مقایسة ساختاری عاشقانه‌های زرین‌قبانامه و شاهنامه

 
Abstract
Although some texts in classifying of literary types are compiled under the genre of Epic literature, they are not empty of lyrical aspects. Perhaps, lyrical sections of these literary works have a key function in the whole story, such as, love stories in Ferdowsi’s Shahnameh that based on the researchers’ opinion have a special and different structure than non-epic stories. As far as our studies show, love stories in Zarrin Qabanameh haven’t been investigated from this aspect. In this survey with a descriptive-analytical approach, based on the library resources, the focus is on the comparison of peculiarities and structure in Zarrin Qabanameh attachments with the similar cases of Ferdowsi’s Shahnameh, that earlier had been under the observation of other researchers. One of the results of this survey signposts though love stories of Zarrin Qabanameh have similarities with love stories of Shahnameh, in most characteristics and structures are different from similar cases in Ferdowsi’s Shahnameh. The deep connection of structure and elements of love stories in Ferdowsi’s Shahnameh with Persia ancient history and myths, which is the general characteristic of Shahnameh has contributed to the increasing richness of the regarding stories. A point that despite similarities between these two literary works, is less vital in Zarrin Qabanameh.


Introduction

Among the written works of Persian literature, there are Ayyari¹ or poetic stories with sublime and heroic themes that have emerged from oral and popular literature. Although these works have similarities with epics in some extents, experts refer to them with titles such as "romance", "novel of Ayyari and heroism" and "myth" due to the fundamental differences with them (Dorri et al. 2008:17). “Folk works (poetry and prose) of the Safavid dynasty and later, mostly created by the imagination of the storytellers of this period, are often without written and ancient history, and in terms of expression, the characteristics of the narrative style are visible in them, even if the subject of the poems is heroic and imitate Shahnameh” (Aydenlou, 2014: 37 Introduction). Sirous Shamisa considers the lack of mythological foundation of heroic deeds, lack of connection with the national native history, the invincibility and unreality of the hero of romance, and the amusing role and lack of seriousness as the differences between romance and epic (Shamisa, 2014: 123). There are three romances in Zarrin Qabā Nāmeh: The stories of "Zarrin Qaba and Mehrnaz", Gardiaqoot ‌Poosh (Garshasb Thani), and Houraneh" and the story of "Kariman and Mehr Zarrin Neghab”. We have considered the romance of Bijan and Chinese Glandam as a function of Zarrin Qaba and Mehrnaz because it is briefly mentioned in this romance. Since all these stories are related to the heroes of the Jahan Pahlavani family and the sons of Rastm and, special attention has been paid to the stories of Zal, Rudabeh, Rostam, and Tahmineh in comparison with the romances of Ferdowsi Shahnameh. Romance stories are important in epic texts as a special genre that provides an arena of entanglement of lyrical and epic elements. In addition to a more accurate knowledge of literary works, the study of such romances leads to the development of a typology of literary types and knowledge of how they are related and combined. This study aims to answer the following questions: 1. Despite similarities, why are there differences in the structure of the romance stories of Zarrin Qabā Nāmehand Shahnameh? 2. What are these structural differences?
The purpose of this study is to investigate and extract the most important features in the structure of Zarrin Qabā Nāmeh romance stories and compare them with similar stories in Shahnameh. Since Zarrin Qabā Nāmeh is a heroic work in general, the romances of this work are also part of the story of heroes from the Sam family. No research has been done about it so far. Therefore, it is necessary to address this issue according to the valuable research that has been done in connection with the romances of Shahnameh.
 

Methodology

This is a comparative analysis, relying on library resources. The characteristics and romantic structure of Ferdowsi's Shahnameh have already been considered by researchers. Therefore, to avoid bringing repeated evidence, while examining the characteristics and structure of the stories in Zarrin Qabā Nāmeh, the similarities between the two works have been discussed.

Discussion

In Shahnameh, when Zal is informed that the worshipers of Rudabeh have come to pick flowers, Zal asks for a bow and arrow and hunts a bird. Rostam has also gone hunting, and the story of Rakhsh's disappearance and acquaintance with Tahmineh occurs. Hunting with the implicit connection it has with possessing and mastering hunting can be a symbolic image of a hero's marriage. The story of Zarrin Qabā Nāmeh begins with the story of a lover going hunting (Zarrin Qabā Nāmeh, 2014: 455). The poet's description of Kariman, when looking for Mehr Zarrin Neghab and identifying her as lion and hunting, indicates the comparison and appropriateness of the concept with hunting (Zarrin Qabā Nāmeh, 2014: 482). The background of Bijan and Glandam is also related to hunting (Zarrin Qabā Nāmeh, 2014: 533).
In Shahnameh, Most great warriors and sometimes kings fall in love with foreigners. In Zarrin Qabā Nāmeh, even though Zarrin Qaba is a descendant of Rostam, he loses his heart to the daughter of the Emperor of China (Zarrin Qabā Nāmeh, 2014: 528). The lover of Gardiaqoot Poosh, who is the daughter of Homeiran, is an Arab king of non-Iranian descent (Zarrin Qabā Nāmeh, 2014: 975). Mehr Zarrin Neghab, Kariman’s beloved, describes her city in the east, by the Green Sea and in the foothills of a black mountain ((Zarrin Qabā Nāmeh, 2014: 480).
Unlike the first-row heroes of the Shahnameh, who usually fall in love by ear and by hearing the descriptions of the other side, the heroes of Zarrin Qabā Nāmeh fall at first sight. "Although the eyes of epic lovers are also involved in falling in love, in the world of epics, the ear or the power of hearing has precedence over eyes and seeing" (Hassan Rezaei, 2016: 37).
The role of intermediaries in the romances of Zarrin Qabā Nāmeh is not very significant. With her faint presence at the beginning of the acquaintance of the two lovers, Kalal Perry conveys a message only as a sender (Zarrin Qabā Nāmeh, 2014: 456). Since Semnanaz, the maid of Horaneh is in love with Garshasb, she reveals the assassination’s plan of Horaneh’s father for Garshasb (Zarrin Qabā Nāmeh: 2014, 1101). with a personal motive to save her child from the clutches of the demon, Mehr Zarrin Neghab’s nanny helps Kariman and her lover meet (Zarrin Qabā Nāmeh, 2014: 596).
The meeting of the lover with the beloved in epic romances is influenced by the public atmosphere, indicating an Ayyari-based theme. In Shahnameh, examples of this theme can be seen in the arrival of Tahmineh to Rostam dormitory and the departure of Zal from the congresses of Rudabeh Palace. Zarrin Qabā delegates the army to Keyvan as soon as he receives the beloved’s letter and rushes to meet her, while there is a possibility of war at any moment (Zarrin Qabā Nāmeh, 2014: 531). Glandam's fearless entry into the Bijan dormitory (Zarrin Qabā Nāmeh, 1393: 536) and going around the Homeiran’s camp to visit the beloved while she has come to fight the Iranians is an Ayyari behavior.
According to Shamisa, one of the characteristics of the epic is that "a goddess or a woman falls in love with the hero of the epic, but the hero does not fall in love with her.” (Shamisa, 2014: 78). It is unimaginable to express weakness and impatience in love for the hero of Shahnameh. In some of the Zarrin Qabā Nāmeh stories, such logic is also influenced by the epic works. Although Zarrin Qaba first expresses her love for Mehrnaz, the girl does not see the slightest need for her family to accompany and satisfy her, and even before they reveal their identities to each other, they enter into a marriage agreement (Zarrin Qabā Nāmeh, 2014: 975). Horaneh has come to the land of her enemy to choose a husband among the men who she deems worthy (Zarrin Qabā Nāmeh, 2014: 975) and this shows her freedom in choosing a husband. In none of the stories in both creations, girls do marry men they have chosen. The confrontation between Zarrin Qabā and the Chinese Emperor, despite being one of the most important challenges in the story, has something to do with another reason. Zarrin Qaba states that the reason for this enmity is the idolatry of the Chinese king. (Zarrin Qabā Nāmeh, 2014: 566) The existence of this element can be affected by the atmosphere of the time of composing Zarrin Qabā Nāmeh and the influence of Islamic components in the work. The reason for Homeiran to oppose marriage with the marriage of Gardiaqoot Poosh and Horaneh is that the groom is a God-worshiper (Zarrin Qabā Nāmeh, 2014: 1094).
The main issue of Shahnameh’s hero is focused on political issues. One of the most prominent components of Shahnameh romances, which can be seen in many cases, is the test or condition that the lover must fulfill to reach the beloved. "The one, who imposes the test on the hero, is the princess’s father who is his beloved hero" (Ismaili, 1995: 220). However, despite the Chinese King’s idolatry and its implausibility by Zarrin Qabā, he does not face any conditions for marrying Mehrnaz.  Mehr Zarrin Neghab does not test Kariman, either. Since Horaneh will marry someone who can wrestle with her and knock her to the ground, Gardiaqoot Poosh proposes to fight (Zarrin Qabā Nāmeh, 2014: 981). This is a challenge that the girl creates for the man and unlike the stories of Shahnameh, the girl's father or the king has no role in it. In three of the four main romances of Zarrin Qabā Nāmeh, the existence of a rival of fairy girls who capture men with deception is significant. Another significant feature that is not seen in Shahnameh romances is the existence of a woman other than the beloved in romantic relationships who accepts the beloved next to her too, save both parties from great danger (Zarrin Qabā Nāmeh, 2014:  689 and 1101).
 

Conclusion

The romantic stories of Zarrin Qabā Nāmeh and the heroic part of Shahnameh are similar in several respects. The connection between the beginning of the story and hunting, the foreign identity of the beloved, and the girl's independence in deciding to marry are common themes in the romantic structure of the two works. Although the meetings of the lovers in Zarrin Qabā Nāmeh do not have the excitement of Shahnameh, because they take place secretly and are feared and endangered, they are similar to the quality of Shahnameh characters in meeting the beloved.
Some cases show the difference in the golden love structure of Zarrin Qabā Nāmeh with the stories in Ferdowsi's Shahnameh.
Since the marriage of Jahan Pahlavan is the prelude to the main events in the structure of Shahnameh and has a mythological basis, the existence of the marriage test can be considered a structure in connection with the epic function of Shahnameh, but this feature is not common in Zarrin Qabā Nāmeh which is dominated by romance.
In the romances of Shahnameh, there is a purpose beyond pleasure that has a special place in the overall plot with the birth of a different child and the occurrence of tragic and sad events such as the fate of Sohrab. However, such a structure is not seen due to the happy endings of the romances in Zarrin Qabā Nāmeh. 
Obstacles to reaching the beloved in the Shahnameh are influenced by a more political epic atmosphere, but in Zarrin Qabā Nāmeh, which is a royal and folk tale, the obstacles are mainly religious. Although nannies play a supporting role in both works, the quality of their help in Zarrin Qabā Nāmeh is influenced by the inherent characteristics of events-focused romances.
Expressing the humility of the lovers in front of the beloved, the acquaintance of both sides through eyes and direct sight, the existence of a rival for the beloved, and the participation of a woman other than the beloved in seeking the lover, are other structural differences of Zarrin Qabā Nāmeh romances with the stories in Shahnameh romances, which is generally related to the inherent difference between equestrian stories and romances and epic works.
¹ Ayyari: is a word in Iranian culture for those who adhere to chivalry principles and dedicate their lives to helping people. 
 
 
 
 
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