جستجوی مقالات مرتبط با کلیدواژه « dragon » در نشریات گروه « علوم انسانی »

Mokhtari's Shahryar nameh is one of the epic and mythological poems with a relatively large volume, the structure of which contains a main narrative and several sub-narratives. A romance has been expressed that, according to the action and confrontation of the characters in them, in the depth and depth of these romantic sub-narratives, various similarities and combinations with mythological themes and components can be found, and these mythological components can reflect certain fields of psychology. For this reason, in this research, the recognition of such mythological components in the romantic sub-narratives of Shahryar nameh and the explanation of the possibility or impossibility of reflecting the psychological fields through these mythological components, is presented as an important research problem, and their analysis can provide an answer to the research problem. In this research, three major questions are raised as follows: 1. Can the romantic narratives of Shahryar nameh Mokhtari be a subject to be investigated in terms of mythological and psychological criticism?In case of a positive answer to the first question; What is the mythology of Shahryar nameh 's love stories in terms of mythological criticism of the narrator?What archetypes or areas of psychological science do these myths reflect in their depth?The theory proposed in this research states that the romantic narratives in Shahryar nameh, like many epic stories, narrate various myths that can be analyzed from the point of view of psychology. Regarding the background of the research, only a few researches have been conducted on the subject of Shahryar nameh: Reza Ghafouri (2016) in an article titled "Attitude to Shahryar nameh and its Compilation Period" has investigated the most important differences between several manuscripts. Hassanpour and Qavam (2021) in the article "Archetypal Criticism of Shahryar nameh based on Jung's theory" based on Jung's analytical psychology in a different way from the method of this article by analyzing the symbolic numbers of the poem and Nine steps of Shahryar, his journey and journey in nine steps are symbolized.

Review:

Among the heroic texts of Iran, the story of the bravery of Shahryar is found in the Shahryar nameh poem, and in the Iranian folk texts. This work contains a main narrative and several sub-narratives. The main narrative of this work is the story of Shahryar, Barzo's son, from Sistan and going to India and finally returning to Iran and Sistan. All the sub-narratives of this work are eventually somehow connected with Shahryar's story. Many of the adventures in this poem are reminiscent of the stories of the Shah nama; In a way that in many places the poet clearly refers to the above-mentioned stories, such as: kidnapping of Delaram by Mezrab Div following the story of Akwan Div, nine steps of Shahryar like seven steps of Rostam, … In this article, only two relatively romantic narratives related to Shahryar are analyzed, each of them in one of the layers of meaning is a manifestation of Carl Gustav Jung's theories of individuality process and perfectionist self-knowledge and George Fraser's fertility myth. According to Jung, due to the collective unconscious origin of the subjects and the basis of legends, myths and stories are common and specific and are repeated always and everywhere, in fact, archetypes are the materials of the hereditary building of the human psyche in the formation of literary works. According to this reading, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) Shahryar's blame and lack of attention, has left it and entered the unconscious (India) by turning his back on the current reality. At this stage of his life, a wise and helpful old man in the form of a merchant takes care of him and provides the ground for change and exit from this stage by taking Shahryar to the public meeting of Arjang Shah and playing polo. During Arjang Shah's visit, the unruly elephant, attacked, who kills people and arms in the city square (sparks of power and inner ability), plays the role of a shadow in Shahryar's psyche, which, when Shahryar overcomes it, falls to the lower layers of the unconscious, and pushed back. After acting, Shahryar, by attracting the positive look and trust of Arjang Shah (symbolic father), again faced his real and class face, the warrior class, and accepted it, and with the meeting of Arjang Shah's daughter (Anima) and the projection of failed love and lack of affection Finally, by accepting the social role of a warlord, his motherly self reaches a psychological balance and harmony between consciousness and unconsciousness. A god or a hero goes to battle with the dragon and kills him, as a result, the water flows again and is free, and once again greenness and vitality return to nature.

From the point of view of Jung's psychological analysis, in this work, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) blame and lack of attention, Shahryar leaves it and enters India (the realm of the unconscious) and by choosing clothes and the mask of agriculture lives with anonymity instead of the mask of the warrior class; But as soon as he meets and gets to know the Iranian merchant (the wise old man of the story), the ground for his transformation is provided, and by confronting and overcoming the elephant, he becomes repressed (the shadow) and attracts the positive look and trust of Arjang Shah (the symbolic father) again with his real and classy face. That is, the warrior class faced and accepted it, and by marrying Arjang Shah's daughter (Anima), he reached harmony between consciousness and unconsciousness and went through the process of separation. From the point of view of the myth of dragon slaying and fertility, Shahryar is the hero of dragon slaying, who follows the abduction of the goddess of fertility (Delaram) by a dragon or a drought demon (Mezrab-Div) under the guidance of a worldly person (Jumhorshah) with the aim of releasing the goddess, steps on the path of Noh Khan and by going through different stages, he succeeds in freeing the girl from the whole (the world of the dead) and accomplishes his mission. In another reading, Shahryar is a martyred god who is symbolically killed by the conspiracy of a rival god (Frank) and is imprisoned in a whole (the world of the dead) until the goddess of fertility (Delaram) travels to the world of the dead with a disguised face and causes freedom and return.

Iqbal Lāhori is one of the contemporary thinker and philosophers that his most parts of thoughts and ideas are reflected in his Persian divān (collection of poems). While these poems are mostly composed from Philosophical and mystical viewpoints as well as his axial look to the Ideal human man and perfect man (anthropos teleios), so, these poems less attracted the attention of researchers who are familiar old mythical – archetypical approach. This research by use of the method of criticism and analysis of the text is supposed to investigate the meaning-making function of demon creatures in these poems on the basis of Jung’s theory.  The common point of Jung's psychological view and philosophical-mystical view of Iqbal lies in the relation between old patterns of 'ego' and 'shadow' in collective unconscious mind, and conscious mind in the process of individuality and self-knowledge. In this research the relation between those old patterns in the unconscious mind of the individual together with numerous examples is studied through the analysis of the roots of these old patterns in the unconscious of the individual and collective unconscious and in the structure of the human psyche. The results of the research show the meaningful relation of old pattern of the shadow or the semi-dark and hated characters of our personality with devil creatures, Iblis (Satan), dragon, demon and so on.

Archetypal criticism is one of the interdisciplinary approaches in contemporary literary criticism.  Carl Jung sees literary heritage and common experiences in different cultures in the collective unconscious and believes the reason for the cultural similarities among nations lies in the common archetypes shared.  The purpose of this type of criticism is the analysis and evaluation of literary works and ancient narratives should the work lend itself to this genre of criticism.  The main purpose of metamorphosis is the presentation of symbols, and signs which intend to reveal the psychological states of man and seeks to explain and reveal ambiguous mysteries of the existence in mythologies via the archetypes.  The purpose of this article is to analyze and evaluate all types of metamorphosis of monsters who are dragons in origin in Garshasp’s adventures.  Among the antiheros with whom Garshasp, archetypal hero in Avesta fights only dragon like viragos metamorphosed as fairies or appalling monsters were investigated from the Jungian critical perspective employing library approach and descriptive analytic method.  The results obtained show that these demonic creatures despite their differences in appearance are in fact regarded as the metamorphosis of the dragon within the hero, or the hero’s anima.

This study aims to investigate the studies done on the dragons in Iranian Islamic art, especially the signs of Ashura. On both blades of Togh, you can see a less known element, i.e. dragon’s heads.These heads have been considered as symbols of the Geniis’ army who asked Imam Hussein to let them enter the battlefield on the day of Ashura but he did not agree (as a symbol of good and help)Others consider them as the symbol of the punishment of the oppressors caught in the fires of hell and "Ghashiyah snake”)as a symbol of evil). But according to the ancient myths of Iran and old paintings, the dragon is a dual symbol of both the evil of drought and ugly temperament Like Zahak's shoulder snakes and a symbol of the life tree’s guardian and precious treasures. Since the Agh-e Quyunlus era, Togh has been used in Iran but since the Safavid period and after that, Shiites have lauded it as a special mourning tool for Sayyid al-Shuhada.This study shows that this dragon can indirectly refer to the lack of water, the martyrdom of Imam and his companions while they were thirsty or a symbol of the guards, a cypress (freedom) and hidden treasure of the universe. The research method is descriptive-analytical and its basic questions are as follows1. What does the dragon on the Ashura symbol stands for?2. How has the torpedo mouth been evolved?

Myths and stories are important types of popular literature, and popular literature is one of the main forms of expression of popular culture. These public products have a large share in the cultural heritage of any nation. The deep layers of these stories are a reflection of the culture, thought and imagination of the people. These stories are among the oldest examples of the emergence of human thought and imagination, and among the various branches of popular culture and literature, they are considered to be the oldest human cultural heritage, and “If myths and stories "It should not be the oldest work and the oldest leak of the human mental system, but it is one of the oldest works left from human thought and imagination" (Mahjoub, 2008, vol. 1, p. 121). Myths, epics, myths, and folk tales originate from the collective unconscious of man and are inextricably linked. The dragon is also one of the common elements of myths, epics and folk tales. This mythical-epic creature has passed from the world of myth and epic and, by preserving most of its functions and actions, has entered the realms of folk tales. "Iranian Tales" with two hundred and eleven narrations in four volumes, is the first example of scientific collection of folk tales that has been provided in two decades by Anjavi Shirazi and a large collection of cultural researchers and all researchers confirm the authenticity of these stories. (cf. Marzelf, 1994, p. 106). Therefore, the four-volume collection of "Iranian Tales" of the statistical population of this study has been selected. In general, twenty-one dragons are shown in the statistical population. In ten stories from the four-volume collection of Iranian stories, a dragon appears, and in five stories, more than one dragon emerges. This article tries to answer the following questions: What are the characteristics of the dragon's appearance, food and habitat in folk tales, what actions did the dragon appear in the tales with, and what is his end in the tales.

The research method in this paper is library and documentary and based on notes from written and non-written sources. In this study, the four-volume collection of Iranian folk tales collected by Anjavi Shirazi with the letters of Iranian tales, the patient stone doll, the flower to the spruce, and the orange and bergamot girl are examined. The present study uses descriptive-analytical methods to examine the apparent characteristics, feed and habitat of dragons in folk tales and to examine the actions and functions of dragons in tales, and finally this creature in myths To dig.

Iranian myths and legends are a reflection of a long-standing tradition in Iranian culture and civilization that has been transformed by the transformation of the barrier to self-destruction and continues to be supported by millennia: “Iranian myths, stories and tales There are ancient beings that include supernatural and transcendental beings. These myths, which have survived from the legend of Iran, reflect the views of the society to which they originally belonged ”(Curtis, 1997, p. 3). The dragon is one of these supernatural beings. In the legends of lands such as India, China and Babylon, the dragon is a symbol of drought, darkness and destructive floods, and in Iran it is a symbol of moral vices and a manifestation of deadly and evil forces (cf. Koyaji, 1999, p. 77). The dragon "in epic narratives and folk tales, is a manifestation of calamity, drought and evil. By destroying him, the hero restores blessings and comfort to the people ”(Pakbaz, 2006, vol. 1, p. 965). This evil creature is a prominent element in folk tales and stories, and provides the basis for the emergence of good and evil. The dragon has special appearance in the stories and is manifested in the legends by the way it prepares food and its habitat. The dragon does not behave in the same way and appears with different actions. The dragon determines the end of his life and finally his stories with his actions. The dragon's appearance, food, and habitat are then examined, then the dragon's behavior, and finally the creature in the stories. 

The dragon of fairy tales, in terms of its limbs, food and habitat, has the same characteristics as the mythical and epic dragon. Dragons and snakes are not separated from each other in some of the stories. The dragon is described in the stories as majestic, horned, eloquent, fiery, old, black, or green. The dragon has the power to kill humans and its prey with its powerful breath, and this is the feature that makes it a scary and invincible creature in the eyes of humans. Storytellers, like mythical and epic narratives, provide their food in the form of hunting or sacrifice. The dragon of fairy tales is always successful in hunting humans and wild animals or in sacrificing to the general public, but with the presence of the hero in eating Simorgh chickens or eating princes and princesses, it fails to draw the victim. In most cases, the habitat of this creature is either not identified or is associated with water. Wells, mountains, caves in the mountains, forests and deserts are other dragon places in fairy tales. Unlike the myths associated with the two elements of water and fire, the dragon of the tales maintains its connection with the water in the tales rather than the fire. Dragon actions are destructive and destructive in most stories, and therefore the evil dragon is killed. These actions include hunting, fighting the hero, blocking the water, capturing the victim, and enchanting. The battle of the dragon and the hero is rooted in the myth of the battle of good and evil. In these stories, the hero, like the epic narratives, represents Simorgh in the battle of good and evil. By circling the water, the dragon also shows the functions of taking the victim and fighting the hero, which is another manifestation of the battle between the forces of good and evil. The heroes of the stories, unlike the epic narratives that are likely to be defeated, are always victorious and dragonfly. Women and the general public have no role in fighting and killing dragons, and their dragon heroes must be the sons of the king (except for one example), and this thinking is rooted in the beliefs of the ancient Indian and Iranian gods. However, the destructive actions of the dragon make it an evil character, and evil is perishable in the minds of Iranians. Therefore, evil dragons are killed in stories, but sometimes the dragon does not show evil by having passive and constructive actions. Dragons with actions such as supporting and helping the hero or the action of his actions in the stories have caused us to no longer be able to call this creature a pure evil, and the dragon with such actions in the stories is not doomed to deat.

Metaphysics has appeared in the Shahnameh, in one of the perspectives, in the form of a conflict between the forces of good (Divine) and the forces of evil (the devil). That is why in most of the stories of Shahnameh, the footprints of one of these forces are clearly visible. The demonic forces that are the subject of the present discussion in the Shahnameh are: the devil, the satan, the demon, the sorcerer, and the dragon. Most of these phenomena can be transformed by relying on the superhuman force and transforming themselves into another and generally desirable form (such as a deceitful woman) and deceiving and misleading the characters in the story. All these phenomena, with all their strength and power, will eventually be destroyed by the hero, who is not without the help of the divine and good forces, and the world will live in relative peace until the next manifestation of these forces. It is noteworthy that as we move from the beginning of the Shahnameh to the historical parts (the end of the Shahnameh), there is a relatively significant change in the type of demonic forces. , for example, In the historical section unlike the mythological and heroic sections, there is no mention of demons, devils, or the daemon, and the dragon, and sometimes the sorcerer, has become the perfect representative of the demonic forces.

Metamorphosis is transformation of a fictional or real being into another being by using supernatural powers. One of the unique examples of metamorphosis is the transformation of a magic woman in Nizami Ganjavi's Eskandar-Nāmeh. In this mysterious story, the features of three genres, i.e. folk, fairy story as well as mythical could be seen. The purpose of the present article is to examine this transformation from a mythological, fictional and historical perspective. The research is based on descriptive-analytical method. After examining the examples of the metamorphosis of magic women in ancient tales and explaining the story of the transformation of Azar Homayoun into a dragon in Eskandar-Nāmeh, we study the possible reasons for the metamorphosis. The results show that Azar Homayoun is probably a fairy and her connection to water, fire and bodily desires support such a hypothesis. Another finding of the paper is that perhaps the legend of Azar Homayoun and Belinās (Apollonius of Tyana) refers to an anti-occupation movement led by a braveheart woman in a fire temple as commad center.

The greatest act of epic-mythological stories is kill the dragon. Other than Sistan’sheroes in Iran’s gladiatorship-national narratives, a number of kings also fight with dragon, creatures like dragon and dragons that have changedand they kill or capture them.In well-known sources and common narrations about him,Keixosrow Kiani is also one of these kings whohe is not a dragon race, but the story of his confrontation with the dragon is a genuine and ancient narrative that its background may be pre-Islamic sources of Iran and two different reports have survived in Arabic and Persian sources.The first report is in the book of “history of the Senii of the Moluk al-arz va al-anbia” written by Hamze Isfahani and then Zajjaji’sHomayoon nameh and Tarikhe Gozideh and Mostofi’sNozhat al goloob, in which Kexosrowkilled a dragon on the mountain between Fars and Isfahan and the other is the history narrative of Qom that the king is going to Qom to keeping back the dragon’s damage and the dragon escapes from her.The story of killing the dragon by Keyxosrowdue to lack of it in important and impressive texts such as Shahnameh and Tabari historyandagain tobe more prominent of the sacred and spiritual aspect of the king than his warfare and gladiatorship remained unknown and far from attention.

When it comes to myth, we all think of strange creatures and myths, including dragons, that have playd an important rol in the sociological field of diferent nations in the past. A demonic and evil creature that has hadsignificant presence in many mythological and cultural beliefs of different nations. The aim of this researcher in this article is to study the sociology of dragon body in Ferdosi Shahname and Iranian epic texts. The research method is descriptive-analytical and based on library studies. The result of this study shows that in the culture of Iranian society in ancient times, the dragon is a symbol of evil and in the mythological culture of almost all nations, including Iran, has the property of being a sculptor and acording to its conditions and time can Transform other beings, which is a sociologically important issue. Because in a society whose culture is based on mythological culture, this issue can reflect its mythological vision in relation to human society. The dragon itself is transformed from a snake and in epic texts, it usually turns into a human in the role of Zahak, a black cloud, Fereydun and Jamshid. This evil creature has almost nothing to do with destroying human beings in almost all societies except China. In some cases, it distances itself from its demonic temperament and avoids harming human beings. However, the dragon in the culture and folk beliefs of Iran, which also interacts with society, is still going through the same demonic cours.

An element or elements that unite the story of a single entity, the elements and its elements are interconnected, are called essentials. It strengthens the element or elements of the structure of the story and gives it, in certain narrative situations, its prominence and meaning, due to its repetition, prominence and meaning. These materials, in addition to highlighting, are also effective in moving the story. In many Persian fables, the foundation forms the story structure. In this sense, the story circles around it in its entirety, and the events that occur in the story form around the same material. The most important elements that are active in the epic works of action are: hero, hero journey, dream and dream, concealment of name, prophecy, war, castle, dragon and dragon, magic and wizards, war instruments and more. As a religious epic in the creation of the story and the theme of the work, Khavaranameh has used these materials well and has promoted its artistic and influential influences as well as the prominence of the story. We will look at these materials in this article

Ali Ahmad Bakathir (1910? - 1969) is a Yemeni belletrist and dramatist who has addressed the problems of his society in his literary prose and poetry. A lot of social and political themes can be seen in the drama ‘Larva and Dragon’ which narrates Napoleon's invasion to Egypt and the role of French colonialism mysteriously. By selecting larva and dragon as the title of his play, Bakathir pointed to the colonization symbolically. In this paper, using data analysis and library and electronic resources, the authors tried to address and analyze some key concepts of his drama such as colonialism, freedom, tyranny, women, patriotism, hope for the future, and ignorance. In an overall assessment, it can be noted that Bakathir tried to show the chaotic situation of Egypt at that time. In this way, he wanted to inform Arab and Muslim readers and awaken Arabic and Islamic societies to rectify themselves.

The eternal mythological motifs with flexibility and deep extensive meanings, ever exist in the various narratives according to their contents and also to the intellectual and social characteristics of the different periods. They also maintain that beliefs which are the bases of the narratives forming. Volcano is one of these motifs which transfigures as a dragon or a daemon. Struggle of the main character with this daemon is interpreted as his bravery, his competency to achieve the goal and also as a benediction upon the others. This ancient motif which is related to the Aryan mythology, not only exist in the epic narratives, but also it is possible to see its displaced samples in some of the romantic poems. In this essay, the mythological motif of the volcano has been studied in these four romantic poems: Homay-o-Homayoun, Gol-o-Norooz, jamshid-o-khorshid, Mehr-o-Mah. Also, this motif in the romantic poems is compared with its role in the epic narratives. So, the dynamic current of the myths in the non-epic texts will be proved.

Playing Chess with the Resurrection Machine is one of the eminent stories on the holy defense (Iran-Iraq war), which carries much structural and conceptual significance. Its literary significance among the novels in line with the discourse of war is due to its artistic use of myths to increase the interpretability and layers of meaning in the novel. In this novel, some of the constant issues of human beings such as good and bad, human suffering, and the control of destiny have been represented through recreating the myth of the fall of man, Jesus's death, and the fight between the hero and the dragon. It seems that some of the mythological symbols are embedded consciously and purposefully, while some others are involved subconsciously in the narrative. What brings all of the symbolic myths together is the human's fight against bad as opposed to being passive in the theme of the story. Moreover, the use of symbolic myths has increased the novel's interpretability. The interpretation of the characters regarding some of the symbolic myths has brought about a contrapuntal feature to the novel and has made a change in comparison with the previous routine war novels. The study borrows the method of critical mythology from Jung and Eliade in order to analyze and interpret characters, narratives, and other components of the myths represented in the novel, so that its explanatory and contrapuntal powers increase.

The designs on Persian carpets include symbolic narratives, which have been beautifully depicted on the carpets by inspiration from the national myths. The fight between the dragon and Simorgh is one of these designs that are displayed in the form of "gereft-o-gir" (literally “captured and pinned,”). Each of these two myths has symbolic reflections; they refer to symbols of Ahura and Ahreman, good and evil, earth and heaven, life and death, and soul. The present article examines Iranian native myths by considering factors such as repetition, frequency, and originality. The findings of the research show the fight between the dragon and Simorgh which refers to the concepts of good and evil and the fight of Ahura and Ahreman. Also, the ritualistic approach is involved in the formation of this fight that in which the snake and the dragon (as the symbols of Ahreman) are in conflict with the Simorgh (as the symbol of Ahura).

The battle between champions and dragons is among the well-known themes in heroic stories of different cultures. Each mythological trend has adopted its own perspective to analyze this battle. In Iranian mythology the battle between “Izadān” and “Ahriman” is the typical example of killing dragons. Such a story can be seen in the combat with Evils(Divān) and Evil doers (Patyaregān). In Iran, most researches focus on heroic narratives or written folk tales, and oral folklores have been rarely the matter of concern. This article deals with the latter case in Shāhnāmeh and provides the reader with some information about the origins of the champions as well as the ways they act in their battles.

Esfandiar is one of the strongest Zaraostrian heroes, who shines well in Shahnameh rules for a short time. Besides mentioning Esfandiar's functions in Shahnameh, this research shows that the main function of Esfandiar is for a repetition of mythical patterns; consequently, what is mentioned about him in Shahnameh might be the surface of the story, while Esfandiar was indeed a mythical creation connected to fertilization. One of the outstanding mythical Patterns in Esfandiar's myth is his fight with the devil Arjasp and releasing his sisters, which is a repetition of the hero’s fight with the dragon and releasing the woman or the cow (the symbol of raining clouds) from the dragon; this pattern can be seen in fertilizing myths of Balder, Indra, Ramayana, Vishva Roopa, Zahak and Gashtasp. In addition, the murder of Esfandiar by tamarisk is a repetition of Balder's fertilizing myth in Scandinavia who was also killed by a tree stick, which is an indicative of direct relationship between gods and trees, nature and fertilization.

Zahhak, the most central demonic creature in Shahnameh, equivalent to Avestic Azdyhak and the three headed dragon of Indo-Iranian origin is one of the most distinct evil creatures in Mazdisna writings. Numerous interpretations of the Zahhak’s myth were made and considering the fact that Zahhak is of the Arab origin in Shahnameh, and assuming that the plain where horsemen fight with spears (Dashte Savarane Nayzehgozar) a place within Iraj’s domain in Shahnameh is one with the Arabic Sahara, certain interpretations regard the Zahhakk’s myth as a legacy of the migrants’ battles with the races of the Sami origin such as Assurians, Sumerians, and Babylonians. While criticizing other interpretations this research shows that Zahhak’s myth could be related to the Underworld Serpent God in the ethnic cultures of Iran’s plateau and its adjacent lands. According to this myth, the best youth were sacrificed for the God of the Underworld and the dragon killing myth is not a relic of a historic battle, but a symbol to end this bloody tradition of the prehistory.

Toq came to Iran from Central Asia as a branch of science and was then used in military establishment and religious communities, especially the rituals in Moharram. Toq structure and content changed in the Safavid period because of cultural conditions and it became distinct from its non-Iranian versions. In this period, Toq has been depicted as a plant surrounded with two or more dragons. Apart from this issue, since late 11th century a thin blade of steel with a design of floral motifs and a delicate lattice work has been replaced with the former thick brass one. Several decades later, lattice-work inscriptions decorated with delicate arabesque designs replaced the latter one. Making Iranian Toq continued until the early Qajar period but was then completely forgotten. Several reasons suggest that Iranian Toq is in fact a symbol of is a vegetable (plant) element aside which a serpent or dragon has laid. This element is also seen in mythologies and symbolisms are probably the origin of Iranian art and Toq. This is corroborated as serpent-tree image is seen in the symbolism of the ancient culture of China, West Asia, and Iran. Despite the positive/negative dual view to the serpent motif, this serpent can be recognized as the guardian of the tree of life.

In a chain of narratives about the heroic actions of Rustam in his youth to which we have access، we are facing with two versed narratives known as “Babr-e Bayan” and “story of the shrew”. The subject of these two narratives which have not been corrected yet is that Rustam goes to Hindustan for fighting a scaring dragon and kills it by the trick he devises. Though the two narratives are similar regarding the theme، there are notable differences between them. Investigating the mythical motifs of “Babr-e Bayan”، it can be said that it is amongst the epic versed works which enjoy an authentic and ancient narrative. Moreover، the exploration of such motifs shows that this story is older than “story of the shrew”. In other words، the themes and motifs of the latter have been taken from the narrative of the former.

Nowadays, animations play an important role in children’s upbringing. Every animation has its own different world view which is based on the philosophy and culture of the artists and their societies. “How to Train Your Dragon” is an animation which has emphasis on an especial way of educating children both in its title and its content. This movie criticize the old traditions on account of having obscure metaphysical roots which are not really more than a form of will to power. Instead it idolizes an education system based on the pleasure principle and the possibility of a structure that provides publicity and equality in it. Such a world view with deficiency in establishing a structure of knowledge, would evacuate life from meaning and destroy the passion for living. Naturally such an education, although having some pros on the details, would be a disaster to a metaphysical world view too.