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Zolfaghari. H.,PH.D
                                                
Abstract:
 
One of the stories of Nezami’s Haft Peykar is named Bahram Goor and his female slave "Fetneh" in hunting-ground. Nezami has extracted this story from very simple, short, schema-scheme and temporal Ferdowsi's narration and developed it and has added the second part to it. After Nezami, Amir Khosro Dehlavi (752-651) has mentioned this story in Hasht Behesht and Abdi Beyk Navidi Shirazi (988-921) has brought it in Haft Akhtar. Both of them are the imitation from Nezami's Haft Peykar. Amir Khosro has brought the middle part of story with little changes in comparison with Nezami narration and Abdi Beyk has added the range of changes.
By comparing and analyzing of these Four Narrations, we find out that Nezami's skill about narrative elements, motifs and moral, mental aspects has preference over the other narrations.
This comparison has been done with the view of the narrative structure not verbal aspects and expressive, stylistic devices. At the end of this article, for example, we only narrate the description of female slave from Four Narrations, so that the reader compares oneself.
In the beginning of the paper, not only do we introduce four works and reports of Four Narrations, but also present the narrative motifs, and consider the aspects of similarity and difference of narrations with the use of a chart.
 
 

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Nuh Manzar is one of the lesser-known educational narratives and the only parody of Nizami’s Haft Peykar in Persian literature that was kept unedited and unpublished till recently. The present article attempts to criticize the fictional motives of Nuh Manzar and propose a rather comprehensive description of its characteristics.  This research is basically in two parts. In the first section, the origin, time and place of the compilation, the narrator, reasons for its title, the subject and theme, the style, the expression, and the literary genre are identified. In the second part, for the qualitative analysis of the subject, the main motives of Nuh Manzar are criticized in three parts: influence of Shahnameh, Ayyari, and lyric motives

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Abstract This comparative study examines the ar is one of the ly,rical works of the military that symbolically narrates the spiritual transformation of Bahram Gour, who housed seven martyrs from seven countries who were the symbol of their homeland's culture in seven palaces, and heard a story from them every night. The Shah overnight began on Saturday with the Princess of the Black Dome, and Adineh ended in the White Dome, which belonged to the "correctness" of the Iranian Princess. With a story centered on following Iranian culture and rationality, Dorsati transformed the Shah spiritually and brought him to immortality. While acquainting himself with Persian culture and literature, William Jones created the system of the Seven Springs based on the stories of the seven military figures. Aware of the influence of the number seven in various ethnic groups and its application in Eastern mythology, he set the foundation of the Haft Cheshmeh on the number seven, which corresponds to the seven figures in terms of morphology. , Examined the similarities and differences between the two systems and came to the conclusion that the young king of the Jones system finally evolved in dealing with a mythical maiden and reached immortality with the purification of body and soul. Haft Cheshmeh, in terms of structure and content, flows like streams from the areas of seven military palaces and calmly joins the ocean of Persian poetry and literature

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The Oriental culture, literature and myths have long been the focus of Orientalists and Western scholars. William Morris is a British poet who was interested in Persian poetry and literature. He was familiar with Persian culture and literature, and wrote “The Man Who Never Laughed Again” based on “The Black Dome” in Nizami Ganjavi’s Haft Peykar. He imitated the character, atmosphere of the story, the symbols, the colors, the costumes and other elements of the story from Haft Peykar. Haft Peykar or Haft Gonbad is one of Nizami’s lyrical poems that symbolically portrays the spiritual transformation of King Bahram of Iran. Bahram proposed to marry seven princesses from seven countries, and made them the first ladies of the seven palaces. He was the guest of one of them every night to spend time and rejoice when he heard stories. Finally, at the end of the week, when he was the guest of the Black Dome, Dorsati the Persian princess told a story about the Persian culture that influenced Bahram. This research, like other researches, has examined the impact of Nizami’s “The Black Dome” on William Morris’ work through the analysis of the content of the texts. It is based on library studies. In conclusion, this research is going to prove that William Morris’ work in terms of structure and content, like a refreshing seedling, is originated under the shade of the thick tree of Haft Peykar, then it has borne fruit in European literature.

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Abstract
Nizami's lyrical Manzumeh of Haft Peykar is a very coherent work in which extensive semantic relations and semiotic proportions are quite noticeable. Studying Nizami’s narratives in Haft Peykar led the authors to realize that there is a structural and semantic similarity between the micro-narrative of the King of the Black-clads and the macro-narrative of Bahram Gor in the whole Manzumeh of Haft Peykar. Therefore, in this study, the narrative discourse of these two characters was examined, analyzed and compared. The analysis has showed that both Bahram Gor and the King of the Black-clads were influenced by a grand conceptual metaphor that can be considered as a form of avarice; both characters take great actions in order to achieve their desires. These two actors also experience internal changes in their course of actions to achieve their desires through an unwanted and involuntary process. They do not behave in the same way in exploiting the experience and the guidance they gain along the way, so a different fate befalls them. After ascending to the land of the supreme or the land of the goddess, the King of the Black-clads is condemned to fall due to violating taboos and deviating from the norms, while Bahram Gor, by using the guidelines and gaining awareness, is blessed with a travel to a spiritual journey and ascension to the world of meaning.
Extended Abstract 
Nizami Ganjavi devoted particular attention to the fundamental relation between structure and content which, in addition to increasing the aesthetic aspect, has increased the inductive power of his literary works. Haft Peykar reflects this fundamental order and relation between structure and content more than any other Nizami’s Manzumeh (poems); a poem that contains sub-poems. Each of these poems is a coherent set that is fundamentally related to the other sets and to the entire body of Haft Peykar. In this Manzumeh, all elements of the story, including the colors, the names of the days of the week, the names of mythical people, places and creatures serve to explain Nizami's wise ideas in a systematic structure. The authors of this study discovered a conceptual and meaningful relation between the two characters of Bahram Gor and the King of the Black-clads by examining the linguistic and structural signs of this poem. While the structural relationship of the stories of these two characters is a whole-part; in the first dome, Bahram Gor is the listener of the King of the Black-clads story. Therefore, the authors have conducted this research with the aim of examining the structural and semantic relations between the narrations regarding these two characters. In this study, after presenting the theoretical framework and a summary of the narrative, with a semantic approach, the narrations of Bahram in Haft Peykar and the King of Black-clads are assessed in the first dome and then analyzed and compared with regard to the type of narrative discourse and the changes that have taken place in the characters. The theoretical framework of this research is based on a narrative discourse system. Each narrative discourse system consists of three main elements: “action”, “actor” and “object” and some sub-elements including “actor”, “actionable” and “active”. In this discourse system, before the formation of any action processes, a kind of defect or value crisis is felt and the actor acquiring this value object (a valuable goal that the actor performs his action to maintain or achieve it) begins its active activity. In this way, some issues and people are active helpers of actor, and some obstacles and problems may appear in his way. Eventually, depending on how the actor acts and behaves, this action ends successfully or unsuccessfully, which is called “the result of the action”.
The macro-narrative of Haft Peykar is that Bahram, after his victory over Khaqan (Khan) of Chin (China), remembers the image of the seven princesses he had seen in Khovarnagh, and after proposing them, he brought them to his court and built seven palaces for them. Every day, Bahram becomes the guest of one of the princesses in a dome which is compatible with that day and also in a dress that is the same color as that dome, and hears an instructive story. On Saturday, he hears the story of the Black King from the Lady of India. A king who gets information from the city of Madhushan (a city where all its people are dressed in black) by a traveler and travels to this city to discover the cause of wearing black. In that city, he goes to a garden in the Eden by a butcher's guides. In the Eden Garden, the king enjoys unparalleled pleasures after meeting Torktaz, the supreme lady of that land, and he enjoys every blessing except the possession of Torktaz; but finally, he loses his control and, after thirty days, tries to encroach on her privacy, and consequently is expelled from the Garden of Eden. So he returns to his hometown in regret and in black. After hearing the narrations of the women of other domes, Bahram leaves the seventh dome while he is no longer motivated by material things and worldly affairs and is more in search of spirituality. Therefore, he entrusts the affairs of the country to his children and relatives. One day, while hunting, he enters a cave looking for a zebra and disappears forever. As can be seen, the main characters of both stories start an action to acquire their valuable objects and achieve a result according to the path they choose to reach the object. In fact, the action of the King of Black-clads and the changes he experiences are consistent with Bahram Gor's actions in the macro-narrative of the Haft Peykar poem. Thus, both have great and far-reaching desires, and both are greedy and steadfast in fulfilling their desires; but they take different paths, and in the end, one leads to defeat and the other to victory. These two actors, in addition to their activities to achieve their goals, experience some internal changes through an unwanted process; The King of Black-clads travels from India to China in search of the cause of the stranger's blackness; but he inadvertently embarks on a spiritual journey and ascends to a higher land (the land of Torktaz), where he experiences companionship with the Goddess (Torktaz); but because of the strength of his carnal desires, he loses patience and perseverance, and eventually his taboo-breaking acts causes him to fall and be expelled from the Eden. Achieving self-awareness as well as mourning the descent from the land of the goddess are among the spiritual transformations of the King of Black-clads. Bahram Gor's goal is to build the seven-dome and marry the world's seven top ladies; but women's narratives play an important role in the spiritual transformation of Bahram. In fact, his journeys in the domes are journeys from ignorance to wisdom and consciousness. The temporary residence of Bahram in these domes is a symbol of the temporary residence of man in this world to gain experiences and reach self-awareness. This self-awareness culminates with Bahram's arrival to the cave; because his disappearance in the cave is a sign of his spiritual perfection (annihilation).
The color black in these two narratives is one of the linguistic signs that properly reflects the spiritual and inner changes of the characters. The king's blackness after his descent from the land of Torktaz is a sign of mourning and Bahram's blackness in the same dome is a sign of his ignorance that he gradually becomes aware of the process and finally leaves the last white dome. Black in the back of the narrative scene signifies Bahram's going to the cave, for which various interpretations can be considered; the darkness of the cave can be interpreted as death and annihilation, immortality (like Kay Khosrow and Khezr), being in the first stage of a new journey and being unaware of it or reaching a sublime position. Thus, the micro-narrative of the King of Black-clads and the macro-narrative of Haft Peykar have a similar structure in terms of narrative discourse.