Journal of Poetry Studies (boostan Adab)

Critique of the Mythical Thought in Mehdi Akhavan Sales’ Poetry

Asad Abshirini

Volume 14, Issue 3 , November 2022, , Pages 1-30

https://doi.org/10.22099/jba.2022.43082.4208

Abstract

Dr. Asad AbshiriniAssistant Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran IntroductionAkhavan Sales’s poetry cannot ... Read More Dr. Asad AbshiriniAssistant Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran IntroductionAkhavan Sales’s poetry cannot be appreciated out of the conceptual framework which the mythological world has drawn for him. As much as the mythical thought has acted as a means of defamiliarization and thus constituted the form of his poetry, it has also laid the foundations for those harmful points, through these harms, the weakness of mentality and language of Iranian poet-intellectuals in understanding modern rationality is revealed. Akhavan, in his masterpieces such as Zemestan (Winter), Akhare-Shahnameh (The End of Shahnameh, and Az in Avesta (From This Avesta), has set foot in an area of mythological realm, where archeology and music, sanctification and demonization, nostalgia, etc., have blocked the way for any experience of historical contemporaneity. We know Akhavan from his archaic and ingenious language and his commitment to meter and rhyme and that traditional tenderness that suits his senses and emotions, and we know more that artistic device of "myth" in the structure and form of his poetry has strongly linked his art of “Khorasan” to that of “Mazandaran" (Akhavan-Sales, 1385: 13) of Nimai Yush.The point is that this artistic device of "myth" gradually "transcends the limits of its" art-making function "in the poet's" work "and, in the form of a dominant" insight "dominates the artist's mind. Thus, it takes him away from his artistic "motives" and brings him closer to "ideological" harms. As long as we are in the magnetic field of the enchantment of the mind and language of the poet, we will be unable to argue about the “what” and the “how” of his poetry. It is only by taking a "distance" and standing outside the gravitation of his artistic system that one can discuss the merit or demerit of his poetry. What we are looking for in this research is a starting point that will allow the audience to take an "ontological" look, not only at the legacy of Akhavan in particular, but at all contemporary poet-intellectuals in general. Research Methodology, Background and PurposeMost of the research that has been done so far on myths in contemporary poetry and Akhavan’s poetry is of admiring nature, but lacks the pathological analysis and the distance that has been adopted in this research. Therefore, in this research, by giving concrete examples, the author has tried to discuss and analyze the artistic heritage of the Akhavan from a pathological point of view in the light of mythical thought using critical analytical method of Enlightenment thinkers. DiscussionAt the beginning of this research, I will try to introduce the framework of mythical thought to the reader in a short introduction. Now, in this section, by presenting discussions on the form of Akhavan’s poetry specially from his three collections, The Winter (1335), The End of Shahnameh (1338) and From This Avesta (1344), which have formed the basis of his artistic life, in a more objective way. I also try to further explore the generalities of the aforementioned theoretical view. The Music of Akhavan’s PoetryWhat forms the mythical thought in Akhavan's poetry is its music. It is music that allows him to fly his mind and language to "God and beyond the desert of God" (Akhavan, 1384: 76). The magic of the music of Akhavan's poetry is the first factor that empties its poet and his audience of "individuality" and leads them to the unitary world of primitive myths.3- 1- 1 Mythological LanguageFollowing the dominance of the mythical mythological in Akhavan’s poetry, after music, what tangibly evokes the audience from today to yesterday is the poet's retrospective language. The diction and syntax that Akhavan uses is a parole that will have no future other than the mythological past of language.3 - 1-1- 2 Revivalism In the poem “Payam” (Message) by relying on this archaic language, Akhavan finds it possible to sanctify and purify everything that is from the "heritage of the past" with such a mythical self-confidence:3-1-1-3 FreedomThe first victim that the heavy weight of a mythological past in his poetry takes in the poet's mind and language is the concept of "freedom." From the point of view of mythical thought the "individuality of the subject does not have a mentality of its own, independent of its own people and tribe, its existence is transmuted in his people. (Cassirer, 1399: 39).3- 1- 3 - AlienationThe immediate consequence of the lack of individual-based freedom in Akhavan's poetry is nothing but the sorrow of homelessness and alienation. The grief and sorrow of many Iranian poet-intellectuals should not be taken as the grief that lies in the essence of the thought which is independent and free of tradition. On the contrary, in mythical thought, "man sees himself as real only when he stops being himself and yield to imitate and repeat the actions of the other" (Eliade, 2005: 49).3- 1- 3- 2 SpiritualismFor the mythical man, the meaning of existence is nothing but the spirit of God. He sees a kind of unitary mysticism behind all the natural events and phenomena that affect him. In myth, it is "effect" that takes the place of "reason". We see Akhavan as a "sentimental" poet-intellectual rather than a "contemplative" one, and this in itself has nothing to do with the valuable merit of "feeling and emotion" which is one of the fundamental principles of any pure art. In the face of the tragedies of his time and the life around him, he sometimes shows such fervor that even deviates him from the path of decorum.3- 1- 3- 2- 1 Epic HeroIt is in line with this belief of mythical man in the spirit that the epic genre is formed in Akhavan's poetry. He is always striving for a God-hero who will save him, his society and history from deception and decay. Accordingly, Akhavan is a poet who strongly believes in God. That godly metaphors change color in his poems. Hence, God-centered metaphors are present in his poetry in different forms.3-1-3-2-1 TragedyShafi'i Kadkani in his book about Akhavan, after stating: "Glory is tied to a tragic view", comes to the definite conclusion that "in Akhavan’s masterpieces, that tragic view is always a significant element and the dominant feature" (Shafiei Kadkani,-----). What might be added to the above statement is that basically the Iranian epic is formed in continuation of the ancient myths of God. In tragedy, the fame and defame of the epic hero comes out of nothing but his “confrontation with death" (Farhadpour, 2007: 1386) By pondering on the fate of the epic heroes that Akhavan portrays in its famous poems, it is easy to see that they are engaged in a kind of ritual act rather than a "tragic death" and thus are away from feature of tragic hero.3- 2 Ideology of MythThe lack of historical realism in Akhavan 's poetry, which has led to a kind of hostility to the present and a desire to change it, is an immediate consequence of his mythical thought, which, like an absolute "ideology," has always blocked the way of free thinking to him and his fellow intellectuals. It should be said that this is the very essence of ideology, which "constitutes a set of discourses, images and concepts through which we live our relationship with historical reality" (Ferter, 1392: 110). For instance, the idea of duality finds such a place in the mythically tainted mentality of Akhavan that sees everything in black of the Demons or white of Amshasbandan.3-2-1 Conspiracy TheoryIn the black and white mental world that the poet and his intellectual followers live, everyone is an accomplice with "Shaghad" and it is only the poet himself and his leftist party who are "Rostam" of the time:"O troubled poor man! Sing another song/ The lovely Pourdastan [Rostam] will not escape the half-brother's well/ Died, died, died/ Tell the story of Pour Farrokhzad now!" (ibid., 75).And surely "Pourfarkhzad" was the same "Pir Mohammad of Ahmadabadi" for whom he wrote:"O rarest of the rare men of the time/ who hasn’t been anyone as glorious and auspicious as you / A long time has passed but none as courageous/ as you have come to the battle front" (Arghanoun, 102).We see how "emotionally" the poet-intellectuals of the 1950s judge a "political matter" that is extremely "rational" and what "mythical" sympathies they have for Dr. Mohammad Mossadegh.- ConclusionIn Akhavan’s view of existence and man after the Iranian Constitutional Movement, mythical thought forms the predominant feature of the content and style of his poetry. As an example of a prominent Iranian poet-intellectual, he uses metaphor instead of history in the axis of substitution, and replaces the reality of the basis of Iran, with all its good and bad, with its exemplary and sacred past. In this way, what fails is the independent and mature thought that is the legacy of Kant and the rationalist thinkers of the Enlightenment. With Akhavan's poetry, the audience cannot see tradition from a modern perspective. On the contrary, this tradition and above all the poet's mythical view leaves no room for the experience of Iranian modernity. In this essay, by highlighting the vulnerable areas of Akhavan's mentality and language, the author aims to take his poetry as a testimony to the failure of that anti-mythological wisdom that at the threshold of modernism is still insisting on its ancient past. 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Episodic Stories in Persian Epic Narratives and Their Connection with Fairy Tales (Case Study: Shahnameh and Bahmannameh)

Fardin Hosseinpanahi

Volume 13, Issue 4 , February 2022, , Pages 128-154

https://doi.org/10.22099/jba.2021.39582.3960

Abstract

Fardin Hosseinpanahi[1]Assistant Professor of Persian Language and Literature, University of Kurdistan, Kurdistan, Iran. [1] . fardin.hp@gmail.comExtended abstract introductionStructural ... Read More Fardin Hosseinpanahi[1]Assistant Professor of Persian Language and Literature, University of Kurdistan, Kurdistan, Iran. [1] . fardin.hp@gmail.comExtended abstract introductionStructural unity is an essential element in epic narration, as the epic work has a beginning, middle, and end to reach its ultimate goal. This essence has been considered since the time of Aristotle. In Persian epics, despite the dominance of cohesive plot over the narration of each story, in the macro-structure fashioning the collection of stories within a work, in some cases we come across episodic stories lacking a clear causal relation with the stories before and after them. In such cases, we encounter narratives in multiple levels. This particular form of narration is the ground for the core discussion in Ferdowsi's Shahname. While some scholars assert that Shahnameh is episodic and structurally incoherent, others admit to a coherent structure, disregarding the idea that its episodic nature has spawn the structure to break. The episodic nature of such stories as “Rostam and Sohrab” and “Bijan and Manijeh” has long been considered by scholars, but apart from these two, there are other episodic stories in Shahnameh. In addition, in other Persian epics, despite being more integrated in structure (and, of course, more abridged) than Shahnameh, episodic stories could still be unmasked. Unveiling these episodes is possible through carefully distinguishing between the “pattern fashioning the episodes” and the “macro and recurrent pattern fashioning the structure of the work.” These pieces also lose the coherent connection with what comes before and after them in the narrative line of the work; consequently, they are deemed sub-episodic narratives. This can indicate the structural difference between the stories of this ilk and other epic stories. The recurrence of such a characteristic in Persian epic narratives leads us to explore what this feature is and discover why. The questions that arise in this regard could be answered adopting a critical approach: What is the essence of the structure of episodic narratives? What mythological archetypes shape the structure of these pieces? How is the process of embedding them within the macro and integrated structure of epic narratives? And, how do they relate to the macro-structure fashioning epic narratives? In order to achieve reliable results, and of course to keep the paper at a reasonable length, the two important epics of Shahnameh and Bahmannameh have been selected as the excerpt in this study.materials and methodsEleven episodic stories have been gleaned through a thorough examination of the two works of Shahnameh and Bahmannameh. The titles are as follows: Rostam and Tahmineh, Akvan Div, Bijan and Manijeh, Shapoor and Mehrak's daughter, Bahram Gur and four sisters, Bahram Gur and Barzin's daughters, Bahram Gur and the daughter of an old jeweler, Bahram Choobin in the palace of the woman of magic, Bahman meets a fairy, Barzin Azar and daughter of Borasp, Rostam of Tur and daughter of khan of China.With an all-inclusive perspective toward the totality of the narrative of these stories, as well as the functions and elements that make up their structure, the recurrent narrative minima in the structure of the stories are extracted as follows: (1) disappearance of a creature, (2) giving reports, (3) receiving reports, (4) prohibition, (5) violation of prohibition, (6) mediation, (7) absence (departure of the hero), (8) deformation, (9) Deception (Evil), (10) Conflict (Battle), (11) Elimination of Evil, (12) Marriage (Wedding), (13) Return.These minima are the recurrent and reduced elements in the structure of such stories that cannot be further broken down with respect to the structure, act as materials and codes in the structure of the mythological narrative, and play a fundamental role in the formation, permutation, and conveyance of the mythological narrative. Such a characteristic, on the one hand, is the tool to convey and articulate myth in various forms, and on the other hand, due to the stability of these codes (despite the variety of superstructures and forms), it is possible to investigate the mythological deep-structures, as well as evolution of structures. In the structure of the episodic stories under study, the chain of narrative minima corresponds to the same sequence of thirteen extracted minima; in other words, certain minima with the same sequence are repeated in the structure of episodic stories. Although the number of these minima is not the same in all stories or all the supposed minima are not included in one story, their sequence has been preserved and each minimum is in its supposed place within the story structure, elucidating the distinct structure of episodic stories in epic narratives. This structure owns its distinctive characteristics that make it significantly different from the macro-structure fashioning epic narratives in terms of the type and structural position of narrative minima. For instance, the initial change in episodic stories that leads to movement in the story world occurs with the “disappearance of a creature (usually a horse and sometimes a bird of prey).” The function of “evil” in these stories is almost identical to that of “deception” and, unlike the function of “evil” in epic stories, it is not grounded on conflict. Moreover, unlike epic narratives, the element of “conflict or battle” in these stories is not based on war and fierce rivalry, and instead issues such as love, affection and female attraction play a significant role. These elements mark the existence of patterns and deep-structures that are not analogous to the macro-structure of epic in episodic stories, therefore leading to a break with the structure of epic narrative. The recurrence of a similar structure in these pieces also signposts the existence of a unique deep-structure in them that could lead our way to narrative origins that are not the same as the narrative origin of “epic”.discussion and results The scrutiny of mythological deep-structure of the eleven episodic stories in this paper (based on the extractive structure) shows that all of these episodic pieces hinge on the structure of fairy tales. The remarkable recurrence of episodes based on fairy tales within epic narratives, and their structural and deep-structure incongruity with the macro-structure of epic narratives, reveals the existence of a particular narrative style or tradition for fairy tales dating back to a farther past than Ferdowsi’s and other epic poets of the Islamic era. On the other hand, the remarkable differences between the deep-structure and superstructure of these episodes denote the great antiquity of mythological deep-structures, as in terms of the roles, characteristics, and actions of fairies, they maintain considerable connections with the traditions related to the goddesses of fertility and viridity. Despite the replacement of rituals like Zoroastrianism with these ancient rituals (and even ritual enmity with fairies in Zoroastrianism), the narrative form of fairy tales continued to evolve along with the evolution of epic narratives until the later periods of Iranian epic narration. However, due to the demonic reading of fairies in Zoroastrianism, the visible manifestation of fairy tales turned out to be more latent in the formal literature of the Sassanid era, and this has been effective in disguising the pattern of fairy tales from superstructure to deep-structure of episodic stories. The mythological root, antiquity, global spread, and the attractiveness of fairy tales among the masses, are the reasons these stories have stood the test of time among Persian narrative traditions. Since the main source of fairy tales in epic narratives has been folk tales, they have usually entered epic works through oral and popular narratives generation to generation, far from the direct intrusion of the ruling ideologies and power structures. The reason explaining the episodic nature of fairy tales within the macro-structure of epics is on the one hand the informal current of narration of these stories, and on the other hand the essential difference between the structure and deep-structure of fairy tales and the deep-structure based on heroic familiarization in epic stories. Despite the noticeable dissimilarities between the structure of episodic stories and the macro-structure of epic narratives, but given the importance of structural unity and cohesion in the of epic narratives, epic narrators within oral and generation-to-generation narration, in order to link these stories with the archetypal and conventional structure in epic stories, they have used the connecting elements that act as a link between “episodic stories” and the “macro-structure of the work.” These connecting elements embody some elements of heroic familiarization or elements of the dragon-slaying myth; nonetheless, the inclusion of such elements and the episodic nature of these stories, together with their lack of structural connection with the macro-structure of the epic are evident, all remarking the essential difference between fairy tales and epic stories.Keywords: Epic, Unity, Episodic Stories, Myth, Fairy Tales. ReferencesAidenloo, Sadjad. 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The Structural Analysis of Repeated Patterns of Deported Children in Shahname and Other Myths

mehdi rezaei; Raha Zareifard; sirus sina

Volume 10, Issue 1 , May 2018, , Pages 85-104

https://doi.org/10.22099/jba.2017.24655.2606

Abstract

Structural Analysis of Repeated Patterns of Abandoned Children in Shahnameh and Myths Rezaei* ... Read More

The Manteqotteir is repeat of creation myth

mahmoud tavousi

Volume 10, Issue 1 , May 2018, , Pages 129-150

https://doi.org/10.22099/jba.2017.25336.2667

Abstract

A Study of Creation Myth in Mantiq ut-Tayr L. Ghalompour Ahangarkolaee* ... Read More

Symbolism in the poetry of Shamlu with pragmatics approach

Volume 9, Issue 2 , September 2017, , Pages 25-48

https://doi.org/10.22099/jba.2017.3977

Abstract

Symbolic explanation is one of contemporary stylistic attributes and makes an ambiguous and artistic literary texture and associates the reader in the text. the strangulation and despotism ... Read More

Mythic structure analysis "wind" in the Shahnameh

Volume 7, Issue 3 , December 2015, , Pages 153-170

https://doi.org/10.22099/jba.2015.3032

Abstract

Wind, the powerful and invisible force of nature, to which a large part of ancient Iranian mythology is allocated, is known by such names as "Wāy" or "Wāyu", "Wāt", "Wātah", etc. ... Read More

The Archetypal Analysis of the Story of Keykavous Attack in Mazandaran

aliakbar samkhaniani

Volume 5, Issue 4 , July 2014, , Pages 151-176

https://doi.org/10.22099/jba.2014.1472

Abstract

Myth has close relations with literature and mythical concepts and foundations have been always present and have had different forms in poems, stories and narratives and so on. Young ... Read More

meaning of time in shamlu and adonis`s poems

Volume 6, Issue 1 , June 2014, , Pages 71-92

https://doi.org/10.22099/jba.2014.1629

Abstract

Man experiences time in two ways: first, the external, unstable, and transitory time which is eventually presented in the form of death; second, the internal time that by poetic imagination ... Read More

A Thought on Inevitability: The Death of Gil Gamesh and Alexander and the Immortality of Khezr and Utnapishdym

Volume 4, Issue 1 , January 0, , Pages 149-174

https://doi.org/10.22099/jba.2012.233

Abstract

H. Karami * R. Rahimi **Shiraz UniversityAbstract The present study takes a mythological attitude toward the journeys of a hero in pursuit of immortality. Since a myth, in its ... Read More

Journal of Poetry Studies (boostan Adab)

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Keywords = myth

Critique of the Mythical Thought in Mehdi Akhavan Sales’ Poetry

Abstract

Episodic Stories in Persian Epic Narratives and Their Connection with Fairy Tales (Case Study: Shahnameh and Bahmannameh)

Abstract

The Structural Analysis of Repeated Patterns of Deported Children in Shahname and Other Myths

Abstract

The Manteqotteir is repeat of creation myth

Abstract

Symbolism in the poetry of Shamlu with pragmatics approach

Abstract

Mythic structure analysis "wind" in the Shahnameh

Abstract

The Archetypal Analysis of the Story of Keykavous Attack in Mazandaran

Abstract

meaning of time in shamlu and adonis`s poems

Abstract

A Thought on Inevitability: The Death of Gil Gamesh and Alexander and the Immortality of Khezr and Utnapishdym

Abstract