hamid ayaz

The target of research has been written by library method and analytical-comparative method and its aim is to study the symbolic And allegorical concepts of cow in epic, lyrical and mystical works (based on Ferdowsi'sShahnameh, Nezami’s Khamseh (The Quintuplet) and Rumi's Masnavi) and wants to answer these questions: What is the attitude towards cows in Avesta and Pahlavi texts? In what symbolic and allegorical terms is cow used in each of the studied works? Is there a correspondence between the symbolic and allegorical concept of cow in the studied works? Which concept has an epic theme, which one has a lyrical theme and which one has a mystical theme

A symbol is an expressive trick that, instead of referring directly to a subject, expresses it indirectly through another subject or in an allegorical way. The symbol has always been a role model in the realm of literature. Symbols are part of the culture of a nation, and in order to understand the myths of that nation, one must understand their meanings. Animals are examples that are associated with symbols.This research has been written by library method and analytical-comparative method and its aim is to study the symbolic and allegorical concepts of dog in epic, lyrical and mystical works (based on Ferdowsi's Shahnameh, Nezami’s Khamseh (The Quintuplet) and Rumi's Masnavi) and wants to answer these questions: What is the attitude towards dogs in Avesta and Pahlavi texts? In what symbolic and allegorical terms is dog used in each of the studied works? Is there a correspondence between the symbolic and allegorical concept of dog in the studied works? Which concept has an epic theme, which one has a lyrical theme and which one has a mystical theme?

Symbols (which have often) originated from myths are so mixed with literatworks that it is sometimes impossible to comprehend poems without understanding the symbolic concepts. The use of animals’ names and symbols is very common in Persian Literature. Sometimes their real meaning is meant and sometimes their symbolic one. In this study, we investigate symbolic concepts of horse in epic, lyric, and gnostic works (on the basis of The Shah-Nameh by Ferdowsi, The Khamseh by Nizami, and The Masnavi by Molavi) comparatively and according to the library method and descriptive-analytic method. At first, we will have the dominated attitude on Avesta and Pahlavi texts about horse, then symbolic concepts of this quadruped in epic, lyric, and gnostic domain will be expressed. At the end of each part, we will determine the percentage of collation of the symbolic concepts in two or all three works, frequency of the animal’s name, and percentage of usage of horse symbolic concept in each work. The outcome of this article is this point that horse has high usage in the analyzed works with the repetition of 1439 times and 20 symbolic concepts. 25 percent of this quadruped (running fast, fury, strength, and duplicity) in all three works and 20 percent (burliness, beauty, spiritual and sensual existence, and worthiness) in two of them are conformed; 55 percent of the concepts are used only in one of them. In addition, 25 percent of concepts are in epic domain, 25 percent in lyric one, 40 percent in gnostic one, and 10 percent in other domains (besides epic, lyric, and gnostic).

Symbols are part of a culture of a nation and for better understanding of the myths of each nation their concepts should be comprehended. Symbol is a mark, hint, or a word which imparts a message sometimes appropriate to the surface meaning and at times beyond its apparent sense. Animals, plants, people, and objects are true examples in connection with symbols. This research deals with the study of symbolic concepts of lion in epic, lyric, and mystic masterpieces namely Shahnameh, Kamsa of Nezami and Masnavi respectively using the library method and analytic comparative approach. First, the all encompassing view of lion from Avesta and Pahlavi texts are provided next, the symbolic concepts of this majestic creature in the above genres are stated and towards the end of each section the degree of correspondence of symbolic concepts in each work, the frequency of the name of the beast and the percentage of the symbolic concept of lion employed is determined for every work. The result obtained from this study shows that lion is the most employed beast as far as repetition of its name is concerned (1487 times) and second to horse is the most employed beast for the number of symbolic concepts used (19 concepts). Lion’s four symbolic concepts such as bravery, might, predatory, and rage in three works consist 21% correspondence. Six characteristics such as massiveness, agility, being tyrannical, and rancorous, immensity, and faithfulness correspond to 31.5 % in two works and nine features 47.5% is observed in one three works. Also 47.5% of concepts belong to epic domain, 10.5% in lyric domain, and 42.5% concepts fall into mystic domain.

Symbol is a sign, point, word, or something which has such a clear and bright feature that it can represent that property. The aim of using symbol is that a message be sent beyond its outward meaning. In this study, we investigate symbolic concepts of snake in epic, lyric, and gnostic works (on the basis of The Shah-Nameh by Ferdowsi, The Khamseh by Nizami, and The Masnavi by Molavi) comparatively and according to the library method and descriptive-analytic method. At first, symbolic concepts of this creature in epic, lyric, and gnostic domain will be expressed. Then, we will determine the percentage of collation of the symbolic concepts in two or all three works and percentage of usage of snake symbolic concept in each work.The outcome of this article is this point that 37.5 percent of this creature’s concepts (baseness, hurtfulness and twisting) in all three works and 37.5 percent (strength, guarding and darkness) in two of them are conformed; 25 percent of the concepts are used only in one of them. In addition, 12.5 percent of concepts are in epic domain, and 25 percent are in gnostic one. There is no concepts in lyric domain for snake. 62.5 percent of concepts are in other domains (besides epic, lyric, and gnostic).

Symbols are part of the culture of a nation and in order to better understand the myths and literature of that nation, we have to realize the meanings these symbols convey. Symbol, sign, is an indication having a meaning beyond what it signifies. Symbols can be observed in all forms of nature cases in point are animals, human beings, plants, things, etc. This paper tries to answer the question that what the significations of the names of birds are in Khosrow and Shirin, and in Leili and Majnoun? How have each group of the birds been presented in these two works considering their symbolic meanings? And how to find if there is a relationship existing between their symbolic meanings? To find answers for the questions raised, first, these two works have been studied in detail, next the symbolic meanings behind the words and the figurative meanings extant in these two works have been demonstrated, then meanings with lyrical themes have been determined, and in the end, the comparison between the symbols and their meanings have been presented in Fig.