دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 15 4 2023 12 22 Introducing Saheb Isfahani’s Yusuf and Zulaikha and comparing its Narration Content with the Taghanshahi’s Yusuf and Zulaikha Narration Content معرفی یوسف و زلیخای صاحب اصفهانی و مقایسۀ محتوایی روایت آن با روایت یوسف و زلیخای طغان‌شاهی 1 20 27961 10.22108/rpll.2023.136818.2202 FA حمیدرضا خوارزمی دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر، کرمان، ایران سیدامیر جهادی حسینی دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شهید باهنر، کرمان، ایران Journal Article 2023 02 12 The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused on this study, and different narratives of it were written in the form of poems with different meters. Toghanshahi's and Jami's Yusuf and Zulaikha are among the most outstanding currently available to knowledge enthusiasts. They are two different narrations of the same story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis composed following Bahr Khafif meters. In this study, next to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results indicate that there exists a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. Introduction Anushirvan the Just's era was a glorious one when many stories of different nations were translated into Middle Persian, and many popular stories among Iranians were gathered. After the Sassanids and with the introduction of Islam in Iran, this tradition continued with the translation and exegesis of Quranic Surahs and Ayahs. The lives of the prophets and the righteous in the Qisas al-Anbiya and general histories were the inspiration of literary scholars’ and historians’ writings. The narrators, exegetes, and poets showed great interest in the story of Prophet Yusuf in the Quranic narratives. The oldest existing work is a Yusuf and Zulaikhai attributed to Ferdowsi by biographers and some orientalists which, later, became evident that it did not belong to Ferdowsi due to stylistic and historical reasons. Though the poet of this work is unknown, it is somewhat recognized as Toghanshahi's ‘Yusuf and Zulaikhai’. Composing love stories under the title Yusuf and Zulaikha was common in the following era as well, and Jami's Yusuf and Zulaikha is one of the strongest of these collections. Mohammad Saheb Isfahani in one of his Masnawis titled Sabahat Yousefi, has written about the story of Yusuf and Zulaikha. This study is a narratological analysis and complete introduction of the Sabahat Yousefi version and an attempt to compare the narration with Taghanshahi’s narration and reveal their similarities and differences. The reason for choosing Taghanshahi’s narration is to compare the oldest existing narration of Yusuf and Zulaikha with a narration from the Safavid period and to determine the similarities and differences between the two narrations from the two Shiite poets. Methods and Materials This study is run based on the descriptive-analytical method using library research and the comparative study of two narratives of Yusuf and Zulaikha's story, one from the Seljuk period and one from the Safavid period. An attempt is made here to answer the following four research questions: 1) What is the basis and arrangement of Sabahat Yousefi’s story? 2) What does Masih al-Bayan focus on the most in his narration? 3) Has the poet been innovative in applying the narrative, ideas, and goals? 4) What is the meter in the narrations of Yusuf and Zulaikha? Findings In Saheb Isfahani's work, due to the story's theme, the most frequently used words are separation, parting, division, being divided, dividing, tulip, candle, tear, shouting, shrieking, supplication, crying, and weeping. The state of being apart and the lover's absence are not expressed similarly in Taghanshahi’s and Saheb Isfahani’s works. In this versified story, simple structures are more common in the verbs' and nouns' structures. This may be the main reason for the articulacy and eloquence of this work. Simple verbs are placed at the end of hemistichs or verses, as rhymes (either a repeated word or two rhyming words), under the influence of the regular syntax of the language. In the poet's use of Persian nouns and adjectives, mostly, words with simple structures and those that belong to the Ghanaei literature are used, and if compound structures are used in a word, they are mostly new. The poet's strength in the lexical field is the construction of conjunctive, non-conjunctive, adjectival, and additive compounds, thus, the power of the poet's creativity. Discussion and Conclusions Saheb Isfahani, with the pen name Masih al-Bayan, was a poet and physician in Aurangzeb's court and composed a Diwan and five Masnawis on different subjects, one of which, named Sabahat Yousefi, follows the Bahr Khafif meters and tells the story of Prophet Yusuf (PBUH) concisely. The poet sometimes uses expatiation in the narration of the story to describe some parts of the story more. He did not neglect the subtleties of the Indian style period and the specific themes of this style, and the words with the highest frequency in this work consist of the mirror, tulip, bud, longing, tears, separation, love, and crying your heart out. Comparing this work with that of Taghanshahi's narration reveals that the narration style of Taghanshahi's Yusuf and Zulaikhai is historical, but Saheb Isfahani's narration style is concise and scattered. Judging the story elements’ value shows that the use of story and story elements by the author of Taghanshahi' Yusuf and Zulaikhai is stronger and more attractive, but in linguistic and rhetorical comparisons, Saheb Isfahani, who is a follower of the Indian school of style outperforms his peer. In the story, the poet's narrative turns into a Shiite religious narrative, and the poet finds the events of Karbala much harsher than the events of Jacob's separation from Yusuf. Sometimes, he uses fables and allegories in the stories, which lead to faint traces of Sufi attitudes being found in the text. The poet’s Sufi attitude is perhaps more influenced by the creation of the theme from the concepts related to wisdom and Irfan in Sufism. داستان یوسف و زلیخا از داستان‌های عبری است که روایت آن در سوره‌ای با نام یوسف در قرآن کریم آمده است. این داستان بعد از ورود اسلام به ایران مدّنظر بسیاری از ادیبان قرار گرفت و در روایت‌ها و اوزان مختلفی به نظم درآمد. از مهم‌ترین یوسف و زلیخاهایی که اکنون در دسترس دانش‌دوستان است، می‌توان به یوسف و زلیخای طغان‌شاهی و یوسف و زلیخای جامی اشاره کرد که دو روایت متفاوت را بازگو می‌کنند. محمدکاظم صاحب اصفهانی ملقب به مسیح‌البیان از شاعران عهد عالم‌گیر، از ایران به هند سفر می‌کند و ضمن اشتغال به داروغگی دارالشفای پادشاهی، با طبع موزون خود، آثاری را به یادگار می‌نهد. ازجمله مثنوی‌های او صباحت یوسفی است که شاعر آن را در بحر خفیف به رشتۀ نظم کشیده است. نگارندگان در این پژوهش ضمن معرفی کامل اثر، روایت آن را با روایت یوسف و زلیخای منسوب به فردوسی مقایسه نمودهاند. نتیجۀ به‌دست‌آمده این است که ازنظر نوع روایت، زبان، وزن و مضمون‌سازی‌های ادبی، تفاوت آشکاری بین این دو اثر وجود دارد. نوع پژوهش بنیادی است که با روش تحلیل محتوای کیفی، متن یادشده بررسی شده است.

https://rpll.ui.ac.ir/article_27961_2df9ef4810a9c6f6a505cab7b51e0415.pdf