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The wide variety of ethnic groups and cultures in Iran has been a great advantage for this country, providing a rich substantial culture and a lively society. However, this variety and multiplicity has sometimes been used by the country's enemies as means for engendering the national identity and unity. Ferdowsi's Shahnameh, due to its richness and profundity, can play its traditional role of providing national identity and unity. In order to demonstrate the significant role of Shahnameh in providing Iranian groups with a single national identity, we considered the effect of Shahnameh on naming the geographical phenomena in Ghorveh with four towns and twelve rural areas. This research, registering geographical names and being impressed of Shahnameh, prevents this national unity from obliteration.
 

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Rostam and Koraoglo as two nationl and epic champions that their fate are linked with the fate of their nations, are symbols of  the wrangle of forces; Good and Evil, Light and Darkness, and Honesty and Dishonesty. The spirit of impassion, mythological aspects, courage, dedication, love, revenge and splendor are conjoint specifications of the two champions. This article answers the following questions:
1- What are the conjoint specifications of the two champions that affect on the authorship of the story?
2- What are the mythical elements that changed these champions into myth?
3- What are the conjoint specifications of women in these stories?
4- What are the important amorous elements in these stories?

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The present work is a comparative study of Aristotelian and narrative dramas with reference to “Oedipus Rex” by Sophocles and “Mother Courage and Her Children” by Bertolt Brecht. The basics of Aristotelian drama come from Aristotle’s Poetics, which was considered as an undisputed tradition in drama until the eighteenth century. The aim of this dramatic tradition is catharsis, which is achieved through pity, fear and empathy in the audience. Among the other main principles of Aristotelian drama are the observance of the three units: dramatic climax and peripetia, and the first and the last moments of excitement. The narrative drama is based on Bertolt Brecht's non-Aristotelian theories in drama. Brecht believes that we must create a critical distance from daily events through alienation so that the audience can reconsider them and develop a critical view. The duality of the actor's role, the inconsistency between the actor's thought and action, time leaps, musical interruptions of the story, strong lightening on the stage, a half-empty stage with a half open curtain, the use of titles at the beginning of the scenes, and putting placards that free the audience from illusions are some of the alienation techniques used in Mother Courage and Her Children. Aristotelian drama emphasizes the unity of sequences and coherence of events, and considers the play as a whole, which aims at involving the audience wholeheartedly and making the audience identifies himself with the hero of the play.  In contrast, narrative drama is a  montage of single  scenes, which causes pauses in the play. In this type of drama, the audiences, because of frequent interruptions, does not get involved in the play, gets distance from the scenes, and is persuaded to critically view the play, present solutions, and make decisions. In sum, the fundamental difference between these two types of drama lies in the effect they have on the audience. In this work, an attempt has been made to discuss the major difference between Aristotelian and narrative dramas with a number of examples taken from Oedipus Rex and Mother Courage and Her Children.  

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Epic is the oldest type of literary that its form is similar to story, because epic, like a story, has three parts: beginning part, middle part & ending part. Epic is descended from myth. It also encompasses story and novel inside. This paper tries to achieve better understanding about a part of epical literature, which reflects on epical tents and enjoys narrative features and symbol language. Description and specification of narrative structure of pictorial and basically language epic through Mick Ball’s theory is the purpose of this writing. Rostam and Esfandiyar story is chosen because this paper tries to show features of narrative tents in literary form. Then these features are studied based on Mick Ball’s, theory to show Ferdosy’s, s tendency toward story waiting elements & structure of narrative tents. This paper shows that epical story (both pictorial and basically language) like other types of basically language stories, has story line (beginning, story progression toward Elman, problem solving and final result).  

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Suhrawardi’s hermeneutical approach to the elements, components and narratives of the Shahnameh, as they are expressed in his mystical treatises, delineates the metamorphosis of the epico-mythic Weltanschauung into a mystico-gnostic worldview. We will best understand this metamorphosis by contrasting the hermeneutical principles of Suhrawardi with those of Ferdowsi in interpreting various myths and epic narratives. Ferdowsi’s hermeneutics can be described as “logocentric,” a term which highlights the role of λόγος in imposing a rational interpretation on the seemingly illogical and counterfactual aspects of myth and epic narrative. In contrast, Suhrawardi’s hermeneutics is dominated by different ontological and epistemological principles that turn it into what can be designated as “radical hermeneutics,” a theory of reading whose radicality consists in making the Erlebnis of the reader and his or her intentiō lectoris the focal point of interpretation. The paper will scrutinize the way in which Suhrawardi interprets the epico-mythic elements of the Shahnameh as mystical symbols in the context of his Gnostic and illuminationist worldview and thus metamorphoses the epic into the mystical.

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Purjafar.M.R.,Ph.D
Mohandespur.F     
 
Abstract:
    
In this article we compare two epic Heroes from two different environments, Rustam from the Iranian epic literature and Kocholin from the Irish Dramatic Literature.  A comparative study of those two heroes allowed us to evaluate and assess the theatrical and narrative possibility and capability of Ferdowsi’s Rustam and Sohrab story.  When taking into consideration and comparing the action of Rustam and Kocholin, the importance of our study becomes comprehensible since both of them ended up killing their own son.
In this study, the decisions, undertakings and actions of the two heroes from the beginning till the end of their stories was compared thoroughly and we showed that between those two epics many similarities exist, which indicate that the stories might have a common source.
 

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The Aeneid is one of the master pieces of the epic literature in the world and, without doubt, the most precious model of Latin epic. In spite of the fact that this book could be considered an artificial epic, but even in this case, the truth is mixed with the fantasy, and the mythology of the poet is based upon the neglected historical facts. This article has tried to contemplate the rhetorical aspects of the Aeneid, using the epical text of the archaic Latin poets who were influenced by Grecian poetry. Thus, after giving a brief biography of each author, the major stylistic character which has affected the Aeneid will be illustrated. It is considerable that the classical Latin grammar with its evident difference from the Vulgar Latin had a crucial role in the formation of the rhetorical style in the Aeneid.  

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As the former of the structure of story, language is significantly important in the structural analysis. Based on this viewpoint, language structure and the way it is used, as well as the connection between the aesthetics and ultra-linguistics are specifying its type in relation with the general concept of the literary work. Also the epic language, as the basic foundation of these texts, prospers structural potentialities like word usability, syntactic of utterance, and useful intonation proper with the epical atmosphere and feelings in different levels such as vocal, semantical, etc.
In oral literature, along with having stories from a simple and pure language, presence of rhapsodists and elocutionists and their interference and distort together with new elements ingression in the form of “Scrolls” compilation have increased more and more the use of epical language capacities linked to the main context of scrolls. The “Haft Lashkar” (the Seven Corps) is also one of the Rhapsodists’ Comprehensive Scrolls (RCS) during the Qajarid era of which the time of writing goes back to the year 1292 (Lunar Hijri) (almost 1871 A.D.), and it is originally the name of one of the famous rhapsodic battle-narrations, which was applied to one of the RCSs due to its fame. 
Therefore, considering the general concept of the currently discussed work in this paper, its epical structure has been analyzed and checked from two levels:, vocal and Syntactic levels. Using bursting-obstructive phonemes and long Syllable structures along with high-frequency short vowels in the vocal level has made the epical atmosphere and feeling more tangible for the readers. In syntactical structure of the utterance, the priority of the verb and displacing the other elements of the sentence, associating the elements of the same function, as well as creating areas via the rhapsodist’s exploitation from the drama tune, the skills of discourse-movement and the oral techniques are all considered as the elements of forming an epical language. Moreover, the musical characteristics of the oral narration like the height of the sound, using long and loud vowels at the end of the questions and vocative sentences have led to the enhancement of the rising voice of the discourse and eventually, the epical language.
 
 

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Hakim Ferdowsi's Shahnameh has been always the focus of  attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrators' scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrators' narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.

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Abstract Check drawing of marriage in literature, so far, the campaign a lot of research and research that has been, of course in most of them, or to the shape and interesting species of marriage are not paid or the bed of the research in the field of order and generally limited to the type of epic Shahnameh and special – a Ferdowsi-wise. In this article with Samak-E- Aiiar and re-examine this phenomenon to the analytical review-content root 9, any style is important to the marriage, in which the bully or Princess is often out of their territory to choose such and so on in order to travel and search goes through, and in this way after pick up pair against their agenda The father of the girl and gets her face with the opposition, and often the back stock events and other difficult test to joiner. In the link style is such that Samak-E-Aiiar, his daughter out of marriage in October, and pioneer. Rare types of throw toranj toward the mistress, love on the battlefield, the link provided-the mediator should represent and Utopia marriage can be as are other styles of marriage. The roots and styles, sometimes some examples on the one hand and close links with joint approach established social and on the other hand, at odds with the feminist theory in analysis of literary works, in terms of absolute presentatio

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The study of Persian storyteller's scrolls (Tumārs) as written documents of Iranian epic tradition, is sometimes difficult due to their massive volumes and intricate stories. However, dividing these texts into their elements facilitates inter-textual analyses. With the use of the global motif-index of folk literature, a framework will be shaped to index motifs for Tumārs. This motif-index enables easier access to each motif in different narratives, rooting the motifs and analysis of development, evolution, influences and survival of each motif in different eras as well as comparative studies of narratives. This index also will facilitate a basis for analytical and stylistic study of Tumārs according to their motifs. The purpose of this article is to show the consistency of global motif-index with Persian folk tales especially epic tales and a kind of text analysis with this pattern. By indexing motifs of Rostam's seven labors in Haft lashkar, this paper aims to show that the framework of motif-index is consistent with Persian folk narratives and by analyzing the motifs of this tale, some little characteristics of Persian Tumārs are shown. Hence, it highlights the richness of Iranian folk literature and tradition by adding new motifs to the global index. This kind of indexing can be used as a framework for all Persian folktales to manage all those massive stories and for easier access to their contents.

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Mirzania . M., ,PH.D

 Afkhami . M.A.
Abstract:
 
Nezami is one of the famous poets constructing innovative images. Among the terms used are musical terms and idioms .Nezami seems familiarized with musical instruments and idioms and he has artistically used them in three areas, i.e. lyrics, epics and mystical and virtual issues. Implementation of there terms goes well with the context of Khamseh.
In Makhzanalasrar, these musical instruments and idioms are used to express mystical and virtual meanings in Khosrow va Shirhn. Leili va Majnoon is tragic love story, thus, these musical terms are implemented to display grief and sorrow of the two lovers. In Haftpeykar, however, these musical terms and idioms express a fanciful love. These musical terms and idioms bring excitement, and fancy to the maximum level.
Sharafnameh is a story about Alexander, the conqueror, and we observe that the musical terms and idioms are best used and finally in Eghbalnameh. We also see that a picture of Alexander is as a prophet. Therefore, it can be observed artistically. Nezami can make use of innovative images with use of musical instruments.
 
 

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Boasting poem is one of the special features of epic literature that includes the vaunt of the heroes and the expression of their works and honors, and is most commonly used during the war, but in other situations we also find it. None of the heroic stories of Shahnameh of this kind of discourse is empty. In this research, which done based on the documentary-analytical method and with a library study has been completed, We are going to explore the aspects of the content and language of the two poets in the area of boasting poem by studying the epic rebellion in the Shahnameh (Story of Rostam and Esfandiar) and the epic poem of Amr-ibn Kolthum Taqlabli. The central question of the research is whether the two poets are approaching each other in the direction in which they are located; whether the element or elements in the two branches are present and how effective the canvas and the climate have in their quality. After review we found that the language of the two poets, especially Ferdowsi, in the report of Rostam’s Rajaz, has a markedly diminished literary significance, and there is little rhetorical in his language, From the rhetorical point of view, "allusion" is the central axis of two poets, but indigenous and climatic elements have been effective in their regressive quality, as the vast landscape and geography of the inherent features of the epic does not appear in Amr-ibn Kolthum's poetry. Alongside the horse, which is a pivotal epic, the Arab poet has mentioned camels, which are the main capital and native Arabic animal. Esfandiar's Rajaz is accompanied by Rostam's reproach and humiliation. The rhetoric expressed in this story in the early years of the story is longer than the final stages of the tragedy of Esfandiar's death; that is, the more we get closer to the story and death of Esfandiar, the shorter and more violent ones are. Of the ten cases of Rajazi's intentions, two poets shared in seven categories, the expression of power, and the description of abusive acts, rape and race, the concern of disgrace and name, weakening of morale, threats, intimidation and in three cases Humiliation and expression of rival, admonition and uncompromising and oppression are different.

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Whereas recognition of world epic works causes cultural relation and manifests cultural bases similarities and differences in comparison between our epic works with other nations, and conclusions to worldwide peace, in this essay exert by analysis statistical –content – qualitative method till in addition to critic some pundits concerning on epic characters and comparison the nine epic elements and thirteen motifs in Boezuname and Beowulf to answer this question: are alike or vary in source Borzuname and Beowulf that are from two various Iranian and Anglo – Saxon nations?
Studies reason that epic elements and motifs are alike but in valuation on them and custom of demonstration in stories are different.           


 

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Mahboobeh Mobasheri.PH.D.
 
 
Abstract
 
In Persian literature, Sanayi is known as the major pioneer of changing the Khorasani style into Iraqi style and passing from the borders of extrinsic description into intrinsic description, in addition to the mystical description of phenomenon. As a result Sanayi has a prominent role in revealing the cohesion and unity of the mystical symbols with the epical symbols. The destruction, transformation and elevation created in this sort of poetry rescued epical poetry from its deadlock.
This research focuses on showing the similar factors in epical and mystical elements and how they are reflected in Sanayi’s poetry.

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Seyed Mehdi Zarqani, Ph.D.
 
Abstract
The categorization of literary genres is quite necessary and essential for a high variety of literary discussions and debates. For instance writing the history of literature in terms of the modern approaches and attitudes is not possible without defining the major genres first. This issue is also true in other domains of literature such as literary criticism and content analysis. The subject matter of this article is formed precisely within this point of concern; designing a model for the categorization of Persian literary genres in the classic era. All the literary works are generally divided into two scopes; poetry and prose. The domain of “Persian Poetry” can be categorized within three main genres; epical, lyrical and instructional-inspirational. Our definitions of these three mentioned literary genres do not necessarily correspond with the definitions of the Greek scholar The three genres of interest are redefined in the present article, while examples of their subdivisions in the Persian literature are defined. The Persian “branch of prose writings” includes literary works, non-literary works and pseudo-literary works. As a literary researcher, I am obviously concerned with the literary and pseudo-literary writings. Once each category is defined in this article, the literary writings are observed within two genres; “narrative-based” and “non-narrative” literary writings. The definition of each type, with examples; in addition to suggesting their subdivisions in the Classic era, all have made another part of this article. Since the contemporary prose and poetry possesses a particular poetical base, categorization of the variety of literary genres demands another opportunity, and our suggested design can merely be applied in the classic literary genres.
 
 

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Blood and bleeding and their related themes have long been rooted in human spirit and have had a decisive influence on Iranian and world culture. Themes and beliefs such as the sacrifice of human beings and animals, the rituals and beliefs that involve it, the killing of the holy people and its effect on human destiny, the bloodlust of the bleeding woman, blood spilling on the stone for the suppression of magic, the death of a sacred animal and those reflected in the history of Siavash, Iraj, Sohrab and Esfandiar in Shahnameh and finally the narrative petitions and oral narratives about the national epics are reflected and rooted in myths and branches in popular beliefs. In this research, using stories and other sources, first of all, popular beliefs about blood and its contents are examined at narrative plan, then the method of content analysis has been used and the desired samples have been compared.
 
 

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Hamzamehnāmah is one of the Persian folk tales published in different languages, in prose and verse, in the Islamic world. By collecting historical data and while examining and commenting on the origins of this oral epic, this study examines descriptively and analytically the historical documents on its origin. According to historical documents, the review of literature on Hamzamnāmeh as a literary genre in Persian literature and its various writings show that the origins of this story correspond to the events of Sasānian Iran. For the first time, the authors of the present research have tried to compare the origin of Hamzanāmeh in the Sassānid era with the epic story of Bahrām Chobin and have attempted to describe the similarity of this work to a lost epic of pahlavi literature called Bahrām Chōbīn book. This analogy compares all the historical events in which Hamzah is present with the historical narrative of Bahram Chōbīn and shares any similarities. By examining the probability of the Sasānian origins for this story, it is possible to make this hypothesis that the story of Hamzah has been implemented based on the free translation of Bahrām's Pahlavi story into Arabic (with many intermediaries), or at least into Arab folk literature, the myths of Bahrām has had a direct influence on the formation of Hamza's oral epic, although the popular principle of the work gradually took on an Arab-Islamic character.

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Oral –formulaic composition (theory) has been originated from Homeric studies in Parry and Lord Works and is widely used in most languages. In the field of folk prose texts of Persian several researches have been conducted, all of which have addressed the issue of general stereotyped propositions. On the basis of these achievements, foreign scholars have considered Persian epic poems, particularly Shāhnameh, as a product of narrative and oral tradition. With a new look at narrative scrolls as oral epic texts, this article in addition to presenting their general propositions, introduces another type of proposition in the form of epic statements in three parts: a) Propositions indicating the beginning or entry to the scene of wrestling c) Propositions indicating the beginning of wrestling and C) Proposals indicating the end of wrestling that are presented and describe the function of each category. The paper concludes by proving that the scrolls and narrators of the manuscripts had in mind a treasure trove of these propositions and used them automatically when they thought of combat. Therefore, one can better understand the narrative structure of the Persian oral epic by using this method and extracting the assertions used in various martial art.