University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 Introducing Saheb Isfahani’s Yusuf and Zulaikha and comparing its Narration Content with the Taghanshahi’s Yusuf and Zulaikha Narration Content Introducing Saheb Isfahani’s Yusuf and Zulaikha and comparing its Narration Content with the Taghanshahi’s Yusuf and Zulaikha Narration Content 1 20 27961 10.22108/rpll.2023.136818.2202 FA Hamidreza Kharazmi Associate Professor of Persian Language and Literature, Faculty of Literature and Humanities, Shahid Bahonar University, Kerman, Iran Amir Jahadi Hoseyni Associate Professor of Persian Language and Literature, Faculty of Literature and Humanities, Shahid Bahonar University, Kerman, Iran Journal Article 2023 02 12 The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused on this study, and different narratives of it were written in the form of poems with different meters. Toghanshahi's and Jami's Yusuf and Zulaikha are among the most outstanding currently available to knowledge enthusiasts. They are two different narrations of the same story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis composed following Bahr Khafif meters. In this study, next to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results indicate that there exists a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. Introduction Anushirvan the Just's era was a glorious one when many stories of different nations were translated into Middle Persian, and many popular stories among Iranians were gathered. After the Sassanids and with the introduction of Islam in Iran, this tradition continued with the translation and exegesis of Quranic Surahs and Ayahs. The lives of the prophets and the righteous in the Qisas al-Anbiya and general histories were the inspiration of literary scholars’ and historians’ writings. The narrators, exegetes, and poets showed great interest in the story of Prophet Yusuf in the Quranic narratives. The oldest existing work is a Yusuf and Zulaikhai attributed to Ferdowsi by biographers and some orientalists which, later, became evident that it did not belong to Ferdowsi due to stylistic and historical reasons. Though the poet of this work is unknown, it is somewhat recognized as Toghanshahi's ‘Yusuf and Zulaikhai’. Composing love stories under the title Yusuf and Zulaikha was common in the following era as well, and Jami's Yusuf and Zulaikha is one of the strongest of these collections. Mohammad Saheb Isfahani in one of his Masnawis titled Sabahat Yousefi, has written about the story of Yusuf and Zulaikha. This study is a narratological analysis and complete introduction of the Sabahat Yousefi version and an attempt to compare the narration with Taghanshahi’s narration and reveal their similarities and differences. The reason for choosing Taghanshahi’s narration is to compare the oldest existing narration of Yusuf and Zulaikha with a narration from the Safavid period and to determine the similarities and differences between the two narrations from the two Shiite poets. Methods and Materials This study is run based on the descriptive-analytical method using library research and the comparative study of two narratives of Yusuf and Zulaikha's story, one from the Seljuk period and one from the Safavid period. An attempt is made here to answer the following four research questions: 1) What is the basis and arrangement of Sabahat Yousefi’s story? 2) What does Masih al-Bayan focus on the most in his narration? 3) Has the poet been innovative in applying the narrative, ideas, and goals? 4) What is the meter in the narrations of Yusuf and Zulaikha? Findings In Saheb Isfahani's work, due to the story's theme, the most frequently used words are separation, parting, division, being divided, dividing, tulip, candle, tear, shouting, shrieking, supplication, crying, and weeping. The state of being apart and the lover's absence are not expressed similarly in Taghanshahi’s and Saheb Isfahani’s works. In this versified story, simple structures are more common in the verbs' and nouns' structures. This may be the main reason for the articulacy and eloquence of this work. Simple verbs are placed at the end of hemistichs or verses, as rhymes (either a repeated word or two rhyming words), under the influence of the regular syntax of the language. In the poet's use of Persian nouns and adjectives, mostly, words with simple structures and those that belong to the Ghanaei literature are used, and if compound structures are used in a word, they are mostly new. The poet's strength in the lexical field is the construction of conjunctive, non-conjunctive, adjectival, and additive compounds, thus, the power of the poet's creativity. Discussion and Conclusions Saheb Isfahani, with the pen name Masih al-Bayan, was a poet and physician in Aurangzeb's court and composed a Diwan and five Masnawis on different subjects, one of which, named Sabahat Yousefi, follows the Bahr Khafif meters and tells the story of Prophet Yusuf (PBUH) concisely. The poet sometimes uses expatiation in the narration of the story to describe some parts of the story more. He did not neglect the subtleties of the Indian style period and the specific themes of this style, and the words with the highest frequency in this work consist of the mirror, tulip, bud, longing, tears, separation, love, and crying your heart out. Comparing this work with that of Taghanshahi's narration reveals that the narration style of Taghanshahi's Yusuf and Zulaikhai is historical, but Saheb Isfahani's narration style is concise and scattered. Judging the story elements’ value shows that the use of story and story elements by the author of Taghanshahi' Yusuf and Zulaikhai is stronger and more attractive, but in linguistic and rhetorical comparisons, Saheb Isfahani, who is a follower of the Indian school of style outperforms his peer. In the story, the poet's narrative turns into a Shiite religious narrative, and the poet finds the events of Karbala much harsher than the events of Jacob's separation from Yusuf. Sometimes, he uses fables and allegories in the stories, which lead to faint traces of Sufi attitudes being found in the text. The poet’s Sufi attitude is perhaps more influenced by the creation of the theme from the concepts related to wisdom and Irfan in Sufism. The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused on this study, and different narratives of it were written in the form of poems with different meters. Toghanshahi's and Jami's Yusuf and Zulaikha are among the most outstanding currently available to knowledge enthusiasts. They are two different narrations of the same story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis composed following Bahr Khafif meters. In this study, next to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results indicate that there exists a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. Introduction Anushirvan the Just's era was a glorious one when many stories of different nations were translated into Middle Persian, and many popular stories among Iranians were gathered. After the Sassanids and with the introduction of Islam in Iran, this tradition continued with the translation and exegesis of Quranic Surahs and Ayahs. The lives of the prophets and the righteous in the Qisas al-Anbiya and general histories were the inspiration of literary scholars’ and historians’ writings. The narrators, exegetes, and poets showed great interest in the story of Prophet Yusuf in the Quranic narratives. The oldest existing work is a Yusuf and Zulaikhai attributed to Ferdowsi by biographers and some orientalists which, later, became evident that it did not belong to Ferdowsi due to stylistic and historical reasons. Though the poet of this work is unknown, it is somewhat recognized as Toghanshahi's ‘Yusuf and Zulaikhai’. Composing love stories under the title Yusuf and Zulaikha was common in the following era as well, and Jami's Yusuf and Zulaikha is one of the strongest of these collections. Mohammad Saheb Isfahani in one of his Masnawis titled Sabahat Yousefi, has written about the story of Yusuf and Zulaikha. This study is a narratological analysis and complete introduction of the Sabahat Yousefi version and an attempt to compare the narration with Taghanshahi’s narration and reveal their similarities and differences. The reason for choosing Taghanshahi’s narration is to compare the oldest existing narration of Yusuf and Zulaikha with a narration from the Safavid period and to determine the similarities and differences between the two narrations from the two Shiite poets. Methods and Materials This study is run based on the descriptive-analytical method using library research and the comparative study of two narratives of Yusuf and Zulaikha's story, one from the Seljuk period and one from the Safavid period. An attempt is made here to answer the following four research questions: 1) What is the basis and arrangement of Sabahat Yousefi’s story? 2) What does Masih al-Bayan focus on the most in his narration? 3) Has the poet been innovative in applying the narrative, ideas, and goals? 4) What is the meter in the narrations of Yusuf and Zulaikha? Findings In Saheb Isfahani's work, due to the story's theme, the most frequently used words are separation, parting, division, being divided, dividing, tulip, candle, tear, shouting, shrieking, supplication, crying, and weeping. The state of being apart and the lover's absence are not expressed similarly in Taghanshahi’s and Saheb Isfahani’s works. In this versified story, simple structures are more common in the verbs' and nouns' structures. This may be the main reason for the articulacy and eloquence of this work. Simple verbs are placed at the end of hemistichs or verses, as rhymes (either a repeated word or two rhyming words), under the influence of the regular syntax of the language. In the poet's use of Persian nouns and adjectives, mostly, words with simple structures and those that belong to the Ghanaei literature are used, and if compound structures are used in a word, they are mostly new. The poet's strength in the lexical field is the construction of conjunctive, non-conjunctive, adjectival, and additive compounds, thus, the power of the poet's creativity. Discussion and Conclusions Saheb Isfahani, with the pen name Masih al-Bayan, was a poet and physician in Aurangzeb's court and composed a Diwan and five Masnawis on different subjects, one of which, named Sabahat Yousefi, follows the Bahr Khafif meters and tells the story of Prophet Yusuf (PBUH) concisely. The poet sometimes uses expatiation in the narration of the story to describe some parts of the story more. He did not neglect the subtleties of the Indian style period and the specific themes of this style, and the words with the highest frequency in this work consist of the mirror, tulip, bud, longing, tears, separation, love, and crying your heart out. Comparing this work with that of Taghanshahi's narration reveals that the narration style of Taghanshahi's Yusuf and Zulaikhai is historical, but Saheb Isfahani's narration style is concise and scattered. Judging the story elements’ value shows that the use of story and story elements by the author of Taghanshahi' Yusuf and Zulaikhai is stronger and more attractive, but in linguistic and rhetorical comparisons, Saheb Isfahani, who is a follower of the Indian school of style outperforms his peer. In the story, the poet's narrative turns into a Shiite religious narrative, and the poet finds the events of Karbala much harsher than the events of Jacob's separation from Yusuf. Sometimes, he uses fables and allegories in the stories, which lead to faint traces of Sufi attitudes being found in the text. The poet’s Sufi attitude is perhaps more influenced by the creation of the theme from the concepts related to wisdom and Irfan in Sufism.

https://rpll.ui.ac.ir/article_27961_2df9ef4810a9c6f6a505cab7b51e0415.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 The Necessity of Ideological Reanalysis of Persian Poetry with a Theological Stylistics Approach (Case Study: The Component of the Possibility of Sighting God in Nizami Ganjavi's Poetry) The Necessity of Ideological Reanalysis of Persian Poetry with a Theological Stylistics Approach (Case Study: The Component of the Possibility of Sighting God in Nizami Ganjavi's Poetry) 21 46 28198 10.22108/rpll.2023.138462.2264 FA Abbas Shahali Ramshe PhD student of Persian language and literature, Faculty of Literature and Foreign Languages, Kashan University. Kashan Iran Reza Shajari Associate Professor and Faculty Member, Department of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University, Kashan, Iran Reza Ruhani Associate Professor and faculty member of the Department of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University. Kashan Iran Hosein Ghorbanpoor Arani Associate Professor and faculty member of the Department of Persian Language and Literature, Faculty of Literature and Foreign Languages, Kashan University. Kashan Iran Journal Article 2023 07 20 Throughout its periods of prosperity and adversity, Iranian Islamic culture has experienced significant ideological shifts under the influence of two prominent figures in Sufism and Islamic philosophy. The regions of Great Khorasan and ancient Transoxiana, which served as the cradle and hub for various major sects, such as Jabriyya, Mu'tazila, Ash'ara, Maturidiyya, Hashviyya, Moshbaha, Karramiyya, Murji'ah, and the Shia sects, became a battleground for religious conflicts and a diversity of theological perspectives, particularly up to the 4th and 5th centuries. These religious conflicts, which ignited a wide array of inter-sectarian and intra-sectarian disputes, gradually found expression in the thoughts and language of Iranian poets, giving rise to a rich tapestry of ideological beliefs in their poetry. Regrettably, the theological analyses of Persian literature to date have often been marred by generalizations and biases. In this article, the authors proposed the concept of "ideological stylistics with a theological approach" to circumvent generalizations and demonstrate the departure from sectarian belief norms in Persian poetry. From this vantage point, the concept of "sighting God" within Islamic sects has been dissected into more nuanced intellectual themes. By comparing the beliefs of various theological sects regarding this concept, the authors have unveiled the ideological interplay of symbolic and meaningful words in Hakim Nizami's poetry, revealing two grammatical and rhetorical layers. The theological stances of Hakim Nizami in the realm of "Sighting God in the Ascension" have been found to align with the beliefs of Abu Hasan al-Ash'ari. Introduction: The regions of Great Khorasan and ancient Transoxiana, which served as pivotal political and cultural centers in ancient Iran, were early Islamic strongholds for sects, such as Ash’ara, Mu’tazila, Shia, Kharijites, Karramiyya, and Murji’ah, along with their derivative sects, all of which have historically grappled with religious and theological conflicts. These ideological disparities have left an indelible mark on the thoughts and poetic expression of the poets hailing from these lands. A survey of scholarly works in layered stylistics revealed a noticeable oversight of ideological speech layers, particularly pertaining to theological beliefs, in recent years. Regrettably, these studies have often fallen prey to generalizations, assumptions, and prejudices. In this article, the authors aimed to introduce a more comprehensive approach termed "ideological stylistics with a theological approach" to elucidate the connection between the marked words in the text and other phonetic, lexical, syntactic, and rhetorical layers. This approach involved breaking down theological beliefs and viewpoints into smaller thematic elements to highlight the distinctions and deviations from belief standards and subsequently explaining and analyzing these variations in the language of poetry. Through this approach, the researchers of religious norms aim to demonstrate the deviations in the ideological beliefs of sects by presenting a detailed table, while the stylists analyze and expound upon the relationship of different layers of speech based on this information. In this article, as stylistic researchers, the authors deconstructed the belief component related to sighting God among the sects into smaller intellectual components, such as "the nature of the visitors," "the permission or obligation to sight God," "the means of sighting God," "the location of sighting God," "the timing of sighting God," and "the motivation for sighting God." Subsequently, as stylists, they illustrated the correlation between the deviation from the religious norms of sects and verses from Nizami's works, including Makhzan al-Asrār, Layli and Majnun, and Haft Peykār, in the context of sighting. Methodology: This study employed a descriptive-comparative and analytical approach, utilizing data gathered through document-based and library research. The proposed approach and model were elucidated using tables. The primary research sources consisted of theological books from various sects available in both Arabic and Persian. Research Findings: This research yielded several significant findings. Firstly, within the realm of Persian poetry stylistics, the layer of ideological speech concerning "theological beliefs" was notably disregarded, primarily due to the absence of precise standards for delineating deviations from religious norms. This underscored the critical need for interdisciplinary studies that could bridge the gap between literary knowledge, particularly in the field of stylistics, and Islamic philosophy. Secondly, the studies conducted in this domain had predominantly relied on presuppositions, prejudices, and generalizations, resulting in a unidimensional perspective. Consequently, researchers had struggled to establish the exact relationship between the various layers of speech, hindering their ability to effectively analyze and interpret poems or discern the poet's thoughts. Therefore, there was a pressing need for a comprehensive and inclusive method for the stylistic analysis of literary texts. Lastly, it was observed that early works in Islamic philosophy were not immune to bias, monotony, and accusation. Consequently, the ideological data presented in these books required scientific organization and modification. Therefore, in light of this observation, interdisciplinary researchers had to undertake the analysis of the stylistics of literary texts. Discussion of Results and Conclusion: In exploring the impact of Persian poetry on the theological beliefs of Islamic sects, several critical issues have emerged, including "shared beliefs among different sects," "intra-sect differences and individuality of theologians' viewpoints," "accusations and attributions of contradictory and opposing opinions to the leaders of the sects in theological literature," "presence of belief components of certain major sects in a poet's poetry," and "the need for a more precise comprehension of literary texts." These cases necessitate the adoption of a comprehensive and inclusive approach for the analysis of literary works. Through literary research, the authors advocated for a comprehensive method that incorporated ideological stylistics with a theological approach. To illustrate this approach in practice, they delved into the ideological examination of the theological aspect of sighting God in the ascension using a theological stylistic approach in the poetry of Hakim Nizami Ganjavi. By identifying symbolic words and elucidating the ideological underpinnings of these significant terms, they demonstrated the deviation of Nizami's beliefs from those of various sects and theologians. Ultimately, through an analysis of the interplay between ideology and grammar and rhetoric, the authors found that Hakim Nizami's thoughts on the subject of sighting God in the ascension aligned with the Ash'ara school of thought, particularly resonating with the viewpoints of Abul Hasan Ash'ari. Throughout its periods of prosperity and adversity, Iranian Islamic culture has experienced significant ideological shifts under the influence of two prominent figures in Sufism and Islamic philosophy. The regions of Great Khorasan and ancient Transoxiana, which served as the cradle and hub for various major sects, such as Jabriyya, Mu'tazila, Ash'ara, Maturidiyya, Hashviyya, Moshbaha, Karramiyya, Murji'ah, and the Shia sects, became a battleground for religious conflicts and a diversity of theological perspectives, particularly up to the 4th and 5th centuries. These religious conflicts, which ignited a wide array of inter-sectarian and intra-sectarian disputes, gradually found expression in the thoughts and language of Iranian poets, giving rise to a rich tapestry of ideological beliefs in their poetry. Regrettably, the theological analyses of Persian literature to date have often been marred by generalizations and biases. In this article, the authors proposed the concept of "ideological stylistics with a theological approach" to circumvent generalizations and demonstrate the departure from sectarian belief norms in Persian poetry. From this vantage point, the concept of "sighting God" within Islamic sects has been dissected into more nuanced intellectual themes. By comparing the beliefs of various theological sects regarding this concept, the authors have unveiled the ideological interplay of symbolic and meaningful words in Hakim Nizami's poetry, revealing two grammatical and rhetorical layers. The theological stances of Hakim Nizami in the realm of "Sighting God in the Ascension" have been found to align with the beliefs of Abu Hasan al-Ash'ari. Introduction: The regions of Great Khorasan and ancient Transoxiana, which served as pivotal political and cultural centers in ancient Iran, were early Islamic strongholds for sects, such as Ash’ara, Mu’tazila, Shia, Kharijites, Karramiyya, and Murji’ah, along with their derivative sects, all of which have historically grappled with religious and theological conflicts. These ideological disparities have left an indelible mark on the thoughts and poetic expression of the poets hailing from these lands. A survey of scholarly works in layered stylistics revealed a noticeable oversight of ideological speech layers, particularly pertaining to theological beliefs, in recent years. Regrettably, these studies have often fallen prey to generalizations, assumptions, and prejudices. In this article, the authors aimed to introduce a more comprehensive approach termed "ideological stylistics with a theological approach" to elucidate the connection between the marked words in the text and other phonetic, lexical, syntactic, and rhetorical layers. This approach involved breaking down theological beliefs and viewpoints into smaller thematic elements to highlight the distinctions and deviations from belief standards and subsequently explaining and analyzing these variations in the language of poetry. Through this approach, the researchers of religious norms aim to demonstrate the deviations in the ideological beliefs of sects by presenting a detailed table, while the stylists analyze and expound upon the relationship of different layers of speech based on this information. In this article, as stylistic researchers, the authors deconstructed the belief component related to sighting God among the sects into smaller intellectual components, such as "the nature of the visitors," "the permission or obligation to sight God," "the means of sighting God," "the location of sighting God," "the timing of sighting God," and "the motivation for sighting God." Subsequently, as stylists, they illustrated the correlation between the deviation from the religious norms of sects and verses from Nizami's works, including Makhzan al-Asrār, Layli and Majnun, and Haft Peykār, in the context of sighting. Methodology: This study employed a descriptive-comparative and analytical approach, utilizing data gathered through document-based and library research. The proposed approach and model were elucidated using tables. The primary research sources consisted of theological books from various sects available in both Arabic and Persian. Research Findings: This research yielded several significant findings. Firstly, within the realm of Persian poetry stylistics, the layer of ideological speech concerning "theological beliefs" was notably disregarded, primarily due to the absence of precise standards for delineating deviations from religious norms. This underscored the critical need for interdisciplinary studies that could bridge the gap between literary knowledge, particularly in the field of stylistics, and Islamic philosophy. Secondly, the studies conducted in this domain had predominantly relied on presuppositions, prejudices, and generalizations, resulting in a unidimensional perspective. Consequently, researchers had struggled to establish the exact relationship between the various layers of speech, hindering their ability to effectively analyze and interpret poems or discern the poet's thoughts. Therefore, there was a pressing need for a comprehensive and inclusive method for the stylistic analysis of literary texts. Lastly, it was observed that early works in Islamic philosophy were not immune to bias, monotony, and accusation. Consequently, the ideological data presented in these books required scientific organization and modification. Therefore, in light of this observation, interdisciplinary researchers had to undertake the analysis of the stylistics of literary texts. Discussion of Results and Conclusion: In exploring the impact of Persian poetry on the theological beliefs of Islamic sects, several critical issues have emerged, including "shared beliefs among different sects," "intra-sect differences and individuality of theologians' viewpoints," "accusations and attributions of contradictory and opposing opinions to the leaders of the sects in theological literature," "presence of belief components of certain major sects in a poet's poetry," and "the need for a more precise comprehension of literary texts." These cases necessitate the adoption of a comprehensive and inclusive approach for the analysis of literary works. Through literary research, the authors advocated for a comprehensive method that incorporated ideological stylistics with a theological approach. To illustrate this approach in practice, they delved into the ideological examination of the theological aspect of sighting God in the ascension using a theological stylistic approach in the poetry of Hakim Nizami Ganjavi. By identifying symbolic words and elucidating the ideological underpinnings of these significant terms, they demonstrated the deviation of Nizami's beliefs from those of various sects and theologians. Ultimately, through an analysis of the interplay between ideology and grammar and rhetoric, the authors found that Hakim Nizami's thoughts on the subject of sighting God in the ascension aligned with the Ash'ara school of thought, particularly resonating with the viewpoints of Abul Hasan Ash'ari.

https://rpll.ui.ac.ir/article_28198_57060a770ecebd9509eae96ebcca3d4f.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 Analysis of the Risk-taking System of Bustan's Story ‘Safar-e Hindustan va Zalalat-e Botparastan’ based on the Wave Discourse Theory Analysis of the Risk-taking System of Bustan's Story ‘Safar-e Hindustan va Zalalat-e Botparastan’ based on the Wave Discourse Theory 47 66 28154 10.22108/rpll.2022.133576.2059 FA Omid Vahdanifar Associate Professor of Persian Language and Literature Department. Faculty of Humanities, University of Bojnord , Bojnord, Iran Ebrahim Kanani Associate Professor, Department of Persian Language and Literature, Faculty of Humanities, Kowsar Universityof Bojnord, Bojnord, Iran Journal Article 2022 05 11 The Wave Discourse is formed based on an event system and provides the basis for discourse proliferation. We encounter fluid, open, and leaping situations that expand the scope of the actor's presence, thus, creating a presence for the actor that is no longer under his control. Discourse systems are of two: conservatism and risk-taking categories. Conservatism is based on adaptation, and risk-taking is based on an accident. The Wave Discourse is the result of the risk-taking system, which leads to the formation of accidental and unexpected meanings by creating a rupture process. The story of Bustan Saadi's ‘Safar-e Hindustan va Zalalat-e Botparastan’ is assessed subject to the perspective of the Wave Discourse Theory. In this study, the type of interaction between the two systems of conservatism and risk-taking and the conditions of these two systems are analyzed. Assessing the subject story reveals that the narrator continuously puts the discourse space in a challenging situation in the sense that the systems of conservatism and risk-taking advance the narrative in parallel and a competitive atmosphere. The actor also participates in this competitive space according to the symbolic position in which he is placed, and finally, with a murderous act, he creates an event space that causes the formation of risk-taking and the realization of the Wave Discourse. Introduction The objective of this study is to explain how the discourse system of conservatism and risk-taking interact or confront each other in the story of ‘Safar-e Hindustan va Zalalat-e Botparastan’ and create a challenging situation in the discourse. In the conservative system, we are faced with a kind of stability and a logical order among phenomena, where the Signifiers refer to specific symbols. Actions are the result of logical order among actors, while, in the risk-taking system, the logical order among the phenomena gets confused and the signifiers refer to different symbols. Because actions are dynamic, the semantic boundaries are widened and the meaning is reprocessed. This process provides the basis for the formulation of the Wave Discourse Theory. The main questions here are: What are the characteristics of the discourse the conservatism system and the danger in the story of Bustan in the context of transition and form of discourse rotation? How do these two discourse systems face each other in the process based on discourse rotation and affect the process of denotation? The Wave Discourse is realized subject to what conditions? Methods and Materials The manner of conservatism and risk-taking discourse systems confrontation in the text of the story ‘Safar-e Hindustan va Zalalat-e Botparastan’ in Bustan Saadi is analyzed to introduce the Wave Discourse Theory. The wise view of Saadi, the challenging relations within the text, the interaction and confrontation between the actors of the story, the continuous challenge between the two sides of the interaction, the presence and role of the narrator, the criticism of dogmatic thinking and truth-seeing, and the confrontation between the view of imitative worship and conscious worship are assessed. That Saadi's view has a great contribution in completing new patterns and deepening them is sought in this article. Discussion and Conclusions The findings of the study revealed that in the subject story, different discourses of conservatism and risk-taking are changing into one another in the context of discourse rotation. This issue creates a situation for the systems, which advances the narrative in parallel and a competitive environment. In interacting with the actors of the narrative, the narrator takes actions that endanger the discourse conditions, and this constantly puts the discourse in a challenging situation and sets a kind of insecurity as a sign for the discourse. But at the same time as the danger is formed by resorting to discourse appeasement, the pressure of tension is reduced and the atmosphere of conservatism evolves. As to power balance, this issue puts the discourse in an equal condition. The sequence of actions and events arising from it in the text reveals that the confrontation between the two systems of conservatism and risk-taking within each action and in the transition from one action to the next is considered the central proposition of the text. This confrontation emphasizes the tension between the narrator and the audience, thus, expanding the bipolar space of the text. Dualities of the story include interaction and confrontation, negotiation and confrontation, convergence and divergence, negotiation, and assertion, symbolic security and symbolic insecurity, appeasement and practice, induction and persuasion, order and chaos, and imitation and consciousness as the mediating propositions. The Wave Discourse is formed based on an event system and provides the basis for discourse proliferation. We encounter fluid, open, and leaping situations that expand the scope of the actor's presence, thus, creating a presence for the actor that is no longer under his control. Discourse systems are of two: conservatism and risk-taking categories. Conservatism is based on adaptation, and risk-taking is based on an accident. The Wave Discourse is the result of the risk-taking system, which leads to the formation of accidental and unexpected meanings by creating a rupture process. The story of Bustan Saadi's ‘Safar-e Hindustan va Zalalat-e Botparastan’ is assessed subject to the perspective of the Wave Discourse Theory. In this study, the type of interaction between the two systems of conservatism and risk-taking and the conditions of these two systems are analyzed. Assessing the subject story reveals that the narrator continuously puts the discourse space in a challenging situation in the sense that the systems of conservatism and risk-taking advance the narrative in parallel and a competitive atmosphere. The actor also participates in this competitive space according to the symbolic position in which he is placed, and finally, with a murderous act, he creates an event space that causes the formation of risk-taking and the realization of the Wave Discourse. Introduction The objective of this study is to explain how the discourse system of conservatism and risk-taking interact or confront each other in the story of ‘Safar-e Hindustan va Zalalat-e Botparastan’ and create a challenging situation in the discourse. In the conservative system, we are faced with a kind of stability and a logical order among phenomena, where the Signifiers refer to specific symbols. Actions are the result of logical order among actors, while, in the risk-taking system, the logical order among the phenomena gets confused and the signifiers refer to different symbols. Because actions are dynamic, the semantic boundaries are widened and the meaning is reprocessed. This process provides the basis for the formulation of the Wave Discourse Theory. The main questions here are: What are the characteristics of the discourse the conservatism system and the danger in the story of Bustan in the context of transition and form of discourse rotation? How do these two discourse systems face each other in the process based on discourse rotation and affect the process of denotation? The Wave Discourse is realized subject to what conditions? Methods and Materials The manner of conservatism and risk-taking discourse systems confrontation in the text of the story ‘Safar-e Hindustan va Zalalat-e Botparastan’ in Bustan Saadi is analyzed to introduce the Wave Discourse Theory. The wise view of Saadi, the challenging relations within the text, the interaction and confrontation between the actors of the story, the continuous challenge between the two sides of the interaction, the presence and role of the narrator, the criticism of dogmatic thinking and truth-seeing, and the confrontation between the view of imitative worship and conscious worship are assessed. That Saadi's view has a great contribution in completing new patterns and deepening them is sought in this article. Discussion and Conclusions The findings of the study revealed that in the subject story, different discourses of conservatism and risk-taking are changing into one another in the context of discourse rotation. This issue creates a situation for the systems, which advances the narrative in parallel and a competitive environment. In interacting with the actors of the narrative, the narrator takes actions that endanger the discourse conditions, and this constantly puts the discourse in a challenging situation and sets a kind of insecurity as a sign for the discourse. But at the same time as the danger is formed by resorting to discourse appeasement, the pressure of tension is reduced and the atmosphere of conservatism evolves. As to power balance, this issue puts the discourse in an equal condition. The sequence of actions and events arising from it in the text reveals that the confrontation between the two systems of conservatism and risk-taking within each action and in the transition from one action to the next is considered the central proposition of the text. This confrontation emphasizes the tension between the narrator and the audience, thus, expanding the bipolar space of the text. Dualities of the story include interaction and confrontation, negotiation and confrontation, convergence and divergence, negotiation, and assertion, symbolic security and symbolic insecurity, appeasement and practice, induction and persuasion, order and chaos, and imitation and consciousness as the mediating propositions.

https://rpll.ui.ac.ir/article_28154_dbcab1f5cc86ca6ddabd134cbe74fb74.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 Introducing and Analyzing the Text of Ma’dan ol-Javaher and a Review of its Manuscripts Introducing and Analyzing the Text of Ma’dan ol-Javaher and a Review of its Manuscripts 67 86 27615 10.22108/rpll.2023.137072.2213 FA Hashem Daragheh Ph.D Candidate of Persian Language and Literature Department,. Yasuj Branch, Islamic Azad University, Yasuj, Iran. Mohammadreza Masoumi Assistant Professor of Persian Language and Literature Department, Yasooj Branch, Islamic Azad University, Yasooj, Iran. Mohammadhadi Khaleghzadeh Persian Language and Literature Department,. Yasuj Branch, Islamic Azad University, Yasuj, Iran. Journal Article 2023 03 09 The book Ma’dan ol-Javaher (Mine of Gemes) is the only available work written by Doulat Khan-e Tarzi Dehlavi, a poet and writer in the Indian subcontinent, in the years 1024-1025 AH dedicated to Jahangir Shah Gourkani. This book is being preserved in the form of manuscripts in libraries around the world. Three manuscripts of it are available in Iran. The objective of this descriptive study is to introduce and analyze the text of Ma’dan ol-Javaher. The findings indicate that the book is composed of seventeen chapters in the same format as Saadi’s Golestan, which is a mixture of prose and poetry. The book consists of thirty-six stories, and Tarzi Dehlavi considers himself the compiler of these tales, not their creator. Most of the poetic evidence of the book belongs to the author himself, but the verses of other Persian poets are cited, mostly by Saadi, then Hafez, Nezami, Jami, and others. This shows that Tarzi, in addition to imitating Golestan in his prose, had an eye on Saadi's Bustan. The rare Indian words like ‘sokhpal’, ‘mooti’, ‘joogi’, etc., agreements of adjectives and adverbs, word formation and the use of verbs in special meanings, and redundancy, are among the stylistic features of Ma’dan ol-Javaher. Introduction Due to the richness of the Persian language and literature, many books in different disciplines have been authored in this language. What remains of such books dating back to the pre-printing era are in the form of manuscripts kept in public or private libraries all over the world. Such manuscripts constitute excellent samples of the past generations’ legacy and each, in its own right, would reflect the cultural, social, historical, political, and even economic circumstances of their respective eras. In addition to the preservation of such invaluable treasures, it is necessary to introduce, correct/edit, and revive such works. One of these valuable books yet to be edited is the Ma’dan ol-Javaher, written by Doulat Khan-e Gowalyari (or Doulat Khan-e Dehlavi), the Persian-speaking astronomer, musician, scholar of strange sciences, writer, and poet of the 11th century AH in the Indian subcontinent, with the pen name ‘Tarzi’. The objective here is to assess this book and analyze its text like one of the Golestan-like books. Methods and Materials The method adopted here is a descriptive method based on library resources. Three separate manuscripts of the book: manuscript No. 200, Ma’soumiyeh Library of Qum, manuscript No. 2118, University of Tehran Library, and manuscript No. 42758, Astan-e Quds-e Razavi Library. In this study, the manuscript in Ma’soumiyeh Library of Qum is the subject. The poet in question is introduced based on the biographic works available. The divans and works of the respective poets are involved in the contrastive comparison of the verses cited in the book. Findings The book Ma’dan ol-Javaher which contains prose and poetry is the only work at hand by Doulat Khan-e Gowalyari-ye Dehlavi, with the pen name ‘Mullah Tarzi’. Written in 1025 AH, it is an imitation of Golestan of Saadi to be dedicated to Jahangir Shah Gourkani. Among the manuscripts of the book, three volumes are currently available in Iranian libraries. All manuscripts consist of seventeen chapters in addition to a preface and an epilogue. Under each chapter specific to certain moral issues, one or more tales are cited appropriate to the chapter topic. Discussion and Conclusions The book Ma’dan ol-Javaher by Mullah Tarzi-e Dehlavi has not been printed yet. Tarzi is not the creator of the tales but has only compiled them from different oral and written resources. He closes each tale with a couple of couplets in praise of Jahangir Shah. Imitating Saadi, Tarzi has cited many verses as evidence from his works or other poets among the tails. In the manuscript, Ma’soumiyeh Library of Qum, verses that are his own have been marked by the expression ‘lejame’ah’. The majority of verses cited from others have been extracted from Saadi’s Golestan and Bustan. In some cases, when the context of a tale necessitates, Tarzi manipulates the cited verses. The text of the book includes certain rare Indian words and special terms and lexical combinations that, all in all, indicate his knowledge of and mastery over different disciplines and his expertise as a skilled writer. In some legends and folkloric tales cited in this book, there exist certain themes like transmogrification, magic, and the like which are rooted in the folklore of the Indian subcontinent literary arena. The book Ma’dan ol-Javaher (Mine of Gemes) is the only available work written by Doulat Khan-e Tarzi Dehlavi, a poet and writer in the Indian subcontinent, in the years 1024-1025 AH dedicated to Jahangir Shah Gourkani. This book is being preserved in the form of manuscripts in libraries around the world. Three manuscripts of it are available in Iran. The objective of this descriptive study is to introduce and analyze the text of Ma’dan ol-Javaher. The findings indicate that the book is composed of seventeen chapters in the same format as Saadi’s Golestan, which is a mixture of prose and poetry. The book consists of thirty-six stories, and Tarzi Dehlavi considers himself the compiler of these tales, not their creator. Most of the poetic evidence of the book belongs to the author himself, but the verses of other Persian poets are cited, mostly by Saadi, then Hafez, Nezami, Jami, and others. This shows that Tarzi, in addition to imitating Golestan in his prose, had an eye on Saadi's Bustan. The rare Indian words like ‘sokhpal’, ‘mooti’, ‘joogi’, etc., agreements of adjectives and adverbs, word formation and the use of verbs in special meanings, and redundancy, are among the stylistic features of Ma’dan ol-Javaher. Introduction Due to the richness of the Persian language and literature, many books in different disciplines have been authored in this language. What remains of such books dating back to the pre-printing era are in the form of manuscripts kept in public or private libraries all over the world. Such manuscripts constitute excellent samples of the past generations’ legacy and each, in its own right, would reflect the cultural, social, historical, political, and even economic circumstances of their respective eras. In addition to the preservation of such invaluable treasures, it is necessary to introduce, correct/edit, and revive such works. One of these valuable books yet to be edited is the Ma’dan ol-Javaher, written by Doulat Khan-e Gowalyari (or Doulat Khan-e Dehlavi), the Persian-speaking astronomer, musician, scholar of strange sciences, writer, and poet of the 11th century AH in the Indian subcontinent, with the pen name ‘Tarzi’. The objective here is to assess this book and analyze its text like one of the Golestan-like books. Methods and Materials The method adopted here is a descriptive method based on library resources. Three separate manuscripts of the book: manuscript No. 200, Ma’soumiyeh Library of Qum, manuscript No. 2118, University of Tehran Library, and manuscript No. 42758, Astan-e Quds-e Razavi Library. In this study, the manuscript in Ma’soumiyeh Library of Qum is the subject. The poet in question is introduced based on the biographic works available. The divans and works of the respective poets are involved in the contrastive comparison of the verses cited in the book. Findings The book Ma’dan ol-Javaher which contains prose and poetry is the only work at hand by Doulat Khan-e Gowalyari-ye Dehlavi, with the pen name ‘Mullah Tarzi’. Written in 1025 AH, it is an imitation of Golestan of Saadi to be dedicated to Jahangir Shah Gourkani. Among the manuscripts of the book, three volumes are currently available in Iranian libraries. All manuscripts consist of seventeen chapters in addition to a preface and an epilogue. Under each chapter specific to certain moral issues, one or more tales are cited appropriate to the chapter topic. Discussion and Conclusions The book Ma’dan ol-Javaher by Mullah Tarzi-e Dehlavi has not been printed yet. Tarzi is not the creator of the tales but has only compiled them from different oral and written resources. He closes each tale with a couple of couplets in praise of Jahangir Shah. Imitating Saadi, Tarzi has cited many verses as evidence from his works or other poets among the tails. In the manuscript, Ma’soumiyeh Library of Qum, verses that are his own have been marked by the expression ‘lejame’ah’. The majority of verses cited from others have been extracted from Saadi’s Golestan and Bustan. In some cases, when the context of a tale necessitates, Tarzi manipulates the cited verses. The text of the book includes certain rare Indian words and special terms and lexical combinations that, all in all, indicate his knowledge of and mastery over different disciplines and his expertise as a skilled writer. In some legends and folkloric tales cited in this book, there exist certain themes like transmogrification, magic, and the like which are rooted in the folklore of the Indian subcontinent literary arena.

https://rpll.ui.ac.ir/article_27615_08f3970109630356eb9177adb275486b.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 Introduction of Saqib's Masnavi Manuscript an Unknown Epopee Attributed to Saqib Isfahani Introduction of Saqib's Masnavi Manuscript an Unknown Epopee Attributed to Saqib Isfahani 87 110 27959 10.22108/rpll.2023.137556.2231 FA Jalil Shakeri Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Vali-e-Asr University of Rafsanjan, Iran 0000-0003-3389-5843 Saeed Hatami Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Vali-e-Asr University of Rafsanjan,Rafsanjan, Iran Reza Bayat Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities,University 0f shahid rajaee.Tehran. Iran. Alireza Kamalinia M.A. in Persian Language and Literature, Faculty of Literature and Humanities, Vali-e- Asr University of Rafsanjan, Rafsanjan, Iran Journal Article 2023 05 07 In the treasure of Persian manuscripts, there exist many epic and religious verses on the subject of the biography, beneficences, and battles of the Prophet Mohammad (PBUH) and Imam Ali (AS). Saqib's Masnavi (Hamleyeh Heydari) attributed to Mohammad Hossein Saqib Isfahani, is an epic and religious epopee, a unique copy of which is kept in the National Library of Iran labeled 15752. The manuscript of this unknown epopee was composed in 1255 AH; but, due to the loss of the first pages and its preface, the name of the composer, the title of the poem, the date, and the reason for its composition is not known. While introducing this manuscript, it is sought to answer the two research questions: What is the significance of Saqib's Masnavi in literature, rhetoric, and terminology? and How can its attribution to the composer be proven? The edition and assessment of this manuscript reveal that Saqib's Masnavi is one of the most significant and precious religious poems, which, next to its religious worth, deserves attention in terms of literature, language, and the inclusion of rare ancient words of Persian texts. Introduction Correcting and introducing manuscripts, while preserving the cultural and literary heritage of the predecessors, strengthens the national, religious, historical, and social identity. Among the treasures of manuscripts, Shiite epic poems have been the focus of research by editors and researchers due to their rich cultural, literary, and religious content. Saqib's Masnavi, attributed to Mohammad Hossein Saqib Isfahani, is one of the unknown Shia epic poems that no scholar or proofreader has corrected or introduced. This epic religious epopee is written in about 4,500 verses and is composed under the influence of Ferdowsi's Shahnameh style. The narrative structure of the poem is written based on chronological order and important events of the Prophet's (PBUH) battles, from Badr, Uhud, and Ahzab to the conquest of Kheybar. For every battle, there is a narrative on the beginning of the combat, followed by the causes and the factors, the influential decisions of the Prophet (PBUH), the description of the bravery of Imam Ali (AS), the reasons for defeat or victory, and the influential people in each battle, next to the details of the events are mentioned. In the body of the poem, proportional to the description of the victories of Imam Ali (AS) in each battle, the poet writes beautiful poems about the Nabi (PBUH) and Imam Ali (AS), giving additional charm to the narration of the poem. Methods and Materials This study is based on the library and document research method, where the manuscript version of Saqib's Masnavi is introduced. The written version of this epopee is carefully studied and its linguistic and stylistic characteristics are extracted. The attribution of the poem to the composer is proven by referring to the clues and pieces of evidence of the text of the poem and the conformity of its style and content with the manuscript copy of the poet's poems and referring to contemporary biographies. Findings The findings indicate that Saqib Isfahani's epopee is valuable aspects among other religious epopees in many aspects: 1) in terms of content, this epopee is brief and far from imaginative and boring descriptions, 2) the transmission of narratives is based on the historical facts of the epopee and its validity, which originates from the history writing and history reading of its poet, and 3) has stylistic and linguistic characteristics. Although the poet is influenced by the language and style of Ferdowsi in Shahnameh, the selection of rare words and the high frequency of ancient words of Persian literature, the lexical benefits of the work, the use of the common and everyday language of the Qajar era are of its distinct stylistic features compared to the preceding religious epopees. The poem's value is the significance of its origin, that is, Isfahan one of the origins of Shiite epic poems in the Safavid era up to date. Discussion and Conclusion The correction and introduction of Saqib's Masnavi manuscript reveal that Saqib Isfahani in composing the poem adopted many literary and rhetorical techniques, like simile, metaphor, irony, pun, ambiguity, allusion, alliteration, personification, exaggeration, etc. in proportion to the words and content of his poem. In general, the language structure of his poetry is not complicated and ambiguous, while the innovative and rhetorical techniques flow naturally far from any kind of artificiality in his mind and language. The analysis of the style and content of the poem reveals that it can be attributed to Saqib Isfahani for many reasons: 1) matching the date of composing the manuscript with the year of the poet's death, 2) comparing the content of the poem with the content of the poet's poems, 3) referring to contemporary biographies in the description of the poet's life and works, 4) mentioning the poet's surname or name in two parts of the manuscript, 5) the volume and count of the poet's beneficences poems in comparison with the volume of admiration poems by Saqib Kermani, and 6) referring to Haft-Band poems of panegyric and Twelve-Band of twelve Imams. In the treasure of Persian manuscripts, there exist many epic and religious verses on the subject of the biography, beneficences, and battles of the Prophet Mohammad (PBUH) and Imam Ali (AS). Saqib's Masnavi (Hamleyeh Heydari) attributed to Mohammad Hossein Saqib Isfahani, is an epic and religious epopee, a unique copy of which is kept in the National Library of Iran labeled 15752. The manuscript of this unknown epopee was composed in 1255 AH; but, due to the loss of the first pages and its preface, the name of the composer, the title of the poem, the date, and the reason for its composition is not known. While introducing this manuscript, it is sought to answer the two research questions: What is the significance of Saqib's Masnavi in literature, rhetoric, and terminology? and How can its attribution to the composer be proven? The edition and assessment of this manuscript reveal that Saqib's Masnavi is one of the most significant and precious religious poems, which, next to its religious worth, deserves attention in terms of literature, language, and the inclusion of rare ancient words of Persian texts. Introduction Correcting and introducing manuscripts, while preserving the cultural and literary heritage of the predecessors, strengthens the national, religious, historical, and social identity. Among the treasures of manuscripts, Shiite epic poems have been the focus of research by editors and researchers due to their rich cultural, literary, and religious content. Saqib's Masnavi, attributed to Mohammad Hossein Saqib Isfahani, is one of the unknown Shia epic poems that no scholar or proofreader has corrected or introduced. This epic religious epopee is written in about 4,500 verses and is composed under the influence of Ferdowsi's Shahnameh style. The narrative structure of the poem is written based on chronological order and important events of the Prophet's (PBUH) battles, from Badr, Uhud, and Ahzab to the conquest of Kheybar. For every battle, there is a narrative on the beginning of the combat, followed by the causes and the factors, the influential decisions of the Prophet (PBUH), the description of the bravery of Imam Ali (AS), the reasons for defeat or victory, and the influential people in each battle, next to the details of the events are mentioned. In the body of the poem, proportional to the description of the victories of Imam Ali (AS) in each battle, the poet writes beautiful poems about the Nabi (PBUH) and Imam Ali (AS), giving additional charm to the narration of the poem. Methods and Materials This study is based on the library and document research method, where the manuscript version of Saqib's Masnavi is introduced. The written version of this epopee is carefully studied and its linguistic and stylistic characteristics are extracted. The attribution of the poem to the composer is proven by referring to the clues and pieces of evidence of the text of the poem and the conformity of its style and content with the manuscript copy of the poet's poems and referring to contemporary biographies. Findings The findings indicate that Saqib Isfahani's epopee is valuable aspects among other religious epopees in many aspects: 1) in terms of content, this epopee is brief and far from imaginative and boring descriptions, 2) the transmission of narratives is based on the historical facts of the epopee and its validity, which originates from the history writing and history reading of its poet, and 3) has stylistic and linguistic characteristics. Although the poet is influenced by the language and style of Ferdowsi in Shahnameh, the selection of rare words and the high frequency of ancient words of Persian literature, the lexical benefits of the work, the use of the common and everyday language of the Qajar era are of its distinct stylistic features compared to the preceding religious epopees. The poem's value is the significance of its origin, that is, Isfahan one of the origins of Shiite epic poems in the Safavid era up to date. Discussion and Conclusion The correction and introduction of Saqib's Masnavi manuscript reveal that Saqib Isfahani in composing the poem adopted many literary and rhetorical techniques, like simile, metaphor, irony, pun, ambiguity, allusion, alliteration, personification, exaggeration, etc. in proportion to the words and content of his poem. In general, the language structure of his poetry is not complicated and ambiguous, while the innovative and rhetorical techniques flow naturally far from any kind of artificiality in his mind and language. The analysis of the style and content of the poem reveals that it can be attributed to Saqib Isfahani for many reasons: 1) matching the date of composing the manuscript with the year of the poet's death, 2) comparing the content of the poem with the content of the poet's poems, 3) referring to contemporary biographies in the description of the poet's life and works, 4) mentioning the poet's surname or name in two parts of the manuscript, 5) the volume and count of the poet's beneficences poems in comparison with the volume of admiration poems by Saqib Kermani, and 6) referring to Haft-Band poems of panegyric and Twelve-Band of twelve Imams.

https://rpll.ui.ac.ir/article_27959_da811bd19e8f566a774f7837d5357c0c.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 4 2023 12 22 Introduction to the Amadname and Safwat al-Masader Versions with Analysis of the Persian Grammar Teaching Method Introduction to the Amadname and Safwat al-Masader Versions with Analysis of the Persian Grammar Teaching Method 111 132 27960 10.22108/rpll.2023.137299.2220 FA Seyyd Hamed Naghdi Beyki Department of Persian Language and Literature, Faculty of Literature and Humanities, Bu Ali Sina University, Hamadan. Iran Arsalan Bahari Department of Persian Language and Literature, Faculty of Literature and Humanities, Bu Ali Sina University, Hamadan. Iran Journal Article 2023 04 10 Persian grammar has a long history in the Indian subcontinent. The influence of Iranian culture and the Persian language in the Indian subcontinent has led many people to seek education by learning this language, thus, the development of Persian language education. Amadnames and Safwat al-Masader are among the works written in the subcontinent of India for teaching Persian grammar, specifically in the direction of source derivation in Persian. In this study, first, a brief overview of the influence of culture and the Persian language in India and the tradition of Amadname writing is presented, next, the introduction of handwritten and lithographic versions of these works, the explanation of each, and the correction of selected sections containing important aspects of source derivation and classification methods are assessed, and then the methods of these works are compared to reveal their differences and similarities. A comparison is made between the methods of these works and two important historical works in Persian grammar, namely, Jam'e al-Fawaid and Dastur-e Sokhan, and their similarities and differences are highlighted. In general, this study critically evaluates the scientific reasons, characteristics, and drawbacks of these works. Introduction The issue of when and by whom the first written Persian grammar was written is still not definitively answered. The year of writing the comprehensive work Jam'e al-Fawaid, is 1185 AH, indicating that years before the writing of Dastur-e Sokhan by Mirza Habib Isfahani in Istanbul, this work was written in India. According to some researchers, the book Jam'e al-Fawaid predates Mirza Habib's grammar by at least 100 years. However, Minhaj al-Talib, written by Muhammad ibn Hakim Zainimi Shendoni in China, predates Jam'e al-Fawaid and was written about a hundred years earlier, in 1070 AH. Another notable work written about teaching Persian grammar in the subcontinent is Nahj al-Adab, written by Najm al-Ghani Khan Rampuri, though it is not one of the introductory books in this field, it is a comprehensive work and its scientific writing method has influenced all authors in this field. Methods and Materials In this study, the introduction of Amadname and Safwat al-Masader's works and a comparison of their methods are discussed and assessed. These works are compared with the sources mentioned above, namely Minhaj al-Talib, Jam'e al-Fawaid, and Nahj al-Adab. Findings The tradition of writing Persian grammar books in the subcontinent was widespread, with multiple versions written by different authors at different times. The focus of Persian language educators in the Indian subcontinent on the conjugation of Persian sources was undeniable and significant. This emphasis can be attributed to their traditional approach to grammar and their attention to Arabic morphology and syntax, which are essential in the Persian language. The Amadname and Safwat al-Masader versions of Persian grammar share similarities in their teaching methods, following a common pattern. The method of source conjugation in Safwat al-Masader is more organized and comprehensive. Both versions have drawbacks like lack of comprehensiveness in conjugating all forms (except for Safwat al-Masader), focusing only on source conjugation, and neglecting other grammatical concepts, leading to confusion in presenting the material (mostly in Amadname) compared to the earliest written Persian grammar books. The Amadname and Safwat al-Masader versions are significant as they are among the earliest sources that specifically attempt to systematize source conjugation and Persian grammar. Discussion and Conclusions Comparing the Amadname and Safwat al-Masader versions with three important books on grammar in the Indian subcontinent and China, namely Minhaj al-Talib, Jam'e al-Fawaid, and Nahj al-Adab, yielded the following results: It appears that unlike the mentioned three books, the Amadname and Safwat al-Masader were not written by renowned and specialized scholars. They seem to have been written superficially with the main focus on source conjugation. The lack of comprehensiveness in these versions, their focus on specific grammatical topics, and the textual deficiencies in these works in those specific areas could be the reasons for such an argument Considering the timing of the authorship of Minhaj al-Talib and Jam'e al-Fawaid, and the specific similarities between these books and some of the issues raised in the Amadname versions, like the conjugation of certain sources and reference to phonetic changes, it allows us to assume that these two books were sources for the authors of the Amadname versions All in all, the Amadname and Safwat al-Masader versions of Persian grammar provide valuable insights into the teaching methods used in the Indian subcontinent. Further research and analysis of these works can contribute to a more comprehensive understanding of the development Persian grammar has a long history in the Indian subcontinent. The influence of Iranian culture and the Persian language in the Indian subcontinent has led many people to seek education by learning this language, thus, the development of Persian language education. Amadnames and Safwat al-Masader are among the works written in the subcontinent of India for teaching Persian grammar, specifically in the direction of source derivation in Persian. In this study, first, a brief overview of the influence of culture and the Persian language in India and the tradition of Amadname writing is presented, next, the introduction of handwritten and lithographic versions of these works, the explanation of each, and the correction of selected sections containing important aspects of source derivation and classification methods are assessed, and then the methods of these works are compared to reveal their differences and similarities. A comparison is made between the methods of these works and two important historical works in Persian grammar, namely, Jam'e al-Fawaid and Dastur-e Sokhan, and their similarities and differences are highlighted. In general, this study critically evaluates the scientific reasons, characteristics, and drawbacks of these works. Introduction The issue of when and by whom the first written Persian grammar was written is still not definitively answered. The year of writing the comprehensive work Jam'e al-Fawaid, is 1185 AH, indicating that years before the writing of Dastur-e Sokhan by Mirza Habib Isfahani in Istanbul, this work was written in India. According to some researchers, the book Jam'e al-Fawaid predates Mirza Habib's grammar by at least 100 years. However, Minhaj al-Talib, written by Muhammad ibn Hakim Zainimi Shendoni in China, predates Jam'e al-Fawaid and was written about a hundred years earlier, in 1070 AH. Another notable work written about teaching Persian grammar in the subcontinent is Nahj al-Adab, written by Najm al-Ghani Khan Rampuri, though it is not one of the introductory books in this field, it is a comprehensive work and its scientific writing method has influenced all authors in this field. Methods and Materials In this study, the introduction of Amadname and Safwat al-Masader's works and a comparison of their methods are discussed and assessed. These works are compared with the sources mentioned above, namely Minhaj al-Talib, Jam'e al-Fawaid, and Nahj al-Adab. Findings The tradition of writing Persian grammar books in the subcontinent was widespread, with multiple versions written by different authors at different times. The focus of Persian language educators in the Indian subcontinent on the conjugation of Persian sources was undeniable and significant. This emphasis can be attributed to their traditional approach to grammar and their attention to Arabic morphology and syntax, which are essential in the Persian language. The Amadname and Safwat al-Masader versions of Persian grammar share similarities in their teaching methods, following a common pattern. The method of source conjugation in Safwat al-Masader is more organized and comprehensive. Both versions have drawbacks like lack of comprehensiveness in conjugating all forms (except for Safwat al-Masader), focusing only on source conjugation, and neglecting other grammatical concepts, leading to confusion in presenting the material (mostly in Amadname) compared to the earliest written Persian grammar books. The Amadname and Safwat al-Masader versions are significant as they are among the earliest sources that specifically attempt to systematize source conjugation and Persian grammar. Discussion and Conclusions Comparing the Amadname and Safwat al-Masader versions with three important books on grammar in the Indian subcontinent and China, namely Minhaj al-Talib, Jam'e al-Fawaid, and Nahj al-Adab, yielded the following results: It appears that unlike the mentioned three books, the Amadname and Safwat al-Masader were not written by renowned and specialized scholars. They seem to have been written superficially with the main focus on source conjugation. The lack of comprehensiveness in these versions, their focus on specific grammatical topics, and the textual deficiencies in these works in those specific areas could be the reasons for such an argument Considering the timing of the authorship of Minhaj al-Talib and Jam'e al-Fawaid, and the specific similarities between these books and some of the issues raised in the Amadname versions, like the conjugation of certain sources and reference to phonetic changes, it allows us to assume that these two books were sources for the authors of the Amadname versions All in all, the Amadname and Safwat al-Masader versions of Persian grammar provide valuable insights into the teaching methods used in the Indian subcontinent. Further research and analysis of these works can contribute to a more comprehensive understanding of the development

https://rpll.ui.ac.ir/article_27960_f89c578ee0bc0e369506be1293a17fb8.pdf