داستان زال و رودابه

Conversations have been prevalent in the famous works of Persian poets and writers from the past until now in different ways. In the Shahnameh, the conversation is generally done in two ways, the face-to-face conversation and the distant conversation, and each of these conversations is done with different people and with specific goals and perspectives. The dialogues of each story express the characters of that story and it is through the dialogues that one can reach the hidden angles of the characters of the stories. The story of Zal's love for Rudaba is one of the most important love stories of Ferdowsi's Shahnameh. Because the result of this love is the birth of Rostam, the great hero of Shahnameh. In this research, the author is trying to investigate the syntactic norm avoidance with a descriptive-analytical approach and a library tool in romantic dialogues in the story of Zal and Rudaba. Also, investigate innovation and norm avoidance at its syntactic level. The results of the research show that Ferdowsi, in the story of Zal and Rudabeh, has distinguished his language from the standard language by using syntactic avoidance and has somehow made his poem stand out. In this type of norm avoidance, Ferdowsi messed up the structure governing the language and used the grammatical features of the language to highlight, and tried to create in this field.

Love stories such as Lily and Majnoon, Khosrow and Shirin, Zal and Rudabeh, etc. are a rich part of the love and lyrical literature of this region. In addition to these written narrations, sometimes the narration of passionate loves is common among the general public, which has been less studied. One of these narrations is a narration narrated by Ali Hossein Alinejad, a 73-year-old narrator from the village of Romqan in Fars province. The author has tried to record this myth first in the field method and then to compare it with Ferdowsi's narrative through library method and content analysis. The main question of this research is what are the differences and similarities between written and oral narration and what are the results of these changes? The findings of the research show that the folk legend is composed of two completely separate parts: the first part is very similar to the story of Zal and Rudabeh except in some details; But the second part of the story suddenly changes and the reader is confronted with a completely different show. Regarding this folklore narration, in general, two hypotheses can be proposed: 1- Folk myth is an imitation and intercourse of Zal and Rudabeh narratives and love stories that have been made and narrated by the narrator and narrator. 2- Narrators and The narrators have established a new story by mixing a common love story among the people with the story of Shahnameh and other narrations. However, this narration differs from the narration of Ferdowsi's Shahnameh in various aspects such as the place of the story, characters, space, some narrative events, the end of the story, etc .; But in general, it has many similarities with the Shahnameh narration.

Shahnameh is considered as one of the noble and valuable works of Persian literature and it is always mentioned as a document of Iran's national and cultural identity. Introducing national and mythological figures in rewriting the stories of the Shahnameh is necessary for the children's age group. It helps the child audience to well identify national and epic heroes. The interesting point in these rewritings is that although Ferdowsi's art of storytelling and illustration is one of the prominent features of Shahnameh; Is it necessary to illustrate Shahnameh stories for children and teenagers with various images and methods? How can the audience find out their true character and identity among the different and diverse images of the heroes? And imitate them? In the rewritten stories of the Shahnameh, various depictions of national and mythological heroes have been presented; but they have not been able to introduce them to the audience as befits the Shahnameh and the mythological characters. Presenting the faces and physical and internal characteristics appropriate to the mythical characters is an important issue that should be more addressed in the rewritings. The purpose of this research is to review the rewritten story of Zal and Roodabeh from the perspective of text and image by analyzing the content of the text and examining library documents. The results of the research showed that the type of clothing, the color of the clothes and the design of the appearance of the characters do not match the original text and illustrations of the Shahnameh, and the children's audience is faced with different images of Zal's character in the stories.

 A national character has such profound merit that for many access to these national models, had become the main sacred objective of their lives.  However in real life what personality type or role model is appropriate for our society?  Are there any such examples in the ancient Persian culture to introduce to the present generation?  Or should one resort to other cultures?  It is centuries that through its myths, Shahnameh of Ferdowsi as a national identity of Persian society, transmitted major part of ancient Persian cultural, religious, and national heritage to this day.  Attempt is made in this article to study the characteristic features of Shahnameh’s prominent heroes from the perspective of sociological and psychological aspect of personality.    Employing narrative analysis method, first the characteristic features of six main characters in the Tale of Zal and Roudabeh are determined. Secondly, using three stages of open, axial, and selective coding in grounded theory method 158 concepts, 28 sub themes, and 7 major themes were identified and according to four precepts eight characters were revealed, and finally the chief concept of two personality types rational and irrational are referred to.

The story of Zal-va-Roudabeh is Ferdowsi's first love story in Shahname that is lyrical-epic and in which the romance is reflected naturally and logically. It should be noticed that in such stories‚ the poet doesn’t usually interfere in narrating and transferring the ancient's heritage to the next generations and he reveals his feelings and emotions less; but from the view of description and imagination forms that state the poet's skill and ability in composing the poem‚ he tries to state the happenings of the story in an artistic style. In the present study, the structure of Zal-va-Roudabeh story, regarding its lyrical aspect, have been examined in two parts using the descriptive – analytic method. The first part allocates to the combination and the context of the story which includes: the form‚ the topic and the way of expression‚ conversations‚ characters and heroes of the story and contains all the elements of a lyrical poem. In the second part of the story‚ the role of the forms of imagination in making epic or lyrical story is described. In some cases‚ such as metonymy and simile‚ the story has kept its epic – lyrical form in accordance with their frequency but considering the metaphor‚ lyrical aspects are dominant and most of the metaphors are devoted to the beloved (Roudabeh). Considering the allusion, the allusions with the epic concept are dominant.