نشریه ادبیات تطبیقی
پیاپی 25 (پاییز و زمستان 1400)

. The Symposium by Plato, best known in Persian as Ziāfat, is the scene of dialogue in a banquet held by Agathon, the tragic poet, on the special occasion of celebrating the prize for his first tragedy in 416 B.C. In this symposium, every attendee, including Phaedrus, Pausanias, Eryximachus, Aristophanes, Agathon, and Socrates, gives a speech about Eros, respectively. Eros is known in Greek culture as Love or desire _ especially sexual and personified as the God of love. Two of Plato’s most famous dialogues focus on understanding Eros, the Symposium and the Phaedrus. (Preus, 2007→Eros)
The cause for comparing Nizami's Khosrow and Shirin and Plato's Symposium in this essay is their shared fictive patterns, except for similar themes that exist in both of them. The title of Hakim for Nizami, the sixth-century well-known poet and storyteller, indicates that he had a good grasp of common sciences of his age of which philosophy and Hekmat (wisdom) were basics. And this interest in philosophy can be seen in Iskendernāme and his other works like Khosrow and Shirin.
 
2.In the article, the perspectives of Plato and Nizami toward the arts in the Symposium and Khosrow and Shirin have been analyzed by library research method and content analysis. At first, the process of creating figures of speech that result from the unity of reason (Logos) and love (Eros), and then the importance of various rhetorical figures were studied in these two works.
 
3.There is a kind of social forces assemblage in Plato’s Symposium and Nizami’s Khosro and Shirin; each has a specific thought method about Eros (love) as well as a romantic relationship. Love brings people of different viewpoints together to communicate with each other. Even Techne or technique is one of the significant issues in the Symposium, including a kind of sense, consciousness, and love, which helps the human to create artworks. On the other hand, even in Khosrow and Shirin, love is observed in all types of arts; music, painting, architecture, poetry, and politics are all manifestations of Eros. So, “Techne” or “technique” and its relation to “Eros” or “love” is one of the subjects to study in both works.
In the present study, Plato and Nizami’s views have been analyzed on the techniques in the Treatise of Symposium and Khosrow and Shirin. First, the process of techniques’ creation, obtained from the association of reason (Logos) and love (Eros), and then the importance  of techniques’types in these two works have been studied.
 
4.
The perspective of Islamic philosophers about arts (different kinds of Techne) can be divided into verbal and non-verbal areas. Indeed, verbal arts are five Arts (five functions of the language in Aristotle’s view) following logic. And non-verbal arts are crafts, following ethics, under the branch of political philosophy.
According to Plato’s Symposium, the perception of rational imageries and the distinction between good and evil are manifested with the advent of Eros. When a human falls into love with someone for the first time, his/her obsession or object of love is perceivable with external senses, concretely and partially. But this love in human beings gives rise to the distinction because a lover always sees the beloved better and superior than others. The distinction of “superlatives,” that comes with love, in higher stages entails recognition of universals and the advent of philosophy by which one distinguishes between the data of estimative faculty and the data of rational faculty and does not get caught in the trap of fancies. Issues expressed in Khosrow and Shirin have a similar pattern to those of Plato’s Symposium examined in this article.
In both the Symposium and Khosrow and Shirin, with the advent of love, the discriminating faculty that is the reason is created in person, and the other arts are manifested following that. Love (Eros) is like a midwife that brings forth the reason (Logos); Thus, the reason is the logos or the rational soul connecting love with the arts because love (Eros) takes the monstrous reason to the actual stage. And the manifestation of various arts is one of the results of love’s advent and the actualism of reason. Nizami in Khosrow and Shirin has entered fiction from the viewpoint of utopias. And it has such priority that at the beginning of the debate between Khosrow and Farhad when Farhad introduces himself as belonging to the state of love and friendship, the first question that Khosrow asks him is about the craft of his fellow citizens.

Structuralism means the study of the interrelationships between the components of an object or subject. Narratology as a gift of structuralism; It is one of the most important theoretical areas. Many structuralist scholars have tried to provide basic rulings on the various narratives so that they can fit all narratives into a particular format. Algeria  Julien  Grimas With the publication of his book, Structural Semantics (1966) he tried to achieve the general grammar of the narrative language by presenting the pattern of action and chains of narrative and to analyze each narrative with its narrative structure. The aim of this study was to identify and study the change of narrative line from source to adaptation and to study the narrative processes of conversion of source to adaptation as well as theory. Grimas suggested that the general classification governing all narratives should consist of only six roles or commonalities in three two way    confrontations. These categories are: subject / object, giver / receiver, helper / adversary. In Iranian cinema, the Pary film  (1995) is based on the novel Porridge Vesuvii and the short story "A Good Day for  the FishFish" by Jerome David Salinger.
 
2.The research is done in six stages. In the first stage, gathering library information, completing theoretical foundations, reviewing the research background, studying the adapted literary works, studying the adapted screenplay and watching the selected film are done. Then a comparative study of the narrative components obtained in the source and the adaptation effect is performed. In the next step, the narrative techniques used by the filmmaker in changing the narrative line of the story to the film are studied. (Output of this step: tables of classification of narrative elements of the source (story text) and adaptation effect (film) to classify and facilitate comparative study between the two) and finally information analysis and conclusion is done.
 
3.Structuralism is a method that systematically studies phenomena in the field of humanities. Grimas, considering Saussure's system of confrontation, believed that all narratives could be adapted to a system of common signs.
Mehrjoui in the cinematic translation of films from adapted sources of processes such as changing the text-to-film narrative system, deleting, adding, reducing, expanding, repeating, generalizing, highlighting, replacing images, interfering, thematic diversity, changing crisis and story climaxes, changing In the nature of the characters, change in the beginning and end of the story, change in the social position of the characters and objects is used.
The present study, in parallel with studying the changes in the narrative line from source to adaptation, also studies these changes.
 
4.The present study was conducted to study the process of adaptation in two selected works of Dariush Mehrjoui based on Grimas's narrative model (syntactic rule and active patterns). Comparative study of how the narrative line is adapted and the study of narrative processes in converting the source into an adapted work were among the issues that the researcher sought to find answers to in the study of the adaptation process.
The questions raised in this research are: 1) What changes has the narrative line of the story from the source to the adaptation effect during the adaptation?  2) What narrative processes has the filmmaker used in converting the narrative line of the text of the story into a screenplay?
In answer to these questions, it must be said that the structural pattern of Grimas actor is a good pattern for examining stories. In order to complete the studies, and since the statistical population is in addition to the story (writing system), there is also a film (visual system), the episodes obtained from the stories, which are logically classified according to structuralist patterns, can be the focus of technical study.
The first finding of the research is that the narrative line in the film has not changed much compared to the sources. A more accurate explanation is that in the middle episodes, the similarity in the narrative line of the episodes between the source and the adapted work is close to eighty percent 80%. This is while the two initial and final episodes show a zero matching percentage. This means that the filmmaker has added two episodes and in the other cases, with a percentage of nearly eighty, has moved in line with the narrative line of the source. However, and given the debatable point that artistic adaptation should be seen and studied as a whole in the realm of literary art criticism, attention to the details of the change and transformation from source to adaptation in orded to emphasize the process. It is an adaptation and does not mean confirmation and emphasis on the method of detailed study in the phenomenon of adaptation.
In response to the second question, narrative processes in source-to-effect adaptation were studied in each episode, and the results were summarized in a table. Among the narrative processes, increase, deletion, and highlighting have the largest share. However, other psychological tricks can also be traced.
Finally, it is necessary to explain that Grimas's activist paradigm was created at a time in Grimas's intellectual life when he emphasized the logic of structuralism. After this period of thought, he conducted newer studies. In future research, these findings should also be studied on stories.
.

Introduction    The evolution of comparative literature towards interdisciplinary approaches, putting together literature and other disciplines and sciences and the widespread importing of critical theories and other theoretical discourses into the field of comparative literature, developed important turns in comparative literature and its methods and approaches, and expanded its area considerably. But on the other hand, it also brought new issues and conflicts in this field; particularly from the late 19th and early 20th centuries, differences of opinions intensified. Following these debates and conflicts, the comparative literature, which had just emerged from the crisis of theory and method, faced another crisis: the crisis of identity. This new crisis was the result of many theories in this field and forgetting how these theories should be used in the analysis of literary works and how to distinguish between comparative literature as an independent academic discipline and other disciplines. In this article, the author first tries to clarify the concept of interdisciplinary and its necessity in literary studies and provides a clear understanding of the differences between the traditional approach of this theory and its interdisciplinary turns in the present age by examining the interdisciplinary developments of comparative literature. Then, he investigates the concept of identity crisis in the comparative literature, explains its causes and tries to show the necessity of systematic and practicality of these studies, considering the scientific and logical boundaries between disciplines. 2.Methodology      To answer the main problem of this research, we first define interdisciplinary studies, their causes and the necessity of interdisciplinary approaches in different studies, especially literary studies. In the second stage, we present a perspective of the history of comparative literature studies, its theoretical and methodological developments, from traditional French influences to critical theorists' reactions to this approach and then we explain the necessity of interdisciplinary turns in the comparative literature. What is important is placing literature alongside other disciplines and sciences in the field of comparative literature to achieve the practical purposes of interdisciplinary literary studies. Paying attention to this issue clarifies what is discussed in the third part of this paper: Examining the systematic theoretical and methodological frameworks for combining different disciplines and methods and finally putting them in a new structure. 3.Discussion    The evolution of comparative literature towards interdisciplinary approaches and the widespread arrival of critical theories and other theoretical discourses into the field of comparative literature developed important turns in comparative literature and its methods and approaches and expanded its area considerably. Traditional studies of comparative literature, both the influential study of the French school and parallel American studies, made their way to a variety of postmodern theories. Thus, comparative literature examines the relationship between literature and other sciences and disciplines, especially arts such as music, architecture, cinema, mass media, etc., which can be placed next to literature. On the one hand, the expansion of the realm of comparative literature solved the problem of limitation in this field but on the other hand, it created new issues. Following these debates and conflicts, the comparative literature, which had just emerged from the crisis of theory and method faced another crisis: the crisis of identity. This new crisis was the result of many theories in this field and forgetting how these theories should be used in the analysis of literary works and how to distinguish between comparative literature as an independent academic discipline and other disciplines. In other words, although comparative literature in its new sense was able to free itself from being limited to the study of sources and influences and achieve a wider system of studies, according to some critics this system was not well defined. This added the ambiguity of the field of comparative literature in terms of the independent academic institution. This crisis is intensified when the issue of adaptation, which should be at the center of the study of comparative literature, is neglected. Conducting interdisciplinary studies in various fields requires a thoughtful and systematic process and the essential differences between the various disciplines must be taken into account. Here are some key questions to keep in mind: Have we done an interdisciplinary research in comparative literature by juxtaposing the topics and methods belonging to the two disciplines? How can a comparatist establish a fruitful interaction between literature and other scientific and artistic fields? In such a way these studies achieving the ultimate goals of interdisciplinary studies of comparative literature do not ignore the differences of the disciplines and lead the researcher to a comprehensive and deep understanding of the subject matter. Is there a systematic way to combine different disciplines and their methods, and finally put them in a new structure? Conclusion    To carry out a systematic interdisciplinary study in the field of comparative literature, we need to use the logical methods and abilities of other sciences and scientific fields to be able to address the concerns of literary research. Our definition of interdisciplinary studies and its methodology should be in accord with the principal objectives of interdisciplinary research. Therefore, it is necessary to make fundamental revisions in clarifying the definition, application, methodology and goals of interdisciplinary approaches in the field of comparative literature studies. On the other hand, using the interdisciplinary approaches in the study of comparative literature does not mean the loss of its independent methodology and identity, rather, it means creating a bridge between literature and other disciplines to enrich literary comparative studies. As much as restricting literary studies and separating literature from other scientific and cultural fields are dangerous and disadvantageous for the achievements of literary research, the unsystematic and nonfunctional expansion of interdisciplinary studies in the field of literature leads unjustified and biased analyses.Also, considering the adjacency of the nature of different disciplines in an interdisciplinary study is necessary to achieve the scientific and desired results. It is therefore clear that simply addressing the interdisciplinary approach in the comparative literature is not adequate to create a relationship between the literature and other scientific and artistic fields but it is also significant how to deal with these studies and to consider the different capabilities of interdisciplinary studies in different fields. 1. Assistant Professor of Persian Language and Literature, Department of Persian Language and Literature, Faculty of Humanities, University of Bojnord, Bojnord, Iran. E-mail: f.alavizadeh@gmail.com.

There was literature and poetry in Iran before Islam, and we have received works on this subject. However, nothing is left of the rhetorical works that probably written in those days. Hence, our information about them is limited to the remained references of some writers such as Al-Jahiz (776-868 AD), who reported the existence of a rhetorical writing in Pre-Islamic Iran called “Kārvand”. With the advent of Islam and doing the research on the mysteries of the eloquence and rhetoric of the Qur'an, the Islamic rhetoric formed by the efforts of muslims, in specific by Iranians. Over time, the Iranians also wrote books on rhetoric in Persian. In terms of content, these books were influenced by Arabic rhetorical books and they rarely discloed new concmepts. From the 16th to 18th centuries, in the eara Safavids and Gurkhanids imperia (Great Mongol Empire), along with other rhetorical currents, a new rhetorical current formed. It was appeared through the adaptation of Indian (Alankārā) and Islamic rhetoric. In this process, aesthetic, rhythm, and recognizing the beloved in Indian poetry issues have been translated into Arabic and Persian. Also, the evidence from Arabic and Persian poetry has been presented for them.


This study is based on the analytic-descriptive method by using library research. The works which have been written in Persian and Arabic with the subject of comparision of Indian rhetoric with Islamic rhetoric during the 16th to 18th centuries are presented in the current investigation. After that, the presented issues in these books are considered by focus on the proposed issues in the Islamic rhetoric and the similarities and differences are analyzed.
 


From the sixteenth to the middle of the eighteenth century, rhetorical works written in Arabic do not include the new subjects.
In these centuries, "looking at the books of the past and trying to teach, learn and finally annotate and possibly describe or summarize them" is common (Safa, 1999, V5/1: 414). This issue paved the way and it is closed to any innovations. The most prominent Persian rhetorical books, such as Dastour al-Shoarā by Mohammad Mazandarani, nicknamed Amani (d. 1682) and informed by Razi al-Din Muhammad ibn Muhammad Shafi'i, written in 1684 AD also contains the same subjects and elements that has already been seen in Arabic and Persian rhetorical books.
     Among the currents that exist in the 16th to 18th centuries in the field of rhetorical writings and research in Iran and India in the Safavids and Gurkhanids (Great Mongol Empire), there is a new current:the comparative reading of Indian rhetoric, known as "Alankārā", with Islamic rhetoric and translation of issues of Indian prose and rhyme, aesthetics of Indian poetry and knowledge of Indian lover in Arabic and Persian and finding the evidence of Arabic and Persian literature for these. This current has two prominent faces:- Mirza khan Ibn Fakhr Ol-din Muhammad, author of the Tohfat Ol-Hend (1068-1118 AH).
- Mir Gholam Ali Azad Hosseini Waseti Belgerami (1116-1200 AH) Author of Sebhat Ol-Marjan fi Asar Ol-Hendestan (1177 AH) and Ghezlan Ol-Hend (1178 AH).
     Tohfat Ol-Hend was written during the time of Aurangzeb and apparently for Muhammad Azam, his third son. This prince was interested in Indian wisdom, art, and literature, and poets such as Bidel Dehlavi, Rasekh Serhendi, and Salem Keshmiri were associated with his court. Tohfat Ol-Hend has seven chapters, all of which are very valuable in terms of identifying Indian culture and literature. Sebhat Ol-Marjan fi Asar Ol-Hendestan is the first book of Azad Belgerami about comparative rhetoric and has four chapters.  The third chapter of the Sebhat Ol-Marjan is a separate treatise on comparative Indian and Islamic rhetoric. The fourth chapter is also very useful for research in the comparative aesthetics of the beloved in Arabic and Indian poetry. Ghezlan Ol-Hend is also a summary of Sebhat Ol-Marjan and Is Written in Persian. The author of these two books, Azād Belgerami, Was Known as literate in his time. As Khan Arezou called him a "scientist and wise man" (Arezou, 2005: 42) and praised his poetry.
     In comparing Indian rhetoric with Islamic rhetoric, notable issues are:
In Indian and Islamic rhetoric, simile has a special place. Of course, the simile in Indian and Islamic rhetoric is not exactly the same. For example, Arab scholars have divided the simile according to its sides, whether it is sensory or rational (Non-sensory) or different, and Indian literature has a different opinion (Azād Al-Belkerami, 2015: 231). Some of similies in Indian rhetoric have equivalent in the Islamic rhetoric. On the one hand, in Indian rhetoric, the categorize of similies are based on the concepts of verses. In light of this prespective, there could be possible to innovate a large number of similies.
In Indian and Islamic rhetoric, literary ornaments can also be compared; we see two groups of literary elements and ornaments in the comparative works of Indian and Islamic rhetoric:
In most cases, the literary ornaments are the abstract of verse concepts and in fact is a title for them.
Those that have existed in the Indian rhetoric from the beginning and those that have been created by the authors of those works. Literary ornaments in Indian rhetoric are often the summary of the content of the verses and the title for them. For example:Al-Tosie (Order)
The narrator orders the person who fulfills her wish after death.     In Indian rhetoric, there is a section called “Naika Behid” (Beloved Science) or knowing the types of Beloved. In Indian culture, "Naika" means "woman" and "Naik" means "man". "Behid", like the words "Veda" and "Wid", means "knowledge". We do not have such a thing in Islamic rhetoric. Among the Persian rhetorical works, the only work that is somewhat compatible with “Naika Behid” is Anis Ol-oshaq (757 AH) by Sharaf Ol-Din Rāmi. The author Has Said that "poets have divided the beloved from head to toe in nineteen sections" (Rami, 1946: 3). Based on this view, he has examined the descriptions of the beauty of the beloved in nineteen sections and has given examples of Persian poetry for each. In Naika Behid, as in Indian Alankārā, the tendency is towards content issues and not towards formal and physical issues. In translating this art into Arabic and Persian, Indian writers have divided women into different types according to their moral and spiritual characteristics, age, treatment of friends etc.
 


One of the anonymous currents in the formation of Islamic rhetoric is the current that formed by creating an interaction between Indian with Arabic and Persian culture and literature in the Safavid (Timurid) period. This current is the adaptation of Indian rhetoric (AlNakārā) with Islamic rhetoric. In fact, it is the translation of rhetorical and expressive issues from Hindi to Arabic and Persian. The approach is as follows: after defining an Indian rhetoric to Arabic and Persian languages, they are given evidence of poetry in both languages. This movement has done by two famous literate including Mirza khan Ibn Fakhr Ol-din Muhammad and Mir Gholam Ali Azad Belgerami.
By comparative looking at ndian and Islamic rhetoric, we conclude that:
Some rhetorical beauties and ornaments are specific to Islamic rhetoric. However, some are specific to Indian rhetoric and some are common in both of them. Ferthermroe, sometimes the same Indian beauties and ornaments are not without equivalents in Islamic rhetoric. There are also topics that have not been discussed in Islamic rhetoric, but some types of verses can be used for aesthetic analysis.
In comparing Indian and Islamic rhetoric, it can be seen that Indian aesthetics is mainly concerned on the content issues of the verses rather than the formal and verbal issues.

     Indian rhetoric also has a chapter called “Naika Behid”, which can be called women's science or knowing the beloved. In this field, based on the content orientation of the poems, the beloved of poem from the prespective of sensual characteristics, age, and the way of behave with a friend are named and categorized. In translating Naika Behid into Arabic and Persian, due to social and cultural differences, it is necessary to make changes in the position of “Naika” and the gender of the beloved.

“Tradition” is one of the widely used concepts in different fields of human sciences and has its specific use and special idiomatic meaning in diverse subcategories including philosophy, theology, sociology and literature. That is why this concept is closely connected to an extended range of concepts in different fields of human sciences. Even though there are common elements in the definition of tradition in these fields, its accurate and distinctive definition in each has exclusive elements and meaningful differences. In all these diverse semantic fields, literary tradition is quite remarkable as one of the most notable components leading to the creation of literary works. Regarding the outstanding role of the two concepts of literary tradition and innovation, in the present study, first, the views of Iranian authorities and their offered definitions of these terms are examined and criticized; then, their views are compared to those of non-Iranian theorists to offer an opportunity to the readers to critically compare these concepts from different views.  That is due to the fact that when these terms are explained in detail, it is much easier to know features rooted in tradition as well as turn-points of innovation and making changes in tradition; So it becomes clear how important a role the writers and poets had owing to their literary innovation and their choice to deviate from or follow the tradition.
 


In the present paper, first, the views of Iranian critics, authorities and writers regarding the definition of tradition and innovation, elements leading to them and the correlation between the two concepts are expressed and some examples are mentioned for each. Then, these definitions are compared to those of Western and Arabian writers and their common and different points are highlighted.
 


The definitions of literary tradition offered are diverse regarding the composing elements and the conditions leading to tradition. Most of the definitions, including the ones offered by Sima Dad, Ehsan Yarshater and Fatemeh Sayyah, consider literary tradition something like literary norms, principles and rules, and diverse elements including subject matters, themes, forms of prose and poetry, figures of speech and the like as composing elements of literary tradition. Nevertheless, in some definitions, including the ones offered by Jamal Mirsadeghi and Meimanat Zolghadr among the Iranian thinkers and T. S. Eliot among the Western ones, literary tradition is regarded much more extended and includes every sign of literary past and heritage left from past generations in a literary work which makes literary tradition a complicated and at the same time expanded term. On one hand, when it makes elements of tradition, there is usually an emphasis on repetition. In most definitions of literary tradition, repetition and continuance in a long period is the necessary condition to form a literary tradition. In the definitions offered by Sima Dad, Fatemeh Sayyah, Jamal Mirsadeghi and meimanat Zolghadr, there is an emphasis on repetition. On the other hand, in some definitions, there is no necessity for repetition and all of the literary history in a language, literary heritage of any kind, even the most exceptional ones, are considered as literary tradition. Among the Iranian writers, Taghi Poornamdairan, and among the Westerns, Eliot and Gadamer affirm this definition of tradition. This difference is much more significant when we have in mind the fact that there are some features in the works of literary geniuses and pioneering people which, due to this aspect of genius and forward-lookingness, have not been imitated nor repeated after them and have remained unique and exceptional. In such a circumstance, if the condition of repetition is extremely emphasized, some of the most significant and outstanding literary works do not find a way to the circle of literary tradition. To find a way out, the two concepts of the style of the age and individual style might be helpful, the two paradoxical views which can be reconciled by the fact that these unique features were not repeated at the time and even at the close periods following the time of their being created, which made them unable to form a literary tradition, but in many cases, they have been found worthy and significant after a period of time, imitated, repeated and considered as literary tradition as well.
Regarding the definition of innovation, it is worth mentioning that contrary to the concept of tradition, innovation by itself has not been much attractive and its correlation with tradition has been of more importance. In other words, innovation has mostly been meaningful in contrast to tradition and not independently. However, the most important point in present definitions by many Iranian and non-Iranian thinkers, including Mashallah Ajoudani and Ali Ahmad Said (Adunis), is the emphasis on accompaniment of innovation with identity, nobility and independence in every literary work.
While discussing the correlation between tradition and innovation, the main part of diverse definitions, the issue emphasized by many Iranian, Arabian and Western authorities, including Taghi Poornamdarian and Ali Mohammad Haghshenas among the Iranian thinkers and Eliot and Roman Jakobson among the Western ones, is the emphasis on their accompaniment, and it is tried to exposit and explain the dynamic and dialectic relation of the two concepts. So, innovation can only be durable and acceptable while based on tradition and tradition can only survive and pull through while opening the way for innovation to be revealed and acknowledged. That is why there are two kinds of innovation, one based on tradition and born out of traditional heritage and the other not rooted in tradition, isolated and separated. It is based on the first kind of innovation that some Iranian and Arabian authorities, including Abbas Milani and Adunis, hope to find the roots of the contemporary modernity and innovation in historical periods and deep in the pioneering and developed movements of eastern traditional thinking.
 


Tradition and innovation are two important and functional concepts in different fields of human sciences. Although the definitions of the two offered by Iranian and non-Iranian critics are different, they have many significant similarities. Analysis and examination of diverse definitions from a general view leads to the fact that they are different from two aspects: the extendedness of the composing elements of tradition and the necessity of repetition to form it. The definitions which consider more extended features of form and content seem to offer a more accurate definition of tradition. Moreover, apparently, despite the affirmation of the condition of repetition in forming a tradition, the condition is applicable not only in immediate imitation but also in further imitation in later periods and centuries. Therefore all features related to the form and content of past literary works, which have been repeated, continued and circulated after a short or long period, form a literary tradition. Regarding innovation, it is worth mentioning that its dynamic and complicated relationship with tradition, is the main essence of literary works which is, on the one hand, the guarantor of the durability and success of literary innovations and on the other, the main cause of revival and renaissance of tradition.
 
e constituent elements and the presence or absence of repetition among the conditions of the formation of tradition. Accordingly, all the formal and content features that exist in literary works and are repeated, and survived after short or long periods of time, form the literary tradition. In the case of innovation, its dynamic relationship with tradition is the main essence of literary works and is the guarantor of the success of innovations and will lead to a continuous renaissance of tradition.

Didactic literature is a significant part of Persian literature, with edification and ethics playing a key role in all elements of ancient literary genres.
Theological-educational literature grew and enriched in Islamic times as a result of writings influenced by the Holy Quran, hadiths, and other Islamic sources, and the bulk of these works were influenced by each other, sometimes directly, sometimes indirectly, and intertextually. In their respective artistic ways, great writers and orators have profited from these pure and transcendent principles. Most didactic and moral texts, as well as their themes, influenced Sheikh Ajal Sa'di, and he was innovative in integrating the perspectives of the past with the needs of his time. Many artists tried to imitate Sa’di's eloquence.
As one of the most effective followers of Sa’di's school of thinking, Abdullah Ravanbod Pishini has duplicated didactic and moral notions and topics that existed before Sa’di's period and then surfaced in this talented poet's works in plain language.
 


This article is based on the French school of comparative literature. The researcher's job in this school is to identify sources of inspiration and thinking, as well as subjects and ways of expression, along with schools and literary genres. Historiography, differences in language and literature, and the existence of a historical relationship between the two types of literature are the principles of the French school. This research examines the extentto which Ravanbod was influenced from Sa'di, particularly in Boustan and Golestan, and the similarities between the poems of the two orators based on the "French School of Comparative Literature," while looking at the degree to which Sa'di's wisdom is reflected in Ravanbod's Balouchi poetry.


Sa’di
The wisdom poems, which are the result of Sheikh Ajal Sa’di’s personal meditation gained from his journeys, are the most prominent poetry in Boustan and Golestan. In these two writings, Sa’di strives to describe a civilisation founded on humanism, compassion, justice, and reality. Kindness and fairness, he believes, are the most important virtues. The Qur'an, Nahj al-Balagha, ancient Iranian memoirs (Andarz-nameh), Kelileh va demneh, Qabousnameh, Nasirean Ethics (Akhlaq-i Nasiri), and the Alchemy of Happiness (Kimiay-e-Sa’adat) have all been suggested as sources and foundations for Sa’di's moral point of view. Many scientific theories have affected him as a result of his many trips and education in Baghdad's Mustansiriyah and Nezamiyeh; yet, the wisdom and ideas of ancient Iran and Islamic wisdom form the foundation of his thoughts.
Ravanbod
In addition to wisdom, law, philosophy, theology, and religious sciences, Maulana Mohammad Abdullah Ravanbod Pishini (1926-1988) possessed a comprehensive command of literary sciences such as the science of prose, rhyme, innovation, and expressiveness, which he considered essential for every poet. He is the most well-known contemporary poet in Iran's Baluchistan province.
Despite his wide understanding of Persian, Arabic, Urdu, and Baluchi literature, his manner of speech is basic and unpretentious. Ravanbod has been dubbed "Sa’di of Balochistan" by several critics and fans of his poetry. This term is usually attributed to him because his poetry influences Baluchi literature and language, as well as its simplicity.
Ravanbod's Baluchi poems are the most essential, brilliant, and numerous of his poems. Baluchi poetry is written in the manner of traditional and classical Baluchi poetry or in the genres of Qasideh (ode), Qazal (lyric), and Mosammat, which are influenced by Persian poetry.
The following are some of the most prevalent instructional concepts shared in the works of the two orators:God’s power, God’s transcendence of human intellect and imagination, purposefulness in the system of creation and the need to pay attention to every single being in the universe, humility due to being created out of the soil, God’s generosity to all human beings, the humans’ inability to thank God for all blessings, belief in fate and predestination, advising patience, seeking happiness in both worlds, avoiding worldy attachments, warning the harmful effects of persecution and scolding, criticizing the world, making the most of time in life, emphasizing the deeds rather than origin, highlighting the role of being a good person as an enduring legacy, not neglecting comeuppance, not belittling the enemy and sin, the immutability of the wicked principle, standing up to oppression and living and dying with honor rather than degradation and disgrace.
 


The presence of common and similar topics in the works of Sa’di and Ravanbad suggests that both poets are interested in religious and didactic writing, according to this study. Wisdom and ethics are practically present in the lives of characters and heroes in both orators' works, to the point where many educational notions and moral themes in Ravanbad's and Sa’di's writings are similar, and in some cases merge into one. If there is a little discrepancy in interpretations or words, it is due to language differences, which have the same semantic relationship and message in any case. The majority of the subjects on which the two orators have voiced and agreed are related to how one obtains both earthly and otherworldly bliss. In order to attain happiness and salvation in the two worlds, the ideal human being, in Sa’di and Ravanbad’s terms, must "give up bad and reprehensible habits and thoughts, and adorn oneself with good morals and good deeds"; that is, one must purify his existence of reprehensible attributes.
  The usage of verses and hadiths, myths and religious figures can be noticed with the use of similes and allegories in order to objectify the message in both orators’ poems. Ravanbod's poems in the Balochi language are known for their simplicity, earning him the title “Sa’di of Balochistan,” due to following Sheikh Ajal Sa’di Shirazi's statement.

" Introduction"Prayer" means asking and it is one of the important religious rituals and according to the theories of the spirituals of the world, as one of the best ways to communicate with God and one of the highest worships. Since "prayer" plays an important role in the mental health of individuals, comparative research and studies in this field is a cognitive necessity and a way to create unity and peace in human society. The purpose of this descriptive-analytical article is to examine the comparison of prayer from the perspective of Rumi in the book Masnavi Manavi as a representative of Islamic mysticism with the views of Catherine Ponder in the book The Power of Prayer as a representative of Christian mysticism, regarding the similarities and differences of thought. The two mystics achieve a lasting result. The results of the research indicate that Ponder and Rumi share many aspects such as the necessity of sincerity and the divine grace of prayer, but the most important difference is in the nature of prayer. Because Rumi pays attention to spiritual matters in prayer and Ponder pays attention to material matters. It seems that by studying the ideas of Eastern and Western mystics, new aspects of reality can be achieved. 2.MethodologyThis research has been done by descriptive-analytical method and in it library studies and note taking have been used. The scope of this research is the book Masnavi Manavi by Maulana Jalaluddin Mohammad Balkhi, edited by Reynold Nicholson, Tehran, Toos Publications (1996) and 2 volumes of the book The Power of Prayer by Katherine Ponder, translated by Mina Azami, Tehran, Mitra Publishing (2008 and 2009) Is. But according to the word, other works of these two great mystics have also been used. In this research, first Rumi''s thoughts and opinions regarding prayer are expressed, then Ponder''s views on prayer are examined and while expressing the commonalities and differences between the two, the necessary conclusion is reached. 3.DiscussionIn the contemporary world, not only has religion and religious rites not been removed from people''s lives, but it has also found a new and decisive role in individual and social life and has caused many changes, including multidimensional attitudes towards religion in different societies. Although the prediction of the decline of religion and the gradual decline of religion in the age of scientific thought was first made by August Kent, the father of modern sociology, and later by many other nineteenth-century European social thinkers, the historical experience of modern human societies And attention resumed his religion and mysticism. (Seyyed Emami, 1997, p.141) As we see in the current world community "a wide wave of tendency to spirituality, in the form of a desire for ancient mystical beliefs" (Hassani Jalilian, 2020, p. 19) and the tendency to modern and emerging mysticism in the East and West.Throughout history, many mystics have addressed common ground. One of these topics is "prayer", which is one of the most fundamental topics for mystics all over the world. But in today''s modern world, it seems that praying from scriptures and prayers does not seem to be very effective for people because today people are looking for a newer way to communicate with their God. Catherine Ponder, one of the most famous Christian writers and priests in modern times, was one of the first to pay special attention to this. He has always emphasized the great power and power of prayer and he has always tried to lead people to establish a simple, sincere and intimate relationship with God.According to the theologians of the world, especially Islamic mystics, since prayer is a bridge between God and man, any kind of prayer is valuable, even if it is to meet the material and daily needs of human life. Maulana Jalaluddin Mohammad Balkhi, as one of the greatest mystics of the Islamic world, has valuable theories about prayer in his works, especially in the Masnavi Manavi. Catherine Ponder, a Christian pastor and author of The Power of Prayer, also describes the amazing power of prayer in her book and encourages her audience to have a pure and sincere relationship with God. Based on the intertextual views that most texts are influenced by each other, Pander is expected to be influenced by Rumi, but he does not explicitly name Rumi in his book, although many intellectual similarities can be seen in his work with Rumi. Given the importance of prayer in mystical texts, in this article, the intention is to pray and better understand and understand it in the two religions of Islam and Christianity, based on the theories of these two great thinkers - Rumi and Catherine Ponder.And while enumerating the main components of prayer from the perspective of these two great mystics and mentioning the points of inequality and sharing views, the angles of this matter should be shown better and more accurately. Basically, it should be noted that the ideas and findings of many seekers and mystics in all parts of the world are very similar and sharings. Perhaps it can be said that this similarity is the reason why the great mystics and seekers of the world have achieved transcendental and transcendental experiences and have been able to make observations that the ordinary senses are not able to receive. (Behnamfar and Khoshaman, 2010, p. 5) In case of encountering principles with religious phenomena and studying and comparing different religions and mystics of the world with a scholarly and far from purpose view, many political, sectarian, military and ... Will go and human societies will prosper in more peace. When people around the world have the same cultural ties, "this stronger bond prevents nations from distancing or even fighting for political or economic gain." (Otto, 2018: 13) 4.ConclusionPrayer has a special place from both Ponder''s and Rumi''s point of view. Despite the many similarities between these two mystics in the matter of prayer, there are some differences between them in this regard. Because Ponder''s language and prose are so simple and fluent, she has been very successful in attracting a contemporary audience. Catherine Ponder takes a fresh and modern look at the issue of prayer, calling it a simple human connection to her God. She expresses prayer in the form of emphatic phrases and in very fluent ways, using words that are completely modern and in accordance with the needs of contemporary man, and believes that if these emphatic phrases are recited with sincerity and according to special circumstances, the answer will undoubtedly be answered. They will be. In general, the differences between Rumi and Pander can be summarized as follows: the way of praying, the rules and stages of prayer, the change or non-change of all things by prayer, the focus on spiritual issues by Rumi and worldly issues by Pander, the reasons for not answering prayer . Common points and similarities between Ponder and Rumi''s view of prayer include: the need for sincerity in prayer, the need to destroy the human will in the will of God during prayer, the will of God and the divine grace of prayer, the need for perseverance in prayer and ...  Cited. Considering these cases, in a comparative comparison between Rumi and Ponder, we find that in general, the similarities in Rumi and Ponder''s views on prayer are basically more than the differences and distinctions between the two.