The Importance of the Place of Comparative Approach in the History of Persian Folk Literature and Criticism of Arabic Poetry and Prose Texts, the Heading of Folk Literature, Master's Degree in Persian Language and Literature

1.IntroductionAfter the term "Folklore" was coined by Ambroise Morton in 1846 and the beginning of research on folk literature and culture, Studies related to this field had many developments and scientific advances. Research in the field of Persian folk culture and literature also began with the research of orientalists (see Afshari, 1388: 289).After that, even despite the increasing process of recording the components of folk culture and literature and even the establishment of the orientation of folk literature in 2013 and the specialization of studies in this field in Iran, the research conducted in this field still has obvious flaws. Stopping at the stage of registering the components of folk literature, the ambiguity in the structure and characteristics of these components, and most importantly, the weakness in the theoretical foundations are among the most important things that can be pointed out (see. Aliani et al, 2019: 10).One of the main reasons for this issue is the neglect of the Arabic sources of the early Islamic centuries as the preservers of Iranian folklore culture and literature in the era of the loss of Persian sources and neglect in the history of folklore Persian literature.. "It is an important issue that the Arabic language played an important role as the preserver of Iranian folklore literature before Islam." (Cejpek, 2014: 27 & 26). Despite this, in addition to the researches that have been done in the field of folklore culture and literature, the importance of these resources and the effective role of the comparative approach have not been paid attention to in the design of the  lessons of the folkliterature orientation. Especially since in the list of courses of this heading, there is a course called "Arabic Prose and Poetry" in which these sources are expected to be paid attention to, but these sources were not paid attention to in its design.Based on this, in this article, while explaining the reasons for the importance of these sources, the most important available Arabic sources are introduced in terms of the reflection of Iranian folk literature and its developments in the first centuries of Islam, And in order to eliminate the existend shortcomings, a heading has been designed for the course "Arabic Poetry and Prose Texts". 2.MethodologyConsidering the need to refer to Arabic sources for the historical connection of the elements and components of Iranian culture and literature before Islam with the Islamic era, this research has been done by descriptive-analytical method and by analyzing the literature history data available in the library sources. 3.DiscussionThe task of transferring Iranian culture and literature to Arabic culture and language in the first centuries of Islam has been undertaken by the translation movement. "Many sources of the past folklore of Iran have been translated into Arabic by Iranian scholars such as Ibn Moqfa, Tabari, Masoudi, Thaalebi, Hamzeh Isfahani and others and are available to us today." (Beihaghi, 1365: 41). Despite this, the heading designed for Arabic poetry and prose lesson of the heading of Persian folk literature in order to get familiar with official Arabic literature, including Arabic mystical texts, poems by Arab poets, Arabic works by Persian poets and writers, and contemporary Arabic research texts in the field of language and literature, the Qur'an, Nahj al-Balagha, and commentary texts,  Arabic proverbs, phrases and verses common in Persian texts. The general approach and a cursory look in the selection of texts and the focus of this heading on official literature texts and neglecting the importance of the comparative approach do not meet the scientific needs of students in this field. Therefore, the issue of interest in this article is that despite the many reasons for the high importance of Arabic texts in the history of Iranian folk literature, how the sources of Arabic poetry and prose texts in the heading of folk literature to explain the nature of Iranian folk culture and literature and its developments In the first centuries of Islam and attention to the importance of the comparative approach has not been organized?Reasons for the importance of the comparative approach in the history of Persian folk literatureSome of the most important intratextual and extratextual reasons for the importance of Arabic sources in the field of Iranian folk culture and literature are as follows:1.The existence of different forms of Iranian folk stories and proverbs and and anecdotes in Arabic sources: in many cases, these sources have become the oldest or only sources of Iranian folklore stories. Such as the reflection of a story about Ardeshir Babkan, in the book "nehayat-al-arab" under the name of Irajosteh and Khosrow in the persian translation of Varavini's Marzbannameh.The importance of the works of Arabic-speaking Iranian writers and poets, especially the Shaoubians, in terms of recording the components of Iranian folk literature: The Shaoubieh movement is one of the most important factors in the transfer of Iranian folk culture and literature to Arabic culture and sources. The works of this group, such as Ibn Muqafa, Mahmoud vorraq, Saleh ibn Abd al-Quddus and Bashar ibn Burd, contain a large number of poetice or prose form of components of Iranian folk literature such as Iranian proverbs and admonition in ArabicIn Arabic: “The tooth is still worn out, and the one who has it is still in pain and is leaving it.  ” (Ibn Muqaffa, 2002: 140).In Persian: " The eaten by worm (destroyed) tooth of the  should be removed " (Amini, 2009: 287).The importance of Arab collections(collections of poetries and writers works and folklore content too) in Iranian folk culture and literature: whith spread of a new style in Arabic writings is via Jahiz Basri  (under name of collection writing)  and the creation of numerous works imitating it, the reflecting ideas, admonitions and anecdotes related to folklore culture and literature in written works increased. The reflection of some common beliefs in Iranian culture in Abu hayyan Tawhidi's Al-Emta va Al-Moanesat about trees, animals and mineral stones is one of these (cf. Tawhidi, 2005: 235).The need to pay attention to the literary components in Arabic sources that have a folk origin: one of the main necessary steps in explaining the importance of Arabic written sources in the field of Iranian folk literature is to pay attention to the literary components that have a folk origin. "There has been a continuous mutual influence between written and oral literature" (wellek, 2013: 41 & 42). Fables, parables, jokes, Arabic folk poems of Iranian origin, quatrains, and beggars' stories originating from Iranian culture are among the most important of this group.5. The importance of Arabic sources in terms of recording the legendary history of Iranians and its importance in the discussion of mythological studies: the translation of Iranian history sources into Arabic, especially the "Khuday nameh", and the comparison of different characterizations of Iranian mythological champions such as Rostam in these sources with the Shahnameh and Iranian folk culture, It doubles the importance of Arabic sources in studying the history of developments in Iranian mythology.The influence of Arabic-Islamic culture on the components of Iranian folk literature: When discussing the importance of Arabic sources in the discussion of Iranian folklore literature, it is necessary to consider the effects of Arabic-Islamic culture on Iranian public culture and literature. including the influence of Arabic proverbs and admonitions and the importance of influence of Semitic and Islamic history in the discussion of comparative mythology and the spread of Arabic love stories in Iranian culture.Authors and important works: the works of Ibn Muqafa as the first collections containing Iranian proverbs and rulings after Islam, the works of Jahiz, the important work of Abu al-Faraj Isfahani called Al-Aghani, the works of Thaalibi Neishabouri, the book of Abu hayyan Tawhidi’s Al-EMtaa and Al-Mu’anasat, the works of Qazi Mohsen Tanukhi and the work of Ragheb Isfahani With the name of Mohazerat al-odaba va Mohaverat al-shoara va al-bolagha, which contain verse and prose form of proverbs and admonitions, anecdotes, stories, superstitions, Arabic stories that are influential in Iranian culture, jokes and popular opinions. these cases are the most important things is the importance of Arabic sources in reflecting folk culture and literature.Designing the heading of the Iranian folk culture and literature course in Arabic poetry and prose texts: based on the discussed topics, it is suggested to change the title of the Arabic poetry and prose texts course in the Persian folk literature heading to "Iranian folk culture and literature in Arabic prose and poetry texts" and educational topics should be organize under these main headings:"The importance and role of Nahj al-Balagha and the Holy Quran in Iranian folk culture and literature""Iranian admonitions, Arabic admonitions and understanding the importance of moral and religious admonitions and advice in Iranian culture (before and after Islam)"" Iranian proverbs in sources of Arabic proverbs, Arabic proverbs, stories of proverbs, examples of Arabic poems by Iranian poets (poetice form of proverbs and admonitions)""The importance of historical sources in the analysis and investigation of Iranian, Semitic and Islamic mythology and how to synchronize them"" Analysis and investigation of Iranian folk culture and literature in the Arabic collections""Study of Arabic love stories introduced into Persian culture and literature""The influence of folk culture and literature in the creation of the literary type of Maghameh""Jokes and comical in Arabic sources""Familiarization with the research texts of Arabic writers in the field of the connection between Iranian folk culture and literature with Arabic and Islamic culture and literature". 4.ConclusionThe current heading of the course on Arabic poetic and prose texts of the folk literature major does not fit with the goals and nature of the major. In the design of the proposed heading in this article, three effect-oriented, component-oriented and research-oriented approaches have been considered. In teaching these cases, you can pay attention to these three approaches. This means that in effect-oriented cases, the focus should be on the study of literary components that have an impact on people's culture, in component-oriented cases, emphasis should be placed on comparing and studying the course of changes in literary components, and in research-oriented cases, emphasis should be placed on the reflection of various components of Iranian folk culture in the Arabic collections. By presenting such cases, it is possible to solve part of the historical problem regarding the nature of Iranian folk culture and manners after Islam, and to direct students' minds to the importance of theoretical foundations in research in this field

Has Frye ignored ethos in ethical criticism?

Influenced by the interpretive attitudes of the Middle Ages and committed to the teachings of New Criticism, Frye, drawing on structuralist methodology, developed innovative ideas for analyzing the structure of a literary work. In his literary poetics, he assumes that the meaning of a literary work consists of elements and components that can be determined by focusing on mode, symbol, archetype, and genre. In such a framework, he considers the components of ethos, mythos, and dianoia as the basic elements that make up meaning. Meanwhile, however, it seems that Ethos has not been adequately addressed. In this essay, we first attempt to answer why ethos seems to be neglected in his ethical critique, which is necessarily based on ethos, through an analysis of the theoretical implications and consequences of what Frye holds. In what follows, along with the methodological explanation of Frye's analysis, we attempt to show how the seemingly neglected ethos reappears in Frye's theoretical framework. In the end, it turns out that ethos is part of Frye's theoretical framework not because of methodological considerations, but because of teleological considerations. Extended Abstract Introduction Northrop Frye (1912-1991) is one of the literary theorists of the 20th century.  He was familiar with the medieval interpretations of the Bible on the one hand and with the theories of the New Criticists on the other, and saw a significant symmetry between the Bible on the one hand and literature on the other. According to the medieval interpretations of the Bible, commentators considered the meaning of the text to be multi-layered, revealing itself at first in superficial levels, but the knowledgeable reader should go beyond these levels to the inner layers of the text where the true meaning rests. By distancing themselves from what appeared to be historical, psychoanalytical, biographical criticism and all questions outside the structure of the text, the New Critics sought systematic criticism based on the text, but "they treated the text as an inanimate object" (Algooneh, 2017: 197), which for Frye was meaningless "because critical objectivity basically blocks the way to pure literary experience." The proponents of the new criticism considered the work with the "close reading" as a single phenomenon, and for the literary criticism, they considered the analysis of several literary works, while in Frye's system, they invoke qualities and elements behind the literature (see Frye, 1957: 17), and only by recognizing these qualities and elements, the literature becomes meaningful. On this basis, Frye considers literary works not individually, but in a macro-level and in the form of "an order of words" (Ibid) which, despite their plurality, is manifested in a single perspective. From here, Frye distances himself from the proponents of the new criticism, whose main focus is on individual texts and stylistics, and concentrates on typology and literary genre. This is because stylistics focuses more on individuality, while genre focuses on the aesthetic side of literature and a macro-level view that "considers the art of literature not as a value phenomenon but as a technical phenomenon, as a collection of procedures" (Marie Schiffer, 2013: 65). As long as he "pays attention to the close and critical reading of the works," he is aligned with the New Criticists, but since the New Criticists evaluate the works and "are more aware of the framework of hermeneutics and literary criticism than the establishment of poetics" (Ibid, 66), he moves in a different direction from them. Thus, in his discussion with the members of the New Criticism, Frye takes the position that what they see in detail, he connects in the structure of literature as an autonomous whole. In line with this division on the question of type or genre, and in contrast to the question of style, and also to achieve the ideal of a poetic design that is comprehensive and includes all valid criticism, he divides four categories of mood, symbol, archetype, and genre in his book "Anatomy of Criticism," under the separate four articles of historical criticism, ethical criticism, archetypal criticism, and rhetorical criticism. He, who deals with "Ethical Criticism" in the second article of the book by promising that literature consists of interwoven stages and the work draws its totality from this interwovenness of stages, distinguishes between mythos, ethos, and dianoia (see Frye, 1998: 93). But despite the fact that he distinguishes these three elements at each stage and also the special role he assigns to each of them, he consciously or unconsciously neglects ethos in the last analysis. Ethos, as a fundamental element and component that constitutes the meaning of the text, has no coherence according to Frye. In defining ethos, he says: "The text or the internal social context of a literary work, in fiction-oriented literature includes characterization and context, and in theme-oriented literature it includes the relationship between the author and the reader of the work." (Frye, 1998: 428) While he distinguishes two types of fiction literature and issue-oriented literature here, he considers ethos as both character in literature and the relationship between author and audience. Elsewhere (cf. Frye, 1998: 93), he considers ethos as one of the three fundamental pillars of the text that, together with mythos and dianoia, make the work meaningful. Even though Frye considers these three elements as internal features, he abandons ethos completely and implicitly in the further course of his analysis, leaving it aside, instead of treating it as a method, he notes ethos as an end. On this basis, Frye's ethical critique does not adhere to it, despite its promise of internal immanence, and this critique ultimately focuses on telos. This telos disappears, first, in the liberal purpose and, second, in the objectives influenced by reader-oriented ideas. Although critics in the world have made serious criticisms of Frye's theories, Culler, for example, in "Structuralist Poetics, considers him an interpreter who does not adhere to mere structure (cf. Culler, 2019: 169 and 192), while Lentricia in the book "After New Criticism" and René Wellek in "The History of New Criticism" (cf. Wellek, 2005: 238) argue that all literature is linked to myth. Although some of these criticisms are acceptable and some parts of Frye’s theorizing have gaps, he can be seen to have made an effort to complete them in his later works, but the way Frye uses to achieve meaning through different layers in a particular verbal context is worth reflecting on. Nevertheless, because of the difficult and complex prose that Frye has used in his book Anatomy of Criticism and because of its theoretical complexity, Frye has received less attention than it should. With this in mind, in the following essay we will attempt to elucidate Frye's theory of classification of symbols and redefine their constituent parts. In doing so, we will rely on an analysis of the theoretical implications and consequences of what Frye follows and attempt to provide an adequate answer to these questions: First, why is ethos omitted from ethical criticism based on ethos? Second, having failed to adhere to what Frye promised at the beginning of the article, where does this discarded ethos now appear? Review of Literature Although Frye is considered one of the most influential thinkers in the field of criticism and literary theory of the 20th century, the gap in research that independently analyzes his theoretical framework is quite striking. There are few studies that have critiqued his theoretical foundations, and most of the research conducted has applied Frye's archetypal theory to mythological stories. Ahmadi and Kazempour (2022) examined the myth of Rostam and Sohrǎb in a study using a descriptive-analytical method based on Frye's archetype theory. Asadi and Maghouli (2021) also studied the symbols and archetypes in the paintings of "Shahnameh Shamlu" based on Frye's archetype theory and applied it to Frye's cycles of romance, comedy and tragedy. Maarifvand and Fuladi (2018) analyzed the story of Siavash based on Frye's theory of "tragedy myth." In one article, Algooneh (2016) analyzed the theoretical basis of Frye's classification of symbols and his influence, and in another article, he analyzed the internal mechanism of Dianoia considering Frye's theoretical origins. In this research he examined the connection of mythical dianoia with hieroglyphic, hieratic, and demotic aspects. Nǎmvarmotlaq (2013) has dealt with Frye's mythology. The first part of the book deals with Frye's life and his mythological criticism, and the second part deals with the practical application of Frye's view in reading myths. In addition, the same author (2012) published a work entitled Introduction to Mythology: Theories and Applications, in which he examined Frye's views on mythological criticism. Haj Nowrouzi (2012), in order to examine the semantic and archetypal images in the story of Siavash based on Frye's theories, first examined this imagery in the literary tradition and then examined the mythological patterns of this work. Anooše (2006) has explained the relationship between Cassirer's ideas and beliefs and Frye's views in the field of myth using the descriptive-analytical method. In another study (2003), this author examined Frye's literary approach in relation to early literary rituals and myths. Based on Jung and Frye's theory, Sam Khaniaini and Malekpaiin (2013) analyzed the myth of the story of the lion and the cow in Kalila and Demeneh. Despite the valid research that has been conducted so far on Frye's views, the theoretical analysis of his opinions, and the application of his theoretical models in reading literature, no research has been found that addresses the theoretical implications and consequences of neglecting ethos. For this reason, the present study sought to examine the position and role of ethos in Frye's theoretical framework, in addition to an analysis of Frye's symbol theory and his literary poetics terminology. Methodology The present study is an original research which is the outcome of our own personal reflections and, except in one or two cases where we have taken some terms from Frye’s research, we are not indebted to any research in terms of our theoretical framework. Results As can be seen from the explanation of Frye's theory, although he introduces Ethos as one of the three basic pillars of each stage, the distinction of Ethos alongside Mythos and Dianoia will not be fulfilled. In the formal stage, for example, he considers mythos as imitating a generic action and dianoia as imitating a generic thought. Right here, where we expect the distinction and the role of ethos, ethos does not appear at all as a component with a methodological index in Frye’s taxonomy. Thus, contrary to our expectations, the reader learns at the end of the book's second article that the promised ethos is not an essential component, but the ideal critic/reader who is to become the third pillar of each stage through the mythos and dianoia. On the other hand, as we approach the anagogic stage, it becomes increasingly clear that the ethos comprises that single word which in its various manifestations is both God, Christ, Wine, and Lamb (cf. K. Frye, 1377: 154). Although even this characterizing recognition of ethos was not explicitly distinguished in the later stages of the classification of symbols. Moreover, it is necessary to examine the question in what form and with what conceptual transformation Frye uses ethos as a fundamental component after he leaves it. It seems that Frye did not use its fundamental component as a method. But in terms of purpose, he has embedded ethos in "ethical" criticism, and in this way he casts it on the ideal reader on the one hand and on "ethical" criticism on the other. He believes that culture is one of the productive forces of man and "the ruling classes have exploited it in the past like other productive powers, and it is necessary to revalue it in a better society." But since this ideal society exists in the future, the value of culture is based on its revolutionary efficiency." (Frye, 1998: 407). Frye believes that when we move from a single work of art to the general concept of art, it is no longer a question of aesthetics, but a journey to the moral cause that contributes to the work of civilization. On the basis of this evidence, Frye sees himself as a liberal who opposes the prejudices and favoritism of the New Criticists. On the other hand, he considers literature an important component of education. But all of this is seen not as an internal component, which he promised us at the beginning, but as external and teleological references that are not evident in the text. Finally, Frye's ethical criticism is a "moral" matter in a civilized and cultural sense, but this "morality" is manifested not in method but in goal. This moral goal, thrown out of method, includes free and liberal education on the one hand, and focuses on reader-centered theories on the other. Accordingly, ethos is not evident in Frye's classification theory of symbols in the method, but as a factor in the transformation of the reader into a liberal person who accepts all valid criticisms without prioritizing one over the other. References Ahmadi, Z. and M. Kazempour (2022). "Naqd-e Ostoorei-ye Dǎstǎn-e Rostam va Sohrǎb bar asǎs-e Nazariyǎt-e Northrope Frye", in Majale-ye Matnpajoohi-ye Adabi, No. 93, Fall, pp. 285-305. Algooneh, M. (2016). 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