Narjes Ghabeli, Sayyed Ahmad Parsa, Erfan Rajabi,
Volume 8, Issue 19 (4-2021)
Abstract
Structural analysis is one of the methods for analyzing literary texts. A branch of interest to structuralists is narratology. Greimas, the Lithuanian semiotician, explains the structure of the narrative and the characters of the story using the dual contrasts and the actantial model. The aim of the current study is to investigate the structures of a story from Marzbān-nāma entitled “Irajasteh and Khosrow” and another story from Haft Peykar entitled “Fitnah and Bahram” using a structuralist approach. The characters and actors in the stories and the similarities and differences of the two stories and the type of actions are evaluated. The result shows that while the two stories have a common deep structure, they are not homogeneous in terms of their surface structure. The subject actor in the story of “Irajasteh and Khosrow” plays an important role in the plot of the story, while in the story of “Fitnah and Bahram” as an active actor, encourages the subject or the hero to act.
Mahboubeh Alihoory,
Volume 8, Issue 22 (3-2022)
Abstract
“Romance-Chivalry” as a literary genre, narrates in poetic terms the protagonist’s struggle to achieve the beloved. Ayyuqi’s Varqa and Golshāh, Saam Nameh, Khwaju Kermani’s Homay o Homayun, Nazl Abadi’s Masnavi-e Jamal and Jalal, and Humay Nameh and Badi al-Zaman Nameh (by an anonymous poet) are among the outstanding works in this genre from the fifth to tenth Hijri centuries. The characterization of the protagonist is among the most significant narrative characteristics of this genre. The shared characteristics between the protagonists can classified as a genre. The protagonists in this genre, who have multidimensional and mysterious personalities and are of noble and royal descendants, are portrayed as lovers, moralists, pacifists, theists, and chivalrous which render them popular among people. Also, based on context and narrative traditions, the protagonist can be characterized within an Iranian-Islamic axis where he is presented as prophet, saint, leader, and commoner. In Ayyuqi’s work, the protagonist is a leader. According to Northrop Frye, the protagonist is superior to ordinary people. The protagonist’s personality, to various degrees, follows the characterization tradition Shahname, Eskandar Nameh-e Naghalli, and Hamzeh Nameh. Gradually, The protagonist’s religiosity becomes prominent which accords with the dominant political and religious circumstances of the poet’s society, to the extent that in Badi al-Zaman Nameh we witness dogmatic protagonist.
