مجله متن شناسی ادب فارسی
سال ششم شماره 3 (پیاپی 23، پاییز 1393)

Many ascribed quatrains to Khayam in various Persian versed texts have been recorded under the name of other poets. In addition to creating doubt about the validity of ascription of Khayam’s quatrains، this also makes the ascription of such quatrains to other poets difficult. The discrepancy about the ascription of such quatrains is so that sometimes seven poets are mentioned for a quatrain in different sources. It is more than a century that Persian and foreign scholars have studied about the validity of ascribing such quatrains but the need for more researches still remains. Though the validity of ascribing the quatrains attributed to Hafiz has been investigated before by scholars like Masoud Farzad، Mohammadamin Riahi and others، there is still a long way before researchers in this field for reaching reality. Studying eleven quatrains which have been ascribed to both Hafiz and Khayam، this article aims to explore the validity of such ascription to the two poets. After mentioning the place and date of ascribing the quatrains to each of the poets، the linguistic stylistics and history of these quatrains are discussed and their theme is evaluated comparatively with the theme of authentic quatrains of Khayam. Finally، refuting their ascription to both Khayam and Hafiz، their ascription to another poet is proposed.

In the translation of Adventures of Haji Baba of Ispahan، Mirza Habib Isfahani has transferred the heritage of traditional Persian writing to the modern fiction writing. Mirza Habib method in this translation in which different texts are present is as if previous texts are playing in an orchestra in this last flame of traditional prose. Amongst such texts، Sa’di’s works، especailly Gulistan، have a prominent presence. Thus، the authors of this article aim to explore intertextual relations of this work with Gulistan on the basis of Gerard Genette theory of transtextuality in three levels of explicit intertextualit، covert intertextuality (implicit) and connotative intertextuality as well as hypertextuality. The references of this translation to Gulistan and Mirza Habib’s borrowings from this work reveal the role of Sa’di’s language and expressive style in the formation of Mirza Habib’s method of writing and style. Such an attitude is، indeed، a response to the hypothesis that whether contemporary prose can be considered as the sequence of traditional prose and linguistic and expressive links of classic texts with contemporary texts can be identified or not.

Ali Qoli Khan Valeh Daqestani is one of the twelfth century (AH) poets who was born in 1124 in a Daqestani family and went to India in 1146. In India، he entered the court of Gurkani kings and did military as well as court jobs until 1170 when he died. His Divan consists of 12 odes، 199 sonnets، 8 Qet’ehs، 5 Mathnavis، 476 quatrains، 20 couplets and 36 one-verses which are in all not exceeding 3170 Persian stanzas and a few Turkish and Urdu verses. Most of his poems are in the form of sonnet and quatrain. In composing his poems، he paid attention to the manner of poets like Anvari in ode، Hafiz and Naziri Nishaburi in sonnet and Nizami Ganjavi in Mathnavi. Most of his poems are romantic and for showing separation from his beloved Khadijeh Sultan، the very person who made him Valeh. She was the daughter of his uncle and they had been grown with each other from childhood. The invasion of Afghans and the Nadir’s dominance over Isfahan separated them and led to his infatuation and finally compulsive immigration to India. The description of this sad separation has been reflected vastly in his poems as well as the works of his contemporaries like Mathnavi “Valeh and Sultan” by Faqir Dehlavi. In spite of possibility of well living in India، he had a very simple and dervish-like living and accompanied the poor. He is a Shiite poet and has some poems in praise of Imam Ali and satire of some of his contemporaries. The similarity of his name with other poets has led some catalogue-makers into mistake and consequently the poems of other Valehs have been recorded under his name. This article aims to shed light on some corners of his life and career.

Molana Abdullah Hatefi is one of the poets of Timurid and early Safavid periods who has composed four Mathnavis، imitating Nizami’s Khamseh، in addition to divan of poems and Shahnameh Hazrat Shah Ismail. He is the nephew and student of Abdulrahman Jami and Jami himself encouraged him to compose Khamseh. Timornameh is his most famous work which has been composed as an imitation of Ferdowsi’s Shahnameh and Nizami’s Iskandarnameh. This historical epic describes the life of Timur Gurkan، especially his wars and battles. Novel and delicate meanings، beautiful and innovative descriptions and lexical and semantic embellishments put this Mathnavi amongst the most important historical epics of Persian literature. Also، the presence of old and rare words، Turkish and Mongolian words and idioms prevalent in the Persian language have made this work a valuable source for lexicographers. The historical aspect of this work is also of significance. The correction of this work can open a new space for broader researches on Hatefi، the style of his works and the condition of his time.

In a chain of narratives about the heroic actions of Rustam in his youth to which we have access، we are facing with two versed narratives known as “Babr-e Bayan” and “story of the shrew”. The subject of these two narratives which have not been corrected yet is that Rustam goes to Hindustan for fighting a scaring dragon and kills it by the trick he devises. Though the two narratives are similar regarding the theme، there are notable differences between them. Investigating the mythical motifs of “Babr-e Bayan”، it can be said that it is amongst the epic versed works which enjoy an authentic and ancient narrative. Moreover، the exploration of such motifs shows that this story is older than “story of the shrew”. In other words، the themes and motifs of the latter have been taken from the narrative of the former.

The review of belletristic links between Arabic and Persian can be considered as one of the most valuable realms of study in comparative literature، because these two nations have always had a history of cultural and historical relationships. One of the most interesting subjects in this area is the way in which Persian poets adopted their Arab colleagues’ - specially Abu al-Tayyib al-Mutanabbi (the famous poet of Abbasid period (915- 965MD) -contents and purports. This study is going to have an in depth review of Masu’d Sa’d-i Salman’s poems -Persian poet of Ghazanavid period- (1046-1121) – in order to investigate al-Mutnbbi’s influence on him. Besides his proficiency in Arabic language and his familiarity with al-Mutnbbi’s poems، the intellectual and emotional similarity between the two and living in a relatively identical political condition had led to a kind of resemblance in the contents of their works. This survey reviews similar contents of the two Divan using comparative aspect in Abu al-Tayyib and Masu’d Sa’d-i Salman’s poems. Several exemplifications show that Masu’d Sa’d-i Salman sometimes translated al-mutanbbi’s poets and used them artily. Sometimes however، we can find identical contents originating from connotation between the two poets، so they should not be considered as adoption or translation.

Tabarestan history is a very valuable book full of historical and geographical issues، Persian and Arabic literature، etymology and philology، science of dignitaries، tales، Shiite studies etc، and covers a vast range of studies; especially it is a unique book with regard to historical and literary tales about the liberalist movements which have been leaded by great figures entitled as “Seyed”. Though covering a vast domain of knowledge and information، unfortunately this book has not been considered by scholars and researchers as much as it deserves. One of the fields which has not been considered at all is the correction and printed version of this valuable work. The only available printed version of this book has been published by Abbas Iqbal Ashtiani in 1321 (AH) and its great advantage is using of the manuscript belonging to pre-tenth century which now there is no trace of it in the indices of manuscripts unfortunately. Anyway، the author aims to take a more precise look at the only available correction of this book and consequently many suggestions and selections of the corrector in the text of the book have been explored critically in order to offer the reader the correct record.