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Showing 6 results for Jahandideh
Volume 3, Issue 7 (12-2015)
Abstract
One of the stylistic featuers of contemporary poetry is usage of local a Haidar and Samanbar is an unknown Iranian folk tale which has been created at the time of Safavid dynasty. This story since its appearance in oral or written form was common among the Iranian people and the stories have been popular in many ethnic groups. Each of the poetic narrative of this story appears in Baluchi language with more than 200 hemistich (lines). One of them has been, written and narrated in Qajar era by Malek –Dinar Miravi and probably by another anonymous poet at the same time. Besides holding the content and structure of the original Persian poems, Baluch poets have added different local elements to this tale. In addition to the attractiveness of this tale in general public, the manner of performing Baluch minstrels with musical instruments and songs is a key factor to maintain it among the Baluch natives.
Sina Jahandideh,
Volume 5, Issue 19 (Fall 2012)
Volume 5, Issue 19 (Fall 2012)
Abstract
One of the forms of being is to think and create antagonism in resistance to the Other. Antagonism is the (mis)reading of the action and structure of the thoughts of the other. One of the most evident phenomenological aspects of the modern Persian poem is creation of opposition. Shamlu’s works are the best example of such oppositional discourses. Through this methodology, not only he reaches new structures in his poetry, but also he expands this method to his other cultural activities. This paper has two parts. The first part presents a phenomenological definition of antagonism and how it is formed by opposition, dialogue, and enmity and how it results in creation of linguistic, cultural, and aesthetic structures. In the second part, the typology of Shamlu’s antagonistic discourse has been studied based on these assumptions. The paper concludes that Shamlu has four kinds of oppositions: reversality, myth making, playing with structure, and breaking the taboos
Volume 9, Issue 42 (12-2021)
Abstract
Research background
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
Volume 10, Issue 46 (October and November 2022)
Abstract
History of the research
The present research is conducted based on Baloch oral narratives and songs of minstrels known as "Pahlavans". The main source of the story is the narrative of the minstrel known as "Kamalan Hout" popular mainly at the center and south of Balochistan. In the present article, we have stated the content and analyzed the main motifs of the story using the descriptive and analytical methods and sometimes using the comparative study according to the existing poems and narrations and collection of data extracted by library studies.
Aims, questions, and hypothese:
Balochi verse stories are a part of Iranian literature being unknown for non-Baloch and Iranians. In addition to popularization of Baloch culture and literature, publication of these poems can result in more acceptable conclusions in research adapting some similar stories in Iranian literature. In this research, we try to answer the following questions:
1. Which Iranian nations the Bālāč epic belong to?
2. What is the place of the story in Balochi literature?
3. What are the main motifs of the story?
Introduction of Bālāč story
The story has four main heroes: Dōdā, Bālāč, Nakibō and Bibagr. In Balochi culture and literature, Dōdā is the symbol of dedication and protection, Bālāč is the symbol of retaliation, Nakibō is the symbol of loyal friend, and Bibagr is the symbol of dictatorship and depredation.
Dōdā and Bālāč were brothers and Dōdā was older and newlywed, and Bālāč was 12 years old. To revenge his brother's death killed to defend him, Bālāč only had Nakibō by his side, his butler. Hence, they agreed to revenge his death. They first resorted to the famous Sufi "Osman Marvandi" known as "Qalandar Laal Shahbaz". They both went to his tomb in Sēvan. To attract the cooperation of Nakibō, Bālāč made a big promise to him: he swore in Laal Shahbaz court that if Nakibō helps to kill the murderer of his brother, he will give Dōdā's widow wife, horse, clothe, and throne to him.
Bālāč asked Laal Shahbaz once to give him a power to run so fast to take the deer. His prayer was granted and he could take deer in the plain. Therefore, Bālāč trusted his power and asked the permission of Shahbaz to leave there to take part in battle. After bearing many hardships, Bālāč and Nakibō could revenge the brother's death finally. Sometime later, Nakibō said to Bālāč: "you promised me to let me marry Dōdā's widow after overcoming the enemy. Now, it's the time to do as you promised".
Bālāč thought if Dōdā's widow married Nakibō, he would be reprimanded by people saying: Bālāč made Dōdā's widow marry his butler. To get rid of the irritating thoughts of Nakibō's good deeds, Bālāč put an arrow in the bow and shot it at Nakibō's chest and he died. Betraying his loyal friend, Bālāč broke his oath in Laal Shahbaz court, he picked his arrow and bow to return to his homeland. However, due to breaking his oath, his eyes came out of his sockets and fell on the soil when he had only taken about seven steps. Then, he crawled toward Nakibō and regretted it. Finally, he died beside him due to the pain and sorrow.
Main discussion
Epic is one of the main types of literature of which various definitions are offered by researchers. Epic is a narrative poem with the heroic theme and national feature in which unusual events are happening (Shafiei Kadkani, 1993, p.9). Bālāč epic is one of the most famous Balochi epic stories existing for hundreds of years.
Today, in literature studies and research, motifs and their function are the most important issues to study and analyze the literary works. A motif is the element, event, speech, subject or theme repeated in literary works and is often evident in one or more stories concurrently or non-concurrently in the stories of one age or different ages, the stories of one nation or different nations, and sometimes in special types of stories (Parsanasab, 2009, p. 23)
Motifs are similar in the world's literature, because the circulation of literature works originates from common needs of audiences and is affected by the unconscious collective fact of humans in different eras so that common archetypes lead to similar motifs (Dori, 2019, p. 82)
According to the definition, motifs of Bālāč story are very diverse, but since the story is epic, heroism and epic motifs are more prominent.
Conclusions
Bālāč story is the most famous Balochi epics. Over time, narrators have used epic, heroic, dignified and wonderful motifs to narrate it and have made it dynamic. The story includes supernatural and miracle features so that the story's events are mixed with supernatural themes. In the story, epic and heroic motifs are more frequent due to their epic. Motifs of Bālāč epic include: epic motifs such as hero, bravery, revenge, fast run, deception, night battles, unique horse, bearing hardships, swearing, warfare skills, taking an oath and fraternity; dignity motifs such as meeting the saints, hearing revelations and prediction, prayer and its granting, dream; wonderful motifs such as Bālāč's eyes coming out of his sockets after breaking his oath, and Bālāč and Nakibō being invincible against the powerful enemy. The main motif of the story is taking revenge.
Bibliography
Dori, N., & Zareapour, P. (2019). Comparative study of common motifs in court love literature (Tristan and Iseult Romance and Khosro and Shirin Poem). Farhangestan Comparative Literature Review, 9(1), 81-105.
Parsanasab, M. (2009). Motif: definitions, types, functions. The Quarterly Journal of Literary Criticism, 5, 7-41.
Shafiei Kadkani, M. (1993). Types of literature. Persian Language and Literature Education Review, 32, 4-9.
Volume 11, Issue 52 (October and November 2023)
Abstract
Lullabies are one of the most important songs in public literature of any nation, which have been handed down from past to the present day. In Balochi, these types of songs are called "Lilo" or "Loli". This article examines Lilo in the Balochi language and introduces these popular poetries before analyzing them from two perspectives of structure and content. The author collected the most popular lullabies while introducing such songs, investigating the meter and form, rhyme and rhythm. Then, the most important themes and functions and their connection with social life, religious concepts, life situation and their beliefs have been investigated. The format of all Lilos is "Traditional Balochi" and in terms of meter, they are often prosodic and close to poetical meter. Some of the themes observed in such songs are: Expressing the wishes of a mother for her child, praying, serenity, reducing anxiety, inspiring the happiness and cuddling of the child, fighting against enemy, assimilating child to national heroes, expressing the brand of baby food, a bridegroom with a heavy dowry, hospitality and praying for childless mothers to have children. The method of investigation in this article is field studies and descriptive-analytical method based on sixty lullabies.
Volume 12, Issue 57 (August and September 2024)
Abstract
Baloch folk literature has a great diversity, the major part of which is poetry. Various types of poetry could be found in all aspects of people's lives which indicates their public taste for poetry and literature. Nazink is one of the oldest aspects of the oral literature of the Baloch people, which is still prevalent throughout Balochistan and is sung by Baloch people, especially mothers, describing their children. According to the available evidence, Nazink's structure is similar to a Balochi lullaby. Its content is diverse and mostly a description of the characteristics that have been considered for worthy girls and boys in the past. These poems show the pride of mothers and fathers towards their children, expressing their wishes. These poems are rhythmic, fluent and eloquent in terms of language which is significant for literature. There is a rhyme in most of the verses. Accordingly, the purpose of this research is to introduce a type of Baloch folk poetry that has not been studied so far. This research has been done in a fundamental way, based on field research and descriptive-analytical method.
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