Introduction

Research Background

There are several research projects conducted on the hero's myth, behavioral pattern, rituals left in their honor, spiritual journey and comparative relations on the texts about Siavash's mourning. Some examples are Dalir (2008) in an article entitled "The Intertextual Relations of Siavash's Story from Shahnameh and the Condolences of the Martyrdom of Imam Hussein’s Tazieh" in which it has examined the intertextual relationship through the similarities of the two stories and the structural comparison, space, and characters of the play. Alizadeh Moghadam (2010) has compared the epic and tragic world of the imitations of Imam (AS) from the perspective of the hero. In the book of mourning for Siavash, by Meskoob (1975), issues about the myth, epic, and mourning of Siavash are given. In the Iranian plays by Ashourpour (1994), and Housouri (2002), some commonalities of general mourning and the mourning of Siavash, which are mostly in the field of mythological beliefs, the genealogy of Siavash and Imam Hussein are investigated. It also has a historical connection with the ritual of Tazieh.

Goals, questions, and assumptions

The goal and the research problem are the adaptation and decipherment of symbolic elements, common intertextual relations, and the mythical and recurring role of the "hero" between the two works. This article seeks to answer the following questions: What are the most important recurring similarities in the mythical symbols of the hero between the two texts? What is the difference between the fields of fiction, narration, the concept of time, place, behavior in Tazieh and Ferdowsi's Shahnameh? What is the effect of the heroes' behavior in tragic and epic literature in Iran on the formation of two types of dramatic literature (in Tazieh) and epic literature (in Shahnameh)? As a research hypothesis, it is suggested that historians have consciously established an intertextual relationship with Shahnameh in line with their goals and motives. Also, the mourning of Siavash of Shahnameh and Majlis Tazieh of Imam Hussein (AS) within intertextual reading has had many connections during the history.

Discussion

The myth of the "hero" in the historical memory (national and religious) of our nation, his role in wars, and the constant confrontation between light and darkness, is one of the most stable and influential common themes in popular culture, literature, and art of different ethnic groups. The repeated presence of the hero in the context of history is considered as one of the influential and pivotal elements in the creation of artistic texts. It is with the connection of myth and history that the heroic character can be given an eternal aspect. In every field, time, and place, his presence can be considered as a believable model. The history of Iran as a whole is, on the one hand, a mixture of ideas (myths), facts (history), popular opinions and beliefs (myths), and documents that exist in various forms, while shaping the existence and identity of the Iranian nation. Recognizing and adapting the role of mythical and historical heroes, their worldview regarding existence and creation, the superhuman and mystical content of their actions and their role modeling in later periods, can meet human needs. In this regard, the reason for the symbolic features of the "hero" as the driving and shaping element of the story of Siavash (in the epic literature of Shahnameh) and Imam Hussein (in the tragic play of Tazieh) need to be compared.

Conclusion

The myth of the hero speaks of the common themes of "human existence and spirituality", aiming to fight demons and oppression. It goes through similar steps to achieve their human and lofty goals, and because of their human nature, they consciously embark on a difficult journey. In the end, with their oppressed and bitter martyrdom, they leave a stable and living model in the minds and executive customs of the people, sometimes in the form of a mythical and sometimes infallible face of religion. They join in the context of history. Similarities and implications in mythological components, the variety of common or unique forms, dense semantic layers in belief, literature and popular art, common and unique symbolic aspects that have high interpretability, all in all show that the two texts are influenced by each other. The findings indicate that the repetitive elements that have become the reason for the ritual and similar repetition every year are to appreciate the sacrifices of the heroes.

References

Alizadeh Moghadam, A. & Vamiri, M. (2019). A comparative study of the characters   and heroes of Shahnameh and Tazieh with an approach to dramatic literature. Research in Art and Humanities, 3(17), 19-26.

Ashourpour, S. (1994). Iranian performances. Surah Mehr.

Dalir, A. (2009). Intertextual relations between Siavash's story from Ferdowsi's Shahnameh and the condolence of the martyrdom of Imam Hussein. Honar, 77(4), 176-187.

Ghadernejad, M., Khalandi, A., & Shafei, K. (2019). Re-reading the ritual of mourning for Siavash and mourning for Imam Hussein (Based on the analysis of paintings related to Siavash mourning in Central Asia and a work by "Hossein Zande Rudi". Persian Language and Literature Research, 49(4), 71-94.

Hosuri, A. (2001). Siavoshan. Cheshmeh.

Meskoob, Sh. (1975). The mourning of Siavash (in death and resurrection). Kharazmi.