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Tragedy and Ta'ziyeh are considered as classical dramatic forms that due to their roots in ritual and their dependence on religion, culture, myth and tone can be studied in a comparative manner. The aim of the present paper is to study the dramatic aspects and capacities of these two dramatic forms in comparison with each other.  To achieve this goal, different parameters such as narrative or representation, alike and character, performance style, verbal effects, catharsis and audience impact are compared. In this study, we seek answer to the following questions; how the dramatic capacities of tragedy can be preferred over the Ta'ziyeh or vice versa. It seems that in the light of a semiotic approach and one of its sub branches, the digital and analog semiotics of Louis-Jean Calvet, the extent of dramatic similarities and differences between these two forms can be better investigated. Another objective of this research is to challenge the existing comparative studies in the context of Ta'ziyeh and tragic or epic plays that seems to have ignored the performance style, the most important element of Ta'ziyeh and have assessed its values than other types. 

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Tragedy, in its original Greek format, was in the form of a play to be performed on the stage. Aristotle was among the first people to argue about tragedy in a precise and technical way in the book called “poetry technique” and considered it as a type of poetry so that it is an imitation of people’s conduct and represents them better than the way they are. Moreover, Aristotle gave an adequate explanation for tragedy performance style, scene features, and actors.

Some tragedies were created in Ancient Rome with a purpose rather than play on the stage. Therefore, in Medieval and the Renaissance, the element of being dramatic, was not considered as the main factor regarding the study of tragic artwork. Moreover, in contemporary era, the features of tragedy is searchable in novels and poetry.Shahname, written by Ferdowsi, an epic poetry, consists of some tales that can be taken into account as tragedy. A heroic story which ends in catastrophe, engages the human mind with philosophical subjects, brings leniency to the heart and purifies the soul. 

The authors intend to search for the key elements of Greek tragedy in two tragic stories, Shahname by Ferdowsi, Siyavash and Foroud.  The results of the study indicates that these two stories are not fine examples of Greek tragedy and the main factor for differentiation is the narrative style of Shahname which does not match Greek tragedy

 

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The idea of the ritualism of mythpoints out that the existence of myth depends on rituals. The recent developments of this theory underline a common paradigm between myth and ritual. This paperexplores the emergence of the “Siāvashān” ritual in relation to the Siāvash myth in Ferdowsi’sShahnameh.Siāvash is one of the pre-Zoroastrian Persian gods who is associated with fertility myth and the agricultural culture. The ritual of his invocation is an inseparable part of the Siāvashān ritual. At the core of this ritual is “holy death,” which can be analyzedalongside the rite of the sacred king’s sacrifice and the dramatization of mourning for him during the New Year’s festivals. According to the anthropologists’ analyses of Dionysian ritual, the poetry associated with the holy death of Dionysus played an important role in the birth of tragedy. A similar relation existsbetween the Siāvash myth and the Siāvashān ritual.

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According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

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Tragedy is a type of dramatic literature that originated from ancient Greece and is performed on the stage in the form of a play. The great Greek philosopher Aristotle was one of the first to fully discuss and explain tragedy in his book The Poetics. He has introduced elements and components for composing a tragedy that plays an important role in the quality, attractiveness, and superiority of the tragedy.
In Persian literature, some works are a reflection of ancient Greek tragedies and Aristotle's view on this matter; Among the most prominent of these works is Ferdowsi's Shahnameh with stories that are very similar to ancient Greek tragedies. The present research aims to show the similarity and influence of Persian literature with Greek literature in the field of tragedy and with a descriptive-analytical method to compare the story of Siavash from the Shahnameh and the tragedy of Hippolytus by Euripides as a case study and has shown this alignment and effectiveness.