Comparative Analysis of the Function of Transcendental Motifs in the Narrative Structure of Epic Poems Based on Georges Dumézil's Theory of Triple Action: "Study society: Khavarannameh, Shahanshahnameh, Zafarnameh"

Document Type : Scientific

Authors

1 دانشجوی دکتری دانشگاه آزاد اسلامی - واحد یادگار امام (ره) شهرری

2 استادیار گروه زبان و ادبیات فارسی - دانشکده ادبیات و علوم انسانی - دانشگاه آزاد اسلامی - واحد یادگار امام (ره) شهرری.

3 استادیار گروه زبان و ادبیات فارسی - دانشکده ادبیات و علوم انسانی - واحد یادگار امام (ره) - شهر ری.

10.22103/jis.2025.24457.2675

Abstract

The present study, relying on the theory of triple actions in the thought of Georges Dumesil, tries to answer the main question: "What are the similarities of the supernatural themes in the types of Iranian epic poems "Khavaran-nameh, Zafar-nameh and Shahan-shah-nameh"?" According to the findings of the study, it seems that in each of the types of poems "historical, heroic, religious" one of the triple actions is more prominent. In Zafar-nameh, according to Mostofi's "Iranshahri" thought, among the three actions, the action of "rulership" and "kingship" is most prominent; therefore, the king, as the absolute representative of God on earth, has a high and sacred position; because on the one hand, he has the power of God, and on the other hand, the characteristics of piety, justice, forgiveness and prudence can be examined in the actions of this character. In the religious system of "Khavaran-Nameh", which describes the bravery of the Shiite leader, the act of war/chivalry is more prominent. Considering the content of this work, elements such as divine and spiritual fervor are represented in a different way; in the sense that Khusfi has given these components a sacred and divine aspect and the miracle and supernatural power of the hero of the work prevails over other epic aspects of this system. In the Shahanshah-Nameh of Saba, considering the content of the work, the acts of rule/royalty and war and chivalry are more predominant. Abbas Mirza, as the hero of the narrative, fights foreigners/non-Iranians and is a symbol ...

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References

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