An investigation of borrworing in the narrative of persian & Arabic Risalat Al-Teyrs from the perspective of link theory of John Searle's speech act and Gerard Genette's hypertextuality

Risalat Al-Teyrs are narrative texts with the mystical content and the mystic allegory language. It is obvious that Risalat Al-Teyrs, with little addition and removal, change and transposition, are affected by each other. Among the Persian and Arabic Risalat Al-Tayrs, the present study aims to see which one is borrowed from the other, and in terms of narratology, how is it possible to investigate the effect and influence of these works relying on Searle's speech act theory and Genette's Hypertextuality borrowing an analytical -descriptive research method. The study seeks to investigate the intertexuality link of Persian and Arabic Risalat Al-Tayrs. It is hypothesized that these texts are Hypertextual and the newer narrators were consciously affected from the previous ones. In order to investigate the hypothesis, these works are analyzed at the level of sequence and predicate and then similar sequences are determined. Next, each predicate is shown with abbreviation, and at the end, these Risalats are described in terms of structure and content of these sequences, similarities, and differences. Results indicate that excessive use of affirmative and encouraging sentences is in line with the affirmation and expression of guidance or encouraging the reader towards the educational issues. Considering 17 similar sequences in these works, it is found that except the Ghasideh Eyniyeh that has few similar sequence compared to other Risalats, IbneSina and Mohammad Ghazzali's Risalat Al-Teyrs and Mohammad Ghazzali, with two different structure, are considered as pretext. Ahmad Ghazzali's Risalat Al-Teyrs describes more details compared to Mohammad Ghazzali's Risalats. Risalats of Chachi, Eynol-Ghozat, Mantegho-Tayr, and Kashfol-Asrar have followed the Risalat of Mohammad Ghazzali, but through embedding the changes in the sequence, have saved their works from general imitation, thus creating innovation in their works. The Risalat of Sohrevardi is so similar to the Ibn-Sina's in the first part, but Sohrevardi has used different sequences to create new work