Abstract
In this qualitative-quantitative research first the deep structure of the old motif of Jamshid’s myth that is Jam and sun and the account of the new motif namely cup of Jam is described and analyzed. Then, the extent and the manner of employing the More
Abstract
In this qualitative-quantitative research first the deep structure of the old motif of Jamshid’s myth that is Jam and sun and the account of the new motif namely cup of Jam is described and analyzed. Then, the extent and the manner of employing these motifs by Khwaju and Hafex is studied. Apart from using the old motif of Jam and sun in Gowharnameh and Gol o Nowruz Khwaju had selected the new motif of cup of Jam in Rowzat-al-anwar, Kamal-Nameh, and Homay o Homayun depending on his intensions whereas Hafez had far more utilized cup of Jam in his Divan. Although Khwaju uses both old and new motifs of Jamshid’s myth in his poems, yet in average the recurrence of cup of Jam in his works are more frequent. The equivalence of Jam and sun in Gol o Nowruz and Gowharnameh indicates the relationship and the unity of the two in his poetry. If the God of Sun, Mehr in these equations substitutes the word sun, a new equation of Jam and Mehr is produced and this concept probably demonstrates how our ancestors worshiping Mehr had employed the old motifs of Jam’s myth according to the subject matter and the feasibility of this new equation attest to the flexibility and accordance inherent in myths.
Manuscript profile
