Tragedy elements of Shahnameh in the stories of Jamshid and Siavash

Dissertation for receiving Master's degree (M.A)

Farsi Language and Literature

Summary

Since the beginning of human life, the discussion of lamentation, mourning and bereavement has been discussed, and in every corner of this vast world, all human beings step on the border of existence and Nothing has reached the idea of ??tragedy and they have always dealt with philosophy and the idea of ??tragedy in some way. The ancient peoples and nations of the world have generally written their epic works in the first years of their ethnic life, and after they have gone through stages of cultural development and progress and reached a foundation of taste and spiritual perfection, they have succeeded in creating and inventing dramatic and tragic works. Whereas Ferdowsi's Shahnameh, in the thousands of years of history of us Iranians, was created at a time when the Iranian nation has gone through brilliant periods of civilization, culture and knowledge, and this has influenced and interfered in the perfection and completeness of this great epic masterpiece, both in terms of literature and in terms of storytelling. The stories of this precious epic cannot be compared with the epics of other nations; Because some of them have features that cannot be seen in the epic stories of other nations, and that is the element of drama and tragedy. The element of drama and tragedy, which is the distinguishing feature of Iran's national epic from other epics in the world, is well expressed in the two stories of Jamshid and Siavash. This research has tried to analyze and investigate the areas of tragedy in these two stories.

Key words: Shahnameh, tragedy, Jamshid, Siavash.

Introduction

Tragedy is the story of the fall of a hero from the height of pride to Hadiz is a misfortune, a story of conflict and battle between forces that are morally justified and right from the point of view of society. Tragedy is close to the human world and its hero is in a fight with fate until the end of the story. He is only one step away from Sawab Road; But he never takes this one step to prevent the disaster.

The hero of the tragedy is lovable; Because it is the embodiment of the rebellious spirit of a person, and it is the manifestation of the compensatory free will, the expression of the firm will, and the source of his solution-making thoughts. In tragedy, man seeks freedom, and conflict, conflict, and struggle are values, and this value brings forces together.

Since the beginning of human life, the discussion of elegies, mourning, and bereavement has been discussed, and in every corner of this vast world, all human beings have reached the idea of ??tragedy by stepping on the border of existence and non-existence, and always in some way with philosophy and the idea of ??tragedy. have dealt The Shahnameh is the most noble epic poem of us Iranians, born in the civilized society and with the culture of Iran, written by the talented Hakim Tous, a collection of mythological stories, historical narratives, and epic and national stories that are full of feverish and frightening moments of tragedy.

The stories of this precious epic cannot be compared to the epics of other nations; Because some of them have features that cannot be seen in the epic stories of other nations, and that is the element of drama and tragedy. Therefore, the element of drama and tragedy is the distinguishing feature of Iran's national epic from other epics of the world. This issue itself stems from the diversity of the contents of this valuable work.

Since the Shahnameh has received less attention in relation to tragedy and no serious research has been done in this connection, the author of the present research has tried to better show the real position of this work by examining it from the point of view of the topic under discussion.

The working method in this research is a library. And due to the large number of tragic stories in the Shahnameh and their extensiveness and voluminous nature, and the research not being finished by the appointed time, only the investigation of the elements of tragedy in the two stories of Jamshid and Siavash has been limited.

This research seeks to find answers to these questions:

What are the elements and components of tragedy?

What are the elements and components of the tragedies of the Shahnameh?

Which of these two stories and Siavash is a tragedy in the full sense Is it a word?

Research background

1 Mohammad Mokhtari has discussed the literary genre of epic in a part of his work entitled "Epic in National Mystery" and under this topic, the category They have mentioned the tragic and the differences between epic and tragedy.

2 In the second part of her work entitled "Shahnameh and Tragedy of Anti", Mrs. Khojstekia has examined some basic differences between Athenian tragedies and heroic stories of Shahnameh. They have looked at the Shahnameh from a theatrical point of view and believe that comparing the Athenian tragedies with the stories of the Shahnameh will help us to better understand the architecture, character development and aesthetics of the Shahnameh.

3 Dr. Mahmoud Sana'i, in a work titled "Ferdosi, the master of tragedy", first defines tragedy and mentions the opinions of several philosophers in connection with it. In the following, the four stories of Iraj and Brothers, Ki Khosro, Froud, Rostam and Esfandiar have been introduced as tragedies in the full sense of the word. In these four stories, they only narrate and analyze the story a little and do not mention any of the components and characteristics of tragedy.

4 Abolqasem Zakerzadeh and Marya Ansari in their article entitled "The Death of Tragedy and the Birth of Rationalism" compare Nietzsche's definition of tragedy to the definition they gave during the Enlightenment and the death of tragedy with the rise of rationalism. Nietzsche mentions it as Socraticism.

5 Ahmed Samii Gilani in an article titled "Elements of Tragedy in the Story of Siavash" deals with the summary of the story and examines the spiritual characteristics of some people in the story and the color of destiny in it and does not discuss other elements.

6 Jafar Hamidi in the article "The Purpose of Ferdowsi in Tragedy" believe that the element of tragedy has a serious presence throughout the Shahnameh. Especially in the story of Siavash. He goes on to say that in tragedy there is no answer for any of the reasons, because fate is the main driver of tragedy. Since the people in Ferdowsi's era were captured by the Turks of Ghaz and other aggressors, Ferdowsi took up the sword of the pen and brought to life the virtues and heroic standards. Therefore, tragedy became a symbol to reveal these realities.

7 Thesis "From the ritual of sacrifice and death to tragedy" by Shekar Khoda Guderzi: This thesis seeks to find an answer to the question of how theater emerged. He has investigated the roots before theater, meaning ceremonies and rituals, especially the ritual of sacrifice and death, and expressed the necessity of the formation of theater in ancient Greece. The author has examined this issue in two periods: 1. Prehistoric Greece; 2 Golden Age.

After examining these cases, Aristotle's opinions about tragedy are presented and the most important work of ancient Greek tragedy, Oedipus the King, is analyzed as an example. In the end, the author examines ritual examples in the works of Sophocles.

8 Thesis "Investigation of character traits in three examples of classical, neoclassical and modern tragedies" by Marzieh Talai: In this thesis, these three periods of theater are examined to provide a definition and categorization of character traits. At first, the historical, social and political events influencing the creation of these schools have been briefly examined, and then in each chapter specifically:

a) The mutual influence between the "opinions of psychological, social and political science experts" and the thoughts of prominent dramatists of that school, which led to the creation of the characters of their works, has been compiled.

The greatest director of Tragedy, destiny, in the Shahnameh, this eternal work has a clear expression and urges the heroes of the stories to fight with themselves. A fight that indicates the rebellious and vindictive spirit of the people of this border and land.

By studying the different opinions and opinions related to the tragedy in the Shahnameh, we find out that all of them refuse to call them tragedies due to the narration and narrative nature of the stories in the Shahnameh, while the element of scenery and song has not been considered among many tragedians in the world. is Among these is the Roman tragedian Seneca, whose works were more suitable for reading than for performing on stage.