Comparison of the plots in Fakhreddin Asad Gorgani's Weis and Ramin and Nami's Vamegh and Azra

Lyrical poems can be examined not only for their literary and linguistic qualities but also in terms of narrative structure. This research analyzes the element of plot, which is one of the fundamental components of a story that organizes other elements, in two poems of Weis and Ramin by Fakhreddin Asad Gorgani and Vamegh and Azra of Nami Isfahani. The reason for selecting these two works is their common themes, as well as the fact that Weis and Ramin is one of the earliest lyrical poems in Persian literature, while Nami's Vamegh and Azra was written during the later periods of classical Persian literature. Analyzing the plots of these works reveals the evolution of narrative elements in lyrical poetry. This research highlights the differences and similarities between these two verses regarding plot structure and the impact of systematic plot organization on the promotion of a work. The beginnings of the events in both verses are similar, as they introduce the characters, setting, and events that initiate the narrative. Conflicts are often emotional due to the lyrical nature of the works; however, when physical conflicts arise, epic elements tend to dominate.
Introduction:
The plot is the narration of events based on causality and cause-and-effect relationships. It encompasses what a character says, thinks, and does, but it does not delve into an analysis or detailed examination of these events; rather, it focuses on the main events of the story. Since the plot of a story is the simplest element to understand and express, beginner readers often equate it with the content of the narrative. Many theorists conceptualize plot as revolving around the axes of "timing and causality. to this perspective, plot serves as a structure or mechanism that propels actions and events, grounded in the components of timing and causality. There are various interpretations and understandings of the concept of plot, but most share a common element: plot refers to a sequence of events that are arranged either implicitly or explicitly in chronological order. In addition to temporal continuity, a cause-and-effect relationship also plays a significant role in this sequence.
Methodology:
The present study attempts to analyze and compare the plot element in the poems of Weis and Ramin by Fakhr al-Din Asad Gorgani and Vamegh and Azra by Sadeq Nami, to show to what extent the creators of these works were aware of the cause-and-effect relationships of events and benefited from them in developing the plot of their work. In addition, comparing these two works, one of which is among the first and the other among the last romantic narrative poems, will show to what extent the poetry of Persian literature has deviated from the standards of story sophistication throughout history.
 There have been several versions of Vamegh and Azra, none of which are similar to the original story in Turkish or Persian, and the time, place, heroes, events, and themes in the works of the imitators are completely different, and apart from sharing the name, they have no similarity. Although the poems of Weiss and Ramin Gorgani and Vamegh and Azra are several centuries apart, a closer look at them reveals many similarities, especially in the themes.
Results and Discussion:
Most of the incidents in the poetic works of Weis and Ramin by Asad Gorgani, and Vamegh and Azra by Nami Isfahani begin with descriptions of the heroes, the atmosphere, and the event. The most prevalent type of conflict is emotional, and this is due to the lyrical nature of the work. Lyrical works are also emotional due to the dominance of the emotional element, but physical conflicts also occur in both stories, leading this space to the dominance of epic elements. Although Gorgani's work was composed in the early stages of Persian literature and many secondary incidents occurred in it, the logical connection between them is less disrupted, and unlike Nami's work, no unbelievable incident occurred in it that would weaken the plot of the story. Perhaps one of the reasons for the success of Weiss and Ramin throughout the history of Persian literature can be considered its solid plot, and it can be said with confidence that a powerful storyteller like Nizami was not unaffected by Gorgani's work in this regard. But Nami is weak in organizing the plot of his work, and perhaps one of the reasons for the lack of success of his work is this weakness of the plot. A comparison of these two works shows how far Persian poetry has strayed from the standards of sophistication of the story throughout history.
Conclusion:
The central event of the story involving Weis and Ramin is Ramin's love for Weis, the wife of Shah Mobed. All other events are structured to develop and advance this primary narrative. Two significant sub-events that play a crucial role in the progression of the central event are Shah Mobed's love for Weiss and Ramin's marriage to Gol, the daughter of Rafida. Each sub-event is composed of several additional events. For instance, within the context of Shah Mobed's love for Weiss, events such as Viru's marriage to Weis and Shah Mobed's conflict with Viru propel this narrative toward its conclusion and lead to the emergence of another event. This multiplicity of events and the manner in which causal connections are established among them demonstrate the artistry of Fakhreddin Asad Gorgani. In the tale of Weis and Ramin, the plot is coherent, and the overarching narrative elements encompass independent plots and events that effectively contribute to the development of the story. These elements create tension, facilitate the resolution of conflicts, and lead to the conclusion of the narrative. Furthermore, the number of redundant scenes and images that advance the story is minimal. Nami Isfahani's tale of Vamegh and Azra features one primary event and three significant secondary events. The central event is Vamegh's love for Azra, while the three secondary events include Salmi's affection for Vamegh, Shah Paryan's love for Vamegh, and Shah Ajam's assault on Yemen. In contrast, the story of Weis and Ramin starts with one of the secondary events, which then evolves into the central event as the narrative unfolds. However, Nami begins his story from the beginning with the main event and brings the secondary events after it to expand the story. The treatment of an event preceding the main event keeps the reader involved in the story and carries it with him. In fact, the beginning of an incident is from a point where the reader has not yet been left with the excitement of the previous incident. Fakhreddin Asad Gorgani has been able to keep the reader engaged with the story and keep his excitement dynamic in this way. Every storyteller uses either descriptions of the setting and heroes or a series of secondary incidents to develop his work. Gorgani has used both methods to his advantage in his work. His descriptions, as a seasoning in changing the setting, the audience's mental peace and its readiness for the beginning of another incident, are not an unnecessary and boring element. However, Nami sometimes goes so far as to go to the margins in his descriptions that one fears forgetting the main point. Of course, he himself has noticed this and quickly returned to the main point.