دانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220The Importance of the Types of Techniques in Nizami’s Khosrow and Shirin and Plato’s Symposiumاهمیت انواع صناعات در خسرو و شیرین نظامی و ضیافت افلاطون121297510.22103/jcl.2021.17417.3243FAمرضیهاسماعیل زاده مبارکهدانشجوی دکتری گروه زبان و ادبیات فارسی، دانشگاه اصفهان، اصفهان، ایرانمحسنمحمدی فشارکیدانشیارگروه زبان و ادبیات فارسی دانشگاه اصفهان، اصفهان، ایرانJournal Article20210414<strong>.</strong><strong> Introduction</strong>
The Symposium by Plato, best known in Persian as Ziāfat, is the scene of dialogue in a banquet held by Agathon, the tragic poet, on the special occasion of celebrating the prize for his first tragedy in 416 B.C. In this symposium, every attendee, including Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon, and Socrates, gives a speech about Eros, respectively. Eros is known in Greek culture as Love or desire _ especially sexual and personified as the God of love. Two of Plato’s most famous dialogues focus on understanding Eros, the Symposium and the Phaedrus. (Preus, 2007→Eros)
The cause for comparing Nizami's Khosrow and Shirin and Plato's Symposium in this essay is their shared fictive patterns, except for similar themes that exist in both of them. The title of Hakim for Nizami, the sixth-century well-known poet and storyteller, indicates that he had a good grasp of common sciences of his age of which philosophy and Hekmat (wisdom) were basics. And this interest in philosophy can be seen in Iskendernāme and his other works like Khosrow and Shirin.
<strong>2.Methodology</strong>
In the article, the perspectives of Plato and Nizami toward the arts in the Symposium and Khosrow and Shirin have been analyzed by library research method and content analysis. At first, the process of creating figures of speech that result from the unity of reason (Logos) and love (Eros), and then the importance of various rhetorical figures were studied in these two works.
<strong>3.Discussion</strong>
There is a kind of social forces assemblage in Plato’s Symposium and Nizami’s Khosro and Shirin; each has a specific thought method about Eros (love) as well as a romantic relationship. Love brings people of different viewpoints together to communicate with each other. Even Techne or technique is one of the significant issues in the Symposium, including a kind of sense, consciousness, and love, which helps the human to create artworks. On the other hand, even in Khosrow and Shirin, love is observed in all types of arts; music, painting, architecture, poetry, and politics are all manifestations of Eros. So, “Techne” or “technique” and its relation to “Eros” or “love” is one of the subjects to study in both works.
In the present study, Plato and Nizami’s views have been analyzed on the techniques in the Treatise of Symposium and Khosrow and Shirin. First, the process of techniques’ creation, obtained from the association of reason (Logos) and love (Eros), and then the importance of techniques’types in these two works have been studied.
<strong>4.Conclusion</strong>
The perspective of Islamic philosophers about arts (different kinds of Techne) can be divided into verbal and non-verbal areas. Indeed, verbal arts are five Arts (five functions of the language in Aristotle’s view) following logic. And non-verbal arts are crafts, following ethics, under the branch of political philosophy.
According to Plato’s Symposium, the perception of rational imageries and the distinction between good and evil are manifested with the advent of Eros. When a human falls into love with someone for the first time, his/her obsession or object of love is perceivable with external senses, concretely and partially. But this love in human beings gives rise to the distinction because a lover always sees the beloved better and superior than others. The distinction of “superlatives,” that comes with love, in higher stages entails recognition of universals and the advent of philosophy by which one distinguishes between the data of estimative faculty and the data of rational faculty and does not get caught in the trap of fancies. Issues expressed in Khosrow and Shirin have a similar pattern to those of Plato’s Symposium examined in this article.
In both the Symposium and Khosrow and Shirin, with the advent of love, the discriminating faculty that is the reason is created in person, and the other arts are manifested following that. Love (Eros) is like a midwife that brings forth the reason (Logos); Thus, the reason is the logos or the rational soul connecting love with the arts because love (Eros) takes the monstrous reason to the actual stage. And the manifestation of various arts is one of the results of love’s advent and the actualism of reason. Nizami in Khosrow and Shirin has entered fiction from the viewpoint of utopias. And it has such priority that at the beginning of the debate between Khosrow and Farhad when Farhad introduces himself as belonging to the state of love and friendship, the first question that Khosrow asks him is about the craft of his fellow citizens.در ضیافتِ افلاطون و خسرو و شیرینِ نظامی نوعی گردهمایی نیروهای اجتماعی وجود دارد که هر کدام از این نیروها شیوۀ تفکر خاصی دربارۀ اروس (عشق) و ارتباط عاشقانه دارند. عشق، این افراد را با دیدگاههای مختلف کنار هم قرار میدهد تا با هم گفتوگو کنند. تخنه یا صناعت نیز که از مباحث مهم در ضیافت است، حاویِ نوعی شعور، آگاهی و عشق است که انسان را برای خلق آثار هنری یاری میکند. از سویی، در خسرو و شیرین هم تکثّر عشق در انواع هنرها مشاهده میشود: موسیقی، نقاشی، معماری، شعر و سیاست که همه جلوههایی از تجلی اروس است. بنابراین یکی از موضوعاتی که در هر دو اثر قابل بررسی است، «تخنه» یا «صناعت» و ارتباط آن با «اروس» یا «عشق» است. <br />در مقالۀ حاضر دیدگاه افلاطون و نظامی نسبت به صناعات در رسالۀ ضیافت و خسرو و شیرین تحلیل شده است. نخست فرآیند خلق صناعات که از اتحاد عقل(لوگوس) و عشق (اروس) حاصل میشود و سپس اهمیت انواع صناعات در این دو اثر بررسی شده است. در همین معنی، در مبحث صناعت و سیاست، به این پرسش پاسخ داده شده که چرا پس از ادعای فرهاد مبنی بر اهل شهرِ عشق بودن، نخستین سوال خسرو از فرهاد این است که «آنجا به صنعت در چه کوشند؟»https://jcl.uk.ac.ir/article_2975_c2d5800f7f8ed8168d05d799ca49ed58.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220A comparative study of the Balochi story of Hani and Shaymorid with Laila and Majnun of Nizamiبررسی تطبیقی داستان بلوچی هانی و شَی مُرید با لیلی و مجنون نظامی2352304810.22103/jcl.2021.17863.3316FAعبدالغفورجهاندیدهاستادیار زبان و ادبیات فارسی، دانشکدۀ مدیریت و علوم انسانی دانشگاه دریانوردی و علوم دریایی چابهار. چابهار، ایران.Journal Article20210718<strong> Introduction</strong><br /><br />Storytelling has a significant and prominent place in Iranian literature and its history dates back to the Pre-Islamic era. Fiction poetry is a part of Iranian poetic literature. In Persian literature, Fiction Poetry began with <em>Wameq and Azrai Onsori </em>(Death, 431), <em>Vargheh and Golshah Ayoughi</em> and <em>Weiss and Ramin</em>. It reached its climax with <em>Khosrow and Shirin </em>by Nizami (607-535). (Zolfaghari, 1394: 74) <em>Laila and Majnun</em> is the third fiction poem in Khamseh poem collection (a collection of five narrative poems) written by Nizami and is considered as one of his most brilliant works. The origin of this story should be sought in Arabic literature and Nizami put it in such a fascinating way that later numerous poets imitated this masterpiece work of poetry.<br /> Storytelling and fiction poetry are essential features of Balochi literature and a significant part of traditional Balochi poetry consists of poetic stories. There are dozens of romantic poems in Balochi literature, among which <em>Hani and Shaymorid</em> are the most famous. The place and role of this story in Balochi literature is the same as Laila and Majnun in Persian literature.<br />In this article, two poetic stories have been compared and evaluated, on the one hand, "Laila and Majnun" by Nizami, as one of the most famous and important poetic stories in Persian literature, and on the other hand, the story of "<em>Hani and Shaymorid</em>" as one of the most famous Balochi romantic story.<br /> <br /><br /><strong> Methodology</strong><br /><br />The method of collecting data in the story and poems of "Hani and Shaymorid" is rather field-based. The author has heard the poem from the song of musicians and the story behind it from narrators. After compiling this story and its poems, using analytic and comparative methods, he has studied the characters and events of the stories and has used library resources for content analysis.<br /> <br /><br /><strong> Discussion</strong><br /><br />The story of "Hani and Shaymorid" is about five centuries old and there are forty semi-long and short poems that were accessible to the author. This is the most famous Balochi story popular with the people and there are two main narrations and several sub-narrations about it. One of the main narrations is of southern Balochistan, i.e., the land of Makoran. The other one is the narration of northern Balochistan. Each of these narrations has its unique features. It is worth mentioning that there are more poems about the first narrative than the second.<br />The main characters of this story are Hani and Shaymorid and Mir Chakar. Hani is the daughter of Dinar, the cousin, fiancé, and lover of Shaymorid, who eventually becames his wife. Shaymorid is the son of Mubarak and Mir Chakar Rind, who is Shaymorid's love rival in this story, is the son of Sheyhak.<br />Hani and Shaymorid were cousins and had been engaged since childhood. Even though the two played together as children, Shaymorid did not meet Hani after childhood, so he did not discover her beauty. Mir Chakar, the chief of the tribe, heard the description of Hani's beauty and sought to choose her as the lady of his palace. Hani was engaged to Shaymorid, and it was a major obstacle to Mir Chakar's decision, so he tricked Shaymorid and dissuaded him from marrying Hani. Hani became aware of Mir Chakar's deception, and although she agreed to an unwanted marriage with Mir Chakar, she refused even to sit next to him and was still in love with Shaymorid in her heart. After the marriage, Shaymorid was able to see Hani and at first sight, he was enchanted by her beauty.<br />Obviously, Shaymorid was not able to fight Mir Chakar, so at his father's suggestion, he went for the Hajj journey (the house of God in Mecca) to get rid of this mad love. He wrote letters and sent messages to Hani during these years, and Hani also replied to his letters. Thirty years passed and Shaymorid returned to his house. Hani was still waiting for him to come. No one would recognize Shaymorid until some people could identify him according to the signs in his appearance and informed Hani about Shaymorid’s presence. She happily sent a messenger to take Shaymorid to the house of Hani's parents. She then sent intermediaries to Mir Chakar, asking for divorce and Mir Chakar immediately divorced Hani. The two lovers then left while holding hands, and no one found a sign of them. They joined the myth and the Baloch people believe that they are "the living old (holy eternal life)" and have reached to the water of life and drank it.<br />The second narration is based on the same as the first one, with the difference that the amount of extraordinary and mythical elements in the second narration is significantly more than the first one. Here we try to summarize the general cases that are not mentioned in the above narration.<br />When Hani was taken from Shaymorid, Shaymorid wanted to fight against Mir Chakar because he was angry with him, but his father stopped him and advised Shaymorid that his strength would not be enough to confront Mir Chakar. Shaymorid then went to Mir Chakar’s Palace to visit Hani. Hani was asleep and did not notice his presence. Shaymorid desperately returned and made a promise to God to go to Mecca (the house of God) to get rid of his emotional dependency on Hani.<br />Hani was told that Shaymorid had come to her and she could not notice. She crazily and barefoot went out of the palace and followed Shaymorid. On the way, she saw a deer and asked whether it had seen a well-dressed, charming man riding a horse. The deer replied: "Last night, under the moonlight, I was sleeping next to a bush that smelled like a human being. I got up and saw a man with the same characteristics, along with six dervishes."<br />Hani said to the deer, "Come and convey my message to him that why did you turn your back and left me alone? Come back”! The deer immediately found Shaymorid and conveyed Hani's messages to him. Shaymorid replied: “I made a promise to my God that I would leave my city and country and be near the house of God for seven years and then only I shall return”. The deer conveyed Shaymorid's message to Hani. Upon hearing this, Hani took it as a bad omen and attempted to kill the deer, but he escaped.<br />Desperately, Hani made her way to the mesquite tree, which people used to ask for their wishes by tying a piece of cloth to its branches. Hani said to the tree: “O tree, fulfill my wish”. Of course, she did not hear any response and involuntarily uprooted the tree and continued on her way until she reached an old woman and said: “O kind old woman, I have a traveler on my way, tell me when he will reach.” The old woman took the rosary in her hand to fortune-tell and said: “Your traveler is on his way to Mecca, and he will stay there for seven years and then only he shall return. Like before, the result of the omen was not pleasant for Hani, and she killed the unfortunate woman. Seven years later, Shaymorid returned home and after his identity got examined, it was revealed that Shaymorid had come back. When Hani made sure that her beloved was by her side, they both put their hands around each other's necks and got united. There appeared a green camel before them. They both rode on it, and departed from that place, and never returned. Folks say that they will remain alive until the Day of Judgment. They would be wandering in the deserts and mountains till then.<br /><em>Laila and Majnun</em> is the third poem of Nizami’s Khamseh, written eight years after <em>Khosrow and Shirin</em> in 584 AH. Nizami put this story in poetic order in less than four months. This story was famous during The Age of Ignorance (jāhilīyah) in Arabia and before Nizami’s era. Some scholars have provided evidence of its authenticity and have even attributed a Divān (poem collection) to Majnun Qais Ameri. (Zolfaghari, 1392: 707). <em>Laila and Majnun</em> has an Arabic origin, but it is pretty prominent in Iranian literature and Persian. Nizami had composed this story artistically and he also did many manipulations in the story while writing the poem (Safa, vol. 2, 1989: 802).<br />The plot of the story in Nizami’s narrative is that a love affair begins between a child named Qais and his contemporary school girl Laila. The pride and prejudice that was quite ingrained in the Arabs’ culture of that time, created obstacles in the way of this passionate innocent love. Laila goes to the house of a greedy husband named Ibn Salam, and Qais, who does not benefit from his father's intervention and Nofal's mediation, goes insane and heads to the desert and becomes acquainted with animals (that’s why the local people gave him the title of Majnun). Neither his parents’ death, who die away in the grief of his absence, recovers him from insanity, nor the demise of Ibn Salam; brings him back to his lover. Laila, who lost her hope, dies in despair. Hearing about Laila’s death, Majnun approached her grave and said "O friend" repeatedly and then he also passed away. (Rezaei Ardani, 2012: 49)<br />There are common features, events, and similarities, in the two stories "<em>Hani and Shaymorid</em>" and "<em>Laila and Majnun</em>" and here we will try our best to point out some of them.<br />- Being companions and being in the same school got "Qais (Majnun) and Laila acquainted with each other in childhood which in result the fell in love" (Saeedi Sirjani, 1377: 117). Hani and Shaymorid were engaged and playmates since childhood. Of course, their relationship did not lead to falling in love during this period.<br />- When Majnun fell in love, this tragic love lasted for thirty years. (Servatiyan, 1395: 53). Hani and Shaymorid s’ ever-lasting love, which was during the separation period, according to the narrations of the people of southern Balochistan, lasted for thirty years.<br />-Although Laila was insanely in love with Majnun, she was forced to marry a wealthy man named "Ibn Salam," who offered her many precious gifts. (Saeedi Sirjani, 1998: 117). Hani was also deeply in love with Shaymorid and like Laila, she was unwillingly married to Mir Chakar through the cunning and sophistries of intermediaries.<br /> - Laila was uninterested in her husband and hated him. However, Ibn Salam knew that Laila was not in love with him. He had no choice but to get along and be patient (Saeedi Sirjani, 1998: 117). Mir Chakar, the chief of the tribe, like Ibn Islam, was a wealthy man. Hani hated Mir Chakar and did not approach him throughout her life.<br />- Both lovers are known mainly by their titles or nicknames, Majnun's real name is "Qais" and Shaymorid's real name is "Pirbaksh" (/pɪrbækʃ/). Majnun means mad and rebellious and Shaymorid also literally means mad and unconscious.<br /> - In the following poem, which is the translation of its Farsi original, Laila "laments that she has been created as a woman who is doomed to be helpless:<br /><em>“ A woman even though she is a fighter</em><br /><em>A woman, even though she is brave hearted </em><br /><em>She is just an incapable creature after all</em><br /><em>"A woman remains a woman, even though she is a lion</em>." (Saeedi Sirjani, 1998: 123)<br />In a message sent to Shaymorid, Hani laments her inability as a woman and says:<br /><em>“I am a bewildered and helpless woman sitting here</em><br /><em>I do not have the strength to fight in Mir Chakar’s Palace </em><br /><em>and break the doors of the palace and get out of here</em><br /><em>and accompany the pilgrims of Haj on barefoot</em><br /><em>and come there and embrace you </em><br /><em>I am a woman and it is not my fault; my excuse is valid</em><br /><em>I am like a mourning dove whose wings are broken by Mir Chakar”</em><br /> - Shaymorid's parents went blind as they were in so much grief that their son was being away and separated. Majnun's parents also died, one after the other, out of suffering from their son’s absence and madness.<br /> -Laila and Majnun sometimes used to meet each other secretly. During his displacement, Shaymorid stayed in Mecca for a long time. Sometimes, he disguised himself as beggars or dervishes and came to Hani's house, met her, and returned without introducing himself.<br />-Majnun's father took him to Mecca for the Hajj pilgrimage to get rid of love but visiting the house of God not only failed to diminish his love; instead, it added to his passion and affection for Laila. Shaymorid also spent many years near the house of God in Mecca to get rid of Hani's love, but even this proximity to God’s house had no effect on reducing his agitated love.<br />-People call Qais insane because of his mad behavior. When Majnun sent his envoys to Laila's father to propose Laila on his behalf, Laila's father rejected his proposal by arguing that Qais was crazy. He said:<br /><em>“Although your son is cheerful and healthy, he behaves insanely a</em><em>nd a madman does not deserve to be with us.” </em>(Nizami, 1389: 90)<br />-People also called Shaymorid <em>Diwanag</em> (dɪwʌnæg), which means mad or crazy because of his insane behavior, and this title is repeated many times in the other following poems such as:<br /><em>“Come O mad Murid!</em><br /><em>Come! so our great time has returned”. </em>(Jahandideh, 1390: 146)<br />-Some critics and narrators of <em>Laila and Majnun</em> consider Majnun, a poet and attribute poems to him. Others are skeptical of attributing these poems to him.<br />Some of Hani and Shaymorid's poems or poem collections are addressed to a dove or a nightingale to convey the messages to each other.<br /> <strong>-</strong> Laila gets sick after Ibn Salam's death and finally dies. Upon hearing the news of Laila's death, Majnun grieved and cried a lot at her grave, then said “O friend” and died. He is then buried next to Laila's grave.<br /> The union of Hani and Shaymorid was not physical, their disappearance from the sight of people, causing them to be called holy livings and people believed that they were alive like Khedr (A prophet in Islam religion).<br /> - Majnun was full of Platonic or pure love (in Arabic: عشق عُذری Eshq-e Ozri). This love was nurtured among the tribes living in the middle of the Arabian Peninsula (Krachkovsky, 1999: 64)<br />Hani and Shaymorid s’ union is a kind of Platonic love, i.e., a kind of love that is not sexually oriented. Throughout the story of Hani and Shaymorid, we see no sign of sexuality and there is no word mentioning it even when they are united.<br /> <br /><br /><strong> Conclusion</strong><br /><br />Fiction in Iran is not limited to the Persian language and literature, but in various Iranian ethnic groups and dialects, there are poetic stories that are very important in terms of Iranian literature, anthropology, and sociology. Comparing these stories, which are often anonymous, with the narrative poem collections of Persian literature will open a new chapter in the study of ethnic and national literature. The story of <em>Hani and Shaymorid </em>- the most important Balochi love story and its narratives and poems have been common among the Baloch people for hundreds of years.<br />Significant results can be achieved by matching the two stories of <em>Laila and Majnun</em> and <em>Hani and Shaymorid</em>; The characters of both stories have many features in common, and there are various similarities in the course of events and actions of both stories too. Some of these characteristics and commonalities can be stated as follow: chastity and purity in love, having pure love, the loyalty of lovers towards their beloveds, both the lovers were addressed with their pseudonyms, both the lovers made a pilgrimage to the House of God (Mecca), both the lovers fought to achieve their beloveds, both the lovers showed insane behaviors, both the lovers were threatened to be killed, attributing poetic art to lovers of both stories, forced marriage of two beloveds and their hatred towards their unwanted husbands and secret meetings between lovers and their beloveds. The story of <em>Laila and Majnun</em> in Persian literature and <em>Hani and Shaymorid</em> in Balochi literature both have a high status and their heroes are a symbol of true love and affection. There is an obstacle to connecting the lover to the beloved in both stories, and it takes thirty years to overcome. The end of the two stories is that Laila and Majnun died in the grief of separation and at the height of their true love. Hani and Shaymorid, although they finally reached a sacred connection and away from physical desires, but hide from view. They turn and achieve eternal life.<br /> در ادبیات ایرانی داستانسرایی از قدیم و پیش از اسلام رواج داشته و مورد توجه بوده است. در ادب فارسی سرودن داستان های عاشقانه در پایان قرن ششم به وسیلۀ نظامی گنجه ای به کمال رسید و این نوع ادبی در ادبیات اقوام ایرانی نیز بنا بر سنت دیرینه ای که میان ایرانیان رایج بوده است، تاریخی کهن دارد و مورد توجه مردم بوده است. داستانسرایی بیشترین بخش ادبیات سنتی و شفاهی قوم بلوچ را تشکیل می دهد و در این میان منظومه های عاشقانه جایگاه مهمی دارد. انتشار این منظومه ها علاوه بر آگاهی یافتن از ادبیات و فرهنگ مردم بلوچ، می تواند با تطبیق با برخی از داستانهای مشابه در ادبیات فارسی به نتیجه های قابل قبول تری در پژوهش دست یافت. هانی و شَی مُرید معروفترین داستان عاشقانه ادبیات بلوچی است که بین علاقه مندان ادبیات ایرانی گمنام است، این داستان به نظم بلوچی درآمده است و قدمت آن به چند قرن پیش می رسد و در برخی از حوادث، شباهتهای آشکاری با لیلی و مجنون نظامی دارد. زندگی قبیله ای و شرایط اقلیمی ویژه ای که در صحاری بلوچستان و عربستان حاکم است؛ اشتراکات گوناگونی را بین این دو داستان به وجود آورده است. در این داستان ضمن گزارش خلاصه ای از دو روایت مشهورِ داستان هانی و شَی مرید، با روش تحلیلی و تطبیقی، شخصیت ها و حوادث این داستان را با داستان معروف لیلی و مجنون نظامی بررسی می کنیم.https://jcl.uk.ac.ir/article_3048_526bd9293d6af61a57b7d99aef7efb26.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220A Comparative Study of the Narrative Elements of Adapted work (Franny and Zooey and A Perfect Day for Banana fish) with the Adapted film (Pari Movie) Based on the Grimas Narrative Modelمطالعه تطبیقی عناصر روایی منابع و اثر اقتباسی فیلم پری بر اساس الگوی روایتشناسی گریماس5383317010.22103/jcl.2022.17557.3266FAفاطمهرادنیادانش آموختۀ کارشناسی ارشد پژوهش هنر دانشگاه شیراز، شیراز، ایرانفتح اللهزارع خلیلیدانشکده هنر و معماری دانشگاه شیرازJournal Article20210509<strong> Introduction</strong>
Structuralism means the study of the interrelationships between the components of an object or subject. Narratology as a gift of structuralism; It is one of the most important theoretical areas. Many structuralist scholars have tried to provide basic rulings on the various narratives so that they can fit all narratives into a particular format. Algeria Julien Grimas With the publication of his book, Structural Semantics (1966) he tried to achieve the general grammar of the narrative language by presenting the pattern of action and chains of narrative and to analyze each narrative with its narrative structure. The aim of this study was to identify and study the change of narrative line from source to adaptation and to study the narrative processes of conversion of source to adaptation as well as theory. Grimas suggested that the general classification governing all narratives should consist of only six roles or commonalities in three two way confrontations. These categories are: subject / object, giver / receiver, helper / adversary. In Iranian cinema, the Pary film (1995) is based on the novel Porridge Vesuvii and the short story "A Good Day for the FishFish" by Jerome David Salinger.
<strong>2.Methodology</strong>
The research is done in six stages. In the first stage, gathering library information, completing theoretical foundations, reviewing the research background, studying the adapted literary works, studying the adapted screenplay and watching the selected film are done. Then a comparative study of the narrative components obtained in the source and the adaptation effect is performed. In the next step, the narrative techniques used by the filmmaker in changing the narrative line of the story to the film are studied. (Output of this step: tables of classification of narrative elements of the source (story text) and adaptation effect (film) to classify and facilitate comparative study between the two) and finally information analysis and conclusion is done.
<strong>3.Discussion</strong>
Structuralism is a method that systematically studies phenomena in the field of humanities. Grimas, considering Saussure's system of confrontation, believed that all narratives could be adapted to a system of common signs.
Mehrjoui in the cinematic translation of films from adapted sources of processes such as changing the text-to-film narrative system, deleting, adding, reducing, expanding, repeating, generalizing, highlighting, replacing images, interfering, thematic diversity, changing crisis and story climaxes, changing In the nature of the characters, change in the beginning and end of the story, change in the social position of the characters and objects is used.
The present study, in parallel with studying the changes in the narrative line from source to adaptation, also studies these changes.
<strong>4.Conclusion</strong>
The present study was conducted to study the process of adaptation in two selected works of Dariush Mehrjoui based on Grimas's narrative model (syntactic rule and active patterns). Comparative study of how the narrative line is adapted and the study of narrative processes in converting the source into an adapted work were among the issues that the researcher sought to find answers to in the study of the adaptation process.
The questions raised in this research are: 1) What changes has the narrative line of the story from the source to the adaptation effect during the adaptation? 2) What narrative processes has the filmmaker used in converting the narrative line of the text of the story into a screenplay?
In answer to these questions, it must be said that the structural pattern of Grimas actor is a good pattern for examining stories. In order to complete the studies, and since the statistical population is in addition to the story (writing system), there is also a film (visual system), the episodes obtained from the stories, which are logically classified according to structuralist patterns, can be the focus of technical study.
The first finding of the research is that the narrative line in the film has not changed much compared to the sources. A more accurate explanation is that in the middle episodes, the similarity in the narrative line of the episodes between the source and the adapted work is close to eighty percent 80%. This is while the two initial and final episodes show a zero matching percentage. This means that the filmmaker has added two episodes and in the other cases, with a percentage of nearly eighty, has moved in line with the narrative line of the source. However, and given the debatable point that artistic adaptation should be seen and studied as a whole in the realm of literary art criticism, attention to the details of the change and transformation from source to adaptation in orded to emphasize the process. It is an adaptation and does not mean confirmation and emphasis on the method of detailed study in the phenomenon of adaptation.
In response to the second question, narrative processes in source-to-effect adaptation were studied in each episode, and the results were summarized in a table. Among the narrative processes, increase, deletion, and highlighting have the largest share. However, other psychological tricks can also be traced.
Finally, it is necessary to explain that Grimas's activist paradigm was created at a time in Grimas's intellectual life when he emphasized the logic of structuralism. After this period of thought, he conducted newer studies. In future research, these findings should also be studied on stories.
.نظریات روایتشناسی، معیار روشمندی برای تحلیل روایت داستانی به حساب میآیند. در نظریه روایتشناسی گریماس ژرفساخت روایتها مورد تجزیه و تحلیل قرار میگیرد. در این پژوهش الگوی روایت شناسی گریماس معیاری برای مطالعه عناصر روایی در منبع و اثر اقتباسی و مطالعه تطبیقی بین آنها قرار میگیرد. فیلم پری داریوش مهرجویی با اقتباس از آثار سلینجر ساخته شده است و در میان آثار اقتباسی سینمای ایران جایگاه مناسبی دارد. پژوهش حاضر از نوع توصیفی تحلیلی است. به روش کتابخانهای و با رویکرد گفتمان رشتهای (اقتباسی) انجام گرفته است و در آن از روش استنباطی (کیفی ) و در بعضی موارد از روش کمی استفاده میشود. نتایج ، تغییرات خط روایی داستان و فرایندهای روایی به کار رفته در تبدیل منبع به اثر روایی را نشان میدهد. با استفاده از الگوی کنشی گریماس، فیلم پری را میتوان در هشت اپیزود مورد مطالعه قرار داد. تقریبا در بیشتر موارد، هر شش عنصر روایی الگوی کنشی گریماس یافتنی است. اپیزودها درصد انطباق بالایی بین عناصر روایی منبع و اثر اقتباسی را نشان میدهدhttps://jcl.uk.ac.ir/article_3170_62a062569124073f4c91861ce2ab8505.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220Investigating the Cause of Invulnerability in Shahnameh and Mahabharat Based on Ritual Patternsبررسی علت رویینتنی در شاهنامه و مهابهارت بر اساس الگوهای آیینی95120309310.22103/jcl.2021.18259.3356FAمحمودرضایی دشت ارژنهاستاد زبان و ادبیات فارسی، بخش زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران.فرخحاجیانیدانشیار فرهنگ و زبان ایران باستان، بخش زبانهای خارجه و زبانشناسی،ذدانشکده ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران.علیفرزانه قصرالدشتیدانشجوی دکتری زبان و ادبیات فارسی، بخش زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شیراز، شیراز، ایران.Journal Article20210921<strong> Introduction</strong>
Invulnerability It is one of the most famous, oldest and most repetitive myths in the world, and has always been considered by mythologists and many other types of researches have been done on the invulnerable. There are many questions about this. Why are invulnerable usually killed at a young age? Why a person is chosen to be invulnerable? Why the invulnerable are often killed by arrows? Which narrative about the cause of invulnerability is older? But one of the most fundamental questions in this regard is how the hero becomes invulnerable. In some epic and mythical narratives of the world, such as the story of Achilles and Balder, it is explicitly mentioned how the hero became invulnerable. But in some stories, the cause of the hero's vulnerability is not stated and has led to research on this issue. In Shahnameh and Mahabharat we encounter characters who are invulnerable or have signs of invulnerability, but the reason for this is questionable. In this article, we try to investigate the cause of the invulnerability of these people.
<strong> Methodology</strong>
In this article, we try to use rite patterns to analyze the data; for this reason, we pay attention to <em>Eliade</em>'s findings from Shamanic beliefs. <em>Eliade</em> believes that myths and rites are related. He considers the rites to be the repetition of the oldest myths for the renewal of the world (Eliade, 2008: 80). Myths have changed for being oral; but because the rites were sacred and performed precisely, they have changed less than myths. Therefore, they can contain important information about the ancient form of myths and the cause of the hero's invulnerability can be examined according to the ancient rites related to invulnerability in <em>Shahnameh</em> and <em>Mahabharat</em>.
<strong> Discussion</strong>
Various theories have been proposed as to why heroes become invulnerable. In some myths, the reason for the hero's invulnerability is explicitly stated. In the most famous myths, <em>Thetis</em> immersed <em>Achilles</em> in water after her birth and <em>Achilles</em> became invulnerable; but his talon, which was in his mother's hand, did not come into contact with water and remained vulnerable (Dixon-Kennedy, 2011: 39). After killing the dragon, <em>Siegfried</em> drowns in her blood and her skin becomes invulnerable; but a leaf was stuck between his shoulders and this organ did not come into contact with blood and remained vulnerable (Eslami Nadoushan, 1972: 49). There are two accounts of why <em>Balder</em> was invulnerable in <em>Norse</em> mythology: In one version, <em>Balder</em> became invulnerable by eating snake food made by Gods (Warner, 2007: 395). In the famous narrative, his mother, <em>Frigg</em> adjure all plants and metals not to harm <em>Balder</em>; but she omits the bud of an oak tree and <em>Balder</em> dies from an arrow made from this bud (Davidson, 2006: 78-9). In <em>Greek</em> mythology, the water god, <em>Poseidon</em> makes <em>Caeneus</em> invulnerable (Dixon-Kennedy, 2011: 302) .<em>Ayas</em> becomes invulnerable by the skin of a lion that <em>Heracles</em> wrapped around him as a child (Khaleghi, 1987: 200). In Indian mythology, <em>Duryodhana</em> is invulnerable to his mother's gaze (<em>Mahabharat,</em> 1979: 2/501);<em> </em>but in cases like <em>Esfandiyar</em>, <em>Rustam,</em> and <em>Arjuna</em>, the reason for invulnerability is not clear.
<strong> 1. Investigation of invulnerability in shamanic rites</strong>
One of the frequent themes in shamanic rites is swallowing a novice by a large monster. The symbol of rebirth is seen in shamanic beliefs around the world and one of the main symbols of rebirth is being swallowed by a monster at puberty (Eliade, 2008: 142). This pattern symbolizes death and rebirth (Eliade, 2003: 213). Swallowed by a monster is a symbol of entering the dark world of the dead, learning secrets from the spirits of the ancestors, and then emerging alive. (Eliade, 2003: 215). Landing in the world of the dead with a living body is one of the features of the heroic and epic initiation rites and is done with the goal of achieving immortality (Eliade, 2013: 136).
<strong> 2. <em>Esfandiyar</em> and <em>Rustam</em></strong>
Narratives about the cause of <em>Esfandiyar</em>'s invulnerability can be seen in Iranian books. In a narrative, <em>Zarathustra</em> pours holy water on <em>Esfandiyar</em> and makes him invulnerable (Anjavi, 1980: 2/7). In another narration, <em>Zarathustra</em> gives the pomegranate she brought from heaven to <em>Esfandiyar</em> and <em>Esfandyiar</em> becomes invulnerable by eating it (Amoozegar & Taffazoli, 2010: 161). <em>Minovi</em> considers these narrations to be fabrications and guesses that <em>Esfandiyar</em> in the story of <em>Haft Khan</em> becomes invulnerable because she goes into the dragon's mouth and is immersed in the dragon's blood (Minovy, 1975: 80). <em>Haft Khan</em> is <em>Esfandiyar</em>'s initiation and for this reason, it is related to shamanic rites. <em>Esfandiyar</em> fights with the dragon in <em>Haft</em> <em>Khan</em> with a box she made herself. The dragon swallows her, the warrior tears the dragon from within and kills her. The pattern of being swallowed by a dragon can be seen in this narrative, and it symbolizes the hero's journey to the dark world of the dead, where she learns from her ancestors and returns victorious. This story is both the rite of the hero's initiation and makes him invulnerable
Another invulnerable example in <em>Shahnameh</em>, is <em>Rustam</em>'s special armor, "<em>Babr e Bayan</em>". After the epics become logical, armor becomes invulnerable instead of the hero (Khaleghi, 1987: 211). If we accept that <em>Rustam</em> is invulnerable, he probably acquired this feature in her rite of initiation, like <em>Esfandiyar. Babr e Bayan</em> armor is the skin of a dragon of the same name that <em>Rustam</em> kills in his first heroism. <em>Rustam</em> kills this dragon in the style of <em>Esfandiyar</em>. The warrior goes into the dragon's mouth with the help of a box she made herself and tears him from the inside (<em>Haft Manzumah-yi Hamasi,</em> 2015: 266).<em> </em>So this story is also a symbol of the hero going to the dark world of the dead and the hero returns from there after learning the secrets from his ancestors while he is invulnerable.
<strong> 3. <em>Arjuna</em></strong>
In <em>Mahabharat</em>, the story of <em>Arjuna</em>'s invulnerable armor is very similar to this pattern. After the <em>Pandus</em> and <em>Kauravs</em> families disagree over the government, the <em>Pandus</em> gets ready for war. <em>Arjuna</em> goes to his father, <em>Indra</em> with the help of a shaman to learn war and get weapons. One of the weapons that <em>Arjuna</em> takes from his father is invulnerable armor (<em>Mahabharat,</em> 1979: 1/287-8). Her separation from her family marks the beginning of the rite of initiation. He also learns the techniques of war from his father and eventually returns with invulnerable armor. This narrative, like killing a dragon, symbolizes the hero going to his ancestors, learning from them, and returning to the world of the living while becamimg invulnerable.
<strong> Conclusion</strong>
<em>Esfandiyar</em>'s invulnerability is probably due to the events of <em>Haft Khan</em>'s story, in which he tears a dragon from inside. This story is a sign of his going to the underworld to his ancestors and returning from there, which in the shamanic rites can cause immortality and invulnerability. The story of <em>Rustam</em>'s invulnerable armor and the way he obtained it follows the same pattern. But in <em>Mahabharat,</em> the principle of myth remains and we are not confronted with symbols: With the help of a shaman, <em>Arjuna</em> goes to another world to his father and returns from there with invulnerable armor after learning the secrets from him.
.رویینتنی یکی از مباحث تکرار شونده در حماسههای جهان است که در شاهنامه و مهابهارت نیز نمود یافته است. اما درباة علت رویینتنی روایتهای متعددی در سرتاسر جهان دیده میشود؛ رویینتنی با آب، رویینتنی با خون اژدها، رویینتنی به کمک خدایان و… که همگی قدمت بسیار دارند و با اساطیر کهن پیوند خوردهاند و یافتن نشانههای روایت کهنتر در آنها سخت مینماید. در سوی دیگر نیز آیینهای شمنی، آیینهای بسیار کهنی هستند که در واقع تکرار اسطورههای بسیار کهن بودهاند. بنابراین میتوانند در یافتن اشکال کهن اسطوره راهنمای بسیار مفیدی باشند. در این تحقیق سعی شده است علل رویینتنی در روایتهای شاهنامه و مهابهارت، بر اساس آیینهای شمنی تحلیل شده و اصیلترین روایت در باب رویینتنی به دست آید. بر اساس این تحقیق رویینتنی به واسطه بلعیده شدن توسط اژدها که در اسطوره روایتّهای ایرانی نمود یافته، اصالتی بسیار کهنتر دارد؛ اما قدیمترین روایت احتمالاً روایت رویینتنی ارجونه است که با تغییراتی در مهابهارت نمود یافته است.https://jcl.uk.ac.ir/article_3093_45a729260d3b4c6a3fde18c1d9459da8.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220A comparative study of meaning and meaning in the likes of Kurdish ilamite and Arabicبررسی تطبیقی لفظ و معنا در امثال کردی ایلامی و عربی121143302810.22103/jcl.2021.12236.2666FAمحمد رضاشیرخانیاستادیار گروه زبان و ادبیات عرب، دانشکدۀ ادبیات و علوم انسانی، دانشگاه ایلام، ایلام، ایرانعلیرضاشوهانیاستادیار گروه زبان و ادبیات فارسی ،دانشکدۀ ادبیات و علوم انسانی، دانشگاه ایلام، ایلام، ایرانمهدیاحمدی خواهدانشجوی دکتری زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه ایلام، ایلام، ایران.Journal Article20180623<strong>.</strong><strong> Introduction</strong><br />Literature is the manifestation of beliefs, thoughts, practices, and rites of nations, reflected in proverbs as the major ancient part. In this sense, proverbs are regarded as short and pithy sayings that have been refined from time immemorial and passed down to us. These concise statements have been continuously exchanged as cultural and literary commodities between nations and tribes due to their moral-semantic features as well as brevity and easier memorization. Considering its proximity to Iraq and the longest land borders, Ilam Province, in western Iran, has been always the hub of commercial, cultural, and literary exchanges between Ilami Kurds and the Arabs. The interactions of both languages, other than poetry, have been also exhibited in popular culture, including proverbs as the most important part. Therefore, this study aimed to review Ilami Kurdish and Arabic proverbs to clarify their verbal-semantic commonalities and differences through a descriptive-analytical approach using a library method. The study results revealed that some of the proverbs in both languages had equivalent form and content, raising the suspicion of translation in the audience, and some others had only semantic commonalities, resulting from common human experiences or imports attributable to geographic, cultural, and religious proximity.<br /><strong>1.1. Statement of the Problem</strong><br />Proverbs are known as concise moral and sometimes melodic expressions that encapsulate the experiences of nations. They are also the oldest part of literature devised by humans and employed in dialogues before the invention of writing and poetry (Parsa, 2015: 22). This large and important part of popular literature sometimes finds its way into another culture, language, and nationality due to migration, translation, or imports owing to socio-cultural or even geographic proximity. Since Ilami Kurds have had and still have long-standing neighborhoods and cultural ties with the Iraqi Arabs, some of the cultural and literary interactions between the two languages can be traced back to their proverbs. Referring to the books, <em>Ilami Kurdish Proverbs</em> (Sohrabnejad, 2013) and <em>al-Amsal v-al-Hekam (A Collection of Arabic Proverbs and Maxims) </em>(Harirchi, 1992), this study compared similar proverbs in two categories, namely, (a) proverbs with equivalent form and content, and (b) proverbs with shared content but distinct form, and then analyzed them as much as possible using some examples.<br /><strong>1.2. Significance of the Study</strong><br />Due to the proximity of Ilami Kurds to Iraqi Arabs, their long-standing neighborhood and cultural ties, as well as the unique features of proverbs such as conciseness, meaningfulness, rhetoric and advisory features, easy memorization, and transferability from one culture to another, etc., the suspicion of cultural interactions remain strong in this part of popular literature. Since no work has so far comparatively examined the mutual effects of Ilami Kurdish and Arabic proverbs in terms of form and content, the need for the present study doubled.<br /><strong>1.3. Research </strong><strong>review</strong><br />Although proverbs are derived from popular language and culture and are mainly oral, today, with the help of researchers and the printing industry, the work of collecting and publishing Kurdish and Arabic proverbs has been done to aid scholars refer to such sources for literary, linguistic, and cultural studies, including the following ones:<br /><br />The book entitled <em>A Comparative Study of Kurdish and Persian Proverbs</em> (Parsa, 2015), in which the author quotes 3,000 proverbs from <em>Twelve Thousand Persian Proverbs and Thirty Thousand Equivalents</em> (Shakoorzadeh Boloori, 2000) and <em>Kurdish Proverbs and Sayings</em> (Fatahi Ghazi, 1996) based on sampling and a comparative study.<br />The article entitled “A comparative study of proverbs in Persian and Arabic in terms of content, form, and style” (Zarkoob & Amini, 2013), published in the Journal of Studies on Arabic Language and Literature Translations.<br />The article entitled “Woman in the mirror of Kurdish and Arabic proverbs” (Khezeli & Salimi, 2016), published in the Journal of Comparative Literature of Shahid Bahonar University of Kerman<br />A master’s thesis entitled “A Comparative Study of Arabic and Sorani Kurdish Proverbs” fulfilled by Mostafaei-Rad (2012) at Kurdistan University, Iran.<br />The book entitled <em>al-Majani al-Hadith</em> (Nowresideh & Zeighami, 2013), reflecting on the Persian equivalents of some Arabic proverbs in some parts.<br />The book entitled <em>Common Themes in Persian and Arabic Literature </em>(Damadi, 2000).<br />The book entitled <em>Kalhor-Nameh</em> (Mohammadi, 2012), examining some common proverbs in the city of Ivan-e-Gharb in Ilam province, Iran.<br /><br /><strong>2.Methodology</strong><br />This library study using an analytical-descriptive method was thus performed based on referring to the books entitled <em>al-Hekam v-al-Amsal al-Arabi</em> (Homosi, 1993), <em>al-Amsal v-al-Hekam (A Collection of Arabic Proverbs and Maxims)</em> (Harirchi, 1992), Common Themes in Persian and Arabic Literature (Damadi, 2000), and <em>al-Majani al-Hadith</em> (Nowresideh & Zeighami, 2013), as well as the books of <em>Ilami Kurdish Proverbs</em> (Sohrabnejad, 2013) and <em>Kalhor-Nameh</em> (Mohammadi, 2012). The study was to compare the Arabic and Ilami Kurdish proverbs in the mentioned works in order to extract the common ones. On this basis, about 200 proverbs (namely, 87 Arabic and 110 Ilami Kurdish ones) were indexed. Following reviews and analyses, the research files were grouped into two categories, i.e., (a) proverbs with equivalent form and content, and (b) proverbs with shared content but distinct form. At the final stage, 35 Arabic proverbs and 35 Ilami Kurdish ones were selected and compared.<br /><strong> </strong><br /><br /><strong> Discussion</strong><br /><br />In this study, after reviews and analyses, the data were classified into two categories, viz. (a) proverbs with equivalent form and content and (b) proverbs with shared content but distinct form, and then compared.<br /><strong>3.1. Proverbs with Equivalent Form and Content</strong><br />Some proverbs in Ilami Kurdish and Arabic with similar content and usages were also endowed with verbal commonalities. These proverbs were probably the product of translations from one language into another. Moreover, geographic proximity and the presence of the Arabs and Ilami Kurds on both sides of the land borders as well as their mastery of both languages could strengthen the probability that these individuals had managed to associate the verbal equivalents of the proverbs in their minds to express them and consequently to provide parallel translations for them. What put more emphasis on this idea was the existence of proverbs whose form had numerous structures, indicating that different people had made use of a special circle of their own words to translate such proverbs and had even interpreted them based on their tastes and syntax.<br /> <br /><em>Example 1</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />بلغَ السّکینُ العظمَ (Nowresideh & Zeighami, 2013; 374)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>kârd wa seqân ŕasi</em><br /><br /><br /><br /><br />Persian<br /><br /><br />کارد به استخوان رسید (Sohrabnejad, 2013; 76) <br /><br /><br /><br /><br />English<br /><br /><br />It means at the end of one’s tether.<br /><br /><br /><br /><br /><strong><em> </em></strong><br /><strong><em>Semantic matching</em></strong><strong>:</strong> Both proverbs represent reaching thresholds in the face of difficult and unhappy events. <br /><strong><em>Verbal matching</em></strong><strong>:</strong> The words in the Arabic proverbs are quite similar to those in Ilami Kurdish cases. For instance:<br /><br /><br /><br /><br />Arabic<br /><br /><br />السکین<br /><br /><br />العظم<br /><br /><br />بلغ<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>Kârd</em><br /><br /><br /><em>seqân </em><br /><br /><br /><em>Ŕasi</em><br /><br /><br /><br /><br />Persian<br /><br /><br />کارد<br /><br /><br />استخوان<br /><br /><br />رسیدن<br /><br /><br /><br /><br />English<br /><br /><br />Knife<br /><br /><br />Bone<br /><br /><br />Reach<br /><br /><br /><br /><br /> <br /><em>Example 2</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />الکلامُ یجرُّ الکلامَ (Nowresideh & Zeighami, 2013; 376)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>qesya, qesya dy</em><em>ârê</em><br /><br /><br /><br /><br />Persian<br /><br /><br />حرف حرف میآورد (Sohrabnejad, 2013; 137) <br /><br /><br /><br /><br />English<br /><br /><br />It means one word leads to another.<br /><br /><br /><br /><br /> <br /><strong><em>Semantic matching</em></strong><strong>:</strong> They mean one word leads to another.<br /><strong><em>Verbal matching</em></strong><strong>:</strong> Both proverbs are literally equivalent. For example:<br /><br /><br /><br /><br />Arabic<br /><br /><br />الکلام<br /><br /><br />یجر<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>Qesya</em><br /><br /><br /><em>Dy</em><em>ârê</em><br /><br /><br /><br /><br />Persian<br /><br /><br />حرف<br /><br /><br />می آورد<br /><br /><br /><br /><br />English<br /><br /><br />Word<br /><br /><br />leads to<br /><br /><br /><br /><br /> <br /><em>Example 3</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />یَسرقُ الکُحلَ مِن العَین (Homosi, 1993; 283)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>s</em><em>ÿvarmeg la ĉaw dezê</em><br /><br /><br /><br /><br />Persian<br /><br /><br />سرمه را از چشم میدزدد (Mohammadi, 2000; 89) <br /><br /><br /><br /><br />English<br /><br /><br />It means being skillful.<br /><br /><br /><br /><br /><strong><em> </em></strong><br /><strong><em>Semantic matching</em></strong><strong>:</strong> Both proverbs have the same semantic implications for ingenuity and arrogance in action. <br /><strong><em>Verbal matching</em></strong><strong>:</strong> The words of the two proverbs are literal translations. For instance:<br /><br /><br /><br /><br />Arabic<br /><br /><br />یَسرقُ<br /><br /><br />الکُحلَ<br /><br /><br />مِن العَین<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>Dezê</em><br /><br /><br /><em>sÿvarmeg</em><br /><br /><br /><em>la ĉaw</em><br /><br /><br /><br /><br />Persian<br /><br /><br />می دزدد<br /><br /><br />سرمه<br /><br /><br />از چشم<br /><br /><br /><br /><br />English<br /><br /><br />Steal<br /><br /><br />Kohl<br /><br /><br />from eye<br /><br /><br /><br /><br /> <br /><strong>3.2. Proverbs with Shared Content but Distinct Form</strong><br />Concerning the comparative study of the Arabic and Ilami Kurdish proverbs, there were cases with shared content and usages, but no verbal commonalities. This group of proverbs could be the result of common human experiences or exchanges attributable to geographic, cultural, and religious proximity. As proverbs had no verbal similarities in this section, verbal matching was omitted. For instance:<br /> <br /><em>Example 4</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />مَقتل ُالرَّجُلِ بینَ فَکَّیهِ (Homosi, 1993; 184)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>zew</em><em>ân pâsewâne sara</em><br /><br /><br /><br /><br />Persian<br /><br /><br />زبان، نگهبان سر انسان است (Sohrabnejad, 2013; 118)<br /><br /><br /><br /><br />English<br /><br /><br />It means not letting your tongue cut your throat.<br /><br /><br /><br /><br /><em> </em><br />This proverb is reminiscent of the words by Imam Ali (AS) saying “المرء مخبوء تحت لسانه”, which means a man is hidden under his tongue.<br /> <br /><strong><em>Semantic matching</em></strong>: There is a need to avoid prattling.<br /> <br /><em>Example 5</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />إیَّاکَ أعنِی وَ اسمَعِی یا جَارةُ (Nowresideh & Zeighami, 2013; 380)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>wa</em><em>ÿw</em><em>la wa tenem xas</em><em>ü</em><em>ra gu</em><em>š</em><em> betaken</em><br /><br /><br /><br /><br />Persian<br /><br /><br />عروس! باتوهستم، مادرزن تو گوش بده (Sohrabnejad, 2013; 172)<br /><br /><br /><br /><br />English<br /><br /><br />It means to beat someone to frighten another.<br /><br /><br /><br /><br /> <br /><strong><em>Semantic matching</em></strong>: It refers to addressing someone indirectly.<br /><em> </em><br /><em>Example 6</em><br /><br /><br /><br /><br />Arabic<br /><br /><br />ضَرَبَ العصفورَین بحجر (Nowresideh & Zeighami, 2013; 380)<br /><br /><br /><br /><br />Ilami Kurdish<br /><br /><br /><em>de pał wa yaÿ tir</em><br /><br /><br /><br /><br />Persian<br /><br /><br />دو گنجشک را با یک سنگ زد(یک تیر و دو نشان) (Sohrabnejad, 2013; 109)<br /><br /><br /><br /><br />English<br /><br /><br />It means to kill two birds with one stone.<br /><br /><br /><br /><br /><strong><em>Semantic matching</em></strong>: It means benefiting from a single action and achieving multiple goals.<br /> <br /><br /><strong> Conclusion</strong><br /><br />Proverbs contain a major ancient part of cultures and civilizations of nations, which are the products of their artistic tastes or sociocultural exchanges. Geographic proximity and socio-economic interactions by Ilami Kurds with their Iraqi counterparts have further led to a cultural mix manifested in Ilami Kurdish and Arabic proverbs. Accordingly, there are shared proverbs in both languages, discussed into two categories in terms of semantic and verbal matching as follows:<br /><br />Proverbs with equivalent form and content: This category was probably the product of the literal translation of words from one language into another.<br />Proverbs with shared content but distinct form: This group of proverbs could be the result of common human experiences or exchanges due to geographic, cultural, and religious proximity, in which content and usages were close together.<br /><br /> <br />proximityادبیات تجلیگاه باورها، اندیشهها وآداب و رسوم ملتهاست که بخش عمده و دیرینهای از آن در ضربالمثلها نمود یافته است. ضربالمثلها جملات کوتاه و موجزی هستند که از روزگاران دورصیقل یافته، سینه به سینه به ما رسیدهاند. این عبارات موجز به سبب برخورداری ازعمق معنایی و حکمی و نیز کوتاهی لفظ و قابلیت به خاطر سپاری آسان، همیشه به عنوان یک کالای فرهنگی در بین ملتها و اقوام در تبادل و انتقال بودهاند.استان ایلام به سبب همسایگی با عراق و وجود مرزمشترک طولانی، همواره محل تردد و داد وستد اقتصادی و فرهنگی مردمان کُرد و عرب بوده است. تأثیرات متقابل دوزبان علاوه بر شعر، در فرهنگ عامه که امثال بخش عمدهی آن است، نیز نمود یافتهاست. در این نوشتار سعی نگارندگان برآن بوده است تا با بررسی ضربالمثلهای عربی و کردی ایلامی با رویکرد تحلیلی –توصیفی و به شیوهی کتابخانهای، به بیان اشتراکات و اختلافات لفظی و معنایی موجود در این امثال بپردازند. از نتایج تحقیق آن است که پارهای از امثال در دو زبان در لفظ و محتوا دارای تطابق نعل به نعل بوده، ظن ترجمه را در مخاطب برمی انگیزند؛ پارهای دیگر اشتراک لفظی نسبی و معنایی کامل دارند و به احتمال حاصل مهاجرت امثال از زبانی به زبان دیگرهستند و پارهای نیز تنها اشتراکات معنایی داشته، حاصل نوعی توارد ناشی از نزدیکی جغرافیایی، فرهنگی و آیینی می باشند.https://jcl.uk.ac.ir/article_3028_9af937678a8f6b9dd5d03377ce893954.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220A Study of the Function of Color in Hamid Mossadegh''''s Poetry and Thought (Based on Max Luscher''''s Color Psychology)مقایسه ی عنصر رنگ در اشعار حمید مصدق و احمد شاملو بر اساس نظریه ی ماکس لوشر145177297410.22103/jcl.2021.17522.3260FAحمیدطاهریدانشیار زبان و ادبیات فارسی. دانشگاه بین المللی امام خمینی (ره). قزوینمریمهادیانکارشناس ارشد زبان و ادبیات فارسی، دانشگاه بین المللی امام خمینی، قزوین، ایران.Journal Article20210502<strong> Introduction</strong><br /><br />Due to the increasing progress of science, in the twentieth century, for the first time, members of the Research Council in the social sciences used the term interdisciplinary. This approach created an integration between different disciplines that were splitting and turned scientific autonomy into scientific collaboration. Because literature originates from the human mind and psyche and covers a wide range, it has its roots in various sciences including psychology. This science deals with the cognition of the psyche, and since it’s impossible to study the psyche directly, its external manifestation, that is behavior, is examined. One of the behaviors that leads us to know more about the human mind is writing, which is directly related to literature. In the psychology of colors (which is a branch of psychology), the choice of color, desire and hatred to it, is related to the personality of the individual and leads us to an understanding of the mental state of the individual.<br />In this research, the position and importance of color in the poetic language of Hamid Mossadegh and Ahmad Shamloo are investigated; Of course, with a psychological approach and with this method, a better understanding of their poetry will be obtained. Aspects of the poet''s personality and outlook will be discovered to some extent through the colors and symbols made of color and the dominant atmosphere in his poetry.<br /> <br /><br /><strong>2</strong><strong>. Methodology</strong><br /><br /> In this research, at first, the related books and works and what is mentioned as a background were studied, and finally, their poems were studied in a descriptive-analytic method. The main sources of this research are "Collection of Poems" by Hamid Mossadegh, "Collection of Poems" by Ahmad Shamloo and "Psychology of Colors" by Max Luscher translated by Vida Abizadeh, and the psychological analyzes are all based on this book. Also, in the study of Shamloo''s poems, Mr. Morteza Mohseni''s article entitled "Color analysis in Shamloo''s poems based on Max Luscher''s theory" was used, of course, in examining the examples, there was a difference with examining the authors in Hamid Mossadegh''s poems, for example, the color of the night according to Its high frequency was not mentioned in inductive words and white color and its inductive words and brown were not studied and analyzed in general, so for a more comprehensive comparison, these items were added to the present study.<br />In the Luscher''s psychology of color, white color is not mentioned and only in the text of the book, white and black are mentioned as two extremes. Therefore, all articles in this field have eliminated white color even in spite of its high frequency in their research.As a result, the poet''s color preferences have changed.For this reason, in the analysis of color pairs, no comparison is made between the analysis and the characteristics of the poems and the personality of the poet. In this article, a different procedure has been adopted in the analysis of poems.Accordingly, white color was not removed and was examined due to its high frequency and its contrast with black, which itself induced in the studied texts. And in the analysis of color pairs, because there was no analysis of white color in Luscher''s psychology, in the first color pair of both poets - which was black and then white - only black color analysis was given; but the poet''s color preferences did not change.<br />The only purple color, which had no example in Mossadegh''s poetry and was mentioned only three times in Shamloo''s poems, was removed due to the limited frequency in the analysis of color pairs in order to obtain a more consistent analysis with the poems and their characteristics.<br /> <br /><br /><strong> Discussion</strong><br /><br />Psychologists carefully use colors to identify the hidden layers of a person''s personality, Jung, one of the greatest thinkers and psychologists of the twentieth century, believed in the symbolic power of colors and encouraged his patients to use colors without thinking while painting , to reveal the deepest part of their subconscious and be able to establish a link between the subconscious and the conscious to achieve mental health (Sun, 1378: 58)<br />In modern psychology, colors are criteria for measuring personality.Each color has a special mental and physical impact on the person, and people''s tendency to colors shows their mental and physical condition, and this issue has been proven by the advancement of physiology and psychology.Color reveals the innermost thoughts and human emotions and reflects the values of the individual. The colors we love the most represent the hopes and aspirations that we pursue with passion. The colors that you are least interested in are as important and effective as your favorite colors because they show you all the experiences, situations and people you want to avoid. (Sadka, 2014: 30)<br />The study of color elements in the poets’ works, changes in the use of color, the type of look at colors, its semantic rotation in every poet and also in each period, it draws our attention to their causes and factors, and finally these aspects and types can move towards scientific criticism and make achievements such as recognizing the poet and entering the world of mind and familiarity with his language through color analysis (Seddiqi, 2005: 6)<br />This study examines Hamid Mossadegh and Ahmad Shamloo''s poems from the perspective of "color psychology"; and it examines not only the names of colors but also color inducer words to gain another understanding of the poet''s poems and worldview and his personality traits from the angle of colors.Considering that the color elements in the poetry of both poets has a symbolic function and with the theory of sharing the views of two poets in several cases, in this article, using descriptive-analytic method, the poems of two poets have been examined from the perspective of color function.<br />Due to the importance of color in literature, research in the field of color psychology has been done in the literary works, some examples of research are as follow:<br />_ Ghasemzadeh, seyed Ali and Nikoobakht, Naser (2003), "The psychology of color in the poems of Sohrab Sepehri", Literary research, No 2, Pp 145-156.<br />_ Mohseni, Morteza and Pirooz, Gholamreza and Poorali, Marziye, (2012), "Color analysis in shamloo''s poems based on Max luscher theory", literary research.<br />_ panahi, Mahin, (2006), "The psychology of color in Nima''s collection of poems", (Based on the color psycology of Max Luscher), Articles in scientific and literary research journals, No 12&13, Pp49-82.<br />_ Talebanpoor, Parisa, (2011) "Analysis of symbolic concepts of colors in Islamic mysticism" (according to persian prose texts from the fourth century to the end of the seventh century) and its study from the perspective of psychology, Supervisor: Kheirollah Mahmoodi, Ministry of Science, Research and Technology _ State University of Shiraz، Masters.<br />_ Zabih Nia Omran, Asiye and Hoti Nejad, Seyed Khalaf, (2013), "The psychology of color in the narration of Wameq and Ozra" (Study and analysis of color psychology in four narrations of Wamegh and Azra Hosseini, Joshaghani and Zahir Kermani), Chideman Farhang, No2, Pp154-162.<br /> <br /><strong>4.Conclusion</strong><br />According to the findings of this study, color has a special function in the poetry of Hamid Mossadegh and Ahmad Shamloo and indicates the appropriateness of the poets'' thoughts, feelings and emotions with the social and political life and the requirements of their time. Among the colors, black and white have a high frequency, and these colors are in exact proportion to the situation of the time and its effect on the inner world of both poets.با توجه به پیشرفت روزافزون علوم، در قرن بیستم میلادی، برای اولین بار اعضای شورای پژوهشی در علوم اجتماعی اصطلاح میان-رشته ای را به کار بردند. این رویکرد بین رشتههای مختلف که در حال گسستگی بود، تلفیق ایجاد کرد و خودمداری های علمی را به همکاریهای علمی بدل نمود. از آنجا که ادبیات از ذهن و روان آدمی نشأت می گیرد و شامل قلمرو وسیعی است، در علوم مختلف از جمله روانشناسی ریشه دارد. این علم به شناخت روان می پردازد و چون امکان مطالعه مستقیم روان وجود ندارد، نمود خارجی آن یعنی رفتار را بررسی می کند. یکی از رفتار- هایی که ما را به شناخت بیشتر ذهن بشر سوق میدهد، نوشتن است که با ادبیات پیوند مستقیم دارد. در روانشناسی رنگها (که شاخهای از علم روانشناسی است) انتخاب رنگ، تمایل و تنفر نسبت به آن، به شخصیت فرد مرتبط می شود و ما را به درکی از وضعیت روحی فرد رهنمون می سازد. این پژوهش به بررسی اشعار حمید مصدق واحمدشاملو از منظر «روانشناسی رنگ» میپردازد و نه تنها اسامی رنگها، بلکه واژه های القاگر رنگ را بررسی میکند تا از زاویه ی رنگها نیز شناختی دیگر از اشعار و جهان بینی شاعر و ویژگی های شخصیتی آن ها حاصل آید. با توجه به این که عنصر رنگ در شعرهر دو شاعر کارکرد نمادین دارد و با نظر به اشتراک دیدگاه دو شاعر در موارد متعدد، در این مقاله با استفاده از روش توصیفی-تحلیلی، اشعار دو شاعر از منظر کارکرد رنگ ها مورد بررسی قرار گرفته است. بر اساس یافته های این پژوهش رنگ در شعر حمید مصدق واحمد شاملو،کارکرد خاصی دارد و حکایتگر تناسب اندیشه و احساسات و عواطف خاص شاعران با حیات اجتماعی و سیاسی و مقتضیات روزگار آن دوست و در میان رنگها، رنگ سیاه وسپید بسامد بالایی دارند واین رنگها تناسبی دقیق با احوال زمانه وتأثیر آن برعالم درون هر دو شاعر دارد.https://jcl.uk.ac.ir/article_2974_c19d47c3c600804d272108c3caa7e2ab.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220Interdisciplinary studies in comparative literature, its methodological approaches and the identity crisis of comparative literatureمطالعات میانرشتهای ادبیات تطبیقی، رویکردهای روششناسی آن و بحران هویت ادبیات تطبیقی179207304210.22103/jcl.2021.17648.3282FAفرزانه ساداتعلوی زادهاستادیار زبان و ادبیات فارسی، گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات علوم انسانی، دانشگاه بجنورد، بجنورد، ایرانJournal Article20210524<strong> Introduction</strong><br /><br /> The evolution of comparative literature towards interdisciplinary approaches, putting together literature and other disciplines and sciences and the widespread importing of critical theories and other theoretical discourses into the field of comparative literature, developed important turns in comparative literature and its methods and approaches, and expanded its area considerably. But on the other hand, it also brought new issues and conflicts in this field; particularly from the late 19th and early 20th centuries, differences of opinions intensified. Following these debates and conflicts, the comparative literature, which had just emerged from the crisis of theory and method, faced another crisis: the crisis of identity. This new crisis was the result of many theories in this field and forgetting how these theories should be used in the analysis of literary works and how to distinguish between comparative literature as an independent academic discipline and other disciplines. In this article, the author first tries to clarify the concept of interdisciplinary and its necessity in literary studies and provides a clear understanding of the differences between the traditional approach of this theory and its interdisciplinary turns in the present age by examining the interdisciplinary developments of comparative literature. Then, he investigates the concept of identity crisis in the comparative literature, explains its causes and tries to show the necessity of systematic and practicality of these studies, considering the scientific and logical boundaries between disciplines.<br /> <br /><strong>2.</strong><strong>Methodology </strong><br /> To answer the main problem of this research, we first define interdisciplinary studies, their causes and the necessity of interdisciplinary approaches in different studies, especially literary studies. In the second stage, we present a perspective of the history of comparative literature studies, its theoretical and methodological developments, from traditional French influences to critical theorists' reactions to this approach and then we explain the necessity of interdisciplinary turns in the comparative literature. What is important is placing literature alongside other disciplines and sciences in the field of comparative literature to achieve the practical purposes of interdisciplinary literary studies. Paying attention to this issue clarifies what is discussed in the third part of this paper: Examining the systematic theoretical and methodological frameworks for combining different disciplines and methods and finally putting them in a new structure.<br /> <br />3.<strong>Discussion</strong><br /> The evolution of comparative literature towards interdisciplinary approaches and the widespread arrival of critical theories and other theoretical discourses into the field of comparative literature developed important turns in comparative literature and its methods and approaches and expanded its area considerably. Traditional studies of comparative literature, both the influential study of the French school and parallel American studies, made their way to a variety of postmodern theories. Thus, comparative literature examines the relationship between literature and other sciences and disciplines, especially arts such as music, architecture, cinema, mass media, etc., which can be placed next to literature. On the one hand, the expansion of the realm of comparative literature solved the problem of limitation in this field but on the other hand, it created new issues. Following these debates and conflicts, the comparative literature, which had just emerged from the crisis of theory and method faced another crisis: the crisis of identity. This new crisis was the result of many theories in this field and forgetting how these theories should be used in the analysis of literary works and how to distinguish between comparative literature as an independent academic discipline and other disciplines. In other words, although comparative literature in its new sense was able to free itself from being limited to the study of sources and influences and achieve a wider system of studies, according to some critics this system was not well defined. This added the ambiguity of the field of comparative literature in terms of the independent academic institution. This crisis is intensified when the issue of adaptation, which should be at the center of the study of comparative literature, is neglected. Conducting interdisciplinary studies in various fields requires a thoughtful and systematic process and the essential differences between the various disciplines must be taken into account. Here are some key questions to keep in mind: Have we done an interdisciplinary research in comparative literature by juxtaposing the topics and methods belonging to the two disciplines? How can a comparatist establish a fruitful interaction between literature and other scientific and artistic fields? In such a way these studies achieving the ultimate goals of interdisciplinary studies of comparative literature do not ignore the differences of the disciplines and lead the researcher to a comprehensive and deep understanding of the subject matter. Is there a systematic way to combine different disciplines and their methods, and finally put them in a new structure?<br /><br /><strong> Conclusion</strong><br /><br /> To carry out a systematic interdisciplinary study in the field of comparative literature, we need to use the logical methods and abilities of other sciences and scientific fields to be able to address the concerns of literary research. Our definition of interdisciplinary studies and its methodology should be in accord with the principal objectives of interdisciplinary research. Therefore, it is necessary to make fundamental revisions in clarifying the definition, application, methodology and goals of interdisciplinary approaches in the field of comparative literature studies. On the other hand, using the interdisciplinary approaches in the study of comparative literature does not mean the loss of its independent methodology and identity, rather, it means creating a bridge between literature and other disciplines to enrich literary comparative studies. As much as restricting literary studies and separating literature from other scientific and cultural fields are dangerous and disadvantageous for the achievements of literary research, the unsystematic and nonfunctional expansion of interdisciplinary studies in the field of literature leads unjustified and biased analyses.<br />Also, considering the adjacency of the nature of different disciplines in an interdisciplinary study is necessary to achieve the scientific and desired results. It is therefore clear that simply addressing the interdisciplinary approach in the comparative literature is not adequate to create a relationship between the literature and other scientific and artistic fields but it is also significant how to deal with these studies and to consider the different capabilities of interdisciplinary studies in different fields.<br /> <br /><br />1<strong>. </strong>Assistant Professor of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Humanities, University of Bojnord, Bojnord, Iran. E-mail: f.alavizadeh@gmail.com.مطالعات میانرشتهای ادبیات تطبیقی، به عنوان یک رهیافت نوین در تحلیل و بررسیهای ادبی قادر است تا با رها ساختن ادبیات از انزوا، زمینة گشودن افقهای جدید فکری و برقراری رابطة ادبیات با سایر رشتههای علوم انسانی از جمله زبانشناسی، هنر و مطالعات فرهنگی را فراهم آورد. همچنین، بسیاری از تنگناهای مطالعات علمی را بر طرف میکند و منجر به غنا، تنوع و گسترش حوزة مطالعات ادبی میشود. در این جستار، نخست نگارنده میکوشد تا پس از بررسی مفهوم میانرشتهای و ضرورت توجه به آن در مطالعات ادبی، با بررسی تحولات میانرشتهای ادبیات تطبیقی، درک روشنی از تفاوت رویکرد سنتی این نظریه و چرخشهای میانرشتهای آن در عصر حاضر ارائه دهد. سپس به بررسی مفهوم بحران هویت که به دنبال ورود نظریههای مختلف به حوزة ادبیات تطبیقی مطرح میشود، می-پردازد، علل آن را تبیین میکند و میکوشد تا با بررسی چارچوبهای صحیح و نظاممند برای بررسیهای میانرشتهای در ادبیات تطبیقی، ضرورت نظاممند بودن و کاربردی بودن این نوع مطالعات را با حفظ مرزبندیهای علمی و منطقی میان رشتهها را نشان دهد.https://jcl.uk.ac.ir/article_3042_9dae18dd47c4bd3cab8c28aac1356786.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220Comparative Indian (Alankārā) and Islamic rhetoricبلاغت تطبیقیِ هندی(اَلَنکار) و اسلامی209229307110.22103/jcl.2021.17864.3312FAمجاهدغلامیاستادیار گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه خلیج فارس، بوشهر، ایران0000-0001-8482-0089Journal Article20210709<sup> </sup>
<strong> Introduction</strong>
There was literature and poetry in Iran before Islam, and we have received works on this subject. However, nothing is left of the rhetorical works that probably written in those days. Hence, our information about them is limited to the remained references of some writers such as Al-Jahiz (776-868 AD), who reported the existence of a rhetorical writing in Pre-Islamic Iran called “Kārvand”. With the advent of Islam and doing the research on the mysteries of the eloquence and rhetoric of the Qur'an, the Islamic rhetoric formed by the efforts of muslims, in specific by Iranians. Over time, the Iranians also wrote books on rhetoric in Persian. In terms of content, these books were influenced by Arabic rhetorical books and they rarely discloed new concmepts. From the 16<sup>th</sup> to 18<sup>th</sup> centuries, in the eara Safavids and Gurkhanids imperia (Great Mongol Empire), along with other rhetorical currents, a new rhetorical current formed. It was appeared through the adaptation of Indian (Alankārā) and Islamic rhetoric. In this process, aesthetic, rhythm, and recognizing the beloved in Indian poetry issues have been translated into Arabic and Persian. Also, the evidence from Arabic and Persian poetry has been presented for them.
Methodology
This study is based on the analytic-descriptive method by using library research. The works which have been written in Persian and Arabic with the subject of comparision of Indian rhetoric with Islamic rhetoric during the 16<sup>th</sup><strong> </strong>to 18<sup>th</sup> centuries are presented in the current investigation. After that, the presented issues in these books are considered by focus on the proposed issues in the Islamic rhetoric and the similarities and differences are analyzed.
Discussion
From the sixteenth to the middle of the eighteenth century, rhetorical works written in Arabic do not include the new subjects.
In these centuries, "looking at the books of the past and trying to teach, learn and finally annotate and possibly describe or summarize them" is common (Safa, 1999, V5/1: 414). This issue paved the way and it is closed to any innovations. The most prominent Persian rhetorical books, such as <em>Dastour al-Shoarā</em> by Mohammad Mazandarani, nicknamed Amani (d. 1682) and informed by Razi al-Din Muhammad ibn Muhammad Shafi'i, written in 1684 AD also contains the same subjects and elements that has already been seen in Arabic and Persian rhetorical books.
Among the currents that exist in the 16<sup>th</sup> to 18<sup>th</sup> centuries in the field of rhetorical writings and research in Iran and India in the Safavids and Gurkhanids (Great Mongol Empire), there is a new current:
the comparative reading of Indian rhetoric, known as "Alankārā", with Islamic rhetoric and translation of issues of Indian prose and rhyme, aesthetics of Indian poetry and knowledge of Indian lover in Arabic and Persian and finding the evidence of Arabic and Persian literature for these. This current has two prominent faces:
- Mirza khan Ibn Fakhr Ol-din Muhammad, author of the <em>Tohfat Ol-Hend</em> (1068-1118 AH).
- Mir Gholam Ali Azad Hosseini Waseti Belgerami (1116-1200 AH) Author of <em>Sebhat Ol-Marjan fi Asar Ol-Hendestan</em> (1177 AH) and <em>Ghezlan Ol-Hend</em> (1178 AH).
<em> Tohfat Ol-Hend</em> was written during the time of Aurangzeb and apparently for Muhammad Azam, his third son. This prince was interested in Indian wisdom, art, and literature, and poets such as Bidel Dehlavi, Rasekh Serhendi, and Salem Keshmiri were associated with his court. <em>Tohfat Ol-Hend</em> has seven chapters, all of which are very valuable in terms of identifying Indian culture and literature. <em>Sebhat Ol-Marjan fi Asar Ol-Hendestan</em> is the first book of Azad Belgerami about comparative rhetoric and has four chapters. The third chapter of the <em>Sebhat Ol-Marjan</em> is a separate treatise on comparative Indian and Islamic rhetoric. The fourth chapter is also very useful for research in the comparative aesthetics of the beloved in Arabic and Indian poetry. <em>Ghezlan Ol-Hend</em> is also a summary of <em>Sebhat Ol-Marjan </em>and Is Written in Persian. The author of these two books, Azād Belgerami, Was Known as literate in his time. As Khan Arezou called him a "scientist and wise man" (Arezou, 2005: 42) and praised his poetry.
In comparing Indian rhetoric with Islamic rhetoric, notable issues are:
In Indian and Islamic rhetoric, simile has a special place. Of course, the simile in Indian and Islamic rhetoric is not exactly the same. For example, Arab scholars have divided the simile according to its sides, whether it is sensory or rational (Non-sensory) or different, and Indian literature has a different opinion (Azād Al-Belkerami, 2015: 231). Some of similies in Indian rhetoric have equivalent in the Islamic rhetoric. On the one hand, in Indian rhetoric, the categorize of similies are based on the concepts of verses. In light of this prespective, there could be possible to innovate a large number of similies.
In Indian and Islamic rhetoric, literary ornaments can also be compared; we see two groups of literary elements and ornaments in the comparative works of Indian and Islamic rhetoric:
In most cases, the literary ornaments are the abstract of verse concepts and in fact is a title for them.
Those that have existed in the Indian rhetoric from the beginning and those that have been created by the authors of those works. Literary ornaments in Indian rhetoric are often the summary of the content of the verses and the title for them. For example:
<em>Al-Tosie (Order)</em>
The narrator orders the person who fulfills her wish after death. In Indian rhetoric, there is a section called “Naika Behid” (Beloved Science) or knowing the types of Beloved. In Indian culture, "Naika" means "woman" and "Naik" means "man". "Behid", like the words "Veda" and "Wid", means "knowledge". We do not have such a thing in Islamic rhetoric. Among the Persian rhetorical works, the only work that is somewhat compatible with “Naika Behid” is Anis Ol-oshaq (757 AH) by Sharaf Ol-Din Rāmi. The author Has Said that "poets have divided the beloved from head to toe in nineteen sections" (Rami, 1946: 3). Based on this view, he has examined the descriptions of the beauty of the beloved in nineteen sections and has given examples of Persian poetry for each. In Naika Behid, as in Indian Alankārā, the tendency is towards content issues and not towards formal and physical issues. In translating this art into Arabic and Persian, Indian writers have divided women into different types according to their moral and spiritual characteristics, age, treatment of friends etc.
Conclusion
One of the anonymous currents in the formation of Islamic rhetoric is the current that formed by creating an interaction between Indian with Arabic and Persian culture and literature in the Safavid (Timurid) period. This current is the adaptation of Indian rhetoric (AlNakārā) with Islamic rhetoric. In fact, it is the translation of rhetorical and expressive issues from Hindi to Arabic and Persian. The approach is as follows: after defining an Indian rhetoric to Arabic and Persian languages, they are given evidence of poetry in both languages. This movement has done by two famous literate including Mirza khan Ibn Fakhr Ol-din Muhammad and Mir Gholam Ali Azad Belgerami.
By comparative looking at ndian and Islamic rhetoric, we conclude that:
Some rhetorical beauties and ornaments are specific to Islamic rhetoric. However, some are specific to Indian rhetoric and some are common in both of them. Ferthermroe, sometimes the same Indian beauties and ornaments are not without equivalents in Islamic rhetoric. There are also topics that have not been discussed in Islamic rhetoric, but some types of verses can be used for aesthetic analysis.
In comparing Indian and Islamic rhetoric, it can be seen that Indian aesthetics is mainly concerned on the content issues of the verses rather than the formal and verbal issues.
Indian rhetoric also has a chapter called “Naika Behid”, which can be called women's science or knowing the beloved. In this field, based on the content orientation of the poems, the beloved of poem from the prespective of sensual characteristics, age, and the way of behave with a friend are named and categorized. In translating Naika Behid into Arabic and Persian, due to social and cultural differences, it is necessary to make changes in the position of “Naika” and the gender of the beloved.با فراهم آمدن امکان گفتگوی فرهنگی- ادبی میان ایران و هند در دورۀ صفویان/ تیموریان، مجال آن نیز پیش میآید که بلاغت هندی(اَلَنکار)، با بلاغت اسلامی تطبیق داده شود و محسّنات و مسائل زیباییشناختی و بلاغیِ هندی همراه با پیآیهای در «نایکابهید»(علم النسوان یا معشوقشناسی)، در تخاطب با بلاغت اسلامی در دو نمود عربی و فارسیاش، به زبانهای فارسی و عربی برگردانده شود. در این باره سه کتاب بیشترین دستاوردها را داشتهاند: «تحفة الهند»(1068-1118ق.) از میرزاخان ابن فخرالدّین محمّد و «سِبحَةُ المرجان فی آثار هندِستان»(1177ق.) و «غزلان الهند»( 1178ق.) از میرغلامعلی آزاد حسینی واسطی بلگرامی. به بویۀ معرّفی این جریان در بلاغت اسلامی و واکاوی ساحتهای همانندی و ناهمانندی بلاغت هندی با بلاغت اسلامی، در این جستار که به شیوۀ توصیفی- تحلیلی فراهم آمده است، پس از به دست دادن شناختنامهای از آثار پیشگفته، نکاتِ چندی از بیان، بدیع و نایکابهید(معشوقشناسی) هندی در تطبیق با بلاغت اسلامی و زیباییشناسی معشوق شعر فارسی دیده و بررسیده شده است. از جمله نتایج آنکه، در کنار محسّنات و صنعتهای خاصّ بلاغت اسلامی و محسّنات و صنعتهای مشترک میان بلاغت هندی با بلاغت اسلامی، که در نوع خود جذّاباند و کاراییهای گوناگونی در قلمروهای ادبیات خلّاق و پژوهشهای ادبی دارند، گروهی از محسّنات و صنعتها که خاصّ بلاغت هندیاند، عمدتاً محتوایی و معناییاند؛ برای آنها از شعر عربی و فارسی میتوان شواهد فراوانی به دست داد و برخی از آن ا را نیز میشود در تحلیل زیباییشناسانۀ شعر عربی و فارسی به کار برد.https://jcl.uk.ac.ir/article_3071_cf1c06369d091cf3d2136489183da7a6.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220Comparative-critical study of the definition of "tradition" and "innovation" in literary criticism of Iran and the worldبررسی تطبیقی_انتقادی تعریف "سنت" و "نوآوری" در نقد ادبی ایران و جهان231252306910.22103/jcl.2021.14990.2960FAیحییکاردگردانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، ایران0000-0001-8084-4059نرگسمهدیدانشآموخته زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، ایرانJournal Article20200908<strong>Introduction</strong>
“Tradition” is one of the widely used concepts in different fields of human sciences and has its specific use and special idiomatic meaning in diverse subcategories including philosophy, theology, sociology and literature. That is why this concept is closely connected to an extended range of concepts in different fields of human sciences. Even though there are common elements in the definition of tradition in these fields, its accurate and distinctive definition in each has exclusive elements and meaningful differences. In all these diverse semantic fields, literary tradition is quite remarkable as one of the most notable components leading to the creation of literary works. Regarding the outstanding role of the two concepts of literary tradition and innovation, in the present study, first, the views of Iranian authorities and their offered definitions of these terms are examined and criticized; then, their views are compared to those of non-Iranian theorists to offer an opportunity to the readers to critically compare these concepts from different views. That is due to the fact that when these terms are explained in detail, it is much easier to know features rooted in tradition as well as turn-points of innovation and making changes in tradition; So it becomes clear how important a role the writers and poets had owing to their literary innovation and their choice to deviate from or follow the tradition.
<strong> Methodology</strong>
In the present paper, first, the views of Iranian critics, authorities and writers regarding the definition of tradition and innovation, elements leading to them and the correlation between the two concepts are expressed and some examples are mentioned for each. Then, these definitions are compared to those of Western and Arabian writers and their common and different points are highlighted.
<strong> Discussion</strong>
The definitions of literary tradition offered are diverse regarding the composing elements and the conditions leading to tradition. Most of the definitions, including the ones offered by Sima Dad, Ehsan Yarshater and Fatemeh Sayyah, consider literary tradition something like literary norms, principles and rules, and diverse elements including subject matters, themes, forms of prose and poetry, figures of speech and the like as composing elements of literary tradition. Nevertheless, in some definitions, including the ones offered by Jamal Mirsadeghi and Meimanat Zolghadr among the Iranian thinkers and T. S. Eliot among the Western ones, literary tradition is regarded much more extended and includes every sign of literary past and heritage left from past generations in a literary work which makes literary tradition a complicated and at the same time expanded term. On one hand, when it makes elements of tradition, there is usually an emphasis on repetition. In most definitions of literary tradition, repetition and continuance in a long period is the necessary condition to form a literary tradition. In the definitions offered by Sima Dad, Fatemeh Sayyah, Jamal Mirsadeghi and meimanat Zolghadr, there is an emphasis on repetition. On the other hand, in some definitions, there is no necessity for repetition and all of the literary history in a language, literary heritage of any kind, even the most exceptional ones, are considered as literary tradition. Among the Iranian writers, Taghi Poornamdairan, and among the Westerns, Eliot and Gadamer affirm this definition of tradition. This difference is much more significant when we have in mind the fact that there are some features in the works of literary geniuses and pioneering people which, due to this aspect of genius and forward-lookingness, have not been imitated nor repeated after them and have remained unique and exceptional. In such a circumstance, if the condition of repetition is extremely emphasized, some of the most significant and outstanding literary works do not find a way to the circle of literary tradition. To find a way out, the two concepts of the style of the age and individual style might be helpful, the two paradoxical views which can be reconciled by the fact that these unique features were not repeated at the time and even at the close periods following the time of their being created, which made them unable to form a literary tradition, but in many cases, they have been found worthy and significant after a period of time, imitated, repeated and considered as literary tradition as well.
Regarding the definition of innovation, it is worth mentioning that contrary to the concept of tradition, innovation by itself has not been much attractive and its correlation with tradition has been of more importance. In other words, innovation has mostly been meaningful in contrast to tradition and not independently. However, the most important point in present definitions by many Iranian and non-Iranian thinkers, including Mashallah Ajoudani and Ali Ahmad Said (Adunis), is the emphasis on accompaniment of innovation with identity, nobility and independence in every literary work.
While discussing the correlation between tradition and innovation, the main part of diverse definitions, the issue emphasized by many Iranian, Arabian and Western authorities, including Taghi Poornamdarian and Ali Mohammad Haghshenas among the Iranian thinkers and Eliot and Roman Jakobson among the Western ones, is the emphasis on their accompaniment, and it is tried to exposit and explain the dynamic and dialectic relation of the two concepts. So, innovation can only be durable and acceptable while based on tradition and tradition can only survive and pull through while opening the way for innovation to be revealed and acknowledged. That is why there are two kinds of innovation, one based on tradition and born out of traditional heritage and the other not rooted in tradition, isolated and separated. It is based on the first kind of innovation that some Iranian and Arabian authorities, including Abbas Milani and Adunis, hope to find the roots of the contemporary modernity and innovation in historical periods and deep in the pioneering and developed movements of eastern traditional thinking.
<strong> Conclusion</strong>
Tradition and innovation are two important and functional concepts in different fields of human sciences. Although the definitions of the two offered by Iranian and non-Iranian critics are different, they have many significant similarities. Analysis and examination of diverse definitions from a general view leads to the fact that they are different from two aspects: the extendedness of the composing elements of tradition and the necessity of repetition to form it. The definitions which consider more extended features of form and content seem to offer a more accurate definition of tradition. Moreover, apparently, despite the affirmation of the condition of repetition in forming a tradition, the condition is applicable not only in immediate imitation but also in further imitation in later periods and centuries. Therefore all features related to the form and content of past literary works, which have been repeated, continued and circulated after a short or long period, form a literary tradition. Regarding innovation, it is worth mentioning that its dynamic and complicated relationship with tradition, is the main essence of literary works which is, on the one hand, the guarantor of the durability and success of literary innovations and on the other, the main cause of revival and renaissance of tradition.
e constituent elements and the presence or absence of repetition among the conditions of the formation of tradition. Accordingly, all the formal and content features that exist in literary works and are repeated, and survived after short or long periods of time, form the literary tradition. In the case of innovation, its dynamic relationship with tradition is the main essence of literary works and is the guarantor of the success of innovations and will lead to a continuous renaissance of tradition.مفهوم سنت از مفاهیم پرکاربرد در علوم انسانی است و در هر یک از حوزههای آن معنای اصطلاحی خاصی دارد . در این میان، سنت ادبی و نوآوری، به عنوان مفهوم متقابل آن، از اهمیت ویژهای در ادبیات به ویژه نقد ادبی برخوردار است. این پژوهش با نگاهی انتقادی تعاریف سنت و نوآوری را در آراء صاحبنظران ایرانی بررسی کرده و نتایج بهدستآمده را با مهمترین نظریات منتقدان غربی و عربی تطبیق داده و وجوه شباهت و تفاوت آنها را نشاندادهاست. بر اساس نتایج این پژوهش ، در یک نگاه کلی میتوان گفت که این تعاریف دارای اختلافاتی از دو جنبۀ گستردگی عناصر تشکیل دهنده و الزامی بودن یا نبودن شرط تکرار در شکلگیری سنتاند . بر این اساس ، تمامی ویژگیهای صوری و محتوایی که در آثار ادبی وجود دارند و پس از گذشت دورههای زمانی کوتاه یا طولانی تکرار و تدوام مییابند، سنت ادبی را تشکیل میدهند . در باب نوآوری نیز باید گفت رابطۀ پویای آن با سنت، جوهرۀ اصلی آثار ادبی و ضامن موفقیت نوآوری-های ادبی و سبب نوزایی مداوم سنت است.https://jcl.uk.ac.ir/article_3069_60f579c5c00cd0d3a45cb3edeffb0c83.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220The reflection of Sa’adi’s Boostan & Golestan in practical wisdom on Molavi Abdollah Ravanbod’s Baloochi poemsبازتاب حکمت عملی بوستان و گلستان سعدی در اشعار بلوچی مولوی عبداللّه روانبُد253284298810.22103/jcl.2021.17489.3253FAهوشنگمحمدی افشاراستادیار بخش زبان و ابیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه شهید باهنر، کرمان، ایرانهادیاربابیدانش آموخته کارشناسی ارشد زبان و ادبیات فارسی دانشگاه شهیدباهنر کرمان. ایران.Journal Article20210428<strong> Introduction</strong>
Didactic literature is a significant part of Persian literature, with edification and ethics playing a key role in all elements of ancient literary genres.
Theological-educational literature grew and enriched in Islamic times as a result of writings influenced by the Holy Quran, hadiths, and other Islamic sources, and the bulk of these works were influenced by each other, sometimes directly, sometimes indirectly, and intertextually. In their respective artistic ways, great writers and orators have profited from these pure and transcendent principles. Most didactic and moral texts, as well as their themes, influenced Sheikh Ajal Sa'di, and he was innovative in integrating the perspectives of the past with the needs of his time. Many artists tried to imitate Sa’di's eloquence.
As one of the most effective followers of Sa’di's school of thinking, Abdullah Ravanbod Pishini has duplicated didactic and moral notions and topics that existed before Sa’di's period and then surfaced in this talented poet's works in plain language.
<strong> Methodology</strong>
This article is based on the French school of comparative literature. The researcher's job in this school is to identify sources of inspiration and thinking, as well as subjects and ways of expression, along with schools and literary genres. Historiography, differences in language and literature, and the existence of a historical relationship between the two types of literature are the principles of the French school. This research examines the extentto which Ravanbod was influenced from Sa'di, particularly in Boustan and Golestan, and the similarities between the poems of the two orators based on the "French School of Comparative Literature," while looking at the degree to which Sa'di's wisdom is reflected in Ravanbod's Balouchi poetry.
<strong> Discussion</strong>
<strong>Sa’di </strong>
The wisdom poems, which are the result of Sheikh Ajal Sa’di’s personal meditation gained from his journeys, are the most prominent poetry in Boustan and Golestan. In these two writings, Sa’di strives to describe a civilisation founded on humanism, compassion, justice, and reality. Kindness and fairness, he believes, are the most important virtues. The Qur'an, Nahj al-Balagha, ancient Iranian memoirs (Andarz-nameh), Kelileh va demneh, Qabousnameh, Nasirean Ethics (Akhlaq-i Nasiri), and the Alchemy of Happiness (Kimiay-e-Sa’adat) have all been suggested as sources and foundations for Sa’di's moral point of view. Many scientific theories have affected him as a result of his many trips and education in Baghdad's Mustansiriyah and Nezamiyeh; yet, the wisdom and ideas of ancient Iran and Islamic wisdom form the foundation of his thoughts.
<strong>Ravanbod</strong>
In addition to wisdom, law, philosophy, theology, and religious sciences, Maulana Mohammad Abdullah Ravanbod Pishini (1926-1988) possessed a comprehensive command of literary sciences such as the science of prose, rhyme, innovation, and expressiveness, which he considered essential for every poet. He is the most well-known contemporary poet in Iran's Baluchistan province.
Despite his wide understanding of Persian, Arabic, Urdu, and Baluchi literature, his manner of speech is basic and unpretentious. Ravanbod has been dubbed "Sa’di of Balochistan" by several critics and fans of his poetry. This term is usually attributed to him because his poetry influences Baluchi literature and language, as well as its simplicity.
Ravanbod's Baluchi poems are the most essential, brilliant, and numerous of his poems. Baluchi poetry is written in the manner of traditional and classical Baluchi poetry or in the genres of Qasideh (ode), Qazal (lyric), and Mosammat, which are influenced by Persian poetry.
The following are some of the most prevalent instructional concepts shared in the works of the two orators:
God’s power, God’s transcendence of human intellect and imagination, purposefulness in the system of creation and the need to pay attention to every single being in the universe, humility due to being created out of the soil, God’s generosity to all human beings, the humans’ inability to thank God for all blessings, belief in fate and predestination, advising patience, seeking happiness in both worlds, avoiding worldy attachments, warning the harmful effects of persecution and scolding, criticizing the world, making the most of time in life, emphasizing the deeds rather than origin, highlighting the role of being a good person as an enduring legacy, not neglecting comeuppance, not belittling the enemy and sin, the immutability of the wicked principle, standing up to oppression and living and dying with honor rather than degradation and disgrace.
<strong> Conclusion</strong>
The presence of common and similar topics in the works of Sa’di and Ravanbad suggests that both poets are interested in religious and didactic writing, according to this study. Wisdom and ethics are practically present in the lives of characters and heroes in both orators' works, to the point where many educational notions and moral themes in Ravanbad's and Sa’di's writings are similar, and in some cases merge into one. If there is a little discrepancy in interpretations or words, it is due to language differences, which have the same semantic relationship and message in any case. The majority of the subjects on which the two orators have voiced and agreed are related to how one obtains both earthly and otherworldly bliss. In order to attain happiness and salvation in the two worlds, the ideal human being, in Sa’di and Ravanbad’s terms, must "give up bad and reprehensible habits and thoughts, and adorn oneself with good morals and good deeds"; that is, one must purify his existence of reprehensible attributes.
The usage of verses and hadiths, myths and religious figures can be noticed with the use of similes and allegories in order to objectify the message in both orators’ poems. Ravanbod's poems in the Balochi language are known for their simplicity, earning him the title “Sa’di of Balochistan,” due to following Sheikh Ajal Sa’di Shirazi's statement.سرچشمههای اصلی ادبیات حکمی و تعلیمی عبارتند از: اندیشههای ایرانیان باستان، فلسفۀ یونان و حکمت و کلام اسلامی. نویسندگان و سخنورانی که در دامان تمدن اسلامی پرورش یافتهاند، هر کدام به اندازۀ توان خود از این منابع بهرهمند گردیده و اندیشههای حکمی و تعلیمی را در آثار خویش متبلور ساختهاند. در قرن هفتم این نوع ادب در تعالیم حکمی و اخلاقی با استاد سخن، شیخ اجل سعدی شیرازی (606-690 ه.ق) در نظم و نثر به اوج خود رسید. مولوی عبدالله روانبُد (1305-1367ه.ش) ازجمله شاعران معاصر بلوچ زبان است که در اشعار خود از مضامین حکمی و تعلیمی بهرۀ کافی برده و زیر تأثیر اندیشههای ایرانی- اسلامی و حکمت و فصاحت سعدی به نشر آثار و اشعار خود به زبان بلوچی پرداخته است. هدف از این پژوهش، معرفی جایگاه واقعی مولوی روانبُد، به عنوان «سعدی بلوچستان» و بررسی کیفیّت تأثیر پذیری وی از بوستان و گلستان شیخ اجل در حوزۀ حکمت عملی است. این پژوهش نشان میدهد که علاوه بر موضوعات مشترک جامعه بشری، اشعری بودن دو سخنور، سفرهای تحصیلی و شرایط اجتماعیِ تقریباً مشابه، سبب شده است که روانبُد بیشتر از دیگر شعرای بلوچ زبان از اندیشه و بیان سعدی تأثیر پذیرد. شیوۀ تحقیق در این مقاله برمبنای مکتب ادبیّات تطبیقی تاریخگرای فرانسوی به روش توصیفی- تحلیلی است. نتایج بهدست آمده از یافتههای پژوهش بدینگونه است که اندیشههای بنیادی روانبُد برای توجیه مشیّت و حکمت خداوند در آفرینش جهان و مضامین حکمی و تعلیمی و نیز در تشبیه و تمثیل پردازی به سعدی شباهت دارد.https://jcl.uk.ac.ir/article_2988_c1f06a5a741799cad583151bc653ad67.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220A Comparative Study of Prayer from the viewpoint of Maulana and Catherine P0nder«بررسی مقایسهای دعا از منظر مولانا و کاترین پاندر»285310302410.22103/jcl.2021.17783.3305FAمریممردانی ورپشتیدانشجوی دکتری زبان و ادبیات فارسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران.حسینحسن پور آلاشتیدانشیار زبان و ادبیات فارسی،دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران.مسعودروحانیدانشیار زبان و ادبیات فارسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران.علی اکبرباقری خلیلیاستاد زبان و ادبیات فارسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایرانJournal Article20210712"<br /><br /><strong> Introduction</strong><br /><br />"Prayer" means asking and it is one of the important religious rituals and according to the theories of the spirituals of the world, as one of the best ways to communicate with God and one of the highest worships. Since "prayer" plays an important role in the mental health of individuals, comparative research and studies in this field is a cognitive necessity and a way to create unity and peace in human society. The purpose of this descriptive-analytical article is to examine the comparison of prayer from the perspective of Rumi in the book Masnavi Manavi as a representative of Islamic mysticism with the views of Catherine Ponder in the book The Power of Prayer as a representative of Christian mysticism, regarding the similarities and differences of thought. The two mystics achieve a lasting result. The results of the research indicate that Ponder and Rumi share many aspects such as the necessity of sincerity and the divine grace of prayer, but the most important difference is in the nature of prayer. Because Rumi pays attention to spiritual matters in prayer and Ponder pays attention to material matters. It seems that by studying the ideas of Eastern and Western mystics, new aspects of reality can be achieved.<br /> <br /><strong>2.Methodology</strong><br />This research has been done by descriptive-analytical method and in it library studies and note taking have been used. The scope of this research is the book <em>Masnavi Manavi</em> by Maulana Jalaluddin Mohammad Balkhi, edited by Reynold Nicholson, Tehran, Toos Publications (1996) and 2 volumes of the book <em>The Power of Prayer</em> by Katherine Ponder, translated by Mina Azami, Tehran, Mitra Publishing (2008 and 2009) Is. But according to the word, other works of these two great mystics have also been used. In this research, first Rumi''s thoughts and opinions regarding prayer are expressed, then Ponder''s views on prayer are examined and while expressing the commonalities and differences between the two, the necessary conclusion is reached.<br /> <br /><strong>3.Discussion</strong><br />In the contemporary world, not only has religion and religious rites not been removed from people''s lives, but it has also found a new and decisive role in individual and social life and has caused many changes, including multidimensional attitudes towards religion in different societies. Although the prediction of the decline of religion and the gradual decline of religion in the age of scientific thought was first made by August Kent, the father of modern sociology, and later by many other nineteenth-century European social thinkers, the historical experience of modern human societies And attention resumed his religion and mysticism. (Seyyed Emami, 1997, p.141) As we see in the current world community "a wide wave of tendency to spirituality, in the form of a desire for ancient mystical beliefs" (Hassani Jalilian, 2020, p. 19) and the tendency to modern and emerging mysticism in the East and West.<br />Throughout history, many mystics have addressed common ground. One of these topics is "prayer", which is one of the most fundamental topics for mystics all over the world. But in today''s modern world, it seems that praying from scriptures and prayers does not seem to be very effective for people because today people are looking for a newer way to communicate with their God. Catherine Ponder, one of the most famous Christian writers and priests in modern times, was one of the first to pay special attention to this. He has always emphasized the great power and power of prayer and he has always tried to lead people to establish a simple, sincere and intimate relationship with God.<br />According to the theologians of the world, especially Islamic mystics, since <em>prayer</em> is a bridge between God and man, any kind of prayer is valuable, even if it is to meet the material and daily needs of human life. Maulana Jalaluddin Mohammad Balkhi, as one of the greatest mystics of the Islamic world, has valuable theories about prayer in his works, especially in the <em>Masnavi Manavi</em>. Catherine Ponder, a Christian pastor and author of <em>The Power of Prayer</em>, also describes the amazing power of prayer in her book and encourages her audience to have a pure and sincere relationship with God. Based on the intertextual views that most texts are influenced by each other, Pander is expected to be influenced by Rumi, but he does not explicitly name Rumi in his book, although many intellectual similarities can be seen in his work with Rumi. Given the importance of prayer in mystical texts, in this article, the intention is to pray and better understand and understand it in the two religions of Islam and Christianity, based on the theories of these two great thinkers - Rumi and Catherine Ponder.And while enumerating the main components of prayer from the perspective of these two great mystics and mentioning the points of inequality and sharing views, the angles of this matter should be shown better and more accurately. Basically, it should be noted that the ideas and findings of many seekers and mystics in all parts of the world are very similar and sharings. Perhaps it can be said that this similarity is the reason why the great mystics and seekers of the world have achieved transcendental and transcendental experiences and have been able to make observations that the ordinary senses are not able to receive. (Behnamfar and Khoshaman, 2010, p. 5) In case of encountering principles with religious phenomena and studying and comparing different religions and mystics of the world with a scholarly and far from purpose view, many political, sectarian, military and ... Will go and human societies will prosper in more peace. When people around the world have the same cultural ties, "this stronger bond prevents nations from distancing or even fighting for political or economic gain." (Otto, 2018: 13)<br /> <br /><strong>4.Conclusion</strong><br /><em>Prayer</em> has a special place from both Ponder''s and Rumi''s point of view. Despite the many similarities between these two mystics in the matter of prayer, there are some differences between them in this regard. Because Ponder''s language and prose are so simple and fluent, she has been very successful in attracting a contemporary audience. Catherine Ponder takes a fresh and modern look at the issue of prayer, calling it a simple human connection to her God. She expresses prayer in the form of <em>emphatic phrases</em> and in very fluent ways, using words that are completely modern and in accordance with the needs of contemporary man, and believes that if these emphatic phrases are recited with sincerity and according to special circumstances, the answer will undoubtedly be answered. They will be. In general, the differences between Rumi and Pander can be summarized as follows: the way of praying, the rules and stages of prayer, the change or non-change of all things by prayer, the focus on spiritual issues by Rumi and worldly issues by Pander, the reasons for not answering prayer . Common points and similarities between Ponder and Rumi''s view of prayer include: the need for sincerity in prayer, the need to destroy the human will in the will of God during prayer, the will of God and the divine grace of prayer, the need for perseverance in prayer and ... Cited. Considering these cases, in a comparative comparison between Rumi and Ponder, we find that in general, the similarities in Rumi and Ponder''s views on prayer are basically more than the differences and distinctions between the two.<br /> «دعا» به معنی طلب و درخواست کردن است. براساس نظریات معنویان جهان، «دعا» بهعنوان یکی از بهترین راههای ارتباط با خدا و از برترین عبادات معرفی شده است. از آنجا که «دعا» در بهداشت روانی افراد مؤثر است، پژوهشها و مطالعات مقایسهای در این حوزه از ضروریات معرفتی به شمار میآید و در ایجاد آرامش روحی و روانی افراد بهصورت کاربردی مطرح میشود که یکی از نتایج آن، کاهش اضطراب و نزاع در جامعه است. این مقاله با روش توصیفی-تحلیلی به مقایسۀ «دعا» از منظر مولانا و کاترین پاندر پرداخته است تا با بررسی مقایسهای قدرت دعا از منظر مولانا در کتاب مثنوی معنوی بهعنوان نمایندة عرفان اسلامی با نظرات کاترین پاندر در کتاب قدرت دعا بهعنوان نمایندة عرفان مسیحی، درخصوص شباهتها و تفاوتهای اندیشگانی این دو عارف به نتیجهای پایدار دست یابد. بررسیهای بعمل آمده نشان داد که پاندر و مولانا از جهات بسیاری همچون لزوم اخلاص و موهبت الهی بودن دعا با یکدیگر اشتراک دارند اما مهمترین اختلاف نظر آنها در ماهیت دعاست زیرا توجه مولانا در دعا به امور معنوی و توجه پاندر به امور مادی است.https://jcl.uk.ac.ir/article_3024_19ae4b81c65946fea6259a96933c8d48.pdfدانشگاه شهید باهنر کرماننشریه ادبیات تطبیقی2008-6512132520220220Comparative analysis of two poems from Hillī and Jāmī which praise the Prophet Muhammadبررسی تطبیقی دو چکامه از صفی الدّین حلّی و عبدالرحمان جامی در مدح پیامبر اسلام (ص)311332307210.22103/jcl.2021.17972.3321FAعلی اکبرملاییاستادیار گروه زبان و ادبیات عربی، دانشکده زبانهای خارجی، دانشگاه ولیّعصر (عج)، رفسنجان، ایران.Journal Article20210728AliAkbar Mollaie <sup>[1]</sup><br /><br /><strong> Introduction</strong><br /><br />Safī al-Dīn al-Hillī (died in 750 AH) in an Arabic ninety verses <em>Qasīda</em> (ode) and Abd ar-Rahmān Jāmī (died in 898 AH) in a Persian fifty-six verses <em>Tarkīb Band </em>(poem of several stanzas of equal size) have praised the Prophet Muhammad. Equal subject and the same textual position are the base motivation of this research. Both poets composed their Eulogy when they went on a pilgrimage to Medina so they exposed their heart which was full of love and passion for visiting their Prophet's resting place (in Medina). The desire of meeting, the suffering of being far from beloved (here is the Prophet), and the hope of forgiveness are the essence of those poems. The social and cultural environments of the two poets have so many similarities. Although they have a hundred years' differences, both of them live in the Mongolian era. The research aims to compare two poems from the aspect of the forms (shape) & contents, then indicates similarities and differences.<br /> <br /><strong>2-Methodology:</strong><br />The method which is used here is; intertextual criticism based on the American school in Comparative Literature. This school does not necessitate historical relations even applying different languages between two works. It intends to change the methodology from historical influence to literary theory and criticism. The research is done based on intertextual criticism of odes in order to show the emotional and artistic relationship between the shapes and contents, so it casts a bilateral and comparative approach. <br /> <br />3-Discussion<br />Both Safī al-Dīn al-Hillī's <em>Qasīda</em> (ode) and Abd ar-Rahmān Jāmī's <em>Tarkīb Band </em>(poem of several stanzas of equal size) has set in a travel literature genre like. They both describe the difficulties during the travel and passion for visiting their Prophet's resting place in an effective way. Hillī begins his ode with a lyric like traditional Arab poems, then describes his journey. Finally, he joins the conjunctive verse (Takhal<strong>'</strong>los تخلّص) which tells of the Camel with the Eulogy about the prophet in a poetic way. In this ode, the <em>chain of speech</em> has been made under the influence of classic odes intentionally. The poet mentioned the people and places with an extroverted approach. He was inspired by the previous images and expressions.<br />Jāmī's Tarkīb Band begins with verses that explain his pilgrimage. The sound of camels and mob of the Caravan has blended with the commotion inside the poet's heart. Then the poet finishes the description of his journey and starts to praise his beloved (here is the Prophet), then tries to express his feeling to him so humbly. During composing the verse Jāmī is full of passion and floats in his unconsciousness. The form and content of the poem meet each other in an emotional artistic way.<br /><strong> </strong><br /><strong>4-Conclusion</strong><br />By comparing the contents & the structures of the two poems we can indicate these similarities and differences<strong>;</strong><br /><strong>4-1-</strong><strong> Similarities: </strong><br />The plot of the poems and the poets' situation are so close to each other, so the common themes are outstanding in the poems. For example; passion for visiting their Prophet's resting place (in Medina), the suffering of being far from beloved (here is the Prophet), description of camel & desert, saluting to the Prophet, humbleness, seeking intercession, and asking for a spiritual reward for his Eulogy, complaining for his adversaries, avoid using offensive language for other religions, and generally talking about dignity & greatness of the Prophet.<br /><strong>4-2- Differences:</strong><br />Jāmī's poem is full of passion while Hillī's is empty of that, so the Hillī's doesn't have structural coherence. Jāmī has a macro-perspective in spiritual and religious matters which led to using ambiguity instead of clarity when Hillī intentionally uses details and reveals all names & symbols in his poetic imagination. Jāmī focuses on gestures and body organs to express his thoughts and emotions whilst Hillī doesn't pay much attention to them. And finally, Jāmī uses the capacity of the rhythm and the sound of words more than his counterpart.<br /> <br /><br />1<strong>. </strong>Assistant Professor; Department of Arabic Language and Literature; Faculty of foreign Languages; University of Vali-e-Asr of Rafsanjan; Rafsanjan; Iran. E-mail: akbar.m87@gmail.com & a.mollaie@vru.ac.irصفی الدین حلّی (وفات750 ه.ق) قصیدهای شامل نود بیت به زبان عربی و عبدالرحمان جامی (وفات898 ه.ق) ترکیببندی به طول پنجاه و شش بیت به زبان فارسی، در منقبت پیامبر اسلام (ص) سرودهاند. تحلیل این دو سروده در یک اقدام تطبیقی، فراراه نوشتار حاضر است. روش تحقیق، بر پایة نقد درون متنی، در پرتو ادبیات تطبیقی به شیوة مکتب آمریکایی است. موضوع یکسان و موقعیت متنی مشابه، نگارنده را بر آن داشت که به مقایسة این دو سروده، در دو حیطة شکل و مضمون بپردازد و همانندیها و ناهمانندیها را بازنماید. هر دو سراینده، مدایح خود را در عشق به پیامبر و در طیّ یک سفر پرشور زیارتی به مقصدِ مدینه آفریدهاند. اشتیاق دیدار، رنج فراق و آرزوی آمرزش، جانمایة این چکامههاست. هردو شاعر، زبانی عذرخواه و روحی خاکسار دارند؛ اگر چه حلّی، از شور عاطفی جامی و صدق هنری او برخوردار نیست و کلاننگری او را ندارد. عاطفة عرفانی در تمام عناصر شعری ترکیببند جامی از قبیل واژگان، اسلوب عبارات، صور خیال و موسیقی، نیرویی نافذ و کنشگر بوده است. وانگهی عواملی از قبیل ضعف عاطفی در مدح، پایبندی به ساختار سنتی قصیده، طولانی بودن سروده و تنگنای قافیه، از انسجام و اثربخشی مدحیة حِلّی کاسته است.https://jcl.uk.ac.ir/article_3072_6573d187c4a9dd39036c9acf38203d65.pdf