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

The present research sought to extract the history of the concept of epic from dictionaries, texts, and press reports. In Persian, the term “Hamasah” denotes the epic genre. This equivalence has happened only recently. Earlier, the word was used in Arabic to suggest three different meanings: 1. courage, 2. Qasidas and Qetas in the Arab literature mainly revolving around the achievements of tribes and individuals, and 3. a type of poetry selection. Probably around 1828, the Arabic word “Hamasah” was considered synonymous with the epic and used to denote this notion for some time. However, after a point, Arab speakers chose the word “Malhamah” as an equivalent for the epic. In Persian, too, the word “Hamasah” has meant the same as was common in Arabic before being used to denote a literary genre. However, the instances of the usage of this word to indicate such meanings are scant in old dictionaries of Persian and are rarely used in texts. In the Persian language, the Kaveh newspaper was apparently the first to use the word “Hamasah” in its modern meaning. Notably, this newspaper was not published in Iran. Afterward, the press and books gradually began utilizing this word. However, the word continued to be used to denote its old (particularly honor and achievements) and new meanings for a while. In some instances, it was used in a way suggestive of both meanings.

Banu gashspnameh is a unique epic poem whose hero is a heroine named Banu Gashsp, Rostam"s daughter. The composer of the unknown work and the time of its transmission are believed by researchers to be in the late fifth or early sixth century. This poem is a description of the heroism and wars of this heroine with the Mehtarjins, with her father Rostam who had made herself anonymous, with the messenger of Afrasiab and with three Indian kings which overcomes all of them and finally ends with the marriage of the lady with Giv, Goodars" son. In this research, we intend to examine the stylistic features of this pleasant work, which is an imitation of the Shahnameh.

Leading research has been done relying on the library method and taking notes. The study area is Banu gashspnameh, edited by Dr. Roohangiz Karachi and published by the Institute of Humanities and Cultural Studies.

This work was studied and analyzed at three levels: linguistic, literary and intellectual. In this system, the poet has used rows and their types with high frequency which is a kind of deconstruction in the language of epic. In the study of rhyme, he has used contrast rhyme to a great extent. The use of high-frequency puns, the use of Pahlavi words, and the use of epic words such as: epic animals, epic tools, epic attributes, epic verbs and the use of metaphors, metaphors, metaphors and exaggerations with high frequency are other features of this epic.

In the detailed study of verses, the most important intellectual and content feature of this system is the existence of Zoroastrian religious elements and Islamic religious elements, patriarchy, moral themes and characteristics of Iranian society. The poet of this poem has been almost successful among other epic poems that have been written in imitation of Shahnameh, and in addition to the epic structure, he has used many themes to imitate Shahnameh in his work.

Borzunameh written by Attaii Razi has a special state among Persian celebrated epic works. What has made the poems of Attaii distinguished among others is his appropriate use of rhythmic words as well as the cohesion and coherence of his poetry. A technique used by Attaii for giving flexibility to the words and creating an epic and passionate atmosphere is to apply rich epic rhythm in his discourse. His metrical style of poetry has given an energetic and zealous tone to his poems bringing great joy to the audience. Understanding the metrical characteristics leading to the epic atmosphere in Barzunameh can familiarize the readers with the manifestation of various techniques used by this great epic poet. This study attempted to analyze a variety of metrical features such as the melody of letters, morphological derivations, synonyms and coordinations, ringing words as well as prefix verbs in the poems of Attaii. The authors in this study concluded that giving melody to the poems and creating affinity between the reader and profound epic concepts were among Attaii Razi’s main motives to focus on rhythm in his discourse.

Simorgh is one of the mysterious characters of Shahnameh, which in many cases transforms the fate of the war or the hero with its own power. But despite the outstanding position of him in the epic literary and narrative scrapbooks, its evolution and performance have never been studied as a centralized work. Therefore, in this essay, we tried to examine the evolution and performance of Simorgh in three areas of pre-Islamic literature, epic literature and narratives. The results of this research indicate that, unlike Shahnameh, in the other post-Shahnameh epic poems,prose epics, narrative transcripts and Folklore literature , there are more widely used powers related to this bird such as: helping Faramarz, asking Sam for help to get rid of Argham Div, spelling the city of Eram, helping Rustam in defeating Sorkhab Div and releasing Rakhsh, helping Rustam in defeating Jabbar-Shah and retrieving the ring of Prophet Soleiman from Sakhre Div, calling on Zal to convert to Islam, predicting the defeat of Zahak, Supporting Fereydoun, designing the Kaviani flag and Feridun’s weapons, upbringing Zal, releasing Keykavous from Mazandaran, Finding Rakhsh and Informing Zal of Faramarz's Survival, Killing Esfandiar, helping  Simorgh by Garshasp, Curing Rostam and birth delivery of Faramarz, Liberation Kaykhosrow, the coronation of Kayqhobad, killing Div-e Sepid, Choosing Rakhsh, victory over Sohrab, finding the way to survive Sohrab, and helping Zal to confront Borzu, Making armur of Rostam, keeping Rustam and Siavash from death.. On the other hand, regarding to the two aspects of Ahura and the demonic of Simorgh , his connection with Zervan is not impossible.

In this article, to understand the musical elegances of two great epic poet, Ferdowsi and Daghighi, we compare some parts of Goshtasbnameh which has been created by both of them. Our intention of music in this article is an extensive meaning namely form and construction. For a more detailed study of the subject, both of them from four direction has been investigated: 1-   External music or prosody, 2. Side music or Rhyme and row 3. Internal Music or figures of speech, rhetoric and linguistic structures 4. Contemplative music or structures of fiction and description. With statistical presentations and analysis of them, distinguished that Ferdowsi's verses in four directions had more integrity, variety, expansion and high literary value. Verses, rhyme and rows of Ferdowsi are more various, musical and artistic than Daghighis verses. In   figures of speech Daghighi has been more attentions to apparent of speech and rhetoric and Ferdowsi to depth of speech and intellectual relationships. In saying stories Daghighis verses compare to Ferdosis verses are more   strictly speaking, more direct and more ambiguous and older but Ferdowsis narrations are mor  realistic, multi-dimensional, more detailed, with more subtlety, and creating more attractive.  </strong>

In the lyric works, using personal I (more) and social (less), the inner concerns of the owner of the work or creature's characters are narrated. The element of feeling in this literary form is especially important. Obviously, human emotions do not fit into a particular literary form, and they are more or less created in all works created. Epic texts are no exception to this rule. In epic narratives, we see the linkage of the inner issues of the characters with their exterior concerns. Each of the champions has human features and emotions and feelings are in the tune of their thoughts and speeches. Accordingly, in the present article, the frequent lyric components in the epic poem of Banoogoshasbname are investigated. It seems that the poet with mention of romantic adventures, descriptions, satire, prayers and supplications, demand, khayriyah-naraee, bastard and rebelliousness, and humor has visualized to abstract  and mental concerns of the wizards by using element of affection caused to more believability of characters and placed the audience in it while reducing the violent nature of epic stories. Also, part of the ancient aristocratic rituals and customs of the ancient Iranian have been shown with the lyric topics.

Ali Nameh is an epic religious poetry composed by an unknown poet whose pseudonym is Rabi in the fifth century AH, in imitation of Shahnameh Ferdowsi and its subject matter revolves around the virtues and battles of Ali ibn Abi Talib. One feature of epic poetry is emphasis upon some images and scenes which tends to incline the atmosphere of the poem more towards epic. This emphasis manifests itself at times by "repetition" of the basic structure of poetry which leads to highlight the imagery. This element of repetition contributes significantly in influencing the reader by the linguistic effect of the work. This research first puts forward the aesthetic aspects of "repetition", then inspects the structural elements of poetry and finally provides examples for each element. The most recurrent element of repetition include word, phoneme, hemistich, sentence, compound words, theme, line, and syllable.

Bazel Mashadi′s Heydary Attack is one of the earliest and most famous Attack epics written in the twelfth century. Bazel exploits the style and format of Shahname in his masnavi, composed in twenty to thirty thousand verses. The poet, after chanting the praise of God, prophet and his successor (Vali), verses the history of Islam beginning from the prophet’s mission (Be’sat) to the order of killing Usman. However, the story of his death remains unfinished. After him, several people continue his work, but among these notes, just Fendereski's epopee is joined to Bazel's masnavi, by the poet Najaf in 1135 AH. Najaf, by composing some more verses, blends the two into a single set. This work, like other epics following Shahnameh, is highly influenced by Ferdowsi’s style and language; sometimes, even, this effect on some stories of Heydary Attack appears to be on an imitation stage. In this paper, the authors try, by a comparative analysis of the two epics, to show how Bazel uses Shahnameh as a model.
Bazel Mashadi′s Heydary Attack is one of the earliest and most famous Attack epics written in the twelfth century. Bazel exploits the style and format of Shahname in his masnavi, composed in twenty to thirty thousand verses. The poet, after chanting the praise of God, prophet and his successor (Vali), verses the history of Islam beginning from the prophet’s mission (Be’sat) to the order of killing Usman. However, the story of his death remains unfinished. After him, several people continue his work, but among these notes, just Fendereski's epopee is joined to Bazel's masnavi, by the poet Najaf in 1135 AH. Najaf, by composing some more verses, blends the two into a single set. This work, like other epics following Shahnameh, is highly influenced by Ferdowsi’s style and language; sometimes, even, this effect on some stories of Heydary Attack appears to be on an imitation stage.
The authors intend to compare different parts of the two works and show that whether the author of Heydary Attack is affected by Shahnameh, and if yes, how and in what parts of his work.
The comparison of different sections of the two books shows that Shahnameh has influenced Bazel Mashadi′s Heydary Attack in the following parts: 1. Story: Sometimes, Bazel takes advantage of a complete story, some of the scenes and events of the story or heroes’ dialogues of Shahnameh.
2. Compound structures: Ferdowsi uses a variety of additional, attributed and verbal compounds in Shahnameh. The beauty, well-combination and innovation of Ferdowsi's epic poetic compounds lead the next epic poets like Bazel to copy them in their works.
3. Verse: Sometimes Bazel Mashadi imitates a poetic style of Shahnameh. Even, one can say that he is unconsciously influenced by Ferdowsi′s epic poems due to lots of times he reads it, and as a result, his versification becomes like Ferdowsi’s.
4. Praising God: It seems that Bazel, in his praise of God, in some cases, is also influenced by Ferdowsi′s God praising; sometimes, he repeats some words of Shahnameh, and sometimes, he gets the essence of Ferdowsi′s way of praising God.
5. Rhyme pattern: In respect to the use of words, especially rhyme words of verses, Bazel even adopts Ferdowsi’s rhyme patterns or applies those patterns in his poesy. Sometimes, such rhymes are accompanied by row lyrics employed in Shahnameh.
6. Type of narration: Ferdowsi gets the prose stories from other people, such as the peasants of the feudal class, some writings well-known as Daftare Bastan ‘the ancient pamphlet’ and others whom he called ‘sage’ and ‘honest’ individuals, besides Magh, Azadsarv, Bahram, Shadan Borzin and Old Shahoo as specific persons mentioned by Ferdowsi. Bazel, too, versified the prose book Me’raj Alnabovvah & Madarej Alfotovvah written by Farahie into Heidari Attack, besides the narrative of the stories from the point of view of the wise and the honest.
7. Image: Ferdowsi creates various descriptions and images in accordance with themes and scenes. In this regard, ‘exaggeration’ is one of the images that Ferdowsi benefits professionally and abundantly. These exaggerations and hyperboles have influenced Bazel Mashadi and other epic poets after Ferdowsi, and they use such images with no change in their books. Simile and epanados??? are other Ferdowsi′s images imitated in Heydary Attack.
8. Proverb: One can find proverbs in Bazel’s book similar to Shahnameh’s proverbs in terms of content and vocabulary, most probably gotten from Shahnameh.
9. Allegory: Bazel uses Shahnameh’s allegories; however, sometimes he expandes the concise allegories of Shahnameh into details.
10. Slandering women: Sometimes Shahnameh’s heroes insult women through stories. This theme is seen in Heydary Attack too. For example, in the dialogue of Amr and Sufyan, Amr says men are truthful, while women are cunning and deceitful.
11. Sunrise and sunset: Ferdowsi in Shahnameh describes very beautiful sunrises and sunsets. Bazel and other epic poets following Ferdowsi, also, pay attention to these descriptions and use them in their writings.
12. Destiny: Ferdowsi attributes various traits to time and fate including instability, whims, unkindness and ignorance. The same attributes can also be seen in Bazel′s Heydary Attack.
In the present study, some aspects of Shahname’s influence on Bazel′s Heydary Attack were examined. However, considering the size of the two books and broad area of investigation, the authors believe that more research is needed in regard to the influence of Shahname on Persian literature in general and on religious and oral literature in particular.

In this type of criticism، the main elements that a critic takes into consideration are rhythm and rhyme، vocabulary، syntax and word order، and forms of imagination. In the standard epic language، i. e. Shahname، all these elements help the typical literary epic and recall thought epical contents، but in some epic works after Ferdowsi، it is seen that the main epical elements have been separated from context and have made the epic language oscillate and even have made it similar to lyric language. In order to find out this issue، we decided to review the main elements of epic language in a secondary epic، i. e. Ibn Hessam Khusfis Khavaranname. In this review، it has been specified that the poet has been nearly successful in using most elements of epic language including side rhymes، epic vocabulary، syntax and a fluent epic language، although unreal imaginary content has influenced the poet''s work، and as a result non-epic vocabulary and combinations have been imposed on him، and this fact has kept his language away from the sound standard epic language.

The literature of the Crusades – imposed on Islamic world by west، with religious cover and colonial motivation، in 6th and 7th century A. H-is a manifestation of the spirit of honor and unoppressedness among the Moslems، which are the worthful Islamic teachings. Islamic world now suffers from the prevalence of the western arrogant on their body''s pieces، and utilizing the means of though and poem، reviewed the honor-oriented poems of this period.

In this paper an attempt has been well - studied and Garshaspnameh epic in terms of aesthetics and structure of language and thought in terms of an analytical method to assess the quality of narrative and illustration. Narrative written and illustrated by the Garshaspnameh، concise، high Vmkrr but the image is as Ferdowsi، is targeted and relevant. The narrative is written in the style of argumentation and analogy. Unlike the epic tales of heroic language is quoted، the narrator of the story is written in the language. Repeat Garshaspnameh little but often repetitive themes. Adventures in SD lyrical narrative and lyrical descriptions of the most successful acts of combat and combat his descriptions are vivid lyrical themes and concepts. Unlike the one-dimensional description of Ferdowsi written description is multi-dimensional and Mynyyatvry. Garshaspnameh epic to epic self -centered person، can be considered as the epic Shahnameh، the national epic of Iran and centered. Unlike Garshasb Zhak which serves Rustam Iran''s enemies have never been served. SD is one of the great masters of epic storytelling and his book is one of the most valuable works of Iranian epic، but Garshaspnameh literary value and the power of narrative and the art of creating images with an epic، not equality.

Ashura event is one of the most important historical events thathas gained a great deal of attention not only from Muslim scholars but also from many non-Muslims as well. Considering historical-cultural relation betweenIranand Arabs, especially inIraq, Ashura has emerged as a common element in culture of both nations. This helps us to make comparative studies on the two cultures. In addition, there are many cases of common features regarding Ashura in literature of both nations, especially poetry, considering common cultural aspects especially regarding common religious and linguistic roots. Taking into account political differences, evolutions in Iranian and Iraqi societies, geographical environment, tribal issues, etc. there are plenty of differences in themes and illustration. This article compares and contrasts the works of two poets about Ashura and their approach to illustrate this even, one Iranian Shahriar and one Arab Mohammad Mehdi Javaheri. This study acknowledges that Shiite Arab poets and, particularly Javaheri, tend to adopt epic, historical and narrating viewpoint and Iranian poets especially Shahriar mainly focuses on narration

The influence of Shahnameh Ferdowsi in the Persian literature was the reason behind the formation of National epic poetry in Iran. Following the gradual decline of National epics which has started in the late 5th and the beginnings of the 6th century Hijira, composition of the historical epics and soon after religious epics began. With the establishment of Shia faith and special regard towards religious thoughts in Safavid period and the support of the court for the religious composers, the inclination for composing epic-religious poetry in praise of Prophet Mohammad and Imam Ali and his descendents greatly intensified. Mirza Abutaleb Fenderesky Esfahani was the pioneer of such poetry. He composed a poetry under the name of “Haydari rapture” about the life of Imam Ali, thereby he initiated a tradition that very soon inspired other poets in that period and later periods to compose and imitate epic poetry of this genre under the general name of “Haydari attack”. These poetries were normally concerned with the life of Prophet Mohammad, Imam Ali, major events in the beginnings of Islam, and Imam Ali’s Wars. Haydari Attack compositions in the 12th century Hijra, began with the composition made by Bazel Mashhadi and within a century after that, several people in his imitation, created works of this genre the last of whom was Lotfollah Ghajar, known as Majnoon. This article is concerned with the life and works of Mirza Abutaleb Esfahani, as the pioneer in the composition of epic-religious poetry and his influence over the continuity of composition of this genre of poetry and thus forming a tradition in the name of “criticism” in the Persian Poetry

One of the issues in modern criticism is the study of language of the literary works. The framework suggested for studying the epic language has focused on the reading of the language of epic poetry at different phonological and musical, morphological and syntactic, rhetorical and literary as well as theatrical levels in order to describe the quality of literary type of epics in language. For this purpose, through the innovative critic theories, mainly formalism, and based on the standard epic language (Shah-nameh Ferdowsi), the framework has been suggested for the study of the epic language at different levels. Subsequently, the paper is going to clarify the necessary indicators and illustrate the quality of them in the epic language by applying a number of evidences from epic texts, in particular Shah-nameh Ferdowsi, in order to access two goals: not only achieving the indicators of epic language but also examining them in the epic poetry and finding how the poems after Ferdowsi were or were not successful in the application of the epic language. According to this framework, it has been shown that Bazel Mashhadi, for instance, has not been successful in his using of the epic language. Moreover, the epic poetry as well as its created images, in some different aspects such as rhythms, composition and coherence, has a range of deficits as well.

ASaga is considered of the oldest types of poetry at the ancient nations, and of the richest world literature. And as we know contemporary Arabic literature is of the richest and the most well-known in the artof epic Literature and many of contemporary writers and poets were interested in epic poetry. Jamil Sidqi Azzahawi is considered one of the greatest epic poetry poets and among the most famous contemporarypoets. The study of epic poetry, which is one of the finest, and richest, and oldest arts literature is of a great importance. As we study the epic poetry, we see the story of championships and legends in it. To study the epic in the Diwan of Jamil Sidqi Azzahawi is of a great importance. And the epic "hell revolution" is of the best poetic epics in contemporary Arabic literature. Because it is an epic dealing with literary issues, as well as historical, religious, political, ethical, and mythical issues in the community. And it puts in front of the reader and listener a mythical model, and a fictitious or realistic hero. And it’s the epic that hasn’t got any attention, and from this viewpoint this article deals with its study.

Epic poetry is a sort of ancient literature which exists in most of the world's literatures such as Roman, Greek, Indian and Iranian; but Arabic Literature has not used this type of literature. Major reasons for this are as follows: 1. Lack of nationalistic sense 2. Arabic poetry is mostly based on vocality 3. There havent been real long term wars between Arabs 4. Arabic poetry has had mostly one type of rhyme and rhythm and thus has not been able to adapt itself with Epic poetry