Introduction

Comparative literature is a type of literary research that has emerged in a modern form in recent years among Europeans and has gradually found numerous followers in Iran. "Comparative literature emerged in the early twentieth century among professional historians; François Simiyan and especially Marc Bloch, presented two projects to the College de France in 1928 and 1933, which of course led to the establishment of a chair in the history of comparative European societies in the early days. This type of literature has evolved in synchrony with the contemporary era. In other words, comparative literature is defined as examining national literature and its cultural and historical relationships with literature of other nations. It involves analyzing the deep connections between cultural, historical, political elements in a way that allows for the transfer of culture or other elements to other nations. Examining the deep connection between cultural, historical ,political and so on. So that other cultures or elements can be transferred to other nations. What is internalized throughout this comparative literature is a picture of the concept of transition and relationship. Any Similar narrative among two cultures in different forms can be examined in the field of Comparative Literature. Hippolytus describes the death of the hero after confronting his stepmother Federa, the second wife of Theseus. Cursed by Aphrodite, Federa falls in love with Hippolytus so much that he becomes physically ill and decides to end her suffering through suicide. He tries to save her by revealing her secret to Hippolytus and encouraging her to mutual love, but Hippolytus responds with horror and disgust and humiliates Federa. He, who has been deprived in despair and does not want to accept the real reason for ending her life, hangs herself and leaves a note to Theseus accusing his son Hippolytus of raping her. Theseus, furious, uses one of the three wishes Poseidon, his father had given him, Theseus asks Poseidon to kill Hippolytus, who escaped from the palace to hunt. Poseidon sends a sea monster to terrify Hippolytus' chariot horses that become uncontrollable and throw their master out of the chariot. Hippolytus, trapped in a leash, is dragged to death. Artemis reconciles the father and son by telling the facts and comforts the dying Hippolytus promising to include him as a holy person in religious acts so that his memory may live on forever. In the story of Siyavash, soudabeh , keykavoos wife, falls in love with Siyavash, and after successive attempts to deceive Siyavash, fails and accuses her; this causes Siyavash to be rejected by his father again after passing the fire and successfully testing, and goes to war with Afrasiab and leaves the palace. After the conquests and defeat of afrasiab's Army, siyavash is driven from the palace and takes refuge in afrasiab for not killing the hostages and disobeying the command of keykavos, and after many ups and downs, he is finally killed by afrasiab. The purpose of this article is to examine the components of a real tragedy in the two myths of Siyavash and Hippolytus of Europide, so that by comparing the play Hippolytus and Siyavash 's epic, the decisions arising from the excitement of both heroes, errors, successive events in the form of a tragedy, and to look for the cause of tragic events. 1-the hypothesis of the researchers is that love as a destructive element has influenced the power of reason and wisdom and has dominated the role of reason and has led to wrong decisions on both sides with destiny and fate. 2-researchers believe that both  the tragedy of Siyavash and Hippolytus have the main components of a tragedy, the introduction, successive conflicts, errors of pride and youth, compassionate elements such as failure in life, false accusations, migration to a foreign land and at the end of a sad death, which Schiller considers a successful tragedy from the beginning of the story to the end for the author and the audience.
 

Methodology

The research method is based on the mythological and narrative nature of it, conducted on original texts using analytical and descriptive methods and library collection. In this method, Schiller's theoretical concepts are first examined based on the structure of tragedy and then a comparative analysis of the two tragedies "Siyavash" and "Hippolytus" (comparing events and discourses) is carried out.
 

Discussion

Aristotle's points on the principles of literary forms, dramatic literature and the art of playwriting in this book were among the most advanced theories in world literature until the 18th century. Although thereafter, many doubts and criticisms were raised over Aristotle's opinions and the new style of narrative play was proposed by Bertolt Brecht, the new theories did not exclude the value of Aristotle's views (starmi, 201:2015). As mentioned earlier, Schiller has repeatedly described the issue of beauty in poetry and drama in several plays and letters he wrote about aesthetics. Beauty is something that increases our thinking power and invites abstract imagination, strengthens the mind for any kind of resistance, but makes it harder in the same proportion and deprives us of talent in the same proportion that helps us in more mental activities (Schiller, 2006:131).  According to Schiller, the main elements of any tragedy are the creation of fear and anxiety by the narrator so that the audience feels in harmony with the hero and reaches an understanding of absolute beauty and pleasure. ‏1- in tragedy, certain events are presented to the imagination or senses of the poet at the time of realization. These fantasies are present, and the audience immediately sees them without third-party intervention.‏ 2- tragedy is the sequential narrative of events, of a heroic act. Tragedy should not only represent tragedy by imitating people's feelings and emotions, but also show the events that trigger these feelings and the relationships in which these emotions are manifested.‏ 3- tragedy is a separate event from the heart of events, although it may often seem tragic, it is not a tragedy in itself. To achieve a successful tragedy, several events are required, one over the other, such as cause and effect and appropriately connected to form a whole. In the interpretation and analysis of data according to the Schiller paradigm, it should be said that in both the epics of Siyavash and Hippolytus, there is a narrative of failures, sorrow and regret, destiny and a tragic ending in common. The hero in tragedy must come from a well-known family or be accompanied by the blood of the kingdom. From the very beginning of the story, the deviation and the wrong decisions of the hero of good and evil form the main form of tragedy. The Hippolytus show, unlike the story of Siyavash, which begins at the birth of the hero, is a story that begins at the moment of Federa's blame for the seduction of Hippolytus and the rebuke of Federea servant by Hippolytus. "When Federa first begins to tell her secret to her servant, she speaks of her mother pasephia and sister Ariana and identifies her memory and inheritance, while Federa knows this is the point where she is close to Hippolytus. Both idealists are young, and each remembers a mother who has tasted the cruelty of Aphrodite. In the tragedy of Hippolytus, the end of the story is told in the language of Artemis. The first tragic form is an introduction that presents the end of the story to the audience from the beginning. From the very beginning of Federa's death, the language of Aphrodite is expressed as a general drawing. After Aphrodite, another scene is drawn. The prayer and recitation of the choir gathered to praise Artemis.
 

Conclusion

Love in the tragedy of Siyavash and Hippolytus on the part of women is a destructive and devastating factor that kills the hero to death. Forbidden love in a colorful way in the story creates an introduction to a sad narrative that begins the crisis and knots of the story. In Ferdowsi's speech, there was a complaint of fate and fate, and the narrator has a questionable state, but in Europe, the fate of the hero is certain for his father, because until the end of the incident, the father is suspicious of the son. The sequence of events in Siyavash's story proceeds chronologically and longitudinally, but in the Hippolytus tragedy, the scene of Hippolytus worship and Federa's tragic songs of love begin. The story of Siouxsie continues after his death with the Revenge of the Iranians, but the story of Hippolytus ends with the scene of his death and the dialogue of Artemis. The ending in the Hippolytus tragedy is very simple and shaped by the tragedy of the hero's death, but Ferdowsi in the Shahnameh continues the story of Siyavash with sweet revenge. The arousal of compassion in both works has taken a successful path for the hero, leading to the aesthetic phenomenon and the pleasure of the audience according to Schiller's theory, and until the end of the story, the audience does not lose a sense of solidarity with the hero.‏