Abstract
Previously, in this volume, I focused on Ferdowsi as a man, and on the historical and cultural circumstances that led to the creation of the Shāhnāmeh. I suggested ways of sorting fact from fiction in order to help the reader distinguish what may be said with some degree of certainty from the purely fantastical. The next part of this study is devoted to the Shāhnāmeh as a work of art. I propose to consider some of the book’s artistic features in order to shed light on the way that it is put together as a unified narrative.
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Notes
Noldeke, The Iranian National Epic or the Shahnamah, translated by L. Th. Bogdanov. Bombay: K. B. Cama Oriental Institute, 1930, p. 7
See Heda Jason, Ethnopoetry: Form, Content, Function (Bonn: Linguistica Biblica, 1977) p. 31.
This is motif: G271.2.3. “Name of deity breaks witch’s spell”; see Stith Thompson, Motif Index of Folk-Literature, 6 volumes (Bloomington: Indiana University Press, 1955–1958).
Nöldeke, Th. “Der weisse Dēv von Māzandarān,” Archiv für Religionswissenschaft, 18(1915): 597–600.
See Richard B. Onians, The Origins of European Thought (New York: Arno Press, 1973), pp. 84–9; 162–63; 505.
See also the informative discussion of the matter in Weston La Barre, Muelos: A Stone Age Superstition About Sexuality (New York: Columbia University Press, 1984).
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© 2011 Mahmoud Omidsalar
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Omidsalar, M. (2011). Epic Unity: The Case Against Under-Analysis. In: Poetics and Politics of Iran’s National Epic, the Shāhnāmeh. Literatures and Cultures of the Islamic World. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137001283_9
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DOI: https://doi.org/10.1057/9781137001283_9
Publisher Name: Palgrave Macmillan, New York
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