جمشید

Open Access Article

1 - Effect of acid rain on environment and Persepolis archaeological zone
Mohammad Mehdi Ghanbari Sayed Mahdi Bourghaee Amir Hessam Hassani Sima Farjadfard

According to erosion stones in Perspolis archeological zone, it was decided to study parametersaffecting this process. In this research, geographical map of the site and direction of seasonal andyearly winds were studied and samples of rain water were analyzed. Rain wat More

According to erosion stones in Perspolis archeological zone, it was decided to study parametersaffecting this process. In this research, geographical map of the site and direction of seasonal andyearly winds were studied and samples of rain water were analyzed. Rain water samples fromdifferent locations of Marvdasht city in spring, autumn and winter was collected and tested for acidity.pH of the rain samples of Perspolis region varied between 5.97 and 6.58 during three seasons and allof them were acid rains, which could be one of the most important factors in erosion process of thisenvironment. It is predicted that pollutants emitted from Shiraz Petrochemical Company, Marvdashtcity industries and also exhaust from vehicles have moved toward the west and north-west zone bymentioned winds. So, these pollutants are conflicted to Rahmat mountains (Perspolis archeologicalzone is placed in hillside of Rahmat mountains) and soluted into rainfalls and finally washed with therain water (named acid rain) onto stones and environment of this zone. Manuscript profile

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2 - Analysis of Savoji’s “Jamshid and the Sun” Based on Prop’s Theory
Ebrahim Vasheghani Farahani Leila Hashemian Maryam Rahmani

Morphological analysis is a central technique in structural criticism. In this analysis, the critic seeks to discover relationships among the structural constituents of a tale. It was first introduced into literary criticism by Vladimir Prop under the influence of Ferdi More

Morphological analysis is a central technique in structural criticism. In this analysis, the critic seeks to discover relationships among the structural constituents of a tale. It was first introduced into literary criticism by Vladimir Prop under the influence of Ferdinand de Saussure’s structural linguistics. Prop based his work on the actions of the characters in fairy tales and, after analyzing these actions and their functions, he found out that all the tales follow similar structures which can be generalized to explain the tales of various peoples over the world. Such analysis reveals that the characters of different tales, regardless of apparent differences, have constant specific functions according to their role in the tale. The present paper is an attempt at the structural analysis of the tale of “Jamshid and the Sun”, which is one of the most successful lyric tales of Persian literature, and at the study of the functions and their order in each role to determine the degree to which to these functions conform to the roles and self-actions in the story. Manuscript profile

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3 - A Comparative Study of Jamshid and Solomon as Characters Presented in the Works of Attar, Hafiz and Khajou-ye Kermani
SHAHROZ Jamali zahra jamali

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4 - Mythical Implications of Cup in Classic Literature
Masoumeh Amirkamali Abbas Mahyar

Jām (cup) is one of the main themes frequently used in Persian poetry. In Persian literature there emerged a new trend under the name of “Khamriye Sorayi” (poems on wine) due to the frequently used theme of cup, and a number of well-known poets were involved More

Jām (cup) is one of the main themes frequently used in Persian poetry. In Persian literature there emerged a new trend under the name of “Khamriye Sorayi” (poems on wine) due to the frequently used theme of cup, and a number of well-known poets were involved in its emergence. Using the word “cup” led to forming such compounds as Jām-e Jam (cup of Jamshid), Jām-e Jahān Namā (cup of orrery) and Jām-e Jahān Bin (cup to display the world) and paved the way for the further use of this word in mystical literature. The early legends, myths and historical narratives in which the word “cup” had been mentioned could be considered the origin for the realization of the theme in later literary works. Those early narratives reveal the cup as belonged to either Jamshid or Kay khosrow. The present research is an attempt to study – through a historical review – the concept of the cup and its being the focus of interest in verse and prose literature as well as the way poets have dealt and acknowledged the theme in their works Manuscript profile

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5 - allegorical motifs- mystical Gnostic in book Jamshid and Khorshid Salman Savedji
Zahra Rajablou Mandana Alimi

Jamshid and Khorshid book written by Salman Savedji is a symbolic and allegorical book that all of its components are unified structure. This book shows familiarity of him with rich heritage of literary, cultural and spiritual legacy of the previous periods in addition More

Jamshid and Khorshid book written by Salman Savedji is a symbolic and allegorical book that all of its components are unified structure. This book shows familiarity of him with rich heritage of literary, cultural and spiritual legacy of the previous periods in addition to showing strength of him in his storytelling and joining of various materials. Part of this heritage belongs to the wisdom of the Gnostic thoughts and Manu and Hermes. The purpose of this article is to show traces of these ideas in the book Jamshid and Khorshid. In this paper, after introducing and explaining the Gnostic ideas and the history of Iranian civilization, the influence of Gnostic themes, including the duality of matter and spirit, love, sleep, travel, mediating and testing were shown in this book. Analysis of this work is in fact offering a fresh interpretation of the purpose of the query. Manuscript profile

Open Access Article

6 - Figurative Elements in The Novel of Romances of Jonah in The Belly of The Whale by Jamshid Khanian
Seyed Ahmad Hosseini Kazerooni Somayeh Avarand Seye Jafar Hamidi Mohammadreza Shahbazi

Literature of resistance in a specific meaning is one of the literary genres that is kind of new in Iran with many stories and novels in which the author has employed allegory and symbol to express himself and create his work. Symbol and allegory include something vague More

Literature of resistance in a specific meaning is one of the literary genres that is kind of new in Iran with many stories and novels in which the author has employed allegory and symbol to express himself and create his work. Symbol and allegory include something vague, unknown or hidden from us known as a code in the new era and stylistic criticism of a work that can even include an author's style. Layered stylistics, which is a modern method of stylistics, considers situational context as the macro layer, fragmenting the text into micro layers. Then, exploring those layers, it searches the features and frequent traits, ultimately leading to the discovery of ideology. In this descriptive-content analysis study, first, according to the situational context, the novel of Romances of Jonah in the belly of the whale byJamshid Khanian, an allegorical work in the literature of resistance, was fragmented into lexical, syntactic and rhetorical micro layers, and then analyzed stylistically.The findings suggest that the ideology of the author lies in the syntactic layer since this is an allegorical story and allegory usually reflects in the syntactic layer. Presenting a perfect example, the author introduces the journey from an earthly love to the heavenly love as the best type of love; then, employing the code and allegory, makes the audience interprete and think, creating an allegorical style for his novel.   Manuscript profile

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7 - A Study of the Similarities and the Differences of the Jamshid Character in Shahnameh and Avesta
zhreh sarmad

Jamshid is one of the ancient Indian-Iranian gods, whose name has appeared in the Vedas, Shahnameh, and Avesta. This ancient mythical character has gradually changed to an epic character; he has descended from the rank of gods to the form of a great king in Shahnameh an More

Jamshid is one of the ancient Indian-Iranian gods, whose name has appeared in the Vedas, Shahnameh, and Avesta. This ancient mythical character has gradually changed to an epic character; he has descended from the rank of gods to the form of a great king in Shahnameh and Avesta. The story of Jamshid in Avesta is closer to its original myth. In Shahnameh, the character is more epic due to the influence of Muslim narrators, the poet’s religious beliefs, and coordination with the social beliefs and ideas. Studying the different aspects of this character can help understand the development process and find out the similarities and differences in the mentioned works. Manuscript profile

Open Access Article

8 - Reviews and analysis of personality disorder narcissism Jamshid in the Shahnameh
zeinab Bagheri Mohamad Ali Davood abady

Psychology study of literature make it possible for the reader to analyze the literary text in a new perspective. Shahnameh is the most important and valid document mythic, epic history of Iran. This article tries to describe one of the characters psychologically by usi More

Psychology study of literature make it possible for the reader to analyze the literary text in a new perspective. Shahnameh is the most important and valid document mythic, epic history of Iran. This article tries to describe one of the characters psychologically by using descriptive analytical method from psychological perspective. We read in this article that jamshid was a king and a chaplain. He thought about the need of contemporary people. He was very clever. His intelligence understand the position and the circumference. He adapted the life and the environment .he made positive changes, and caused a geat transformation in the life of people and social welfare .but respect of people, made him proud. He thought that he was unrivaled and unparalleled. He felt he was valuable and worthy. It was a false sense of confidence. Finally Jamshid got narcissist. He was boaster and proud of himself. In the end because of ingratitude to GOD, He died the worest in Shahnameh. Manuscript profile

Open Access Article

9 - China in Vamegh and Azra and Khorshid by Salman
Dr. Asieh Zabihnia Emran

  Comparative literature attempts to discover the cultural relationships among nations and literary evolutions. This literary orientation is effective in establishing peache and friendship among nations. The main objective of this study is to investigate China thro More

  Comparative literature attempts to discover the cultural relationships among nations and literary evolutions. This literary orientation is effective in establishing peache and friendship among nations. The main objective of this study is to investigate China through a descriptive-analytical approach in lyrical stories of “Jamshid and Khorshid” and “Vamegh and Azra”. In lyrical story of Jamshid and Khorshid (763 AH) the protagonist of this story, i.e. Khorshid is the only child of Chian’s Shapoor and commences on a risky journey in order to reach the moon. At the end of this mytical journey, he reaches the postion of Complete Man. In “Vamegh and Azra” by Lame’ei, Vamegh is the son of Chinese king and normally China is more prominent in this story as compard to Vamegh and Azra by Zahir Kermani. In Zahir’s story, travelling to China and Love is one of the subordinate characters to one of the Chinese beauties which is important and forms the main events of the story. In these four stories, love seeks a higher objective and provides the lover with much bigger and more significant achievements. The final objective in these four lyrical stories is not a narration of a lyrical story, but is a narration of achieving completion, expressing human affects, mental issues and finally creation of literary joy. China had a vast impact on Persian literature and Mystics from old times and in both stories, i.e. “Jamshid and Khorshid” and “Vamegh and Azra”, China is the symbol of land of motifs and beauties. Manuscript profile

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10 - Analysis and impact of the Achaemenid Empire economy on the legal status of women in Parsa state during the era of Darius I (486-522 BC) based on the tablets of the Persepolis wall
soheila kamjoo amir akbari

The legal position of women and their presence in production and construction activities is one of the most effective components of social development. In this regard, the tablets of the ramparts of Persepolis contain interesting points about the legal status of women i More

The legal position of women and their presence in production and construction activities is one of the most effective components of social development. In this regard, the tablets of the ramparts of Persepolis contain interesting points about the legal status of women in Parse state during the era of Darius I Achaemenid. The present study, relying on the analytical descriptive method and using archeological evidence and surviving documents, examines the impact of the economy of the Achaemenid Empire on the legal status of women in the Parsa state during the era of Darius I Achaemenid, and seeks to answer the question that the economy of the empire in What effect has this age had on the legal status of women in Parse state? The findings of the research show the influence of the legal status of women in Parse state on the economic conditions and financial policies in the era of Darius I Achaemenid, which had an impact on the legal beliefs towards women and brought new conditions in terms of citizenship rights for women. In the sense that In the process of economic growth and income distribution, the women of Parse state found a strong motivation for economic participation in royal projects and engaged in productive activities alongside men. Manuscript profile

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11 - Study of style and method of Achaemenid period's architecture
mahmoud seyed mahnaz babaee

In Achaemenid period, a special style of architecture evolved, in which traditions and customs of different nations settling in Achaemenid country came into view. One of the earliest monuments of Achaemenid architecture is Cyrus palace which was built at the first domic More

In Achaemenid period, a special style of architecture evolved, in which traditions and customs of different nations settling in Achaemenid country came into view. One of the earliest monuments of Achaemenid architecture is Cyrus palace which was built at the first domicile of the government at Pasargadae and involved a number of buildings among a garden surrounded by walls. The art of Achaemenid kingdom in 6th to 4th B.C is divided into two categories: first is the art of Persian kings, which best represented in Pasargadae; the other is the art of kings after Darius. Although, in architecture and decorative designs of Pasargadae, Cyrus attempted to integrate different elements from the conquered territories in its artistic design, but in Persepolis, one more step was taken where Achaemenid kings created a unique court style by combining artistic elements from Egypt, Babylonia, Ilam, Lullubi, Medus, Urartu, and Ionia/Ludia. The innovation brought by Darius persisted until the end of Achaemenid reign. This new style was not only reached its peak in architecture of Persepolis, but also was applied in architecture of kings' buildings in Susa, Ecbatana and Babylonia. In fact, Achaemenid architecture is an art integrated from architecture styles of Babylonia, Assur, Urartu, Lullubi (rocky architecture), Greek, Egypt, minor Asia nation- states… which by showing artistic skills and Iranian innovation has created an independent kind of architecture. By building this huge buildings they wanted to show the greatness of their kingdom to the world. In this research it is attempted as much as possible to deal with all aspects of Achaemenid period's architecture and using other tribes' art in it. This article is mostly about the architectures of Pasargadae, Persepolis and Susa. In this direction, an overview of this period's architecture is presented. At the end, we presume that although the architecture art of this period has been an integration of the art of tribes and neighboring countries, however, the spirit and manifestation of Iranian art in this period's architecture is remarkable and undeniable. In other words, its Iranian aspect is more prominent than its other foreign manifestations.   Manuscript profile

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12 - Studing of social strata of Iran in the national narratives
پرویز Hosein talaei GH.R Askari مصطفی Jarfi

Formation of different classes in human societies  has been one of the consequences of population growth and the complexity resulting from that in initial communities. This process, dating back to the human history, has occurred in Iranian society too. However, the More

Formation of different classes in human societies  has been one of the consequences of population growth and the complexity resulting from that in initial communities. This process, dating back to the human history, has occurred in Iranian society too. However, the analysis of social classes based on the ancient Iranian myths and stories (national narratives) has been considered less.  How the formation of social classes and their assignment, divisions and function in the national narratives of Iran, is the main issue of this research. The present study shows that the root of social strata can be searched in the Indo-European society. Initially these were divided into three groups: Srvanan (Clergymen), Artshtaran (military) and Vastryvshan (farmers). But away from the Gahan society, other classes were created too including teachers, craftsmen, craft eyes, musician ,etc. National narratives, assign these classes to Jamshid. The structure of social strata of Iran, Relying on livelihoods and  moral society, has been based on the  principle of dutifulness in order to avoid interfering in the affairs, each class will work in the disposal of evil forces and maintenance of divine Justice and faith.   Manuscript profile

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13 - The Textual Criticism of the Storyology of King Jamshid
Hasan Zolfaghari seyede Ziba Behrooz

One of the popular Persian folk tales in the Qajar era is Malek Jamshid, Asef Spell and Crystal Bath, which is the last remaining Persian mythological tradition by Naqib al-Malak. It is one of the rare folk tales that the author has. The author of this book and Amir Ars More

One of the popular Persian folk tales in the Qajar era is Malek Jamshid, Asef Spell and Crystal Bath, which is the last remaining Persian mythological tradition by Naqib al-Malak. It is one of the rare folk tales that the author has. The author of this book and Amir Arsalan are the same, but Malek Jamshid has been less known due to Amir Arsalan's fame. The difference between these two books is due to the audiences; Malik Jamshid's audience is general but that of Amir Arsalan is specific. This study aims to familiarize the literary people with this less known story, its literary and social dimensions, and textology of it. Therefore, while introducing the story and its narrator, Mohammad Ali Shirazi, known as Naqib al-Mamalik, and introducing the manuscripts editions and making a report of the story, we try to deal with this work from three perspectives: first, linguistic and literary aspects; second, the narrative aspects and themes of the story, and third, the social aspects. Examining the literary and social dimensions of the story, in addition to revealing some aspects of life in the Qajar era, manifests the thoughts and ideas of people of that era and their tastes and entertainments. The purpose of this article is, thus, to introduce one of the Iranians’ fictional legacies in an era very close to the constitution and literary developments. Manuscript profile

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14 - سیاست های راه سازی شاهان هخامنشـــــی
دکتر علاء الدین آذری مهناز بابایی توسکی

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15 - .
sattar abdollahpoor arash moshfeghi gholamhoseyn javanmard

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16 - Zahhak the Snake Shoulder and Nahusha; A Comparative Analysis
Ali Farzane Qasrodashti mahmoud rezaei dasht arzhaneh Farrokh Hajiyani

10.30495/mmlq.2022.689685

Due to their common roots, the epics and myths of Iran and India are very similar. Zahhak the snake shoulder is one of the characters of Iranian epics, whose functions are also seen among the epic characters of India. Vishvarupa because of having three heads and Vritra More

Due to their common roots, the epics and myths of Iran and India are very similar. Zahhak the snake shoulder is one of the characters of Iranian epics, whose functions are also seen among the epic characters of India. Vishvarupa because of having three heads and Vritra because of his connection to drought are epic characters that scholars consider them to be the Indian counterpart of Zahhak. Also, the story of Indra's sin and the transfer of his power to Nahusha has many similarities with the story of Jamshid's sin and accession of Zahhak to the kingdom. In Indo₋Iranian narratives, Indra and Jamshid are examples of sinners who lose their Farr (glory and splendor). But Zahhak and Nahusha, as their successors, after committing similar crimes such as trying to seize the former king's wives, humiliating the clergy and supporting heresy in religion and society, are deposed and taken captive in places like the underworld. In the present article, the commonalities of these stories in Shāhnāmeh, Mahabharat and other Indo-Iranian narratives are compared and analyzed. The findings show that, contrary to the opinion of many scholars who compare Zahhak with Vishvarupa and Vritra, in Indian narratives, Nahusha is more consistent with Zahhak. Manuscript profile

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17 - Cutting the Opponent in Half in the Myths of Zahhak Marduk; A Comparative Study
Arash Ghofrani saeid kheirkhah Hossein Azarpeyvand

10.30495/mmlq.2022.697101

In the vast majority of post-Islamic sources, the story of Zhahak's victory over Jamshid is as follows: after the decline of Jamshid's authority, the farr departed from him and Zhahak advanced and conquered the country, then Jamshid abandoned the kingdom and fled. For s More

In the vast majority of post-Islamic sources, the story of Zhahak's victory over Jamshid is as follows: after the decline of Jamshid's authority, the farr departed from him and Zhahak advanced and conquered the country, then Jamshid abandoned the kingdom and fled. For some time, as a fugitive, he wandered in different parts of the world and Zahhak looked for him everywhere. In the end, He found Jamshid and cut him in half with a saw. Now these questions are raised: Why did Zahak kill Jamshid in this unique way? Couldn't he cut off the head of his enemy, like many kings or heroes of the mythological history of Iran? Why didn't Zahhak hang him? Or even without telling how he was killed, it was enough to mention that Zahhak killed Jamshid after finding him. Undoubtedly, this particular way of killing Jamshid, i.e. sawing him, refers to a symbol. The present research assumes that the myths of the indigenous peoples of Iran have been influenced by the myths of the city-states of Mesopotamia, and by using descriptive-analytical method, attempts to study the compatibility of the myth of Zahhak with the myth of Marduk. Manuscript profile

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18 - A Study on Jamshid's Destiny
Mahmood Jafari Dehagi Zahrā Dashtbān

According to most of the Iranian narratives, Jamshid is a mythical character who lost his power, kingship, charisma, and immortality because of committing a sin which its nature is not known exactly; and at last, he was wandering for a while and then was killed by Zahha More

According to most of the Iranian narratives, Jamshid is a mythical character who lost his power, kingship, charisma, and immortality because of committing a sin which its nature is not known exactly; and at last, he was wandering for a while and then was killed by Zahhak. According to whatever mentioned in old sources, Jam's era represents a  time of pure happiness. However this everlasting dignity and power is deteriorated due to committing a sin by him, and he who once considered as one of the best mythical kings, lost his face, in a way that his golden age came to a bitter end. In various stories remained about his fate and downfall he and his life are portrayed very differently. While in a number of stories he and his dynasty are considered  as the God worshipers, others refer to him as a deviant and unbeliever in God. It is claimed that he have committed two types of sins, among them eating and feeding animal flesh, disobeying Ūrmazd and also claiming to be God. In the present study we try to reveal some of the dark aspects related to this ancient king, and by comparing existing stories, this study tries to shed light on these differences. Besides, we try to answer this question that whether or not Jamshid has really committed a sin, by comparing different viewpoints provided about the problem. Manuscript profile

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19 - The Talisman of Jamshid The Analysis of a Mythological Theme in Heroic Poems and Story-telling Texts (Naqqali); Based on Sām-nāmeh
Manoochehr Joukār Mahmood Rezāe Dashtearzhanah Mokhtār Ebrāhimi Lāle Āshnā

According to one of Iranian myths, Khvarenah (splendor or Farrah) separates from Jamshid in the disguise of a Warghan (Symorgh or falcon) and is released to Mitra, Fereydoun and Garshāsb. It is one of the ancient mythological underpinnings that has a strong reflection i More

According to one of Iranian myths, Khvarenah (splendor or Farrah) separates from Jamshid in the disguise of a Warghan (Symorgh or falcon) and is released to Mitra, Fereydoun and Garshāsb. It is one of the ancient mythological underpinnings that has a strong reflection in Iranian mythology, epic and story-telling texts (naqqali). A mythological underpinning undergoes a variety of alterations- based on the temporal and spatial context- in its journey from the world of myth to the logical sphere of epic so that it would appear rational to the minds of readers. Then, in changing from epic to folk literature, has been transformed in accordance with the taste of people. Therefore, a mythological motif distances thematically from its origin to such an extent that it is difficult to locate its roots. In the present article, the attempt is made to consider the nexus of Jamishid’s talisman with separation of his Khvarenah and its releasing to Garshasb in the following heroic poems and story-telling scrolls (tumār): Sām-nāmeh, Garshāsb-nāmeh, Bahman-nāmeh, Farāmarz-nāmeh, Jahāngir-nāmeh, Shahryār-nāmeh, Tumar Naqqāli Shāhnāmeh, Tumār Haft Lashkar, Tumār Kohan Shāhnāme Ferdowsi, Tumār Shāhnāmeh Ferdowsi, Zarrin Qabānāmeh, Tumār Sāme Savār va Dokhtar Khāqān Chin. According to the authors of this paper, the attempts of Sistani heroes to open the talisman of Jamshid and to get the treasure or the sword embedded in the talisman are symbolic representation of releasing the heroic splendor (Khvarenah) from Jamshid to Garshāsb and it is presented as a metamorphic form in heroic poems and story-telling texts (naqqali). Manuscript profile

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20 - Criticism of the archetype of the Hero in the story of Jamshid and Khorshid based on the View Point of Jung and Campbell
Behnaz Ali Mirzaee M. Jalaloddin Kazzaz i

Abstract         Joseph Campbell, based on Jung ideas and by introducing the archetype of the hero's travel, has opened a new door in the criticism of the archetype and showed that the hero's travel in the narrative works of different More

Abstract         Joseph Campbell, based on Jung ideas and by introducing the archetype of the hero's travel, has opened a new door in the criticism of the archetype and showed that the hero's travel in the narrative works of different people, follow the similar pattern.Campbell's pattern includes the three sections of departure, attainment and return. Therefore, the writers of this article want to investigate the story of Jamshid and Khorshid from Salman Savaji based on the archetype and unimyth of Campbell . Jamshid, with the response to a mysterious call, to understand himself and his internal anima and with the guidance of old wiseman sets off a difficult journey  and traverses the hard stages and finally joins Khorshid and returns to China; and in this way brings prosperity to his homeland . Besides the remission of this world, Jamshid attains a kind of self awareness and this is the harmony with the speculation of " the archetype of the hero's travel ". Manuscript profile

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21 - The study of sociological causes leading to the downfall of Jamshid’s empire in the light of Ibn Khaldun’s theory
Parnush Pajouhesh

AbstractShahnameh explains the history and destiny of Persian land and hence is an authentic translation of the cultural background of the Persian nation, therefore one of the most important discussions one can find in it is Ferdowsi’s sociological outlook.  More

AbstractShahnameh explains the history and destiny of Persian land and hence is an authentic translation of the cultural background of the Persian nation, therefore one of the most important discussions one can find in it is Ferdowsi’s sociological outlook.  In mythological section of Shahnameh the social life trend is very similar to the trend discussed in social theories.  One significant theory belongs to Ibn Khaldun.  He is a prominent figure in the history of social theory.  Among the concepts he had devised one can refer to the most important ones namely the concept of “Asabiyyah” which has been translated as social cohesion and the five stages of rise and fall of empires.  The purpose of this article is to study the reasons for the downfall of Jamshid’s empire in the light of Inb Khaldun’s sociological theory.  Jamshid is a Pishdadi king, a sage who has achieved all arts and is competent in every aspect.  The main assumption in this research is that Ibn Khaldun’s theory applies to all aspects of Jamshid’s empire.  First a brief introduction is given regarding sociology in literature, then the above concepts are defined, finally Jamshid’s empire are analyzed according to the five stages from the rise to its decay.  It is concluded that although in Ferdowsi’s time the science of sociology had not existed as the present form, sociological theories are reconstructed in his epic. Manuscript profile

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22 - Recognition and misrecognition of kings’ vocation in Shahnameh
fatemeh Ghaeini Karimabadi Hassan Bassak

AbstractFerdowsi’s Shahnameh is one of the greatest masterpieces in the Persian literature which is in close connection with the society, sovereignty, and politics of its time.  The kind of sovereignty in Shahnameh is monarchy whose foundation and principals More

AbstractFerdowsi’s Shahnameh is one of the greatest masterpieces in the Persian literature which is in close connection with the society, sovereignty, and politics of its time.  The kind of sovereignty in Shahnameh is monarchy whose foundation and principals are originated from the Iranshahri thinking.  The pillar of sovereignty is the monarch whose incompetence brings destruction to the country and its realms.  Ferdowsi’s ideal Iranshahr is the manifestation of a sovereignty with a just, wise king who has Farr or God given glory.  Apart from having an ideal worldwide view, Ferdowsi explains how power drawbacks and the flaws committed by the kings such as not acting according to wisdom, justice and engaging in extravagance lead to the final breaking of the rule of Asha.  This article made use of descriptive analytic approach in order to criticize and analyze Kings’ and sovereign’s vocation in Shahnameh with specific emphasis on the tale of Jamshid  since he is the first example of a monarch who acted according to his vocation but later disregarded his calling. The following results were obtained first that the major source in recognizing one’s vocation lies in having a Farr, God given glory and a king with a Farr is a wise and just king.  Kings’ vocation should come from the Lord of wisdom and creator of the world otherwise violation of the vocation not only harms the basis of monarchy, government, and nation, but also is regarded as a sign of disrespect to creation in general and it brings forth chaos and devastation to the country. Manuscript profile

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23 - A narrative from Jamshid’s dynasty till the advent of Feraydun
Hamidreza kharazmi

AbstractMyths are the narrators of the man’s first stories and in the later stage where man moves from the primordial thoughts towards a newer life is no longer faced with the primal questions instead answers his new needs with myth.  In epic we encounter mor More

AbstractMyths are the narrators of the man’s first stories and in the later stage where man moves from the primordial thoughts towards a newer life is no longer faced with the primal questions instead answers his new needs with myth.  In epic we encounter more logical narratives of the stories.  Ferdowsi’s Shahnameh as a written heritage of Persian myths in a newer epic genre is a retelling of the narratives which in the other epic and mythological books were orally communicated.  After logical expression of the history of heroes such as Kyomarth, Hoshang, Tahmores, and Jamshid, there is a gap in the reign of Ahurian and Zahhak comes into power, and later with the coming of Feraydun, Zahhak is overthroned.  In the thousand years of Zahhak’s demonic soveriengty, the fate of Jamshid’s  and  Feraydun’s dynasty and their relationship is not clear.  On the basis of other epic and historical sources in particular Kushnameh,  the purpose of this article is to retell this narrative.  The outcome of this research is that after wondering in India and Zabolestan, Jamshid marries Khaqan’s daughter and the King of Zabol’s daughter.  From one branch, Rostam’s clan is born and from the other Feraydun’s clan.  The method of the research is descriptive analytic one. Manuscript profile

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24 - Structural Mythology, an efficient model to explain Indo-Iranian myths Analysis of Jamshid’s story as an example
Leila Haghparast

According to the structural mythology approach, myths through the intermediary elements that they present try to remove the conflict that exists between the binary opposites. These intermediary elements constantly go to and fro from one opposite to the other so that thr More

According to the structural mythology approach, myths through the intermediary elements that they present try to remove the conflict that exists between the binary opposites. These intermediary elements constantly go to and fro from one opposite to the other so that through struggle and merging with one side or both sides find a unity to neutralize the existing conflict or rather make them less pronounced. This essay introduces the structural theory of Levi-Strauss in myth analysis and applies it to Jamshid’s story as an example to illustrate to what extent this theory functions in analysis of Persian myths. Accordingly Yameh/ Jam is a myth formed in the minds of Indians and Iranians to try and overcome the conflict between life and death by a return journey to both ends, that is man’s mortality and a wish to attain everlasting life. Although the myth cannot overcome the existing conflict completely, eventually it turns into a manifested hybrid of both the concept of life and death which was named “live death”. Manuscript profile

Open Access Article

25 - The Persepolis's clay tablets
Neda Ziyabakhsh

In solar (shamsi) American investigators from chicago university succeded to obtain more than clay tablets written with Elamian letters and sealed with persian cuneiform letters which belonged to eastern north of persepolis. These privileged and exclusive More

In solar (shamsi) American investigators from chicago university succeded to obtain more than clay tablets written with Elamian letters and sealed with persian cuneiform letters which belonged to eastern north of persepolis. These privileged and exclusive documents allocated to the list of ortificers and experts payrolls which were participated ip stablishing Persepolis construction. This essay tries to offer some innovative points of the tablets and their engraving, and also translation of some of them. Manuscript profile

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