This article examines how Zeyā al-Din Barani may have imagined that contemporary audiences would consume his Tārikh-e Firuz Shāhi. Would it only be read visually or also read aloud (directed at the ear rather than the eye), and thus be received aurally, or would it even be performed in front of a larger audience? The plot and protagonists of Barani's story on Moʿezz al-Din Keyqobād present a tragedy that develops around a sultan doomed to fail. An examination of the set-up of Barani's narrative reveals that it contains numerous textual devices that would enable a storyteller to perform the story, using the text as a kind of tumār. As tragedies are written for the stage, not the study, these features of the text indicate that matters of orality, which are crucial for many genres of premodern Persianate courtly literature, are also relevant to the Tārikh-e Firuz Shāhi.

本文探讨了 Zeyā al-Din Barani 如何想象当代观众会消费他的 Tārikh-e Firuz Shahi。它是只能视觉阅读还是大声朗读（针对耳朵而不是眼睛），从而被听觉接收，还是会在更多观众面前表演？巴拉尼关于 Moʿezz al-Din Keyqobād 的故事的情节和主角呈现了一场悲剧，围绕着一个注定要失败的苏丹展开。对巴拉尼叙事结构的研究表明，它包含许多文本设备，使讲故事的人能够使用文本作为一种 tumār 来执行故事。由于悲剧是为舞台而不是研究而写的，文本的这些特征表明，口述问题对许多前现代波斯宫廷文学流派至关重要，