چکیده:
Despite many obstacles and difficulties, Ferdowsi's Shahnameh, as a literary masterpiece and record of national identity, entered the lives of people right after its publication. Thenceforth, generations of people have chosen different forms of preserving this masterpiece, according to their time and lifestyle. Minstrelsy or performance of Shahnameh is among these forms. This famous and ancient form, despite all its values, is giving its place to new dramatic forms. Shahnameh's artistic language and its dramatic aspects has given modern artists the opportunity to form its stories into other literary forms, including drama. To show the strong dramatic aspects of Shahnameh, we have chosen five plays derived from the story of Siavash in Shahnameh. To identify and analyze the values and the shortcomings of these plays we have applied Wagner's categories of imitation. This study shows that the playwrights are usually inclined to interpretive imitation, and that comparative imitation and displacement are done not according to the general audience, but according to the modern tendencies in literature an art.
خلاصه ماشینی:
An Analytical Comparison of the Text of Plays Derived from the Story of Siyavash with Ferdowsi's Narrative Timur Malmir1, Chiman Khoshnamay Bahrami 2 1- Professor of Persian Language and Literature, University of Kurdistan t.
The symbolic text and the poetic language of the play create the impression in the mind that the author, through delicate and ghazal-like sentences that sometimes take on metaphorical and allegorical forms and differ from the battle scenes or the tragedy of the story is, as if intending to provide a seal of approval on the words of "Goethe," who says: "In the art of theater, only that which is poetic and symbolic is sublime, praiseworthy, and possesses dramatic values; and the degree of genius and success of any play depends to a large extent on its proximity and closeness to the art of poetry and symbolism" (Nazarzadeh Kermani, 1368: 62).
The epic tone, achieved by using words close to the language of the Shahnameh, as well as bringing the prose language closer to poetic language through the rearrangement of the original components of the sentence and the use of "ra" in the sense of "for" (which is one of the linguistic characteristics of ancient texts including the Shahnameh), is among the noteworthy points in this phrase: Siyavash: Do not be ashamed, woodcutters, and do not multiply the tears of the firewood gatherers!
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