نشریه پژوهشهای نسخه شناسی و تصحیح متون
پیاپی 1 (بهار و تابستان 1401)

Persian classical literature texts are among the prominent manifestations of Iran cultural heritage, in which careful and scholarly reflection can expose to the audience unread angles of the text and Iranian thought. To achieve such a goal, one must have a more rigorous form of these texts more than anything else; because the passing of time may have caused forgetfulness, neglect, deletion, displacement and even metamorphosis on their texture and construction for various reasons. As a result, it has offered different and even sometimes readings contradictory to some aspects of these texts, which in few cases, has puzzled and sometimes confused the audience. So, due to this necessity, we read some leading texts emphasizing different versions and special points related to backgammon and chess. We used a descriptive-analytical method and reread the texts in an inductive manner critically. In reread evidence, while defending all the wise efforts made, we got different obvious manifestations, taste perceptions, unusual distortions, my suggestions, etc., and shared these with the audience. The important and at the same time sad point is that most of these misreadings and early my readings have been transferred to later commentators' writings, which has made it difficult for audiences, even educated ones, to read the texts. We hope this study, with some suggestions, take a step towards correcting some errors found in the texts.

Scientific works constitute an important part of the collection of historical writings of Iran. Mathematical and arithmetic sciences have been among the sciences of interest to Iranian scientists. Examining mathematical manuscripts and arithmetic and geometry in terms of identifying the history of science, using their contents to establish new knowledge, as well as finding out the literary and linguistic features of the period in which it was written. Are of particular importance. Therefore, reviewing and correcting such manuscripts, even if they are not in the category of literary and scientific works, can be a priority for researchers and proofreaders active in this field. The treatise on arithmetic is one of the ninth and tenth century writings in the field of mathematics, arithmetic and geometry. The author of this work is Mir Mohammad Ghasem Asir Varamini (Isfahani). This book was written in Baghdad and the author is the same author. The date of its writing, according to the author and its scribe, dates back to 900 AH. This work consists of an introduction and a conclusion, as well as three articles, each of which is divided into different chapters. In this research, the most important features of the thesis book are written along with the introduction of its manuscript and finally the version is examined from a content point of view.

Basiri Khorasani was one of the poets and writers of the tenth centuryAH. He spent most of his poetic career in the Osmani's region and died there. What is available about the poet's biography is limited to a small amount of information which it is obtained from several sources. Basiri wrote poetry in both Turkish and Persian and was also fluent in Arabic. His Turkish Divan has been published in Turkey, but the manuscript of his Persian Divan has not been corrected or published until yet. This divan has 1440 verses, which have been obtained from two manuscripts belonging to the libraries of "Asher Effendi" and "Istanbul University" in Turkey, which were written in the author's own handwriting. The poet has composed most of his poetry in the forms of ode, lyric poem, refrain, verse and quatrain, respectively. Basiri has a tendency towards the style of the poets from the ninth century and the school of occurrence, and his poetry is fluent from the punctuation and fantasies of his contemporaries. He also pays attention to various poetic themes, praises and describes that nature has a good place in his poems. The use of different meters, rhymes and references to words and terms which is related to various sciences these concepts clearlt are evident in his books of poem. This article has been written following the correction of Basiri poesy in a critical way with the subject of introduction, analysis of themes and poetic style of this poet has done completely.

The Comprehensive Introduction of the Court is the oldest, most important and most reliable document known about Hafez Shirazi. The purpose of this study is to re-read and revise this document with the help of newly found copies. This version, which has not been available to memoirists until today, was published in 836 AH. AH has been written and is kept in the library of Punjab University of Lahore with the registration number 1563/4613. To achieve this goal, first this edition is confronted with three printed manuscripts, then some of its most important advantages over the previous editions are stated. The findings of this study show that the manuscript preserved in the library of Punjab Lahore University is, on the one hand, the first and oldest manuscript that explicitly mentions the comprehensive title of the introduction to Hafez's Divan, Mohammad Gholandam. On the other hand, unlike other versions in which the date of Hafez's death and the date of the article are heterogeneous and different, in the mentioned version the date of Hafez's death and the date of the date are the same, ie: exactly the year 791 AH. Is. In addition, with the help of this manuscript, some of the shortcomings and ambiguities in other manuscripts that have a comprehensive introduction are eliminated.

Tayyaba al-Din Mawlawi Arzanjani is an anonymous eighth-century lunar messenger and writer in Asia Minor. His work called Manshat was written in his handwriting in 822 AH. The mentioned sources have not been corrected so far and have not been studied in Mostofi's research. In this paper, by means of analysis and description of qualitative content, the origins of Arzanjani have been analyzed textually. Findings show that the present work is a text that has been written with the intention of guiding and providing lettering patterns in the first place for the public and in the second place for secretaries. The types of formal and informal correspondence are evident in the text; In the position of the name of the audience, a specific name is not obvious and some adverb has been used. The correspondence of the work is not very long and satisfactory compared to the conventional method of the ninth century. The structures of correspondence are influenced by the common styles of the age. The author has testified to the verses, narrations and poems of his earlier and contemporary poets such as Salman Savoji, Zahir Faryabi and Rumi in various positions of the letters. The prose style of the origins is technical and somewhat artificial, so that it is not left out of the usual secretarial expressions and the use of references, puns and other verbal and spiritual techniques. In some expressions of prose, it has taken on a poetic aspect, which indicates the ability.

This study examined one of the financial instructions in the Qajar era. The purpose was to transcribe and review the instruction, study its content, analyze it statistically, present an overview of its local economy, and determine its drawn up model. This descriptive-analytical was carried out through a desk study. The findings indicated that such documents were provided during the Qajar era based on administrative principles and debt-collection techniques. The instruction content showed that the taxation burden was mostly borne by the people, including the peasants. This was done while most of such revenues were not sent to the central government, but most of them were spent on additional expenses and merely a small amount was spent on state development. The review of the instruction showed how Abdullah Alaa al-Molk had ruled in Hamedan. It also explained a small section of the socio-economic history of the Qajar dynasty in Hamedan, which can be generalized to the financial status of other Iranian states in the said period.

It is believed that the oldest available Persian translation of the book alfa Layla va Layla, by Abdul Latif Tassoji in 1261 AH /1845 AD. who is known as the story of the thousand and one nights; But there is another translation called translation of Henrieh in the Houghton Library, a rare Harvard Manuscript Library, which was translated about forty years earlier than the Tassoji version. Therefore, this text is the first Persian translation of Thousand and One Nights, written by Khorasani Bezenjardi around 1223 AH /1808 AD. Translated in Hyderabad (India) at the request of Sir Charles Russell and Sir Henry Russell, brother of a representative of the East India Company, and presented with name of translation of Henrieh to Henry Russell. The authors of this article have introduced this valuable manuscript and studied its important features by descriptive method, citing text and with the help of library resources. The results of the research show that the translation of Henrieh is not only the first Persian translation of alfa Layla va Layla, it is even older than the first edition of Thousand and One Nights, in Arabic, that is, the first edition of Calcutta.Another important feature of Khorasani translation is the Literary ornaments including similes, metaphors, allusions, rhymes and puns that have been added to the text by the translator. This text is adorned with Persian and Arabic verses and There are many verbalizations in describing, Staging and the use of literary subtleties can be seen in it.

Khaghani is one of the greatest composers of Persian poetry who has been described as a perplexing poet to his vast knowledge and using it in poetry, unprecedented illustrations and strange combinations. Three writers of our time, namely Ali Abdul Rasuli, Zia-od-Din Sajjadi and Mir-Jalaloddin Kazzazi, have worked hard to correct his divan. Sajjadi's correction has received more attention in academic circles due to the presentation of verse versions, but two other corrections have also retained their value and have helped researchers. Despite the valuable efforts of these professors and other scholars who have corrected verses from Khaghani, there are still verses in the corners of Khaghani's divan that do not satisfy the reader with his current form and Khaghani does not seem to have composed them in this way. In this article, five of these verses in Khaghani's poems have been examined and an attempt has been made to provide suggestions for correcting them after explaining their inaccuracy or inadequacy in the current form. From these verses, one verse has been corrected by analogy and four verses have been corrected using the edition of Abd al-Rasuli, as well as the duplicates recorded in Sajjadi's correction.

Manuscripts are the written heritage and represent the scientific, cultural and social identity of nations. The manuscript of Kas al-Karam, written by Moinuddin Ahmad ibn Mohsen, nicknamed "Ruh", is numbered 5816 and has 209 pages in the library of Ayatollah Marashi Najafi in Qom. This manuscript belongs to the Safavid period (1056-1107) whose poems are Masnavi and have a mystical content. The text of this version is legible and in Nasta'liq script. The manuscript of Kas al-Karam is a single copy and a selection of mystical poems by poets such as Masnavi Manavi, Hadiqah al-Hafiqa Sanai and Asrarnameh by Farid al-Din Attar Neyshabouri and several other poets. In the poems of the manuscript of Kas al-Karam, ancient Persian words, Arabic words can be seen. The present article uses a descriptive-analytical method and relying on library sources to examine the author's view of the creation of man and love of God. The philosophy of creation of man and the world is one of the most fundamental issues that human beings have always sought to discover and recognize.

Literary journals are sources that can be helpful in editing of poets' poems. This issue becomes important when there is a 400-500 years gap from poet's life to the first dated editions of his poetry. In the meantime, if a poem journals   that its writing date is close to the time of the poet or at least one or two centuries after his death, it can be effective in correcting the verses. In addition, it may have additional verses beside the existing version, and this issue causes raising the discussion of new verses. Among the old calligraphy’s collections, Hagia Sophia No. 2051 were used mostly by Dr. Gholamhossein Yousefi in correcting of Saadi's ghazals. Therefore, this collocation can be compared to other manuscripts and handed -writing Diwan for correcting Jamal al-Din Mohammad bin Abd al-Razzaq Esfahani's ghazals. In this article, with a descriptive-analytical approach, we have discussed the characteristics of Hagia Sophia ‘s manuscript 2051 in relation to the poems of Jamal al-Din Muhammad bin Abd al-Razzaq. Then, we have reviewed the new ghazals and the new verses in the middle or at the end of the current ghazals in old Divan.