University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 A Different Attitude toward Amir Khusraw Dihlav’s Dowalrānī Xeżerkhān A Different Attitude toward Amir Khusraw Dihlav’s Dowalrānī Xeżerkhān 1 18 26855 10.22108/rpll.2022.133086.2041 FA Mahdieh Asadi Ph.D. Candidate of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Literature and Humanities, Mohaghegh Ardabili University, Ardabil, Iran Bijan Zahiri Nav Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Mohaghegh Ardabili University, Ardabil, Iran Shokroallah Pouralkhas Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Mohaghegh Ardabili University, Ardabil, Iran 0000-0002-0899-3620 Journal Article 2022 03 16 Abstract<br />Dowalrānī Xezerkhān tells the love story of Xezer (xażer) Khān, Ala-edin khalji’s son, and the princess of Gogojrāt named Dīveldī. This Masnavi written in the poet’s late life comprises two parts. The first part was written at the request of Xezer Khaan in 715/1315 and the second part, including 319 extra verses about murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. The poetic language of this historical tragedy is mature, simple, pleasant, and free from conventional conservatism. Multiple literary compositions, simple but skillful illustrations, Amr Khusraw’s special subject headings, and new styles on writing Dah-Nameh are the most outstanding particularities of Dowalrānī Kheżerkhān. None of Amr Khusraw’s historical Masnavis have as much special names as Dowalrānī Kheżerkhān, including good historical, cultural, political, geographical, and social information about the history of the rulers of India, especially Khalji dynasty, their methods of government, political relations, prince's choice, royal wedding, names of people, places, and positions, and also government officials. Dowalrānī Kheżerkhān is the only work of Amr Khusraw, which has a version belonging to the poet's lifetime. This manuscript under the number 178 is preserved in Arg Library of the Republic of Afghanistan. Another feature of the book is illumination of the new aspects of Amr Khusraw’s life and thoughts, as well as mentioning of his son’s name, Ein-ud-dīn Mobārak, and the poet's story of desertion from Mongols.<br />Introduction<br />Dowalrānī Kheżerkhān tells the love story of Xezerkhān, Ala-edin khalji’s son, and a Rajput princess named Dīveldī. This Masnavi that was written in the poet’s late life is comprised of two parts. The first part was written at the request of Xezerkhān in 715/1315 and the second part, including 319 extra verses about the murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. This poem, which is one of the most prominent works of Amr Khusraw Dihlav, indicates his real life and thoughts more than his other works. This study aimed to probe such a neglected and valuable work as Amr Khusraw’s.<br />Material & Methods<br />By reading Dowalrānī Kheżerkhān and collecting the information mentioned in the book, such as special names, political relations, and dates, and studying the history of Khalji dynasty, the authors tried to present a relatively comprehensive description of historical, literary, cultural, and social values of the Masnavi.<br /> <br />Discussion of Results & Conclusions<br /><br />Dowalrānī Kheżerkhān was the closest work to Amr Khusraw’s life and thoughts.<br />A separate part of this Masnavi was allocated to celebrate the rulers of India, especially Khalji dynasty extending Islam.<br />Dowalrānī Kheżerkhān contained special names of people, places, and positions, which were historically very important.<br />This Masnavi was the only source of information about Xeżerkhān’s biography.<br />Dowalrānī Kheżerkhān was full of multiple literary compositions, new expressions, and simple yet skillful illustrations.<br />The verses contained historical, literary, cultural, and social information about Khalji’s dynasty;<br />Dowalrānī Kheżerkhān illuminated new aspects of the name, life, and thoughts of Xezerkhaan’s son, who was held in captivity;<br />Dowalrānī Kheżerkhān was the only work of Amr Khusraw, which had a version belonging to the poet's lifetime.<br />Making use of new styles in writing Dah-Nameh and Barat al-Istehlall (a kind of stylistic device) had made Dowalrānī Kheżerkhān different from Amr Khusraw’s other works. Abstract<br />Dowalrānī Xezerkhān tells the love story of Xezer (xażer) Khān, Ala-edin khalji’s son, and the princess of Gogojrāt named Dīveldī. This Masnavi written in the poet’s late life comprises two parts. The first part was written at the request of Xezer Khaan in 715/1315 and the second part, including 319 extra verses about murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. The poetic language of this historical tragedy is mature, simple, pleasant, and free from conventional conservatism. Multiple literary compositions, simple but skillful illustrations, Amr Khusraw’s special subject headings, and new styles on writing Dah-Nameh are the most outstanding particularities of Dowalrānī Kheżerkhān. None of Amr Khusraw’s historical Masnavis have as much special names as Dowalrānī Kheżerkhān, including good historical, cultural, political, geographical, and social information about the history of the rulers of India, especially Khalji dynasty, their methods of government, political relations, prince's choice, royal wedding, names of people, places, and positions, and also government officials. Dowalrānī Kheżerkhān is the only work of Amr Khusraw, which has a version belonging to the poet's lifetime. This manuscript under the number 178 is preserved in Arg Library of the Republic of Afghanistan. Another feature of the book is illumination of the new aspects of Amr Khusraw’s life and thoughts, as well as mentioning of his son’s name, Ein-ud-dīn Mobārak, and the poet's story of desertion from Mongols.<br />Introduction<br />Dowalrānī Kheżerkhān tells the love story of Xezerkhān, Ala-edin khalji’s son, and a Rajput princess named Dīveldī. This Masnavi that was written in the poet’s late life is comprised of two parts. The first part was written at the request of Xezerkhān in 715/1315 and the second part, including 319 extra verses about the murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. This poem, which is one of the most prominent works of Amr Khusraw Dihlav, indicates his real life and thoughts more than his other works. This study aimed to probe such a neglected and valuable work as Amr Khusraw’s.<br />Material & Methods<br />By reading Dowalrānī Kheżerkhān and collecting the information mentioned in the book, such as special names, political relations, and dates, and studying the history of Khalji dynasty, the authors tried to present a relatively comprehensive description of historical, literary, cultural, and social values of the Masnavi.<br /> <br />Discussion of Results & Conclusions<br /><br />Dowalrānī Kheżerkhān was the closest work to Amr Khusraw’s life and thoughts.<br />A separate part of this Masnavi was allocated to celebrate the rulers of India, especially Khalji dynasty extending Islam.<br />Dowalrānī Kheżerkhān contained special names of people, places, and positions, which were historically very important.<br />This Masnavi was the only source of information about Xeżerkhān’s biography.<br />Dowalrānī Kheżerkhān was full of multiple literary compositions, new expressions, and simple yet skillful illustrations.<br />The verses contained historical, literary, cultural, and social information about Khalji’s dynasty;<br />Dowalrānī Kheżerkhān illuminated new aspects of the name, life, and thoughts of Xezerkhaan’s son, who was held in captivity;<br />Dowalrānī Kheżerkhān was the only work of Amr Khusraw, which had a version belonging to the poet's lifetime.<br />Making use of new styles in writing Dah-Nameh and Barat al-Istehlall (a kind of stylistic device) had made Dowalrānī Kheżerkhān different from Amr Khusraw’s other works. https://rpll.ui.ac.ir/article_26855_f49089c86cd5f0b2b7eb3f1088df003d.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 Representation of the Force Schemas of Mystical Journey in Hadiqah al-Haqiqah (Garden of Truth) and Tamhidāt (Preparations) Representation of the Force Schemas of Mystical Journey in Hadiqah al-Haqiqah (Garden of Truth) and Tamhidāt (Preparations) 19 36 26878 10.22108/rpll.2022.133064.2039 FA Zahra Alipoor Ph.D. student in Persian Language and Literature, Ferdowsi University of Mashhad, Mashhad, Iran Sayed Mahdi Zarghani Professor of the Department of Persian Language and Literature, Ferdowsi University of Mashhad, Mashhad, Iran Arsalan Golfam Associate professor, Department of Linguistics, Tarbiat Modares University, Tehran, Iran Journal Article 2022 03 16 <strong>Abstract</strong><br />The path of mystical journey is a path that is full of meanders. A mystic must overcome obstacles heroically to reach God. These are not physical barriers. According to the theory of image schemas first presented by Lycoff and Johnson, the mystic thinks and speaks about these obstacles by using force schemas. This study tried to compare Sanā'ie and Ayn al-Quzāt Hamadāni’s views about obstacles in the path of mystical journey by analyzing force schemas in their two works of Hadiqah al-Haqiqah (Garden of Truth) and Tamhidāt (Preparations) through a descriptive-analytical method. The units of analysis were the distiches and stanzas that contained force schemas in the mentioned works. The scope of our research was all their contents. The similarities of the intellectual foundations of the two mystics were reflected in the schemas of the second and third types. The word of God, moral vices, dependence on the world, soul, and knowledge of God were the main axes of these two types of schemas in the two works. The differences between the lived experiences and types of mysticism of the two mystics were found to have led to a significant difference in their use of the first type of schema. Also, they were different in their frequencies of using schemas, such as appearance of Shari'a, the devil, moral vices, divine zeal, and status, because of their varied lived experiences and intellectual foundations.<br /><strong>Introduction</strong><br />According to the theory of image schemas first presented by Lycoff and Johnson, we think and speak about abstract matters by using bodily experiences. Each schema can be generally defined as a repetitive and dynamic pattern, which is the result of the poet/author's interaction with the universe (Renner et al., 2005: 15). Thus, image schemas are basic categories based on bodily experiences. The term 'schema' refers to their generality. If schemas are so fundamental, the question arises as to whether a change in culture and ideology will affect the ways schemas are used. To clarify the role of lived experiences in the application of force schemas in mystical journey, we selected two mystics, who had somewhat different lived experiences, i.e., devotional mysticism and romantic mysticism. What were the differences and similarities between Ayn al-Quzāt Hamadāni and Sanā'ie’s views on mystical journey considering that Ayn al-Quzāt Hamadāni belonged to the mystical center of central Iran and Sanā'ie lived in the center of eastern Iran and regarding that the former was a radical mystic, who lost his life on his fiery words, and the latter was a moderate mystic, who adhered to the appearance of Shari'a in his poems to a large extent? Its complete answer definitely requires reviewing all the schemas used in their works. The limitation of this article forced us to only address force schemas.<br />Force schema is a type of schema that allows us to expand our sensory-motor experiences and improve cognition (Johnson, 1396: 259). Our mind gains experiences in the face of physical obstacles to solve abstract problems. As a result, force schemas are formed in the mind. For example, when we say, “Financial problems prevented me from continuing my education”, our minds have benefited from the experience of "facing a material obstacle" like a wall and have explained the impossibility of education by facing it (Safavi, 2004: 375)<br />Force schemas can be divided into 3 types. The first type is related to an obstacle in the path of movement, which prevents the seeker from moving. When we say, “I have a problem that makes me have neither the way forward nor a step backward", we refer to the first type of force schema (ibid., 376). The second situation is that the seeker crosses the barrier in front of him via different alternatives. He bypasses it or changes its course or passes through it by force. Such a situation indicates a force schema of the second type (ibid., 377). The third situation is that the seeker does not get stuck in the path nor does he pass through it in any way, but destroys it. For example, when we say, "In any case, we must get rid of this problem", we are practically referring to the third type of force schema (ibid., 377).<br /><strong>Materials and Methods</strong><br />In this research, we intended to go through Sana'ie and Ayn al-Quzāt’s mystical mentalities in Hadiqa al-Haqiqa and Tamhidāt by basing the mentioned three types of force schemas with this explanation that we made some modifications to the theory of schemas wherever necessary. For this purpose, we reviewed all their contents. After extracting all the force schemas related to the mystical journey, we compared the views of the two mystics on the obstacles in the path of mystical journey.<br /> <br /><strong>Discussion of Results & Conclusion</strong><br />Using force schemas, a mystic can think and talk about abstract obstacles in the path of mystical journey. In Hadiqa al-Haqiqa and Tamhidāt, the frequencies of using the second and third types of schemas were so similar. The word of God, moral vices, dependence on the world, human sensuality, and knowledge of God were the main axes of these two types of schemas in the two works. However, the differences in Sanā'ie and Ayn al-Quzāt’s lived experiences and ideologies caused the two mystics to use schemas somewhat differently. The fact that their mysticisms gave more importance to knowledge of God and asceticism caused the frequencies of keywords and the types of schemas used by the two mystics to be different. This made Ayn al-Quzāt talk more about the schemas that stopped the mystical journey, while Sanā'ie sought to motivate the audience by talking less of obstacles that could not be overcome. The difference in their lived experiences caused Sanā'ie to name obstacles like status and mention moral vices as the greatest obstacle in the path of mystical journey since he wrote Hadiqa al-Haqiqa for a more general class of people, while Ayn al-Quzāt wrote Tamhidāt to their close companions and named obstacles, such as appearance of Shari'a, divine zeal, and divine arrogance. In Hadiqa al-Haqiqa, Sanā'ie believed that the two forces of attraction and effort would allow the mystic to be able to remove obstacles from the path of mystical journey though he generally attached more importance to the force of effort. In Tamhidāt, even human effort was mentioned as the result of attraction. In Hadiqa al-Haqiqa, Shari'a, wisdom, and love were the tools and forces that helped the mystic to overcome obstacles; nonetheless, Ayn al-Quzāt did not mention wisdom and Shari'a and rather considered love and knowledge as the forces that helped the mystic to face obstacles. <strong>Abstract</strong><br />The path of mystical journey is a path that is full of meanders. A mystic must overcome obstacles heroically to reach God. These are not physical barriers. According to the theory of image schemas first presented by Lycoff and Johnson, the mystic thinks and speaks about these obstacles by using force schemas. This study tried to compare Sanā'ie and Ayn al-Quzāt Hamadāni’s views about obstacles in the path of mystical journey by analyzing force schemas in their two works of Hadiqah al-Haqiqah (Garden of Truth) and Tamhidāt (Preparations) through a descriptive-analytical method. The units of analysis were the distiches and stanzas that contained force schemas in the mentioned works. The scope of our research was all their contents. The similarities of the intellectual foundations of the two mystics were reflected in the schemas of the second and third types. The word of God, moral vices, dependence on the world, soul, and knowledge of God were the main axes of these two types of schemas in the two works. The differences between the lived experiences and types of mysticism of the two mystics were found to have led to a significant difference in their use of the first type of schema. Also, they were different in their frequencies of using schemas, such as appearance of Shari'a, the devil, moral vices, divine zeal, and status, because of their varied lived experiences and intellectual foundations.<br /><strong>Introduction</strong><br />According to the theory of image schemas first presented by Lycoff and Johnson, we think and speak about abstract matters by using bodily experiences. Each schema can be generally defined as a repetitive and dynamic pattern, which is the result of the poet/author's interaction with the universe (Renner et al., 2005: 15). Thus, image schemas are basic categories based on bodily experiences. The term 'schema' refers to their generality. If schemas are so fundamental, the question arises as to whether a change in culture and ideology will affect the ways schemas are used. To clarify the role of lived experiences in the application of force schemas in mystical journey, we selected two mystics, who had somewhat different lived experiences, i.e., devotional mysticism and romantic mysticism. What were the differences and similarities between Ayn al-Quzāt Hamadāni and Sanā'ie’s views on mystical journey considering that Ayn al-Quzāt Hamadāni belonged to the mystical center of central Iran and Sanā'ie lived in the center of eastern Iran and regarding that the former was a radical mystic, who lost his life on his fiery words, and the latter was a moderate mystic, who adhered to the appearance of Shari'a in his poems to a large extent? Its complete answer definitely requires reviewing all the schemas used in their works. The limitation of this article forced us to only address force schemas.<br />Force schema is a type of schema that allows us to expand our sensory-motor experiences and improve cognition (Johnson, 1396: 259). Our mind gains experiences in the face of physical obstacles to solve abstract problems. As a result, force schemas are formed in the mind. For example, when we say, “Financial problems prevented me from continuing my education”, our minds have benefited from the experience of "facing a material obstacle" like a wall and have explained the impossibility of education by facing it (Safavi, 2004: 375)<br />Force schemas can be divided into 3 types. The first type is related to an obstacle in the path of movement, which prevents the seeker from moving. When we say, “I have a problem that makes me have neither the way forward nor a step backward", we refer to the first type of force schema (ibid., 376). The second situation is that the seeker crosses the barrier in front of him via different alternatives. He bypasses it or changes its course or passes through it by force. Such a situation indicates a force schema of the second type (ibid., 377). The third situation is that the seeker does not get stuck in the path nor does he pass through it in any way, but destroys it. For example, when we say, "In any case, we must get rid of this problem", we are practically referring to the third type of force schema (ibid., 377).<br /><strong>Materials and Methods</strong><br />In this research, we intended to go through Sana'ie and Ayn al-Quzāt’s mystical mentalities in Hadiqa al-Haqiqa and Tamhidāt by basing the mentioned three types of force schemas with this explanation that we made some modifications to the theory of schemas wherever necessary. For this purpose, we reviewed all their contents. After extracting all the force schemas related to the mystical journey, we compared the views of the two mystics on the obstacles in the path of mystical journey.<br /> <br /><strong>Discussion of Results & Conclusion</strong><br />Using force schemas, a mystic can think and talk about abstract obstacles in the path of mystical journey. In Hadiqa al-Haqiqa and Tamhidāt, the frequencies of using the second and third types of schemas were so similar. The word of God, moral vices, dependence on the world, human sensuality, and knowledge of God were the main axes of these two types of schemas in the two works. However, the differences in Sanā'ie and Ayn al-Quzāt’s lived experiences and ideologies caused the two mystics to use schemas somewhat differently. The fact that their mysticisms gave more importance to knowledge of God and asceticism caused the frequencies of keywords and the types of schemas used by the two mystics to be different. This made Ayn al-Quzāt talk more about the schemas that stopped the mystical journey, while Sanā'ie sought to motivate the audience by talking less of obstacles that could not be overcome. The difference in their lived experiences caused Sanā'ie to name obstacles like status and mention moral vices as the greatest obstacle in the path of mystical journey since he wrote Hadiqa al-Haqiqa for a more general class of people, while Ayn al-Quzāt wrote Tamhidāt to their close companions and named obstacles, such as appearance of Shari'a, divine zeal, and divine arrogance. In Hadiqa al-Haqiqa, Sanā'ie believed that the two forces of attraction and effort would allow the mystic to be able to remove obstacles from the path of mystical journey though he generally attached more importance to the force of effort. In Tamhidāt, even human effort was mentioned as the result of attraction. In Hadiqa al-Haqiqa, Shari'a, wisdom, and love were the tools and forces that helped the mystic to overcome obstacles; nonetheless, Ayn al-Quzāt did not mention wisdom and Shari'a and rather considered love and knowledge as the forces that helped the mystic to face obstacles. https://rpll.ui.ac.ir/article_26878_160e1088a9f3b4b29e44edbae2cd5f94.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 An Introduction to a Poem from the Musical Treatise Attributed to Abu al-Wafa Kharazmi and Discussing its Validity and Origin An Introduction to a Poem from the Musical Treatise Attributed to Abu al-Wafa Kharazmi and Discussing its Validity and Origin 37 53 27113 10.22108/rpll.2022.134212.2098 FA Sahand Soltandoost PhD Graduate of Art Studies, Department of Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran Mehdi Keshavarz Afshar Assistant Professor of Art Studies, Department of Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran Reza Afhami Associate Professor of Art Studies, Department of Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran Journal Article 2022 06 27 Abstract<br />The present study investigates a brief poem attributed to Abu al-Wafa Kharazmi and verifies the attribution. The verse has been composed to explain the suitability of the hours of an entire day with the twelve modes (maqāms) of ancient Persian music, and its content has a history in older writings that can be traced back to its origins. The purpose of the study is to introduce, describe, analyze, and critically correct this literary piece using recorded materials and sources as well as library documents and manuscripts. In the course of the discussion, the content of the poem has been comparatively studied with two other musical treatises, an earlier work (<em>Kanz al-Tuhaf</em> by Hassan Kashani), and a later one (<em>Treatise on the Science of Music</em> written by Mir Sadr al-Din Mohammad Qazvini). The findings show that the aforementioned trans-musical topic is one of the favourite subjects among the authors of the transition period of Persian music (late fourteenth century AH to the end of the Safavid era), which can be detected with the slightest modification in several treatises of this period. The actual source of this topic is the <em>Kunz al-Tuhaf </em>treatise, but it is allegedly based on the ideas of Avicenna; however, this attribution is quite far from the historical truth. Based on the evidence, the authors have concluded that the work in question in this study is by a lesser-known poet and Sufi named Khajeh Abu al-Wafa Kharazmi (760-835 AH) who, according to historical accounts, was familiar with the science of music (Advār) and had a treatise on music, which is not available today. Most likely, the poem was extracted from his lost musical treatise. So far, the validity of the attribution of this work to Khajeh Abu al-Wafa has not been scrutinized and no research has been done regarding its content.<br />Introduction<br />After the prime period of the Timurid era, a significant number of writings associated with Persian music are some works without any title or assigned date, whose author is also unknown. This corpus is mostly very brief and only one or two pages long, and of course, the anonymous works often do not contain remarkably fresh and original ideas. Here, the purpose of the study is to investigate one of these works related to music, of which two manuscripts are available so far. Danesh Pajouh (2011) published one of them in <em>The Catalogue of Manuscripts on Music</em>. This piece is a concise poem mentioning the relations between the hours of an entire day with musical modes. The Malek Library version contains sixteen verses, and the Tehran University Library version includes twelve (see Massoudieh, 2012, p. 96). The first question raised about the actual author of this piece: What evidence or proofs are there for attributing the work to Khajeh Abu al-Wafa Kharazmi? Assuming that these contents allegedly express Avicenna’s views on music, in which of his works should we locate them? What is the true origin of the contents of this poem? Regarding the suitability of the musical modes for times of the day, what is the relationship between the teachings of this poem and other such instructions provided in the music treatises before and after it? What are the similarities and differences? And to what extent?<br />Materials and Methods<br />Naturally, any effort to compile a theoretical and practical history of music in Iran is either inefficient or restrained to prejudice or otherwise conjecture unless historical musicology in Iran takes the first step in organizing its literary heritage and recorded materials, and those are speculations that have nothing to do with scholarly methods and qualities. In general, the research on the anonymous works of the transition period of Persian music still does not have a comprehensive background. This historical study uses a descriptive and analytical method. The library documents, as well as manuscripts, were also used. First-hand historical accounts, music catalogues, and old literature on Persian music were principal sources of information in this study. Also, we deliver a critical correction of the work by comparing the two existing manuscripts of it.<br />Discussion of Results and Conclusions<br />The author is mentioned as anonymous in the catalogues by Massoudieh (2012, p. 96) and Danesh Pajouh (2011, p. 433). However, in the heading of the verses in the Malek Library version, it is written in Nastaliq script that “Abu Ali Sina states, peace be upon him”. This line is crossed out later and, above it, we read some cursive and illegible script: “Khajeh Abu al-Wafa Kharazmi says”. Abu al-Wafa Kharazmi (1359-1432/ 760-835 AH), nicknamed ‘Pir-e Fereshteh’, was among the most prominent Sufi Sheikhs from Transoxiana and one of the celebrated writers and poets in the 15^th century. From Ali-Shir Nava'i’s anthology of <em>Majalis al-Nafais</em> (1984, p. 9), we learn that not only Khajeh was renowned in the science of music, but he was also the author of a treatise on it. Since the time of the author himself, although some biographers and chroniclers have mentioned Khajeh's music treatise in their reports on his life and works, no one except Hassan Mashhoun (2009, pp. 229, 234-5) has articulated anything about this treatise. Given that:<br /><br />Khajeh Abu al-Wafa was at least theoretically, and not necessarily practically, involved in the science of music and advār;<br />He had connections with individuals engaged in music and Samā (for example, the son of Yazdan Bakhsh Changi);<br />He was a member of the monastery and was probably present in their musical gatherings;<br />He wrote a music treatise that his contemporaries knew about;<br />The writers of the 15^th and 16^th centuries were more acquainted with Khajeh’s life than today and penned his poems down;<br />The time gap between the composition of the treatise on music in the early 15^th century and the copy date of Malek's version (and probably its correction) in the late 16^th century is not more than a hundred and fifty years; And also that:<br />The anonymous corrector of Malek's version probably deliberately crossed out the name of Abu Ali and replaced it with the name of Abu al-Wafa;<br /><br />It is not far-fetched if we at least assume that the poem we are considering is a part of the same lost music treatise attributed to Khajeh Abu al-Wafa Kharazmi. It should be said that the verse’s claim about attributing these trans-musical ideas to Avicenna is, if not completely false, at least very dubious and improper. In any of his musical works, Avicenna has not shown the slightest interest in the topic raised in the poem ‘Knowing the Modes for Any Time’.<br />The musical modes which the poet mentions here are (1) Rahāvi (2) Husseini (3) Rāst (4) Busalik (5) Nahāvandi (6) Oshāq (7) Hijaz (8) Iraq (9) Mokhālef (10) Bakharz (11) Zirafkand, and the twelfth mode is unknown or illegible. The times of the day which are, in fact, the Salah times and stated by Abu al-Wafa are (1) the dawn (Fajr) (2) the sunrise (3) ‘the sun of three spears’ or before the midday (4) chāsht or the midday (5) the equinox which is around the noon call to prayer (6) the noon (Zuhr) prayer (7) between the noon and the afternoon (Asr) prayers (8) the afternoon prayer (9) the evening (Maghrib prayer) (10) the dusk prayer (Isha) (11) the midnight.<br />The root of these contents goes back to at least the music treatise <em>Kanz al-Tuhaf</em> by Hassan Kashani. There is a close concurrence between what is suggested in these verses about the suitability of musical modes for the times of the day, with what Kashani quoted a century before in his treatise according to Avicenna. Also, the differences between this poem and the contents of Mir Sadr al-Din Mohammad Qazvini’s Treatise on Music, which was written a century later, are insignificant and negligible. It can be concluded that this topic was one of the more or less important and hot topics for the music authors of the transition period, which was duplicated with minimal modifications in their works. Finally, it can be claimed with a strong possibility that this piece is an extraction from the same missing music treatise by Khajeh Abu al-Wafa Kharazmi. Abstract<br />The present study investigates a brief poem attributed to Abu al-Wafa Kharazmi and verifies the attribution. The verse has been composed to explain the suitability of the hours of an entire day with the twelve modes (maqāms) of ancient Persian music, and its content has a history in older writings that can be traced back to its origins. The purpose of the study is to introduce, describe, analyze, and critically correct this literary piece using recorded materials and sources as well as library documents and manuscripts. In the course of the discussion, the content of the poem has been comparatively studied with two other musical treatises, an earlier work (<em>Kanz al-Tuhaf</em> by Hassan Kashani), and a later one (<em>Treatise on the Science of Music</em> written by Mir Sadr al-Din Mohammad Qazvini). The findings show that the aforementioned trans-musical topic is one of the favourite subjects among the authors of the transition period of Persian music (late fourteenth century AH to the end of the Safavid era), which can be detected with the slightest modification in several treatises of this period. The actual source of this topic is the <em>Kunz al-Tuhaf </em>treatise, but it is allegedly based on the ideas of Avicenna; however, this attribution is quite far from the historical truth. Based on the evidence, the authors have concluded that the work in question in this study is by a lesser-known poet and Sufi named Khajeh Abu al-Wafa Kharazmi (760-835 AH) who, according to historical accounts, was familiar with the science of music (Advār) and had a treatise on music, which is not available today. Most likely, the poem was extracted from his lost musical treatise. So far, the validity of the attribution of this work to Khajeh Abu al-Wafa has not been scrutinized and no research has been done regarding its content.<br />Introduction<br />After the prime period of the Timurid era, a significant number of writings associated with Persian music are some works without any title or assigned date, whose author is also unknown. This corpus is mostly very brief and only one or two pages long, and of course, the anonymous works often do not contain remarkably fresh and original ideas. Here, the purpose of the study is to investigate one of these works related to music, of which two manuscripts are available so far. Danesh Pajouh (2011) published one of them in <em>The Catalogue of Manuscripts on Music</em>. This piece is a concise poem mentioning the relations between the hours of an entire day with musical modes. The Malek Library version contains sixteen verses, and the Tehran University Library version includes twelve (see Massoudieh, 2012, p. 96). The first question raised about the actual author of this piece: What evidence or proofs are there for attributing the work to Khajeh Abu al-Wafa Kharazmi? Assuming that these contents allegedly express Avicenna’s views on music, in which of his works should we locate them? What is the true origin of the contents of this poem? Regarding the suitability of the musical modes for times of the day, what is the relationship between the teachings of this poem and other such instructions provided in the music treatises before and after it? What are the similarities and differences? And to what extent?<br />Materials and Methods<br />Naturally, any effort to compile a theoretical and practical history of music in Iran is either inefficient or restrained to prejudice or otherwise conjecture unless historical musicology in Iran takes the first step in organizing its literary heritage and recorded materials, and those are speculations that have nothing to do with scholarly methods and qualities. In general, the research on the anonymous works of the transition period of Persian music still does not have a comprehensive background. This historical study uses a descriptive and analytical method. The library documents, as well as manuscripts, were also used. First-hand historical accounts, music catalogues, and old literature on Persian music were principal sources of information in this study. Also, we deliver a critical correction of the work by comparing the two existing manuscripts of it.<br />Discussion of Results and Conclusions<br />The author is mentioned as anonymous in the catalogues by Massoudieh (2012, p. 96) and Danesh Pajouh (2011, p. 433). However, in the heading of the verses in the Malek Library version, it is written in Nastaliq script that “Abu Ali Sina states, peace be upon him”. This line is crossed out later and, above it, we read some cursive and illegible script: “Khajeh Abu al-Wafa Kharazmi says”. Abu al-Wafa Kharazmi (1359-1432/ 760-835 AH), nicknamed ‘Pir-e Fereshteh’, was among the most prominent Sufi Sheikhs from Transoxiana and one of the celebrated writers and poets in the 15^th century. From Ali-Shir Nava'i’s anthology of <em>Majalis al-Nafais</em> (1984, p. 9), we learn that not only Khajeh was renowned in the science of music, but he was also the author of a treatise on it. Since the time of the author himself, although some biographers and chroniclers have mentioned Khajeh's music treatise in their reports on his life and works, no one except Hassan Mashhoun (2009, pp. 229, 234-5) has articulated anything about this treatise. Given that:<br /><br />Khajeh Abu al-Wafa was at least theoretically, and not necessarily practically, involved in the science of music and advār;<br />He had connections with individuals engaged in music and Samā (for example, the son of Yazdan Bakhsh Changi);<br />He was a member of the monastery and was probably present in their musical gatherings;<br />He wrote a music treatise that his contemporaries knew about;<br />The writers of the 15^th and 16^th centuries were more acquainted with Khajeh’s life than today and penned his poems down;<br />The time gap between the composition of the treatise on music in the early 15^th century and the copy date of Malek's version (and probably its correction) in the late 16^th century is not more than a hundred and fifty years; And also that:<br />The anonymous corrector of Malek's version probably deliberately crossed out the name of Abu Ali and replaced it with the name of Abu al-Wafa;<br /><br />It is not far-fetched if we at least assume that the poem we are considering is a part of the same lost music treatise attributed to Khajeh Abu al-Wafa Kharazmi. It should be said that the verse’s claim about attributing these trans-musical ideas to Avicenna is, if not completely false, at least very dubious and improper. In any of his musical works, Avicenna has not shown the slightest interest in the topic raised in the poem ‘Knowing the Modes for Any Time’.<br />The musical modes which the poet mentions here are (1) Rahāvi (2) Husseini (3) Rāst (4) Busalik (5) Nahāvandi (6) Oshāq (7) Hijaz (8) Iraq (9) Mokhālef (10) Bakharz (11) Zirafkand, and the twelfth mode is unknown or illegible. The times of the day which are, in fact, the Salah times and stated by Abu al-Wafa are (1) the dawn (Fajr) (2) the sunrise (3) ‘the sun of three spears’ or before the midday (4) chāsht or the midday (5) the equinox which is around the noon call to prayer (6) the noon (Zuhr) prayer (7) between the noon and the afternoon (Asr) prayers (8) the afternoon prayer (9) the evening (Maghrib prayer) (10) the dusk prayer (Isha) (11) the midnight.<br />The root of these contents goes back to at least the music treatise <em>Kanz al-Tuhaf</em> by Hassan Kashani. There is a close concurrence between what is suggested in these verses about the suitability of musical modes for the times of the day, with what Kashani quoted a century before in his treatise according to Avicenna. Also, the differences between this poem and the contents of Mir Sadr al-Din Mohammad Qazvini’s Treatise on Music, which was written a century later, are insignificant and negligible. It can be concluded that this topic was one of the more or less important and hot topics for the music authors of the transition period, which was duplicated with minimal modifications in their works. Finally, it can be claimed with a strong possibility that this piece is an extraction from the same missing music treatise by Khajeh Abu al-Wafa Kharazmi. https://rpll.ui.ac.ir/article_27113_12553e8f2d9cb3c3451b3f7068ec0d63.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 Analysis of Naser Khosrow’s Cosmological Ideas Analysis of Naser Khosrow’s Cosmological Ideas 55 70 27135 10.22108/rpll.2022.134039.2089 FA Maryam Kasaee Ph.D. cCandidate of Persian Language and Literature, Department of Persian Language and Litrature, Faculty of Literature and Humanities, Ilam University, Ilam, Iran Rahman Zabihi Associate pProfessor of Persian Language and Literature, Department of Persian Language and Litrature, Faculty of Literature and Humanities, Ilam University, Ilam, Iran Mohammadtaqi Jahani Assistant pProfessor of Persian Language and Literature, Department of Persian Language and Litrature, Faculty of Literature and Humanities, Ilam University, Ilam, Iran Journal Article 2022 06 14 <strong>Abstract</strong><br />The main issue of this study, which was conducted with a descriptive-analytical method, was the critique and analysis of Naser Khosrow's cosmological ideas and the search for its origins. In Naser Khosrow’s view, the world, which consists of top-down levels, is divided into two main parts: the spiritual world and the physical world. The levels of innovation, general intellect, and general soul are located in the spiritual world, while the physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The creation is purposeful and occurs through innovation. From the matter of truth arises the general intellect and from the general intellect arises the general soul, which is the mastermind of the universe and mediator of the transmission of the benefits of the general intellect to the lower levels. The hyle is the shadow of the general soul and from the view point of the general soul, in its shadow, the general nature emerges. The body is a substance, which has length, width, and depth. The planets and the celestial bodies are also the instruments of the general soul in the creation of the lower level universe and its governance. The fourfold elements of soil, water, wind, and fire establish the pillars and from their composition with the fourfold natures emerges the ternate of births. Human being is the last stage of existence and the aid of the general soul in reaching to the world of intellect and his (man’s) contentment is dependent on the teachings of Nātiq and Imam with the efforts of other levels of the Ismaili religion, which has a high position in the world system.  The roots of some of Naser Khosrow's cosmological beliefs can be traced to the Greek scholars’ views and the works of Ismaili thinkers, such as Abu Ya'qub Sajestani and Hamid al-Din Kermani.<br /><strong>Introduction</strong><br />Cosmological studies discuss the world and its levels. This branch of philosophical studies proves to be productive in examining, criticizing, and analyzing cosmological ideas in ancient Persian literary texts, especially philosophical texts. Therefore, through cosmological studies, the poets’ and authors’ systems of thought and viewpoints towards the world are explicable. The main subject of this study was examination and analysis of Naser Khosrow’s cosmological thoughts and their origins and backgrounds. Naser Khosrow, the greatest Ismaili author and poet in Persian literature, sustains a homogeneous philosophical thought system, which is the outcome of his special experience and personal interest in the reflection on nations and people’s beliefs, his Ismaili ideology, his contemplation on the great Ismaili intellectual works, and investigation of the breeding grounds of their thoughts. Expounding the relationship between the existence and the creator, clarifying the levels of creation, and verifying the purposeful creation are the pivotal subjects in his works.<br /><strong>Methodology</strong><br />To understand the theoretical grounds and the confines and scope of this investigation, which was conducted with a descriptive-analytical method, the authoritative works on the history of philosophy were first studied. Then, Naser Khosrow’s Divan and other prose works were scrutinized from the viewpoint of cosmological thoughts and subjects and the results were compiled under the general headings of spiritual world and physical world, each of which was comprised of several levels. In addition, referring to multiple Greek, neo-platonic, and Gnostic sources, as well as Ismaili thinkers’ works, the origins and backgrounds of a number of Naser Khosrow’s cosmological thoughts were uncovered.<br /> <br /><strong>Discussion and Results</strong><br />From Naser Khosrow’s viewpoint, the existence is divided into physical and spiritual worlds. The spiritual world incorporates the levels of innovation, general intellect, and general soul. The creation starts with innovation. God orders the existence with His word and this order results in the emergence of the general intellect, which is immanent, luminous, immaterial in essence and action, stationery, and recognizing. The general intellect in turn generates the general soul, which is simple, spiritual, live, wise, and able. The general soul is the active cause of the physical world, which is created by means of the stars and celestial bodies. The physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The hyle is rational and form-taker that stands after the soul. The general nature is also a soft essence, which protects all the types and forms. The body as the sixth level of the creation is a compound essence that is perceptible though the external senses. The stars and celestial bodies, which emerge through combination of the hyle and form, are the soft part of the world and essence of the fire. The four-fold elements arise from the dirty part of the hyle, which in combination with the four sanguine, choleric, melancholic, and phlegmatic temperaments, generate the compounds and levels of inanimate objects, plants, and animals. Human is at the ultimate level of the creation and possesses a speaking soul. The cycle of the creation starts with innovation and ends with the creation of human, who, by learning knowledge and applying the teachings of Sharia, returns to the rational world. In Naser Khosrow's worldview, Natiq, Imam, and other positions of the Ismaili religion play an important role in human’s ultimate felicity. Naser Khosrow's cosmological ideology is the result of his personal awareness, reflection on the Ismaili thinkers’ works, and probing into ancient sources, such as the Greek philosophers’ works or Gnostic and Neoplatonic sources. <strong>Abstract</strong><br />The main issue of this study, which was conducted with a descriptive-analytical method, was the critique and analysis of Naser Khosrow's cosmological ideas and the search for its origins. In Naser Khosrow’s view, the world, which consists of top-down levels, is divided into two main parts: the spiritual world and the physical world. The levels of innovation, general intellect, and general soul are located in the spiritual world, while the physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The creation is purposeful and occurs through innovation. From the matter of truth arises the general intellect and from the general intellect arises the general soul, which is the mastermind of the universe and mediator of the transmission of the benefits of the general intellect to the lower levels. The hyle is the shadow of the general soul and from the view point of the general soul, in its shadow, the general nature emerges. The body is a substance, which has length, width, and depth. The planets and the celestial bodies are also the instruments of the general soul in the creation of the lower level universe and its governance. The fourfold elements of soil, water, wind, and fire establish the pillars and from their composition with the fourfold natures emerges the ternate of births. Human being is the last stage of existence and the aid of the general soul in reaching to the world of intellect and his (man’s) contentment is dependent on the teachings of Nātiq and Imam with the efforts of other levels of the Ismaili religion, which has a high position in the world system.  The roots of some of Naser Khosrow's cosmological beliefs can be traced to the Greek scholars’ views and the works of Ismaili thinkers, such as Abu Ya'qub Sajestani and Hamid al-Din Kermani.<br /><strong>Introduction</strong><br />Cosmological studies discuss the world and its levels. This branch of philosophical studies proves to be productive in examining, criticizing, and analyzing cosmological ideas in ancient Persian literary texts, especially philosophical texts. Therefore, through cosmological studies, the poets’ and authors’ systems of thought and viewpoints towards the world are explicable. The main subject of this study was examination and analysis of Naser Khosrow’s cosmological thoughts and their origins and backgrounds. Naser Khosrow, the greatest Ismaili author and poet in Persian literature, sustains a homogeneous philosophical thought system, which is the outcome of his special experience and personal interest in the reflection on nations and people’s beliefs, his Ismaili ideology, his contemplation on the great Ismaili intellectual works, and investigation of the breeding grounds of their thoughts. Expounding the relationship between the existence and the creator, clarifying the levels of creation, and verifying the purposeful creation are the pivotal subjects in his works.<br /><strong>Methodology</strong><br />To understand the theoretical grounds and the confines and scope of this investigation, which was conducted with a descriptive-analytical method, the authoritative works on the history of philosophy were first studied. Then, Naser Khosrow’s Divan and other prose works were scrutinized from the viewpoint of cosmological thoughts and subjects and the results were compiled under the general headings of spiritual world and physical world, each of which was comprised of several levels. In addition, referring to multiple Greek, neo-platonic, and Gnostic sources, as well as Ismaili thinkers’ works, the origins and backgrounds of a number of Naser Khosrow’s cosmological thoughts were uncovered.<br /> <br /><strong>Discussion and Results</strong><br />From Naser Khosrow’s viewpoint, the existence is divided into physical and spiritual worlds. The spiritual world incorporates the levels of innovation, general intellect, and general soul. The creation starts with innovation. God orders the existence with His word and this order results in the emergence of the general intellect, which is immanent, luminous, immaterial in essence and action, stationery, and recognizing. The general intellect in turn generates the general soul, which is simple, spiritual, live, wise, and able. The general soul is the active cause of the physical world, which is created by means of the stars and celestial bodies. The physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The hyle is rational and form-taker that stands after the soul. The general nature is also a soft essence, which protects all the types and forms. The body as the sixth level of the creation is a compound essence that is perceptible though the external senses. The stars and celestial bodies, which emerge through combination of the hyle and form, are the soft part of the world and essence of the fire. The four-fold elements arise from the dirty part of the hyle, which in combination with the four sanguine, choleric, melancholic, and phlegmatic temperaments, generate the compounds and levels of inanimate objects, plants, and animals. Human is at the ultimate level of the creation and possesses a speaking soul. The cycle of the creation starts with innovation and ends with the creation of human, who, by learning knowledge and applying the teachings of Sharia, returns to the rational world. In Naser Khosrow's worldview, Natiq, Imam, and other positions of the Ismaili religion play an important role in human’s ultimate felicity. Naser Khosrow's cosmological ideology is the result of his personal awareness, reflection on the Ismaili thinkers’ works, and probing into ancient sources, such as the Greek philosophers’ works or Gnostic and Neoplatonic sources. https://rpll.ui.ac.ir/article_27135_ccddfef6816137737f3ca21b5e368e97.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 The Necessity of Re-Correcting the Divan of Ghazali Mashhadi The Necessity of Re-Correcting the Divan of Ghazali Mashhadi 71 88 27136 10.22108/rpll.2022.133978.2085 FA Hossein Ettehadi Assistant Professor of Persian Language and Literature, Zabol Branch, Islamic Azad University, Zabol, Iran Journal Article 2022 06 06 <strong>Abstract</strong><br />Ghazali Mashhadi is one of the poets who migrated to India in the 10th century for some reason. He has some works in verse and prose, one of which is his <em>Divan</em> of poems known as <em>Asar al-Shabab</em>. This <em>Divan</em> includes an introduction in prose and some poems in the form of Ghasideh (ode), Tarkib-band (poem of several stanzas of equal size), Tarji’-band (strophe poem), Ghazal (sonnet or lyric poem), Mathnavi (couplet poem), Qet’eh (an elegy consisting of only two lines and rhyming in the last hemistiches), and quatrain, which were published with Hossein Qorbanpour Arani’s corrections by Elmi va Farhangi (Scientific and Cultural) Publications in 2009. In this edition, despite the mentioned correcting efforts in the introduction, many errors have found their way into different parts of this Divan. Most of the errors were related to punctuation. These slips could cause the wrong reading of the poems and might even cause misunderstanding of the poet’s intention. Another problem that could make the reader’s job difficult was that the references given to Ghazali's poetry or even to other scholars’ works were incorrect both in the introduction and notes of <em>the Divan</em> in many cases. In addition, the mistakes and carelessness in the steps of typing the poems had sometimes caused (an) extra letter or letters or a sign to enter the words or be omitted from them in the texts. Also, in the section of notes, the honorable editor had only explained the literal meanings of the words or terms, which had nothing to do with the meanings intended by the poet in many cases.<br /><strong>Introduction</strong><br />In the last century, researchers have taken a great approach toward correcting and printing valuable Persian literary texts. Of course, it should be noted that any effort in this field must be accompanied by great care in order to produce a criticizable and referenceable work. One of the texts that was corrected and published for the first time in 2009 is Ghazali Mashhadi’s <em>Divan</em>. “Ghazali was born in 930 Hijri (1522 AD) in Mashhad. He went to Qazvin when he was young and served in the Safavid army of Shah Tahmasb” (Golchin-e Ma'ani, 1990, p. 933). According to the author of <em>Tazkirah Majma’ al-Khawas</em>, Ghazali was forced to leave Iran because of religious fanatics. “Due to his atheism and intemperance in Iraq, they aimed at killing him and thus, he fled from there to Deccan” (Bada’oni, 1869, p. 170). Regarding the poetic style and technical features of Ghazali's words, there is no explicit and clear information in the existing Tazkirahs. For the first time, Zabihullah Safa commented on Ghazali's rhetorical style. "Strength and coherence, along with fluency of words and clarity of meaning, are the characteristics of Ghazali's speech in all types of his poetry. Throughout his poems, his speech is firm and strong and at the same time fluent and clear." (Safa, 1989, p. 704).<br /><strong>Materials and Methods</strong><br />The present study was done using a descriptive-analytical method relying on library sources. For this purpose, the different sections of correction of <em>the Divan</em> were reviewed and criticized based on content analysis by using reliable sources.<br /><strong>Discussion of Results and Conclusions</strong><br />In the introduction, the editor raised a discussion about Ghazali being influenced by other poets. He has considered a few poets, including Amir Khosrow Dehlavi, Hassan Dehlavi, and Bab Afghani, as the poets, by whom Ghazali Mashhadi has been influenced. To prove his claim, he mentioned only one verse, in which Ghazali mentioned the names of those poets. In another part, he mentioned some Ghazals (sonnets) by Ghazali and concluded that he had composed them under the influence of Hafez. It should be said that there were no sonnets with such a rhyme and rhythm in the two authentic editions of Hafez’s <em>Divan</em>, i.e., Natel Khanlari's correction and Ghani and Qazvini's correction. In another part of the introduction, he said about Ghazali's style that “He has been a powerful, eloquent, and prolific poet and strength and coherence, along with fluency of words and clarity of meanings, are among the characteristics of Ghazali's speech in all types of his poetry”. This was despite the fact that on the next page, his judgment has been violated. Of course, Ghazali's speech has not been without weakness in his lyrical poetry and he has had deficiencies in terms of grammar and language like any other poet. Another part of the problems of Ghazali's <em>Divan</em> was caused by mistakes in the spelling of words. These mistakes could be divided into two groups. The first group included the cases in which an additional letter or dot has been used in the structure of a word. The second group was the reverse of the previous one, that is, the problems caused by omitting a letter from a word.<br />The use of punctuation marks in <em>the</em> <em>Divan</em> of Ghazali Mashhadi could be criticized from two perspectives. First of all, their applications did not follow a specific and uniform approach or procedure. In some parts, there was no need to use these marks, while they had not been used in some other parts where they were needed. The editor had not used the punctuation mark of letter stillness (indicating the pronunciation of a consonant without a vowel sound after it) in some parts where it was necessary either. The second criticism was that he used punctuation marks and even vowels incorrectly in many cases. Since this  caused wrong reading of the poems, it might create ambiguity and disturbance in conveying the meanings of the words as well. There were several cases that required accuracy in the semantic context of the words and correction of some words and expressions. In the section of notes, the editor has only mentioned the literal meanings of the words and terms. This was despite the fact that these explanations had nothing to do with the poet’s intended meaning in many cases. All these cases would require a more accurate and scholarly correction of <em>the Divan</em> of Ghazali Mashhadi once again. <strong>Abstract</strong><br />Ghazali Mashhadi is one of the poets who migrated to India in the 10th century for some reason. He has some works in verse and prose, one of which is his <em>Divan</em> of poems known as <em>Asar al-Shabab</em>. This <em>Divan</em> includes an introduction in prose and some poems in the form of Ghasideh (ode), Tarkib-band (poem of several stanzas of equal size), Tarji’-band (strophe poem), Ghazal (sonnet or lyric poem), Mathnavi (couplet poem), Qet’eh (an elegy consisting of only two lines and rhyming in the last hemistiches), and quatrain, which were published with Hossein Qorbanpour Arani’s corrections by Elmi va Farhangi (Scientific and Cultural) Publications in 2009. In this edition, despite the mentioned correcting efforts in the introduction, many errors have found their way into different parts of this Divan. Most of the errors were related to punctuation. These slips could cause the wrong reading of the poems and might even cause misunderstanding of the poet’s intention. Another problem that could make the reader’s job difficult was that the references given to Ghazali's poetry or even to other scholars’ works were incorrect both in the introduction and notes of <em>the Divan</em> in many cases. In addition, the mistakes and carelessness in the steps of typing the poems had sometimes caused (an) extra letter or letters or a sign to enter the words or be omitted from them in the texts. Also, in the section of notes, the honorable editor had only explained the literal meanings of the words or terms, which had nothing to do with the meanings intended by the poet in many cases.<br /><strong>Introduction</strong><br />In the last century, researchers have taken a great approach toward correcting and printing valuable Persian literary texts. Of course, it should be noted that any effort in this field must be accompanied by great care in order to produce a criticizable and referenceable work. One of the texts that was corrected and published for the first time in 2009 is Ghazali Mashhadi’s <em>Divan</em>. “Ghazali was born in 930 Hijri (1522 AD) in Mashhad. He went to Qazvin when he was young and served in the Safavid army of Shah Tahmasb” (Golchin-e Ma'ani, 1990, p. 933). According to the author of <em>Tazkirah Majma’ al-Khawas</em>, Ghazali was forced to leave Iran because of religious fanatics. “Due to his atheism and intemperance in Iraq, they aimed at killing him and thus, he fled from there to Deccan” (Bada’oni, 1869, p. 170). Regarding the poetic style and technical features of Ghazali's words, there is no explicit and clear information in the existing Tazkirahs. For the first time, Zabihullah Safa commented on Ghazali's rhetorical style. "Strength and coherence, along with fluency of words and clarity of meaning, are the characteristics of Ghazali's speech in all types of his poetry. Throughout his poems, his speech is firm and strong and at the same time fluent and clear." (Safa, 1989, p. 704).<br /><strong>Materials and Methods</strong><br />The present study was done using a descriptive-analytical method relying on library sources. For this purpose, the different sections of correction of <em>the Divan</em> were reviewed and criticized based on content analysis by using reliable sources.<br /><strong>Discussion of Results and Conclusions</strong><br />In the introduction, the editor raised a discussion about Ghazali being influenced by other poets. He has considered a few poets, including Amir Khosrow Dehlavi, Hassan Dehlavi, and Bab Afghani, as the poets, by whom Ghazali Mashhadi has been influenced. To prove his claim, he mentioned only one verse, in which Ghazali mentioned the names of those poets. In another part, he mentioned some Ghazals (sonnets) by Ghazali and concluded that he had composed them under the influence of Hafez. It should be said that there were no sonnets with such a rhyme and rhythm in the two authentic editions of Hafez’s <em>Divan</em>, i.e., Natel Khanlari's correction and Ghani and Qazvini's correction. In another part of the introduction, he said about Ghazali's style that “He has been a powerful, eloquent, and prolific poet and strength and coherence, along with fluency of words and clarity of meanings, are among the characteristics of Ghazali's speech in all types of his poetry”. This was despite the fact that on the next page, his judgment has been violated. Of course, Ghazali's speech has not been without weakness in his lyrical poetry and he has had deficiencies in terms of grammar and language like any other poet. Another part of the problems of Ghazali's <em>Divan</em> was caused by mistakes in the spelling of words. These mistakes could be divided into two groups. The first group included the cases in which an additional letter or dot has been used in the structure of a word. The second group was the reverse of the previous one, that is, the problems caused by omitting a letter from a word.<br />The use of punctuation marks in <em>the</em> <em>Divan</em> of Ghazali Mashhadi could be criticized from two perspectives. First of all, their applications did not follow a specific and uniform approach or procedure. In some parts, there was no need to use these marks, while they had not been used in some other parts where they were needed. The editor had not used the punctuation mark of letter stillness (indicating the pronunciation of a consonant without a vowel sound after it) in some parts where it was necessary either. The second criticism was that he used punctuation marks and even vowels incorrectly in many cases. Since this  caused wrong reading of the poems, it might create ambiguity and disturbance in conveying the meanings of the words as well. There were several cases that required accuracy in the semantic context of the words and correction of some words and expressions. In the section of notes, the editor has only mentioned the literal meanings of the words and terms. This was despite the fact that these explanations had nothing to do with the poet’s intended meaning in many cases. All these cases would require a more accurate and scholarly correction of <em>the Divan</em> of Ghazali Mashhadi once again. https://rpll.ui.ac.ir/article_27136_9ae1eb25e3fd9f839e5eeb3cae1c9579.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 Some of the Shortcomings of The Secrets of Gulshan-e Raz Some of the Shortcomings of The Secrets of Gulshan-e Raz 89 100 27011 10.22108/rpll.2022.133553.2054 FA Yadollah Nasrollahi Associate Professor of Persian Language & Literature, Persian Language & Literature Department, Faculty of Humanites Scinces & Literature, Azarbijan Shahid Madani University, Tabriz, Iran Journal Article 2022 05 08 <strong>Abstract</strong><br />Gulshan-e Raz is one of the famous mystical works written by Sheikh Mahmoud Shabestari, who composed this mystical work under the influence of ibn Arabi’s mysticism in the 8^th century. The reflection of Shabestari’s thoughts and poetry in this work can be clearly seen in the later sources. About 50 descriptions and margins there have been written on it over time. Dr. Mohammad Reza Barzegar Khaleghi has recently given a description and explanation on Gulshan-e Raz and named it The Secrets of Gulshan-e Raz. In general, the present study aimed at introducing the poet and his text and the mystic style. The major goal of this article was to report the shortcomings and defects contained in Barzegar Khaleghi’s great work, which was comprised of 3 main parts: introduction, the text of Gulshan-e Raz, and Barzegar Khalegi’s description and explanations of it. Barzegar Khaleghi has not corrected the text and has tried to describe the verses of Gulshan-e Raz in a simple, intense, and concise language. In the section of description and explanations, he has been able to give a certain meaning to vague and ambiguous things and give the reader an acceptable and appropriate religious meaning. He has avoided a disciple-like attitude towards Shabestri and ibn Arabi unlike the traditional commentators. However, in some cases, the meanings inserted in the section of explanation and description  can be criticized.<br /><strong>Introduction</strong><br />The vast subject of mysticism and Sufism still has many opportunities for scientific research and discussion. Especially after the 7^th Century of the Islamic Hijri calendar, it can be better understood that the mysticism of ibn Arabi and his followers is disrupting the geographical territory of the Islamic world and affecting all kinds of intellectual, social and political affairs. One of these influential works is Gulshan-e Raz written by Sheikh Mahmoud Shabestari in the 8^th century. Many explanations and interpretations have been written on this book  for various reasons since it has been written, most of which are traditional explanations based on the tendencies and worldview of Ibn Arabi’s mysticism. Lately, Dr. Mohammad Reza Barzegar Khaleghi has written The Secrets of Gulshan-e Raz, a commentary in the subtitle which offers explanations to further introduce his book after giving the introduction, correct reading of verses, and pronunciation of difficult words. Unlike traditional commentators’, Khaleghi’s work is more focused on the fact that it is not a purely mystical explanation and the worldview and mystical attitudes have not played a major role in its authoring, but rather he has sought to help students easily understand the text of Gulshan-e Raz, and find it useful. In other words, it is a book or a teaching explanation that makes the meanings of the verses to be understood in a simpler language as much as possible. Therefore, most of Khaleghi’s method has been based on simplification of difficult verses with difficult meanings and their interpretation in prose. In this regard, he has been mostly successful, except for few cases; his work can be criticized for its shortcomings to some extent. This article tried to explain some of these shortcomings as much as possible.<br /><strong>Materials and Methods</strong><br />The essence of this research was introduction and review of The Secrets of Gulshan-e Raz by reading it line by line completely and accurately. A detailed examination of the line-by-line explanations of Khaleghi’s book was made after carefully reading the verses and comparing and matching them with Khaleghi’s appropriate meanings and explanations. Measuring them with possible sources was the forthcoming method in the research. It was obvious that a critical look at Khaleghi’s notes was the main condition for this research to be conducted. In general and in a simple language, it can be said that in the creation of this writing, we used most of the common methods in research, especially the descriptive, comparative, analytical, and inferential methods. After reporting and describing Dr. Khaleghi’s writing, we compared that writing with various other materials and sources and finally, the desired scientific opinion was expressed in different parts of the article. The methods of collecting the materials and data were qualitative with a focus on gaining information, documents, and writings mainly available at the library.<br /> <br /><strong>Discussion of Results and Conclusion</strong><br />The Secrets of Gulshan-e Raz provided a simple explanation, which mostly sought to convey a simple and easy understanding of the text to the students. Although some steps were provided to make it easy for the audience to understand, it could be said that the case and the subject of Gulshan-e Raz had ceased to be totally resolved. The most important part of the book was its way of referencing and citation, which was traditional, but it could be said that the main criticism in this regard was that some terms could have been philologically interpreted to explain their meanings from their sources and roots, which hade not been done in the book. The meanings and explanations written for some verses would provoke thought. In some incorrect cases, the “extra soul” of Qur’anic interpretation had been defined as the “added soul” without attributing it to God’s soul. For some words and verses, any meanings and explanations that  had to be originally written had not been written. In some cases, a description or explanation had been written for the verse that was more ambiguous than the verse itself and its meaning was still difficult to understand. It would have been better if the mystical symbols, especially ibn Arabi’s mysticism, had been explained and deciphered; however, in some cases, they had not been done in this way. In Ibn Arabi’s mysticism, “Zulf” was a symbol of the world and its manifestations and by mentioning this explanation, the ambiguity of the verse in question had been resolved. With this description, it could be generally said that these small shortcomings would not reduce the value of the book of this honorable author, who had considered himself bound to give students a correct understanding of the texts. <strong>Abstract</strong><br />Gulshan-e Raz is one of the famous mystical works written by Sheikh Mahmoud Shabestari, who composed this mystical work under the influence of ibn Arabi’s mysticism in the 8^th century. The reflection of Shabestari’s thoughts and poetry in this work can be clearly seen in the later sources. About 50 descriptions and margins there have been written on it over time. Dr. Mohammad Reza Barzegar Khaleghi has recently given a description and explanation on Gulshan-e Raz and named it The Secrets of Gulshan-e Raz. In general, the present study aimed at introducing the poet and his text and the mystic style. The major goal of this article was to report the shortcomings and defects contained in Barzegar Khaleghi’s great work, which was comprised of 3 main parts: introduction, the text of Gulshan-e Raz, and Barzegar Khalegi’s description and explanations of it. Barzegar Khaleghi has not corrected the text and has tried to describe the verses of Gulshan-e Raz in a simple, intense, and concise language. In the section of description and explanations, he has been able to give a certain meaning to vague and ambiguous things and give the reader an acceptable and appropriate religious meaning. He has avoided a disciple-like attitude towards Shabestri and ibn Arabi unlike the traditional commentators. However, in some cases, the meanings inserted in the section of explanation and description  can be criticized.<br /><strong>Introduction</strong><br />The vast subject of mysticism and Sufism still has many opportunities for scientific research and discussion. Especially after the 7^th Century of the Islamic Hijri calendar, it can be better understood that the mysticism of ibn Arabi and his followers is disrupting the geographical territory of the Islamic world and affecting all kinds of intellectual, social and political affairs. One of these influential works is Gulshan-e Raz written by Sheikh Mahmoud Shabestari in the 8^th century. Many explanations and interpretations have been written on this book  for various reasons since it has been written, most of which are traditional explanations based on the tendencies and worldview of Ibn Arabi’s mysticism. Lately, Dr. Mohammad Reza Barzegar Khaleghi has written The Secrets of Gulshan-e Raz, a commentary in the subtitle which offers explanations to further introduce his book after giving the introduction, correct reading of verses, and pronunciation of difficult words. Unlike traditional commentators’, Khaleghi’s work is more focused on the fact that it is not a purely mystical explanation and the worldview and mystical attitudes have not played a major role in its authoring, but rather he has sought to help students easily understand the text of Gulshan-e Raz, and find it useful. In other words, it is a book or a teaching explanation that makes the meanings of the verses to be understood in a simpler language as much as possible. Therefore, most of Khaleghi’s method has been based on simplification of difficult verses with difficult meanings and their interpretation in prose. In this regard, he has been mostly successful, except for few cases; his work can be criticized for its shortcomings to some extent. This article tried to explain some of these shortcomings as much as possible.<br /><strong>Materials and Methods</strong><br />The essence of this research was introduction and review of The Secrets of Gulshan-e Raz by reading it line by line completely and accurately. A detailed examination of the line-by-line explanations of Khaleghi’s book was made after carefully reading the verses and comparing and matching them with Khaleghi’s appropriate meanings and explanations. Measuring them with possible sources was the forthcoming method in the research. It was obvious that a critical look at Khaleghi’s notes was the main condition for this research to be conducted. In general and in a simple language, it can be said that in the creation of this writing, we used most of the common methods in research, especially the descriptive, comparative, analytical, and inferential methods. After reporting and describing Dr. Khaleghi’s writing, we compared that writing with various other materials and sources and finally, the desired scientific opinion was expressed in different parts of the article. The methods of collecting the materials and data were qualitative with a focus on gaining information, documents, and writings mainly available at the library.<br /> <br /><strong>Discussion of Results and Conclusion</strong><br />The Secrets of Gulshan-e Raz provided a simple explanation, which mostly sought to convey a simple and easy understanding of the text to the students. Although some steps were provided to make it easy for the audience to understand, it could be said that the case and the subject of Gulshan-e Raz had ceased to be totally resolved. The most important part of the book was its way of referencing and citation, which was traditional, but it could be said that the main criticism in this regard was that some terms could have been philologically interpreted to explain their meanings from their sources and roots, which hade not been done in the book. The meanings and explanations written for some verses would provoke thought. In some incorrect cases, the “extra soul” of Qur’anic interpretation had been defined as the “added soul” without attributing it to God’s soul. For some words and verses, any meanings and explanations that  had to be originally written had not been written. In some cases, a description or explanation had been written for the verse that was more ambiguous than the verse itself and its meaning was still difficult to understand. It would have been better if the mystical symbols, especially ibn Arabi’s mysticism, had been explained and deciphered; however, in some cases, they had not been done in this way. In Ibn Arabi’s mysticism, “Zulf” was a symbol of the world and its manifestations and by mentioning this explanation, the ambiguity of the verse in question had been resolved. With this description, it could be generally said that these small shortcomings would not reduce the value of the book of this honorable author, who had considered himself bound to give students a correct understanding of the texts. https://rpll.ui.ac.ir/article_27011_22cebc17177ef74229f981ea6c0e09de.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 14 4 2022 12 22 Examining the Recording and Reading of an Arabic Word in A Verse of Hadiqat al-Haqiqa and Its Semantic Analysis Examining the Recording and Reading of an Arabic Word in A Verse of Hadiqat al-Haqiqa and Its Semantic Analysis 101 112 26988 10.22108/rpll.2022.133946.2081 FA Mansoor Sadat Ebrahimi Ph.D. in Persian Language and Literature, University of Isfahan, Isfahan, Iran Journal Article 2022 06 05 <strong>Abstract</strong><br />One of the most important components in editing ancient texts is paying attention to the different forms and readings of words and phrases and studying the semantics of each of these possible forms. In the meanwhile, recognizing the correct recording of Arabic words entered in Persian language requires more care and investigation because these words often get more distorted due to the strangeness of their uses. In addition, some of these words have two or more different meanings in the original language and have this feature in the second language as well. However, the editor's neglect of these multiple meanings and readings can impair the recording and description of words and phrases. The less commonly used word "Ofāt/Afãt" is an example of the same words used in a verse of Sanā’ie's Hadiqat al-Haqiqa, but it has been incorrectly recorded in all contemporary scientific and critical editions. In this research, first, besides criticizing the corrections and explanations of Hadiqat al-Haqiqa, the correct recording of the word and verse was examined and then, a semantic analysis of it was presented by considering the double readings of the word and how it was used in other texts.<br /> <br />Introduction<br />The first and most basic step in editing ancient Persian texts is to scrutinize the different forms and readings of words and expressions used in the texts. This review requires a detailed semantic knowledge of the lexical system of language. In the meanwhile, recognizing the correct recording of words entered from Arabic language requires more precision and research. Some of these words have different readings in the original language and have consequently found various semantic uses in Persian language. Undoubtedly, the editors’ and researchers’ ignorance of these multiple readings and meanings cause problems in the recording and description of the words and even verses or phrases related to them. In this article, the correct reading and recording of one of these words (Ofāt/Afãt) in a verse of Sanã'ie Ghaznavi's Hadiqat al-Haqiqa was investigated.<br /> <br /><strong>Materials & Methods</strong><br />In this research, by using library sources and taking advantage of intratextual and intertextual evidence and reasons, a verse and a word (Ofāt/Afãt) from Hadiqah al-Haqiqa were corrected and a comprehensive semantic analysis waas presented for them. Also, while examining the use of this word in other texts, such as Mas’ud-e Sa’d's Divãn, the inconsistency of the selected semantic aspects of the authors’ dictionaries and commentators of the text with the way the word was used in the text was criticized.<br /><strong> </strong><br />Discussion of Results & Conclusions<br />In this research, based on the recording of some authentic and old manuscripts and using textual reasons and evidence, as well as lexical research, we showed that the rarely used word of "Ofāt/Afãt" was used in a verse of Hadiqat al-Haqiqa. However, in Modarres Razavi's edition, the correct form of the word was marginalized and in Yāhaghi and Zarqāni’s editions, the correct recording of old manuscripts was misread and distorted. Most of the commentators of Hadiqa had also chosen and explained the wrong form following the recording of Modarres Razavi and none of them had understood its correct form and various readings and consequently the exact meaning of the verse. Despite keeping the correct form of the word, Abdul Latif Abbãsi had presented a wrong and disproportionate meaning of it. In addition to the above points, another use of this word with a different meaning was mentioned in Mas’ud-e Sa’d's Divãn in this research.  In the latter case, the interpreters of the text and the authors of the dictionaries had a wrong understanding of the meaning of the mentioned word. The results of this research once again revealed the scientific fact that neglecting the multiple readings and meanings of words can cause errors by editors and commentators, while providing the correct recording and detailed semantic analysis of one of the entered words. <strong>Abstract</strong><br />One of the most important components in editing ancient texts is paying attention to the different forms and readings of words and phrases and studying the semantics of each of these possible forms. In the meanwhile, recognizing the correct recording of Arabic words entered in Persian language requires more care and investigation because these words often get more distorted due to the strangeness of their uses. In addition, some of these words have two or more different meanings in the original language and have this feature in the second language as well. However, the editor's neglect of these multiple meanings and readings can impair the recording and description of words and phrases. The less commonly used word "Ofāt/Afãt" is an example of the same words used in a verse of Sanā’ie's Hadiqat al-Haqiqa, but it has been incorrectly recorded in all contemporary scientific and critical editions. In this research, first, besides criticizing the corrections and explanations of Hadiqat al-Haqiqa, the correct recording of the word and verse was examined and then, a semantic analysis of it was presented by considering the double readings of the word and how it was used in other texts.<br /> <br />Introduction<br />The first and most basic step in editing ancient Persian texts is to scrutinize the different forms and readings of words and expressions used in the texts. This review requires a detailed semantic knowledge of the lexical system of language. In the meanwhile, recognizing the correct recording of words entered from Arabic language requires more precision and research. Some of these words have different readings in the original language and have consequently found various semantic uses in Persian language. Undoubtedly, the editors’ and researchers’ ignorance of these multiple readings and meanings cause problems in the recording and description of the words and even verses or phrases related to them. In this article, the correct reading and recording of one of these words (Ofāt/Afãt) in a verse of Sanã'ie Ghaznavi's Hadiqat al-Haqiqa was investigated.<br /> <br /><strong>Materials & Methods</strong><br />In this research, by using library sources and taking advantage of intratextual and intertextual evidence and reasons, a verse and a word (Ofāt/Afãt) from Hadiqah al-Haqiqa were corrected and a comprehensive semantic analysis waas presented for them. Also, while examining the use of this word in other texts, such as Mas’ud-e Sa’d's Divãn, the inconsistency of the selected semantic aspects of the authors’ dictionaries and commentators of the text with the way the word was used in the text was criticized.<br /><strong> </strong><br />Discussion of Results & Conclusions<br />In this research, based on the recording of some authentic and old manuscripts and using textual reasons and evidence, as well as lexical research, we showed that the rarely used word of "Ofāt/Afãt" was used in a verse of Hadiqat al-Haqiqa. However, in Modarres Razavi's edition, the correct form of the word was marginalized and in Yāhaghi and Zarqāni’s editions, the correct recording of old manuscripts was misread and distorted. Most of the commentators of Hadiqa had also chosen and explained the wrong form following the recording of Modarres Razavi and none of them had understood its correct form and various readings and consequently the exact meaning of the verse. Despite keeping the correct form of the word, Abdul Latif Abbãsi had presented a wrong and disproportionate meaning of it. In addition to the above points, another use of this word with a different meaning was mentioned in Mas’ud-e Sa’d's Divãn in this research.  In the latter case, the interpreters of the text and the authors of the dictionaries had a wrong understanding of the meaning of the mentioned word. The results of this research once again revealed the scientific fact that neglecting the multiple readings and meanings of words can cause errors by editors and commentators, while providing the correct recording and detailed semantic analysis of one of the entered words. https://rpll.ui.ac.ir/article_26988_de47611fe137e470ccd166b89899b6f9.pdf