| چکیده انگلیسی مقاله |
Abstract In collection number 15492 of the central library of Astan Quds Razavi, an unknown Tazkirah is preserved, which only 15 pages remain and its content includes the introduction of 48 poets from Mir Sarbarehne to Lotfi Sani. Although the author’s details and the date of its composition are not known, according to the time frame of its poets, it was probably written in the second half of the 10th century AH. This Tazkirah was strongly influenced by Lataifnameh of Fakhri Heravi, so its text was compared with Lataifnameh and it was found that the author of the Tazkirah has either deleted some of the contents of Lataifnameh, including prose sentences and poetic verses in his Tazkirah, or has changed the lexical and syntactic structure of Lataifnameh. Instead, the author sometimes added a few complete biographies and sometimes one or several sentences and a few verses to his Tazkirah, all of which are new. Of course, some recordings of historical and geographical announcements and poetic examples of this Tazkirah are doubtful and wrong, and the verse of a poet is attributed to a poet of the same name, but they can be corrected by using Lataifnameh. Keywords: New Tazkirah, 10th Century AH, Lataifnameh, Comparative Comparison. Introduction Literature history in its true and comprehensive sense should represent all the literary efforts of a nation. Compiling such a literature history is difficult and time-consuming, but its existence is necessary and useful. Literature history owes a large part of its existence to the eight centuries of tradition of writing poets’ Tazkirahs, which began with Lubab-ul-albab by Awfi (compiled in 618 AH), and continues to this day. In fact, a large part of the information about our literary history is derived from the content of poets’ Tazkirahs, and the literature history is actually the continuation of the process of Tazkirah writing in a new and methodical way. Golchin Ma’ani in Tarikh-e Tazkiraha-ye Farsi and Naqavi in Tazkirah-nevisi-ye Farsi dar Hind va Pakistan have introduced more than 500 Tazkirahs and pseudo-Tazkirahs, but now that more than half a century has passed since the writing of these two important and authoritative works, other manuscripts of the Tazkirahs have been identified which in this study, a newly new Tazkirah will be introduced in terms of manuscriptology and bibliography, scattered pages of which have survived and are available. The importance of this Tazkirah is that it is one of the Tazkirahs of the 10th century AH, and Tazkirahs written up to this century are usually of special importance, especially since their number is not very large compared to the following centuries. Therefore, identifying and introducing any Tazkirah from the 6th-10th centuries AH is essential and useful because the more Tazkiras are introduced and their texts are corrected, the more extensive and complete the initial information for compiling the literature history becomes, and the more comprehensive the history of our literature is, the more clear the history of our culture and literature will be. In addition, Tazkirah is one of the most famous and prolific genres, and as our information about Tazkirahs increases, the course of change and evolution of this genre will become clearer. Materials and Methods This research was conducted using a library and comparative method, meaning that first, this Tazkirah was examined descriptively in terms of content, then its information was compared with its sources, especially Fakhri Heravi's Lataifnameh, to determine the extent of its adaptation and innovation. The sources used in this research include: The manuscript in number 15492 of the central library of Astan Quds Razavi, Majalis-ul-nafais of Amir Ali-Shir Navai, Lataifnameh of Fakhri Heravi, Habib-ul-seyar Khandmir, and Tazkirat-ul-shu'ara of Dawlatshah Samarqandi. Research Findings In this Tazkirah, the biographies of 47 poets are mentioned as follows, but the biography of Amir Haj is left at about one-third of the page. Considering that all 48 poets mentioned in this Tazkirah belong to the 9th-10th centuries AH, and if the sections before and after them also belong to it two centuries in terms of time, it is not unlikely that the author of the Tazkirah composed his work in the second half of the 10th century AH. It seems that the author of the Tazkirah intended to maintain alphabetical order in arranging the biographies, but he did not fully succeed in doing so. In compiling his material, he used, in order of the amount of use, the Lataifnameh of Fakhri, Habib-ul-seyar Khwandmir, and the Tazkirat-ul-shu'ara of Dawlatshah Samarqandi. The geographical scope of the poets mentioned in this Tazkirah is diverse and is not limited to a specific region. Regardless of the poets whose birthplace or place of growth is not mentioned, it can be said that the content of this Tazkirah mainly includes the introduction of poets from the northeast of Iran and contains useful information about poets from Khorasani, Mavara-ul-nahri, and Turkestani, with most of its content being about poets from Khorasani, especially from Herat province and its surrounding cities in present-day Afghanistan. The author of Tazkirah often criticized poets and their poems in a laudatory manner, but his general and tasteful criticisms sometimes included important points about literary developments and genres, as he sometimes addressed technical issues of poetry, poets’ innovation, and common poetic themes and formats. He sometimes has described poets in terms of their physical, moral, and behavioral characteristics, and also alluded to the reasons for their choice of pseudonyms. Reference to the prevalence of poetry among different classes of the society and the relationships between poets and each other and other individuals are among the topics that the author of the Tazkirah has mentioned. Discussion of Results and Conclusions Considering the results of the present study, it can be concluded that: 1) The recording of some of the titles of this Tazkirah is either unreliable compared to the Lataifnameh, or more details have been added to some of them. 2- The author of the Tazkirah sometimes has added a short sentence to the prose text of some biographies without citing the source, which is not mentioned in the Lataifnameh, but sometimes his additions are more than a short sentence, but one or two paragraphs. The author also deleted some of the Lataifnameh sentences in his Tazkirah, and these deletions sometimes exceed one or two sentences, and sometimes one or more paragraphs from the end of some biographies, and sometimes from a complete biography, only its title and verse remain, and the entire prose text has been deleted. 3- The author has also changed the sentence structures of Lataifnameh, and sometimes these changes are limited to words, but sometimes the author’s changes go beyond words, but rather to one or more sentences. 4- Some of the sentences in this Tazkirah have missing parts, which has disrupted the meaning, but they can be completed with Lataifnameh. 5- The author has sometimes made mistakes in recording some historical and geographical nouns. He has also omitted Turkish or Persian verses of some of the poets mentioned in the Lataifnameh along with their explanations. 6- Sometimes, if the author has deleted a verse from a biography mentioned in Lataifnameh, he has added another verse to the same biography that is not mentioned in Lataifnameh. Sometimes, without deleting a verse from the biographies of some poets of Lataifnameh, he has also quoted other verses from the same poet. Finally, sometimes he has deleted both the prose sentences of some biographies of Lataifnameh and some of their verses. 7- The author sometimes combines the verses of two separate but eponymous poets and attributes the verse of one to the other. 8- Some of the poetic recordings of this Tazkirah are different from those of Lataifnameh. Sometimes the recording of some of its verses is either wrong or suspicious, and sometimes the recordings of some of the verses of this Tazkirah are missing, which has disrupted the rhythm of the poem. 9- This Tazkirah includes several new biographies of some poets that are not mentioned in Lataifnameh, and their sources are not exactly known, except for the biography of Sahib Balkhi, which seems to be taken from the Tazkirat-ul-shu'ara of Dawlatshah Samarqandi. |