جستجوی مقالات مرتبط با کلیدواژه "دیباچه و خاتمه مرزبان نامه" در نشریات گروه "ادبیات و زبان ها"

 Based on Harold Bloom"s anxiety of influence theory, there is always a dialectical and combative relationship between later poets and earlier poets based on the power of poetic influence due to the lateness of the later poets. According to this theory, later poets look for a way to get rid of this anxiety of influence, achieve an independent identity, and create a new style by a creative misreading of the literary works of the past, as a conscious or unconscious defense mechanism. In addition to poetry, this theory also includes other creative texts.
By the analytical study of the structure and content of the two paratexts of the preface and the conclusion of Marzbannameh based on Harold Bloom"s anxiety of influence theory, the present research aimed to answer the question of how Saad al-Din Varavini uses the preface and the conclusion of the book to get rid of the anxiety of influence of the authority of Nasrallah Monshi and the dominance of Kalila and Damneh on the scope of literary prose texts considering the fame of Kalileh and Damneh at the time of writing Marzbannameh and the fact that Marzbannameh was written later.

 The present research is a theoretical study that was conducted using library research. The research method was descriptive-analytical.

 The findings of the research showed that the similarities in the story structure and style and allegorical nature of Marzbannameh and Kalila and Damneh and the temporal precedence of Kalila and Damneh and its popularity and fame at the time of writing Marzbannameh inspired Varavini to use the creative misreading, i.e. creative content and language craftsmanship, in the translation of the text due to the anxiety of being influenced by Kalila and Damneh, while he also seized the opportunity in the two paratexts of the preface and the conclusion of the book to talk about the inventiveness of his book and the non-use of the thoughts of the leading and contemporary writers, and finally considered Marzbannameh superior to Kalila and Damneh and himself superior to Nasrallah in a subtle way.

 Therefore, in the preface and the conclusion of Marzbannameh, Varavini considers Marzbannameh to have a unique and rare style through his attribution to the class of elite and owners of art, pontificating for being a master of masterpieces of Persian prose that precede Marzbannameh, emphasizing felicity, word-arrangement, and elocution in Marzbannameh, and asserting repeatedly not to have imitated and used the thoughts and concepts of other eloquent writers. With shrewdness and tact, he first considers Kalila and Damneh superior to other works of early prose. However, by criticizing Kalila and Damneh given the universality and generality of its audience, he finally considers Marzbannameh to be superior to Kalila and Damneh and all earlier texts, and in this way, he is searching for a special place for himself and his book, getting rid of the anxiety of influence, and stepping out of the shadow of the earlier texts’ authority.