مجله متن شناسی ادب فارسی
سال ششم شماره 4 (پیاپی 24، زمستان 1393)

Homâyun-nâme is a verses in motagâreb meter with nearly sixty thousands couplets. This verses has been versified by a poet by the name of Zajjâji in seventh century. Subject of this verses is started by prophet of Islam and events of beginning of Islam and continue with narration of Islam and Iran ś history to age of Arsalân son of Togrol. Homâyun- name has two parts and manuscript of its second part is incomplete. Zajjâj ś verses، in spite of its oldness and detailed account، less has considered. In this paper we study attentions of Zajjâji to Ferdowsi and his extractions from Shâhnâme in three subjects/ parts: 1. Ferdowsi and Shâhnâme in Homâyun- name 2. names and stories of Shâhnâme in Homâyun-nâme 3. Zajjâji ś imitation from Ferdowsi ś style.

Qirān-i Habashī is a brave hero of the one Persian prose epics that Abū Tāhir al-Tarsūsī، creative Bard in the sixth century AH، narrated his glorious deeds and conquests. After Samak e Ayyār and Gardankeshān Name، Qirān-i Habashī is the third prose epic that its title was selected by its outstanding Ayyār’s name. First of all، it was found necessary that introduced six Turkish and Individual Arabic manuscripts of Qirān-i Habashī then presented a description of the Persian unique manuscript properties of this epic and its orthographic manner or grammar properties. The next part displayed influence of Qirān-i Habashī on the other narrations like Garshāsp Name، Abu Muslim Name، Iskandar Name and Malek Qasem and badi al-Zamān. It’s Surprising that for the first time character of Samak e Ayyār appeared in a different story with Qirān-i Habashī and Amr son of Umayyad zamri. Final part delivered evidence in association with Qirān-i Habashī that lead to divide of Ayyāran. In the end، this paper has presented a Description of Qirān-i Habashī’s story plot.

Maghamate Hamise is a literary master piece written in prose by Ghazi Hamidudin in the Twelfth century. Maghame is a well-known genre of narrative and story-telling. The Persian maghame was adapted with some modifications from the Arabic maghame. The invention of the genre and the common themes of maghame was attributed to Badi-e-Zaman Hamadani. There are four editions of the manuscript of this maghame. Among them Dr Reza Anzabinejad’s edition of Maghamate Hamidi is the best due to its observance of critical editing rules. However، due to the editor’s negligence of stylistic rules and some editorial errors many extracts of the book seems to be confusing. In this article by highlighting some of the confusing extracts the writers emphasize the necessity for providing a new edition of Maghamate Hamidi.

It is said that the first Persian mystical poems must have been composed before the fifth century. This matter can be traced via a number of signs extant in the old texts. Though the original form of such poems have not been recorded in the books، one of the great poets of Samanid and Qaznavi periods who has a special share in circulating mystical notions in poetry is Abu Said Abulkheir. There are a few verses of the mystical poems ascribed to him in the late manuscripts whose analysis can give us an image of how and when some Shiite notions gained currency in Persian quatrains. Analyzing the quatrains ascribed to Abu Said، this research aims to explore their status and، while answering the probable questions، the entrance of such notions into mysticism is also recognized.

‘Arafat al-‘Ashegin va ‘Arasat al-‘Arefin is one of the most important ancient Persian literary Tazkerehs and is considered as the most complete work in its genre. There are two published versions of this valuable work that the latter version is more scientific and correct than the former one. However، there are numerous mistakes in such detailed version due to the defection of manuscripts and distortions by scribes and the presence of various assistants. Since some of such issues relate to the method of correction and nature of the work، while criticizing the work of correctors، the author has allocated a general discussion to the pathology of publishing Tazkerehs with regard to the features of this genre.

The prophets of Israel became imbricatedwiththecharacters andmythsof ancient Persia، a fact which can، on the one hand، be ascribed to the efforts of Parsis and Muslims attached to ancient Persian culture to legitimise Persian mythology. On the other hand، to a gradual obliviousness to the fact that no actual historical connection existed. The appearance of holy figures in Shiism was another factor. Sulaymān occupied a central place in this narrative imbrication because of his resemblance to Persian king–priests such as Jamshid. In this paper، the reasons for the imbrication of national and religious elements in the emergence of Persian epic poetry constitute “variables” while the development of the figure of Sulaymān acts as an “index.” Through historical analysis، we trace the narrative role of Sulaymān in Persian epic poetry back to translations of the Khodāy-nāma and other texts that predate Ferdowsi’s Shāh-nāma. After Ferdowsi’s Shāh-nāma، the figure of Sulaymān evolved in popular oral lore and the songs of wandering minstrels. Influenced by the oral forms، it became fully rounded in – oral and later written – Persian epic poetry، most notably in the Shāh-nāma of Asadi. Finally، as the figure of ‘Ali entered Persian epic poetry in the Safavid era and the epic lost its national (heroic) character to become historical and religious، the figure of Sulaymān began to fade into the background.

This study shows that it is possible to correct or improve، by means of textual criticism، the results obtained from less accurate stylistic methods; the result is the introduction of a new method for accuracy of stylistic deductions by assisting textual criticism. The exact date of the writing of Jaame’-os-settin، known also as “the exegesis of Sura Joseph” and written by Abubakr Ahmad ibn Mohammad ibn Zayd al-Tusi، is not known. There has been estimates based on stylistics criteria، and based on stylistic characteristics، it is placed almost at the same time Kashf-ol-Asrar was written، i. e.، the second decade of the 6th century A. H. The author of this article became suspicious of this dating when he found some Arabic verses in the text by some poets living at least 70 years after this estimated date. Therefore، he started reviewing all the verses of poetry in Jaame’-os-settin which belong to a variety of Persian and Arabic poets، in order to find the true author of the verses. Because Tusi has maintained that he، in writing his own book، had used books on the art of preaching، especially those preaching using Joseph’s story، the author of this article concentrated on the preaching texts which contained some of the poetical verses found also in Jaame’-os-settain; this led to more evidence supporting the thesis of the research، and the recognition of the fact that a way to estimate a date would be to consider and compare the variants of the Persian and Arabic verses in different books، especially the Arabic verses which، due to Persians’ lack of fluency in this language، have gone under little evolution. One other fact which helps in pinpointing the date is a migration from Khurasan to Iraq to Azarbayejaan ascribed to Tusi by his biographer، a migration most probably taken as a flight from advancing Mongol armies. This completely corresponds to the date obtained by tracing the poetry verses as mentioned، and gives us an estimated date of the second decade of seventh century A. H، instead of previously held estimate of one century earlier.