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1. Introduction Storytelling is one of the oldest social phenomena that, like many ancient phenomena, there is no document as to its origin; perhaps the Egyptian papyrus known as the Westkar Papyrus, which vaguely refers to storytelling, can be considered as the oldest document (Ashour-pour, 2010: 17). In ancient Iran, the tradition of narration and storytelling probably goes back to the Gosans of the Achaemenid and Parthian periods, who were responsible for the two jobs of playing music and narrating (Boyce, 1989: 50-51; Amouzgar, 2007: 333). During the Sasanian era, apparently, some people were especially engaged in storytelling. According to the indications in some sources, it can be assumed that the tradition of storytelling was prevalent in Iran after Islam and before Islam. Since the Safavid era, with the prosperity of Ghahvekhane and the gathering of people there, the flourishing and expansion of storytelling and naqali is observed (about the connection of naqali and Ghahve-khane, see Mahjoub, 1970: 33), and types such as Pardekhani, Shamayel-khani, sourat-khani, qawwali, Hamzeh-Khani, Rozeh-Khani, Sardari and Shahnameh naqali. (Regarding the types of naqali, see Razi, 2016: 40) were performed Although today, people identify telling of stories with naqali of some stories of the Shahnameh and epic literature, during the past centuries, storytelling and naqali were not limited to the stories of the Shahnameh, and they included a wide range of popular stories. Although we consider all these stories and their written form under Naqali scrolls as popular stories, they -despite their many similaritieshave significant differences in terms of structure (linguistic structure, narrative structure, motives, etc.); For example, the structure of Shahnameh scrolls is different from the structure of historical stories such as Abu Moslemnameh and Mokhtarnameh, and the structure of Abu Moslemnameh is different from the structure of adventure stories such as Sandbadnameh and Four Dervishes. Here, one of the exceptions is Jonaydnameh, which, although its narrative content is religious (fictional type) and romantic, it follows the structure of narrative scrolls of Shahnameh, and has distanced itself from the structure of stories with the same content and theme. 2. Methodology This research is done based on a descriptive-analytical method and using library resources. This research tries to answer these questions: What common themes in Naqali scrolls can be seen in Jonaydnameh? Which stories narrated in Naqali scrolls are also reflected in Jonaydnameh? How has Jonaydnameh imitated the formal propositions of Naqali scrolls? . 3. Discussion Jonayd-nameh is a religious-romantic story created by narrators and storytellers in imitation of Hamzehnameh. Although the main characters of this story are Arabs, and the subject of the story, in addition to Seyyed Jonayd's love for Rashideh, is his religious battles with demons, giants, and infidels, the main and important point is the imitation of Jonaydnameh from Shahnameh scrolls. Although it cannot be denied that Shahnameh narrative scrolls share some linguistic features or story themes with other long Persian folk tales, we can consider a framework for Shahnameh narratives and scrolls that distinguish them from other long folk tales. It is surprising that despite the thematic, climatic and even racial differences of its heroes with naqali scrolls of the Shahnameh and their heroes, Jonaydnameh has been so influenced by the structure, language, and themes of Shahnameh scrolls that it can rightly be considered the closest Persian story to naqali scrolls. The writer knew the scrolls of Shahnameh and his being influenced can be examined under five headings: 1 -Modeling previous stories to create new narratives which can be referred to in these stories: putting a Simorgh feather in the fire and its appearance, curing Kavus's blindness with white demon's blood, Garshasb's sea voyage and seeing miracles, and the falling off of Gord-afarid's mask in the battle with Sohrab. 2- Imitation of common themes and motifs in narratives and scrolls of Shahnameh such as: throwing a mace into the air and catching it, sinking the hero's foot or his horse into a hole, Tahmoureth's blade, going to the sky of Divan, Gaining the amazing weapon by heroes or kings in talisman, Taming a horse with a punch. 3- Imitation of some stories of naqali scrolls of Shahnameh: In addition to the fact that Jonaydnameh follows the motives of Naqali scroll, sometimes it also imitates some stories of Naqali scrolls; In such a way that if we do not consider the names of the heroes and the space and place of the stories, the structure and framework of some of their stories are the same. In the stories of Sam in naqali scrolls, he is a lover hero who endures many hardships and struggles with many enemies to win Paridokht -the daughter of the Khaqan of China. In his quest, he sometimes fights with magicians and sometimes with Divan; sometimes he falls into prison and sometimes into a spell. In the middle of the story and in the battle with the infidels - especially Shaddad and his army - Sam appears in the guise of a Ghazi and a religious advertiser, and calls the people of Maghreb to Islam/the religion of Abraham, and in this way, he does not hesitate to kill and shed blood. Finally, after the battle with Divan, he reaches Pridokht and marries her. In Jonaydnameh, the same story line is modeled in such a way that he takes the place of Sam, and Rashideh takes the place of Paridokht. Jonayd, like Sam, sets foot in the land of Maghreb to reach Rashideh and fights with demons, elves and infidels. Like Sam, he appears in the guise of a ghazi and a religious advertiser and fights with the infidels and sheds a lot of blood to take Islam to the farthest lands of Maghreb. The end of Jonayd's story, like Sam's story, has a happy ending because Jonayd and Rashideh get married. 4- Genealogy: The narrators, due to the interest of the audience in the party of narration, i.e. the ancient and original figures of heroic texts such as heroes, kings, demons and animals, tried to attribute the emerging figures of their stories to those ancient figures; a quality which is also seen in Jonaydnameh. 5- Imitation of some formal sentences of the naqali scrolls: in naqali scrolls of Shahnameh, there are some repeated words, phrases, sentences, images and grammatical patterns, which are called "formal sentences". 4. Conclusion Jonaydnameh is one of the long folk tales written in imitation of Hamzehnameh. Although the subject of this story is religiousromantic, what attracts the attention of every reader is its being influenced, from the narratives and scrolls of Shahnameh in such a way that Jonaydnameh can be considered the closest Persian long story to the structure of naqali scrolls. Jonaydnameh has been influenced by scrolls of the Shahnameh in five aspects: Modeling previous stories to create new narratives, imitation of common themes and motifs in narratives and scrolls Shahnameh, imitation of some stories of naqali scrolls of Shahnameh, genealogy, and imitation of some formal sentences of the naqali scrolls. [ABSTRACT FROM AUTHOR] |
