Document Type : علمی- پژوهشی
Authors
1 Department of in Persian Language and Literature, Faculty of Literature and Humanities, Azarbaijan Shahid Madni University,Tabriz, Iran
2 Department of Persian Language and Literature, Faculty of Literature and Human Sciences, Shahid Madani University of
Abstract
In addition to the existence of a considerable number of quatrains of previous poets among the quatrains attributed to Rumi, there are also quatrains in his Diwan that Rumi paid attention to and took inspiration from the quatrains of them. Sometimes he quoted a verse or stanza from others quatrains and in many cases he followed the structure of the quatrains of his predecessors. In this research, by examining and comparing the quatrains of Rumi with the existing and available quatrains of previous poets, the sources of inspiration and influence of Rumi from the quatrains of the previous poets were determined to some extent. In contemporary literary criticism, in the context of the relationship of one text with other texts, this category of Molana's quatrains in Genet's theory of intertextuality is placed in two areas of non-explicit and implicit intertextuality and is adaptable with it. Rumi has been inspired by many previous poets in his quatrains, but the main sources of his inspiration in his quatrains belong to poets such as Sanai, Ohaduddin Kermani, Attar and Khayyam Neishaburi.
Highlights
Extended Abstract
Introduction
Kristova's theory of intertextuality is based on the premise that texts are never created all at once, but other texts also participate in the creation of any text. Genette, as one of the reformers of Kristeva's theory of intertextuality, also emphasized on this basis and used it in his theory of intertextuality. according to the opinion of the French Gerard Genette, a literary critic can divide a literary work into parts such as themes, quotations, archives, etc., and in this way determine the relationship of that literary work with other works of literature.
Genette, presenting a comprehensive and new plan, called the relationship of one text with other texts as Trantextuality, and then divided it into five categories, namely intertextuality, architextuality, paratextuality, transtextuality and hypertextuality. Among these, intertextuality and hypertextuality are concerned with the relationship between two texts, and other types are concerned with the relationship between a text and similar texts. Genette's intertextuality is divided into three categories: overt and declared intertextuality, indirect and hidden intertextuality, and implied intertextuality. In explicit intertextuality, the obvious presence of one text in another text is seen, such as quotations that exist in different texts, quotations that are sometimes with reference and sometimes without reference in the text. In the second type of intertextuality, which is not explicit, a text has a hidden presence in another text for some reason. In the third type of intertextuality, i.e. implicit intertextuality, the author of the second text has no intention of concealment, and uses signs in his text that can be used to recognize the intertext and even recognize its source. What should be taken into consideration in the study of literary texts based on Genette's intertextuality, is that in this type of research, one can understand the intellectual and cultural sources that create the literary work.
One of the works of Persian literature that can be analyzed according to Genette's theory of intertextuality is Rumi's quatrains.
Literature Review and Methodology
So far, in the context of examining the authenticity of the attribution of Rumi's quatrains, threearticles with the titles of "Recognition of the source of 38 quatrains attributed to Rumi in literary and historical texts" (Rahimi Zanganeh and Rahmatian 2016), " Newly found sources of 75 quatrains from the Rumi’s Divan-e-Kabir based on Nozhatu’l-Majâles"(Mushtaq Mehr and others 1400), and "Tracing 35 quatrains attributed to Rumi in manuscripts and printed copies of Sanai's Divan and older texts" (Nizami and others 2019), have been written. Of course, the main approach of each of the mentioned researches is to find the quatrains of previous poets in Divan-e-Kabir of Rumi, but in the present study, we have tried to search the sources of inspiration of Rumi in his quatrains and examine his quatrains based on Genette's theory of intertextuality.
Discussion
Based on the research done in this field, we must say that, of the first type of Genette's intertextuality, which is explicit and obvious intertextuality and includes quotations and its types, we cannot find an example in Rumi's quatrains as the quatrain format consists of only four half verse and all four half verses are often used to convey a single meaning and content. Therefore, we cannot have specific and obvious quotations by mentioning the poet's name in the quatrain. Another important point is that the study of Rumi's works shows that this mystic poet had many and amazing reserves of Persian and Arabic prose and poetry in his memory. Accordingly, it is natural that he unconsciously quotes a verse or half verse from the quatrains of previous poets in his quatrains. Especially, that Rumi, according to his usual style and habit, has such a style even in composing some of his sonnets, in such a way that he begins some of his sonnets with a verse from Sana'i, Nizami and even Khaqani. The presence of such cases in Rumi's poems indicates that language has no limits in the eyes of mystics like him, because mystics, especially Rumi, used all the capacities of language to express their meaning and sometimes, depending on the situation, they made changes in the poems of previous poets. They even paid attention to non-mystical poems and used them to express their intended meaning.
Even though Rumi is a creative poet, from the signs and evidence in his quatrains, it appears that he considered the quatrains of his predecessors in composing his quatrains. One of Rumi's tricks in his quatrains is borrowing from the quatrains of previous poets, which appeared in different forms in his Divan. Accordingly, in this research, Rumi's quatrains have been discussed and investigated based on Genette's theory of intertextuality in two areas of non-explicit or hidden intertextuality and implicit intertextuality.
Conclusion
Based on Genette's intertextual theory, we made a comparison between the quatrains of Rumi and the quatrains found in earlier poetry collections and prose texts, as well as the works of earlier poets. In the field of hidden and non-obvious intertextuality of Genette, 53 quatrains were examined, that in 41 quatrains, Maulana has quoted a verse and in the other 12 quatrains, a half verse from the quatrains of previous poets. Another 33 quatrains were analyzed based on the implicit intertextuality of Genette, and it was found that in 31 cases, Maulvi has welcomed the quatrains of previous poets and followed the structure of their quatrains. The other two quatrains are also beautiful answers that Maulana has written them in front of two possible quatrains by Khayyâm. From the total of 86 analyzed quatrains, the poets of 17 quatrains were not identified. Another 69 quatrains belong to 27 poets, among whom the main sources of inspiration of Rumi in his quatrains are poets such as Sanâi, Ohadu’d-Din Kermâni, Attâr and Khayyâm Neishâburi.
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