Comparing the Structure and Context of the Fictional Masnavi of Bahram and Behrooz Banaee Heravi and Vaghar shirazi

Pastiche is counted as one of the cultural traditions of Persian poets in different decades particularly after the 7^th century. It is referred to as a procedure in which a poet considers a previous literary piece in creating his own artwork. For example, “the Masnavi by Bahram and Behrooz” and poems of Vaghar Shirazi from the 9^th century are among these kinds of artworks. In the current study, we compare the structure and context of the aforementioned artworks. Besides, it is declared that those artworks do not belong to Sanaee. As provided by the existing literature, it seems as if Vaghar Shirazi has considered the Masnavi of Banaee Heravi and, then, has added more attractive scenes and complications to increase the charm of the stories. In Banaee’s “Manzoome,” the reader may lose the touch of the hero due to the complications of story and didactic topics. In contrast, the addressed hero in Vaghar Shirazi's poems is compared to the "hero's trip" of Joseph Campbell’s stories. On the other hand, the main topic in both artwork is mainly about love.
Introduction
One of the innovative methods in literature and art is imitation, where poets, writers, painters, and musicians create works influenced by or following the creators of previous literary and artistic works. This method represents a contrast with parody, which lies under the same category of imitation, in spite of its opposition. As it appears, the prevalence of imitation, especially from the seventh century onwards, indicates that the method of creating literary works has become a cultural tradition especially during the Timurid and Safavid eras, regardless of its merits and drawbacks. Among them, is the Masnavi by "Bahram and Behrouz," which is the one attributed to Imam Heravi (a poet of the 10^th century), and another to Vaghar Shirazi (a poet of the 13^th century) as mentioned in researchers' work and, last but not least, the one by "Bahram and Behrouz" being in prose.
Method and Results
This research aims to refute the attribution of such a work to Imam Heravi and Sana'i, and to analyze and compare the mentioned work in terms of structure and content to determine the type and extent of influence and imitation from previous texts. Furthermore, attempts have been made to reveal whether the similarities are intentional or coincidental. Stylistic and content-related evidence indicates that these two masnavis share similar thematic and narrative foundations. Additionally, it is certain that Vaghar Shirazi had seen the earlier masnavi or, like many narrative poems, had heard it. Followed by that, he recreated this narrative. This research introduces and compares the content and structure of the two works.
The prevalence of imitation (analogy) in Persian literature has sometimes led to the association of several poets with a work of the same name, highlighting intertextual influences and connections, and occasionally causing confusion among researchers. In this research area, it has been examined that the Masnavi by "Bahram and Behrouz" has yielded several insights. One of the possible perspectives in this respect is that Imam Heravi and Sana'i do not have a masnavi named "Bahram and Behrouz." In this respect, a verse by Sana'i in Masnavi by Banai Heravi and its similarity in weight to Sana'i's masnavis has led to an incorrect attribution. Furthermore, considering the main narrative elements, events, dialogues, and characterizations, the examined Masnavis are not considered romantic. Romantic Masnavis revolve around love and conclude with it, featuring elements such as sudden love, descriptions of gatherings and nature, scenes of love-making, intermediaries between lovers, the exchange of love letters, and lamentations of separation, which are either absent or very faint in these two Masnavis. Romantic Masnavis mostly derive their names from the main characters who have a romantic relationship, whether the couple is male and female, both male, or even named after plants and animals. In contrast, both of these masnavis are named as "Bahram and Behrouz." These are the characters who, due to a romantic conflict, are positioned as hero and anti-hero (good and evil) in the stories, this allows the narrator to delve into didactic discussions, with the beloved (Gohar or Golcheh) only appearing in the background. In reality, the love story, or rather the marriage of convenience, serves as a pretext for conveying moral, religious, and sometimes mystical teachings. Therefore, contrary to some researchers' opinions, the didactic aspect is much more prominent in both masnavis, and the theme of love is merely the initial conflict that disrupts the initial calm of the story.
Conclusion
The significant similarity in the main theme of the story, the reasons for the narrative's formation, the initial conflict, the hero and anti-hero's struggle, the similarity in the main characters' names, the prominent use of allegory in dialogues (similar structure), and even sometimes, the use of specific allegories (the story of the fox and the cranes, the gardener and the snake and the bear, the farmer and the snake and the monkey) all indicate that Vaghar Shirazi had certainly seen Banai Heravi's masnavi beforehand, giving precedence to Banai Heravi. In comparing these two works, Banai pays more attention to direct description, and the anti-hero (Bahram) has a minimal presence in the story's dialogues, indicating a greater weakness in Banai Heravi's storytelling. The hero of Vaghar Shirazi's story, after a long journey and facing many trials and overcoming difficulties, proving the superiority of intellect, knowledge, and ethics, returns to his homeland with joy and victory, akin to Joseph Campbell's "Hero's Journey" (departure, initiation, return). In contrast, in Banai's masnavi, the slow pace of events leads to stagnation, and the story ends with continuous didactic teachings without the presence of the hero or heroes.