مهدی دهقان

This research investigates newly discovered poems by the poets Nazari Qohestani, Nezari Bajaei Shirazi, and Jalaluddin Atighi, which have been overlooked in literary sources. Using a descriptive-analytical method, the study first focuses on a ghazal by Nezari Qohestani, a skilled poet of the Seventh century and first quarter of the eighth century AH. He has a collection of poetry that has been edited and published by Mazaher Musafa. In Anis al-Khalwah wa Jalis al-Salwah, five ghazals by him are included, one of which is not found in his published divan. Next, a ghazal and a quatrain by Naser Bajaei Shirazi, a contemporary of Saadi, are analyzed. A short divan has been published by Mahmoud Madaberi, and some ghazals have also been compiled by Milad Azimi. However, in Anis al-Khalwah wa Jalis al-Salwah, a ghazal by him is mentioned that is not present in any of these compilations, along with a newly discovered quatrain from Tazkarat al-Shu'ara (a manuscript from the Malek Library, number 5319). Finally, three ghazals by Jalaluddin Atighi, a poet of the Seventh and eighth centuries AH, are analyzed. His poetry collection has been published in photo-reprint form from a manuscript in the Fateh Library in Turkey. Eighteen ghazals by Atighi are mentioned in the poetic anthology Mounes al-Oshaq wa Tuhfat al-Afaq two of which are newly discovered, along with another new ghazal attributed to him in Anis al-Khalwah wa Jalis al-Salwah. This research emphasizes the importance of identifying and documenting newly discovered poems and contributes to the richness of Persian literature.

Rowzat al-Nazer and Nozhat al-Khater is a significant and esteemed anthology from the 8th century. Before exploring the main topic, it was essential to clarify an important distinction: there were three texts with similar titles. The first, Rowzat al-Nazer and Nozhat al-Khater by Abd al-Aziz Kashi, was the primary text and the focus of this research. This manuscript was housed in the Istanbul University Library and consisted of a collection of Arabic and Persian poetry (See: Kashi, n.d., No. 766 F).Fenkhā described this text as follows: "It is a substantial book compiled by Abd al-Aziz Kashi in one large volume divided into 3 sections: 1. Praises, wisdom, and etiquette, which is further divided into 2 chapters: the first containing 50 sections and the second containing 15 sections; 2. Various stories organized into 22 chapters, some of which are divided into several sections; 3. Miscellaneous topics presented in 8 chapters. The book includes both Persian and Arabic poetry" (Derayati, 2011/17: 241). However, it seemed that Derayati had erred in his description of the text's chapters as the arrangement differed from what was referenced. Additionally, while Derayati attributed a copying date of 792 to Rowzat al-Nazer, the manuscript itself lacked both a specific copying date and information about the scribe.Seyyed Ali Mirafzali commented on this issue: "The date of this book remains unknown. However, since Abul-Majd Tabrizi mentions him with a prayer phrase in 723 AH while copying Resaleh Qalamiyeh, another work by the author, it can be inferred that the compilation of Rowzat al-Nazer has likely occurred in the first quarter or at most the second quarter of the 8th century." (Mirafzali, 2003: 97)The second text titled Rowzat al-Nazer, Nozhat al-Khater was distinct from Abd al-Aziz Kashi's poetry anthology. This manuscript was housed in the Hagia Sophia Library and was cataloged as No. 4020. It consisted of a collection of stories organized into 15 chapters with poems interspersed throughout the narratives (See: Unknown author, 881, no scribe, No. 4020). Notably, Fenkhā also attributed this text to Abd al-Aziz Kashi (See: Derayati, 2011/17: 242).The third text, also titled Rowzat al-Nazer and Nozhat al-Khater, appeared to be an abridgment of Kashi's original work. This manuscript was located in the Hagia Sophia Library and was cataloged as No. 4019. It summarized the poems found in the Istanbul manuscript but did not attribute the poets' names (Unknown author, n.d., no scribe). In the catalog of Iranian manuscripts, this version was referred to as an excerpt from the Istanbul manuscript and was attributed to Abd al-Aziz Kashi (See: Derayati, 2011/17: 242); however, the original manuscript did not mention the author's name.

This research employed a descriptive-analytical approach. The manuscript of Rowzat al-Nazer and Nozhat al-Khater served as the primary source for the study supplemented by other manuscripts and printed copies to verify or refute the attributions being examined.

The analysis of the anthology Rowzat al-Nazer and Nozhat al-Khater yielded important insights into the accuracy of attributions made within this 8th-century collection of Persian and Arabic poetry. The findings from our investigation into several dubious attributions are summarized below:Incorrect Attribution to SaadiThe anthology contained a three-line poem that had been attributed to the renowned poet Saadi. Our investigation definitively established that this attribution was incorrect, suggesting that either the poem belonged to another poet or was a piece of lesser-known origin.

Valid Attribution to Vatvat:

A ghazal attributed to Vatvat in the anthology appeared in the printed Diwan of Rashid, corroborating its authenticity. Conversely, the attribution of this same ghazal to Saadi, as noted in the appendix of Saadi's ghazals in Foroughi's edition, was incorrect. This discrepancy highlighted the need for careful scrutiny of attributions in poetic collections.

Plausible Attribution to Sanai:

Several lines from a qasida had been attributed to Sanai and this attribution appeared plausible based on stylistic and thematic elements. However, a competing claim by Modarres Razavi suggested that these lines might actually belong to Abd al-Vasea Jabali, indicating the complexity of authorship in poetic traditions and the necessity for further comparative analysis.

Mixed Attributions to Ez al-Din Mahmoud Kashi:

The anthology featured two quatrains attributed to Ez al-Din Mahmoud Kashi. Our findings confirmed that one of these attributions was accurate, while the other was not. This highlighted the challenges of verifying authorship, particularly when multiple works were ascribed to a single poet.

Accurate Attribution to Athir Akhsikati:

The attribution of a quatrain to Athir Akhsikati had been verified as accurate. This finding reinforced the significance of this poet in the anthology and contributed to a better understanding of the literary landscape of the time.

Attribution in the Dispute between Rudaki and Kamal:

In a notable dispute between Rudaki and Kamal regarding a quatrain, our analysis suggested that it was more logical to attribute this work to Kamal. This finding illustrated the intricate interrelations among poets of the era and the interpretive challenges in attributing works correctly.

Questionable Attribution to Saadi:

Finally, three lines critical of women, which were presented in the form of a Masnavi, had been attributed to Saadi. However, our investigation raised significant doubts about this attribution, suggesting that it might not accurately reflect Saadi's body of work or thematic concerns.

The anthology Rowzat al-Nazer and Nozhat al-Khater was a significant contribution to our literary history from the 8th century AH, particularly in its role in attributing poems to poets active before this period. However, it is important to acknowledge that some erroneous attributions existed within the anthology. This research examined several dubious attributions, yielding the following

The attribution of a three-line poem to Saadi was definitively incorrect. A ghazal attributed to Vatvat in this anthology appeared in the printed Diwan of Rashid, suggesting that this attribution was accurate. Conversely, the attribution of this ghazal to Saadi, as noted in the appendix of Saadi's ghazals in Foroughi's edition, was incorrect. Several lines from a qasida had been attributed to Sanai and this attribution appeared plausible. However, Modarres Razavi, in his discussion of this qasida in Sanai's Diwan, suggested it might actually be by Abd al-Vasea Jabali. Two quatrains had been attributed to Ez al-Din Mahmoud Kashi; one attribution was correct while the other was not. The attribution of a quatrain to Athir Akhsikati was accurate. In a dispute between Rudaki and Kamal regarding a quatrain, it seemed more logical to attribute the work to Kamal. Three lines, presented in the form of a Masnavi and critical of women, had been attributed to Saadi; however, this attribution was highly questionable.

Introduction:

Many of the diwans (poetic collections) of ancient poets have been lost for various reasons. This has led to reliance on tazkarehs (biographical works) and jongs (literary anthologies) for compiling the poetic works of the poets without preserved diwans. Although the existence of these tazkarehs and jongs is a great blessing, sometimes the authors' or scribes' errors result in attributing a poem to someone else. However, referring to tazkarehs and jongs is the only way to gather the works of poets without preserved diwans, albeit with caution. The oldest and perhaps the most authoritative tazkareh of Persian poetry is Lobab al-Albab; this tazkareh provides abundant and documented information about poets before the 6th century and serves as a source for other tazkarehs and historical books. Based on the editors' statements in Lobab al-Albab, this tazkareh was edited based on two manuscripts by Elliot and Sprenger, which Browne stated were from the 16th or 17th century AD, approximately the 10th or 11th century AH (See: Aufi, 1982: 7). And elsewhere, he states that: “In fact, none of the manuscript copies used as the basis possesses significant antiquity or scholarly precision” (ibid: 19). However, this lateness of the manuscripts of Lobab cannot be a reason for major alterations in the poems, and on this basis, it can be considered one of the most authentic sources for poems before the 6th century, as it was of interest to the authors of tazkarehs, and many later tazkarehs, literary works, and historical books have cited it. After Lobab, various tazkarehs and jongs such as Rawzat al-Nazir, Arafat al-Ashiqin, Atishkadeh, Aftab-e Alamtab, Ruz-e Rushan, Majales al-Nafais, and similar tazkarehs were compiled. Although the main benefit of these tazkarehs is the collecting poems and biographies of earlier poets, especially those without preserved diwans, they sometimes contain attribution errors. In such cases, the most logical approach is referring to the earliest of these tazkarehs and jongs and their consensus on a subject and presenting rational evidence to minimize errors. Literature ReviewThere are various articles and editions regarding Mahseti Ganjavi and the quatrains attributed to him. One of the oldest articles related to Mahseti is “Mahseti Nayshaburi” by Ali Akbar Qawim al-Dowleh, in which he mentions Mahseti Nayshaburi through a narration from Sultan Sanjar (Qawim al-Dowleh, 1960: 161-168). Among the most important articles about Mahseti is “Mahseti-shenasi” by Maryam Mosharraf, which discusses Mahseti's life and introduces two books about him (Mosharraf, 2005: 85-101). There is also an article titled “Stylistic Analysis of Mahseti Ganjavi's Quatrains” by Mohammad Reza Najjarian, which lists his stylistic characteristics (Najjarian, 2016: 241-268). There are more articles about Mahseti, but they are beyond the scope of this research. However, none of the aforementioned studies mention the attribution of the ghazal in question to Mahseti Ganjavi. Furthermore, this ghazal is not present in any of the editions of Mahseti's quatrains. Additionally, the authors of this research did not find any studies on the works and potential poems of Rafi' Marvazi. There has also been no research regarding the attribution of this ghazal to Saadi.

Methods:

The method of data collection in the present research is library-based and note-taking. In this study, a descriptive-analytical approach is used to examine a ghazal attributed to three poets. Several manuscripts and printed copies have also been studied to reach the most accurate conclusion. 

Discussion:

One of the current problems regarding the poems of past poets is the wandering of some of these poems in different jongs and tazkarehs. A famous ghazal attributed to Saadi, and also included as a “mukhammas” (five-line poem based on another poem) on Saadi's ghazal in Helali Joghatayi's diwan, is recorded with Saadi's pen name. However, after examining Saadi's Kolliyat (complete works) and scrutinizing several manuscripts, we did not find this ghazal in Saadi's diwan. This ghazal, present in Helali's “tazmin” (incorporation), also has Saadi's pen name. It is attributed to Mahseti in the tazkareh Biyaz by Taj al-Din Ahmad Wazir and the jong Rawzat al-Nazir wa Nuzhat al-Khatir by Abdulaziz Kashi. A critical point that casts doubt on these attributions is the inclusion of this ghazal in Lobab al-Albab under the name of Rafi' Marvazi. Considering that Lobab precedes all of these works, the attribution of the ghazal to Mahseti and Saadi becomes questionable. Furthermore, in three instances in Jawame’ al-Hekayat, Tarikh-e Jahangushay-e Juvayni, and Makaram al-Akhlaq, a line or lines from this ghazal are mentioned; and given the historical periods of these books, its attribution to Saadi is impossible. Moreover, the attribution of the ghazal to Rafi' takes precedence over Mahseti, as the ghazal in question is attributed to Rafi' Marvazi in Lobab, which is earlier than the other manuscripts. 

Conclusion:

Given that the ghazal in question is attributed to Rafi' Marvazi in Lobab al-Albab by Aufi, and since Rafi' Marvazi was a poet of the Seljughi era, while Saadi is later than him and even the author of Lobab, it can be said with certainty that this ghazal is not by Saadi. The inclusion of two lines from this poem without mentioning the author's name in Jawame’ al-Hekayat, Tarikh-e Jahangushay, and Makaram al-Akhlaq is Another reason to reject its attribution to Saadi. The attribution of this ghazal to Mahseti should also be doubted, as the oldest tazkareh closest to Mahseti's time has attributed it to Rafi' Marvazi. Additionally, this ghazal differs from Mahseti's poems in terms of stylistic and poetic form. Therefore, considering the refutation of its attribution to Saadi and the doubt in its attribution to Mahseti, it is logical and more accurate to trust Lobab and attribute it to Rafi' Marvazi.