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

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.

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.

Supernatural forces are special forces that exist potentially in humans, animals, and even objects, and under certain circumstances, give rise to incredible actions the root of which must be sought in ancient times . Must be searched. In ancient myths, these supernatural beings compensate for the inadequacies and shortcomings of kings and heroes in achieving the goal. Belief in these forces can be seen in ancient and remarkable masterpieces such as Gilgamesh, The Shahnameh, Ramayana, Iliad and Odyssey. Therefore, the present study examines supernatural beings in two valuable ancient epics: The Shahnameh and Gilgamesh. This research has been done by descriptive-analytical method and the authors seek to find out in which epic the influence of supernatural forces is more evident. The results show that supernatural beings and creatures in Shahnameh are superior to the epic of Gilgamesh in terms of diversity, role and function, so that some of these creatures and animals have played a fundamental and important role in the epic and national process of the work.

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.

In myths based on Douboni"s beliefs that creation is formed on the basis of two identical and opposite gems; Wisdom, which is the source of thinking and reasoning, is divided into two parts: Ahura"s benevolent wisdom and Ahriman"s wisdom. Deceit is a tendency towards demonic wisdom in order to do ungodly and reprehensible things. Also, choosing the best type of thought and deliberation for sinister and wrong purposes is called wisdom. The purpose of the present research; The discovery of similarities and contrasts in these three magnificent epics has been universal.

This research was written in a library method and analytical-descriptive way based on the comparison of the concept and examples of dezhkheradi in Ferdowsi"s Iliad and Odyssey and Shahnameh. and has tried to show the types of this reprehensible and demonic wisdom by giving similar or different examples of wisdom in three epic texts, Iliad, Odyssey, and Shahnameh.

In Ferdowsi"s Shahnameh, which is based on the centrality of wisdom, the wisdom of the heroes and kings and the results of their tendency to misguided wisdom have been examined, and in the Iliad and the Odyssey, the wisdom of the gods of Olympus, which should be the basis of wisdom, has also been found and examined. Is.

In the beliefs and beliefs of ancient Iran that appeared in Ferdowsi"s Shahnameh during the stories; We find this kind of negative wisdom that is harmful to good people only on the part of Divan and demons and evil-minded people, while the adoption of such reprehensible wisdom in the Iliad and Odyssey both on the part of snakes and warriors, on the part of ordinary people, and on the part of goddesses and Divan. Heaven and gods are seen.

Ali Nameh is the first religious epic in Persian literature traced back to fifth A.H. The composer of this versified story is a Shia poet alias to Rabi’e who has composed the descriptions of Imam Ali’s combats, especially his combats in Jamal and Sefein, versus Shahnameh. Applying a descriptive-analytical method and library references, the present paper aims to determine the influence level of this less known religious epic from the stylistic elements of Shahnameh linguistically. This is a comparative study; therefore, at first, we have chosen two stories from Shahnameh, “Rostam’s combat with Ashkbous” and “Amroas’s combat with Imam Ali” and Ali Nameh composed by Rabi’e. The stories were compared and contrasted phonologically, morphologically and syntactically in order to figure out their common and distinct features linguistically. The findings reveal that although Ali Nameh has been composed against Shahnameh 70 years after that, it is highly affected by Shahnameh in term of linguistic styles. In fact, Ali Nameh includes a majority of phonological, morphological and syntactic features of Shahnameh and its Khorasani style. The high level of influence from Shahnameh proves that Shahnameh has always been considered as an indicator and stylist work which has inspired other epic poets.

In this study, the concept of resistance in the Ashurai poems of Yazd is investigated using descriptive-analytical and testimonial methods with the aim of interpreting the content of the Ashurai poems in the context of epics and mysticism. In the Ashurai poems of Yazd, the aesthetic and artistic aspects are so intertwined with the content of the poems and the beliefs of the composers that it is considered a turning point in the expansion of the expression of the concepts of resistance and the spread of this type of message. The ritual poet of Yazd clearly states the thoughts and concepts that exist in the culture and school of martyrdom by mixing both the Persian literary language and the common language of the people and also using local literature. The achievement of this process has caused that beyond the thematic commonalities of Ashura poems, the concept of resistance in the two axes of epic and mysticism have become the adornment of these types of poems and a new chapter in the fabric of this category of poems has emerged by using these two elements. Thus, the Ashurai poems teach mankind different values and anthropological lessons using an aura of epic and mysticism through the window of emotions and sorrow. It is obvious that the connection of Ashura's emotion, mysticism, and epic with resistance thoughts has led to the enrichment and elevation of ritual poetry, the explanation of Ashura's philosophy, the literature of the front and war, and the expansion of Persian poetry.

Few world literatures can be proud of a masterpiece like Firdausi's Shahnameh. This masterpiece of epic poetry has been translated into more than thirty-five languages in the worldtill date. MoniruddinYusuf, the most prominent author and translator of modern Bengali literature, translated the entire Shahnameh into six volumes in Bengali. He translated the complete epic in Bengali prose literature, but was very careful to retain the poetical weight of the original Shahnameh.Which means it is not an ordinary prose translation;the rhythm of ‘free verse’ were maintained in every line translation of this great epic. Yusuf has translated the descriptions of the characters accurately as the original.Renowned personalities like Rostam and Sohrabhave been described same as the Persian epic. So it seems like we are reading an epic by a Bengali poet. Although Firdausi's Shahnameh has been translated into many languages of the world, the Bengali translation of it by Muniruddin Yusuf can be considered as one of the best version of it. The purpose of this research is to introduce Moniruddin Yusuf and his literary skills to the Persian speaking scholars.

Undoubtedly, magic and sorcery have a history as old as human history. Fantasy and its process are topics that can be explored in the literature. Iranian epics also have such dimensions. Especially since they have a close relationship with myths, legends and epics. Mandatory components in fantasy texts are magic, sorcery and sorcery. This article is an attempt to pay attention to the similarities and differences between the use of this component in the Garshaspnameh system with Faramarznameh and Banogshspnameh. To achieve the result, an attempt has been made to first provide a brief definition of fantasy, and then to examine the characteristics of Gershasp and Faramarz and Banu Gosps in these systems. Finally, by mentioning the evidence, the frequency of use of magic and the reason for the superiority of Garshaspnameh in the fantasy dimensions of magic should be compared. In comparing the frequency of use of these elements, first there are Garshaspnameh letters, then Faramarznameh letter, and finally Lady Gashsapnameh letter. Among the reasons for this superiority in the Garshaspnameh are the existence of travel and its types and the poet's mentality, as well as his closeness to the Khorasani style compared to the other two poems.

The clothes used in ritual ceremonies show the continuation of an ancient mythological rite. The type and color of the clothes, decorations and objects used in rituals have certainly a symbolic root; though not everyone who is wearing these clothes or using these objects is necessarily aware of their symbolic meanings. This research, in an analytical and descriptive method, is dealing with the relation between clothing and ritual-mythological ceremonies. In every ritual ceremony, we are witnessing special clothes and tools related to that special ritual. Different nations and tribes have different mythological narratives, usually with a common root, regarding the process from primitive life moving towards the modern life. The subjects related to the industry, producing fabric and the method of putting on the clothes are normally ascribed to gods, while in epics they are attributed to the characters and heroes. The color of the ritual clothes is in harmony with the universal symbols and their roots could be found in the mythological beliefs.

The most obvious point in the studies of Iranian epic literature is the focus of these studies on the epic works of eastern Iran, focusing on the Persian language and the Shahname, and not paying attention to Iranian epic literature in other languages and dialects. In this article, for the first time, Iran's epic literature is divided into two branches of Western and Eastern Iran in three periods: Ancient, Middle and Modern. In the ancient period, during the kingdom of Elam, Medes and Achaemenids, there has been investigations with regard to the influences of Mesopotamia and Scythian civilizations in the western branch and Avestan epic literature in the eastern branch. In the Middle period, Parthian and Sassanid epic literature has been recognized due to the unity of Avestan and Achaemenid narratives, the influence of Greek culture and the division of the time horizon of Iranian epic literature into two branches A (from Kiyomarth to Bahman) and B (from Kiyomarth to Yazdgerd). Its reflection can be seen in Pahlavi texts and Khodāynamē respectively. In the new period (after Islam), epic literature has been divided into two western branches centered on the Gurani language and the eastern branch centered on the Persian language. Each of these branches has been examined in the two main sections of Shahname writing and Shahnameseari in two Sepehrs A and B, and religious, historical, heroic-love and prose epics have been introduced throughout cultural Iran. In the approach of Persian and Kurdish language, epic literature in the neighboring lands of Iran is also mentioned.