KOHAN-NAME-YE ADAB-E FARSI (CLASSICAL PERSIAN LITERATURE)
Year:2014 | Volume:5 | Issue:4|Papers Count:6

Today the expansion of researches and scientific deliberations in rich the heritage of Persian literature, provide an appropriate condition for comparative study in literary books. This research benefitting from Intertextuality and Transtextuality methods compares contents of two valuable books in theosophical Persian literature field: Hadiqat-o alhaqiqeh by Sanaei Qaznavi and Mersadolebad by Najm-e Razi. Transtextuality method was first introduced by Julia Kristeva (1960 th) and then was developed by Gerard Genette. According to Gerard Genette transtextuality is «all that sets the text in relationship, whether obvious or concealed, with other texts» and it «covers all aspects of a particular text». Genette described transtextuality as a «more inclusive term» than intertextuality. In this research, we find such documentary results through comparison "beginning style", "classification type", "explicit & indirect quotation", "introduction", "Theme & content", "interaction to Sufism", "interpretation and criticism of each other" and "inspiring each other" in mentioned books.

"Story within story" or "embedded narrative" is "a combination of narrative sequences such that one sequence is embedded in another one". Despite the extensive use of this technique, there is no comprehensive source for researchers. Thus, the main aim of this article is to provide a history of embedded narrative in Persian literature from the beginning to ninth century. Results show an expansive use of this technique in narrative genre; a continuum from fictional to didactic and mystical works. Moreover, on the basis of the role of embedded narrative in plot, the trilogy kinds of embedding are discovered: instrumental, structural and synthetic.

In correcting the texts, the closer the oldest version to the life time of the author the more stable the corrected text, in case the rules of scientific correction are met. Unfortunately, the oldest version of lots of valuable Persian texts have not survived throughout the history. Mediatory texts such as biographies, collections of poems and other poetic and non-poetic texts which guarantee some parts of the texts, have an important role in finding the correct forms of recording the words. In the present study, we questioned whether it is possible to eliminate some of the weak points of the correction of the Divan of Moezzi, and we used such texts for investigating his Divan. The results of the study is composed of twenty-five novel correcting suggestions in addition to mentioning forty-five couplets of Moezzi which has not been mentioned in his printed Divan.

Hagiographic literature and specifically "maqamat", meaning recording one of the Sufi sheiks' life and behavior, have had a critical role in our social and cultural past and an outstanding effect on our best poets' minds and language after the 5th century. Therefore it's one of the prominent genres of mystical literature. Though they've had such significant role, not much study on them has been done yet. This paper analyses the language and discourse of two texts of this type and comperes the contrasts and conversions that appears through Sufism organization, in these texts' language. The first text, Sirat-ibn Khafif, composed by Abolhasan deylami (died in 173), is one of the most primitive hagiographies. The other one, Maqamat-i zhanda pil, one of the most archaic biographies of Ahmad Jam (died in 541), is in fact regarded as the last hagiography until before the end of the 6th century and Mongol invasion.

Tarikh-e Bayhaqi and Tarikh-e Bal'ami are considered two masterpieces of Persian history. However despite many studies done on the two books, no comprehensive study is done from the perspectives of comparative, historical and literary criticism on aspects such as narrating history style and language. Nonetheless, these two books are proper examples for comparative studies as they principles of narrative and storytelling are traceable in them. The present study is to study the characteristics of narrative and fictional aspects of the two texts including perspective, character, tone and atmosphere in order to show some of the similarities and differences between the two masterpieces. Some of the results of this study indicate that the diversity of perspective in Tarikh-e Bayhaqi is more than Tarikh-e Bal'ami. In Beihaghi's text the focus is more on characters than on action while Bal'ami's text is more action-oriented. Beihaghi is more successful in stage-setting than Bal'ami, as well as in elements of tone and atmosphere. These factors make the former text more vivid and so more attractive to the reader.

Illiteracy is one of the traits some writers have attributed to Ahmad Jam. These writers know his whole speeches spiritual intuition and divine inspirations. According to these writers if all traces and writings of Ahmad Jam are under the impact of "DIEX EX MACHINA" therefore, a question is posed: what is all this similarity between his traces with writings of the sheiks before him? We believe these aren't accidental. Thus, these writers indirectly wanted to equalize him with the illiterate prophet and increase his prominence and status for the posterity in this way by means of this persistence in the role of inspiration in sheikh’s traces. In this article, we have tried to answer these questions starting with an introduction to revelation and heart inspiration. Then we have tried to compare sheikh Jam's prose traces with six of his preceding mystical traces and we have allocated a time for the survey and the analysis of interpretive similarities, clarifying the differences and resemblances of these traces. We prove that Ahmad Jam had totally been familiar with his preceding mystical heritage and these traces are a combination of divine inspiration and compliance with speeches and writings of preceding sheiks.