Volume 9, Issue 42 (2022)
CFL 2022, 9(42): 41-77 |
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Jahandideh A G. The Structure of Motifs in the Story of Hani and Shaimorid. CFL 2022; 9 (42) :41-77
URL: http://cfl.modares.ac.ir/article-11-58493-en.html
URL: http://cfl.modares.ac.ir/article-11-58493-en.html
Associate Professor of Persian Language and Literature Department, Chahbar University of Maritime and Marine Sciences, Chabahar, Iran
Abstract: (1412 Views)
Research background
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
No article is published on the analysis of Hani and Shaimorid's story. Of course, some books have reported its poems. In addition to giving an account of the first edition of the story, the book Baluchi Romances in verse written by Jahandideh (2011) has also offered the related poems. Faqirshad (2016) has offered poems of the first story together with a report of the story in the book Legacy quoting the musicians' songs. He has published them in Karachi, Pakistan. Rakhshani (2015) has published some poems of the second edition of the story known as Baluchi culture and epic literature in Karachi.
Objectives, questions, and assumptions
Baluchi poem stories are a part of Iranian literature being unknown for non-Baluch Persians and Iranians. In addition to discussing Baluch culture and literature, the publication of these poems can give more acceptable results by investigating similar stories in the Persian literature. In this research, we try to answer the following questions:
Which Iranian regions does Hani and Shaimorid's story belong to? What is the place of this story in Baluchi literature? What are the main motifs of the story?
Main discussion
In literary criticism, motif is one of the important items discussed in the motif field studies when studying the works and thoughts of the author and understanding the relationship between form and content as well as many other different performances. In addition to literature, it is also used in other fields (Jafarpour & Alavi Moghadam, 2012, p. 42). According to the motifs of the stories, the stories can be classified into wonderful stories, love stories, dignity stories, epic stories, etc. (Parsa Nasab, 2009, p. 27).
The main motif of Hani and Shaimorid's story is love. Both heroes love each other and this motif brings about other incidents and motifs. In the classification of different stories, it is regarded as a love story due to its main motif, i.e. love, but it also has some features of epic, dignity, and mystical stories. According to the classification offered by Mirsadeghi, in terms of motif and content, this story has a love and emotional motif and a justice-seeking content. To reach his beloved, the hero of the story undergoes different incidents, and in fact, the hero fights the evils for the sake of love. An important point of such stories is the single beloved (Mirsadeghi, 2015, pp. 103-114). While loving Hani, Shaimorid fights against Mir Chaker's oppression and calls him an oppressor, and Hani warns Mir Chaker of his dirty job in her forced marriage, and seeks for justice until the end of his life.
Conclusion
Hani and Shaimorid's story is the most famous Baluchi poetic and love story. Examining this story, it can be concluded that the story has various motifs, the most important of which are: love, heroic, dignity, and mystical motifs. The story begins with the heroic motif "keeping the promise". Meeting the promise, another heroic motif "generosity" forms, and due to the rival's deception, Shaimorid is forced to give up his unseen fiancée to protect his "reputation". After seeing Hani, his love begins and the story continues with various love motifs. The most important love motifs of the story are as follows: Lover's love at first sight, two-way constant love, hidden meetings, lover's insanity, sending letters and messages, love rival, a wicked woman, virginity, and writing poetry; other motifs include: heroic motifs such as keeping the promise, generosity, tolerating difficulties, being nocturnal, disguising, war skills, traveling and leaving the homeland, chastity; some of the dignity motifs are eternal life, youth revival, capture in nature and prediction; the mystical motifs are mendicant and reprehensible appearance, nicknames of the aged, disciple and the sanctity believed by people after disappearing.
References
Jafarpour, M., & Alavi Moghaddam, M. (2012). The structure of Amir Arsalan's fictional themes. Journal of Persian Literature Textbook, 2, 39-60.
Mirsadeghi, J. (2015). Fiction. Sokhan Publications.
Parsansab, M. (2009). Motifs: definitions, types, directions, etc. Literary Criticism Quarterly, 2(5), 7-41
Article Type: Original Research |
Subject:
Public literature of Sistan and Baluchestan
Received: 2021/05/31 | Accepted: 2021/11/3 | Published: 2022/01/7
Received: 2021/05/31 | Accepted: 2021/11/3 | Published: 2022/01/7
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