Akharin Par-e Simorgh regarding The Anxiety of Influence

In examining and studying the history of drama in Persian literature (since the time of Akhundzadeh), we are always faced with periods of time in which, due to various political, social, historical, cultural reasons, writers, often by adapting previous literary works, reflect the past and history in their works. Their relation to the literary past is problematic, like their relation to the political past and notions belonging to history. This perspective, in contemporary history of Iran has been the basis of the works of writers such as Naghmeh Samini, Ali Rafiei, Hossein Kiyani, Ali Nasirian and Mohammad Charamshir. In this research, a case study of the Akharin Par-e Simorgh (The Last Feather of Simorgh), written by Mohammad Charmshir, (as an adaptation of Shahnameh) has been chosen, based on the descriptive-analytical research method, using documentary-library tools. Anxiety of Influence literary criticism, established by Harold Bloom, has been used in this research. After explaining the theory and the six levels of it, described by Bloom, we apply the theory in Akharin Par-e Simorgh to consider the relationship between the “original text” and the play adapted from it. The relationship between Charmshir and his literary father, Ferdowsi, has been examined, applying the foundations of this theory, so that the late text can be read in relation to the original text. The results of this case study show the Oedipal relationship between Charmshir and Ferdowsi as a complicated relationship. In order to achieve his unique voice, Charmshir has gone through Bloom’s revisionist ratios and created a new narrative of his own by adopting a new direction and approach in the narration of the mythology of Shahnameh. In the end, we try to answer the question that how the past figures, the literary fathers, affect the late generation of writers who try to continue the tradition and at the same time, defy it.