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

On the first day of the battle, Esfandiyār overcomes Rustam with the power of invulnerability, a divine power, and not by use of muscle. This is a blessing given by Ahura Mazda, the strongest god of Zoroastrianism. Rustam has to ask the gods and smaller supernatural forces to help him to overcome Esfandiyār's invulnerability. In Shāhnāmeh, there are numerous signs of the widespread presence of supernatural forces, including gods, demon, fairy, and Rustam calls them to overcome Esfandiyār. The present article attempts to analyze textual and inter-textual evidences of the role of supernatural forces and Rostam's help from them. The results show that a group of supernatural forces came to Rostam's aid in the last battle, and this caused a balance in the supernatural forces on both sides and led to Rostam's victory over Esfandiyār. The research is a qualitative one based on text analysis.

The story of Rostam and Esfandiyar, as one of the most widespread and rich epics in Iran, has been the subject of numerous researches and has been studied and interpreted from various perspectives. Each of these researches, for their part, have shed light on this story and sometimes, have clarified some aspects of the Iranian culture and history. The present study, which is descriptive-analytical research based on the historical research method, tries to re-read the story of Rostam and Esfandiyar from another perspective and to test the hypothesis that this epic is the product of the analysis of the wise Iranian historians of a phenomenon that has occurred many times in the history of Iran and other countries. This historical phenomenon is a constant conflict between the central power and the local powers, which centuries after the emergence and spread of the story of Rostam and Esfandiyar in Iran, Ibn Khaldun formulated it in the form of his famous theory of how states emerged and fell. While confirming the above hypothesis and presenting a new understanding of the story of Rostam and Esfandiyar, the result of this research is also a light on the characteristics of historiography and the historical perspective of ancient Iranians.

Using the sources from the Islamic era and an analytic-descriptive research method, the author seeks to illuminate what Esfandiyar means by the term “Iranians” in the hemistich of “I shall give the realm to Iranians”, while complaining about his father, Goshtasb, to his mother. Many researchers of the Shahnameh (The Book of Kings) have raised this question whether Iran was not already in the hands of Iranians, so Esfandiyar would plan to take it back from his father and bring at their disposal? The research findings show that during the era of Kay Khosrow, Heroes considered Lohrasp, the grandfather of Esfandiyar, as an alien of ignoble origin,as he was a mandaeist (there are some inferences to this in The Shahnameh, while some other sources directly refer to his mandaeism), and he had close relations with such foreigners as Nebuchadnezzar II. In the hemistich quoted above, Esfandiyar intends to raise this subject to his father. Thus, “Iranians” in his words means Heroes of Sistan because the Parthians, of whom the dynasty of Zal and Gudarz are descendants, called their homeland and the surroundings “Iran-Shahr”. In the light of evidences, Sistan can be considered in connection with the expanse of Iranians (Iran-wīj)

Sacrifice is a religious custom spreading among different folks and nations with various purposes. Many religious traditions recommend killing an animal in order to stay away from disaster or to avert it. Some scholars take into account that the killing a camel ordered by Esfandiyār in the story of Rostam and Esfandiyār, and also the killing of Siavash by Afrasiyab and Sorkheh due to command of Rostam are amongst the types of sacrifice. The present research which has been conducted in a fundamental way, based on library studies and descriptive-analytic method has tried to show that there is no ritual sacrifice in the story of Rostam and Esfandiyār (killing a camel by the order of Esfandiyār) and the story of Siavash (how to kill Siavash and Sorkhe). To clarify this issue, the story of Rostam and Esfandiyār and Siavash in Shahnameh has been analyzed after analyzing and defining the sacrifice custom. Finally, there is no sign of sacrifice in these two stories, and killing a camel in the story of Rostam and Esfandiyār is a kind of apotropaic magic.

Present paper is to show the role of "precedence of verbs" in language expansion in the epic story of Rostam and Esfandiar. "Precedence of verbs" is one of semantic components whose rhetoric role in Persian literature has not been paid much attention. Based on "order" theory of ʿAbd al-Qāher Jorjāni,this research has been conducted through a library method. In order to achieve the goal, all verbs preceding the other components of the sentence in the story of "Rostam and Esfandiar" and their statistical frequency have been distinguished with regard to their verbal aspects, rhetoric purposes and the intonation of sentences. The author's statistical analysis indicates that the "precedence of verbs", along with the necessity of meter, is done to make the language and epical tone of the story outstanding and some reasons such as emphasizing on the verb in epic language, sequential precedence of verbs in some verses and assigning about half of the precedent verbs to the epic themes like boasting, warning and threatening, chastise and reproach and the promises of heroes can confirm that the precedence of verbs was effective to make the language of the story more epic and this is the reason Ferdowsi has used this rhetoric method.

The concept of invulnerability has a long history; it expresses the long-term desire of mankind to achieve immortality, and has been presented in various ways among the myths of various nations. The three myths of invulnerability, namely, Achilles, Esfandiyar, and Siegfried, have a widespread frequency comparing other myths, and the concept of invulnerability as an archetype can be studied in all three myths. Since many scholars have considered the similarities between these three myths as a result of Jungian archetype theory, the present article attempts to check the issue. The method used is descriptive and library research. With the aim of identifying the roots of these myths and based on the theory of archetype, the research reviews the common and uncommon points of the three myths; it studies three myths, Achilles, Esfandiyar, and Siegfried with comparative method and answers these questions: what common and distinctive roots can be found in the study of these three myths, and to what extent the similarities between these three myths can be justified by the theory of archetype. One of the most important results of the research is reinforce of the theory of influence of Ferdosi from Homer in the creation of Esfandiar's mythology.

The narrative focus has a significant role in the analysis of those techniques that the storyteller uses in creating his own stories. The point of view, with respect to its semantic extension in modern narratives, is a special aspect by which the narrator shapes the temporal, cognitive – emotional and ideological components of his story and the narratee is sometimes led to read the text when the narrator changes and creates various points of view and presents different views. Therefore, the story finds a dynamic process by an interaction among the narrator, the character and the reader. In the story of Rostam and Esfandiyar, the narrator portrays the setting, incidents, characters and their actions, thoughts and inner feelings in an aesthetic and beautiful way and this is done by using different and changeable narrative focuses. In addition, the narrator provides presentation, evaluation and judgment of the story by his absence or presence in some parts of the story and also by combination of two ways of narration and drama. Furthermore, sometimes the narratee is led to a more effective and sincere inspiration of the story by narrating the story from the characters’ point of view. In addition, the narrator expresses his own doctrines and special ideology by using non-narrator focus or the characters’ words; as a result he prepares the situation for the presentation and conjunction of different views or opinions, and in this aspect it equals many modern narratives. The analysis ofa few parts of this story can show Firdausi’s exceptional genius in his creation of this universal masterpiece.

In the present research paper, we try to analyze the place, time and wonderful events in three Mesopotamian, Greek, and Iranian epics through studying Gilgamesh, the Iliad and Esfandiyar Episode in Shahnameh. Indeed we try to study the role played by place, time and wonderful events in braveries demonstrated by Gilgamesh, Achilles, and Esfandiyar, the heroes of three epics works. Our essential objective is to reject some of untrue theories presented by some of comparative literature researchers that emphasize on the direct influence of one epic on the epics written afterwards. The present paper proposes a new approach to study the epics based on transcultural characteristics of this literary genre.

Apart from its ancient history، narratology has opened new territory in text analysis with the theories of people like Genette، Todorov and Barthes in recent decades. Genette believes that the relations between text-time and story-time cause different situations one of which being repetition frequency. Repetition frequency is the frequency of referring to an event which has happened only once. After the narration of the same event by Ferdowsi، the story of the birth of Zal، his father’s rejection and his being raised by Simurgh، are heard nine more times from Sam، Zal and Esfandiyar albeit in different forms and with different intentions. This subject has been analyzed based on narration-time. To further clarify the point، subjects such as narrative levels and reliability or unreliability of narrator have been studied. Ferdowsi as a historical narrator interferes with his own retrospective narration in different ways. Then certain characters in the story repeat the same account with “purposeful” additions and removals. Apart from the accounts given by Sam and Zal، that of Esfandiyar’s is fundamentally different from the other two.

In classical rhetoric, two dimensions of words and sentences are expressed with terms like primary and secondary meaning; real and figurative meaning; or outward and inward meaning. The branch of rhetorical figures which focus on connotation is known as “the meaning” in Islamic& Iranian literary sciences. It can show the semantic areas of the text by analysis of sentences’ connotations. In the method of discussion, critics emphasize on subject matter and audiences, to find the final meaning. This essay reviews the dialogues of ROSTAM & ESFANDIYAR (from shâhnâme) through considering the situation of addressed characters and classifying of participants in dialogues to understand the artistic function of statements. The issuesare: 1. the theme and emotional impression have been expressed in the figurative meanings of dialogues. 2. dialogues have usually two functions: it connects or separates the events of story by its narrative roles; or reveals the feelings of characters by its emotional functions. 3. the common figurative meaning in sayings of ESFANDIYAR imply his critical position to political and ideological powers in shâhnâme- ROSTAM and GASHTASB. 4. the contradictory figurative meanings in sayings of ROSTAM imply his tragic position in the story.

“The process of individuality” with centrality of considerable amount of Jungian archetypes makes the double-based unification of psyche - self awareness and non-self awareness – possible in the frame of symbolic acts and along the ceremonial journey for the hero. In fact, by passing the different layers of “shade” and attempting to modify its deterrent force which has roots in the negative psyche features of hero, he is in a new step visiting “anima”; therefore, knowing his feminine direction of his psyche, hero achieves great capability in knowing “wise old” who is the real durable truth of existence. Knowing the status of this wise old, which he himself is one of the most archaic kind of ancient human psyche, and obeying his decrees passes the path of individuality of hero to a conclusion which has significant psychological features. “Rebirth” which is equal to knowing “self” and integrating with it in ceremonial symbology, carries hero’s psychological life in a determined and advancing sample toward its ultimate goal. In excavation of narrative of Esfandiyar’s life who is one the main characteristics of Ferdowsi’ Shah-Name, we can come into the psychological deep structure of story by passing the epic surface structure which shows the hero’s journey to reach a special goal from the aspect of knowing self, meaning to discover individuality; therefore, passing “seven steps” which are regarded as the seven steps of passing shade, hero can kill Arjasb Tourani and saved his sisters and achieving victory in this step, he gets ready in next journey to combat with Rustam as the wise old. In the last step of his individuality and losing his eyes, understands the right of old wise and with a ceremonial death achieves a rebirth. Esfandiyar’s rebirth has symbolic and ceremonial aspects depositing his son – Bahman.

Hercules, Greek mythological hero, Rostam and Esfandiyar, Iranian mythological heroes, have a common ground: Going on difficult quests and accomplishing impossible missions. Hercules, to reach eternity, is forced to fulfill back- breaking tasks. Rostam, for saving the old King, and Esfandiyar, for saving his sisters, have to pass through seven labours of heros (Haft-Khan).
In the present article, considering the Jungian concept of individuation, attempt is made to compare these three journeys. According to Carl Gustav Jung, the archetypes are the collective unconscious of man present in the process of individuation. Myths and legends remain ever present in the underlying layers of the unconscious; and the elements of individuation, in the form of cave, dragon, giant and etc., can be found in them. Despite of their differences, all three missions are struggles towards perfection.