جستجوی مقالات مرتبط با کلیدواژه "حماسه" در نشریات گروه "ادبیات و زبان ها"

The political and social landscape of the Mongol-Ilkhanate era is intricately intertwined with the prevalent presence of Iranian myths and epics in contemporary historical accounts. The diverse objectives of historians have led to a shift in the role of myth and epic narratives during this period, prompting a need to explore how their usage evolved and understand their potential impact. This study, conducted through a combination of library research and descriptive-analytical methods, has yielded the following findings 1) Ata-Malik Juwayni drew inspiration from the Shāhnāmeh to craft a prose epic that employed epic characters and settings to express his anti-Mongol and pro-Iranian sentiments. Through skillful parallels between the rulers of the Khwārezm-Shāh dynasty and the Iranians, juxtaposed with the Mongols portrayed as Turanians, Juwayni reinterpreted history through an epic lens, vividly depicting the epic battles of the Iranians. 2) Rashid al-Din Fazlullāh Hamadānī played a pivotal role in acquainting outsiders with the concept of Iranshahri, aiming to establish a foundation for reviving the political ideals of ancient Iran, including the notions of Shah and Iranshahr. 3) By illustrating the governing styles of both mythological and historical Iranian monarchs, Wassaf endeavored to disseminate Iranian culture among the Mongols and Ilkhanates, fostering a more benevolent ruling approach akin to that of Iranian kings. Additionally, Wassaf utilized myth and epic elements to showcase his literary prowess.

Fish is an ancient myth that has had a significant presence among the myths of ancient nations for a long time and has enjoyed a special place in paintings, drawings, stories, various texts, poems, etc., due to Attribution to the mineral element of water has always been praised for its purity and sanctity, which, due to these inherent capacities, has never been depleted of mythological concepts and meanings, and in any period, according to the dominant thought system of that time, It has been used to express good and Ahurai themes. In this research, using the content analysis method, we investigated the presence of the fish myth from love worship to mysticism, which the results of the research showed The myth of the fish has been present in the ancient narratives of this mysterious ritual since the birth of Mehr, which is also linked to Anahita due to its connection to water. Fish has a mythological-ritual presence in Avesta in the form of "Kermahi", which is the white guardian of Home in the Pahlavi texts, thus it is the life-giver of Zoroastrians in the end times. In epic and heroic texts, the presence of this myth fades until finally, in mysticism, along with the mysterious themes of the sea of ​​monotheism, it becomes a symbol of the existence of the seekers who are immersed in this sea of ​​true existence. The pure and ritualistic nature of this myth has not changed much in the beliefs and texts of different periods, and it has preserved its mythological characteristics in every field.

Jahangir Nameh, written by Qasim Madah, is one of the epic poems after Shahnameh in the history of Persian literature, which contains different layers of meaning due to the various narratives and adventures, and the action and confrontation of the characters. Precisely, it expresses social, historical, mythological psychology and such confrontations on two levels of deep structure and superstructure are the main reason for the formation of different stories in this system. In other words, such confrontations express the reason for the formation of such a system and, for this reason, it is provided in this article in a descriptive-analytical way. Such fundamental confrontations are provided to determine what they are and what their function is. Based on the results obtained, along with other possible confrontations, this poem is in the depth of the narration of the four confrontations between Father and Cheser, Iran and Turan, the tribes of the desert and the settled tribes of herders and warriors and Ardas. It precisely takes the form of a confrontation between Jahangir and Rostam, Afrasiab and Kikavus, Rostam and Shabanan are the presidents of Shah and Rostam and Ardas.

Prophecy holds significant importance within ancient literary narratives, serving as a catalyst for plot development, thematic exploration, and characterization across various forms of literature, such as epics, short and long stories, romances, legends, and traditional tales. This research focused on the examination and analysis of the dreams of King Kida of India as narrated in Shahnameh during Alexander's reign, utilizing a descriptive-analytical approach. The findings revealed that King Kida's dreams, along with Mehrān Parhizkār's interpretations, functioned as a means to connect the two overarching narratives of "Dārā's reign" and "Alexander's reign" within Shahnameh. Consequently, storytellers skillfully employed plot, characterization, and theme to transform the aforementioned narrative into a tool for justifying the portrayal of the "non-Iranian king" to Iranian audiences. Furthermore, they effectively reconstructed the vital and multifaceted attributes of Alexander through the implementation of 4 magical elements: the philosopher, the doctor, the cup, and the girl. Ultimately, King Kida's dreams and their interpretations served as a prelude to the story of Alexander, establishing its cause and forging a link between the grand narratives of Dārā's reign and Alexander's reign in Ferdowsi's Shahnameh.

Place holds a deep, mythological significance that resonates with humans on a transcendental level. The sanctity and mythological importance of certain locations are recurring themes in myths, epics, and tradition of storytelling (Naggali), often depicted through mountains, caves, wells, springs, crypts, fortresses, gardens, and enchanted realms. These mythological interpretations view place as distinct from its cosmic and material surroundings, elevating ordinary objects and phenomena into sacred and symbolic realms. By situating the hero within these mythical landscapes, they undergo personal growth, spiritual development, and ultimately achieve immortality. This descriptive-analytical research aims to explore the role and significance of mythical places within the tradition of storytelling (Naggali), drawing insights from epic narratives in the Shāhnāmeh and other sources. Through analyzing the mythological attributes associated with these places, the study reveals mountains as particularly sacred locations due to their elevated stature and proximity to the heavens. Additionally, other mythological sites such as springs, castles, crypts, and gardens are often situated atop mountains, further emphasizing their mystical nature.

Epic and myth own strong boundries, and notion of epic is being considered as emerging from the heart of the myth in some cases. Numerous ancient folk and epic stories have mythological foundations and their characters, creatures, and events are often wrapped in a mythological layer to make them more effective. Both Samnameh and Garshasabnameh are works arising from the mythological, historical, and cultural heritage of ancient Iran. Precisely, they are more or less mixed with the monotheistic worldview of their authors. By comparing the mythological signs in these two works and what is known as the characteristic of the epic text, the origin of these texts among epic and mythological texts can be examined. With this analysis, it is clear that the sequence of the events that heroes face in Garshasbnameh is, to some extent, towards national and ethnic goals, and is completely in accordance with the characteristics of epic texts. However, in Samnameh everything revolves around Sam's personal love, despite the use of metaphors by its composer. From the mythological viewpoint, this work can be classified in the category of semi-epic-semi-lyrical texts.

In the history and collective and national identity of every nation, women are an influential element, as women self-work has become an archetype. A woman affects her surroundings with every role and emotions, and one of these influential roles is women loyalty. Epic stories reflect emotions and feelings and the way people think in a period of history. The Shahnameh and the Ramayana are among the world literary epics in which women play a significant role. One of the prominent characteristics of the women in the Shahnameh and the Ramayana is their loyalty, and this is the characteristic of women loyalty that makes them not hesitate to do anything great. And the chain of incidents and big events in the epics. The present research with a descriptive-analytical and comparative method aims to deal with the expression of women loyalty in two epic works and world classics, Shahnameh and Ramayana. The results of this research show that the expression of women loyalty in Shahnameh and Ramayana is different. These differences are rooted in religious and ethnic beliefs and the nation view of women. Loyalty of Shahnameh women is associated with sacrifice, tradition, courage and bravery, but in Ramayana, adherence to traditions and beliefs and pure submission is a sign of loyalty.

The epic poem Ramayana is composed by Molla Masih Sa’d Allah Panipati, a Persian-speaking Indian poet of the 17th century, whose main theme is the narration of the story of the two lovers "Ram" and "Sita" and the wars of Ram. This poem is one of the epic works in Indian literature, which is written in Persian language, but two valuable points about this work should be noted: First, despite of this fact that the book appears to be an epic work, it can be considered as a lyrical genre. The lack of epic building elements in this work, instead of having romantic content and themes, has distanced it to a great extent from epic texts and the characteristics of a completely epic work. Considering the theme of this poem and the use of themes of love and epic in it, this poem can be considered a combination of epic and lyrical poetry in terms of literary genre. In this article, which is written in a descriptive-analytical method, the content and lyrical characteristics of the Ramayana poem by Molla Masih Panipati are discussed. From the total of 5307 verses of this work, 4000 verses have been analyzed randomly. The results of this research show that Mollah Masih, while narrating the epic story of Ramayana, dealt with lyrical topics such as singing, prayer and praise, and descriptive aspects. Among the content components of lyrical literature, Mollah Masih has paid more attention to description.

Epic literature around the world describes the bravery of warriors. Homer"s Iliad and Ferdowsi"s Shahnameh are among the most famous epics in the world. In this research, descriptions and similes of animals used in battles for victorious warriors, up to the 15th hymn of the Iliad and the first book of the Shahnameh, have been compared. These animals included lion, leopard, wolf, boar, hound, cow, ram, horse, elephant, rhinoceros, whale and dragon.

This research was done with descriptive-analytical research method.

Examining the two epic works under research shows that both works have used a lot of likening warriors to animals and sometimes they have used similar methods to describe and compare warriors to certain animals.

In examining the animal descriptions of brave warriors, we found three groups of wild animals (predatory and non-predatory), domesticated animals and mythical animals. wild beasts, lions, leopards, wolves and whales (crocodile); non-predatory wild animals, boar, elephant and rhinoceros; Domesticated animals were dogs, gowers, rams, and horses, and the only mythical animal was the dragon. Among the predatory animals, lions, leopards and wolves are common in both epics, and whales are unique to the Shahnameh. The non-predatory wild animals are the boar for the Iliad and the elephant and the rhinoceros for the Shahnameh. Domestic animals are all specific to the Iliad and mythical animals are specific to the Shahnameh. Both epics describe lions, leopards, boars, and wolves. These animals are known everywhere with the same behavior, and for this reason, they have been used in both epics as descriptions. Peel and rhinoceros are native to Asia and Africa, that"s why they are only used in Shahnameh. The use of domestic animals was due to cultural differences, and for this reason, such descriptions were not used for warriors in the Shahnameh. Such a simile of a warrior to a dragon exists only in the Shahnameh.

Epics are related to the period of establishment and establishment of tribes, and with the passing of their establishment, the need for bravery and fighting against native tribes and enemies disappears, and this is where national and natural epics have their place. are given to historical and religious epics. Don Quixote after Iliad and Odysseus and Iskandarnameh Nizami and Khosfi's Khavaran name after Shahnameh show the process of this change in the East and the West. Cervantes, the author of Don Quixote, used Hazel's language to disparage the epic ideas and in this work he focused more on the ideas found in the Eastern epics. The ground-breaker that shows the possibility of different readings of the same text shows itself more in the translation of Don Quixote's text. Niks-Sorsht's translation is one of these readings that has focused on the Iranianization and idiomization of Don Quixote's text, but it has not been able to eliminate the duality of the story's space. Ridiculing and reducing the content and humorous expression and characteristics of heroes, magic and sorcery, discipleship of heroes, underestimating the capabilities of women and relying on the principle of beauty, humiliating Arabs and ignoring the important place of the epic in the identity. The creation of Iranians and Indians, contrary to its appearance, has given Don Quixote and Cervantes an anti-epic foundation, and contrary to the epic attitude of Iranians, it has reached the production of the big conceptual metaphor "Ayari and Pahlavani are not path-breakers and problem-solvers".This descriptive-analytical essay, with library study and qualitative analysis method and with inductive reasoning, has investigated the translation of Don Quixote and its success rate and how it responds to Cervantes's anti-epic thoughts.

Reality is what we experience in our daily life, which can include personal or social issues. Social realism in ancient works can affect us in today"s life by the rituals and customs of the past. Therefore, in this research, by examining the social realism that has been carried out in the stories of the Shahnameh, we will achieve this important goal, which links the author of the Shahnameh, Ferdowsi, established between myths and reality, because on the surface, the cause of the events and actions is supernatural and unreal. It is said that while most of the narratives of the Shahnameh are based on the facts of life, the author in this research also examined the social events from the perspective of social, religious, political and cultural life in the Shahnameh.

The present research is a theoretical study that was conducted as a library research. The main scope and society of the study was Ferdowsi"s Shahnameh, works and websites related to the research contents, after studying these works, the analysis and comments of the authors were included.

In this research, we find that the foundation of most literary works is based on the reality of life, and the connection and similarity of the real manifestations contained in the Shahnameh corresponds to the social reality of our lives. Although the most artistic part of the Shahnameh is the mention of superhuman adventures, and apparently, at first glance, it does not fit with the reality and logic of our human life.

It is hard to believe the acceptance of many stories of the Shahnameh in concrete human life. Although Ferdowsi"s Shahnameh has a mythical and unreal appearance; But in its heart it has preserved the roots of reality. It can be said that the Shahnameh is based on the facts of life, and not only the facts of the life of the Iranian community, but the facts of human life.

The current article is an aesthetic and philosophical reflection on the epic essence of Ferdowsi’s Shahnameh compared with other chivalric verses after it. The chief concern of nineteenth-century aesthetic philosophers such as Schiller, Holderlin, Schelling, and Hegel has been eliminating the Kantian binaries of ‘freedom versus nature’ and ‘mind versus object,’ and this turns this concern into the central issue of modernity. The contact of these philosophers with Kant has resulted in a wide spectrum of historical formulations endeavoring to narrate the history of the soul prior to its division into object and mind. Also, the formulations seek to represent the essence of the beginning era known by terms such as being, essence, absolute, general spirit, totality, as well as coherence and totality. Hegel refers to this era as the epic or classical period. This article looks at Ferdowsi’s Shahnameh from this aesthetic standpoint, seeking to demonstrate how the poet during the late period of subjectivity and positive religions has been able to summon up the universal spirit of epic in his poetical form and get close to its poetic spirit which is absent in all chivalric texts after it. Here the main argument is historical possibility and the issue under discussion has not been reduced to the personal genius of Ferdowsi and preconditions like nationality and the periodic display of early emergence of civilization.

One of the points that has not been paid attention to in the subject of rhyme and line is what is the difference between the use of rhyme and line in different literary genres and whether the poet in different literary types (epic, lyrical and didactic) uses Has he commented on the difference in its literary type from the rhyme and the line or not? Although important works such as al-Mujajm Shams Qais Razi and al-Khawaja Nasir al-Din Tusi"s poetry standards and other prominent works in this field are important as the initiators of these sciences, none of these works have mentioned the important relationship between rhyme, row and their use in a specific literary type. and the main focus of these works has always been on rhyme and line as a means of creating music. This research has investigated, analyzed and compared 1279 verses from the two love poems of Weiss and Ramin with the love story of Bijan and Manijeh in the discussion of rhyme and line. The purpose of this research is to show the behavior of these two poets with rhyme and line and their use in lyrical and epic genres.

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking notes and classifying the materials.

The special place of rhyme and line in the structure of verse helps to understand and analyze it in the history of various developments of Persian poetry, and by examining these influential elements in verse, we can get valuable results in the analysis of verses and the poet"s style of verse making. He achieved in his type and literary style.

In this research, by extracting the rhymes and rows of verses of these two love stories, we showed that Ferdowsi, unlike Fakhruddin Asad Gorgani, uses rhymes and nominal rows in his verses, and deliberately moves his syntax away from standard syntax, and although a story He narrates a romance, but in no part of his work, he does not leave the epic genre and the unnatural language, while on the other hand, Gorgani is loyal to the natural language by using more current rhymes.

In the works of Persian Sufis and mystics, alongside national, historical, and religious epics, there exist mystical epics as well. These mystical epics feature the holy traveler (sālek), who, like the hero of the epic, continually faces conflicts with his/her hidden devil or carnal soul. In Suhrawardi's treatise, Aql-i Surkh (The Red Intellect), the author employs symbolic language to depict the soul's entrapment within the body's prison, and through the words of a wise old man, he illustrates the intricate twists and turns of the path towards spiritual rediscovery.
The current research, utilizing an analytical-descriptive method, examines the epic elements present within Aql-i Surkh. This analysis reveals the mystical-epic components embedded within the treatise. The study's findings suggest that epic components and symbols, such as the struggle between good and evil, the journey, the Haftkhān (Seven Labours), the need for a wise old man's companionship during Haftkhān, Mount Qaf, Simorgh, epic warriors, Jam-e Giti-nama, weapons, and the Water of Life, imbue the treatise with a distinct mystical-epic flavor.

The poems and epic works that were written after the Shahnameh and often following, establishing and imitating it in religious, heroic and historical contexts are among the sources that have received less attention from Ferdowsi scholars and Shahnameh scholars in the field of scientific studies. And while these works, in addition to the many influences in the field of linguistic, literary and intellectual style from Ferdowsi's work, are also considered a very suitable source for criticizing and evaluating the success rate of composers in imitating Ferdowsi's Shahnameh. The main purpose of the upcoming study is to examine and analyze Ghazannameh and Shahnameh Changizi as two Shahnameh poems written in the Mughal era, which were written in imitation of Ferdowsi's Shahnameh.

The method of study in this research is descriptive-analytical based on library studies. In this research, in order to present the literary style more precisely, the researchers systematically analyzed a thousand verses from each of the systems.

The poems of Ghazannameh and Shahnameh Changizi were written in close imitation of Shahnameh. Both poets have tried to write an epic narrative in the form of a historical text by choosing weight, tone, themes and to some extent epic descriptions.

The results of the research indicate that in the two mentioned poems, linguistic features such as the use of sounds, phonemes, homophones, literary features such as simile and irony, and epic descriptions to a large extent show the composers' imitation of Ferdowsi's Shahnameh, although due to the choice of historical subject (History of Ilkhans and Mughal Rulers) The use of Arabic, Turkish and Mongolian words, the use and use of similes in the form of detailed similes and little use of metaphors, it can only be said that the imitation of Ferdowsi is more prominent in the aspect of weight and music of words.

Abu Tammam (d. 228 AH) is a famous poet of the Abbasid era. He is a deconstructive poet whose poem's concepts will not be understood except with contemplation. The main theme of his poetry is the ode and the prominent theme in his divan is eulogy. The eulogies usually begin with lyricism and sometimes end in epic. In his divan, there are some sonnets whose number of verses from 2 to 8. This paper tries to analyze these sonnets and identify artistic images and literary devices used in his poem. This research based on analytical-descriptive method, presents quantitative data along with numerous examples to shed light on the artistic status of his sonnets. Abu Tammam adopts the theme of some of his sonnets from the nature and others from religious teachings. In other instances, he has integrated emotional elements with epic. Thus, the metaphors, similes and wordplay used in his poetry is an indication of different intertwined concepts in a poetic experience, being visible in two dimensions. Except a few instances, the artistic quality of rhetorical and literary devices of these sonnets reflecta coldness of the poet's feelings and a futility of imagination,

The epic has a special place in Kurdish literature; in such a way that many manuscripts of Kurdish epopee (epic poems) have been preserved today, which deserve to be introduced so that epic researchers can easily find these copies. Among different types of Kurdish epics (heroic, religious, and historical) religious epics have been less discussed; the epopees that often report the campaigns and wars of the time of the Prophet (PBUH) or the fictional battles of the renowned Islamic figures such as Hazrat Ali (PBUH), Hamzah Sheid al-Shahda, Muhammad Hanafiyah, Khaled Ibn Walid, Zarir Khazai and… have been turned into verse. In this research, the authors try to first provide information about the epic and its types in Kurdish literature and then introduce the Goran religious-epic epopees kept in the libraries of Iran and the world, along with the codicology.

The two epic poems Bahman Nameh and Kush Nameh are among the national epics that were organized after Ferdowsi's Shahnameh and following it in the late 5th and 6th centuries and played a significant role in completing the narratives and stories of the Shahnameh. By carefully and reflecting on these two works, one can understand the necessity of ordering and printing the works after the Shahnameh in keeping alive the Persian language and the stories of ancient Iran, which Iranshah bin Abi al-Khair, with all his love and devotion, devoted himself to order and compose it. In these two epic verses, on the occasion of many conflicts and grudges between the main characters of the story and their enemies, we are faced with numerous scenes of war and battle; So that the main characteristic in Bahman Nameh and Kush Nameh can be considered as the category of war and fighting, and the best descriptions in these two books can be considered specific to the battlefields. But in the midst of these epic stories, we come across lyrical and romantic scenes that are actually the meeting place of epic and poetry. These stories, while being epic, have the characteristics of Ghanaian stories. In this research, the author tries to investigate the love effects in these two verses by descriptive-comparative method. The results of the research indicate that these two poems are an epic poem. be; But the manifestations of love and romantic relationships can be seen everywhere in these two works.

Knowledge of literary genres is one of the oldest and most influential intertextual approaches that has been used to classify texts since the past and has been subject to change. But the background of the theory of genres in Iran is less than a century, and its justified application in a comprehensive way in many fields and literary trends is still facing ambiguities and challenges. For example, in classifying ancient narratives, the question arises: on what basis and with what considerations can the dominant literary genres in these texts be proved? The lack of serious research and criticism in response to this question has led researchers over the decades to classify ancient Persian stories by resorting to self-invented, unscientific literary terms without methodological explanation, while the common terms not only fail to give a comprehensive indication of the content and linguistic characteristics of such narratives, but even keep them in a genre indecision or lead them to several similar genres. Since one of the functions of motif study is to determine the literary genre of the texts, the present study has attempted to draw on the Aristotelian theory of genres to utilize this potential talent and prove for the first time through the method of inductive reasoning and relying on the statistical community based on the study various motifs of three stories of Abu Tahir Tarsusi that their literary genres belong to the epic.

The ancient epic of the Indians (Mahabharat) has affinities with the outstanding and universal epic of the Iranians (Shahnameh) which highlights the cultural similarities between the Indians and the Iranians. The present study tries to explore these two master epics and to examine the two mythical creatures of these two works from mythological perspective and to investigating their similarities and differences. The results of this research which carried out in analytical-descriptive method, seek to answer the commonalities and differences in the aspects of the two mythical creatures of the aforementioned works and the common criteria between these two works to show that among the numerous characters of these two epic works, similarities between Simorgh and Garuda are noticeable. These similarities and differences could be studies from various perspectives such as their unique place among the mythical birds, their appearances, their full presence as required, and their life on the sacred mountain. Another result of this research is that there are significant differences between these two mythical creatures; For example, in terms of outstanding personality traits, there is a significant difference between these two mythical birds: Simorgh's character relies on his wisdom, while Garuda is admired by his overwhelming physical strength.