Criticism of epic language in Borzunameh (old section)

Abstract
      Examining the standard epic language, which is based on the theories of new criticism (especially formalism) and standard epic language, can be an efficient tool to measure and explain the specific functions of language in the literary genre of epic. In this regard, the present article has examined the system of Borzunameh based on this model and in the three main layers of the language. The book is close to standard epic language in the first layer (vocabulary, music, and structures) Although the works of art in the second layer are not as rich and creative as the epic language, they are completely consistent with the characteristics of epic texts, and the reader can easily reach the intended contents in those works through these two layers of language. The intellectual and content indicators in the third layer are very weak and inadequate compared to the standard epic language. This research was carried out by an analytical-descriptive method based on library studies, and the sample size was 500 verses from the beginning of Borzunameh epic.
 
 Keywords: Linguistic criticism, Epic language, Ferdowsi’ Shahnameh, Borzunameh (old section).
 

Introduction

The distinctions among literary genres, especially epic and other genres has always been of concern throughout the history of Persian literature, and certain criteria have been postulated for it. In this regard,– nowadays, when we are faced with mature discussions in Persian literature, which do not seem adequate fot the purpose. Therefore, characteristics such as the grandeur of the epic language or its smallness will not help to distinguish it from the other genres. The epic, as a special system, has its own literature. Figures of speech, in this language, for example, are used in a different way than what is seen in lyrical poetry. In addition, elements such as vocabulary or syntactic structures are elevated to the eminent status of epic, become a part of the tone, and complement the set of epic elements.To do research on this issue, there is first a need to clarify the relationship between language and literary type. In the next step, there is a need to examine multiple epic works and count the linguistic characteristics in them. Now, with more than four decades of language studies on Persian literary works, at least on the Shahnameh, it can be said that those studies have not been centralized and coherent. Indeed, they have been done sporadically under headings such as historical order, stylistics, and norm avoidance. Investigating the epics after Ferdowsi to clarify the characteristics of the epic genre by examining their language helps to evaluate the quality of the epic language and its usages against the standard of the language of the Shahnameh. Such a study, if able to quantitatively and qualitatively examine the existing epic works through their linguistic features, provides researchers with a codified collection of these features. This can lead to a clearer mindset about the language of the epic literary genre.
 

Methodology

The research in this article is based on the pattern suggested in the article "Epic language review pattern". It is conducted on three parts including the outer layer, the middle layer and the central core of the work. In the outer layer of the text, we will examine the poetic weight, rhyme, row, lexical and syntactic status of Borzunameh. In the middle layer, the semantic content of this work of art is analyzed. In the final part, we will discuss the poetic thoughts and their quality and depth.
 

Results and discussion

In terms of words, music, and epic language and tone, the old part of Borzunameh is a prominent set of poems. Arabic words and Semitic elements are rarely seen in the poem, and the words in it have all the characteristics of standard epic language and are completely at the service of the epic language and tone. From the viewpoint of music, although there is no special prominence in the use of rhymes, those rhymes are in harmony with the epic language both phonetically and lexically. In terms of syntactic structures, signs of language in the 4th and 5th centuries can be seen in this system, but many of them are repeated just for a few times. The appearance of old grammatical signs in Borzunameh does not mean that these features are original in the poet's language; this can be a sign of the poet's familiarity with standard epic language. The poet has not intended to use these cases. The verbs also have an intermediate state in this system. Despite the rhetorical purposes of the verbs, the number of rhetorically important verbs is small, and they have no special function in the text. In the field of epic works of art, sometimes exaggeration completely serves as the theme of the epic. Also, in the case of simile and metaphor, there is no innovation in them, but the characteristics of these works of art have been well observed in the epic text. The main difference between Borzunameh and Shahnameh lies in the content and intellectual indicators. In contrast to Shahnameh, Borzunameh does not deal with intellectual issues such as ethnicity, nationality, homeland, and the need for comprehensive protection of Iran. The important point in this regard is the hero and the battlefield, which is an issue that establishes the dramatic relationships among the characters in this poem. This also causes the reader to be engaged in the first and second layers of the language of the poem.
 

Conclusion

The non-comprehensiveness of Borzunameh, compared to the Shahnameh, as well as its lack of richness in terms of some linguistic features does not lower the value of this epic poem. Rather, Borzunameh should be considered as a powerful poem in terms of epic language.