The Journal of Epic Literature
Year:2019 | Volume:15 | Issue:1 (27)|Papers Count:9

In every society there exists a kind of collective consciousness known as national awareness and it is expressed in Persian literature as national patriotic theme. The purpose of this article is to discuss and evaluate Gholam Ali Ra’ di Azarakhshi’ s viewpoints regarding Persian language, culture, civilization, and social values of Iran and to study and analyze national and patriotic themes in his compositions. Furthermore, the application of contemporary epic literature in his compositions is studied. Using descriptive analytic and library approach the attempt is made in this article to study themes such as patriotism, antagonism towards enemy, also to study national and historical characters. The results obtained show that Ra’ di paid special attention towards contemporary epic functions such as anti-colonialism, national identity and language, preservation of independence and territorial integrity. His attitude towards the concept of homeland and patriotism is to a large extent different from that of other poets. The vastness of his thoughts in celebrating national and historical figures spans past till present characters.

Khaghani Sharvani, the great eminent poet of the sixth century A. H. had borrowed to a large extent many narratives, epic, mythical, and heroic tales from Shahnameh in his poetry. However certain evidence show that the stories drawn upon do not belong to Ferdowsi’ s version of Shahnameh and distinctly not found in it. It is also possible that the tales are differently narrated. It is proposed in this article that Khaghani may have had access to another Shahnameh other than Ferdowsi’ s epic. One also encounters such discrepancies in the poetry of other poets of the fifth and sixth century A. H. The attempt is made in this article to study the materials taken from Shahnameh in Khaghani’ s poetry and to compare them with earlier epic sources and epic narratives available in ancient Persian history. The study verifies that Khaghani had access to other Shahnameh copies. Further examination of evidence strengthens this supposition that he had been mostly under the influence of Masoudi Marvazi’ s Shahnameh.

In every narrative there exists a kind of deconstructive logic that is formed by the contrast between components of the narrative structure, namely, events and plot. Concentrating on each of these components creates different readings. Due to its tragic genre, the tale of Rostam and Sohrab must lead to disaster. This feature turns events towards specific plot structure, and therefore, it is implied that the events are laid according to the intention of the author and in line with genre of tragedy; hence, the outcome of tragedy becomes inevitable. On the other hand, logic and probabilities formed in the text because of chain of events implies that the logic behind events led the story towards a tragic end. Based on this paradox, an attempt is made in this article to study this conflict in the tale of Rostam and Sohrab to analyze the plot and its semantic and structural consequences. Weaknesses of the events, boldness of the plot, poor causal relations, rising action in order to compensate for the semantic fallacies, justifying causality of events by fate and determinism, rising suspense and plot deconstruction are among the consequences and techniques formed by the deconstructive tension between the narrative and the plot in the tale.

Flight to heavens had been one of the ancient wishes of man which finds expression in its utmost beauty in myths. This article deals with analysis of five myths namely Kaykavus in Persian narratives, Namrud in Sami narratives, Vuei in Chinese, Iccarus in Greek, and finally Atne in Mesopotamian ones whose dominant common feature is flight. The main purpose of this research is to study the similarities of these narratives with one another and to answer this question that whether the striking similarities found in some of these narratives are the result of their mutual influence and impact on one another or whether the action of certain characters mentioned are attributed to others in the narrative. The study shows that the stories of Kaykavus, Namrud, and Atne have the most likenesses and in fact it is as if due to certain similarities in the events in the reign of Kaykavus and Namrud, the story of Kaykavus’ s flight is attributed to Namrud’ s. Nevertheless, the narrative of Atneh is the most ancient one and the probability of its influence over the other narratives is quite strong.

Promise is one of the religious and social elements and is the basis for the discipline in the ancient societies. Mitra is the god of promise that every time enters a land it unites that land´ s gods and preserves its holiness. Promise which has a great standing and holiness for the Indian and European people, has been evident in their epics and myths, and it determines an important part of the events and the fates of the heroes of the epics. In this essay, first we will review the structure of the different kinds of the promises in the epics, myths and historical works in Iran, India and Greece. Then we will compare and analyze their common elements. The results show that rituals such as sacrificing, pouring wine on the tombs, presenting the witness, hand shaking with pressure, and the holiness of the water and fire at the time of the promise, are the common elements of the promises. These common rituals give us a structural model which is observed in most of the promises. Comparing these common elements with the epics and the religious beliefs show that these common elements and patterns have a very close relationship with the Mitraism rituals( the god of the promise), and it is the god of promise which, by preserving its holiness in the minds and the religious eyesight of the Indian and European people, constitutes the elements of the promises.

Covenant and contract is one of the social and religious elements and it is the basis of order and discipline in primitive societies. If respected it brings unity to communities and if disrespected it is understood as an unforgivable sin and brings moral disorder. Mithra is the great god of the Indo European tribes who with ‘ varunah’ are responsible for the protection of covenants. Upon entry to any land, Mithra mingles with the deities of that land and thus preserves his sacredness. Covenant which enjoys a superior standpoint and has sacredness in the eyes of Indo European people forms a significant part of their epic and mythological works to the extent that determines the destiny of certain events and decides the fate of champions in the epic tales. This article examines and compares form, structure, common components of variety of covenants in the epic, historical, and mythological works in Iran, India, and Greece. The results obtained show that ceremonies such as sacrificing, pouring droplets to earth, presence of witness and the presence of two sacred elements of water and fire and shaking hands when making a contract are among the common features of covenants. Juxtaposing these practices and common elements, one arrives at similar patterns which are respected in most contracts. The comparison of these patterns and the common rites with mythological and religious beliefs of Indo European people determines that the structure of contracts with the structure and beliefs of Mithraism cult are closely related.

Prefixes and suffixes are significant morphemes or words which aid linguists to make new words and parts of speech such as nouns, adjectives, adverbs, and verbs. By making thousands of scientific and technical terms, on one hand morphemes enrich Persian language, and on the other hand to a large extent create a barrier to keep intact the Persian language from the invasion of foreign expressions. The study of adjective making suffixes in Shahnameh which is a fine repository of dictions and is an embodiment of eloquence in the Persian language is of utmost importance in order to make correct adjectives and to determine the ancient ways of making adjectives. The research shows that Ferdowsi had masterly used about 26 suffixes to make adjectives and had drawn variety of meanings from them.

According to Genette’ s theory Shahnameh is a hypotext and its pictures and drawings are considered as hypertext. Now this question arises that under what circumstances hypertexts of drawings are in accordance with hypotext of Shahnameh and in what circumstances they undergo transformation and change. To answer these questions comparative and semiotic approach are applied to both Shahnameh and its drawings. The tale of fire trial of Siavash which is the most popular and frequent scenes portrayed in the tradition of Persian paintings is chosen. The present article deals with the role of intertextual relationship between Shahnameh and its pictures in production of its paintings and the study seeks to examine and express how the narrative text had been transformed into a pictorial version. The study deals with the following questions: From the standpoint of intertextual relationship to what extent the painting of Siavash’ s fire trial shows direct reference to the text? To what extent the narrative in terms of images undergo changes or rather stay intact? The research method is as follows: First the narrative is studied in terms of interpreting the symbolism of the main elements, then comparative approach is applied to the image version of the narrative. Finally employing Genette’ s transtextuality theory, the paintings are analyzed from two perspectives to verify whether or not modifications had taken place in the process of transition of the theme from the text to the image. The purpose of the article is to provide a practical example to express how the theory of transtextuality lends itself to the body of Persian art studies.

In order to communicate, humans are in need of performing actions and behaving in ways whose inherent and rather acquired differences lead sooner or later to conflicts. Conflicts arise when two wishes or thoughts oppose one another, as when two ore several people due to the differences in needs, wishes, purposes and values face each other. Therefore, differences, risks and distinct motivations in individuals in an organization do not exempt them from having conflicts with one another. Conflict management is one of the major approaches to control and reduce discords within an organization. Literature is the manifestation of man’ s mutual behaviors. Conflicts and paradoxes as well as their management strategies are often expressed in terms of narratives and tales in literary works. If Ferdowsi’ s Shahnameh were to be summarized in few distinct characteristics, undoubtedly its most striking feature would be conflict and struggle and their consequences positive or negative as a profound theme pervades over its artistic tales. In the current descriptive analytic article attempt is made to analyze the interpersonal conflicts between Goshtasp and Lohrasp in the tale. The purpose of the article is to show Ferdowsi’ s outstanding and distinguished viewpoints, and to indicate how he offers solutions to control and resolve interpersonal conflicts and discords which is to arise under different circumstances. A true example for today’ s managers.