TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2016 | Volume:51 (NEW VOL. 7) | Issue:4 (28)|Papers Count:7

This research aims to familiarize the researchers with “Qisas Al-anbiya” written by "Mohammad Ibn Abdollah Kisai", to introduce detailed Persian translations of this book manuscript. Study within the text of the translations in order to achieve the structure of style (language and literature) is also one of the strategic objectives of this research. Considering the lack of information on the author's life and identity of the Persian translators work, cataloging and bibliographers critical comments about it in this article are intended. The main reasons for the author's approach to this issue can be the narrative style and the popularity of Kisai's work of fiction among Muslim communities and numerous manuscripts in the libraries of the world, as well as translations of Persian manuscripts unknown in Iran and the world considered.

The correction of “Gouy va chowgan” (karnameh)made by the Ghasemi Gonabady published as enclosed to two volumes of seasonal journal of Ayeneye Mirath. This manuscript is aimed to make a critical correction on the matter with respect to the correctors, some points must need modification including: the year of versifying the “Gouy va chowgan mathnavi” is 947 instead of 977. The birthday of the Ghasemi Gonabadi mistakenly noted at 930, while versifying of Mathnavi of Shah Esmael Nameh" is 940, "the Gouy va chowgan" and “Leili va Majnun was versified in 947", "Shahrokh Nameh", "Khosrow va Shirin" and "ShahTahmasbnameh" in 950. Furthermore, the scientific method hasn’t been applied in the correction of the book especially in the preface and also the correctional method throught the book is not uniform and even sometimes the citations from other manuscripts are in the square bracket, but other times aren't. Even the important part from different manuscript is not shown as footnote or inside the manuscript. The present research has corrected the errors and faults of the correctors based on a logical and scientific method.

Saebe Tabrizi and Bidele Dehlavi of the most famous poets in Hindi, which each in turn, the Iranian branch and Hindi Hindi style, the lyrics have been changed in this period. Most scholars who have studied the poetry Biddle to research, Specific compounds as one of the most important factors in a monopoly ambiguity Biddle poetry and in the making and meaning of these compounds have less reflection. Here are the lyrics to rely on dictionary and Biddle, the Iranian branch of specific compounds in both Hindi and Hindi poetry style is investigated. Combining both his first two exocentric and endocentric compounds is assorted, Based on Syntactic relations, various models of deep structure and composition relationships is presented. Saeb specific compounds and Biddle in deep syntactic relations as diverse as the relationship between the finite, nominative, accusative, amendment and so on. The semantic structure, certain combinations of the two poets more varied combinations are commonplace in standard language, so that some of the compounds exist in terms of meaning in language.

The description and interpretation of literary texts are one of the difficult works that every literature scholar has not the ability and endeavor to deal with it. To describe a divan, the mastery of items of information and facts is necessary in order to describe or interpret the intended poems in the best possible way. Naser Khosrow’s divan is one of the divans that is described by few researchers. One of the written descriptions on the divan is a description by Mohammad Hussein Mohammadi (PhD) and Mohammad Reza Barzegar Khaleghi (PhD). The third edition of the first volume of this description is published by Zavvar Publication in the summer of 2012. The book is almost the most complete description with abundant benefits and values among the written descriptions on Naser Khosrow’s divan. Undoubtedly, alongside the benefits and values of the book, a number of slips are found in it that it is attempted to mention some of them in this paper.

Darab name tarsusi is one of the most known of Persian folktales that has a high research capacity. Symbolic criticism and its cryptic capacity, myth criticism, epic criticism and surrealistic aspects of this story is that it will shows its important. Tarsusi brought out a prose religious- historical epic, with adaptation of national epic, that it show his knowledge and acquainted. The role of epics and national epic characters in this fiction, no doubt, is very effective. In this fiction iskandar, however, has same epic- heroic function as rustam, isfandyar and sam (in sam name of khajo- kermani). This research done in a descriptive-analytical and library attitude, and we sought to understand to know that how many acquainted tarsusi with national and transnational mythology and are we can separate and sort mythology and beliefs. After reviewing we are sorted them in this kind: myths and beliefs that are Iranian origin, myths and beliefs that are Islamic origin and myths and beliefs that are sami origin.

The publication of Shahnameh by Khaleghi-Motlagh was a grand evolution in the study of Shahnameh and manuscript editing in Iran. Khaleghi’s direct invitation of critics in his introduction to investigate all the verses of his edit and also various discussions about manuscript editing in Notes on the Shahnameh by him has opened a new horizon for the scholars of this field. We presented some criticisms on the first volume of Shahnameh edited by Khaleghi-Motlagh using Khaleghi’s editing method, Ferdowsi style and San Jozeph manuscript along with other marginal resources. And based on it, we criticized some of Khaleghi’s meaning understandings in Notes on the Shahnameh.