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Published online by Cambridge University Press: 15 March 2011
This chapter is described as being in praise of Iṣfahán, and of the excellence of its inhabitants, their obedience to constituted authority, and their talents, and as showing that the schemes of all such as have intended ill to them, or endeavoured to do them injury, have recoiled on their own heads.
page 662 note 1 He died a.h. 255 (= a.d.869). See my Hand-list of Muḥammadan MSS. in the Cambridge University Library, p. 174, and a note in the Addenda, p. xviii.
page 663 note 1 The following readings in the MS. have been emended:—1. 3, 
; 1. 9, 
(to 
); 1. 10, 
; 1. 12, 
. For the expression in 1. 7, 
, cf. the Ḥamása, ed. Freytag, p. 120, 1. 3.
page 664 note 1 I cannot understand the text, which seems to be corrupt, nor identify the king. The passage runs—
page 682 note 1 Bá stands for Abá, the accusative of Abú, and is commonly used in the formation of Persian kunyas, e.g. in Bá Yazíd (= Abá Yazíd, for Abú Yazíd).
page 682 note 2 Jarbádhaqán is the Arabicised form of Gulpáyagán.
page 684 note 1 This nisba refers, as clearly appears from Yáqút (Mu‘jam, iii, 564–5; Mushtarik, 298), to a place near Iṣfahán, not to be confounded with Tihrán, the present capital, which was in early Muḥammadan times a hamlet of little importance, and of which the spelling was only changed from the older 
(Yáqút, etc.) to 
by a “popular etymology,” which desired to connect it with the Arabic root 
, “to be pure.”
page 685 note 1 The following readings of the MS. have been emended: 1. 1, 
; 1. 7, 
; 1. 8, 
.
page 688 note 1 Cf. Qur’án, xii, 87.
page 688 note 2 The reading 
(“sharpened”) suggests itself as an obvious emendation. The following readings of the MS. have been emended: 1. 1, 
; 1. 4, 
, and 
.
page 702 note 1 The MS. reading is — 
, but the emendation seems obvious, the meaning being, “Thou art such an ‘idol’ 
and such a ‘ picture ’ that thou fillest with despair and bewilderment both A'zar and Mání.” According to the Muḥammadan belief, A'zar, the father of Abraham, was a maker of idols, while Mání (Manes) appealed to his skill in painting as his peculiar miracle.