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

Socialization is said to be a process that every person experiences during his life and based on it, he gets acquainted with a set of values, customs and norms and accepts various roles in the society. This category creates obvious manifestations in the personality of a sociable person and on the other hand, if this process is not done correctly, it creates a person who avoids society. In Iranian culture, there are various ways to socialize people, which include holding festivals and joyous gatherings. A part of this ancient culture is reflected in the books Hezar o Yek Shab and Samak Ayyar. In this research the function of shindy has been investigated with regard to the concept of socialization in the mentioned works.

This research was written with reference to library sources and descriptive-analytical method.

The results of the research show that in the course of holding festivals, things like: transferring culture, flourishing abilities, institutionalizing values and norms, teaching skills and roles, creating interpersonal solidarity and stability of the social system have been observed as the goals of socialization.

Although at the superficial level, festivals were held to promote happiness, but in depth, they were held with the aim of strengthening interpersonal relationships.

One of the main aspects of Veis and Ramin poem is its attempt at reviving ancient Iranian culture, what we can also observe in the story of Samak-e- Ayar an Iranian story written in the time of Seljuk Empire. The two works borrow certain cultural elements such as the type of governing, drinking custom, war, swearing, entertainment, hunting, among others from the pre-Islamic era. There are some mentions of Veis and Ramin in the story of Samak Ayyar which shows that the author was aware of this former work. However, Samak-e- Ayyar is considered an epic work and thus far, no intertextual analysis of these two works has been done. As Veis and Ramin is written in poetry, and Samak-e-Ayar in prose, the former lyrical and the latter epic, this study aims to provide an intertextual reading of the two works. The findings suggest seven intertextual elements: the folkloric origin, common reference to sun-king, the negative role of nurse maid, letter writing, role playing of women, the role of music and different types of swears.

Since the beginning of the history of cinema, adaptation of literature has taken a significant share of dramatic works, including television films, series, and movies in the world, and after more than a century, attention has been paid to the adaptation of literary works in the genre. Animation is a growing trend in cinema. In the meantime, benefiting from narrative-oriented popular literature for the production of dramatic works is one of the appropriate ways to use the treasure of Persian literature. This issue is investigated in this research with a descriptive-analytical method and an interdisciplinary perspective. The capacities of Samak Ayar as one of the most popular works of this type of literature should be investigated for making an animated serial adaptation. Based on this, it seems that there are many ups and downs due to the adventurous structure and diverse and entertaining themes in the context of countless kinds of tying and unraveling of the story, which includes action-oriented and suspenseful conflicts and crisis points. There is a capacity to use these elements in the creation of a series in the animation genre by selecting and paying attention to various and popular characters of this text and relying on all kinds of situations and exciting scenes.
 
Keywords: Popular Literature, Samak Ayar, Adaptation, Serial and Animation.
 
Considering the vastness of Persian literature and especially classical literature in different presentation structures and in poetry and prose formats, it can be claimed that even a poem, a historical text, or a travelogue may have this capacity to be adapted. In other words, in this view of adaptation, the analysis is not focused on the mere presence of some dramatic elements, which are present in many literary and non-literary works, but the qualitative level of these elements, along with their frequency and repetition, will determine their desirability for adaptation.
From this point of view and considering this in the range of classical Persian popular literature, there are various popular stories suitable for adaptation in various theatrical formats, including movies (live and animated), serials, theater, and even computer games. By introducing and analyzing works with characteristic features for their adaptation and reproduction in all kinds of media, we can create more hope in strengthening the process of interaction between cinema and native literature in accordance with Iranian culture, which depends on the skill and the artistry of the filmmakers. In this way, in the present research, one of these types of works, namely Samak Ayar by Arjani, is considered from the perspective of quantitative and qualitative elements suitable for adaptation in the form of animation. The main research question is: What are the favorable characteristics of this work of popular literature to become a visual version compared to other similar works?
 
In this research, first, by using documentary and library resources, the history, definitions, and characteristics related to the field of popular literature are taken into consideration. Then, using the descriptive-analytical method, the story of Samak Ayar has been investigated and analyzed in the context of popular literature and romance and with the approach of emphasizing the favorable indicators for adaptation in the production of animation series.
 
Redearch The exaggerations and dramatic dialogues have the capacity to become a popular adaptation in the form of a multi-season series with local and national approaches, such as the animation series of Pahlavanan. Based on this, the accurate selection of themes, characters, events, and the updating of physical and mental challenges, along with the selection of appropriate tone, language and expression, and the integration of advanced two-dimensional and three-dimensional technical techniques are suggestions for making a fascinating animation.
 
Discussion of Results and Considering the results of the present study, although the works of classical Persian literature have not been written for the show, there are brilliant works such as the story of Samak Ayar in this literary treasure, which has a high capacity to become a serial. Especially in the context of animation production, its capacities are more visible since this text relies on a long, eventful, and exciting narrative, in accordance with the Aristotelian structure, while having dramatic characterizations, detailed, and varied illustrations and scenes, fascinating incidents, numerous and varied conflicts and exaggerations. Considering the commonalities of animation and computer games in structure, the suggestion of making an adaptation game from this work will not be out of mind and can be considered as an independent research topic with this approach.

Persian painting is one of the critical contexts for the emergence and design of Persian and Islamic wisdom, which has a long life in the history of illustration of this land. The main issue of this research is to reflect on the use of Persian painting from philosophical principles affecting its color and light. The Persian painter uses various techniques to create this meta-sensory space, one of which is wisdom-based coloring. The primary purpose of this research is to study and analyze the views of Najmuddin Kobra to use them in the audience-oriented critique of works of art. However, the question that guides this paper to achieve its goal is that if the audience is aware of Najmuddin Kobra's views on the manifestation of the colored lights, how do they read that work encountering with a work of art?

Accordingly, Sheikh Najmuddin Kobra's views were analyzed in this study through Henry Corbin's hermeneutic phenomenology, and later, an artwork's colors were analyzed with a descriptive and analytical method by the audience. The present paper intends to adopt this approach to read the views of Sheikh Najmuddin Kobra and then consider the practical application of these views on a work of art to find an answer to the problem brought up in this article.

In the case study of the present paper, the slightest visual and color details in a mystical ideal system such as the mysticism of Sheikh Najmuddin Kobra can be part of a set of conventional cultural codes. The general basis of Najmuddin Kobra's views on the concept of intuition has been formed by himself. To explain his views, the Sheikh refers to what he calls "the path of observation." In his view, the dual levels of observation are such that forms and fantasies are perceived first, and in the second place, essences are revealed by colors. Of course, it should be noted that in Najmuddin Kobra's thought, color is not an accident but a kind of manifestation of meaning. In addition to this, he mentions two types of observations which are as follows:Mundane observation: Attention to the earth, occult observation, related to shapes and colors, seas and wells, and the like.Transcendental observation: Attention to the sky, apparent intuitive observation related to the sun, moons, and stars, and any subjective intuition.Najm Kobra begins his discussion on the intuition of colored light with the question of "In the path of observation, how different are existence, soul and devil?" In answering this question, he mentions a system based on the three factors of existence, soul, and devil and describes the intuition of colored light based upon the diversity of the effects of each factor.
Existence effects; According to Najm Kobra, existence in the first degree is the infinite darkness and gloom that attracts the seeker, and when there is a little purity and light in it, it corrects itself and finds a unique purity and becomes a white cloud.
Soul effects; According to Sheikh, a person's soul is melted in the color of the sky as soon as it appears, and if the devil dominates it, it will burn like dark springs or fire. Sheikh attributes each visible light due to the effects of the soul to one of Amara, Lavameh, or Motma'ina.
Devil effects; Najm Kobra believes that the devil is a fiery fire in which no purity is felt and is accompanied by darkness and blasphemy and embodied in the body of optimism.To overcome the evil effects of existence, soul, and devil, Sheikh proposes solutions such as the reminder and appearance of a helping angel or a heavenly witness and finally finds his way to see the light through allegories about the deserts to be traveled, mountains, plains, rivers, wells, and the sea which are to be understood. Finally, he describes his system of colored light as follows:Green; green is the sign of the life of the heart.Red; if it is not cloudy, the color of fire is a sign of the life of effort and power. If it is cloudy, it is a sign of intensity and unhappiness, and it means that the seeker is suffering due to a struggle with the soul and the devil.Blue; blue is the color of life.Yellow is a sign of weakness and disability.Finally, Najm Kobra speaks of a timeline through which humans with struggle can observe black light, dark shades of red and dark shades of blue seen as the green light, light shades of red, light shades of blue, and yellow. To experience this change in intuition, the Sheikh mentions a tool called heart. From one way, he likens the setting of this transformation, the seeker's existence, to a well in which man is at the beginning and end of the path and in an absolute state of darkness. After experiencing these transformations of the heart, a green light shines on the wellhead, and in a short time, it pervades everywhere so that no trace of the initial darkness remains. He describes how the heart transforms through the seven levels of existence and mentions the seven wells above which a sky and a constellation existed, talking with man from the bottom of the well. Sheikh considers the emergence of this light is possible when the man has borne the heavy burden of Mujahideen, so if a great intellect is revealed to him, the colors will also appear on him. The second factor causing the appearance of this light is the mention of the heart, one of the signs and symptoms of which is that the human being sees a source of light in front of him that flows as fast as possible, and the seeker feels calm when he sees it.This paper has studied a painted folio from the book Samak-e Ayyar of the Al-Injou period, currently kept in Oxford's Bodleian Library. This painting shows the story of the capture of Faghfor Shah in the battle with Daburah, who finally Samak rushes to his aid and saves him from the well. The set of colors used in this painting are six: black, two shades of red, green, blue, yellow, and white. The colors used in the lower part of the painting are black, blue, yellow, and red, and all the colors used in the upper part are white, red, purple, blue, yellow, and green, and all are bright and shiny. The black color at the bottom of the image is like a dark cloud that is the product of the appearance of purity and light in the seeker and the promise of his ascent from the depths of absolute darkness. In this painting, the predominant color of Faghforshah's dress is opaque red, and Najm Kobra considers it as a symbol of trouble and unhappiness, which is consistent with the situation of Faghfor Shah who is trapped in a well and is worried and anxious to get rid of it and has struggled and intensified. All four colors, light black, red, blue, and dull yellow, are the product of the turbidity existing in Faghfor's life. The celestial witness which has led Faghfour to get rid of this darkness is Samak Ayar, whose three colors of green, purple and white are evident in his clothes simultaneously, and he is the one who will ultimately lead to Faghfour's liberation and freedom.

The findings of this study indicate that the components, composition, color, theme, and meaning behind this painting are entirely consistent with the theoretical foundations of Sheikh Najmuddin Kobra. The painter has beautifully shown this difference by combining the image into lower and upper parts and coloring it into two opaque and explicit modes. Criticism is placed on the role depicted in it and the apparent meaning derived from the observer text. An audience-oriented critique can indicate the degree of human ascent from the well of darkness.

Samak Ayar written by Faramarz Ibn Khodadad is the oldest work in the field of Persian fiction. Although this long folk tale has its drawbacks in terms of the art of storytelling, it is very fascinating and entertaining. Samak is full of signs of social life; But one of the most frequent discourses is love. The story begins with the love of the prince of Aleppo, Khurshid Shah, to Mehpari, the daughter of Faghfor China, and almost all of its events revolve around this love. The subject of this article is to study and analyze the methods and techniques of describing love, lover and lover in this story. The authors of the article want to reflect on the author's perception of love and its tenderness and find out which rhetorical tools he used to reveal the characteristics of love and the lover and the scenes of meeting and merging lovers.The data of this research were obtained by library method and after categorization, were analyzed and described using qualitative method. The results of the research show that in Samak Ayar, love is basically "physical", "aristocratic" and "patriarchal" and is the center of the circle of good and bad actions of the characters in the story. This love is so powerful that it can draw the lover to China in search of the beloved and to reach the carpenter from Aleppo. The author's rhetorical tools to visualize these situations have been similes, metaphors, ironies, and especially artistic descriptions.

In stylistics, surface structures are very important. The surface structure that the author chooses from possible surface structures to express his view of deep structure causes to produce sub-meanings, resonances, stylistic, and rhetorical devices. Thus, the syntactic structure of a text plays an important role in its style. The story of Samak-e Ayyar is one of the most prominent championship chivalry written in the sixth century. Using the descriptive-analytic method, this study examines the syntactic layer of the tale and its proportion to the theme. The most important features are artistic conciseness; high frequency of verbs in sentences; abundance of short sentences, independent and dependent sentences; the beginning of verbs, displacement part of sentences because of rhetorical motive, the abundance of active and state verbs, and creating active voice, use of prefixed verbs, the emergence of grammatical mood in verbs of sentences, dominant of the indicative mood, rising and falling intonation in speech. Also, linking sentences are a mixture of discrete and coherent styles that give the story some kind of movement and fluency. It can be said that the syntactic structure of this story is proportional to its theme and plays a key role in its conveyance of meaning, clarity, enjoyment, and acceptance.

Samak-e Ayyar by Faramarz ibn Khodadad Arrajani is a Persian folk tale that Parviz Natel-Khanlari corrected and published based on its only manuscript kept in Bodleian Library, Oxford University. In the manuscript of Samak-e Ayyar, some words, phrases, and verses are mistakenly used, and the names of some of the fictional characters are inadvertently mentioned instead of the names of other characters. Natel-Khanlari corrected many of these slips and errors in his revised text, but others remain. This article seeks to correct these slips. The method employed for correcting erroneous verses is to refer to the poem collections of the narrators of these verses and present the correct forms via a deductive method. In a separate volume entitled The City of Samak, the editor of Samak-e Ayyar has recorded the meanings of many words and expressions that have not been included in dictionaries. The meaning of these words is given in this article concerning dialect dictionaries and the meanings of the phrases. The research results show that the correction of Samak-e Ayyar was done with great care, and its slips and errors are minimized. Retrieving these errors correctly and capturing the meanings of the neglected words helps the reader read this exhilarating story more eloquently and understand the precise and narrow meaning of some of the sentences

Postmodernism is a revolt against one-dimensional and monophonic beliefs that do not fit into any particular mind or boundary, and it emerges at any moment and in any place, embodied in the frame of a work of art. There are no definite rules and regulations in postmodernism and its characteristics have not been compiled in a coherent way so far, but there is almost no doubt about its connection with language. The linguistic conception of postmodernism makes it possible to make a connection between historical texts and postmodernism. One of the Iranian stories which seems to be closely related to postmodern fiction is "Samak-e Ayyar". This research intends to study and analyze the components of postmodernism in the story of "Samak-e Ayyar" using narrative analysis of the three foundations of time, structure, and narrative. The general result of the research shows that the use of postmodernism in this work is quite obvious, and the components such as uncertainty at the time of the story, the shakiness of the structural frameworks due to the elements from other texts and the inner monologues of the characters, as well as the blurring boundary between fiction and reality in this journey can give us a better picture of the story.

Samak-E-Ayyār is one of the most famous Persian folktale which has flourished in 6th century and it is known as romance. dialogue is one of the critical elements of fiction which has got the effective role in identifying the characters. Study and analysis of dialogue element are the main topic of this research. In this paper the researcher tries to analyze the dialogue function and role in Samak-E-Ayyār.

The present research is organized based on library resources and descriptive- analytical method. basically, this paper has studied Samak-EAyyār corrected by Parviz Natel Khanlari and published by Agah Press.

Following narration in Samak-E-Ayyār, there are direct and indirect dialogues. Most dialogues are short and reflex the pure classic prose of sixth century. In this work characters haven’t got distinct representation.

The function and role of dialogue in Samak-E-Ayyār have been demonstrated as argument, discussion and conflict. To reason the discourse, the mild language and errant’ reasoning, ministers and scholars are realized. Some facts, judgments and views are narrated by characters as well as narrator and it leads to democratic discourse. Love, suppliant and prayer are the reasons of emotional and sentient dialogue, characters’ performances make the audiences know them and bring along identification with the heroes. Dialogues are going to show as followings: They reflex events and adventures which help the narrative progress. Happy and sad settings are created by dreaming and astrology. Descriptions in dialogue deal to further introduction or recognition. Story’s climax and anticlimax, complication and denouement are appeared superiorly. Besides dialogues help the time acceleration of in Samak-E-Ayyār.

Teaching and teaching history, according to the necessities and social developments, requires the use of various resources and methods, and heroic literature is one of these areas. Heroic literature is part of popular literature. Folk literature includes a wide range of popular sciences and knowledge, including stories, legends, parables, and riddles. Popular literature has an interdisciplinary nature and is directly related to various sciences and sciences, including history. The present study seeks to answer these questions: What is the use of heroic literature texts in teaching history? How can one use history to teach history effectively using heroic literature? The research method is historical and descriptive-analytical. Three texts of Ayari literature including Samak Ayar, Hossein Kurd Shabestari and Amir Arsalan Namdar, which have a high capacity in teaching history in terms of historical and social information, have been studied and the findings of the article show that the texts of Pahlavani literature due to their simple nature and Explicit and auditory appeal can be effective in deepening historical learning and learners' interest in history lessons. Role-playing, project-based, source-based, narrative and traditional narrative methods are some of the methods that can be used in teaching history by using the texts of heroic literature.

Samak Ayar is one of the Persian prose and contains folk elements wich illustrates the may of life of the people of that period and oims to provide a clear picture of the reflection of this elemnts in the story as well as expansion of research in popular litelature the research is a destractive analitical study of data collection using library resources the researcher by reading and reading line by line the book by samak_e ayat reveals a manifestation of folk elements including: custom, game,blief, celebrations, medicin, tales, fairy tales,astronomy, proverbs observation extracted.according to the present study, this story contains the offects of folk litrature in addition to the intertaiment espects,it is in fact intellectoal and social inderpiniys of the people of that era and source of information about life costoms and traditions. It has high frequency among the investigated elements and the like and the outher transmits to the reader by using parables.what the cansiders to be sublime and humane traits .Keywords: Samak-e-ayyar, slangy letter,examples,mores and manner.

A large number of gods have arisen from the world of mythology and have been appeared as famous heroes or great kings in epics. One of these heroes is Samak in the prose epic-heroic story of Samak-e Ayyar. This hero, like the mythological gods Indra and Mitra, is considered to have some mythical characteristics. Some of the mythological features of Samak are as follows: rescuing princesses from the clutches of evil kidnappers; an inseparable relationship with Khorshid Shah; destroying demons and fairies; constantly accompanying a woman who is the manifestation of a goddess. By an analytical-comparative approach and considering the Indo-Iranian sacred texts, Rigveda and Avesta, and the ideas of mythological scholars such as Mehrdad Bahar, the authors of the present article have tried to compare the functions of two gods, Indra and Mitra, with the functions of Samak. The results show that Samak, the prominent hero of the prose epic-heroic story of Samak-e Ayyar, is an amalgamation of two mythological cultures of India and Iran and have metamorphosed into a new form.

The Story of Samak Ayyar by Faramarz ebn Khodadad Kateb Arrajani is a work of proverbs; Many of the proverbs mentioned in this book are about subjects such as fate and fortune,the life clerics and courtiers , self- preservation,friendship and loyalty,secrecy,patience and effort.The author's purpose in writing this article is to express the importance of proverbs that express the culture,beliefs, worldview and insights of the author's age. This article assumes that most of the proverbs in the story of Samak Ayyar revolve around social, philosophical and cultural issues.

Heroism is one of the main themes in popular Persian prose stories. The hero in these stories has characteristics that generally belong to the mythical beliefs and traditions of pre-Islamic and post-Islamic Iran. Many historical and social factors are important in the transmission of these traditions and beliefs but one of the most important ones is Ferdowsi’s Shahnameh. In many cases, the actions and characteristics of the hero in the Shahnameh can be considered to be the prototype of the hero in popular Persian prose stories. In this study, by examining four heroic prose works of Persian folklore, each belonging to a specific era, we identify and compare the heroic, political, and social characteristics of the hero-pahlavan and his comparison with the Shahnameh. The results of this research are as follows: Despite the formation of these works in the historical centuries, the hero has retained many of the mythical and epic features of the Shahnameh. Some of these actions and features are perfectly in line with the mythical and epic examples of the Shahnameh, and the narrators and writers have attempted to match the Pahlavans of popular literature with the Shahnameh. In some cases, despite similarities, there are differences between these actions and characteristics. The differences have often been due to the heroic ethics and some of the heroic and social political and social practices that result from the intellectual and cultural situation of the era of popular literature and the changes and transformations of the Ayyari system. Most of similarities can be seen in terms of appearance, combat power, type of birth, upbringing, growth stages, and the ideal years of the heroic.

This essay seeks to explain the typology of kings and to report on their practices to represent their role in the advancement of tales. The method used in this research is library-based and qualitative in terms of content analysis. The criterion for choosing these stories is, besides its reputation, a wide range of readers, the general interest and the frequencies of the presence of kings. After reviewing these stories, the author found that kings often seemed to be in Iranian and non-Iranian affairs according to the narrator's type of attitude, and that the picture of kings was reported according to the general context of the story and its context. In addition to requiring a particular content, it also requires certain heroes and types of character. Darab-Nameh has an epic & mythological content, and therefore the behaviors and actions of the most kings are mythological epics. Hussein- Kord is also an epic-religious tale. Our hypothesis is that storytellers seek to shape and regulate the structure of society in the form of king, the courtiers and other heroes; in other words, they seek to establish a definitive framework that is occasionally violated. They are problematic and are considered as unforgivable. In order to study the stories and according to the frequency of types, the author concluded that the "courtiers", especially the king, his family and his ministers, had the highest frequency and presence, and most of the stories began with the words "Shah" or "Prince". There is an intense sense of indigence and Iranism in these stories, so that the types of Iranian kings are much more subtle, more human, richer, more just and wiser than other non-Iranian officials. Darab Nameh is more epic than the other two stories, and the type of kings has been portrayed in a more fictitious, confident and historical way. It should be noted that in Hussein- kord, the kings are not very present and do not act much more.

The poets and men of letters have long been concerned with “woman” and its characteristics. Many narrators and authors have discussed this issue considering its different existential aspects. The works such as Samak-e-Ayar, Bakhtiar name and Sendbad nameh are the works in lyric literature which are written in prose and have analyzed “woman” as a character in tales. The present analytic – descriptive paper studied and compared “woman” in the aforementioned folk tales. The result showcased a positive attitude towards “woman” in Samak-e-Ayar because of enjoying Iranian Cultural themes. Secondly, Bakhtiar name contained more reasonable and positive instances. Finally, Sendbad nameh had a more negative attitude because of being shadowed by Hindu culture and tradition.

Coexistence with a female or male principle in the body and soul of a man and woman has long been considered. Although this view persists in some cases, some scholars such as Jung, in the terms of Anima and Animus, have tried to apply these two principles to human sciences. In folk tales and ancient fictional texts, these two principles appear in the form of romances. One of these old represent of Archetype is the presence of some of the characters in the shadow, which is referred to as "Daye" (nursemaid). His presence in the early stages of the growth of the heroes of the stories, as well as some of his positive and negative actions, expresses the old path of Anima's model in the minds and minds of the storyteller. This research tried to present a paradigmatic interpretation of the sense of nursemaid by representation of the roles of nursemaids in some Persian folk tales. The research questions are: what roles does she play as an Archetypal Anima? In which characteristics is her main role portrayed? Is her role invariable or does it change? By examining these stories, it was cleared that she had shown nine role (six positive and three negative). Among her positive roles are her nurturance and growing up, intermediary, confident, resourcefulness, intercession, and preparing the spousal affairs. Her negative roles can be seen in magic, witchcraft and spellbinding, information and managing of the alehouse (bagnio). Most of the actions and behaviors that exist in people’s minds are also observed in the studied stories. Among these deeds, nurturance and growing up have been the most frequented as a positive role and witchcraft and spells of highest frequency among the negative roles. About the positive roles of Anima, intermediary, confident, resourcefulness and intercession and preparing the spousal affairs all subsumed under the "intermediary" character of Anima. The criterion for choosing the stories was the presence and role of Daye in them. Among the long folk tales we chose Samak-e Ayyar, Abu Muslimnāmeh and Hossein-e Kurd because of the stories’ importance, the diversity of motifs, and the frequency of the presence of Daye (nursemaid).

Samak-e-Ayyar is the oldest existing example of storytelling in Persian; it is the first long prose story available today and one of the most beautiful stories in Persian language and literature written in simple and smooth prose. In this book one can understand the social and cultural situation of Iran in the sixth and seventh centuries AH. Among the social information, firstly, comes the situation of Ayyaran and their customs during their own time and before. Samak-e-Ayyar is not only a love story; it can be said that it is a prose epic belonging to the middle and lower classes of the society in the oral form until it was written down. Folk stories have a primeval root in the history of a nation and in this story, Ayyaran respect all moral humane, and social principles. Rituals, manners and moral qualities of Ayyaran are mentioned many times in the book and this study tried to extract and analyze them.

To study the excursion of presence and evolution of chivalrous characters in Persian literature, this article is examined three stories, “Samak e Ayyar”, “Dash Akol” and “Qeidar”, in terms of similarities and differences among characters and characterizations. mentioned stories have been selected because “samak e ayyar” is the first story in which the role of knights (“Ayaran”) is bolder than kings or heroes; “Dash Akol” is the first manly (“Dash Mashti”) character in modern Persian literature and “Qeidar” is the last one. This study indicates that in all three works, the distinction between protagonist and antagonist is clearly distinguished based on chivalry characteristic nevertheless the protagonist in “Samak e Ayyar” and “Dash Akol” is similar to antagonist in terms of facial features and behavioral characteristics while the antagonist of “Qeidar” is different from protagonist in this sense. Furthermore, “Amirkhani” appends the component of belief in Islam to the constitutive elements of chivalry characteristic, however, in spite of facial features, it is fully similar to “Samak e Ayyar” in terms of organizing events toward highlighting typical characteristics of chivalrous character.