REPUBLIC OF

On the rights of the manuscript

ABSTRACT

of the dissertation for the degree of Doctor of Philosophy

THE IDEA-THEMATIC AND ARTISTIC-STYLISTIC FEATURES OF NEMATULLAH KISHVARI’S PERSIAN “DIVAN”

Speciality: 5716.01 - Azerbaijan literature

Field of science: Philology

Applicant: Leyla Abbas Bayramova

Baku – 2021 The work has been performed at the department of “Investigation and Presentation of Azerbaijan Literature of Ancient Times and Middle Ages” of the National Museum of Azerbaijan literature named after of ANAS.

Scientific supervisor Academician, Doctor of Science in (consultant): Philology, Professor, Rafael Huseynov

Official opponents: Doctor of Science in Philology Ataemi Bala Baba Mirzayev

Doctor of Science in Philology Lala Ikram Alizadeh

Phd in Philology, Associate Professor Ramiz Asef Gasimov

Dissertation council ED–1.05 of Supreme Attestation Commission under the President of the Republic of Azerbaijan operating at the Institute of Literature named after Nizami Ganjavi, Azerbaijan National Academy of Sciences.

Chairman of the Dissertation Academician, Doctor of science in council: Philology, Professor ______Isa Akbar Habibbayli

Scientific secretary of the Dissertation council: PhD in Philology, Associate Professor ______Ismikhan Mahammad Osmanli

Chairman of the scientific seminar: Doctor of science in Philology, Professor ______Alizade h Bayram Asgerli

GENERAL DESCRIPTION OF WORK

Relevance and study degree of the topic. The period covering the 15th-16th centuries is one of the important stages in the history of Azerbaijan literature. In this century, while we witness the growth of social-philosophical and religious-tasawwuf (Sufi, mystic) views in Azerbaijan, as well as the development of the literature in mother tongue, still the influence of Gazi Burhanaddin and ’s creative traditions of on the art of word. Before , the genius poet, stepped on the arena of Azerbaijan in the 16th century, artists like Hagigi, Badr Shirvani, Habibi, Khalili, Hamidi, Gasim Anvar, Gulshani, Hidayat and Kishvari had been creating in the art scene. They had created rich word-pearls in mother tongue, also in and . In its turn, this necessitated to investigate their literary heritage. In the Period of the Soviet regime Hamid Arasli, Akram Jafar, Jahangir Gahramanov, Rustam Aliyev, Azada Rustamova, and little later Rafael Huseynov, Imamverdi Hamidov, Aida Gasimova, Saadat Shikhiyeva, Nasib Goyushov, Lalazar Alizadeh, and other researchers undersigned very important works in the direction of studying our spiritual heritage. After regaining liberty in 1991 a favourable condition was established in our Republic for comprehensive analysis of historical, cultural and literary heritage and some works have started to be done in the direction of researching hundreds and thousands of manuscripts, which had been kept behind the closed doors and were waiting for the researchers and for those, who will turn over the pages of those manuscripts and reveal the secrets they preserved. The numbers of research works on Medieval Period of Azerbaijan literature have increased. “The 17th Century Azerbaijan Lyrics in Mother Tongue” by Karimov Pasha Ali1, “The Poetics of the Azerbaijan Literature Written in Mother Tongue (the 13-14th centuries)” by Babayev Yagub

1 Karimov, P. A. The 17th Century Azerbaijani Lyrics Written in Mother Tongue: / Dissertation abstract of the Doctor of Science in Philology. / – : 2012, – 47 p. 3

Maharram”2, “The World of Art and Sensitivity of Fuzuli” by Goyuşov Nasib Jumshud 3, “Philological Analysis of “Divan” of Mirza Muslum Gudsi’s” by Ahmadov Shamsi Panah4, “Allegory in Classic Works of Azerbaijan Literature (the 12-16th centuries)” by Alizada Lalazar Ikram5 and other defended research works continue the efforts taken in this direction, however there is still a need to carry out research on the manuscripts of the classic literature. There are a considerable amount of unattended manuscripts that increases the necessity of studies in this area. Although researches have increased on works written in Azerbaijani Turkish language these days, we may observe our heritage that written in Arabic and Persian languages, has been little kept in a shadow. The copies of the works of literature, history, culture and science that preserved in the manuscript and book funds of the World and Azerbaijan, should be found and informed about and should be involved in research. The equal opportunity for research should be provided and promoted, in spite of the language of those manuscripts. In addition, measures should be taken for the translation our literature into Azerbaijani, which had written in foreign languages, also for publishing and popularizing of them. In addition, it is relevant and necessary that the manuscripts, which have been studied and printed to date, should be reviewed from modern scientific-critical viewpoint and presented compatible to our national spirit. From this perspective, the work “Idea-Thematic and Artistic- Stylistic Features of Nematullah Kishvari’s Persian “Divan”” is specifically relevant in several ways:

2 Babayev, Y. M. The Poetics of the Azerbaijan Literature Written in Mother Tongue (the 13-14th centuries): / Dissertation abstract of the Doctor of Science in Philology./ – Baku, 2012, – 26p. 3 Goyushov, N. The World of Art and Sensitivity of Fuzuli: / Dissertation abstract of the Doctor of Science in Philology/ – Bakı, 2009, – 386p. 4 Ahmadov, Sh. P. Philological Analysis of the “Divan” of Mirza Muslum Gudsi: / Dissertation abstract of the PhD in Philology / – Bakı, – 2016, – 167 p. 5 Alizada, L.I. Allegory in Classic Works of Azerbaijan Literature (the 12-16th centuries): / Dissertation abstract of the Doctor of Science in Philology./ – Bakı, 2017, – 51 p. 4

 In this research work, Nematullah Kishvari Dilmagani’s creative work in Persian language has been brought to investigation for the first time in the background of learning our literary heritage from the manuscripts.  The research was carried out directly on two manuscript copies of the Persian “Divan”.  The information about the tendencies and literary environment of poet’s epoch was given in the flow of analysis of the his works.  The research covers the ambience of Azerbaijan, the Ottoman and the Chagatai literatures of the 15-16th centuries. The first information about Nematullah Kishvari was presented in “Tazkire-yi Sami”6 of Sam Mirza. The poet’s “Divan” in Azerbaijani Turkish language was involved to research by many scholars. In the modern history of literature, the first information about him was given in the book “The History of Azerbaijan Literature” by Ismayil Hikmat in 1928.7 Mahammadali Tarbiyat in “Daneshmandani – Azerbaijan” (the first information about the manuscript copy of the “Divan”, which includes Persian poems, also, was given in this work) 8, Hamid Arasli in his article “Kishvari as one of the Predecessors of Fuzuli” in 1946 9, Panahi Makulu in “In the Table of Literary Information” in 1960 10, and Jahangir Gahramanov in 1976 gave the description of the manuscript copy of the Kishvari’s Turkish “Divan” which is preserved in Baku.11 According to Mahammadali Huseyni, in 1977 information about this manuscript was given in the catalogue of manuscripts of the Library of

صفوی، سام. م. تحفۀ سامی.– تهران: ارمغان.– ١٣١۴ص 6 7 Hikmat, I. The History of Azerbaijan Literature./I.Hikmat. I volume.l – Baku: Azərnəşr, – 1928, – p.286-290. تربیت م.ع.دانشمندان آذزبایجان.–تهران وزارت فرهنگ و اسالمی، سازمان و چاپ و انتشارات.- 8 1378 ، -655 ص 9 Araslı, H. Kishvari as one of the Predecessors of Fuzuli // – Baku: Analects, – 1946, II volume., – p.305-308 10 Makulu, P. The Table of Literary Information / P. Makulu. – Baku: Published by National Academy of Azerbaijan SSR , – 1962, – 574 p. 11 Gahramanov, J. About a Manuscript Divan of Kishvari // – Baku: In the Treasure of Manuscripts, 1976. – IV volume. – p.46-52. 5

Islamic Parliament of I.R. - “Fehristi-nuskheya-ye farsi” that was republished in 2007.12The thesis “The Language of the “Divan” of Kishvari (Morphological Attributes)” had been defended in 1983, “Kishvari. Works” by Jahangir Gahramanov was published in 198413; the Doctorate disseration “Kishvari’s “Divan” (Analysis-Text-Index)”, by Jala Talan Demirchi, based on Bursa manuscript, was published in Ankara University, , in 1994 alongside with several articles of the author about Kishvari and his creative work,14 in 2014 Malak Suleymanova defended the dissertation of Doctor of Philosophy in Philology “Main Motives of Azerbaijan Poetry of the 15th Century (based on the creative works of Gulshani and Kishvari in mother tongue)”15 , the collection of poems, published in 1984 and was republished in 2004 again with a foreword written by Aliyar Safarli based on the article of Hamid Arasli16; “The language of Kishvari’s “Divan” (Morphological Attributes)” by Roza Eyvazova was published in 200517,“Turkish Divan” (Autograph Copy)” 18 was published in 2010 with the foreword of Mahammad Huseyni, the book named “Nimetullah Kishveri’s Persian “Divan”” 19 was published in 2016 by Umran Ay and based only on the copy in the The Library of Islamic Parliament of I.R. Iran, “Kishvari Dilmagani “Divan” in Persian” were published in 2017 in the Qom city with the forewords and editing by Dr. Mehrdad Chetrayi

12 Kishvəri. Turkish Divan. (Autographic Copy) / developed by Huseyni M., edited by Karimov P. – Baku: Nurlan, – 2010, – 104 p, p.5 13 Gahramanov, J. Kishvari. Works / J. Gahramanov. – Baku: Yazıçı, – 1984, – 164 p. 14 Şentürk, A.A. Eski türk edebiyatı tarihi / A.A. Şentürk, A.Kartal. – İstanbul: Dergahlar yayıları, – 2011, – 640 s, s.246 15 Suleymanova M. Main Motives Azerbaijan Poetry of the 15th Century (based on the creative works of Gulshani and Kishvari in mother tongue): / Dissertation of PhD in Philology./– Baku, 2014, – 31 p. 16 Gahramanov, J. Kishvari. Works / J. Gahramanov. – Baku: Şərq-Qərb, – 2004, – 175 p. 17 Eyvazova, R. The Language of the Kishvari’s “Divan”/ R.Eyvazova.– Baku: Elm, – 2005, – 370 p. 18 Kishvari.Turkish Divan .(Autographic copy) / by Huseyni M., edited by Karimov P. – Baku: Nurlan, – 2010, – 104 p, 19 Ay Ü., Nimetullah Kişveri farsça divanı / Ü.Ay. – İstanbul: Demavend Yayınları, – 2016, – 304 s. 6

Azizabadi and Dr. Farzana Munesa.20 Unfortunately we haven’t found any information about Kishvari in the works of such authors like E.D.Brown21, C.Field22, E.Reed23, T.M.Dilmagani24, S.H.Rza25, Z.Ssfa26, H.Faryun27, S.Nafisi28, J.Humayi29 that we referred to related the history of literature, while carring out investigation on Kishvari’s lifetime period and literary personality. The object and the subject of the research work. The main object of the research work is the manuscript copies of Nematullah Kishvari Persian “Divan”, which have not been studied in the history of our literature and culture up to now. The subject of the research work is the main aspects of the poet’s epoch, as well as, the genre, the content and the artistic peculiarities of his heritage written in Persian. The purpose and the task of the research work. The main purpose of the research work is to give information about the manuscript of the “Divan”, which is a new resource about the life, creativity and literary heritge of Nematullah Kishvari Dilmagani, the Azerbaijani poet who lived in the second half of the 15th and the first half of the 16th century, to carry out philological study of the “Divan”, and to clarify

عزیزآبادی، چ. م. مونسان ف. دیوان فارسی کشوری دیلمقانی. نشرمجمع ذخاریر اسالمی،–قم،–20 ١٣٩۶،–۲۶۲ص. 21 Browne, E. G. The Literary History of Persia / E.G. Browne.– London and Leipzig: Paternoster Row, – 1909, – 366 p 22 Field, C. / C.Field. – London: Herbet & Daniel., – 1912, – 363p. 23 Reed, E. A. Persian Literature. Ancient and Modern / E.Reed. – S.C.Griggs and Company, – 1893, – 419 p. دیلمقانی، ت.م. تاریخ ده هزار ساله سلماس و غرب آذربایجان.– تبریز:ائلدار–١٣۸۴،–۷۰۴ ص 24 رضا، س.ح. مکتبهای ادبی. انتشارات نگاه، ١ج.، – تهران–١٣۸۷ ،–۴٩۵ص. 25 رضا، س.ح. مکتبهای ادبی. انتشارات نگاه، ۲ج.،– تهران١٣۸۷– ،–۴٩۵ص. 26 . صفا، ذ. تاریخ ادبیات در ایران. جلد سوم بخش دوم.انتشارات فردوس چاپ هفتم،– تهران –١٣۶٩،– ١٣٩۵-۷۰۵ ص. صفا، ذ. تاریخ ادبیات در ایران. جلد سوم بخش دوم.انتشارات فردوس چاپ یوم،– تهران –١٣۶۴،–۷۰۵- ١٣٩۵ ص. فریون، ح.تاریخ ادبیات ایران و تاریخ شعرا. چاپ دهم،–١٣۴١ 27 نفیسی س.نظم و نثر در ایران و در زبان فارسی/ س.نفیسی. جلد١،–١٣۴۴،–۶۶۴ص. 28 همایی ج. تاریخ ادبیات ایران/ ج. همایی – تهران: خسته،–١٣۷۵،– ٣۲۷ص. 29 7 and enrich information existing in the history of literature and culture about him. The following tasks have been planned and fulfilled to achieve our purpose:  To give palaeographic description ccording to the autographic copy of the “Divan” of Nematullah Kishvari Dilmagani, preserved in the Library of Islamic Parliament of I.R. Iranand the copy preserved in the Mahammadali Karimi Tabrizi’s personal archive, who lives in London;  To glance at the Period, that the author lived and created and to give the summary of the tendencies of social-political, cultural and literary environment of his life, to investigate the roots of his creativity;  To investigate the research history of his life and creativity;  To study the poems in the “Divan” in the order that they were written;  Adjusting the Kishvari’s Persian verses to the writing rules of modern Persian and prepare for publish;  To study Kishvari’s Persian poems on the graund of the manuscript of the “Divan”;  To define the influence of classic heritage in the creativity of the poet;  To define the place of Nematullah Kishvari in the Azerbaijan literature as well as in the literature written in Persian;  To reveal the style and genre features of the creative Kishvari’s work;  To work on giving scientific analysis of idea-content and artistic-aesthetic pecularities of his compositions; Research methodology. The dissertation work has been carried out based on the following scientific methods:  the method of systematization of collected facts and materials;  systematic study and analysis;  comparative analysis;  complex approach to the problem;  achieving scientific results via inductive method based on generalizations. 8

Main provisions for defense. The provisions below are set forth for defence with the study purpose of the creative work of Nematullah Kishvari written in Persian and fully covering the topic :  N. Kishvari’s literary heritage had been built in the background of complex and non-stable historical events of the 15th century. Those reasons found their reflection in the motives of his creative work.  The genre of prevailed in the creative work of the poet who wrote the “Divan” in two languages a result of literary processes of his Age. In literature history of 15th century is known as the time when the genre of ghazal had stepped on its maturity period.  The legacy of the poet in Persian language includes totally 248 poems in two manuscripts.  The topic, the characters, and the motives of Kishvari’s Persian verses are agreeable with the tendencies of his period. This has found its reflection in the “Divan” as use of peculiar vocabulary to Sufi literature.  The influence of such predecessors as Nizami, Khayyam, Nasimi, and Hafiz is felt in the creativity of the poet.  One of the remarkable moments is the usage of in more than a half of Persian verses of compared to other poetic attributes. Scientific novelty of the research work. The scientific novelty of the dissertation that named “Idea-Thematic and Artistic-Stylistic Features of Nematullah Kishvari’s Persian “Divan””, is that it is the first step taken in the scientific research of N. Kishvari’s Persian “Divan” in Azerbaijan till now. As a research work carried out on the primary source, i.e. on the manuscript, the topic is completely new from scientific point of view. Existing information about the creative work of the poet is widely and comprehensively delivered to scientific community in the research work. A foundation is being established for N. Kishvari’s Persian “Divan” to find its place in the literature and history of our country. Considerable research was carried out on the manuscripts during the investigation, and the “Divan” has been involved to philological- textological study. More comprehensive information is provided in the pragraph 1.2 of the dissertation.

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Theoretical and practical significance of the research work. The main provisions and the results of the dissertation work may be applied and used in the following cases:  In the publishing works of Nematullah Kishvari in Azerbaijan language;  In research works related to classic Azerbaijan literature;  In developing anthologies on classic literature;  In scientific-pedagogical activity, especially in preparing textbooks. Approbation and application of the research work. The research work had been discussed in the department of “Investigation and Presentation of Azerbaijan Literature of Ancient Times and Middle Ages” and “Cultural Heritage and Source Studies” of The National Museum of Azerbaijan Literature named after Nizami Ganjavi of ANAS. The main content of the dissertation work has found its reflection in the author‘s published scientific articles of and in the reports of Republican and International scientific conferences. The name of the organization where the research work have been executed. The research work was carried out at the department of “Investigation and Presentation of Azerbaijan Literature of Ancient Times and Middle Ages” of The National Museum of Azerbaijan Literature named after Nizami Ganjavi of ANAS. 11 articles, thesises, and conference materials had been published related with the paragraphs of the investigation work. The structure and total volume of the research work. The dissertation has been written in accordance with the rules, determined by Supreme Attestation Commission under the President of the Azerbaijan Republic. The work includes an Introduction, 10662 symbols, 3 Chapters: the first Chapter includes 2 paragraphs, 73357 symbols; the second Chapter includes 2 paragraphs and 64978 symbols; the third Chapter includes 2 paragraphs and 65651 symbols; Conclusion, 9421 symbols and Bibliography. General volume of the dissertation work is 245838 symbols.

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MAIN CONTENT OF THESIS

The Introduction part of the thesis describes the relevance of the topic and the degree of its use, defines the purpose, the tasks and the methods of the research work, highlights the main provisions for defence, grounds the scientific novelty of the dissertation work, its theoretical and practical importance. The first Chapter named “The Period, The Life and The Literary Heritage of Nematullah Kishvari” includes two pragraphs. The first paragraph is named “The Political, Religious and Envoirment of the 15th Century. In the first paragraph that named The Life and Literary Personality of Kishvari” in order to deeply realized the poet's works, literary personality, and the spirit of his poems , the reasons of the topics he addressed, a brief look have taken to the political-social picture of the Nematullah Kishvari’s time. There were 4 states in the territory that covered the modern Azerbaijan Republic, Islamic Republic of Iran and some part of Turkey. in the 15th century. One of them was the in the North of the river Kur, other two states of Turkmen origin which replaced each other were Garagoyunlu and Aghgoyunlu, In the South. The Safavids State, that founded by the dynasty of Safavids, stepped on the history scene in early 16th century and was the first state that succeeded to unite the North and the South of Azerbaijan. While speaking about literary, philosophical and religious environment of the 15th-16th centuries, the orders like , Khalwatiyya, Safaviyya, Nuqtaviyya, Galandariyya and others, had been widely spread in the abovementioned states and had influenced the shaping of the literary environment of that Age . Nematullah Kishvari was one of the offsprings of such environment. We observe that he often calls himself a Galandar in his Azerbajani Turkish verses, however we do not think that the poet was the follower of that order, at the same time the influence of Galandariyya poets is being felt in his creative work. Very likely Kishvari was inspired by the Galandaris of . In general, Tabriz was the literary-cultural centre in the 15th century being home for to write and create such poets as Kishvari, Hagigi, 11

Hamidi, Sururi, Habibi, Maghribi, Mashrigi, Amir Humayun, Shahidi, Dahagi, Darvish, Heyran, Baba Nasibi, Baba Faghani, Mir Magbul, Movlana Banai, Lari, Muti, Ansari Gumi, Gatili, Ahli Shirazi30. In order to get information about the life and the creative work of Kishvari ,the tazkiras such as “Tovheyi-Sami”31, “Daneshmandani Azerbaijan”32, “Majalis al- nafais”33, “Atashkada” 34 by Azer, “Tezkere- ye shoara-yi Azerbaijan”35 (“Tazkira of Azerbaijani Poets” – L.B.) in 5 volumes published in Iran were reviewed in this paragraph. The information about Kishvari that, provided in the research works of the 20th century by Ismayıl Hikmat, Hamid Arasli, Panahi Makulu, Jahangir Gahramanov, Roza Eyvazova, Alyar Safarli, Mahammadali Huseyni and others was reviewed and studied. Short information about the creativity of the contemporaries was provided in the second paragraph of 1st Chapter that named “The Tendencies of Genre and Form in Poetry of the 15-16th Centuries” with a conclusion that even though prevelence of the poems written in Turkish language in this period, the tendency to write in Persian was still valid. The divans, written in this period, included poems in the form of stanza and couplet. Among the poems written in the form of couplet the order of prevelence started with ghazal and was followed by gasida in the second place, as well as piece (qita) and muamiyyat are in the following positions. Tarkibband, tarjibband, , ruba’i and murabbe prevailed among the poems written in the form of stanza. , minajat, nat, mustazad were also observed in the divans, even if does not in all of them have this forms, but this shows that the traditions of divan literature had been followed.

30 Rustamova, A. Chosen Works. /A. Rustamova. I volume. – Baku :Elm, – 2014, - p.170. صفوی، سام. م. تحفۀ سامی.– تهران: ارمغان.– ١٣١۴ص. 31 تربیت م.ع.دانشمندان آذزبایجان.–تهران وزارت فرهنگ و اسالمی، سازمان و چاپ و انتشارات.- 32 1378 ، -655 ص. نوایی، ع. مجالس النفایس/ ع. نوایی.- تاشکند: اوزبیکستان س س ر فنالر آکادیمیسی نشریاتی، 33 ١٩۶١ ص. آذر، ل.ب. آتشکدۀ آذر/ ل.ب.آذر .چاپ افست محمد علی علمی– ١٣٣۷ 34 دیهیم، م. تذکره شعرای آذربایجان. تاریخ زندگانی آثار، آذر آبادگان تبریز. –١٣۶۷ ،–۶۵۵ص. 35 12

As to Nematullah Kishvari’s unfinished divans, that have reached our times, they had been written in Azerbaijani Turkish language and in Persian. However they are not in a complete form. This paragraph also touches upon the genre of the poems in Persian, describes the manuscript of the “Divan” preserved under the number of 9162 in the Library of Islamic Parliament of I.R. Iran (currently named as The Library, Museum and the Centre for Documents of the Islamic Council of Iran) and informs that the “Divan” has 91.5 sheets, i.e. 183 pages with the poet’s poems written in Azerbaijani Turkish language on 53 pages and the Persian poems on the rest 150 pages. The size of the sheets is approximately 20x10 cm, the size of the text is 14.5x6.5 cm.. Each page has been framed for 10 hemistitches (5 couplets), copied in the form of a cross, one couplet has been particularly framed on the side.36 The poems in Persian in this copy start on page 1a and completes on the page 67/a with 3 muammiyyats. The verses in Turkish language start on page 67/b. The Library of Jafar Ar-Qarai is written on the top of page1a. As to the genre of the poems based on couplet in Persian like ghazal and muammiyyats , that icluded in the copy of the The Library of Islamic Parliament of I.R. Iran, were observed in here. There are 78 complete, 4 incomplete and a ghazal with 1 dropped line (83 in total) among them, overage equals to 552 couplets and 1104 hemistitches. Excluding some of ghazals, all of them have 7 couplets. There are (last couplet) of a ghazal on the page3a, on 5a ghazal with 3 couplets, on pages 40 a/b 8 couplets, on 61a ghazal with 1 couplet and on 61b ghazal 3 couplets,correspondingly. The total number of the muammiyyats is 8 which is 16 hemistitches. Muzaffar Magsud Khalaf-e Iman Shahab Gasem David is written between them (in the gaps among the couplets). We suppose that Magsud bey (sir) is Magsud Mirza, the son of Uzun Hasan, the governor of . In total the “Divan” is composed of 98 poems that 83 of them are ghazals, 1 is mukhammas, 6 are ruba’is and 8 are muammiyyats.

36 Kishvari. Turkish Divan (Autographic copy) / by Huseyni M., edited by Karimov P. – Baku: Nurlan, – 2010, – 104 p., p. 13

 Only mukhammas was noticed among verse based poems in the “Divan”. Mukhammas is composed of 7 stanzas and 35 lines. Other 6 poems of the manuscript in the form of stanza is in the genre of ruba’i which is composed of 24 lines. The manuscript copy that preserved in the National Assembly of Iran, contains 1179 lines in total. This is still not reflect of Kishvari’s heritage in Persian language wholly. Other source used in the research work is the second manuscript that includes Kishvari’s verses. Conditionally we name it The Copy of Mahammad Ali Karimzadeh due to note “Divani Kishvari 516” inside of the seal on the title page of the manuscript. M.A. Karimzadeh, an address in England and a phone number have been written below it, also. In addition, on the upper left corner of the page manually was written "Copy of Muhammad Ali Karimzadeh". There is Muhammad Ali Karimzadeh’s seal on the lower left corner of page and his signature in the middle of the sheet. There is an only ghazal that consist of 9 couplets (distich) on pages 1 a/b of M.A. Karimzadeh’s copy. 8 Out of other ghazals have 7 couplets and 125 of them have 5 distiches. The number of incomplete ghazals that have been observed is 3 of them have 6 couplets, one 4 couplets and the other one 3 couplets.Three of the incomplete ghazals has 6 distiches, one of them 4, and a ghazal with 3 verses have been found.There is a 6 dishtiches ghazal with one couplet dropped on the 6a page of the “Divan”, a ghazal with 4 couplet on the page 58a and again there is a 6 couplet ghazal with a dropped distich on page 59b. There are 138 ghazals in the “Divan” and it should be taken into consideration that 110 of them have reflected in the main part and other 28 – in the additional part of the copy.In total this makes 710 distiches (couplets) and 1420 lines. There are 10 rubais’ and 2 poems that have 4- hemistitch that had been named gita, however its rhyming is not like a gita, but rather like ruba’i. We assume that this is due to inattetion of the person who made this copy. Hence the copy of M. Karimzadeh includes 1508 hemistitches and 150 poems in total. In general, we have 248 verses in Persian language, and the study was carried out on them. First of all the textological research was carried out on the works that contained in the manuscripts for studing N. K. Dilmagani’s “Divan”, then attempted to correct reading of the texts. All the poems were typed 14 electronically and prepared for publishing. On the other hand, there are differences between the writing rules of the Persian alphabet that were used in the recording period of the “Divan” and modern graphic shape. These differences were noticed in the “Divan” and mentioned in this paragraph. Another manuscript is the copy of Tehran University. That source is preserved under the number of 4289 in the Library of Tehran Unviersity. Information about the copy was received from the introduction of the “Divan” issued in Qom. This copy, written in Nastaliq script, has 98 sheets and its pages have simple tables. The pages are dropped at the beginning and in the end of the copy, as well as the sheets 48-49, 50-51 and the sequence of pages 66-105. Majority of the poems in university copy are in the form of ghazal, four more mukhammas follow afterwards. In the end of the “Divan”there are poems named (dialog of poems); there is a preamble written in prose (nasr) at the beginning.37 The number of the poems in this “Divan” is three times more than in the copy of the The Library of Islamic Parliament of I.R. Iran. Excluding 11 ghazals, those copies differ from each other. The book published in Gom contains 361 gazals of Kishvari in Persian (2165 couplet), 19 ghazals under the name of mushaira, 6 rubai’s and 8 muamiyyats. In addition to the above mentioned copies, the 4th source “Ganje- bakhsh” is mentioned in the “Divan” published in Gom. It informs that one more copy of the “Divan” is preserved under the number of 474 in the library of “Ganje-bakhsh”. However the authors couldn’t get that copy when they wrote the book. It is known that the “Divan” of Kishvari in Turkish has 5 copies as well. Also genre specifications of the verses of the “Divan” have been investigated in this paragprah and have noticed that the genre of ghazal prevailed in the creative work of Kishvari. According to M. L. Reynser’s notes this genre had been improved in the 15th century as the form category and the “rules” that is specific to ghazal had formed and

عزیزآبادی، چ. م. مونسان ف. دیوان فارسی کشوری دیلمقانی. نشرمجمع ذخاریر اسالمی،–قم،– 37 ۲۶۲ص ، ص۱۷-١۶ ١٣٩۶،– 15 accepted by the literature theorists of the period.38 This means that preference given to ghazal by Kishvari and many other poets like him, was not accidential at all. The paragraph informs that in his creative work the poet referred to the variety of “muzakkar ghazal” which was written by hadari39 poets of Abbasi period in accordance with the tendency. In different couplets of random ghazals the ای ) ”hey, the young“ ,(جوان) ”the young“ ,(ای پسر) ”quotes like “hey, boy were observed, it have been highlighted that one ghazal has written (جوان and corresponding examples are (جوان) ”with the radif “the young provided. The kind of poem called mulamma was observed in the poems of Kishvari written in Azerbaijani Turkish, which is not observed in his Persian poems and an example from the poem was presented. In addition, the paragraph contains information about Nematullah Kishvari’s - who had tested his talent also in different genres of our classical poetry - poems in ruba’i and muamma genres and have been described specific features of ruba’i. The thesises which reflect the main results of the 1st Chapter have found their reflection in the articles published in scientific press.40 The 1st Chapter contains 2 paragraphs and 84789 symbols. The second Chapter called “Idea-Thematic Specifications of Kishvari’s Persian “Divan”” consists of 2 paragraphs. The first one of

38 Рейснер М. Л. Эволюция классической газели на фарси [X— XIV века] / М. Л. Рейснер. – Москва: Наука. Главная редакция восточной литературы, – 1989, – 224 с., - с.8. 39Armutlu, S. Arap ve fars şiiri bağlamında gazel türünden gazel nazim şekline geçiş // Prof.Mine Mengi Adına Türkoloji sempozyumu, – Adana. – 2012., s.17-18 40 Rafiyeva, L.A. Poetic heritage of Kishvari // Development Ways of the Science of Oriental Studies in Azerbaijan, The Materials of International Scientific Conference dedicated to the 70th birth anniversary of the Academician Vasim Mammadaliyev, –Baku, – 27-28 June 2013, – p.272-274, Bayramova L.А. Genre Specifications of the Persian “Divan” of Kishvari // Relevant questions of the Science of Philology of the 21th Century. The 9th International Scientific Conference of Young scientists, dedicated to the 90th anniversary of Foreign Languages Division.– Yekaterinburg: УМЦ-УПИ, – February 7, 2020, – p.133-137, Bayramova, L.А. Poetic specifications of Kishvari’s rubais' in Persian / Philology: scientific research. –: Nota Bene, – 2018. – № 2, – p. 146 - 155 16 them is “The Idea Sources of of Kishvari’s Persian Poems and the Influence of His Predecessors on His Creative Work”. The paragraph is about the topics which the poet referred to. Before provide information about sources of Kishvari’s “Divan” we should note that there were 3 main sources of topics in Divan literature: 1) common culture of ; 2) Ajam myths; 3) local elements. Like all Middle Age Literature, the classic literature was mostly inspired by religion and tasawwuf. The ayats of the Quran Kareem and the Hadith were the sources of the topics for the poets in madrasa. Another source is the narrations of Prophets majority of which are reflected in the Quran.41 The lives of such legendary personalities as the Prophet’s grandchildren; Hadrat Huseyn, Hassan, Ibrahim Adham, who left his crown while being the king of Balkh; Kulhani-Layhar, for living in Kulhani and eating ashes, Sanan, who had changed his religion while being a famous sheikh for the girl that he loved, Hallaj –Mansur, the symbol of the Divine , who had been burnt on fire for saying “Anal-haqq”; Haman and Garun – the symbols of negative wealth, Hatami Tay, who turned into an epic hero for his generosity and others played a role in formulation of the circle of topics for divan literature.42 Nematullah Kishvari’s Persian poems, which we have now, are rich in themes, in means of literary expression and description, as well as in characters which are widely covered in this paragraph. One may observe traditional motives and the system of chracters peculiar to Middle Age Literature in the creative work of Kishvari, too. In the incomplete “Divan” composed of Kishvari’s Persian verses, one may observe talmihs and metaphores about the prophets as Suleyman (Solomon), Khizir, Yusif, Musa(Moses), Isa (Jesus) and Muhammad(s.a.s) which as in the following examples: ا ّمی نارفته مکتب کاتب ننوشته خط تا ابد علم ازل را حرف حرف آموخته43

41 Okuyucu, C. Divan edebiyatı estetiği / C .Okuyucu. – İstanbul: Kapı yayınları, – 2011, – 255 s., s.185-186. 42 Okuyucu, C. Divan edebiyatı estetiği / C .Okuyucu. – İstanbul: Kapı yayınları, – 2011, – 255 s., s.189-190. دیوان کشوری دیلمقانی// کتابخانۀ مجلس شورای ملی. شمارۀ ثبت 9162 .92 ورق ، 59b 43 17

You are an ummah who did not attend the school, You’ve learnt the ancient science letter by letter till the eternity. چشم امید خریداران به راهت شد سفید یوسف من بر سر بازار کی خواهی شدن44 Hopeful eyes of the buyers got tired waiting for you When my Yusif will be shown in the market?

In his poems Kishvari was benefitting not only from the Ayats of the Quran, narrations and stories, but he was also inspired by the creative work of his predecessors. The influence of the creative work of Nizami Ganjavi both in the Persian and Turkish heritge of Nematullah Kishvari, who wrote and created in the 15th century, was expressed by different poetic means. Kishvari skillfully referred to the characters of “Panj ganj” (Five tresure) in different poetic examples created by him: نیست درد عاشقی در ساکنان صومعه چون من مجنون صحرا گرد باید عشق را45 The residents of the monstery do not suffer from the pain of passion Should have a Majnun, wandering the desert of love like me. از قسمت روز ازل شیرین به کام خسرواست جان کندن بی فایده قسمت شده فرهاد را46 Shirin was desired by Khosrov from the begining of time Farhad’s fate was vaste torture of his soul. Khayyam is one of those, whose spirit was felt in the creative work of Kishvari. The magic of his philosophical ruba’is had been mesmerising many for centuries and many were deceived by the external meanings of those ruba’is. Let’s have a look at the comparisons: مباش ایمن و یک پاره هم مشو نومید:Kishvari شراب نوش و کرم کن چو کرد منت آگه47 Neither believe and not deprive yourself from hope, Drink the and be generous, as I am enlightening you.

دیوان کشوری دیلمقانی// کتابخانۀ مجلس شورای ملی. شمارۀ ثبت 9162 .92 ورق a 34 44 دیوان کشوری // نسخۀ از آرشیو شخصی محمد علی کریم زاده . شمارۀ ثبت516، 76 ورق 5b 45 دیوان کشوری دیلمقانی// کتابخانۀ مجلس شورای ملی. شمارۀ ثبت 9162 .92 ورق 8a 46 دیوان کشوری // نسخۀ از آرشیو شخصی محمد علی کریم زاده . شمارۀ ثبت516، 76 ورق a 45 47 18

از حادثه زمان زاینده مترس :Xəyyam وز هر چه رسد چو نیست پاینده مترس این یك دمه نقد را به عشرت بگذار از رفته میندیش ز آینده مترس48 Do not be afraid of the events of the future! Whatever comes isn’t eternal , do not be afraid! These moment that you have spent with pleasure, Do not think about the one what has gone and do not be afraid of the future! The second paragraph of the second Chapter that named “The Image System and Canonized Tasawwuf Symbols and Expressions of “Kishvari’s Divan”” describes the theme, idea, image system of Kishvari’s “Divan” from the point of view of tasawwuf. While speaking about the content of any literary work it is important to mention the system of characters alongside with theme and genre specifications. This paragraph desribes the analysis of the verses of Kishvari’s Persian“Divan”, the themes the poet referred to, the motives he used, the personalities and characters he created. According to the poetic tradition majority of the characters used in the poems of Kishvari is related with lyric hero, the one who is glorified (i.e. lover) and the one who glorifies (the one in love). In the first line of his ghazals the poet usually had used epithets related to lover and in the second hemistitch he used epithets related to lyric hero. Through the expressions and metaphors used for comparison in Persian poems, particularly in the ghazals, Kishvari evidently demonstrated his awareness of the literature preceiding him. The images taken from the Quran and the stories and narrations originated from it, are prominently used in those expressions. Nevertheless this writings does not have a plot, in poetic samples and metaphors the Prophets’ names obviously were mentioned or used the allusions that related to the events of these Saints’ life. In his poems Kishvari had put to use the most famous images of Nizami ‘s “Khamsa”, which already turned into a special school in its

48 Mahfuz-ul-Haq, M. The rubaiyat of Umar-i-Khayyam / M. Mahfuz-ul-Haq.- Calcutta: Baptist Mission Press, – 1939, p.,s.65 19 time or he had used features that may remind the reader about any character of the “Khamsa” in the the phrases and idioms. In separate ghazals of Kishvari one may see the reflection of the ideas originated from the verses of such poets as , Hafiz Shirazi and Imadaddin Nasimi. At the end of this paragraph the results that have achieved by analyzing of all the imagery system of “Divan” are provided:  The love motive of the Kishvari’s Persian “Divan” has two directions, which each of them contains of peculiar chain of characters.  The circle of images like love-lover-beloved is one of the elements of that chain. Here the character of lover, is connected to the characters of heart-kabab-candle-moth-alley in its turn.  On the ground of praizing of the sweetheart’s (beloved or idol) image stands detailed description which had realised via small characters like face-hair-eye-eyelashe-cheek-chin-mole-lip-belly (muymiyan) - stature (cypress).  The image chain of Kishvari’s “Divan” includes the system of interrelated terms that established by the words related to wine feast (drinking banquet) which owned special meanings in the tasawwuf. These include: mey, sharab (wine), badeh (goblet), jam (bowl), jura (sip), saqi (butler), meyfrush (vintner), meykhane (tavern, also meykada- cabaret, kharabat - barrelhouse), tarsabachcha (Christian boy), mughbacha (child of fire worshiper).  The images like heart-eye drop-kabab had been used for discribtion of the lover’s sufferings. The provisions indicate the main results of the second Chapter are reflected in the articles that have been published in scientific press.49 The

49 Bayramova, L.A Influence of the of the Quranic Stories (gissa) on the Kishvari’s Persian “Divan”// Materials of the Scientific Conference of the Republic on “Relevant Problems of Oriental Studies” dedicated to the 95th anniversary of the faculty of Oriental Studies, – Baku, – 27-28 December 2017, – p.128-130; Bayramova, L.A. The Influence of Nizami’s heritage in the Kishvari’s Persian “Divan” // Risala. Collection of research works. The 15th book, – Baku, – Publishing House “Elm və təhsil”(Science and Education), – 2018, – p.50-54 Bayramova, L.A. Influence of Religious legends on Kishvari’s verses in Persian. The journal of philological issues № 10, – Baku, – 2018, – p 323-331 20

2nd Chapter includes 2 paragraphs and 65146 symbols. The 3rd Chapter of the dissertation is named “Poetic Features of Kishvari’s Persian “Divan”” and includes 2 paragraphs.The rhyme, radif and prosody features of the Persian verses have been examined in the first paragraph that named “Rhyme, Radif and Prosody Specifications of Kishvari’s “Divan””. The rhyme has the following types based on the shape: 1) straight ; 2) cross; 3) winding; 4) mixed (this type of rhyme occurs alongside with disorderliness and changes between the lines of couplet) and is known the following types of rhyme that based on the structure: 1) half; 2) absolute; 3) rich and 4) with jinas (juxtapositioning of two words having the same trilaterl root consonants, but different meanings)50. While talking about gazals of Kishvari, 104 of them are with simple, 74 with rich and 20 with full rhyme. The fellowing are the سینه- :samples for straight shape of the rhyming words used in the ghazals -behar) بهار- یار ,(del-gel) دل-گل ,(raftar-qoftar) رفتار- گفتار (sine-kine) کینه ,(gedayi) گدایی ,(jodayi) جدایی ,(belayi) بالیی ,(chenan-can) چنان- جان ,(yar .heyvan) and others) حیوان ,(zar) زار Defects in rhyme is one of the indices that used in the rhyme studies and evaluating the poet's artistic skills. Sinad, ikva, iqfa, and ita are the types of the rhyme defects is known in the theory of Persian literature.51 Kishvari’s Persian ghazals have rhyme defects and this is not surprising. This paragraph informs about those defects that have noticed in the rhyme of 21 ghazals, as well as mismatch of rhyme, i.e. sinad, in 5 ghazals, revealed among the in verses that are the object of our دور از تو یارم افتاده زارم بی study. For example, in the ghazal starting with in the copy of Mahammadali Karimzada [58a] rhyming اختیارم در آه وناله را nale and vafa] where endings are] ناله و وفا words in the first couplet are

Rafiyeva, L.A. The signs of Nizami Ganjavi’s“Khamsa” in the Kishvari’s Persian“Divan” // Materials of Scientific Conference of the Republic about “Nizami and World Culture”, – Baku, – 24 November 2016, – p.132-134. 50 Durmuş, İ. Kafiye / İ.Durmuş, M.Öztürk, İ. Pala //– Ankara: Diyanet Vakfı İslam ansiklopedisi, – XXIV c.– 2001– s. 149-153, s.152 51 Durmuş, İ. Kafiye / İ.Durmuş, M.Öztürk, İ. Pala //– Ankara: Diyanet Vakfı İslam ansiklopedisi, – XXIV c.– 2001– s. 149-153, s.151-152 21 not harmonious. Similar cases were observed in the ghazals starting with من دیوانه 19b], with the semistitch] شبم کان آفتاب اوج نیکویی به خواب آید the line in the copy of the Library of Islamic Parliament را هر سومندی کرده در گردن in the copy of کنج دینی وهللا نازکتر از این نتوان of I.R. on page 44a, with lines .33a ای دل غمگین بگوی یار کی خواهی شدن M.Karimzada on pages 34b and Other rhyme defects, i.e. ita, use of the rhyming word in the same meaning, was observed in 19 ghazals. While speaking about the rhyme features of the Persian ruba’is of Kishvari, it we’d like to mention that 2 of 18 ruba’is in two copies of his Persian heritage that we’ve received, are similar, consequently the total number equals to 16. 4 of those ruba’is are rhymed linear as a, a, a, a, 10 as a, a, b, a (this form is known InEnglish verse as Rubaiyat Qutrain). دستار ,[qolza̅ r] گلزار Ruba’is have been formed by simple rhymes ,[la̅ le] الله,[pa̅ re] پاره ,[ı̅ za̅ re] ایزاره ,[enqa̅ re] انگاره ,[besya̅ r] بسیار ,[desta̅ r] .dela̅le] and other words] دالله ,[gheha̅ rdeh sa̅ le] ساله چارده In the ruba’is which ones’ rhyme is formed with the words موی tema̅ shā sh], as well as the words] تماشاش ,rena̅ sh رعناش ,[hemra̅ sh]ش نشانش ,[kema̅ nesh] کمانش ,[deha̅ nesh] دهانش ,[mu̅ y-i miya̅ naš] میانش ,shin), that written solid) ش nesha̅ nesh] the possessive suffix , the letter] created the sample with rich rhyme. Another type of rich rhyme was ,[ mehremı̅] محرمی ,[ hemdemı̅] همدمی created by the author with the words .[a̅ demı̅] آدمی Another important question in the poetry alongside with the rhyme, is radif, that has particular place in the emergence of harmony, melodiousness of verses. Also radif features of the Persian verses collected in “Divan” has been recounted in this paragraph. Radif (a kind refrain consisting of the same particle ( a word, or short phrase) added after each rhyming word throught a poem – L.B.) means " follower, the one that comes behind,” in the disctionary. In Arabic and Persian poetry it comes after the last letter of the rhyme – ravi 52. As to the Nematullah Kishvari’s Persian poems, 189 out of 198 ghazals in the “Divan” are muraddaf (i.e. with radif). 27 out of 38 ghazals, written in Azerbaijani Turkish language, that included in the copy of the

52 Albayrak, N. Redif // – Ankara: Diyanet Vakfı İslam ansiklopedisi.– 2007. c. 34, – s. 523-524,s.524 22

Library of Islamic Parliament of I.R. Iran, are with radif. However, radif haven’t been found in 4 muammas which are there. 217 of 264 ghazals are with radifs in the published version of the Azerbaijani Turkish verses.Radif had been observed in 13 of 25 ruba’is in Azerbaijani Turkish. Hence, Kishvari addressed to radif in 245 of 308 poems in Azerbaijani Turkish. There are a lot of muraddaf ghazals in the Kishvari’s Persian“Divan”. They are different in their contents: the number of the ghazals with one component, i.e. one-word-radif is 145; the number of the ghazals with two components, i.e. with the scheme 2 words+ or word+postposition (qoshma) is 27; 13 poems are with 3 components, 3 poems are with 4 components and a ghazal consist of 5 components. This ghazal with 5-component is an example in the “Divan” with more than a half of its lines had been used as radif. The ghazal starts with the following couplet: کنج دینی وهللا نازکتر از ین نتوان گفتن سخنی وهللا نازکتر از ین نتوان53. The more elegant corner of religion, Vallah ( “I swear to God”) , is impossible, It is impossible to say the more elegant word, Vallah. را The components that had been used more as radif are the words .and others نیست,[qozesht] گذشت,[sheb] شب,[mera] مرا,[ra] This paragraph also indicates the radif features of the only mukhammas that is in the “Divan”, as well as, the radif of 16 ruba’is and 8 muamiyyats. Before giving information about the of the verses, it is necessary to highlight that the foundation and inseparable part of the divan poetry has been built on common metre of the in Arabic-Persian literature. As the only and incomparable measure of poetry Arud was predominant in Divan lyrics and gave the directions to expression and dictionary of it. As it is impossible to reflect in this dissertation metres of all verses of Kishvari in Persian, the analysis of only 2 poems according to Arud have been given here. First of them is in the bahr (metre) of hazaj and the

دیوان کشوری دیلمقانی// کتابخانۀ مجلس شورای ملی. شمارۀ ثبت 9162 .92 ورق 47a 53 23 second is in the bahr of ramal. Commonly, in Kishvari’s Persian poems had been observed the usage of such bahrs as muzare, mujtas, muqtazab, khafif, rajaz, basit, munsarih. The second paragraph that named “Phonetic, Lexical and Syntactic Elements As The Tools of Enhancing The Poetic Impact in Kishvari’s Persian “Divan”” describes (recounts) how Kishvari had benefited of rhethoric figures and stylistic devices that encounter in the poetry and increase expressiveness and impact power of a verse and decorates it as a bride. The rhethoric figures and stylistic devices in the “Divan” may be summarized in 3 groups: 1) phonetic (alliteration, assonance); 2) lexical (tashbih (i.e. simile about 6 different kinds), tashkhis(personification), tazad(opposition), litotes, talmih); 3) syntactic elements (ellipsis, rhethoric question, direct address, exclamation, inversion, parallels). The most elements that had been encountered in “Divan” belongs to syntactic group that inversion, different varieties of repetition and direct address occupy leading positions among them. Scientific provisions, that indicates the summary of the 3rd Chapter, have found their reflection in the articles published in scientific press.54 The third Chapter is consist of 2 paragraphs and 65694 symbols. The Conclusion part of the thesis contains of the summaries given below which have achived after analysing the poet’s period, life, creative work:  With the exception of information that Kihvari's had wrote poems in Azerbaijani Turkic and Persian, as well as about the fact that he

54 Bayramova, L.A. Gafiya and Radif Features of the Nematullah Kishvari Persian “Divan”. The journal of philological issues № 11, –Baku, – 2018, – p.264-275 Bayramova, L.A. The devices of Accentuating The Poetic sense in Kishvari’s Persian “Divan”// Risala. Collection of Researches. The 14th book. Baku: Publishing House “Elm və təhsil” (Science and Education), – 2018, – p.29-37 Bayramova, L.A. Tashkhis in the Nematullah Kishvari Persian “Divan”. The 4th International Scientific Conference of Young Researchers Dedicated to the 97th Birth Anniversary of the National Leader Heydar Aliyev, – Baku: 2020, – p.126-128 Rafiyeva, L.A. Opposition in the Persian Poems of Kishvari / The journal of philological issues № 10, –Baku, –2013, – p.412-419 24 had wrote by the beautiful Nastalig script and where he comes from, all opinions about his life are based only on the poet's poems.  Nevertheless contradictory thoughts about the place of his birth taking into account the information in tazkira that Kishvary was Turk by his ethnic origin and he had written poems in Azerbaijani, we suppose that the birth place of Kishvari was Dilmagan, now called Salmas where majority of population is Azerbaijani turks.  Taking into account that Kishvari was in the palace of Sultan Yagub, dedicated poems to Shah Ismayil Khatai, complained about old ages in his poems we may say that most probably he lived till the 20s of the 16th century. If to think that the average length of a human life is 75- 85 years, then can be surmised that he might born between 20-40s of the 15th century.  Accordance to the information given in one of tazkiras, based on the complaint and resentment motives used in his poems, names of places he mentions in his poetic samples, as well as historical information about the earthquake in Dilmagand, we may say that the life of the poet was spent in financial hardship. That is why we relate with these facts that he had to leave his motherland and the high spirit of complaint in his poems  In the matter of his works and creativity,there are manuscripts of “Divan” of poet that had been written in two languages. The ones in Persian language are incomplete and imperfect. 4 copies of the Persian “Divan” are known. Two of them are preserved in Iran, Tehran, in the Library of Islamic Parliament of I.R. Iran and in Library of Tehran University, other is preserved in personal collection in London, and if to believe the accuracy of information provided, one more copy is preserved in Pakistan, Islamabad city, in the library of Ganjbakhsh.  Compared with other copies, the copy of the manuscript preserved in the The Library of Islamic Parliament of I.R. Iran, is stated to be autographic.  As to the genre of the Persian poems, we should mention that the “Divan” preserved in the Library of Islamic Parliament of I.R. Iranincludes 83 ghazals, 1 mukhammas, 6 ruba’i and 8 muamiyyat - altogether 98 poems. The mukhammas includes 7 stanzas and 35 lines.

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The genre of other verse forms of the “Divan” are ruba’i that amount of them are 6 which in its turn is equals to 24 lines. In general, the copy of the Library of Islamic Parliament of I.R. Iran includes 1179 hemistitches.  The “Divan” preserved in personal collection of Mahammadali Karimzada includes 138 ghazals. It should be taken into consideration that 110 of them are in the main part of the copy and 28 are reflected in the additional part. In total it makes 710 couplets and 1420 lines. There are 12 ruba’is here. Hense, there are 1508 hemistitches and 150 poems in the copy of M .Karimzada.  In general, we have 248 poems in Persian and the study was carried out on those poems.  Below the differences between the copies we have informed about: 1. It is surmized that the copy preserved in the Library of Islamic Parliament of I.R. Iran had been written by the poet, i.e. it is autograph copy; 2. The copy of M.Karimzada is larger in volume; 3. That copy includes only poems in the genres of ghazal and ruba’i, however in the copy of the Library of Islamic Parliament of I.R. Iran have collected verses in genres of ghazal, mukhammas, ruba’i and muamma.  Kishvari evidently showed that he was aware of the literature created before him via the expressions and the metaphores, that he used for comparison, in Persian poems, particularly in the ghazals.  The images originated from the Quran and the narrations and stories originated from it were more prominently used in those expressions.Although the descriptions and comparisons do not have a plot, either the prophets’ names had directly mentioned or refered to events of those prophets’ lives without mentioning their names.  Kishvari, used the most famous images of the Nizami’s “Khamsa” , which has established special tradition and a school since their created time, or gave the description of features of those “Khamsa” images which reminds of the readers them.  The images of Firdovsi’s “” are mentioned in the creativity of the poet, in a small amount. If to take into consideration that Nizami had inspired by the “Shahnameh” when he wrote his “Khamsa”, then the influence of the creative work of Firdovsi increases a little more.  In addition, in separate ghazals of Kishvari we may see the ideas

26 originated from the poems of such poets as Omar Khayyam, Hafiz Shirazi and Imadaddin Nasimi.  The love motives of the Kishvari’s Persian “Divan” has two directions. Each of them consists of the peculiar chain of images. One of the circles of that chain is made of eshgh (the love) – ashegh (the lover) – mashoogh (the beloved). The image of the lover is connected to the images of heart-kabab- tear-candle-moth-alley that had used to describe the sufferings of lover.  Another image chain of Kishvari’s “Divan” includes the system of interrelated terms that established by the words associated to wine feast (drinking banquet) such as sharab (wine), badeh (goblet), jura (sip), saqi (butler), meyfrush (vintner), meykhane (tavern), tarsabachcha (Christian boy), mughbacha (child of fire worshiper) which acquired special meanings in tasawwuf.  Simple, absolute, rich rhymes were used in the Kishvari Persian“Divan”. Defects in rhyme, i.e. repetitions and inconsistency in rhyme were observed alongside with this. This case is usually observed in verses of ghazal genre. Rhyming words are periodically repeated throughout the “Divan” that may be considered like flaw for the poet. The most frequently encountered rhyme defect is ita and the second frequently is sinad.In the poems of the poet written in Persian such varieties of rhyme as front rhyme (gafiya), zulqafiyateyn (double rhyme), cross, winding and mixed rhyme had not used.  Kishvari had made to used radif, that is not easy to apply, in his 201 poems. If to take into account that the number of the poems written in Persian is 248, this speaks about his skills as a poet. The poet also had addressed to different varieties of radif that majority of them were simple, however by using radif in more than a half of line in a gazal, the poet created an interesting example. In some poems he had tried to apply radif, however was not succesful.  Kishvari was aware of the rules of Aruz metre (vazn) and used different varieties of it in his poems. Used prosodies are harmonious with poem traditions of that period and Persian language. The most frequently encountered metres observed in the “Divan” are hazaj and ramal.  Based on the analysis and given examples, the rhethotic figures and

27 stylistic devices in “Divan” may be brought together as following groups: 1) phonetic; 2) lexical; 3) synthactic elements.The detected phonetic elements are assonance and alliteration, lexical elements are simile, tashkhis (recognitions), tazad(opposition), litotes, talmih. The wide reveald synthactic elements were ellipsis, rhethoric question, rhethoric exclamation, rhethoric salutation, repetitions and their varieties, parallelism and inversion. The conclusion is that, as an offspring of his period, Kishvari had definitely got the rich and multilateral heritage. Despite of some defects in his poems, his heritage enriched the treasure of our art, like his contemporary poets. He did not leave a school after himself, even so he influenced the creativity of his successors to a definite degree.

The main content of the dissertation have been reflected in the following scientific publications:

1. Rafiyeva, L.A. Poetic heritage of Kishvari // Development Ways of the Science of Oriental Studies in Azerbaijan, The Materials of International Scientific Conference dedicated to the 70th birth anniversary of the Academician Vasim Mammadaliyev, –Baku, – 27-28 June 2013, – p.272-274, 2. Rafiyeva, L.A. Opposition in the Persian Poems of Kishvari / The journal of philological issues № 10, –Baku, –2013, – p.412-419 3. Rafiyeva, L.A. The signs of Nizami Ganjavi’s “Khamsa” in the Kishvari’s Persian“Divan” // Materials of Scientific Conference of the Republic about “Nizami and World Culture”, – Baku, – 24 November 2016, – p.132-134. 4. Bayramova, L.A Influence of the of the Quranic Stories (gissa) on the Kishvari’s Persian “Divan”// Materials of the Scientific Conference of the Republic on “Relevant Problems of Oriental Studies” dedicated to the 95th anniversary of the faculty of Oriental Studies, – Baku, – 27-28 December 2017, – p.128-130 5. Bayramova, L.А. Poetic specifications of Kishvari’s rubais' in Persian / Philology: scientific research. –Moscow: Nota Bene, – 2018. – № 2, – p. 146 - 155 28

6. Bayramova, L.A. The devices of Accentuating The Poetic sense in Kishvari’s Persian “Divan”// Risala. Collection of Researches. The 14th book. Baku: Publishing House “Elm və təhsil” (Science and education), – 2018, – p.29-37 7. Bayramova, L.A. Tashkhis in the Nematullah Kishvari Persian “Divan”. The 4th International Scientific Conference of Young Researchers Dedicated to the 97th Birth Anniversary of the National Leader Heydar Aliyev, – Baku: 2020, – p.126-128 8. Bayramova, L.A. Influence of Religious legends on Kishvari’s verses in Persian. The journal of philological issues № 10, – Baku, – 2018, – p 323-331 9. Bayramova, L.A. Gafiya and Radif Features of the Nematullah Kishvari Persian “Divan”. The journal of philological issues № 11, –Baku, – 2018, – p.264-275. 10. Bayramova, L.A. The Influence of Nizami’s heritage in the Kishvari’s Persian “Divan” // Risala. Collection of research works. The 15th book, – Baku, – Publishing House “Elm və təhsil”(Science and Education), – 2018, – p.50-54 11. Bayramova L.А. Genre Specifications of the Persian “Divan” of Kishvari // Relevant questions of the Science of Philology of the 21th Century. The 9th International Scientific Conference of Young scientists, dedicated to the 90th anniversary of Foreign Languages Division.– Yekaterinburg: УМЦ-УПИ, – February 7, 2020, – p.133-137

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The defense will be held on ______2021 at____at the meeting of the Dissertation council ED–1.05 of Supreme Attestation Commission under the President of the Republic of Azerbaijan operating at Institute of Literature named after Nizami Ganjavi, ANAS.

Address: AZ1143, Baku, Avenue, 115, Academy campus, Main building, 4th floor, Electronic Hall of the Institute of Literature named after Nizami Ganjavi.

Dissertation is accessible at the Library of the Institute of Literature named after Nizami Ganjavi.

Electronic versions of dissertation and its abstract are available on the official website of the Institute of Literature named after Nizami Ganjavi.

Abstract was sent to the required addresses on ______2021. Signed for print: 27.05.2021

Paper format: A5

Volume: 46642

Number of hard copies: 20