خلاصة:
واژهها در متون ادب فارسی به دلایل متفاوتی مانند نسخهنویسیهای فراوان، رسمالخطهای گوناگونِ نسخهها، نسخههای ناخوانا از یک اثر و دخل و تصرف کاتبان به تصحیف و تحریف دچار میشود. آثار یک نویسنده یا شاعر و ویژگیهای سبکی او، دیوانهای دیگر شاعران، علاوهبر نسخههای خطی یک اثر، میتواند در تصحیح آن اثر نقش مؤثری داشته باشد. اغراضالسّیاسه فی اعراضالرّیاسه تألیف ظهیری سمرقندی نیز از متونی است که در گذر زمان دچار تصحیفات و تحریفات فراوانی شده است. جعفر شعار با در اختیار داشتن یک نسخة خطی و سه نسخة عکسی از اغراضالسّیاسه، ولی بدون بهرهگیری از همة نسخهها، به تصحیح این اثر اقدام کرد و آن را در سال 1349 برای نخستینبار به چاپ رساند. استفادهنکردن از نسخة خطی مشکوة در تصحیح و مسامحه در امانتداری نسبتبه آثار عکسی اغراضالسّیاسه، شتابزدگی در تصحیح و ضعف حروفچینی متن نیز سبب ایجاد لغزشهایی در متن این کتاب شده است. نگارندگان در این مقاله میکوشند تا با بررسی شماری از ضبطهای اغراضالسّیاسه بهویژه نسخة خطی نویافتة موجود در کتابخانة خانقاه احمدی شیراز و با مراجعه به آثار دیگر ظهیری سمرقندی (سندبادنامه و غرةالالفاظ) و دیوانهای برخی از شاعران، چند لغزش در متن چاپشدة اغراضالسّیاسه را بررسی و تصحیح کنند.
The words in the Persian literary texts have been distorted because of various reasons such as multiple duplications, different orthographies, and illegible manuscripts. The works of a writer or a poet and his/her stylistic attributes, Divans (collections) of other poets, in addition to different manuscripts of a work can have effective roles in their corrections. Aghraz Al-Seyasah Fi A'araz Al-Reyasah written by Zahiri Samarghandi is also among books which have been distorted over time. Jaafar Sheảr by using four manuscripts (one in written, and three in pictorial formats) of Aghraz Al-Seyasah, without taking advantage of all of them, has corrected and published the printed version of the book for the first time in 1349 (AH). Negligence in using the written version in the correction and trusteeship towards pictorial versions of Aghraz Al-Seyasah, hastiness in correction and weaknesses in typesetting have yielded some errors in the book. In the present paper, the authors, by studying the available manuscripts of Aghraz Al-Seyasah Fi A'araz Al-Reyasah, particularly the newly-discovered manuscript in the library of Khangah-e Ahmadi (Shiraz) and referring to other works written by Zahiri Samarghandi (including Sandbad nameh and Ghorrat–al-Alfaz) and Divans of the other poets, have tried to analyze and correct some distortions and falsification errors in the published text of Aghraz Al-Seyasah. Introduction Aghraz Al-Seyasah fi A'araz Al-Reyasah written by Zahiri Samarghandi is one of the technical prose texts of the sixth century AH full of rich political, social, legal, educational, and ethical teachings. It has a great deal of Persian and Arabic poetic evidence on various occasions. The methods of governing and other teachings mentioned in this book have made this work particularly attractive among classical Persian prose texts, and have attracted many readers, especially government officials in the past. As a result, it has been repeatedly rewritten by scribes and has undergone many falsifications and distortions. An acquaintance with Zahiri’s style, and in particular, the relatively unknown work of Ghorrat al-Alfaz va Nozhat al-alhahaz,a book on the teaching of writing, vocabulary and rhetoric which has been recently published, can help correct some of the errors in Aghraz Al-Seyasah. Material & Methods Considering Zahiriʼs style of writing in his works, and comparing the written manuscripts of Aghraz Al-Seyasah with its printed text, some of the errors in this book have been identified. This article has been written to correct some of these errors. This research is a descriptive-analytic one and with a common method of studies on correction of texts based on manuscripts (especially with an emphasis on the newly-discovered manuscript available at Khanghah-e Ahmadi of Shiraz) and other works of the author. Discussion of Results & Conclusions The stylistics and critical correction of the text are mutually interconnected; the more edited the text is, the more detailed examination of the stylistic properties of the work will be performed. On the other hand, familiarity with the stylistic features of a work also contributes to the scientific and critical correction of the work, which has been used in this study. Also, in this section of the paper, the errors discussed in Aghraz Al-Seyasah are first identified based on the Persian transcript and their English (italic) equivalent within the arc and are arranged in page order. Then, their correct form is suggested based on manuscripts and other documents: Zinat (ornament) (7) Rotbat (rank). Bakhieh (stitch) (10) Takhteh (board). Rowzani (a small hole) (13) Ruze man (my day). Moayiad (assisted) (44) Moabbad (eternal). Benảyeh mahabbat (building of love) (54) Be pảyeh mehnat (due to misery). Be chashm (by eye) (57) Tajassom (embodiment). St (st) (112) Beniat (basis). Marảier (ropes) (123) Sarảier (secrets). Chon mảr (like snake) (163) Khoon bảr (shedding blood). Baghi (remainder) (267) Ta Bi (two perpositios “until” and “without”). Khod (oneself) (311) Chon (because). Margov (expecting) (312) Mazjur (forbidden). Seiảhat (exploration) (317) Masảhat (extent). Tahfif (wear something by clothes) (334) tajfif (make dry). Ghabz (take) (351) Ghanas (hunt). Atmảr (dates) (368) Athmảr (products). Sanảiea (industries) (368) Manabea (sources). Aineh (Mirror) (377) Abneieh (Buildings). Gar (if) (414) Gu (tell). The book of Aghraz Al-Seyasah needs to be re-corrected for the following reasons; numerous manuscripts of this work, inaccuracies and distortions made by scribes, the lack of proofreading of all manuscripts in correction and comparison processes, negligence of the respected editor in lending to the basic version, hastiness and weaknesses in typesetting in the printed text of the book, and the existence of the question mark (meaning that the word is not precisely edited) on pages of the book. In this regard, the authors of this paper have corrected some of the errors in this book and have emphasized the critical correction of this work.
ملخص الجهاز:
غـرةالالفـاظ و نزهـة الالحـاظ رساله اي در آموزش فن نويسندگي، لغت و بلاغت از همين نويسنده است که به تـازگي منتشـر شـده اسـت ؛ آشـنايي بـا سبک و سياق اين اثر ناشناخته ميتواند در تصحيح برخي از لغزش هاي موجود در اغراض السياسه تأثيرگـذار باشـد کـه نگارندگان در اين پژوهش ضمن ارج نهادن به کوشش هاي فراوان مصحح در تصحيح اين اثر، بدان پرداختـه انـد؛ گرچـه «بايد پذيرفت که کار اساسي را کساني کرده اند که براي نخسـتين بـار دامـن هم ت بـه کمـر زده و بـه فريـاد نسـخه يـا نسخه هايي رسيده اند که سال ها بل قرن ها زير غبار فراموشي از انظار غائب بوده اند» (کيواني، ١٣٩٥: ٦).
با توجه به سبک و سياق عبارت منظور و معناي بيت و فضاي قصيده در ديوان سوزني سمرقندي و بـه اسـتناد بيـت يادشده در نسخۀ غث (٢٥٠) و جملۀ معروف «دل به دل راه دارد» که ترجمۀ «ان [من ] القلوب روزنۀ» است و بـا توجـه به استفهام انکاري بودن مصراع يادشده ، ميتوان نتيجه گرفت که واژٔە «باقي» تحريف «تا بي» است و شکل درست بيـت ذکرشده اينگونه پيشنهاد ميشود: گر دل به دل رود ز دل خـويش بـازپرس تا بي هواي توست که را زيـن ديـار دل ؟ بچشم [= به چشم ] يا تجسم ؟ «و الحمدلله که ذات بزرگوار و ساحت شريف خداوند عالم به معالي اخلاق و مکارم اعراق موصوف و مـذکور اسـت ، بـل ذات کريم او جوهر کرم و اصل وفا و مادت سخاست ، و اگر اين اوصاف ممکن بودي که به چشم پذرفتندي، جـز ذات کـريم او نبودي، و اگر علو همت او مصور شدي، جز چشم و ابرو و زلف و خال عروس ايام نبودي» (ظهيري، ١٣٩٢ الف : ٥٧).