One of the most important branches of practical CRITICISM is TEXTUAL CRITICISM that deals with TEXTUAL authenticity. This article highlights a single sonnet in both Shams-e Tabrizi"s Complete Works and KHAGHANI"s Divan. The author first rejects attributing this sonnet to MOULAVI as a MANUSCRIPTION fallacy and then goes on to make use of this so-called sonnet to compare and edit a certain word in KHAGHANI.

In the past one hundred years, as TEXTUAL CRITICISM has become more common in Iran, we have witnessed an increase in the number of TEXTUAL CRITICISMs of classical works. These editions, except in some cases, are generally a kind of imitation and methodological duplication of the work done by renowned scholars in the field, and do not move beyond the virtual structure of the text in question. One of the main challenges of TEXTUAL CRITICISM in contemporary Iran is the disregard for the theoretical fundamentals of this field. Underdeveloped theoretical foundations, in most cases, have reduced the edition of Persian texts to a simple and mechanical countermeasure. Considering the necessity of theoretical discourse in the field of TEXTUAL CRITICISM, this paper tries to explore, explain and critique the teleology of TEXTUAL CRITICISM in various traditional, modern and postmodern views. Moreover, the relationship between reader comprehension and TEXTUAL CRITICISM has been criticized as one of the forgotten principles in the theoretical areas of correction. Introduction TEXTUAL CRITICISM has been defined variedly in different eras and civilizations. The kinds of texts, ideologies, worldviews, social structures and scientific movements in different periods of human civilization have resulted in the development of different methods of TEXTUAL CRITICISM. These methods have been based on users’ understanding, which has been in turn affected by the goals pursued in TEXTUAL CRITICISM. At least three kinds of teleological viewpoints, developed in classical, modern and postmodern eras, can be traced in TEXTUAL CRITICISM. In the classical era, the text is considered to be sacred, while in the modern era it is desecrated and examined within the framework of a scientific process. By going beyond TEXTUALity, postmodernism seeks to identify factors contributing to the production of the text, no longer finding it to be exclusively formed by the author. Theoretical Framework In the past two centuries, European scholars have tried to replace traditional methods of TEXTUAL CRITICISM with modern ones. TEXTUAL CRITICISM has a thousand-year-old history in the Islamic civilization. In the contemporary era, although many valuable Islamic works have been TEXTUALly analyzed and emendated, Muslim scholars have been unwilling to join the theoretical discussions on TEXTUAL CRITICISM, such as the teleology of such an endeavor. Our understanding of the text and the methods we use to reconstruct old and modern texts are directly influenced by the telos followed in the TEXTUAL analysis of texts. Teleology is the basis of theories of TEXTUAL CRITICISM and provides the theoretical framework for TEXTUAL studies. Thus, engagement in such discussions, which have been predominantly overlooked in Iran, can pave the way for theoretical debates on the nature of TEXTUAL CRITICISM. Methodology In the present study, first the traditional perfectionist attitude toward TEXTUAL CRITICISM, which is based on the Iranian culture in the Islamic era, is examined. Then, the bases of the modern experimental attitude will be discussed, and finally the pluralistic postmodern viewpoint will be studied. Also, the role of the audience in the teleology of the texts will be analyzed. Findings Traditional scholars have adopted a perfectionist outlook toward TEXTUAL CRITICISM as a tool for annotating and ornamenting texts. In the modern outlook, which has been influenced by scientific-experimental movements such as Darwinism, the text is regarded as a kind of evolution and attempt is made to trace the possible changes that the text has probably undergone so that its original form is revived. In the postmodern attitude toward TEXTUAL CRITICISM, a democratic approach is adopted and the text is considered to be the outcome of the contribution of different factors rather than being exclusively created by the author; thus, the postmodern critic tries to offer different accounts of the changes in the text, rather than reverse these changes. Conclusion Our conception of the text and its reconstruction is rooted in the telos resulting from the outlook taken by researchers and manifested through their taste and concerns. Audiences in different eras determine what objectives different texts and TEXTUAL studies should pursue. However, not all audiences do exert the same influence; “ superior audiences” develop new ends for researchers by attaching more importance to specific types of research. By refining their ideological and scientific beliefs, these audiences provide TEXTUAL researchers with more reasonable ends.

Bahar-e Danesh by Enayatollah Kanbuh Lahouri is a work of Persian literature in India and among the mostly-read literary works of which more than three hundred manuscripts and some commentaries and dictionaries are available. There are few books which have this number of manuscripts. There in not yet an authentic TEXTUAL CRITICISM of this book in Iran. This book has been an example for secretaries and a textbook in schools and for learners of Persian in India which represents the style of story-in-story in Indian story writing. The style of this work is embellished and the writer has been mainly concerned with decorating the words and sentences in it. The primary aim of the writer is decoration of discourse rather than fictionalization. Motifs of the stories are various and a mixture of Persian and Indian stories. This book is among the books of female tricks and it can be investigated sociologically beside similar works in Persian literature. More than such points, it is also one of the texts of folk literature. Compared to other works in this field, the language of this work is more difficult and embellished. This article aims to provide a TEXTUAL CRITICISM of this significant literary text which has taught Persian language to a large group of Indian fans for many years. Besides introducing the text and its literary and stylistic values, the fictional characteristics and motifs of this text are also introduced.

The correction of the documented heritage, is a necessity in research which must be fulfilled, based on a scientific methodology, understanding of the standards of correction and critical view to the text. It is only through this procedure to do the initial correction of a text or recognize the text correction flaws and attempt to proofread and re-correct the text for a second time. In this article, it is attempted to conduct a critical study over "Emadi Shahryari" epistle(Divan)and to express briefly its flaws in five categories, alongside the flaws which has misguided the reviser. The Introduction and categorization of these flaws can lead to preventing them from being repeated and assist the other revisers not to have similar flaws. The authors have categorized the flaws under fifteen general titles, for each evidences have been delivered from "Emadi's" Divan refined by "Zabi-al-la Habibi.

There is a bilateral relationship between Psychoanalysis and literature. Literature enlivens the soul and psychoanalysis dissects literature. What psychoanalysts express today has attended in the past literature and is proposed now scientifically after psychoanalysis was identified as a science. By analyzing an art work from the perspective of psychology, it seems being possible to understand artist’s personal characteristics and their reflection in his work (s). In this paper which is the result of critical reading of KHAGHANI’s jeremiads through a psychological approach, concepts such as sublimation, projection, self- deception, narcissism and social support, and also the individual and collective unconscious attendance, shadow, the struggles of institution and super-ego have been investigated using an inductive method.

Introduction: The religious epics are historical epics that narrate on literary levels the lives of religious leaders, rituals and events, and the conflicts between religions. Islam and Shiism provide valuable sources of inspiration for Persian poets in writing religious epics. A great number of these works deal with the past wars that, since the advent of Islam, have been associated with the confrontation between Right and Wrong, and have been intended to demonstrate Islamic values and moral norms. The Shiite epics are mostly centered around Imam Ali and Imam Hussein. These epics are known as Alinameh and Hosseiniehnameh, respectively. Among the most valuable and magnificent religious epic poems, we mention Delgoshanameh by Arjmand Kashmiri, dealing with the Mukhtar Uprising, which has not been analyzed, corrected, studied and recognized thoroughly yet. According to some sources, this work is credited to Azad Belgrami, but after examining the earlier and later sources, the attribution is found to be incorrect, and the work belongs to Arjmand Kashmiri. Delgoshanameh recounts Mukhtar's story in a precise and detailed manner. Research objective, Literature review and Methodology: The authors of this research looked at the TEXTUAL aspects of Delgoshanameh, which is one of the lesser-known works in this field. There are various points to be observed in attributing the work to two poets (Azad Kashmiri and Azad Belgrami), secondly, the poet's condition should be examined as thoroughly as possible, and thirdly, concerning the work and its extant versions, the text's content and linguistic features, as well as its most important aesthetic features, should be scrutinized and analyzed. The current study was conducted using the bibliographic approach and was based on qualitative content analysis and description. The literature review can be summarized as follows: Aidenloo (2007) quoted a verse from Azad Kashmiri on Zulfiqar in his article “ Zulfiqar, from history to myth (narrative characteristics of Zulfiqar in Iranian culture and literature)” . While introducing poetry books of Persian Mokhtarnamehs ( Poetry that chronicles the story of Mukhtar's uprising is sometimes published under the general title “ Mukhtarname” ), Qaffari (2019) mentioned Delgoshanameh and briefly debated the accuracy of attributing the work to Azad in his piece "A Look at Mukhtarnamehs” . Abdollahi (2011) briefly referred to Delgoshanameh in the articles “ Supplementary version of Heydari’ s attack or a single work” (2011) and “ Introduction: of epopee of battles” (2012). Discussion: Mirza Arjmand Mohammad Khalaf Abu al-Qasim ibn Abd al-Ghani Beyg Azad Kashmiri (1722 AD) was the son of "Qabul" Kashmiri who taught him the fundamentals of science and literature. In memoirs and books on literary history, little is known about him. His Iranian and Tehrani origin is confirmed in the work's concluding stanza. His pseudonym was “ Azad” at first, but he eventually altered it to “ Jonoun” . They erred in assigning Delgoshanameh to Azad Belgrami due to the resemblance of the pseudonym between Mir Gholam Ali Belgrami and Mirza Arjmand Mohammad Khalaf Abolghasem Abdul Ghani Beyg, both of whom had “ Azad” nicknames, from ancient recollections to certain current sources. Delgoshanameh was written in 1709 and has around 16, 500 verses. Delgoshanameh is composed in the form of Bahre Moteqareb. This collection begins with Tahmidiyeh) a preface relating to praising god) following Ferdowsi's Shahnameh and the prevalent style of Persian Mathnavi. Around 1709, Azad began writing the collection, which recounts the events of the Mukhtar Uprising, and finished it in six years. With the highest fidelity and attention to detail, Arjmand attempted to portray the most exact and full sequence of this significant Shiite event for the readers. Due to the theological and historical aspects of the narration, as well as the Shiite philosophy that pervades the work, the poet expressed his deep spiritual anguish over the Ahl Bayt's (prophetic household) sufferings in a language full of sorrow. The speech's epic and heroic tone, particularly in the disputes between the heroes and the descriptions of the battlefields, is reminiscent of Ferdowsi's Shahnameh's glorious descriptions and tone. The regretful and heartfelt prayers of Arjmand Kashmiri, which are described in the opening and at the end of the book, are one of the special and noticeable elements of the Shiite Mathnavi of Mokhtarnameh. Arjmand Kashmiri dedicated verses to advise and words of wisdom while recounting in the framework of Shahnameh and in the style of Ferdowsi’ s speech. However, Arjmand’ s approach in these words of wisdom, which is different from Ferdowsi's brievity, is verbosity, an example of which is quoted below. More than 10 unique and verbose saqinamehs have been written in Delgoshanameh. After all, the inclusion of this type in the story's narration resulted in some spiritual positions. In terms of style, it is important to mention that the work's language is relatively beautiful and strong. There are many allusions and references to the story and the Qur'an and narration in the book due to the religious context and the excellence of the story. Conclusion: Delgoshanameh is written by Mirza Arjmand Azad Kashmiri that has been mistakenly credited to Gholam Ali Azad Belgrami for the first time in the Rio list. The Bankypour Library Manuscript List is the oldest source that warns of this erroneous attribution. Six manuscripts of Delgoshanameh can be found in Iranian and international libraries. Only the copy in the National Library of Iran contains the complete text of the work and is of aesthetic worth among all the copies available in Iran. In Iran, other copies are incomplete. Delgoshanameh's historical narrative is founded on Atta Ibn Hussam Waez's Mokhtarnameh in prose in most of the collection’ s stances. Mukhtar's religious story has been portrayed in an epic tone by Arjmand Kashmiri. Battle scenes, dialogues, heroics, mass battles, and hand-to-hand fighting rites are all described in detail. Sometimes, between the narration, there are some pieces of advice which are relatively verbose. Shahnameh's effect on the work is undeniable. In Delgoshanameh, there are numerous saqinamehs. Saqinamehs appear at the opening of stories and at the triumphant Conclusion: of Imam Hussein's (AS) punitive forces. Saqinamehs are partly similar to Tajdid-e-Motale Qasayed and give a lyrical taste to the narration.

The purpose of this text is to recognize the hadith evaluating method of the old Shiite ulama and to open window for returning toward their basic, realistic and efficient method.The author tries to verify old Shiite ulama's approach to hadith from different perspectives such as recording the text, discrepancies in texts and also in one word authenticating the text.Since there is a close relation between authenticating the texts and bibliography, the author recommend the readers to read his previous article on Najashi and Tusi's Fihrists.

Khaqani Sharvani, whose eloquence and fluency has long been recognized, is one of the most prominent Persian poets of the sixth century. In his poetry, he uses the terminology of different sciences and wordplay to the extent that the reader is often required to consult dictionaries and references repeatedly. The original manuscripts of Khaqani’ s divan gradually disappeared due to factors such as war. A mere handful of these manuscripts are available now which form the basis of research projects. Nevertheless, the availability of several valid copies of his divan has partially satisfied students and poetry enthusiasts in the last decades; yet, the lack of an immaculate critical correction of his divan still exists. In this study, considering the abundant errors in Khaqani’ s divan, which have entered it by the scribes and correctors of the manuscripts, and also considering the fact that Khaqani emphasized the importance of form and its influence on the semantic dimension of his poems, the authors try to correct some of the errors in Sajjadi’ s version using other print versions or manuscripts. Undoubtedly, these very few samples indicate the necessity and significance of correction of Khaqani’ s poetry.

One of the popular Persian folk tales in the Qajar era is Malek Jamshid, Asef Spell and Crystal Bath, which is the last remaining Persian mythological tradition by Naqib al-Malak. It is one of the rare folk tales that the author has. The author of this book and Amir Arsalan are the same, but Malek Jamshid has been less known due to Amir Arsalan's fame. The difference between these two books is due to the audiences,Malik Jamshid's audience is general but that of Amir Arsalan is specific. This study aims to familiarize the literary people with this less known story, its literary and social dimensions, and textology of it. Therefore, while introducing the story and its narrator, Mohammad Ali Shirazi, known as Naqib al-Mamalik, and introducing the manuscripts editions and making a report of the story, we try to deal with this work from three perspectives: first, linguistic and literary aspects,second, the narrative aspects and themes of the story, and third, the social aspects. Examining the literary and social dimensions of the story, in addition to revealing some aspects of life in the Qajar era, manifests the thoughts and ideas of people of that era and their tastes and entertainments. The purpose of this article is, thus, to introduce one of the Iranians’,fictional legacies in an era very close to the constitution and literary developments.

One of the popular Persian folk tales in the Qajar era is Malek Jamshid, Asef Spell and Crystal Bath, which is the last remaining Persian mythological tradition by Naqib al-Malak. It is one of the rare folk tales that the author has. The author of this book and Amir Arsalan are the same, but Malek Jamshid has been less known due to Amir Arsalan's fame. The difference between these two books is due to the audiences; Malik Jamshid's audience is general but that of Amir Arsalan is specific. This study aims to familiarize the literary people with this less known story, its literary and social dimensions, and textology of it. Therefore, while introducing the story and its narrator, Mohammad Ali Shirazi, known as Naqib al-Mamalik, and introducing the manuscripts editions and making a report of the story, we try to deal with this work from three perspectives: first, linguistic and literary aspects; second, the narrative aspects and themes of the story, and third, the social aspects. Examining the literary and social dimensions of the story, in addition to revealing some aspects of life in the Qajar era, manifests the thoughts and ideas of people of that era and their tastes and entertainments. The purpose of this article is, thus, to introduce one of the Iranians’ fictional legacies in an era very close to the constitution and literary developments.