تقابل‌های بنیادین شخصیت‌های داستانی در منظومه جهانگیرنامه

Jahangir Nameh, written by Qasim Madah, is one of the epic poems after Shahnameh in the history of Persian literature, which contains different layers of meaning due to the various narratives and adventures, and the action and confrontation of the characters. Precisely, it expresses social, historical, mythological psychology and such confrontations on two levels of deep structure and superstructure are the main reason for the formation of different stories in this system. In other words, such confrontations express the reason for the formation of such a system and, for this reason, it is provided in this article in a descriptive-analytical way. Such fundamental confrontations are provided to determine what they are and what their function is. Based on the results obtained, along with other possible confrontations, this poem is in the depth of the narration of the four confrontations between Father and Cheser, Iran and Turan, the tribes of the desert and the settled tribes of herders and warriors and Ardas. It precisely takes the form of a confrontation between Jahangir and Rostam, Afrasiab and Kikavus, Rostam and Shabanan are the presidents of Shah and Rostam and Ardas.
Introduction:
After the Shahnameh of Great Ferdowsi, many epic works have been written in the course of Iranian epic-writing tradition, which represent historical, social, mythological, psychological issues, etc. Despite the stylistic and content similarities with Shahnameh, these works are worth- examining and analyzing due to the differences in the narrative. The deep structure and even the superstructure of these epic systems express confrontations of diferent type such as those between characters and fictional actions, the gods of fertility and drought, the period of matriarchy and patriarchy, father and son (in the form of psychological theory) Oedipus complex), Zoroastrian religion and Mehri religion, Iranian and Anirani, Shah Durghin and Shah Farahmand, warrior and ruler, etc. In these works, these confrontations are shown in the form of confrontation of actions and characters on the background of each story. In this way, in most of the stories, cultural, religious, class, family, ethnic, moral, and age differences have become the background and the main reason for the formation of the narratives and have prepared the plot of the stories to advance the other events of the story. Accordingly, in this article, in the system of Jahangirnameh, such distinctions and contrasts, which have been the basis for the occurrence and advancement of the narrative, have been investigated and analyzed in a descriptive-analytical method in order to show the nature and function of such contrasts in this system.
Results and Discussion:

The fundamental confrontations of fictional characters of Jahangirname in the first narrative

1-1. Confrontation between father and son (confrontation between Rostam and Jahangir)
Plot of narrative:

A) Beginning (Introduction and Motivation): The story begins with the marriage of Rostam and Delnawaz and the birth of Jahangir.
B) Complex (Raising action): The main complex is tied by Jahangir joining Afrasiab's army and fighting and capturing Iranian fighters.
C) Climax: The story reaches its climax with the confrontation between Rostam and Jahangir anonymously.
D) Denouement (falling action): The complex of the story is opened by introducing Jahangir to Rostam through Faramarz.
E) Conclusion: The ending of the story happens with the death of Jahangir due to falling from the mountain and beating Delnawaz.

The poem of Jahangirnameh, like the story of Rostam and Sohrab, narrates the universal pattern of confrontation between father and son, of course, in the eastern narratives, more son-killing, and in western stories, more father-killing is observed. In Persian literature, the oldest written form of such a confrontation is the story of Rostam and Sohrab in the 4th century of Hijri. In Pahlavi narratives after Shahnameh, the confrontation of two relatives can be observed in various forms in the poems of Jahangirnameh, Barzonameh, Faramarznameh, Gestasbnameh, Banoghesab, Shahyarnameh, etc. These epic poems all have common elements such as; going to a foreign land, meeting a girl in a foreign land by chance, leaving a warrior and leaving his wife, giving a sign to his wife, the birth of a wonderful baby, sending a child to his father's land, accompanying the enemy, trickery, failure. The gold of the father's army by the child is the calling of the father to confront the child, name-calling, three-way battles and introducing the child to the father (Khatami and Jahan Afshar, 2009: 37).

The fundamental confrontations of fictional characters of Jahangirnameh in the second narrative

2-1. Confrontation between the warrior and the dragon (confrontation between Rostam and the dragon)
Plot of narrative:

A) Beginning (introduction and motivation): The story begins with the departure of Rostam and Azadmehr for Azadmehr's return to his fatherland.
B) Complex (Raising action): The main complex is closed by choosing the difficult way of Five Khan by Rostam.
C) Climax: The story reaches its climax with the battle between Rostam and the dragon and Rostam fainting.
D) Denouement (falling action): The narrative complex is unraveled with the successful passing of Five Khan by Rostam under the guidance of Azadmehr.
E) Conclusion: The conclusion of the story happens with Azadmehr returning to his father's hometown with the help of Rostam and holding a celebration.

In Jahangirnameh, Rostam has several Khan for the second time, and in order to go to the West, he goes through these five difficult places: 1. Killing seventy lions, 2. Crossing the mountain, 3. Killing the dragon, 4. Killing ten thousand Kashf and 5. Passing Dry and roasted desert.
Five Khan Rostam in this verse may be an imitation of Seven Khan Shahnameh due to the composition of Jahangirnameh's vernacular and the lateness of this verse compared to other texts. In some fictional forms of several khan's theme, the warrior faces two or three ways to reach his desired goal, one of which is safe but long and the other is short and difficult to pass, and the warrior chooses the short and risky path. Choosing the short and risky way means that the hero shows his bravery and "being different" more and shows the reader that he is a daring, brave, and fearless person and is different from ordinary people. In addition, the short and risky way is a sign of the "transition" ritual. Rostam also chooses a dangerous and difficult path in Jahangirnameh to gain honor and quickly achieve the goal (Idanlu, 1388: 2-12). Another topic in Iranian narrations of this topic is to be a guide and companion for a warrior on the path of seven Khan. In Jahangir's poem, Azadmehr is with Rostam in five Khan.

The fundamental confrontations of the fictional characters of the Jahangirnameh in the third narrative

3-1. Confrontation of desert-nomadic tribes with monogamous herding tribes (Rostam and the shepherds of Jomhorshah)
Plot of narrative:

A) Beginning (introduction and motivation): The story begins with Rostam's meeting with Azadmehr and freeing him and forty young men with him from the prison of the demon diver.
B) Complex (Raising action): The main knot is tied by killing Qabad and fleeing the shepherds to the President Shah.
C) Climax: The story reaches its climax with the battle of Rostam, Hejbar and the lasso.
D) Denouement (falling action): The complex of the story is unraveled with the death of Jomhoe Shah at the hands of Rostam.
E) Conclusion: The ending of the story happens when Rostam goes with forty young men to the seat of the rulership of the president and entrusts the administration of the territory of the president's rule to forty young men.

Rostam's fight with the shepherds with his special bow is reminiscent of the attacks and invasions of the Scythian desert-dwelling tribes against the monogamous and agricultural tribes. It has been transformed in this system and presented in the form of Rostam's religious campaigns with the aim of spreading and inviting other tribes to monotheism. Historically, such a theme is probably influenced by the wars of other nations in India and the surrounding areas, which took place under the pretext of promoting Islam and with the aim of looting the legendary wealth of these lands.
Conclusion:
In the epic of Jahangirnameh, fundamental contrasts in the form of contrasts of actions and characters are shown on the background of each story.  In this work, ethnic-cultural differences (Iran and Turan), family (father and son), Socio-economic (desert wandering peoples and nomadic peoples) and mythological-physical (confrontation between the warrior and the dragon) is the foundation and the main reason for the formation of the system in depth, and the causality of the story has been prepared for the development of other events in the story. In this system, none of the confrontations can be placed first in terms of importance because each one includes a part of the overall structure of the story and complement each other. As an instance, the confrontation between father and son in Jahangirnameh is placed in the context as the main confrontation between Iran and Turan. For this reason, none of the individual or group confrontations have an inherent and special privilege over other cases. In other words, it is no longer possible to determine the main structure and opposition of the Jahangirnameh. This is because, according to the simultaneous intra-textual signs, this story narrates family, ethnic, cultural, social, economic confrontations, etc.