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.
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