چکیده:
Khwaju Kermani is one of the most renowned poets of Persian literature, whose beautiful tone and pleasant speech possess great charm and attraction. One of his most beautiful works is the Masnavi Homay and Homayoun, in which the poet has followed the style of Nizami Ganjavi. He has attempted, while recounting a romantic story, to take an effective step in preserving and sustaining Iranian culture and civilization by addressing myths—as civilizing factors and the cultural backbone of a nation. In this article, using an analytical-comparative method, we aim to examine through comparative study some of the mythical points present in this work with the mythologies of Mesopotamia, India, China, and Greece to determine the extent of Khwaju's attention to mythical aspects in this poem, and also to discover which types of various myths Khwaju has benefited from more. What is certain is that after Nizami Ganjavi, Khwaju Kermani has utilized myths more than other lyric poets in his works, especially in Homay and Homayoun; and among the various types of myths, those related to supernatural forces and beings, mythical rituals and customs, mythical places, cosmic creation, and demonic creation have occupied the largest share.
خلاصه ماشینی:
Reflection of some Mythological Elements in Homay o Homayoun Mona Ahmadi * ـ Dr. Ahmad Khatami ** PhD graduate in Persian Language and Literature, Islamic Azad University, Science and Research Branch ـ Professor of Persian Language and Literature, Shahid Beheshti University Abstract Khwaju Kirmani is one of the most renowned poets of Persian literature, whose beautiful tone and pleasant speech possess great charm and attraction.
Myth, lyric literature, Khwaju Kirmani, Homay o Homayoun, mythological elements Date received: 1396/09/01 Date accepted: 1397/07/30 (Corresponding author) Email: ma_ahmadi60@yahoo.
By examining mythological concepts such as: destiny and fate, demon, giant, dragon, peri, water of life, magic, and ordeal or test—which is only a small part of the many myths present in Homay and Homayun—and considering the extent of the application of each, it can be understood that among the various types of myths, the poet has paid more attention, respectively, to myths related to supernatural forces and beings, mythological rites and customs, mythological places, cosmic creation, and demonic creation.
Among the romantic poems before Homay and Homayun, in Vis and Ramin, the ordeal by fire is also mentioned, where Vis, due to being a sinner, does not submit to this test and escapes the peril; but in Homay and Homayun, Homay, for the sake of saving Parizad, passes through the flames like Siyavush: He called upon God with the Greatest Names, took the reins and drove the rebellious horse He jumped into the fire with gloved hands, and passed through the fire like Siyavush (Khwaju Kermani 1370: 76, b 10-9) A Semitic example of this myth can be observed in the story of Prophet Abraham (AS).
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