كليدواژه :
طالب آملي , غزليات , نسخه شناسي , تصحيح مجدد
چكيده فارسي :
تصحيح متون، بنيادي‌ترين تحقيق ادبي در نظام دانشگاهي مطالعات ادبي است . طالب آملي از شعراي بنام قرن يازدهم است . غزليات وي حدود سيزده هزار بيت است كه بيش از نيمي از سروده‌هاي او را تشكيل مي‌دهد . كليات ديوان طالب آملي را محمد طاهري شهاب در سال 1346 تصحيح نموده و به چاپ رسانده است اما لازمه‌ي تصحيح، استفاده از همه‌ي منابع و نسخه‌هاي معتبر موجود است . مسئله اصلي اين پژوهش استفاده نكردن از نسخ متعدد موجود ، گزارش نشدن نسخه بدلها وگزينش‌هاي نابجا در نسخه چاپ شده است كه ، نگارندگان اين نوشتار ضمن معرفي نسخ معتبري كه در تصحيح قبلي اين اثر استفاده نشده‌اند، آن را نقد و بررسي نموده‌اند . در اين مقابله مجدد، سعي براين است كه با روش تحقيق در متن و استفاده از نسخ جديد ، برخي از اين كاستي‌ها و خوانش‌هاي اشتباه برطرف شود. تعليقات و فهرست‌هاي مناسب براي غزليات طالب آملي فراهم گردد. از يافته هاي پژوهش اين است كه تعدادي غزل و ابيات جديد به مجموعة غزلهاي طالب اضافه مي‌نمايد. و افتادگي‌هاي نسخة چاپي را تا حد امكان كامل مي‌كند. ثبت نسخه بدلها و ضبط صحيح برخي واژگان از ديگر نتايج اين تحقيق است. همچنين تحقيق در اثر باعث مي‌گردد مقدمه‌اي جديد در باب ويژگي‌هاي سبكي غزليات طالب و ساير موضوعات مربوط به وي آماده گردد تا پژوهش در اين باره را براي محققان شعر و ادب فارسي آسان‌تر سازد، و با ثبت نسخه بدل ها ، امكان داوري و برداشت مناسب از مجموعة غزلهاي طالب آملي را فراهم نمايد
چكيده لاتين :
Editing manuscripts is the most fundamental type of research in academic research. Taleb-e Amoli is among the most well-known poets in the eleventh century AH. His sonnets, which include more than half of his songs, contain nearly 13000 verses. Although Taheri Shahab (in 1968) has corrected and published Taleb-e-Amoli's Divan (collection), in order to correct, it is necessary to use all the authentic sources and copies available. Issues such as not using numerous available manuscripts, not reporting inaccurate versions and alternatives in the printed version, and wrong selections lead the authors of this paper while introducing a valid manuscript not used in the previous correction of this work, to criticize and investigate the previous correction of the book. This re-examination attempts to address some of these shortcomings and misreading by researching the text and using the new manuscript. As a result of the present study, a number of new sonnets and verses were added to Taleb’s collection. This completes the shortcomings of the printed version as far as possible. Recording the duplicate version and some new vocabulary is another result of this study. In addition, research into the work makes a new introduction to the stylistic features of Taleb's sonnets and other related topics to be made easier for scholars of Persian poetry and literature to ensure proper judgment and interpretation about Taleb's collection.
Introduction
The authors of this paper examined the need to redefine Amoli's sonnets. In this article, first, the position of Taleb Amoli's sonnets in the Indian style of Persian poetry is briefly stated, the research that has been done in this regard is presented and the importance of this research is stated. The manuscripts used in this research are introduced and the characteristics of these sources are briefly described. New sources are very useful in achieving the goals of this research. However, the published version is also one of the most important sources of this research and new sources are considered as complementary. Even the printed text sometimes prevails over new sources and editions and corrects their mistakes. The authors illustrate and attempt to correct the defects of the printed version by providing examples of it and comparing it with new sources. One of the defects is that sonnets are not written in the printed version. Also, bits that are in the sonnets, missing words, or the misspelled words are other defects. Considering that the printed version did not use these manuscripts, it is necessary to revise Amoli's sonnets.
Material & Methods
The authors of this study, first by looking at existing sources and versions, have considered one version as the base version. However, this version is not completely alone and has been used in several other versions such as new manuscripts and the print edition. It has also been cited as an important and credible resource. By comparing the base version and other versions used with the print version, we have tried to provide a new correction as far as possible without any error. The reading and correction of the text used the characteristics of the poet’s stylistic, linguistic, literary, and aesthetic aspects. Sometimes examples of other poets and contemporaries of the poet helped to correct it. In this research, the method of eclectic correction has been used.
Discussion of Results & Conclusions
Having multiple versions makes it difficult to investigate a work, but given that each version has its own set of features, it is very useful in reaching a well-cited and well-cited text. Correcting texts repeatedly does not exclude one or two prints from the same work. Taheri Shahab has edited and published Taleb Amoli's poetry based on an old and authentic manuscript, but having access to other authentic versions has allowed him to oppose the printed version in order to make a new correction of Taleb Amoli's sonnets. The following are the results of this study:
(A) With the addition of new sonnets that did not appear in the print edition, the collection of Taleb has become more complete.
B) The fallen bits in the printed version have been added to the sonnets to counter new and authentic versions.
(C) Coping with new versions has made it possible to correctly record some words in the text of the verse, or at least it has been possible to select from among several recordings by copying transcripts.
(D) Re-corrections have been made to the suspensions and directories which do not appear in the printed version.
The authors of this article hope that the new correction of Taleb Amoli's sonnets will open up new vistas in the field of correction of other literary works and will be useful for researchers and enthusiasts of Persian language and poetry.
