sadegh arshi; Ayoub Moradi
Abstract
Some of the epic references that have been kept in Uneditedshahnamehs and today are no longer part of Shahnameh or in other Epic Mathnavis, following Shahnameh and because of the fame of Shahnameh, its stories or existed in naqqali scrolls and epic oral stories are classified as epic talismans. The literary ...
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Some of the epic references that have been kept in Uneditedshahnamehs and today are no longer part of Shahnameh or in other Epic Mathnavis, following Shahnameh and because of the fame of Shahnameh, its stories or existed in naqqali scrolls and epic oral stories are classified as epic talismans. The literary return period is one of the most important literary periods.The epic implications in the poetry of this period show the awareness and dominance of poets, on epic sources of oral, naqqali, national, historical, as well as the popularity of accepting epic stories other than Shahnameh. The present paper, in a descriptive manner, with the approach of content analysis, has examined and categorized the divans of five poets of the literary return period such as SohbatLari, Fath Ali Khan Saba, Qaani, Soroush and DavariShirazi from this perspective, and extracted, analyzed and categorized fifteen allusion to the minor and lesser-known national-epic stories, and finally presented the frequency of such an implication in the Five Poets' Divan with a table and a statistical chart. It should be noted that the study and analysis of such allusions has led to the clarification of some problems of Shahnameh research.
Abstract
This article tries to take a quick look at Ferdowsi's narrative from the beginning of the Sassanids to the end of Bahram III's reign and its values and shortcomings by using historical sources and Sasanian studies. Ardashir's narrative is detailed and legendary due to his power, legitimacy, territorial ...
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This article tries to take a quick look at Ferdowsi's narrative from the beginning of the Sassanids to the end of Bahram III's reign and its values and shortcomings by using historical sources and Sasanian studies. Ardashir's narrative is detailed and legendary due to his power, legitimacy, territorial integrity, the union of religion and the state, his founding, and the necessity of genealogy and transmission.Shapur I was a policy consolidator and has a relative importance, but it has faded under the shadow of his father and Shapur II. Hormazd I and Bahram have the least number of narrations in national traditions. The shortness of the kingdom, the namesake of several Hormazds, the namesake of sevral Bahrams and the mixing of data, the lack of interesting narratives and the presence of Shapur II after them are the reasons for this lack of importance. In these sections, the Shahnameh has detailed sermons, admonitions, and commandments, most of which have been deleted. These sections are rich in Iranshahri political philosophy and ethics. In general, the narrative of Shahnameh is a historical narrative with idealistic, moral, heroic and literary attitudes, but Ferdowsi's trustworthiness and transmission of historical and narrative data have increased the historical and narrative value of the text.
Abstract
Ferdowsi's Shahnameh is replete with overt and covert mythological themes that have either vanished or undergone significant transformations, rendering their comprehension a complex endeavor requiring contemplation and, at times, recourse to informal cultural domains. The Shahnameh employs artistic forms ...
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Ferdowsi's Shahnameh is replete with overt and covert mythological themes that have either vanished or undergone significant transformations, rendering their comprehension a complex endeavor requiring contemplation and, at times, recourse to informal cultural domains. The Shahnameh employs artistic forms and literary devices, such as metaphors, allusions, and symbols, to convey certain themes, beliefs, and associated customs. Consequently, limiting these expressions to their artistic context hinders a deeper understanding of their underlying meanings. The term "بچۀ دیو" (child of the demon), employed to describe Zaal's unusual birth and subsequent rejection, exemplifies such expressions. This study adopts a descriptive-analytical approach, employing content analysis to unravel the hidden meanings and mythological beliefs associated with the concept of "بچۀ دیو". The findings suggest that the perception of Zaal as an evil entity stemmed from the belief that he was either switched with his doppelganger or that Ahriman, the embodiment of evil, had a hand in his birth. Consequently, he was ostracized from society to either eliminate him or, through a complex and symbolic process, allow the true Zaal to reclaim his rightful place and return to society, thereby safeguarding the nation and lineage from the harm of demonic and malevolent forces.
Abstract
This text studies a reminiscence of some of Khavaran Nameh/ Ḵāvarān Nāma stories in one of the manuscripts found in Spain - known as the Aljamiado - and explores the possibility that the authors of these texts imitated this Persian work.The Khavaran Nameh by Ebn Ḥosām Ḵᵛāfi (or Ḵusfi), ...
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This text studies a reminiscence of some of Khavaran Nameh/ Ḵāvarān Nāma stories in one of the manuscripts found in Spain - known as the Aljamiado - and explores the possibility that the authors of these texts imitated this Persian work.The Khavaran Nameh by Ebn Ḥosām Ḵᵛāfi (or Ḵusfi), an epic-religious imitation of the Shahname, describes the adventures of Ali, as a Shiite hero, on an unreal journey to the lands of Khavaran, the city of Zarin and the Coastal city as well as his battles against Salsal Shah etc. On the other hand, the Story of the city of Brass (Alhadiz de Ciudad de latón), an aljamiado text, also narrates a similar journey, but without specific parts of Khavaran Nameh. In this investigation, using analytical-descriptive method, first structural similarities and differences between the narratives of these two collections introducing a brief reference to folkloric elements and motifs. Then, through a comparative analysis, from a historical and chronological perspective, these difference and narrative changes are explained, especially in the religious area. Finally, the possibility of imitation from Persian texts in Spain would be discussed.
Abstract
This article examines the mythical flight of Kay Kāvus from a mythoanalysis perspective. Mythoanalysis is an important field that encompasses various approaches. Among these, myth-psychoanalysis is considered one of the most significant. This article has studied and analyzed the flight of Kay Kāvus ...
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This article examines the mythical flight of Kay Kāvus from a mythoanalysis perspective. Mythoanalysis is an important field that encompasses various approaches. Among these, myth-psychoanalysis is considered one of the most significant. This article has studied and analyzed the flight of Kay Kāvus using this approach. The flight of Kay Kāvus has been regarded as a religious sin and a psychological disorder in myth-psychoanalysis.There are numerous incomplete narratives of Kay Kāvus' life and flight, leading to diverse and sometimes conflicting interpretations. This article presents a new interpretation using the approach mentioned. Kay Kāvus is afflicted with the "madness" of power and "Hubris," a common ailment among many kings. One of the symptoms of this condition is the sensation of flying into the sky.1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
Jamshid Noroozi; Javad Rashki Aliabad
Abstract
Looking at the form and content of historical Shahnamehs written from the Mongol era to the end of the Safavid era shows that during the Mongol period,historical storytellers focused on Ferdowsi's Shahnameh. Back then, Ferdowsi was respected and admired by writers of historical epics, and his Shahnameh ...
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Looking at the form and content of historical Shahnamehs written from the Mongol era to the end of the Safavid era shows that during the Mongol period,historical storytellers focused on Ferdowsi's Shahnameh. Back then, Ferdowsi was respected and admired by writers of historical epics, and his Shahnameh was seen as the only proper model to follow. On the other hand, Nezami wasn't given much attention by Mongol-era historical writers. You could almost say their respect for him was close to nothing.However, things changed completely in the Timurid and Safavid eras. Nezami took Ferdowsi's place in these times. Evidence suggests that Nezami was given more respect and credit than Ferdowsi in the historical Shahnamehs of this period.This text uses library research and existing evidence to show the influence of Ferdowsi and Nezami on writers of historical Shahnamehs from the Mongol era to the end of the Safavid era. It explains and describes how the importance of these two literary giants changed throughout the historical Shahnamehs written during these periods.