دومین تذکرۀ زنان شاعر و ضرورت تصحیح آن

1. Introduction
The process of creation, culmination and transformation of the heritage of Persian literature must be sought in the history of its literature, a history of literature whose main part of its information is derived from the poets' tazkira.h. ki byl- ilavi, Ahmad  Historically, tazkira writer and by following them, literary historians have focused and emphasized the introduction of poets and writers, so that more than 95% of literary figures who have been introduced in tazkiras and literary histories are men, but gradually, first the tazkira writers, then other writers, introduced some female poets alongside the male poets. Although the number of female poets introduced in sources was increasing from century to century, by the 10^th century AH approximately 100 of them had been identified and introduced.
Although in most general and even contemporary tazkiras of the 7^th-14^th centuries, at least a few female poets have been introduced alongside many other poets, Fakhri Heravi (970 AH) wrote the first tazkira of female poets called Jawahir al-Ajayeb, specializing in briefly introducing their biography and poems and covering 31 female poets from the beginning to the end of the 10^th century in this tazkira, which led some tazkira writers to use his work as a model and pay more attention to introducing female poets; so that after his, some general tazkira writers, such as Ohadi Baliani, introduced more than 40 female poets in A’rafat al-Asheqin va A’rasat al-A’refin, and even two centuries after Fakhri and following his, an anonymous tazkira writer wrote the second tazkira of female poets and the main purpose of this article is to introduce and examine it.

2. Literature Review
It seems that Naqavi (1964: 399-401) first introduced the manuscript of the aforementioned tazkira in Tazkiranevisi-ye Farsi dar Hind va Pakistan, then Golchin-e Ma’ani (1968: 247-250) also quoted Naqavi's contents in the Tarikh-e Tazkira-ha-ye Farsi until Naushahi (2012: 903-904) introduced the manuscript of this tazkira in the list of Catalogue of the Persian Manuscripts in the Punjab University Central Library in Lahore (Pakistan), yet, so far, access to this manuscript is difficult or even impossible, so that before this article, no independent or related research has mentioned any additional information about this tazkira beyond the contents of Naqavi, Golchin-e Ma’ani, and Naushahi and even if this tazkira has been discussed in some books, theses, or articles, their contents are taken from the writings of the two aforementioned researchers and cataloger and even Roohanigiz Karachi (2015) in Tarikh-e She’r-e Zanan and Banafshe Hejazi (2017) in Zanan-e-Muaddab did not have access to the mentioned manuscript to use its content in their works.

3. Methodology
This research uses theoretical and library method; therefore, its topics are based on manuscripts and printed books.
 
4. Discussion
Since the information about our literary history of women poets and the literary situation of women, especially up to the 14^th century AH, is very scarce and contradictory, it is necessary and useful that the sources of the history of women's literature, namely the tazkiras of women poets, be identified, edited, and researched as much as possible, so that the contribution of women in the history of Persian literature is determined.
Although many of the tazkiras from the 13^th century onwards have been lithographed or lettertyped so far, at least a few tazkiras of female poets were written in the 12^th century, which are more noteworthy for being examined and edited, because less information is available about female poets before the 13^th century and the tazkiras of the 13^th century have copied or adapted most of their contents from tazkiras before them.
One of these tazkiras of female poets in the 12^th century AH is the subject of this article which contains some new information not mentioned in contemporary and future tazkiras, and some of its contents have been quoted with great influence in the tazkiras of the 13^th century AH and onwards. Therefore, the content of the tazkira in question is significant and worthy of research both in terms of the novelty of the contents and in terms of its compatibility with other tazkiras.

5. Conclusion
Despite the many tazkiras and literary histories that have been written so far, more than 95% of their content is about male poets, and there is still no acceptable information available about female poets; therefore, identifying, editing, and researching any type of work that includes the introduction of female Persian poets is very necessary and useful.
The manuscript number pf I 22/1119 preserved in the Central Library of the University of the Punjab, Lahore, is the second tazkira of female Persian poets after Fakhri Heravi's Jawahir al-Ajayeb so far. Some pages are missing from the beginning and end of the manuscript, and this has prevented us from obtaining accurate information about the name of the book and its author. However, most of the manuscript has survived.
This tazkira includes brief biography and poems of 38 female poets, whose author was most likely a native and resident of India and wrote this work there in 1174 AH. The historical range of the female poets in this tazkira is between the 4^th and 12^th centuries AH, and their earliest and latest are Rabia’e Qazdari and Khadija-Sultan, respectively. The number of female poets mentioned after the 10^th century AH increases, and most of them either lived in Khorasan, Fararud, and India, or migrated to India from various cities in Iran.
The author of the tazkira has ordered the biographies of the female poets according to the first letter of their names or pseudonyms and has written very briefly about some poets and more extensively about others.
This tazkira includes new information, such as a complete biography or a few poems by some female poets, which are sometimes not mentioned in earlier or later tazkiras, and sometimes only later tazkiras have directly or indirectly adapted from it. However, the author of the tazkira has also benefited from historical works and tazkiras of poets and mystics before himself, such as Tarikh-e Wassaf, Nafahat al-Ons, Majalis al-Nafayes, Jawahir al-Ajayeb, Arafat al-Asheqin, Mirat al-Khiyal, and Riyaz al-Shu'ara. He has doubted some of the information from the sources and rejected some of the content of works such as Mirat al-Khiyal and Riyaz al-Shu'ara, and presented their opinions with a critical view and added his own perspective. However, he himself sometimes made mistakes or thought that he was the first to notice the mistakes of others, but previous writers of tazkiras were also aware of the issue.