Predominance of Iranian-Islamic Identity Components in Iranian Realism (Based on the Novel by Suvashoon)

Although the school of realism first emerged in Europe, it gradually spread to the literature of other nations, inspiring many writers and artists to create realistic works in various countries. This school emerged alongside the failure of the constitutional movement in Iran. Writers sought to create realistic works that reflected contemporary events in people's lives while taking into account the social and cultural conditions of their society. This approach inadvertently led to the localization of the school of realism. The aim of this research is to explain and demonstrate the predominance of Iranian-Islamic identity as a key component of Iranian realism. In this research, conducted using a combined descriptive and analytical approach, the researchers first provided a brief overview of Iranian realism and its development process, followed by an introduction to Iranian social identity. Then, Souvashoon's novel - which is one of the most prominent works of Persian realism—was evaluated in terms of the influence of Iranian-Islamic identity, particularly the culture of martyrdom. As a result, researchers have demonstrated the reflection of Iranian-Islamic identity in this novel by analyzing the protagonist, Souvashoon, through the lens of martyrdom culture, citing examples of martyrdom within the work. Beyond this achievement, they have also examined and described the influence of the Iranian realist writer as a role model, highlighting the characteristics of martyrdom culture as an integral part of Iran's cultural identity. This analysis aims to promote social mobility and strengthen the spirit of struggle among social classes. Finally, they suggest that researchers interested in this field should study and analyze another significant work of Iranian realism, with attention to the reflection of Iranian identity in that work.
Introduction:
After emerging on the Iranian literary scene, the school of realism developed characteristics aligned with Iranian culture, shaped by the country's cultural, political, social, and religious contexts. As a result, it became a distinct literary movement largely independent of European realism. Therefore, the localization of the school of realism and the alignment of its various aspects with Iranian culture led to the emergence of an independent school within Persian literature, which we can call "Iranian realism." One of the most important principles of Iranian realism is the realist writer's focus on Iranian-Islamic identity. In the following article, the researchers, drawing on the novel Suvashoon as one of the key works of realism, seek to answer which components of Iranian-Islamic identity are reflected in this work and how Daneshvar was able to create a lasting piece influenced by Iranian-Islamic culture.
Methodology:
In this research, by referring to the library and indexed sources, the data required for this research was recorded and, after classification, was examined and evaluated using a combined method (descriptive, analytical).
Results and Discussion:
This novel tells the story of Zari and Yousef, the main characters, living together. It explores Zari's struggles and the emotional challenges she faces as a woman trying to keep political issues from infiltrating their home.
The significance of the novel Suvashoon lies primarily in its depiction of the situation in Iran, particularly in the Fars province, during World War II and the presence of Allied forces in the country. This essay examines the representation of the Iranian character in the novel, the author's ideological perspective, and, ultimately, the emergence of the Iranian-Islamic identity within the work.
In the first part, the author imparts a mythical quality to the representation of the Iranian character by drawing on the mythological heritage and the legend of Siavash. Simultaneously, by incorporating the spiritual legacy of the monument of Seyyed al-Shohada, the narrative blends mythological and religious concepts. This clearly demonstrates that martyrdom has consistently been embraced as an ideology by patriotic and religious Iranian fighters to preserve Iran’s independent identity and to immortalize the ideals of heroes after their death.
In the second part, which represents the ideological approach in this novel, the researchers explain how a committed writer like Daneshvar was able to create a contemporary model for the struggle against colonialism and oppression by drawing on Iranian civilization, Islamic culture, and mythological heritage.
In the third section, which explores the emergence of Iranian-Islamic identity in the novel, researchers explain how Daneshvar incorporates the Souvashoon ritual—a set of intertwined concepts from Iranian mythology and Islamic tradition—into the narrative of a poor man. This prepares the audience to hear a story in which the epic hero sacrifices himself for his human and national ideals.
In fact, Daneshvar, with unparalleled mastery, connects Iran's mythical and historical past to the social conditions of her time, ultimately concluding her discourse with the concept of martyrdom culture, which combines Shiism and Iranian thought.
Conclusion:
The features that Iranian realist writers have reflected in their works with high frequency can be extracted and explained as components of Iranian realism. One of these components is national identity. Iranian national identity has various dimensions, and this research specifically examines Iranian-Islamic identity and its nature in the novel Suvashoon. The results obtained in the end are summarized as follows:
1) How to integrate mythological and spiritual heritage in this work.
2) The process of formation and evolution of the culture of martyrdom as one of the dimensions of Iranian identity.
3) Revival of the culture of martyrdom and its recognition by the members of society with the attention and focus of committed Iranian writers.
4) Introduction of the novel Souvon as one of the most prominent Iranian realist works and proof of the reflection of the identity component Iranian-Islamic in it.