siyavash

Our different perspectives towards the world increases the necessity to investigating literary works in order to know humanity and recognize cultural–literary bonds among all nations. One of the ways to affect these issues is through comparative literature. Ferdowsi and Shakespeare are considered as literature heroes among their own nations as well as other nations in the world. They have created unique masterpieces to the West and East’s views. Although Siyavash’s story does not seem a tragedy like Othello in the beginning, investigating it shows tragedy characteristics that need to be studied upon. The present study aims to investigate the theme Siyavash from Shahnameh-e-Ferdowsi and Shakespeare’s Othello via an analytical-comparative approach. In addition to analyzing the stories and the themes, their similarities and differences were revealed. The results show that both of these poets have established a foundation of their stories based on moral values. Similarities between the two are more than the differences and the common factor causing the events was “envy”. Moreover, the results reveal that the hero’s battle reflects humane characteristics such as honesty and affection more than anything else. Nevertheless, the main difference is that the characters do not precisely resemble their double ganger in other tragedies; in a sense Siyavash is similar to Desdemona’s in terms of moral state and occasionally resembles Othello’s characters.

The illustration “Siyavash Passing across the Fire” is one of the ancient Iranian stories which has entered the world of painting and has various versions illustrated beautifully and is the only illustration in Iranian painting history which has been illustrated several times. In Iranian art of painting, speech and image are defined as independent and distinct texts but intertextuality creates an inner dialogue between them. Investigating the intersemiotic relations between two different systems in one place (speech and image) and also, as Gerard Genette stated, converting the semiotic system of a literary text into image which falls into transposition category of Hypertextuality studies can be considered as a kind of intersemiotic translation. This paper attempts to place emphasis on studying intertextuality in the relationship between speech and image of the illustration “Siyavash Passing across the Fire” in terms of the interaction between texts and also investigating Siyavash as a myth from Dumezil’s perspective; Three actions of monarchy, gallantry and fertility not only can be scrutinized in the myth of Siyavash as the most mysterious one, it is analyzable with regard to the three characters of Siyavash, Soudabeh and Keykavous in the mentioned illustration as well. Accordingly, two mythological and semiotic approaches are used to study this illustration and to crystallize the fact that illustrator is a kind of translator, for he/she converts a text into an illustration knowing the hypo-text and also, in adaptation process, transforms verbal sign system within a certain type of narrative translation into visual sign system.

The Shanameh written by Ferdowsi is a long epic poem in Persian classic literature that has many tragic stories, among which we can mention the murder of Siyavash (Soug-e Siyavash) as an old narrative with a tragic theme. This study aims to explore the story of the murder of Siyavash based on the theory of “Mythos Tragedy” by the Canadian critic, Northrop Frye. According to the theory which asserts some general principles on the anatomy of tragedy, “The Murder of Siyash” involves some components such as “incompatibility between love and social structure”, “predetermined destiny” as well as 6 phases that all make it as one of the most beautiful tragedies in the world. In his theory, Frye does not refer to an antihero, but rather he attributes the tragedy to the predetermined course of events, destiny, and the will of Gods that turn the friendship to animosity. In the story of Siyavash, the dominance of fate and inspired destiny leads to unintended and accidental hostility between Afrasiyab and his daughter and son-in-law ending to an inadvertent fight. Another component of tragedy is “inevitability of the final catastrophe” that is depicted in the best way in the “Murder of Siyavash”. The ultimate peace and tranquility at the end of the story as well as its fatalist ideology lead to a sort of metaphysical relief that is required in the ending of a tragic work.

Tragedy, in its original Greek format, was in the form of a play to be performed on the stage. Aristotle was among the first people to argue about tragedy in a precise and technical way in the book called “poetry technique” and considered it as a type of poetry so that it is an imitation of people’s conduct and represents them better than the way they are. Moreover, Aristotle gave an adequate explanation for tragedy performance style, scene features, and actors. Some tragedies were created in Ancient Rome with a purpose rather than play on the stage. Therefore, in Medieval and the Renaissance, the element of being dramatic, was not considered as the main factor regarding the study of tragic artwork. Moreover, in contemporary era, the features of tragedy is searchable in novels and poetry.Shahname, written by Ferdowsi, an epic poetry, consists of some tales that can be taken into account as tragedy. A heroic story which ends in catastrophe, engages the human mind with philosophical subjects, brings leniency to the heart and purifies the soul. The authors intend to search for the key elements of Greek tragedy in two tragic stories, Shahname by Ferdowsi, Siyavash and Foroud. The results of the study indicates that these two stories are not fine examples of Greek tragedy and the main factor for differentiation is the narrative style of Shahname which does not match Greek tragedy

The union between human and plant and the likeness of Human and Tree has been one of the oldest belief among the nations. Tree always has had a sacred position for people and mythically has had various meaning in their imagination. In this paper by emphasizing on the sacred position of Tree among difference nations, it has been tried to examine the important and mythical position of Sarve among Iranian from ancient to Islamic period. In this paper by investigating the present of symbol of Sarve in funerary ceremony it is being tried to attract attention to common aspect of this custom and it persistence in Zadmard Ritual.

From way back, man has paid attention to fire and its place in the man’s life. One of the functions of fire is purification. In spite of burning, fire brings purity and cleanliness. According to mythological beliefs, the flaming fire is a battlefield between cleanliness and wickedness. In the present article, at first, we consider the symbolic concept of fire in various myths that indicates to passing from fire (the exam of fire) and ascend to a higher stage. Then, after considering the myth of ‘passing of Siyāvash through the fire’ and the story of ‘Abraham in fire’, we compare them with another two stories of Masnavi Manavi of Jalāl al-Din Rūmi. They are the story of ‘casting the child into the fire’ and the fable of ‘reply to the materialist who says that the world is eternal’. We try to show that Jalāl al-Din Rūmi has been aware of the ancient symbolic and mythical concepts and has recreated them.

Looking at the story of Siyāvash with some myths that are ethically and structurally unfit to this story turns a blind eye on the reality of the story that has a firm connection with the character of Rostam. If we notice to views of European fair minded scholars about the antiquity of Avestā as well as some Iranian scholars who study the subject phenomenologically, then we will know the Iranian themes in the story and how it differs from myths of fertility. First time, Afrasiab appointed Siyāvash as ruler of a fertile region called Kangdezh. Siyāvash made a guard wall around it with the help of Farre Kiyani (the gift of Divine grace); according to Bundahishn, it had 15 gates and the distance of each gate from the other was 15 days trekking time. For the second time, Afrasiab wanted Siyāvash to make another region near his capital; then Siyāvash made another city called Sharestane Siyāvashgerd. The present article wants to show that new archaeological researches are needed in Dushanbe and Bukhārā for these reasons: Narshakhi (ca. 899–959) points that the tomb of Siyāvash is located in the gate of Bukhārā; and there is a refurbished gate in Dushanbe and probably another gates in the city; and finally Siyāvashgerd is situated in limits of a wall.

Myths in throughout of world، have many similarity together، therefore we can clarify all myths in some sample. There are very festival which contains myth. KUSE، a celebration that carried out before NOOROZ in Persian، has a various form، that ARUS GULEY- one of the Fertilization Festivals of Guilan is one of them. This paper is an attempt to descript the story of ARUS GULEY، ISIS، (the Egypt myth)، PERSEPHONE، (the Greek myth)، and to say that the Guilanian celebration has very sings to verify similarity with them، thus it is appropriate to serious study. This article contain several segments: introduction of the Egypt and Greek myth، description of tow narrative of ARUS GULEY، semiology of these narratives، and the comparison SIYAVASH and RAPITHVIN with ARUS GULEY is another part of this article.

The Stories of Siyavash، Hyppolytus and Joseph are well-known throughout the world. The plot of these stories is almost about the wife of a king or a dignitary falling in love with her stepson or adopted son. Because of the chastity and the loyalty to the father، the stepson does not respond to and is not trapped in his stepmother’s lust. Therefore، accusing the stepson of rape the woman tries to avenge him. She also deceives her husband to severely punish his son. (In some stories، the son falls in love with the stepmother or trapped in her fraud.) The present article tries to relate the various instances of this kind of love between stepmother and stepson in different mythological، literary، and historical texts of different nations and to compare these examples to find why such a plot is widespread throughout the world، and among various nations.

The pureness and righteousness of Siyavash – the mythological protagonist in Firdausi's Book of Kings – that were trialed by his passing across fire, took root in the depth of Iranian people's believes and ideas. In the chivalric romance of Sir Gawain and the Green Knight, that has a high status in English and European literatures, Gawain too, as one of the purest knights of king Arthur, after being successful in passing a series of trials – that like Siyavash's trial had a supernatural nature – proves his personal virtues. Through an integration of the structuralist theories of Claude Levi Strauss and Northrop Frye, this research intends to provide a critical framework to study the form and content of these two stories in order to determine their similarities. Here "similarities" refers to the archetypes and mini-myths that have been stated in the narrative plot of the romance of the two stories in the dual contrast of nature versus culture. On the ground of this basic dual contrast the two protagonists pass their "intrinsic" and " "superficial" archetypal trials to prove their righteousness. Moreover, the two stories restate the two basic archetypes: Death and Rebirth, as well as the Terrible Mother.

Shahnameh as the poetic history of ancient Iranian, has fascinated many people. Study of its narrative elements and representational values allures a lot of researchers Because of its large bulk and technical aspects of narration. The narrative of Siyavash in shahnameh is the story of a legendary Persian prince from the earliest days of the Persian Empire who is a tragic victim of an intrigue- the treason of his stepmother (with whom he refused to have sex and betray his father). This article studies the function of intrigue as the key narrative element in the story of Siyavash. The research method is descriptive-analytical.

Siyāvash, a character in Ferdowsi's epic, Shāhnāmeh, was the son of Kai Kavoos, king of Iran, Due to the treason of his stepmother, Sudābeh, Siyāvash selfexiled himself to Turan where he was killed innocently by order of the Turanian king, Afrāsiāb and was later on avenged by his son, Kai Khosrow. Siyāvash is one of the beloved characters in Shāhnāmeh who was wronged, and is a symbol of innocence in Persian Literature. In a sense he has a mystic character, a holly traveler (Sālek) who travels from the stage of spiritual quest (talab) to the stage of annihilation (fanā). He passes safely through fire, can prophesy the things to happen fourteen years after his death, and reminds us of the anthropos teleios (Perfect Man).