Religious beliefs are shaped by myth. Mythical heroes and innocent Imams are always considered to be among the recurring themes as the sacred and identifying elements of the Iranian culture. They are in the subconscious, beliefs, and traditions of the people. With common goals and similar destiny, they have been influential in the formation of various literary and artistic works, including Ferdowsichr('39')s Shahnameh and Taziehs. This study focuses on the semantic decoding of repetitive mythical elements, in two texts from the pre - and post- Islamic eras. Employing the Genettechr('39')s hypertextual approach, the study analyzes the story of Siavash in Shahnameh (pre-Islamic) and the Tazieh of Imam Hussein) post-Islamic(. The purpose of the research is to find out how the textual narrative was adapted by the theatrical narrative. After explaining the theoretical issues, the summary of the texts, and the characteristics of the heroes, the results are given in a table. The common or unique elements and symbols of thought and actions of the Iranian hero are sometimes manifested in an earthly-mythical and sometimes religious-historical and celestial personalities. Every year, similar rituals are repeated and reproduced in the mourning. The research method is descriptive-comparative and the analysis is done through content analysis and the use of library documents. The findings showed the following symbolic similarities: the halo of light, intelligent horse, white clothes, the presence of extraterrestrials, among others. The difference between the rituals were: the symbol of the plant god, the passage of fire, the Siavashun feather, Zulfiqar, the magical armor, among others.
Introduction
Research Background
There are several research projects conducted on the herochr('39')s myth, behavioral pattern, rituals left in their honor, spiritual journey and comparative relations on the texts about Siavashchr('39')s mourning. Some examples are Dalir (2008) in an article entitled "The Intertextual Relations of Siavashchr('39')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 Ferdowsichr('39')s Shahnameh? What is the effect of the heroeschr('39') 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 Siavashchr('39')s story from Ferdowsichr('39')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.
