of the court translators, their nationality, and the language of their translation and the translators of the Qajar court from 1912 to 1935 are documented. According to the translator, he translated this book subject to Nasser al-Din Shah's interest in historical texts in 1900 (Judat Pasha, 1900, p. 5). Methods and Materials To better comprehend the style of the translation of the History of Al-Uthman, it is essential to assess the different ideological, lexical, syntactic, rhetorical, and pragmatic layers of the text during the stylistics of the text by Mohammad Taghi Bahar and Sirus Shamisa. Initially, at the lexical level, the many indicators used in the author's language are recorded in separate tables. Based on the high frequency of these symbolic words, we seek to achieve the stylistics of the work and the hidden discourse in the text. In this context, many consider style to be the art of lexicography. This attitude is always unsupported because the word is more recognizable than other structures of language and it flourishes and is dynamic as a human being” (Fotouhi, 2012, p. 246). Discussion and Conclusions After reviewing this work, we conclude that the style of translations of the Qajar era is not in conflict with the style of journalism and colloquial language. The prose of Mohammad Hossein Khoei is ambiguous in the introduction of the book but becomes simplified in the subsequent parts. The work is without literal terms in the hidden layers of inter-textual discourse. The translator is bound by the original text, and except for a few short slips and changes in sentence volume, no other changes are evident in the book to harm the historical content. Some of its stylistic features are: 1) Being closer to colloquial language and not providing much literary aspect, 2) recurrent use of indefinite Arabic words, 3) use of slangs in numbers and nouns, 4) matching of adjectives, 5) the use of compound verbs, 6) common use of prepositions, 7) use of verbs in the virtual meaning, 8) use of compound adjectives for the subject, 9) use of words, idioms, and slangs, 10) use of Turkish pronunciation of foreign words, 11) frequent use of synonymous words and short sentences in the main text, and 12) confusion of sentence components and adherence to Arabic syntax, assurance and allusion, simile, metaphor, and irony. Mohammad Hossein Khoei has used singular court and government ciphers, distinct names, and personal, temporal, and spatial indicators in his translated lexical layer to authenticate his scientific text and historical report. This writing style is not entirely objective and scientific. He has applied virtual meaning and abstract words and used codes that are the tools for his distinctiveness in the field of moral and religious guidance. The syntactic structure of this book provides a precise sign of a historical report through consecutive, short, and discrete sentences. He was able to display the power of his writing through adorning sentences with literary terms. Most of the verbs and words applied indicate his safety and confidence in what he features. The literary and rhetorical layers have provided a literary aspect to this historical text and this is one of the most outstanding aspects of this work. His art and rhetoric are illustrated in literal terms, similes, and, mostly, eloquent similes. In this study, we found that he used rhetoric and literary tools in the text as a protection for his implicit thinkers to assess his critical beliefs and to induce his audience. He has written his phrases in an expressive and persuasive sense and has sought to use less obligatory, emotional, and desirable actions that have little certainty. تاریخ آل‌عثمان جزو متون تاریخی دورۀ عثمانی است که در یک مقدمه و دوازده مقاله در شرح احوال سلسلۀ عثمانی به نگارش درآمده است. این اثر شرح وقایع و اتفاقات دولت عثمانی از مبدأ پیدایش تا زمان راغب پاشا و خلاصۀ اتفاق‌هایی است که بعد از سال 1188 قمری به وقوع پیوسته است. این اثر افزون‌بر ارزش تاریخی، آگاهی‌های گران‌سنگی دربارة اوضاع اجتماعی مردم، رفتار و عملکرد حاکمان عثمانی، دگرگونی‌های فرهنگی و شیوة تفکر و نگرش مردم عصر به مخاطب ارائه می‌دهد. نویسندۀ اثر، احمد جودت پاشا، متولد 1823 میلادی در بلغارستان است که در دولت عثمانی شخصی بسیار مشهور و متنفذ بوده است. مترجم نیز فردی به نام محمدحسین خویی است که به اظهار خودش، به دستور ناصرالدین شاه در سال 1274 قمری به ترجمۀ این اثر همت گماشته است. نثر این اثر به‌جز مقدمه که نثری مصنوع و متکلف دارد، به زبان محاوره است و جزو متون گمنام دورۀ قاجار به شمار می‌رود. از این کتاب دو نسخۀ خطی در دست است که هر دو به قرن سیزدهم تعلق دارد. نسخۀ اول کامل و نسخۀ دوم ناقص و ناتمام است. به‌سبب اهمیتی که زبان محاوره‌ای قاجار در تغییر و تحولات فارسی امروزی دارد، بر آن شدیم تا به معرفی جایگاه مؤلف و مترجم و سبک ترجمة آن بپردازیم تا ارزش این نسخۀ گمنام ـ که افزون‌بر ارزش زبانی، ارزش تاریخی نیز دارد ـ آشکار شود. بر این اساس، به تناسب موضوع، به شرح حال نویسنده و مترجم، موضوع کتاب، ساختار مطالب کتاب، نسخه‌های موجود از آن، رسم‌الخط و سبک این اثر پرداخته می‌شود.

https://rpll.ui.ac.ir/article_26556_353037eff0fc381894d35301db984622.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 The Textual Arrangement of "Request" Speeches in Ferdowsi's Shāhnāmeh بررسی چینش متنی گفتارهای درخواست‏محور در شاهنامۀ فردوسی 19 40 26417 10.22108/rpll.2021.129040.1916 FA اشرف سراج دانشجوی دکتری گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه الزهرا، تهران، ایران ذوالفقار علامی استاد گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه الزهرا، تهران، ایران فرهاد ساسانی دانشیار گروه زبانشناسی، دانشکدة ادبیات، دانشگاه الزهرا، تهران، ایران نسرین فقیه ملک مرزبان دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات، دانشگاه الزهرا، تهران، ایران Journal Article 2021 07 18 Abstract This study tried to explore how a competent speaker chooses a special arrangement for his/her text with his/her presupposed knowledge of the audience in his/her social and cultural contexts and how the structure of the text or, in other words, arrangement of its components plays an important role in the meanings received by the audience. With this purpose in mind, several stretches of speech with the topic of "request" were extracted out of the Shāhnāmeh to see what Ferdowsi's textual tactics were for arranging the structures of different types of requests with regard to the topic of "request", as well as the interlocutors involved. The results showed that such versified requests followed different types of patterns of arrangement. The following sequences of moves were found: "praise" (to God and the audience), "introduction" (variable), "the very request" (a story and a request), and "closing" (variable). These moves with minor variable arrangements and/or omissions showed that Ferdowsi paid attention to the cultural and social contexts of his own time. Therefore, the move patterns of "request" texts in the Shāhnāmeh were predictable, leading to a better understanding of the text by the audience. The moves of "introduction" and "closing", including different steps (sub-moves) with varied arrangements according to the subject and the context, played an important role in persuading the audience and providing the rhetoric of the request too. Introduction The characters’ monologues or speeches in the stories are one of the important text types in the Shāhnāmeh. By examining the subject matters and situational contexts of such speeches or monologues, it is possible both to identify Ferdowsi's tricks in representing the non-verbal context and social status at different levels of language and find out his specific methods of influencing on his audience. Just as the type of word arrangement is effective in understanding the meaning of a single utterance, arrangement of different parts of a text and their sequence type could create special semantic relationships that can affect the audience's understanding of the text as well. The textual structures of different types of speeches in the Shāhnāmeh have not yet been studied thoroughly and duly. Examining the textual arrangements of varied types of poetry and prose texts that have received less attention in traditional rhetoric and stylistic studies, in addition to identifying the rhetoric of a text and individual style and period, could reveal good cultural and social information hidden in the different layers of language. Materials & Methods In this study, 10 stretches of speeches with the topic of "request" were selected from the text of Shāhnāmeh edited by Khaleghi Motlagh based on Sarami's approach (1994). Every story containing the speeches was summarized. Then, using Halliday and Hasan's approach (Halliday and Hasan, 1976, 1985) to study the texture, their contexts were described. Finally, based on Sasani and Yazdani's method of analyzing the text arrangement (Sasani and Yazdani, 2011), we found and labeled different parts of the speeches, including gāms (moves) and gāmaks (steps). We then analyzed the functions of gāms and gāmaks in producing the main meaning of the text in the desired context with their rhetorical and cognitive aspects. Since the subjects and contexts of the selected requests were different, the analysis was of a qualitative-quantitative type. Discussion of Results & Conclusions In some of the speeches examined, the request began with the move of "praise", which included the two steps of "praising God" and "praising the audience". The existence of this move showed Ferdowsi's adherence to the writing traditions of his own time. The second move was the "introduction", which included different steps depending on the texture. In this move, Ferdowsi provided the necessary grounds for preparing the audience to express the request and how it differed from the textual composition of each speech. The brevity of this move also had a lot to do with the context of the situation. In a speech where the position of the audience was higher and the subject was more important, this move was expressed longer. The third move was the "request" that was present in all the speeches and included the two steps of "description" and "request". In the step of "description", the reason for the request was stated. In the step of "request", which contained only 8% of the text on the average according to these 3 texts, the characters’ language in the story were mentioned. This section could be considered as the main step in which the subject of the text was determined. In this step, a few points affected by the non-verbal texture were visible. In the speeches where the audience's position was higher, this step was longer and the request was direct and vice versa. The fourth move was "concluding", which had a persuasive aspect in all the speeches. What caused the step of "request" (8% of the text) to find its original and rhetorical meaning was the existence of pre- and post-small steps by which many points were stated. ساختار متن و چگونگی چینش اجزای سازندۀ آن نقش مهمی در فهم مخاطب از معنا دارد. گویندۀ توانا برای نفوذ در ذهن مخاطب از شگردهای مختلفی در زبان استفاده می‏کند؛ یکی از این شگردها نوع چینشی است که برای ساختار کلام خود برمی‏گزیند. این نکته ‏افزون‏بر سخندانی و شناخت قابلیّت‏های زبان، نیازمند آشنایی با روحیه و منش مخاطب و نیز مسائل اجتماعی و فرهنگی حاکم بر بافت کلامی و غیرکلامی است. شاهنامه از گفتارهای مختلفی تشکیل شده است که فردوسی آنها را از زبان شخصیت‏ها نقل می‏کند؛ این گفتارها نقش مهمی در پیشبرد داستان‏ها دارد. در این مقاله، چینش متنِ چند گفتار در شاهنامه با موضوع «درخواست» بررسی، و به این پرسش‏ها پاسخ داده می‌شود: گفتار درخواست‏محور در شاهنامه چه نوع چینشی دارد؟ چه عواملی موجب شده است فردوسی چینش و ساختاری ویژه برای کلام خود برگزیند و این ساختار متنی چگونه موجب بلاغت کلام شده است؟ برای انجام این پژوهش، با تلفیقی از دیدگا‏ه هلیدی و حسن دربارۀ بافت و متن (1985) و روش ساسانی و یزدانی در بررسی چینش متن (1392)، نخست بافت کلامی و غیرکلامی و نوع چینش چند گفتارِ درخواست‏محور شاهنامه (نامه) تعیین می‏شود؛ سپس رابطۀ بافت و نوع ساختار این گفتارها بررسی خواهد شد. نتیجۀ بررسی نشان می‏دهد نوع چینش این گفتارها شامل توالی گام‏های «ستایش» (خدا و مخاطب)، «زمینه‏چینی» (متغیر)، «درخواست» (شرح ماجرا و درخواست) و «پایان‏بندی» (متغیر) است که به گفتار درخواست، ساختاری ویژه می‏بخشد. این ساختار ثابت که نشان‏دهندۀ توجه فردوسی به بافت فرهنگی و گفتاری روزگار اوست، موجب نوعی هماهنگی و انسجام در متن شاهنامه می‏شود که با امکان پیش‏بینی‏پذیری، به فهم سریع‏تر مخاطب از متن می‏انجامد؛ نیز گام‏ «زمینه‏چینی» ـ که گامک‏های متفاوتی ‏دارد و چگونگی و میزان آنها با توجه به موضوع و بافت متغیر است ـ نقش مهمی در ترغیب مخاطب و بلاغت گفتار درخواست دارد.

https://rpll.ui.ac.ir/article_26417_3a2ff4e1a23dc6697211e0f9a030be2c.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 Analysis of Bahram Chobin̕s Biography in the Context of History and Shahnameh, Based on the Behavioral Heterogeneity of ‘Self and Other’ from the Perspective of Cultural Semiotics بررسی و تحلیل سرگذشت بهرام چوبین، در بستر تاریخ و شاهنامه براساس ناهم‌گونیِ رفتاریِ «خود و دیگری»، ازمنظرِ نشانه‌شناسی فرهنگی 41 56 26565 10.22108/rpll.2022.131643.1999 FA ارسلان بهاری دانشجوی دکتری رشتة زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران علی محمدی استاد گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه بوعلی سینا، همدان، ایران Journal Article 2021 11 27 Abstract Cultural Semiotics is one of the most important approaches to semiotics. Yuri Lutman is one of the founders of cultural semiotics, which defines culture and intercultural relationships based on how ‘Self’ and ‘Other’ interact within the sphere of a specific Semiosphere. Based on this model, in the first part of the present study, considering the historical awareness and narration of Shahnameh, the analysis of Bahram Choobin's relationship with Hormoz and Khosro Parviz is conducted. The research method in this study, while citing history and Shahnameh and library documents, has been based on describing and analyzing the relationships and incidents related to the above-mentioned personalities. The study examines the types of relationships among the three mentioned persons from the perspective of ‘Self/Other’ and ‘Center/Margin’ based on cultural semiotics. In the second part, the study has reached the supposed result by explaining the hegemonic role of some archetypes and historical Myths in ‘Othering’ by Bahram Choobin, The findings of this study show that according to the Semiosphere of the Sassanid era and the Shahnameh narrative of the actions of Bahram Choobin and Hormoz, Bahram has been identified as ‘Self’ and ‘Central’ due to his victory in the war with Saveh Shah, protection of Iran, and his loyalty to Hormoz. Hormoz has been removed from the position of ‘Self’ and ‘Central’ and has been placed in the position of ‘Other/Marginal’ due to its history of ill-treatment with Ashraf and Bahram. But Bahram Choobin has been determined to conquer the kingdom and has a desire that is contrary to the Semiosphere of the central government, the masses of people and his relatives. This degrades him from the position of the ‘Ideal Other’ to the ‘Other/Marginal’; therefore, the trend is reversed. At the same time with the uprising of Bahram Choobin against the central government, the role of some archetypes and historical myths has been very effective in emphasizing the role of Bahram Choobin in the Otherness non-culture position. Introduction Cultural Semiotics does not consider culture to be static. ‘Culture Self’, in relation to another's culture, is constantly repairing ‘Self’ and perhaps creating new ideas. The pattern that members of a cultural community have of their culture is reflected in the relationships between their cultures rather than in a single culture (Shahbazi, 2014, p. 40). Ferdowsi's Shahnameh examines all the kings and heroes and their performance based on the approach of the ancient Iranians in the two cosmic systems of good and evil. According to the main sources of Shahnameh such as Khodainameh Bahram Choobin's actions have been interpreted from the Sassanid's Semiosphere point of view and he has been introduced as a person whose actions fluctuate in both aspects of good and evil and confuses the Semiosphere of the cultural Self and the ‘Other non-cultural Self’. In general, this study seeks to answer two research questions: 1) Who are considered ‘Self’ and, on the contrary, who are the ‘Other’ or "Others’ among the existing actors in the story of Bahram Choobin? 2) According to the approach of cultural semiotics, what is the role and process of mythical and historical archetypes in the ‘Othering’ of Bahram Choobin? Materials and Methods The theory of Cultural Semiotics is one of the best theories available for understanding the cultural codes and determining the discourse signs in each era. Using this theory, the current study examines the types of bipolar relations between ‘self’ and ‘other’ in the story of Bahram Choobin and the discourse of the Sassanid era. Then, it identifies some mythological and historical archetypes for the study of Bahram Choobin's character in the position of ‘Other’ in the second period of his life. Discussion of Results and Conclusions The study first tried to give a specific definition of the Semiosphere in the time of Hormoz and Khosrow Parviz and interpreted the performance of Bahram Choobin according to the approach of cultural semiotics (self and other). During the Sassanid era, although some kings had absolute power to carry out their orders, in most cases, according to the theory of the ideal prince, they could be reprimanded the punishment of Hormoz is one of these cases. Considering Bahram Choobin's previous victories in the war against Saveh Shah and his indirect role in the overthrow of Hormoz, he was in the position of ‘Ideal Other’ in Shahnameh and other historical sources. But after the Sassanid era, the claim of descent as the main need of royal power gradually gave way to the characteristics of skill and ability. In such an atmosphere, Bahram Choobin tried to show his merit and essence with these functions. On the other hand, the support of the people gave him the opportunity to reach higher positions of power. But when he asked for the monarchy, it was a step beyond an officer and a warlord who, in a norm-breaking manner, confronted him with rigid social traditions and beliefs. Thus, after claiming the monarchy, he leaves the Semiosphere of the ‘Self/Central’ and becomes a distant ‘Other’. Myths play an important role in political culture. They may even be much more important as the foundations of national identity. In epic texts, myths have been used again in a certain historical period to evoke a sense of national glory. Bahram Choobin has dual faces in sources such as Khodainameh and Shahnameh, and the role of Sassanid priests is prominent in this regard. As a result, as long as he is willing to obey an authoritarian king like Hormoz with heroic strength and courage against enemies and protection of Iran, some mythical and heroic archetypes such as: ‘the small number of Bahram Choobin's troops against the armies of the Turks’, ‘Dragon Flag’, ‘prayer to God before the war’, etc. are considered to describe the performance of Bahram according to the internal order or the so-called Cosmos. But Bahram Choobin does not follow the hierarchy of kings and turns from a loyal general to a claimant to the throne and considers himself the reviver of the Parthian kingdom. Mythological and historical archetypes, which are hidden and active in the cultural Semiosphere and collective memory of Iranians, reduce him from a transcended model to a threatening, primitive, and savage element. نشانه‌شناسی فرهنگی یکی از مهم‌ترین رویکردهای علم نشانه‌شناسی است. یوری لوتمان از بنیانگذاران نشانه‌شناسی فرهنگی است که فرهنگ و روابط بینافرهنگی را مبتنی بر شیوة تعامل «خود» و «دیگری» در چارچوبِ سپهرِ نشانه‌ای مشخصی تعریف می‌کند. برپایة این الگو، نویسندگان این مقاله در بخش نخست، با توجه به آگاهی‌های تاریخی و روایت شاهنامه، تحلیل رابطة بهرام چوبین را با هرمز و خسروپرویز مدّنظر قرار می‌دهند؛ سپس انواع رابطه‌های این افراد را از منظر «خود/ دیگری» و «مرکز/ حاشیه» با تکیه بر نشانه‌شناسی فرهنگی بررسی می‌کنند. در بخش دوم نیز با تبیین نقشِ هژمونیک برخی از کهن‌الگوها و اسطوره‌های تاریخی در دیگری‌سازی از بهرام چوبین، به نتیجة مفروض دست می‌یابند. یافته‌های این پژوهش نشان می‌دهد که با توجه به سپهرِ نشانه‌ای روزگار ساسانیان و روایت شاهنامه از عملکرد بهرام چوبین و هرمز، بهرام به‌علت پیروزی‌اش در جنگ با ساوه شاه و به‌سبب پاسداری از ایران و فاداری‌اش به هرمز در مقامِ «خودی/ مرکزی» شناسایی شده است؛ هرمز نیز به‌علت سابقة رفتارِ ناپسندش با اشراف و بهرام، از مقام «خودی/ مرکزی» خارج شده و در مقام «دیگری/ حاشیه» قرار گرفته است؛ اما از زمانی که بهرام چوبین عزم تسخیر پادشاهی را جزم می‌کند، این روند برعکس می‌شود؛ زیرا خواسته‌ای مغایر با سپهرِ نشانه‌ای دستگاه مرکزی و مغایر با تودة مردم و خویشاوندانش داشته است و این امر بهرام را از مقامِ «دیگریِ آرمانی» به «دیگری/ حاشیه» تنزل می‌دهد؛ ضمنِ اینکه هم‌زمان با قیام بهرام چوبین علیه دستگاهِ مرکزی، نقشِ برخی از کهن‌الگوها و اسطوره‌های تاریخی نیز در تثبیت نقشِ بهرام چوبین در مقامِ دیگریِ نافرهنگی بسیار مؤثر بوده است. روش پژوهش در این مقاله، ضمن استناد به تاریخ و شاهنامه و مستندات کتابخانه‌ای، مبتنی بر توصیف و تحلیل رابطه‌ها و حادثه‌های مربوط به شخصیت‌های یادشده در بالا بوده است.

https://rpll.ui.ac.ir/article_26565_50a7df20e9755902d63f975d993b6aa0.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 New Meanings of Prepositions in Zarrinqaba-Nameh معانی و کارکردهایِ نادر و بدیعِ حروف اضافه در منظومۀ حماسیِ زرّین‌قبانامه 57 67 26324 10.22108/rpll.2021.130497.1962 FA بهزاد اتونی استادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدة علوم انسانی، دانشگاه آیت‌الله بروجردی، بروجرد، ایران Journal Article 2021 09 09 Abstract Zarrinqaba-nameh is one of the longest epic poems after the Shah-nameh, which has mentioned the heroism and wars of Zarrinqaba (the granddaughter of Rostam), Rostam, and his family during the kingdom of Kay-khosrow and prophecy of Solomon's prophethood. The poet and the time of its composition are unknown, but its corrector has considered it to be related to the Safavid Era (10th century AH) based on evidence. One of the most important stylistic features of Zarringaba-nameh is the use of "prepositions" in new and unique meanings and functions, which underlie its linguistic features. Thus, Zarrinqaba-nameh could be considered a unique and unrivaled work among the texts of Persian literature from this perspective. Some prepositions, such as "from", "in", and "to", in Zarinqaba-nameh not only have been used in their unique meanings, but also have shown different roles in the syntax, e.g., two prepositions coming together for a complement, novel and unusual prepositions in simple and compound prefix verbs, and prepositions coming before an object. Introduction Prepositions are grammatical morphemes used to indicate grammatical relations or semantic functions. They usually attribute a word or group of words to a verb, comparative adjective, or a plural noun, making them as dependent complements. In other words, they determine the relation of a word to a verb. In addition to making a word or a group of words dependent on a verb, prepositions form a noun, adjective, or a compound adverb. In such cases, they serve as a prefix. They have been used in ancient Persian and later, in the Middle Persian literature. After being changed in meaning and structure, prepositions have been used in Dari Persian and are now utilized in standard Persian language with their own structures. According to the author's point of view, Zarrinqaba-nameh is a unique work in Persian literature for presenting the various meanings and functions of prepositions, the extractions and analyses of which can enrich the concepts and functions of prepositions in the historical grammar of Persian language. Materials & Methods Among words of multiple meanings, prepositions have a wide range of meanings. Facing unique meanings and functions of prepositions in Zarrinqba-nameh, some of which were unprecedented in Persian literary texts, we tried to extract and study them in the present study through a descriptive-analytical (library) method. Results In Zarrinqaba-nameh, the following unique meanings of prepositions were found: New and unique meanings of "from", which sometimes meant "towards" and sometimes "on" (in the sense of place). Unique meaning of "in", which meant "from" (in the sense of place). New and unique meanings of "in", which sometimes meant "from" (in the sense of place) and sometimes "from". Also, some novel functions of prepositions in the syntax were observed: Using novel and unusual prepositions in simple and compound prefix verbs, including:«در نشستن» instead of «برنشستن»;«سردرآوردن» instead of «سربرآوردن»; «سردرکشیدن» instead of «سر برکشیدن» ; and «زجا آوردن» instead of «به جا آوردن». Using two prepositions together for a complement like »on to« and »from from«, which were related to the historical grammar, stylistics, and history of Persian language in many books and articles. Bringing a preposition before an object, which was rare in the historical grammar of Persian language. Conclusion In terms of novel meaning and use of prepositions, Zarrinqaba-nameh is one of the unique texts in Persian literature which has been neglected by scholars in the field of language. In this book, some prepositions, such as "from", "in", and "to" are used in rare or new meanings. We found innovation in the use of prepositions in the sentences as follows: Using unusual prepositions in phrasal verbs Using two prepositions together for a complement Bringing a preposition before an object Since the story of Zarrinqaba-nameh was taken from the popular narrations of the Shah-nameh and narrating scrolls, it seems that the poet has been influenced by scrolls for using the different meanings of prepositions with different functions in the syntax. For example, in the oldest narrating scroll of the Shah-nameh written close to the time of Zarrinqaba-nameh, some of the morphological and syntactic features of the prepositions mentioned in Zarrinqaba-nameh, such as those with various meanings or those coming before an object, could be seen as well. It should be mentioned that the poet of Zarringaba-nameh was an stylist although he had been influenced by ancient Persian texts, as well as the narrating scrolls, in the use of different prepositions. Hence, Zarrinqaba-nameh could be considered as a unique work. زرّین‌قبانامه یکی از بلندترین منظومه‌های حماسی پس از شاهنامه است. نویسنده در این اثر به ذکر دلاوری‌ها و جنگ‌های زرّین‌قبا، رستم و خاندان رستم در زمان پادشاهی کیخسرو و عهد نبوت سلیمان نبی (ع) و نبرد آنان با انیرانیان می‌پردازد. شاعر منظومة حماسی ـ عامیانة زرّین‌قبانامه، ناشناس و زمان سرایش آن نامعلوم است؛ ولی مصحّح آن برپایة شواهدی که به دست می‌دهد، زرّین‌قبانامه را به عهد صفویه مربوط می‌داند. یکی از مهم‌ترین ویژگی‌های سبک‌شناسیِ منظومۀ زرّین‌قبانامه که در ذیلِ ویژگی‌های زبانی این اثر قرار دارد، کاربرد «حروف اضافه» در معانی و کارکردهای کم‌سابقه و بدیع است؛ به‌گونه‌ای‌که شاید بتوان زرّین‌قبانامه را ازلحاظ تنوع و نوآوری‌های استفاده از حروف اضافه، یکی از منظومه‌های یگانه و منحصربه‌فرد در بین متون ادب پارسی دانست. در منظومۀ زرّین‌قبانامه، برخی از حروف اضافه مانند «از»، «به» و «در»، در معانی نادر یا بدیع به ‌کار رفته‌ است؛ حتی در این منظومه، حروف اضافه نقش‌هایی دیگرگون و گاهی نادر در نحوِ جمله دارد؛ از آن جمله است: کاربرد دو حرفِ اضافة پیاپی برای یک متمم؛ استفادة بدیع از حروف اضافه در ابتدایِ برخی افعال مرکب؛ آوردنِ حرف اضافه پیش از مفعول.

https://rpll.ui.ac.ir/article_26324_ab5e492c79870d293e9e4e186784e4a8.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 Investigating Literary and Semantic Functions of the Names of God in Persian Expressions of Mersad al-Ebad کارکردهای ادبی و معنایی اسمای الهی در عبارت‏های فارسی مرصادالعباد 69 81 26415 10.22108/rpll.2022.130579.1966 FA زهره احمدی پور اناری استادیار گروه زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران فاطمه جعفری کمانگر استادیار گروه زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران Journal Article 2021 09 19 Abstract As Mersad al-Ebad is a mystical book, its most important subject is theology, and the names of God are mentioned in it frequently and in different forms. There has been a lot of research on the names of God, but there is no linguistic or rhetorical research on the names of God in Mersad al-Ebad. In this descriptive-analytical study, the names of God in the Persian expression of Mersad al-Ebad are examined to determine the most widely used ones, the properties of their uses, and their semantic application. The investigation of God's names in Mersad al-Ebad showed that their most important property is the infrequent metaphorical names and the frequent metonymical (Majazi) ones are made particularly by derivation and pun (Jenase Eshteqaq); the most frequent cause of using God's metonymical names is the mighty of God's high position as the creator and heavenly God. From a semantic point of view, the results showed that every holy name has a specific meaning and application and some of them possess aesthetic use in Mersad al-Ebad. In addition, some of the names of God in Mersad al-Ebad are Asmae Jamali (Aesthetic Names) and Asmae Jalali (Glory Names). Introduction Much attention has been paid to the names of God in theoretical mysticism. In addition to mystics, philosophers and theologians have paid much attention to the discussion of the names of God (divine names) and have written many works about it. The main reason for mystic's attention to the discussion of divine names is the great emphasis of religious teachings on the names of God since based on their point of view‚ the knowledge of God is the ultimate aim of mysticism and progress‚ and the knowledge of Almighty God is achieved by knowing the divine names. Najmoddin Razi, known as Najme Daye is one of the famous mystics in the seventh century AH. His most important work is Mersad al-Ebad men al-Mabdae El al-Ma'ad whose subject is about religious behavior, reaching the certainty, training of the human soul, and cognition of divine attributes. In its Persian expressions‚ the names of God are used for artistic‚ rhetorical, and precise semantic purposes‚ which are studied in this study. The following research questions were posed: 1) What are the features of linguistic and rhetorical uses of God's names in the Persian expressions of Mersad al-Ebad?; 2) What special semantic functions do the names of God have in the Persian expressions of Mersad al-Ebad? Materials and Methods This study was carried out using a descriptive-analytical method. First, the text of Mersad al-Ebad was read and the names of God from Persian expressions of this book were extracted to investigate what names for "God" were used. In addition to examining Mersad al-Ebad‚ the researchers of the current study have compared the use of God’s names in this book and the following two books: Resale-ye Qoshayriyye and Kashf al-Mahjub. Discussion of Results and Conclusions The most frequent names of God in the Persian expressions of Mersad al-Ebad and their number of applications are Haq (350)‚ Khoda and Khodavand (134)‚ Hazrat (56)‚ (Hazrat) Ezzat (55)‚ (Hazrat) Oluhiyyat (27)‚ Hazrate Jallat (17)‚ Ahadiyyat (17)‚ and (Hazrat) Robubiyyat (11). Each of the names of God has a specific semantic and rhetoric use. One of the effective factors in using the names of God is who uses the divine names and with what social and cultural status. The results show: 1) the frequent uses of the names of God, which are made through the metonymy (Majaz), especially, for the sake of derivation with the aim of glorifying the dignity of God; 2) the frequent use of many agentive names for God, the implication of which means that attributes are used for God; 3) the rareness of the use of metaphorical names for God, and 4) the omission of the name of God in some genitive expressions because the name of God has been quite obvious. The semantic use of the names God in Mersad al-Ebad showed that "Haq" has been used in the mystical texts but "Khoda" is less mentioned in expressions with pure mystical content. It is used in cases where God is the "creator". Also‚ in many cases the attributes have been used instead of the name of God because the direct reference to the name of the great God is in conflict with the rites of servitude. In Mersad al-Ebad, "Hazrat-e Ezzat" is one of the aesthetic names and "Hazrate Jallat" is one of the glory names. مرصادالعباد کتابی عرفانی است؛ ازاین‌رو موضوعِ محوری آن خداجویی است و نام‏های متعالی خدا در آن فراوان دیده‏ می‏شود. دربارۀ اسماءالله پژوهش‏های فراوانی انجام شده؛ اما تاکنون تحقیقی زبانی و بلاغی دربارۀ نام‏های خدا در مرصادالعباد صورت نگرفته ‏است؛ بنابراین در این مقاله که به‌روش توصیفی ـ تحلیلی انجام شده‏ است، نام‏های خدا در مرصادالعباد بررسی می‌شود تا پرکاربردترین آنها، شیوۀ کاربرد این نام‏ها و کارکرد معنایی آنها در عبارت‌های فارسی مرصادالعباد مشخص ‏شود. گزینش نام‏های الهی از مهم‏ترین جلوه‏گاه‏های هنر واژه‏گزینی نجم‏رازی به ‏شمار می‏رود و ازاین‌رو توجه ویژه‏ای را می‏طلبد. بررسی اسمای الهی در مرصادالعباد نشان ‏می‏دهد که مهم‏ترین ویژگی کاربرد نام‏های خدا در مرصادالعباد، نادربودن نام‏های استعاری و فراوانی کاربرد نام‏هایی است که ازطریق مجاز، به‏ویژه با علاقۀ اشتقاق ساخته ‏شده‏اند. از مهم‏ترین دلایل کاربرد بسیار نام‏های مجازی خدای متعال، تفخیم و بزرگداشت مقام معبود آسمانی است. بررسی کاربرد معنایی نام‏های خدا نشان ‏می‏دهد که هریک از این نام‏های مقدس، در جایگاه خاص معنایی به‏ کار می‏رود و کاربرد برخی نام‏های خدا در عبارت‌های فارسی مرصادالعباد، حکم اسمای جمالی و جلالی خدا را دارد.

https://rpll.ui.ac.ir/article_26415_6ab29bed3af82519300321c4ddb8ea59.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 Functions of the Allusive Motifs of Prophets in Saeb Tabrizi's Lyric Poems کارکردهای موتیف‏های تلمیحی انبیا در غزلیات صائب تبریزی 83 101 26483 10.22108/rpll.2021.130731.1974 FA سارا لطیفیان دانشجوی دکتری، گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی دانشگاه ایلام، ایلام، ایران 0000-0002-5268-7508 حسن سلطانی استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه ایلام، ایلام محمدتقی جهانی استادیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات و علوم انسانی، دانشگاه ایلام، ایلام، ایران Journal Article 2021 09 29 Abstract Motif is a common term in the field of science, art, and literature. It is one of the tools for formal and content critiques and analysis of works. Knowing motifs helps to better understand the poets’ poems. By studying and classifying motifs, one can study the evolution of annihilation and survival of motifs in the literature of a country or a period or in different periods and people. Saeb Tabrizi is the greatest poet composing lyric poems of Indian style. The motifs in his sonnets have a high frequency. The use of these motifs can reflect the poet’s mentality, as well as a picture of the intellectual events of his time. The motifs of prophets are among the most widely used allusive motifs in his poetry. In this study, we examined the functions of the motifs of prophets in Saeb's sonnets. The poet used such motifs to express various thoughts and mentalities. Introduction Motif is a common term in various fields and is defined differently in each field. It is part of a literary work, the most important feature of which is repetition and induction of meaning. Examining motifs in the critique and analysis of literary works is useful to know various aspects of the forms and contents of works. By studying and classifying motifs, one can study the evolution of annihilation and survival of motifs in the literature of a country or a period or different periods and people. Saeb, as the most prominent poet of the Safavid era, was one of those poets, who revived new concepts and themes. Despite a lot of research on Saeb's poetry, no complete list of Saeb's poetry has been prepared to serve as the basis for the related research and identify the various aspects of his life and poetry. In this study, we tried to examine the allusive motifs and among them, the most widely used motif, namely the motifs of prophets. An allusive motif is part of the meaning or theme of a work of art with an allusion to a story, verse, or hadith, the most important feature of which is repetition, meaning enhancement, and guiding to reach the layers of the author’s text and thought. Materials & Methods Collection of materials in this research was based on the library method. First, we presented the theoretical foundations of the research, including a definition of the important terms and keywords in the research field. Then, we examined verses (the main source of this research was Saeb Tabrizi’s Divan edited by Mohammad Ghahraman). Next, we extracted and categorized the Persian lyric poems (7015 lyric poems), in which the motifs of prophets were mentioned. Afterwards, we analyzed and interpreted each motif separately. Finally, we identified their functions. Discussion of Results & Conclusions The poet used the studied motifs to express various thoughts and mentalities. In the use of motifs of the prophets, Saeb was not bound by the ancients’ views and opinions about the prophets and their related elements everywhere; rather, he made innovations in this field. The motifs of prophets in Saeb's poetry played a prominent role in the creation of themes. In addition to alluding to the Qur'anic stories and the past poets’ books and opinions, Saeb himself reached new insights in this field, which were the result of his efforts and artistic creations. His new and creative view of phenomena made moral and social functions, mystical perceptions and functions, contradictions, different uses of motifs, ignorance of the motifs of prophets, formal and aesthetic functions of poetry, poetry criticism, etc. as the most important functions of the motifs of prophets in his poetry. The functions of the motifs of prophets in Saeb's poetry were not limited to their implicit uses. Rather, more diverse aspects of these motifs were considered. موتیف از اصطلاحات رایج در حوزة علم و هنر و ادبیات است. مهم‏ترین ویژگی موتیف تکرار و معنی‏افزایی است و یکی از ابزارهای مناسب برای نقد و تحلیل صوری و محتوایی آثار است. صائب تبریزی بزرگ‏ترین شاعر غزلسرای سبک هندی است. موتیف‏ها در غزل او بسامد بسیاری دارد. کاربرد این موتیف‏ها می‏تواند بیانگر ذهنیّت شاعر و نیز تصویری از جریان‏های فکری و اندیشگی زمانة او باشد. موتیف انبیا از پرکاربردترین موتیف‏های تلمیحی شعر او هستند. در این مقاله کارکردهای موتیف‏های انبیا در غزلیات صائب بررسی می‏شود. شاعر از این موتیف‏ها برای بیان اندیشه‏ها و ذهنیّت‏های متعددی سود جسته ‏است. صائب در کاربرد موتیف‏های انبیا همه‏جا به دیدگاه و نظر متقدمین دربارة پیامبران و عناصر مربوط به آنها مقید نمانده و خود در این زمینه به نوآوری دست زده است. کارکرد موتیف‏های انبیا در شعر صائب به استفادة تلمیحی آنها محدود نشده و جنبه‏های متنوع‏تری از این موتیف‏ها مدّنظر قرار گرفته ‏است. صائب در موتیف‏های انبیا افزون‏بر تلمیح به قصص قرآنی و کتاب‏ها و نظریات گذشتگان، خود به دریافت‏های جدیدی در این زمینه رسیده ‏است که حاصل ژرف‏نگری‏ها و تلاش‏ها و آفرینش‏های هنری اوست. نگاه جدید و خلاقانة او به پدیده‏ها، کارکردهای اخلاقی و اجتماعی، دریافت‏ها و کارکردهای عرفانی، تناقض‏ها، استفادة متفاوت از موتیف‏ها، خوارمایگی موتیف‏های انبیا، کارکردهای صوری و زیبایی‏شناسانه، نقد شعر و... مهم‏ترین کارکرد موتیف‏های انبیا در شعر صائب است.

https://rpll.ui.ac.ir/article_26483_13c1c4bb895120f2bbdbe885e728391e.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 14 2 2022 06 22 The Need to Re-correct the Quatrains of Abu al-Wafa Kharazmi ضرورت تصحیح دوبارة رباعیات ابوالوفای خوارزمی 103 125 26566 10.22108/rpll.2022.130042.1948 FA احمد علی زاده استادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه پیام نور، میاندوآب، ایران Journal Article 2021 08 23 Abstract Khajeh Abu al-Wafa Kharazmi (d. 835AH), is one of the poets and gnostics of the second half of the eighth century and the first half of the ninth century. The purpose of this study is to review quatrains of Abu al-Wafa Kharazmi edited by Beheshti Shirazi, their quality of correction and authentication attributed to him. The research method in this study is fundamental-theoretical and comparative citation to valid gnostic, literary, and historical sources. The accuracy of the quatrains and their authenticity have been examined by referring to authentic literary and historical texts, memoirs, anthologies, selected poems, divans of contemporary poets of Abu al-Wafa Kharazmi before and sometimes after him, and another manuscript of the poet's quatrains recording. Also, the inaccuracies of quatrains in misdiagnosis of the format of poems in the quatrains of Abu al-Wafa Kharazmi are shown. Lack of accurate tracing and search of quatrains in other authoritative literary and historical texts, as well as definitive attribution of some wandering quatrains (attributed to several poets) to Abu al-Wafa Kharazmi by the editor, are among the causes of these mistakes. In this study, an attempt has been made to help the esteemed editor by carefully recording the quatrains and identifying that of other poets in the quatrains of Abu al-Wafa Kharazmi. In the following editions, he tried to refine the quatrains more precisely to provide a more complete and trim text than the quatrains of this poet to its corrected text to be considered in the historical course of Persian quatrain study. Other important factors in the occurrence of these errors and confusions are the inaccuracy and little knowledge of the scribers, and the editor misconception. Several quatrains from the poems of twenty poets of the second to ninth centuries have been mistakenly mixed in the quatrains of Abu al-Wafa Kharazmi by mistakes of scribers and editors. Because scientific research requires accurate texts, it is necessary to carefully review the poet's quatrains in terms of the quality of correction and authenticity of the poems. Introduction Khajeh Abu al-Wafa Kharazmi (b. 757, d. 835 AH) known as Pir-e- Fereshteh, is one of the hierarchs of the Kobraviyye dynasty, one of the poets, gnostics, and artists of the time of Amir Teymour Gurkani (r. 771-807 AH) and his son Shahrukh ibn Teymur (r. .807 to 850 AH). Jami has considered him a mate and disciple of Abu al-Fath, the son of Bahal-din Kobra. Navai writes in his memoir about his condition: He was “one of the large saints, he considered the sciences of appearance and truth to be very good and beautiful, and he was unique in the science of periods and music of his time, he wrote poetry and composed quatrains” (Navai, 1984, p. 185). In most of the sources related to him, Abu al-Wafa is considered to be sheikh and the master of Taj al-Din/Kamal al-Din Hussein Kharazmi (d. 840 AH), the commentator of Rumi's couplet, known as Jawaher al-Asrar and Zawaher al-Anwar. This is a matter of the content of Yanbu al-Asrar fi Nasaih al-Abrar, it is quite clear. He is credited with composing several treatises on Sufism, music, and cabala sciences, among these, the treatise of Kanz al-Jawahir, which apparently contained the poet's quatrains, is more famous. “Abu al-Wafa was also famous for composing quatrains and strophe-poems in poetry” (Nafisi, 1984, p. 321). The author of Majalis al-Oshshaq believes that Abu al-Wafa had relations with Abdul Qadir Maraghei in music (Gazorgahi, 1996, p. 220). Most of the sources related to him are enough to introduce him briefly and mention some of his quatrains. The author of Habib Al-Seyar has recorded his death in the months of the year 835AH and his burial place in Kharazm province (Khandmir, 1983, p. 8-9). Zabihullah Safa in his book the History of Literature in Iran has also mentioned the treatise Lobb al-Lobab among the works of Abu al-Wafa (Safa, 1989, p. 84). The purpose of the present study is to investigate the poet's quatrains in terms of recording quality and their documentation in attributing to the poet based on valid literary and historical texts. In the introduction, the editor did not provide information about the quality, appearance, and content of the manuscripts he used. The editor has been satisfied without any criticism and critical opinion in introducing the poet and his conditions and poems, quoting only the contents of memoirs and historical and literary books. Materials and Methods In this study, the quality, accuracy, and correctness of the recording of poems and their authenticity in attributing to Abu al-Wafa Kharazmi have been studied using a fundamental-theoretical approach by referring to valid literary, gnostic, and historical texts. Based on the memoirs, anthologies, divans, and poetic and written prose treatises of other poets, the poems of other poets are attributed to him and the recording and printing errors of quatrains have been determined. Discussion of Results and Conclusions Studies and evaluations related to the critique of corrected texts are among common methods in the linguistic and content examination of literary works. Criticism of corrected texts is very important in literary research in terms of the quality of poetry recording, the richness of the introduction, the advantage of the commentaries, having guide indexes, and being the authentic source of the corrected sources. It is very important in literary research and studies since without such evaluations, it would not be possible to present an authentic and revised text of a poet's poems. Due to the inaccuracy and little knowledge of the scribers, as well as the obvious inaccuracies of the esteemed editor in correctly recognizing the format of the poems and also entering the poems of about twenty other poets in it, Abu al-Wafa Kharazmi's quatrains need to be reviewed, edited, and re-corrected to other poets’ quatrains, until the poems of other poets have been removed from the body of quatrains. The poems that do not have the form of quatrains should be distinguished from the quatrains. The poems of the poets and mystics found in the quatrains of Abu al-Wafa Kharazmi are related to the poets and mystics of the second to ninth centuries. Lack of availability of complete manuscripts, date and close time to the poet's life, correct reliance on confusing manuscripts, inaccuracy and low knowledge of the scribers of poet's quatrains, excessive adherence to the manuscripts he uses, failure to trace the wandering quatrains in other authoritative literary and historical texts and their false acceptance, and including them in the collection of the poet's quatrains can be the causes of these confusions. In addition, not searching for quatrains attributed to Abu al-Wafa al-Kharazmi in anthologies, selected poems, and manuscript texts in the form of photographs or type settings characters are not ineffective in causing these errors. Clumsy extraction of some quatrains from the works of the poet's disciple (Hussein Kharazmi), such as Sharh e-Fusus al-Hekam, Yanbu al-Asrar, and Jawahar al-Asrar and their acceptance as Abul-Wafa's definite quatrains are also important in the occurrence of these errors. Until the discovery of Abu al-Wafa's treatise Kanz-al-Javaher/Nasr-al-Javaher, which, according to most memoirs, contains the poet's quatrains, it can be said that the corrected version of Beheshti Shirazi is not complete. Also, the difference between the editions of Mayel Heravi, Beheshti Shirazi, and the library manuscript of the Islamic Consultative Assembly confirms that there are other manuscripts of the poet's quatrains in other libraries that the editor has not had access to. خواجه ابوالوفای خوارزمی (ف. 835 ق.) از شاعران و عارفان نیمۀ دوم قرن هشتم و نیمۀ اول قرن نهم است. موضوع این مقاله بازنگری رباعیات ابوالوفای خوارزمی (تصحیح بهشتی شیرازی)، ازنظر کیفیّت تصحیح و سندیّت آنها در انتساب به اوست. با مراجعه به متون معتبر ادبی، تاریخی، تذکره‌ها، جنگ‌ها، سفینه‌ها، دیوان‌های شاعران معاصرِ ابوالوفای خوارزمی و دیوان شاعران پیش و گاهی پس از او و یک نسخۀ خطی دیگر از رباعیات شاعر، ضبط دقیق رباعیات و سندیّت آنها بررسی می‌شود؛ نیز سهوهای مصحّح محترمِ رباعیات در تشخیص نادرست قالب اشعار و اشعار راه‌یافتۀ شاعران دیگر در رباعیات ابوالوفای خوارزمی نشان داده شده است. از عوامل بروز این اشتباهات آن است که مصحّح به‌طور دقیق رباعیات را در سایر متون معتبر ادبی و تاریخی ردّیابی و جست‌وجو نکرده است و برخی از رباعیات سرگردان را به‌طور قطعی به ابوالوفای خوارزمی نسبت داده است. در این مقاله کوشش شد، با دقت در ضبط رباعیات و مشخص‌کردن رباعیات راه‌یافتۀ شاعران دیگر در رباعیات ابوالوفای خوارزمی، به مصحّح محترم کمک شود در چاپ‌های بعدی به تنقیح دقیق‌تر رباعیات همّت گمارد و متنی پیراسته‌تر و کامل‌تر از رباعیاتِ این شاعر ارائه دهد تا متن مصحّحش در سیر تاریخی بررسی رباعی فارسی یک نمونۀ موثق به شمار رود. از عوامل مهم دیگر در بروز این اشتباهات و تخلیط‌ها کم‌دقتی و دانش اندک کاتبان است؛ نیز تصور غلط مصحّح مبنی بر اینکه بیشتر رباعیات مندرج در آثار حسین خوارزمی از پیر و استاد او، ابوالوفای خوارزمی است و درنتیجه آنها را در مجموعۀ رباعیات ابوالوفا خوارزمی وارد کرده است. چند رباعی از سروده‌های بیست شاعر قرون دوم تا نهم با سهوهای کاتبان و مصحّح، در رباعیات ابوالوفا خوارزمی تخلیط شده است. لازمۀ پژوهش علمی داشتن متن دقیق است؛ بنابراین ضرورت دارد رباعیات شاعر ازنظر کیفیت تصحیح و سندیّت اشعار به‌دقت بازبینی شود. شیوۀ پژوهش در این مقاله، بنیادی ـ نظری و استناد تطبیقی به منابع معتبر عرفانی، ادبی و تاریخی است.

https://rpll.ui.ac.ir/article_26566_c977af284c8aa51747bdd9d1e0d3cd22.pdf