Document Type : علمی- پژوهشی

Authors

• Faramarz Jalalat ¹
• Ebrahim Danesh ²

¹ Department of Persian Language and literature, Ardabil Branch, Islamic Azad University, Ardabil, Iran

² Department of Persian Language & Literature, Faculty of literature & Humanities, University of Mohaghegh Ardabili, Ardabil, Iran

Abstract

Analysis of intertextual relationships of literary texts of different genres is a practical way of investigating the fusion or “coexistence” of literary types. Qaboosnameh and Nizami’s works as focal texts in Persian literature played a media role in transferring Iran's culture, literature, and civilization. There is numerous intertextual evidence proving Qaboosnameh's influence on Nizami. One of the crucial signs of this influence is the intellectual and linguistic intrusion of Qaboosnameh in his works. The study of Nizami’s works and Qaboosnameh shows the importance of intertextual interactions in the coexistence of literary genres. This paper in a descriptive-analytical way has studied the intertextuality of Qaboosnameh and Nizami’s works offering evidence and concluding that intertextual interactions indicate the coexistence of different literary types clearly. Both Onsorolma?ali and Nizami were aware of the coexistence of literary genres and established a dialogue between literary genres and works in this way. In Qaboosnameh, in addition to some lyric and epic chapters, there are lyric and epic elements within didactic materials. Nizami has benefited from didactic elements as an inseparable part of his non-didactic works based on the text and situation. One of its prominent examples is the insertion of "Andarznameh" in lyric and epic works, especially in the continuation of "Saghinameh". The high frequency of implicit and explicit intertextuality indicates Nizami’s genius and creativity in applying former prose heritage, especially Qaboosnameh. He has covered this precious heritage of rhythm, rhyme, and imagery to enrich his works' content, semantic dilation, textual cohesion, and artistic appeal.

Highlights

Expanded Abstract

Coexistence of Lyric and Didactic Literature in the mirror of Intertextual analysis of Nizami’s Works and Qaboosnameh based on Gerard Genette’s Theory

Introduction

Human beings have relationships with the world and people around them. Literary and artistic works also had mixtures in their realms and genres. This mixture is noticed as influences that different genres, schools, styles, and works have on each other. Intertextual interaction helps various literary genres use linguistic, literary, and thematic elements of each other in their development and evolution. Qaboosnameh is one of the remarkable didactic works of Persian literature that has dominated Persian poetry and prose in formal and thematic aspects. Hakim Nizami Ganjavi’s poetry in addition to belonging to a particular genre as lyric and epic literature, includes several didactic topics such as pieces of advice, guidance, etc. It is affected by the Persian rich literary heritage before him, especially Qaboosnameh.

Research Background

The author of “Literary Genres and Persian Poetry” believes that every literary genre mixes other genres after a beginning phase. So we cannot separate a genre from its neighbors (Shafi’ie Kadkani, 1973: 101). The authors of “Intertextual Manifestations of Holy Quran in Nizami Ganjavi’s Makhzanol Asrar offered that Nizami in his work has used the Holy Quran in different intertextual ways as allusion, borrowing, etc. (Hemmati and Valipoor, 2014: 991). The author of “literary genres in Persian literature” has studied some literary genres namely epic, and lyric with emphasis on their relation with the human psyche and eminent linguistic role of them (Poornamdarian, 2007: 7).

Literature review

Great poets that have special treatment with mind and language change frameworks of literary genres (Shamisa: 1999: 19). So there is no doubt that every remarkable literary work makes changes in its literary genre due to the genius of their authors. It also may mix it in some degree and way with other genres and develop a theory or system that belongs to it. (Ahmadi, 2003: 288). Sometimes a literary genre turns into another genre through this process. It occurs when a society tries to invent new forms that meet its new requirements. (Shafi’ie Kadkani, 1973: 103). Lyric literature is based on its form and content and in order to reach its evolution and textual attractiveness was mixed with other genres such as the didactic genre and a rather new genre can be named “lyric-didactic”. The term “intertextuality” in the view of theorists before Genette was used for every relation between texts. But Genette considered it as a subdivision of “transtextuality”. It is the presence of a text inside another text. (Allen, 2018: 144). Intertextuality itself is divided into three types namely explicit, implicit, and hidden. In explicit intertextuality, the author uses some elements of prior text identically or distinguishes them from other parts with some punctuation such as quotation marks, etc. He also may put them in his work without any reference due to their fame and clarity. In implicit intertextuality, the reader who is familiar with references can discover intellectual and thematic interactions between texts based on signifier traces. In hidden intertextuality, the elements of the prior text take part in the later text hidden or identically.

Discussion

Onsorolma?ali was aware of the necessity of a mixture of literary genres. So he has used lyric and epic concepts and elements in the didactic teachings and stories of Qaboosnameh or assigned some chapters of the book to lyric and epic topics such as praising god and thanking him, praising holy prophet, love, music and singing, oldness and youth, military and battle affairs and so on. Another manifestation of this mixture is the combination of poetry and prose. In Nizami Ganjavi’s Mathnavis there are manifestations of narrative and didactic elements along with lyric essence (Zarrinkoob, 1984: 206). This new way can be discovered obviously in “Sharaf Nameh” and “Eghbal Nameh”. He mixes his Saghi Namehs Andarz Nameh. He offers a fruitful course of theoretical and practical wisdom according to prior authors' thoughts (Nizami Gangavi, 2004). A careful study of Nizami’s works and Qaboosnameh proves undeniable intertextual relations and strong formal and thematic interactions between them. It also can show the interactions and coexistence of lyric, epic, and didactic genres and the way and amount of Nizami’s dependence on Onsorolma?ali.

Conclusion

Both Onsorolma?ali and Nizami were aware of the principle of the mixture and coexisting of literary genres. They practically offered a model of this mixture for the latter poets and writers in their works. The author of Qaboosnameh has presented a mixture of literary genres through mixing prose and poetry. Nizami has combined Saghi Nameh and Andarz Nameh and used proverbs and allegorical stories of Qaboosnameh in the texture of his works based on the topic of the story and its special rhetoric. In addition to Qaboosnameh’s intellectual and thematic intrusion in his works, one of the prominent signs of Onsorolma?ali’s influence on Nizami is borrowing his words. In terms of the intertextual presence of Qaboosnameh’s didactic elements in Nizami’s different works, his lyric works are in the first rank of influence with 34 cases. Then his wisdom work Makhzanol Asrar with 12 cases is in the second rank and his epic works namely Sharaf Nameh and Eghbal Nameh in the last rank with 11 cases. In terms of thematic ranking, social advice with 21 cases is in the first stage. Religious advice with 18 cases is in the second stage. linguistic-literary advice with 7 cases is in the third stage. Moral advice with 6 cases is in the fourth stage and final economic and persona advice are in the fifth stage with 1 case. Following the frequency of advice we conclude that Qaboosnameh’s didactic elements have an important role in Nizami’s lyric and epic works. It also proves that both of these wise men have common points in their religion, beliefs, and social topics.

References

Abedi, M., Parsanasab, M. & Abbasi, S. (2011). “Intertextul Relations in poetic Eskandarnamehs”. Journal of Persian Literature. No. 7 & 8, Pp. 27-44. [In Persian].

Ahmadi, B. (2003). The Text-structure and Textual Interpretation. 6^th Edition. Tehran: Markaz. [In Persian].

Allen, G. (2006). Roland Barthes. Translated by Payam Yazdanjoo. 1^st Edition. Tehran: Markaz. [In Persian].

https://doi.org/10.22034/perlit.2023.55507.3453

Keywords

• Coexistence
• Literary Genres
• Intertextuality
• Nizami
• Qaboosnameh

Main Subjects

• Lyrical and Didactic Literature