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Showing 25 results for Shahname
Arman Fateh Dowlatabadi, Qolam-Ali Fallah, Hamid Abdollahian,
year 30, Issue 92 (5-2022)
Abstract
Ferdowsi’s Shahnameh is full of stories which are rooted in myths. The characters of stories can be analyzed from different viewpoints. Keykhosrow is one of the eminent characters of myths. In this paper, relying on desk study, document and content analysis, and the adoption of Marcel Mauss’ anthropological approach and Eliade’s theory about magic doctors we have analyzed Keykhosrow and his magical actions. The findings of this paper show that the Iranian-Turanian Keykhosrow is a potential witch. He also has characteristics and actions which can be found in witches. Keykhosrow, like a king-priest who dominated Classical Elements and adept in witchcraft, conquers Afrasiab with unusual magical tricks and ends the Great War.
Mojtaba Doroudi, Hamid Fadayi,
year 30, Issue 92 (5-2022)
Abstract
The present article is an analysis of a couplet from Ferdowsi’s Shahnameh, about which scholars have expressed various opinions so far. This couplet, which was also recorded by Saadi in Bustan, begins with the hemistich “mayazar muri ke danekesh ast” (Don’t harm an ant that is seed-carrying). Later, according to the recorded form of this couplet in the Florence version and two other versions containing the hemistich “makosh muraki ra ke ruzikesh ast” (Don’t kill a small ant that is daily-bread-carrying), Khaleghi Motlagh based his revised version of Shahnameh and stated that it was the closest version to the original Shahnameh. The researchers have since expressed their opinions on rejection or acceptance of this revision. While investigating other views, this study focused on Avestan and Middle Persian texts and considered the frequency of some words of this hemistich and concluded that the phrase “mure danekesh” (seed-carrying ant) is an ancient and descriptive compound that has its roots in Old and Middle Persian texts and its domain is extended into New Persian. The two other phrases “makosh” (Don’t kill) compared with “mayazar” (Don’t harm) and “muri” (an ant) compared with “muraki” (a small ant) have superiority, which correspond with one another in each hemistich. However, the phrase “mayazar” can be regarded as one of Ferdowsi’s poetic innovations.
Ashraf Seraj,
year 30, Issue 92 (5-2022)
Abstract
Dād (justice) is one of the abstract concepts that is not tangible in the world outside the mind and thinkers have dealt with it from various perspectives throughout history. Ferdowsi paid special attention to justice and mentioned it as one of the most important and required attributes of the kings. From the perspective of cognitive linguists, the human mind, using the metaphor mechanism, understands the abstract concepts through objective concepts. For an abstract concept, several different source domains may be used. Physical experiences, physical environment, social and cultural environment, and personal and social background are among the factors involved in the diversity of metaphors. The current research is an attempt to investigate Ferdowsi’s views about justice by studying conceptual metaphors used in six stories of Shahnameh and to identify the factors influencing the diversity of the source domains by analyzing the relationship between metaphor and types of context. The results of the research indicate that, in Shahnameh, justice, depicted as a priceless object and everlasting wealth, is spread by the king among the people and in the world. Justice leads the kingdom and state towards order and development, and it is a guardian that keeps the realm of government safe, and like water, the progress and renewal of the world and the happiness of the people depends on it.
Asad Abshirini, Qodratullah Zarouni, Reza Barati,
year 31, Issue 95 (11-2023)
Abstract
Akhar-e Shahnameh (The Ending of Shahnameh) is one of the brilliant poems of Mehdi Akhavan Sales, which took on a form of despair and anxiety under the influence of the coup on 19 August 1953. Many personal and social conditions and factors influenced the formation of these two emotional categories, but in Akhavan’s poem, perhaps more influential than the death of relatives was the failure of the national movement due to the events related to oil, which revealed feelings of despair and anxiety in the mind and soul of the failed contemporary poet. Akhar-e Shahnameh has the potential to be studied with new literary approaches and especially with structuralist criticism due to its narrative aspect, old Khorasani dialect, syntactic anomaly, and coherent structure. The purpose of this research is to investigate the relationship between and the structure of despairing and anxiety-provoking images and their contrast with happy and hopeful images in Akhar-e Shahnameh; because examining the image structure in this poem helps us understand the difficulties of Akhavan's poetry. This research uses an analytical-critical method. Adopting the approach of structuralist criticism, an attempt has been made to examine the anxiety-provoking and despairing images of this poem in two horizontal and vertical axes so as to explore the grounds for its glory and coherence by means of literary criticism. The findings of this research show that in this poem, Akhavan employs more than sixty-five despairing and anxiety-provoking images using imagery tools such as irony, metaphor, simile, symbol, paradox, etc., in the two axes of coexistence and substitution to draw the atmosphere of the 1950s, which was full of despair and anxiety.
Mohammad Hasan Jalalian Chaleshtari,
year 32, Issue 96 (4-2024)
Abstract
Haft-Xwân/Xâns of Rostam and Esfandiyâr are among the parts of Shahnameh, which have received a lot of public and special attention in the long history after the composition of this work. Contrary to the traditional spelling used for this series of battles of warriors in most manuscripts of the Shahnameh and most Persian works, some contemporary researchers with this argument that in these battles, the warrior goes through seven stages, believe that the correct form of this name should be without waw and it should be written in the form of Haft-Xân. Some have also considered the second part of this word (= Xwân) to be a table with this pretext that Esfandiyâr sits on feasts after every battle. This last opinion has been rightly criticized and rejected, but the first one has been approved by all the researchers. In this article, after measuring the validity of the evidence of this opinion and with the approach of historical linguistics, a different opinion, but compatible with the internal content of this series of battles, will be presented. In this interpretation, considering Haft-Xwân form to be original and presenting a new derivation for Xwân, the meaning of “battle and struggle” has been proposed for this word.
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