فهرست مطالب tahereh rahmatifard

The Oriental culture, literature and myths have long been the focus of Orientalists and Western scholars. William Morris is a British poet who was interested in Persian poetry and literature. He was familiar with Persian culture and literature, and wrote “The Man Who Never Laughed Again” based on “The Black Dome” in Nizami Ganjavi’s Haft Peykar. He imitated the character, atmosphere of the story, the symbols, the colors, the costumes and other elements of the story from Haft Peykar. Haft Peykar or Haft Gonbad is one of Nizami’s lyrical poems that symbolically portrays the spiritual transformation of King Bahram of Iran. Bahram proposed to marry seven princesses from seven countries, and made them the first ladies of the seven palaces. He was the guest of one of them every night to spend time and rejoice when he heard stories. Finally, at the end of the week, when he was the guest of the Black Dome, Dorsati the Persian princess told a story about the Persian culture that influenced Bahram. This research, like other researches, has examined the impact of Nizami’s “The Black Dome” on William Morris’ work through the analysis of the content of the texts. It is based on library studies. In conclusion, this research is going to prove that William Morris’ work in terms of structure and content, like a refreshing seedling, is originated under the shade of the thick tree of Haft Peykar, then it has borne fruit in European literature.

 This comparative study examines the ar is one of the ly,rical works of the military that symbolically narrates the spiritual transformation of Bahram Gour, who housed seven martyrs from seven countries who were the symbol of their homelandchr('39')s culture in seven palaces, and heard a story from them every night. The Shah overnight began on Saturday with the Princess of the Black Dome, and Adineh ended in the White Dome, which belonged to the "correctness" of the Iranian Princess. With a story centered on following Iranian culture and rationality, Dorsati transformed the Shah spiritually and brought him to immortality. While acquainting himself with Persian culture and literature, William Jones created the system of the Seven Springs based on the stories of the seven military figures. Aware of the influence of the number seven in various ethnic groups and its application in Eastern mythology, he set the foundation of the Haft Cheshmeh on the number seven, which corresponds to the seven figures in terms of morphology. , Examined the similarities and differences between the two systems and came to the conclusion that the young king of the Jones system finally evolved in dealing with a mythical maiden and reached immortality with the purification of body and soul. Haft Cheshmeh, in terms of structure and content, flows like streams from the areas of seven military palaces and calmly joins the ocean of Persian poetry and literature