mohammad ali davoodabadi farahani

The present research considers the analysis comparative types of narrative in Samak-e-Ayar and the count Monte Cristo. Samak-e- Ayar is the greatest inheritance of the Persian written in prose in the 6th century Hijri and the count Monte Cristo was created by Alexander Dumas in the 19th century A.D. which belong to Romance in the classification of fictional literature. The major problem in the research is how the types of narrative apply in these two outstanding Persian and French works. They will be studied by descriptive- analytical method. The narration is the most important fictional item in the works. The writers have considered not only the presentation of type of narrator but also characterization and description. The findings show that the narrator of Samak-e Ayar and count Monte Cristo are a text-oriented heterogonous unlimited wise person. It can be seen the types of narrative to two forms: the 3rd person singular and the 1st person plural. Multiplicity of the narrative can be seen in Samak-e- Ayar and the count Monte Cristo, so it causes to be more attractiveness. The narrator have the same function. It is endoscope of out.

Sa’adi is one of the poets and artists who, like a knowledgeable sociologist, has recorded many customs of the time and the environment around him, and it can be said that his careful look has snatched the lead from many of his peers. The main purpose of this article is to study the nuances of social and cultural customs of Sa’adi era and time that are reflected in his works.

The study method in this research is descriptive-analytical based on library studies. The scope of Sa’adi"s research is corrected by Mohammad Ali Foroughi.

Findings show that many social customs such as paying attention to attracting tourists, selling counterfeit goods, the scope of authority of accountants, murder of miscreants and the dispersion of evil women in the city are among the points and delicacies Sa’adi pays attention to.

Examining Sa’adi"s poems and meditating on the reflection of social and cultural customs of his time shows that Sa’adi, as a social advisor, critical satirist and wise point man, has paid attention to the social customs of his time.

IntroductionSince epopee composing among Kurd people has been prevalent in allegiance with Firdausi’s Shahnameh, certainly recognition of cultural and sociological destinies through analysis of one of the most important pillars of epic, that is boasting, and the comparative investigation of this type in two epopees, can be a light to discover the beliefs which stem in the culture and society of Zagros-settler Kurds.
In the current paper, boasting samples in two Firdausi (Khaleghi Motlagh’s copy) and Kurdish Almas Khan Kandooleei epopees have been extracted based on five common stories (Rostam and Sohrab, Rostam and Esfandyar, Rostam and Shaghad, Bijhan and Manijhe, and Siavash). Meanwhile, defining its statistical frequency in the form of chart, and the analysis of the most important common and segregation aspects of these samples have been considered to answer the following questions: 1- To what extent is frequency of attention to boasting and declamation in the two epopees? 2- Have the cultural and sociological differences had any effect on possible diversities of boasting and declamation in the two epics or not?
MethodologyIn the current paper which has been carried out through the descriptive-analytical method, summary of each story has been declared, then the most important structural differences of the stories in Kurdish epopee have been written based on the comparison with Firdausi’s epopee. Then, meanwhile, determination of boasting samples in the two epopees and also determination of subject frequency, the most important discussable common or different samples have been analyzed. After that, the most important findings have been mentioned in the conclusion part.
Results and DiscussionIn most common stories of the two epopees, the number of couplets with the content of boasting is not usually more than ten couplets except in Rostam and Esfandyar story which does not have the limitation. The longest appearance of boasting is also in the story. In the story, the boastings of Esfadyar addressing Rostam is complicated with reproof and contempt; but Rostam’s boastings are gentle and instructive. Glories in Kurdish Bijhan and Manijheh are soft and without response by the addressee. In other words, it is a kind of personal introducing with glory which (afoul or captive) Bijhan declares to response the others’ questions and it is obvious that the characteristic reduces glory language to a large extent and it also limits the reactions. In Firdausi’s Rostam and Sohrab, and Siavash, Rostam’s boasting towards Iranian king is obvious; but in Kurdish epopee even a sample is not obvious and this can exclaim the higher rank of the king towards Rostam in the culture of Kurds in comparison with Firdausi’s cultural view. If boasting resources are composed with irony, it will be more wealthy. There is much of the combination with irony in Firdausi’s stories, but in Kurdish epopee stories, it is very limited and it is particular to Rostam and Esfandyar story. Declaration of boasting and glory in Kurdish epopee stories is usually limited and specific to the main champions and characters of the story; but there is not such a limitation in Firdausi’s epopee. Firdausi’s declaration is purer than Almas Khan Kandooleei’s because boasting with the content of affront in the expression of great Iranian heroes (Rostam, Siavash, and Esfandyar) in Firdausi’s epopee is very limited and deficient. In the other words, we can rarely observe weasel, vulgar and offensive applications by Iranian champions. That is, in spite of the dominance of different excitements, Firdausi’s language is more strained and purer. And, vulgar and dirty words do not exist in his words (if there is any, it is of Iranian troops’ words) but in contrast, in Kurdish epopee the content of boastings is usually offensive and it is recurrent of lingual view.

The understanding of the epics is accompanied with a historical sociology and knowledge of beliefs that takes us closer to the preliminary motifs of many of the ancient beliefs and thoughts. This paper is an attempt to provide an understanding of Kurdish poetry collections known as Shahnameh or Razmnameh. These collections have remained unknown for centuries; however, they are recently considered as good sources in Iranian and Kurdish epics and heroic narratives. This paper seeks to provide a comparison, in terms of the mythological and epic concepts between the east and the west of Iran which are manifested in Ferdowsi's Shahnameh and its Kurdish counterparts. Kurdish Shahnameh's are genuine forms originated in the cultural sphere called Zagros, which have been widely ignored due to not being a part of the dominant literary discourses. Therefore it can be claimed that the consideration of these Shahnameh's and Razmnameh's will end in a better understanding of the national epics.