Document Type : علمی- پژوهشی

Authors

1 PhD student in Persian language and LIterature,University of Urmia,Iran

2 Professor/Persian Literature، Urmia University، Iran

3 Professor of Persian Literature/Urmia University. Iran

Abstract

An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, prominence and meaning. These materials, in addition to highlighting, are also effective in moving the story. In many Persian fables, the foundation forms the story structure. In this sense, the story circles around it in its entirety, and the events that occur in the story form around the same material. The most important elements that are active in the epic works of action are: hero, hero journey, dream and dream, concealment of name, prophecy, war, castle, dragon and dragon, magic and wizards, war instruments and more.
As a religious epic in the creation of the story and the theme of the work, Khavaranameh has used these materials well and has promoted its artistic and influential influences as well as the prominence of the story. We will look at these materials in this article

Highlights

Epic Bases in Khavarannameh

Sattar PirEynaddin,

PhD. student in Persian literature, Urmia University, author

 Abdollah Toloei Azar

Professor of Persian Literature, Urmia University

 Fatemeh Modarresi

Professor of Persian Literature, Urmia University

 

Abstract

Today, in literary research, the motif and its functions are one of the most important topics in the study and analysis of literary works as well as their influencing and being influenced process of the owners by other literary works. In every literary work, there are elements that unite it and bring its components to somehow join together. This element(s) is/are called motif; such as persons, events, concepts, themes, objects, signs, and so on, provided that they have continued to function, reinforce and highlight the structure of the story. In a special narrative position due to repetition motifs, the beauty of the narrative enhances the attraction and the theme of the story. Mir Sadeghi knows the motif as the theme, imagery, thought, action, subject, status, scene, space, color or word and phrase that repeats in a different unit or literary works. According to this definition, all the general and specific elements in literary and non-narrative literary texts are considered as motifs. Farhag-e-Sokhan dictionary defines the motif as: "The thought, subject or content of a literary or artistic work that the creator of the work gives rise to a particular emphasis on its explanation or induction. “According to the above definition, the theme is the element or elements that continue to shape the story through its repetition in the context of the text and affects the aesthetic as well as richness of the work. Motif plays a pivotal role in the story and helps to foster an intrinsic connection between the elements of the story. So, the themes can also be mentioned as the storytelling and creator element of the story. In many Persian anecdote’s motif shapes the structure of the story. That is, the story revolves entirely around the motif, and the events in the story revolve around the same motif. In such an anecdote, motif is also the subject of anecdote.

Keywords: Khavarannameh, base, hero, travel, dragon.

 

Introduction

Motifs may be present in one or more stories at a time, or in particular types of stories, or in the fiction of a period, in the stories of one ethnicity or another. In addition to repetition and highlights, they are either fictional or at least effective in storytelling. Inside or next to these motifs there may be other motifs which continue the process of storytelling to achieve this storytelling element. An element cannot be considered as a motif unless it has an active and influential presence in the story or causes the story to move. Studying these motifs can help us categorize and typologize the story and place it into a series of fascinating, romantic, dignified and epic stories depending on the types of themes.

Goals and methodology

In this essay, we examine the motifs that have formed the main structure of this poem. The motifs that have been active in most epic poems and reliance on the story's intellectual system have promoted artistic and literary prospect of the story. These prospects are:

1: They start with the hero journey. The hero of the story, Imam Ali (AS), on this journey performs heavy tasks with great suffering. He deals with the disbelievers and the wicked and the evil creatures and overcomes them.

2: Heroic battle: where Ali (AS) is the hero of the story and a symbol of goodness and wellness, he fights with enemies, demons and dragons symbolizing evil and darkness, and he wins.

3: DOLDOL as the unique and amazing horse of Imam Ali (AS), the hero, at all stages of power expanding and dignity is an integral part of his authority and abilities in various scenes of battles and adventures.

4: Concealment of name and surname: the hero of the story for reasons rooted in mythology conceals his name from enemies and opponents and doesn’t let them know him.

5: Dream and vision: In which the hero in the dream reaches the understanding of the facts and events of the future.

6: Prophecy and Prediction: one of the main motifs of epics and one of the beliefs that has been used in social and personal life among the ancients and it has always been the focus of the rulers of power.

 7:  Magic and Witchcraft: Considered among the human beings of the past and whenever there was a problem or war, the king asked for help from such people.

8:  Battle of the Demons: The hero of the story in the dark caves and places where the Demons are hiding fights against them and destroys them.

9:  Motif of the well: where the hero of the story goes into battle with the evil and returns with the triumph at the end.

10:  Combat weapon: In this epic work, Zulfiqar as a unique sword and a manifestation of the power and courage of Imam Ali (AS) has been bonded with the soul of the hero and has become a part of his existence, giving him double strength and always accompanying him everywhere.

11: Castle occupying: The hero must conquer the castle to show his courage and bravery. In this story also Imam Ali (AS) and his companions conquer Bayaz, Zaman, and Sol Castles and so on.

Conclusion

By examining this work, we find that Ibn Hussam has created an epic and lasting work by using these motifs and linking the story with mythical concepts and elements that stands out among the epic works of religion.

 

References

- Jung-C.G. the collected works of C.G.Jung. london: Routedge and Kegan Paul.1979.  

- Tomashevesky. Boris. 1965. The matic in Russian FORMALIST criticism. Trans lemon leet.and Reis. USA. University of Nebraska press.

 

Keywords

Main Subjects

 Quran
 Aydinlu, sajjad, 1390, daftare khosrovan, skehan, Tehran
 Emami, Nasrollah, Gasempur, Godrat, 1378, tagabole onsore revayatgari va tosif dar haftpeykare Nezami, faslnameye nagde adabi tarbiyat modarres,  sale 1, shoare 1, 147_161
Bastanie Parizi, mohammad ebrahim, 1353, ejdahaye haft sar, Tehran
Parsanasab, Mohammad, 1388, bonmaye,taarif, guneha, karkard, faslname nagde adabi, sale1, shomare 5, 7_40
Pazoki, Nasser, 1373, shivehaye galee giri dar shahname, mirase farhangi , n17 , p27 _32
Payande,  hosein,  1389, dastane kutah dar Iran, Tehran, nilufar
Purdavood,Ebrahim, 1377, yashtha, j1, asatir, Tehran
Pirzadnia, Mina, 1396, negahi be jaygahe asb dar Shahname va divane hamasie Antare, adabiyate tatbigie bahonare kerman, sale 9,shomare 17, 1_19
Jahanshahi afshar, Ali, Jahadi hosein, seyyed Amir, 1396, (Jadu va jadugari dar gesseAnirmirarsalane namdar), mahnameye farhang va adabiate amiyane,  sale5,sh18, 105_130
Khosfi, ebnehesam,khavaranname, noskheye khatti,  mandaa 27958_5, kode ketab 1516298
Dad, sima, 1375, farhange estelahate adabi, morvarid, Tehran   
Dara, Maryam, 1386, (negahi bar ejdaha va chand ejdahakosh dar Iran) ketabe mahe adabiat, sh20, 55_60   
Razmju, hosein, 1381, galamrove adabiate hamasiye Iran,  j1, pajuheshgahe olume bersani, Tehran     
Rastgare fasaii,  Mansur, 1379, ejdaha dar asatire Iran,  tus, Tehran      
...................., 1383, peykargardani dar asatir,  pajuheshgahe olume ensani, Tehran      
Rezaii dadhtajene,  Mahmud, 1396, barrasie khastgahe ostureie nam dar gostareye adabe hamasi,  faslnsmeye adabiate erfani   sale13, sh46, 63_93     
Razi, hashem, 1371, aiine mehr, behjat, Tehran    
Sarrami, gadamali, 1373, az range gol ta ranje khar, shekl shenasiye dastanhaye shahname  , ch2, elmifarhangi, Tehran    
Sarkarati, Bahman, 1378, sayehaye shekar shode, gatre, Tehran    
Shariar, Zahra, Zeynli, Leyla, 1388, jelvehaye hamasi, melli va mazhabi dar negarehaye khavarannane, maktabe shiraz, motaleate honare eslami, dore5, sh10, 43_57      
Shahbazi, Asgar, Maleksabet, Mahdi, 1383, nagde zabane hamasi dar khavaran name, jostarhaye adabi, sh185, 89_117   
    Ashahri, Jafar, 1368, Tarikhe ejtemaiie tehran dar garne 13, esnaiilian, Tehran 
Safa,Zabihollah, 1373, tarikhe adabiat dar Iran,  j2, ch13  , ferdoos, Tehran      
Taheri, Mohamnad, Agajani, Hamid, 1392, tabiine kohanolguye safare gahraman bar asase araye yoong va kambel, adabiate erfani va osture shenakhti, salr9, sh32, 169_198     
Emadzade, Emadeddin hosein, 1331, zendegiye Ali ebne abitaleb, Mohammad, Tehran       
Golampur, Sakine, Mohammad, Poshtdar, 1394, barrasiye tatbigiye karkardhaye pishguii dar hamasehaye bozorg, adabiate erfani osture shenakhti, salr11, sh41, 251_281       
Golamhoseinzade, Golamhosein, 1389, sakhtarshenasiye bonmayehaye hamzename, nagde adabi, sale3, sh11, 205_23
Ferdosi, Abolgasem, 1371, Shahname, jalal khalegi motlag, daftare3, mazda, kalifornia   
…………………, 1373, Shahname, jalal khalegi motlag, daftare4, mazda, kalifornia
…………………, 1375, Shahname, jalal khalegi motlag, daftare5, mazda, kalifornia
………………….., 1386, Shahname, jalal khalegi motlag, daftare7, dayeratolmaarefe bozorge eslami, Tehran      
Foroid, Zigmond, 1369, tutem va tabo, Mohammadali tutnaji, tihori, Tehran    
Farhange sokhan, 1382, doctor hadan anvari, j2, sokhan, Tehran     
Ferizer, jimz jorj, 1384, shakheye zarrin, tarjome Kazen firuzmand, agah, Tehran      
Gobadi, Hoseinali, Noori, Ali, 1386, tasire shahnameye ferdosi bar adabiate ayyari  nadhriye adabiate daneshgahe tabriz, sale50, sh201, 63_96       
Kazzazi , Mirjalaleddin, 1385, nameye bastan, j1, samt, Tehran     
Kampel, Jozef, 1392, gahranane hezar chehre, shadi khosropanah, gole aftatutnashhad
Kavir, Mahmood, 1390, bar bale simorg, jostarhayii darbareye shahname, ketabe ayda    
Geranbaha, Mohamnadsadeg, 1397, farhange tosifie rishe shenakhtiye razm afzar dar shahname, payannameye karshshasi arshad, shahriva mah.       
Grimal, piyer, 1356,farhange asatire Iran va room, tarjome Ahmad behmanesh, amirkabir, Tehran    
Goli, Ahmad, 1386, divan dar shahname, daneshgahe sistan va baluchestan, sale5, 153_172  
Lak, Iran,  Tamimdari, Ahmad, 1395, motaleye tatbigi kohan olguye safare gahraman dar shahname va odise, adabiate tatbigi, 13, 161_184   
Mahjub, Mohamnad jafar, 1383  , adabiate amiyane Iran,  ch2, cheshme, Tehran     
………………, 1356, raveshhaye ayyari dar shahname, honar va nardon  , sh177, 2_13     
Mohzmmadi, hashem, 1383, simaye emam Ali dar hamasehaye dini) , keyhane farhangi, 25_27      
Mahmodi, Fattane, Hajhoseyni, Aazam, 1393, tatbige onsore khiyal dar matn va nrgarehaye khavaranname, adabiyate tatbigi, 10, 36_62      
…………………, 1393, motaleye tatbigi dastane kheir va sharr dar negarehaye khavaranname va shahname, fasl nameye honari karbordi, sh15, 21_33      
Moradi  hamdollah  1382, taziyanname parsi, markaze nadhre daneshgah, tehran 
Mashhor, parvindokht, 1378, royaye sadeg va baztabe an dar khavaranname, name pars  , 94_103    
Megdadi, Bahram, 1378, farhange estelahate nagde adabi az aflatoon ta aste hazer, fekre ruz, Tehran    
Mirza naknan, Hosein, Darfi , Mohammadreza, 1381, pishguii dar shahname, motaleate irani, sh2, 153_173
Mirsadegi, Jamal va Neymanat  1377, vajenameye honare dastan nevisi, mahnaz, Tehran  
Vaheddust, Mahvash, 1386  , avatefe heyvani dar shahname, motaleaate irani, sale6, sh12, 197_214     
Henderson, Jozef, 1357, asatire badtani va ensane enruz, tarjome Abutalebe sarami, amirkabir, Tehran     
Jung-C.G. the collected works of C.G.Jung. london: Routedge and Kegan Paul.1979
Tomashevesky. Boris. 1965. The matic in Russian FORMALIST criticism. Trans lemon leet .and Reis. USA. University of Nebraska press.