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Yosofali Beiranvand; Mina Khosravi
Abstract
The epic and mythological narratives of the Indo-Iranian peoples have been influenced by each other due to their common origins and long-standing cultural relations. The narrations of Rustam in Ferdowsi's Shahnameh and Ram in Ramayana have many similarities. It can be said that these two characters ...
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The epic and mythological narratives of the Indo-Iranian peoples have been influenced by each other due to their common origins and long-standing cultural relations. The narrations of Rustam in Ferdowsi's Shahnameh and Ram in Ramayana have many similarities. It can be said that these two characters are born of the long-term cultural relationship between Iran and India. Which of these two books was influenced by the other is hidden from us. We only know that the two characters of Rostam for Iranians and Ram for Indians have a special sanctity and show the magnificence of the epic hero in the mind. This research seeks to investigate the similar and different features of Rostam and Ram's stories with a comparative-analytical method. The similarities and differences between Rostam and Ram in summary are: 1- Birth prediction: Rostam's birth prediction by stars and Simorgh; But the birth of Ram was prophesied by Brahman. 2- Appearance beauty: Ram to have appearance beauty; But Rostam is described as tall and stout. 3- Loyalty to the king: Rostam occasionally shows his displeasure to the king; But Ram adheres to the king's covenant and... . The similar friends and enemies of Rostam and Ram are: 1- Afrasiab and Ravana are similar in that they seek power and have inherent evil. Except that Ravana is a demon. 2- White Devil and Raven are similar because they take hostages and the heroes have to fight with them to free the hostages. 3- Keikavus and Sita deceive the demon. 4- Zavareh and Lakashman are brothers and supporters of the hero. The difference between them is that Lakashman is with Ram in most of the events. 5- Tahmineh and Sita are the hero's wives who separated from the hero and gave birth away from him. The difference is that Sita did not hide the father's name from the her children.
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Mansoureh Shahriyari
Abstract
The hands of history are the source of the majority of the protagonists in our lyrical, epic, dramatic, and didactic literature. Bahram Gur is one of these characters, whose rule in historical sources is enriched by legends in literary sources. His popularity has garnered the attention of historians, ...
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The hands of history are the source of the majority of the protagonists in our lyrical, epic, dramatic, and didactic literature. Bahram Gur is one of these characters, whose rule in historical sources is enriched by legends in literary sources. His popularity has garnered the attention of historians, writers, and artists, among others, among the Sassanid monarchs. This research investigates this character in the fields of history and literature from a descriptive and analytical perspective, utilizing library sources. Because the narratives concerning Bahram Gur have been recounted in historical and literary sources with distinctions, they have all pursued the same objective: the education of society members. This research seeks to address the question of how writers, historians, and writers in general perceive stories as an educational instrument. In order to elucidate this matter, we have first examined the perspectives of historians regarding the aforementioned character. Subsequently, we have examined the character of Bahram in Ferdowsi’s Shahnameh, Nizami’s Haftpakir, and other historical sources. The results suggest that, despite the fact that a character is the focal point of these studies, distinct analyses have been produced based on their respective perspectives. The objective of historical texts is no longer limited to the mere description of facts when viewed from a literary perspective and utilizing the elements of emotion and imagination. The poet or writer may also aim to achieve other objectives in addition to the creation of beauty. Ferdowsi and Nizami have analyzed and described Bahram’s character. In fact, despite the disparity in their modes of expression, these two leaders of the literary world have occasionally diverged from the historical aspect and have crafted educational narratives that incorporate historical evasions.
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Homeyra Zomorodi; Mina Akbari Farahani
Abstract
The discussion of moral virtues and vices is one of the common ideas in the moral and mystical beliefs of ancient Iran and India. According to the idea of dualism, vice traits are caused by the forces of evil and darkness, and good traits are influenced by the forces of good and light. Avoiding vices, ...
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The discussion of moral virtues and vices is one of the common ideas in the moral and mystical beliefs of ancient Iran and India. According to the idea of dualism, vice traits are caused by the forces of evil and darkness, and good traits are influenced by the forces of good and light. Avoiding vices, especially the vice of anger, is emphasized in this common thought and its expression in Avesta, Pahlavi, and Manichaean works of ancient Iran and the works of Vedic, Brahminical, and Buddhist literature of ancient India. In the Shahnameh, the battle of these two forces of good and evil can be seen in the thoughts, words and actions of the characters in Ferdowsi's stories and words. In Mawlavi's Masnavi, there is a battle between good and evil in human existence. In this research, the attribute of anger in ancient Iran and India has been investigated based on Shahnameh and Masnavi, with a comparative and analytical method. According to this study, anger is used in the two concepts of the demon of anger and the vice of anger in the works of Iran and ancient India. We can see the reflection and influence of these two concepts in Shahnameh and Masnavi. Therefore, the research shows that the devil makes people feel demonic through the unpleasant attribute of anger and moves them away from the group of goodness and light and closer to the group of evil and darkness. Now, this anger can have a demonic face or a blasphemous quality. Therefore, by analyzing the evidence of the works, we have shown that Ferdowsi and Molavi, as two great poets of the Islamic period, have well expressed these concepts of ancient Iranian and Indian thought in the Shahnameh and Masnavi, and have adhered to the continuity of their ancient Aryan culture.
Rouhollah Hadi; sahand aqaei; Jaleh Amouzgar
Abstract
In cosmology of certain Shamanisms, and specifically the Asian Shamanism, the universe is embodied with three different cosmic regions, connected to each other through a central axis. Shamans are able to ascend to the skies and convene with the Gods, or descend to the underworld and battle with ...
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In cosmology of certain Shamanisms, and specifically the Asian Shamanism, the universe is embodied with three different cosmic regions, connected to each other through a central axis. Shamans are able to ascend to the skies and convene with the Gods, or descend to the underworld and battle with the demons of death. In the state of ecstasy, they descend to the underworld, and learn the ways to conquest the demons from those Gods ruling the underworld. For Altaic people, “The descent to the underworld” is the function of Black Shamans whereas “The magical flight” is that of the White Shamans. Several of the most famous journeys to the underworld in epic literature and mythological sources are structurally shamanic. The mystics use the Shaman methods to reach the state of ecstasy.In this article, we have investigated the effects of the duality phenomenon in Shamanism, By looking at the Iranian mythical resources, we have analyzed two mythical characters named Jam and Afrasiab’s trips to the underworld, which are named “Var Jamkard” and “The Descend of Afrasiab to The Underworld”. We have also used the universal symbolism of “the difficult bridge or the passageway,” that has examples in the rapturous trips of the Asian Shamans, to discuss the Zoroastrianism myth of Chinvat..
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خلیل کهریزی
Volume 11, Issue 1 , September 2021, , Pages 79-94
Abstract
The spread of national narrations is common in the history of their narration and writings. Sometimes this expansion is done with the aim of explaining and interpreting a sentence or a part of the main narrative, in the form of a sub-story. Therefore, these stories can also help to unveil the textual ...
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The spread of national narrations is common in the history of their narration and writings. Sometimes this expansion is done with the aim of explaining and interpreting a sentence or a part of the main narrative, in the form of a sub-story. Therefore, these stories can also help to unveil the textual knots; because they gain a historical understanding of a sentence or a word in the form of a sub-narrative. One of the cases of spreading the narrative is the story that has been mentioned in some sources in the discussion of Anoushiran''s financial reforms. In talking about the financial reforms of this king, the line of narration in Shahnameh and most of the chronicles is such that with a brief reference to the status of tribute in the period of previous kings, there is talk of the beginning of reforms in Ghobad''s time when remains unfinished with his death and Anoushiran continued the reforms . Some chroniclers have cut along this line, and before beginning to talk about Anoushirvan''s reforms, they have narrated a story that is also Ghobad''s main motivation for financial reform. In this article, we try, first, to talk about the recording and the correct meaning of the phrase "No one praises the escaped one" of the kingdom of Anoushirvan, which is in a chaotic state in the manuscripts and the editions of this book, with the help of this narration. After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations.After that, we will discuss the authenticity of the narration and the origin of this narration in the second part of the article, and thus show one of the examples of the spread of narration in the national narrations
Nasrallah Hejazi; Vahid Bahrami
Abstract
Didactic writing is a valuable legacy that reflects Iranians’ wisdom. The contents of didactic texts, as the name implies, are moral, religious, political, and social advice of the elites and reformers addressed to the king. Therefore, didactic texts are an illustration of the ideal king of the ...
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Didactic writing is a valuable legacy that reflects Iranians’ wisdom. The contents of didactic texts, as the name implies, are moral, religious, political, and social advice of the elites and reformers addressed to the king. Therefore, didactic texts are an illustration of the ideal king of the Iranian elite. Didactic texts, as the crystallization of one of the most important forms of knowledge, originate from two sources, i.e. Iranian and Islamic sources. In this paper, the works of two prominent Iranian intellectuals, that is Saadi’s Nasihat al-Muluk and Ferdowsi’s “Bozorgmehr” in Shahname, who have tried to revive the tenets of Iranian ruling, one using Islamic teachings and the other by referring to the ancient Iranian sources, are studied. In fact, this article seeks to find out how the Iranian and Islamic sources influenced the features of the ideal king in both practical and mental aspects. Seeking help from phenomenology and Pareto’s elitism, one can find similarities—which reflect this influence between the texts of Saadi and Ferdowsi. These similarities reveal the historical continuity of Iranians’ conception of the characteristics of the ideal king. Thus, this paper focuses on the common points of these two historical texts written in different historical, political and religious contexts about the characteristics of the ideal king.
