هادی بیدکی

Jawaher-al-Ajayeb (written 962-963 AH) is the first book-biographies of women poet which Fakhri Heravi has recorded the biographies and poems of 31 women poet in it. Most of author of book-biographies who have introduced women poet, adapted from the contents of Jawaher-al-Ajayeb that one of these book-biographies is Arafat-al-Asheghin (written 1022-1024 AH) of Ouhadi Balayani. Ouhadi has taken biographies and poems of 18 women poet from Jawaher-al-Ajayeb and has pointed to own source in 14 cases, but has been negligent and wrong in this quote and adaptaion; As sometimes he has been wrong in recording the title of poet’s biographies and poems; sometimes he has been wrong mentioning information about poets; sometimes has been hesitated and wrong in attributing the verses of some poets. In addition to Ouhadi, correctors of Arafat-al-Asheghin also sometimes in the correcting this work mistakenly have replaced false recordings with correct recordings with using recent sources or deductive correction. In this article, been investigated the most important Manipulations and mistakes of Ouhadi in Adaptation from content of Jawaher-al-Ajayeb in four main sections by matching the source and destinations text and in the end too is mentioned to number of wrong choices of the correctors of Arafat-al-Asheghin.

The Majalis al-Nafais by Amir Ali-Shir Nawai is the most important source of the history of Persian literature in the first half of the 9th century and the second half of the 10th century, especially in the literary center of Herat. This study scrutinized its corrections and translations., Moreover, this study showed the necessity of correcting and re-translating the work. The incorrect method of correction, the wrong prioritization of the versions, the incorrect reading of the Persian verses and the inefficiency of the language and the script and the alphabet of the previous two corrections are weak points, as well as the omissions, additions and changes that the translators made in their translation. Moreover, the new correction and translation of Majalis al-Nafais was introduced in this study in terms of method; a correction that has been made based on the two oldest versions: the version belong to the library of the Istanbul Topkapi Palace Museum (copied in 905 AD) and the version belong to the Royal Library State of Vienna (copied in 903 AH). In the Persian version, most adherences have been made to the Joghtai text. This translation-correction includes the introduction, appendices, and necessary lists.

There are no fewer than nine accounts of the story of Leili o Majnun in Kurdish literature most which have been written both in verse and prose in imitation of Nizami of Ganjeh and his emulators. Of these works four belong to the Kormānji dialect within the Kurdish populated areas of Turkey and Northern Khorasan, the composers, and translators of only two of them being known. But the other five accounts are related to the Gorāni dialect in Iran’s Kurdistan. Among the Kormānji and Gorāni versions the two composed respectively by Hares-e Badlīsī and Khānā-ye Qobādi are both more extensive and famous.In this article, by identifying and introducing the Kurdish versions of Leili o Majnun, attempts have been made to demonstrate to scholars both the extent of the influence of Nizami’s Leili o Majnun in Kurdish literature and make known to the scholarly community some of the obscure Kurdish poets and their contribution to connecting the Persian and Kurdish literatures.

Collections of biographies of poets (tazkera)s are among the primary sources of literary history, and they should be considered as the first modern form of history of literature. So far, the tazkeras mainly have classified the poets regarding their social class or in contemporary, general, ethnic, and other categories. But authors have not paid much attention to compiling tazkeras regarding the literary genres of the works of the poets. Critical poetry, especially invective, is an abandoned genre, and we know much less about its poets than poets of praise. Fakhri Heravi is the first author of tazkeras of invective poets, specifically by compiling Majles-Aray in 962-963 AH/ 1555-1556. In Majles-Aray, the poets, from Rudaki (4th AH/ 10th century) to contemporary poets with Fakhri (9-10 AH/ 15-16 centuries), are mentioned without a specific order. In this article, for the first time, citing newly discovered information, the significant tazkera of Majles-Aray is introduced and studied in terms of bibliography and codicology; afterward, more works of Fakhri and the works attributed to him are mentioned.

Bahr al-Tawarikh is the oldest Naqqali (Iranian old dramatic story-telling) comprehensive scroll based on Shahnameh which Vares Bukharayi (1088 AH/1677 CE) compiled in the second half of the 11th century AH in Transoxiana, about half a century before the Naqqali scroll of Shahnameh (compiled in 1135 AH/1723 CE). Most of the copies identified as Bahr al-Tawarikh are transcripts roughly different from the work of Vares, not the exact transcripts of it. The present article provides new information about Vares which amends and completes previous studies and also introduces and reviews one of the authentic and complete transcripts of Bahr al-Tawarikh. This transcript has noteworthy and valuable specifications, especially its linguistic aspect and content which represent the Persian features to Transoxiana.

In the present research, mores of Kosty close and Sedarh wear is analyzed in Zoroaster religion, then, its reflection is shown in Ferdowsi’s Shahnameh and Kurmanji Wrestling. Kurmanjs are one of Aryan kurds tribes that at the moment most of them is live in the khorasan north. In the first phase, is proceed to structural and lexical definition of kosty and sedrah and after which, is discribed ceremony as to this two dresses. In the second phase, linkage and reflection of Zoroaster kosty and sedrah is expressed with kurmanji koshn and chukhe and kemend, peshmine and ezar in shahname. research result is based on this which kurmanji chukhe and wearing ceremony it more is similar with Zoroaster sedrah, as hum woolen goods in shahname is demonstrator mores of kosty wearing in ancient iran. Kurmanji Koshn is similar with Zoroaster kosty of viewpoint application and lexical, as is similar hum’s lasso and brehman’s train and his messenger in shahname; as well as, koshn is derive from infinitive of koshan mean to thresh, as kosty is derive from infinitive of kostan mean to same. Kosty word is use in Shahnameh get together with the verbs two of close and devest, as its purpose is close-kosty in zoroaster religion when converted to close-kosty and is meaning wrestling when converted to devest-kosty.

Majales-ul-Nafayes is the earliest biography book of the present era written by Amir ali-Shir Nawa'i in 896 AH in Chagatai Turkish language. It describes the biography and works of the poets in the 9th and early 10th centuries. For the first time, Fakhri Heravi translated this biography book into Persian in 928 AH and called it Latayef-Nameh. Afterward, four others translated Majales-ul-Nafayes into Persian. It had a great impact on the future biography works most notably Arafat-ul-Asheghin va Arasat-ul-Arefin, written by Owhadi Balayani between 973 and 1040 AH. This biography book consists of three groups or classes including early, middle, and late. Approximately, ninety percent of the material in the middle class is derived from the text of Majales-ul-Nafayes and Latayef-Nameh. This study is aimed to examine the information related to this class as it is mentioned in Arafat-ul-Asheghin. In this paper, first the text of Arafat-ul-Asheghin, especially the middle class related section, was studied in detail and the information that Owhadi had collected from his original sources namely Majales-ul-Nafayes and Latayef-Nameh were investigated as well. Afterward, the results were compared with the original texts which are presented in three separate sections with examples. Two parts of this content are related to the text of Arafat-ul-Asheghin and its author which are discussed under the two titles of "forging a character" and "incorrect assignment of verses". The third part, however, is related to the correction of Arafat-ul-Asheghin and its correctors are mentioned under the title of "incorrect recordings in the correction of Arafat". Like all other biography books, Majales-ul-Nafayes and Latayef-Nameh have many manuscripts. The biographies of the poets are contradictory and wrong in some of them. These differences and factual errors have gradually entered in the middle-class section of Arafat-ul-Asheghin which is based on the two biography books. Sometimes the descriptions of the two poets in Arafat-ul-Asheghin are so similar to each other as if they seem to refer to the same person.
Arafat-ul-Asheghin has had a great influence on its following biography books and the books related to the history of literature. Therefore, this type of information has also entered the subsequent sources through this biography book.
For example, Molana Ashraf Khiyabani is one of the poets who is mentioned in Majales-ul-Nafayes and Latayef-Nameh. His life has been described in Arafat-ul-Asheghin under the titles Molana Sharaf Khiyabani and Darvish Ashraf. Of all three verses of his poem, once all the verses have been attributed to Molana Sharaf Khiyabani, while, once, the first two verses have been attributed to Darvish Ashraf. Creating two similar biographies for a single poet and attributing his verses to two poets whose names and titles are very similar to each other suggests that the author of Arafat-ul-Asheghin has used different manuscripts of Majales-ul-Nafayes and Latayef-Nameh, in which the name and title of a poet are recorded in two forms while there are not two separate poets.
Molana Mohammad-Alam Samarghandi is another mentioned poet in Majales-ul-Nafayes and Latayef-Nameh, as the author of Arafat-ul-Asheghin mentioned his biography and his verse under the two titles of Mohammad-Alam Samarghandi and Mohammad Samarghandi, thus, this time the similarity of the name and alias of a poet in the copies of Majales-ul-Nafayes and Latayef-Nameh has made the author of Arafat-ul-Asheghin assume them as two separate poets to attribute his verses to a poet other than the original one.
The writer of Arafat-ul-Asheghin sometimes attributes the verses of a poet mentioned in the middle class to another poet except the original one due to the great resemblance to the names and alias of the poets that he was referring to based on the manuscripts of Majales-ul-Nafayes and Latayef-Nameh.
For instance, the author of Arafat-ul-Asheghin has once cited one of the verses of Hafiz Sa’d correctly under the title of Hafiz Sa’d, while he has incorrectly attributed it to Sa’d Mashhadi the other time. Although the name and alias of these two poets are similar, they are two separate poets who lived in a different time and their biographies are mentioned separately in Majales-ul-Nafayes, Latayef-Nameh, and Arafat-ul-Asheghin.
Also, the writer of Arafat-ul-Asheghin has mentioned one of the verses of Molana Sharf-al-Din Ali Yazdi in Majales-ul-Nafayes and Latayef-Nameh once correctly under the title of Molana Sharf-al-Din Ali Yazdi, and once again he has mistakenly attributed it to Sharf-al-Din Oghla Takallo. Even though the name and alias of these two poets are similar, they are two separate poets as Yazdi lived the 19th century AH and Oghla lived in the 11th century AH.
As it has been mentioned, due to the similarity of the name and alias in most cases, the author of Arafat-ul-Asheghin has attributed the verses of a poet to other poets, too. However, the attribution of the verses to the two poets in Arafat-ul-Asheghin is not always as a result of similarity in name and alias as the author of the biography book has made this mistake despite the difference in name and alias.
For example, there is a verse by Majales-ul-Nafayes and Latayef-Nameh which has been attributed to Molana Khiyali and mistakenly to Molana Mani Shirazi by the author, while there is no similarity between the names and aliases of these two poets and they lived in different centuries. Molana Khiyali lived in 850 AH and Molana Mani lived in the 10th century during the reign of Shah Ismaeil Safavi (died in 930 AH).
Besides, there are two verses of Malana Qudsi Heravi in Majales-ul-Nafayes and Latayef-Nameh which have once been correctly attributed to Molana Ghodsi and once again mistakenly to Molana Naghed Heravi, though there is no similarity between the names and aliases of these two poets. In addition, they lived in different centuries; Molana Qudsi, is a poet of the nineteenth century who is contemporary with Qasim Anwar, and Molana Naghed is one of the poets of the tenth and eleventh centuries contemporary with the author of Arafat-ul-Asheghin.
Arafat-ul-Asheghin can be considered in terms of correcting the names and aliases of the poets, especially in the middle class, which has been adapted from the Majales-ul-Nafayes and Latayef-Nameh. In this class of Arafat-ul-Asheghin, the names and alias of some poets have been mistakenly or incompletely corrected, while the correctors should have referred to original sources or the ones contemporary with Arafat-ul-Asheghin or older biography books to prevent many of these inaccuracies.
For instance, Molana Zeyni Sabzevari’s alias in Majales-ul-Nafayes and Latayef-Nameh has been mistakenly corrected in Arafat-ul-Asheghin as Molana Zinati Sabzevari and the correctors have transferred the correct recording in the copy to the footnotes, while it was necessary they prefer recording of the copied-manuscript and also refer to to Majales-ul-Nafayes and Latayef-Nameh so that the correct recording of the copied-manuscript replaces the text.
The other examples include the names and aliases of the poets mentioned in Majales-ul-Nafayes and Latayef-Nameh such as Molana Khalaf Tabrizi, Khaje Mousa, and Khaje Khord. The correctors of Arafat-ul-Asheghin have moved the correct recording to the footnote and have mistakenly corrected them as Molana Kholghi Tabrizi, Khaje Mousemi, and Khaje Khosro. Majales-ul-Nafayes had a significant influence on the subsequent biography books through Latayef-Nameh. Arafat-ul-Asheghin by Owhadi Balayani is the most remarkable example of this influence and adaptation. 90% of the middle class section is an adaptation and attribution of Majales-ul-Nafayes and Latayef-Nameh. In this class of Arafat-ul-Asheghin, some errors and changes have been inserted which are due to the mistakes made by the author when referring to the original sources (Majales-ul-Nafayes & Latayef-Nameh). Sometimes, the mistakes have occurred due to the misinterpretation of correctors in correcting Arafat-ul-Asheghin. The author of Arafat-ul-Asheghin has sometimes considered one poet as two, sometimes combined the biographies of two or more poets and attributed the verses of a poet to other poets, too. Of course, the correctors of Arafat-ul-Asheghin have sometimes moved the correct recording of the poets’ name and alias to the footnotes and replaced them in the text with incorrect recordings. If they had preferred the recording of the copied-manuscript and had referred to Majales-ul-Nafayes and Latayef-Nameh, these mistakes could have been avoided.

Majalis-ol-Nafayis is one of the biography of poets which ghazvini organized the second translation it and Ali-Asghar Hekmat is edited and published it in 1321. We are compare and contrast Hekmat’s edition with tree older and credible manuscripts and found which has not congruence text of Ghazvini’s translation and Hekmat’s edition with text of Majalis-ol-Nafayis, Because, from one side existent sometimes subjects in the Turkish manuscripts which Ghazvini is removed from own translation them. As sometimes is added subjects to own translation which not existent in the main text and sometimes is differ one of section from his translations with source text. On the other, Hekmat’s edition sometimes is differ with source text and have influenced record wrong in it. Ghazvini’s translation is wide influenced in the sources literary history and bibliographies after his; So it is essential be edited according to older and credible manuscripts again. . . . . . .

In this study, the concept of love reviewed in the sonnets of Hafiz Shirazi and Malla Jaziri, firstly, to investigate the pervasiveness of Hafiz’s thoughts in Kurmanji literature, especially in the sonnets of Malla Jaziri, and then, to introduce the personality of Malla and to analyze the degree of his being influenced by Hafiz in the question of love. A brief explanation is provided regarding Kurmanji dialect, the personality of Hafiz and Malla, and the history of love in the Kurmanji and Persian literature; then, issues related to the theme of love are extracted from the poetry of these two poets, compared and defined with examples from Malla and Hafiz. The main structure of the study relies on three axes: nature of love, difficulties of love, and necessities of a love journey. In the sonnets of these poets, first, the nature and characteristics of love are described, then, the hardships in the way of love are depicted, and in the end, necessities are named for leaving difficulties behind and uniting with the beloved. Generally, following of Hafiz, Malla considers love as the origin of existence and an eternal gift; this love is a journey laden with danger and hardship, few people deserving to know about; also, the journey requires following an elderly guide and sacrificing one’s life.

The purpose of writing this article is the introduction a newly found narrative of Rustam war Kok Koohzad and comparing its content with other narrative, especially two edited narratives Ghafoori and Makan. The poet of the newly found 350-verse narrative is not known exactly, but it should be recognized as the middle way between the 710-verse narrative of Makan and the 266-verse narrative of Ghafoori which is different in event details with two narratives mentioned and parts of the story added or reduced. The newly found narrative is different from the other two narratives in terms of topics such as names of Rustam’s friends and their association with him, dialogues and interactions of Rustam with Zal, war details of Rustam with Kok and Rustam’s visit with Zal. It also consists of topics such as the war of two from Kok’s heroes with Rustam named Ghaher and Salook which does not exist in the other two narratives. Furthermore, there are topics such as appeasement of Zal to Kok, the kidnapping of Rostam’s family by Kok, Rustam’s kidnapping a girl from the Kok’s castle and going Rustam and Zal to Manoochehr-Shah in the other two narratives, which are not present in the newly found narrative.

Majalis-Alnfayis is a one of basic and important biographis correlate ninth and early tenth century literary history that Fakhri Heravi translated it into Farsi in 928 year as Latayif-Namh and Ali Asghar Hekmat is published this translation in 1323 year based on the Nakhjivani’s manuscript that is scribe in 992 year. The study and confrontation of Hekmat’s print and four manuscripts of Majalis-Alnfayis and Latayif-Namh that all are Authentic and Oldest of the Nakhjivani’s manuscript, is necessary Critical Edition Latayif-Namh, because, First, the newfound manuscript is Explained biography about thirty-five poets that not mentioned in the Hekmat’s print to them; Second, is recorded in newfound manuscripts information about some poets and their poetry that not mentioned in the Hekmat’s print to them; Third, there is conflicts and errors in the Hekmat’s print toward newfound manuscripts that mostly to these errors related to poets pseudonym or name, or related to their biography and poetry; Four, there is clearances in text some pages of he Hekmat’s print that mostly these clearances related to poets pseudonym or name, too; Five, there is ambiguities in some phrases means in the Hekmat’s print that is disappear by newfound manuscripts; Six, is not separation the exact boundaries between turkish text translation and translator’s exensions in the Hekmat’s print; Seven, there is not harmony and proportion between two Fakhri’s translation and Qazvini’s translation in the Hekmat’s print.

one of the genres of lyrical literature that has attracted the attention of many poets. It is In fact, a poem often written in couplet-poem format in Motaghareb meter which the poet addresses the tapster and expresses his ideas about issues such as the instability of the world and time, reprimanding sanctimonious ascetics, hypocrisy of the people, inviting to debauchery and expressing words of wisdom. Codicology studies about this genre is one the first steps that could pave the way for further studies. In two biographies Meykhaneh and Peymaneh many Saghi-Namehes have been introduced and their texts have been recorded. However, with the discovery of newly-found manuscripts, as well as the development of new catalogues based on them, it is essential to find other examples.
In this study, various catalogues of manuscripts written in Iran and abroad, Bibliographies and Biographies have been carefully examined to find Saghi-Namehes. In the first phase, the exact details of the poems which in those sources had been recorded as Saghi-Nameh were written. Then, as much as possible, the texts of the Saghi-Namehes were read and their version photos were studied and examined based on the criteria of this genre. Eventually, the findings of the study were organized in three sections; in the first part, incorrect attributions of Saghi-Nameh in catalogues of manuscripts were mentioned. In the second part, newly-found Saghi-Namehes were introduced and described which have only been mentioned in catalogues of manuscripts, the third part consists of a critical review of Saghi-Namehes which could be found in the said biographical and bibliographical sources.
A careful and critical examination of the catalogues of manuscripts shows that some cataloguers have attributed to some poem as Saghi-Nameh to some poets by mistake, or they have attributed one Saghi-Nameh to a few poets. Among the available handwritten Saghi-Namehes in Islamic Parliament Library of Tehran are the following: 1. Saghi-Nameh attributed to Anwari Abiwerdi, which belongs to Omidi Tehrani 2. The first ten verses of Saghi-Nameh attributed to Ghatran Tabrizi, belongs to Ghasemi Gonabadi and the other verses is the same as one of the odes of Khaghani Sharwani 3. Saghi-Nameh attributed to Shani Tekeloo is not compatible with the criteria of a Saghi-Nameh 4. All the ten pages of the Saghi-Nameh attributed to Emad Faghih Kermani are in fact the first verses of Emad’s Tarighat-Nameh, only 38 verses are compatible with the criteria and principles of a Saghi-Nameh 5. Saghi-Nameh attributed to Wahshi Bafghi is in fact a story from Wahshi only the last two verses address the butler 6. The poets of two Saghi-Namehes attributed to Mola Partowi and Morshed are in fact Partowi Shirazi and Morshed Boroojerdi the text of their Saghi-Namehes has been recorded in Meykhane biography 7. The poets of two Handwritten Saghi-Namehes T-770/5 and 14199/10 is unknown, whereas, the poet of the first Saghi-Nameh is Sharafzard Tabrizi and the poet of the second one is a poet named Farahi.
There are other newly-found Saghi-Namehes. After studying and examining them, it was found that their texts are compatible with the criteria of a Saghi-Nameh and in two Peymaneh and Meykhaneh biographies do not refer to them. Handwritten Saghi-Namehes of Rooh-ol-Amin Esfahani, Badi’, Wali, Naghi Boroojerdi, Sharif Tabrizi are among these Saghi-Namehes which are all kept in the Islamic Parliament Library. Furthermore, Saghi-Namehes of Ghane’ Tatewi, Eshragh Maraghi, Hazin Lahiji and Hatef Esfahani are among other newly-found Saghi-Namehes, which most of them have been printed.
There are other newly-found Saghi-Namehes which are not in two Peymaneh and Meykhaneh biographies, but the number of the verses, the first verse and their contents are compatible with the criteria of a Saghi-Namehe: five Saghi-Namehes of Nezan-o-Din Ahmad Agah, Nashmi and Mir Asgari Aghel Khan in the Oxford Bodleian library; three Saghi-Namehes Ahli Torshizi, Safi and an unknown poet in the Malek library of Tehran; two Saghi-Namehes Ayani and Wazeh Savoji in the India Office of England; Saghi-Nameh of Wala Badakhshi in the Bangal library; Saghi-Nameh of Fotovat in the Anjoman Taraghi of Karachi; Saghi-Nameh of Mohammad-Rafi’ Bazel Mashhadi in the Lahore University Library; Saghi-Nameh of Tasali in the National Museum of Karachi; Saghi-Nameh of Fadawi in the Ami-al-momenin library of Najaf; Saghi-Nameh of unknown poet in the Marashi ghom.
There are other newly-found Saghi-Namehes which are not in two biographies Meykhaneh and Peymaneh and only cataloguers have called them Saghi-Nameh, without giving complete information: nine Saghi-Namehes of Salek Yazdi, Kashef Esfahani, Mohammad-Bagher Khalil Kashi, poet with Pseudonym Salek, Naser Bokhari, Shah Ne’mat-ol-Lah Wali and unknown poets, all in the Central Library of Tehran University; Saghi-Nameh of Shoeyb Joshaghani and two Saghi-Namehes unknown in the Malek library of Tehran; three Saghi-Namehes unknown in the Islamic Parliament Library; two Saghi-Namehes of Amir Ali-Shir Nawai and Sanai Ghaznawi in the library of Tashkent; two Saghi-Namehes of Monshi Jesowant-Ray and Da’i Shirazi in the India Office of England; two Saghi-Namehes Khaje Basir and Helali Joghatai in the National library of Iran; Saghi-Nameh of Hashem Naghshbandi in the India Office of England and Oudh King; Saghi-Nameh of Ozlati Khalkhali in the Shah-cheragh library of Shiraz; Saghi-Nameh of Mokhles Boroojerdi in the Marashi library of Ghom; Saghi-Nameh of Fayez Kermani in the Theology Faculty of Tehran University; Saghi-Nameh of Naf’i in the National library of Paris; Saghi-Nameh of Seyyed Ashraf in the Royal library of Tehran.
Too, In other Bibliographies and Biographies, except two biographies Meykhaneh and Peymaneh there is some information about Saghi-Namehes as follows: mentioning some verses of the two Saghi-Namehes of Taleb Tabrizi and Mayel Dehlawi in the nasrabadi’s Tazkereh; referring to two Saghi-Namehes Mir Ma’soom Nami Termazi Behkari in the Kholast-ol-Ash and Maghalat-ol-Shoa; mentioning verses of the Saghi-Nameh of Sarkhosh Lahoori in the Kalamat-ol-Shoa’ra; mentioning verses of the Saghi-Nameh of Monshi Bamroodi in the Baharestan (in men history and biographies Ghaenat and Ghohestan); Saghi-Namehes attributed to Azhari, Khaje Nasir Toosi, Asheghi and Mohammad-reza Mashhadi in the Kashf-ol-zonoon; two Saghi-Namehes attributed to Mola Ahmad Astarabadi and Gharibi Balayani Kazerooni in the history prose and poetry in the Iran and Persian language and Saghi-Nameh attributed to Abolghasem Fendereski Asterabadi in the Al-zari’e.
Saghi-Nameh is one of the major topics covered In Persian poetry which many poets have written poems in this genre, especially in Safavid era. Fakhr-o-Din Asa’d Gorgani is the first Persian-speaking poet who has a couplet-poem in Motaghareb meter which includes Saghi-Nameh themes and Nezami Ganjawi followed him and wrote some verses at the end of Eskandar-Nameh stories which included Saghi-Nameh themes and was addressed to the tapster. Later, a group of poets continued to write Saghi-Nameh in that format and meter and other groups used Hazaj meter in Saghi-Nameh or they used Return-tie and Composite-tie format. Writing Saghi-Nameh became common from tenth to fourteenth century. At the beginning, the verses were no more than 200 but later, is reported increased to 20000.
The first step to investigate the Saghi-Nameh genre was examining its codicology. Correcting and evaluating it in great series could be the next step. Besides the two biographies Meykhaneh and Peymaneh, some information has been mentioned in catalogues of manuscripts and biographical and bibliographical sources. Some of the information of these sources is incorrect and some is vague and suspicious. In this article, many newly-found Saghi-Namehes have been introduced and some information about a number of Saghi-Namehes has been completed or corrected. The findings of this, study showed that a number of Saghi-Namehes are only recorded in catalogues of manuscript's pages and are not well-known. Many Saghi-Namehes which have been attributed to some poets by cataloguers are in fact not Saghi-Namehes at all. The writers of some Saghi-Namehes remain unknown and there is doubt and suspicion about some Saghi-Namehes being attributed to some poets. Also, some Saghi-Namehes have been lost.

The problem of the present paper is to searchfor literary history-related information in historical sources. The authors of literary history books mostly rely on Tazkirahs (Persian biographical works) as their main sources, whereas it is the history sources that, due to the validity of their subjects and also the direct relationship of their authors with governments, should be considered as one of the main sources. The results of the paper indicated that some literary figureswho have been neglected in the Tazkirahshave been introduced as poets in history sources. Moreover, thereare disagreements between the authors of historical books andwriters of Tazkirahs, on the one hand, and literary historians, on the other hand. Although literary historians may be right in many cases, historical sources cannot be put aside at all. The historical sources are important from the point of view ofaudience of poets, which is a central issue in the theory of modern literary history. The reports, judgments, and information of these works, as representative of the mentality of the historians towards poetry, can be analyzed as such. The present paper is divided into three main parts: neglected poets, main poets and the disagreements between authors of literary history and historiographers about them, and finally those figures that tried their taste in classical dominant discourses, but are not recognized as poets.