جستجوی مقالات مرتبط با کلیدواژه « ارداویراف نامه » در نشریات گروه « ادبیات و زبان ها »

Ardā Vīrāf Nāmag or Ardā Vīrāz Nāmag is one of the most well-known Pahlavi works that has been translated into different languages, one of these translations, included in Darab Hormazyar's Persian Rivayats, is a Zoroastrian Persian version composed by Anoshirvan Marzban Kermani in seventeenth century A. D. There are other Persian versions of it in verse and prose, including Ardā Vīrāf Nāme versified by Zartusht Bahram Pjjdu, which according to Anoshirvan was not complete and parts of which he has left unsaid; Therefore, in order to complete the text, Anushirvan himself versified it with the same rhythm of Zartusht’s. There are subjects in Anoshirvans’ Ardā Vīrāf Nāme that are not found in any other versions. He has paid more attention to topics such as myths and mythical characters than the Pahlavi and Persian versions. Anoshirvans’ Ardā Vīrāf Nāme is very important as one of the examples of Zoroastrian Persian poetry, whose content, literary and linguistic features have been studied in this research.

The attention to the issue of post-death life is one of the things that, in the form of the parable of the narrative of the journey to heaven and hell, was created in the literary and artistic works of various nations throughout history, with regard to the cultural, social and religious factors of each society. The wishes and pains of human life in the other world have been exhibited. Adavirafname (narrative and prose) of Iranian literature and the movie "What Dreams May Come" is the product of American cinema, among which the allegorical journey to heaven and hell is depicted in them, and this paper attempts to analyze and answer the main question to about the allegory of this course and the function of the symbols in these works, what are the similarities and differences, and the reasons for these different interpretations in a descriptive way. This comparison shows that, given the dominant individualism of the movie, the symbolic expression in that narrow interpretation with a specific framework, focused on shaping the sensory relationship with the audience in the form of recreating scenes from heaven and hell personal, and emphasizing pleasures and spiritual sufferings and individual motivations, but in Ardavirafname, by emphasizing on the notions of collective memory and religious believes, symbols in the general form, repetitive interpretations and educational-religious goals, and focusing on physical rewards in the context of the general parable of the journey to heaven and hell, the main theme of the text has been shaped.

Since long ago, the human confrontation with death has roused the curiosity and fear in him. What would happen to him after death and where he would go? That is the main question and apprehension of the mankind. Imaginative travel books have been one of the common responses to this fear and curiosity. The samples of these works are manifested in many cultures and nations. The current study, as one of the long list of these texts which are called "spiritual travel books", employs analytical and descriptive methods to examine five cases: Gilgamesh epic, Ardavirafname, Er of Plato, Seyrolebad Sanaaie, and Divine comedy of Dante. Regarding political, social, religious, and philosophical goals these texts have some commonalities. They also have similarities in structural specifications such as: holy numbers, presence of guide, symbol, archetype, description of afterlife world and etc. These sharing and similarities resulting from fundamental pattern of human beings’ mentality and cultural and religious exchanges between nations show that the spiritual travel books can account for the common language of mankind and reveal how facts are shared among human beings

principles and values ​​of the era and their religion sins and reward them invokes the punishment and Padafrah they speak. Due to the distinct practices and mention them with reward or punishment is given to the special function of the coordinates of a Ardavyraf. In contrast Altvhm Ardavyraf a sin and reward are not separate, significant and lasting psychological torment of their physical Zabhay. Meanwhile, preaching and spiritual Tavylhay other features that affect the structure and content of the author's worldview is influenced observations. In terms of structural characteristics, descriptive and literary Altvhm Zybatraz Ardavyraf a more coherent and discussed. Seeking perfection and ascension of the steps are the same wonderful man, is evident in both, the one that belongs to the collective unconscious of mankind, regardless of the particular religion that has Hrsr. Both Ascension accordance Razamvzy rites of passage are seven stages and come to full brightness. an

  The main foundation of mythical or archetypal criticism was made after the studies of Carl Gustav Jung on unconscious, myth and archetype. In fact, the appearance of archetype in his thought was inspired by unconscious discovery of Sigmund Freud. In his opinion, archetype covers six seventh of soul which is believed to be the result of mental suppression. Analyzing Freud’s conscious concept carefully, Jung criticized the unconscious concept, a personal and limited concept in Freud’s opinion, and discovered the other aspects of unconscious. He classified unconscious into 3 parts in which he mostly talked about unconscious in term of religion and mythical stories which are believed to be in common among people. Thus, the unconscious is considered as a concept which not only is the result of mental process but also is inherited unconsciously. Jung called these countless symbols and images of collective unconscious “archetype”. He believed that this term has been used several times in other’s works (Jung, 2011, p. 16, 20). His theories about collective unconscious, myth and archetype from the 30s to50s inspired scholars such asJoseph Campbell,leading to a system of criticism called archetype or mythic. The aforesaid theory assumes that the readout and analysis of literary texts is similar deep structure. Joseph Campbell, working on narrative stories based on the hero journey, has published a pattern to explain a universal pattern of a story in The Hero with Thousand Faces. In this book, he illustrates a pattern which has a unique and repetitive form in all stories including 3 steps and 17 subtitles.   The analysis of literary texts based on universal theories is a new approach in text interpretation trying to recognize hidden layers in a new perspective. The current study is trying to analyzethe spiritual journey of Ardaviraf Nameh based on the single myth pattern of Campbell. As a matter of fact, it wants to test the ability of Campbell’sapproach to analyze and explain the religious stories of Persian literary texts. Thus, the structure of hero journey in Ardaviraf Name is carried out based on Campbell pattern in a descriptive-analytical approach.
3. The Pattern of Hero Journey in Ardaviraf Name
he journey starts when the hero’s individual or ethnicity need makes him sacrifice himself for a moral goal.
3-1-1. Invitation for a Journey
A wonderful voice makes the hero drag himself out ofhis deep typical life. This starting voice in Ardaviraf Nameis the moan and roar of helpless people and the plea of religion-recipe.
3-1-2. Rejecting the Invitation
The fear of the unknowns and the effort to maintain the current situation make the hero not accept the invitation. Besides,psychologically, his instinct to preserve life stops him from travelling. Viraf delays the journey acceptance by proposing a religious test. However, rejecting the invitation can also be regarded as a religious challenge to reveal the correctness of his choice to everyone.
3-1-3. HiddenRelief
The hero’s journey is always accompanied with hidden powers reflecting a wise saint archetype. In Ardaviraf, Viraf is accompanied with SoroushAhlo and Azareizadthrough the unknown world.
3-1-4. Passing through the First Door
Although the hero’s journey starts with his birth along with the invitation voice, what the unknown world opens in front of him is passing through the first door. Surprisingly, there is no barrier for Viraf, and no blocking power stops him. 3-1-5- Whale Abdomen
This level is the symbol of human transfer to the other world in which Viraf enters by drinking cannabis and overcominghisartificial sleep.
3-2. Being Honored
Going through the whale abdomen diverts the horizon of the events tothe other side; a series of tests and successive meetings. The hero achieves his goal and immortality at the end of this level.
3-2-1. The Road of Tests
The hero is supposed to win a series of problems, overcome his fear and pass terrible events and images to achieve his goal. Viraf has been supported by 2 guardian goddesses through this level.
3-2-2. Meeting with a Goddess
This level is a reflection of the female soul power of the hero which is called Anima by Jung. Viraf does not visit the goddess, but he reports the visit of his ancestors.
3-2-3. Woman in the Tempting Role
In Campbell pattern, the tempting woman is the negative and dark side of Anima anda complementary level to visit the goddess. In fact, the hero visits the darkness and brightness as a part of himself. Like the previous level, Viraf does not visit the tempting woman, but he reports the visit of the ancestors.
3-2-4.Reconciliation and Collaboration with Father
This level is the last one in the process of individualevolution which Jung calls conscious effort of I to get acquainted with self. Undoubtedly, Viraf’s ascension has been a wonderful experience in the process of spirit evolution which has no equivalence in Ardaviraf. As if Vriaf’s devotion to the rules of religion puts him to complete reconciliation with Ahura Mazda.
5-2-3. Gods
When the hero reaches this level, beyond the stupidity and fear, he finds a god-like face. This level is full of Ahura Mazda’s brightness. Unique commemoration of Ahura Mazda is a sign which shows his likeness to gods and goddesses. 6-2-3. The Final Blessing
The hero’s journey is completed by achieving his goal which is a blessing for him and his family. In fact, he aims at messaging from the living world to the dead world. This goal is achieved by travelling to the unknowns and seeing the barren, paradise, and hell. This goal is the knowledge which survives faith and removes doubts.
3-3. Return
When the hero achieves his goal, he is supposed to come back to his routine life, whether he likes it or not. In fact, he should be the hero of his lifewhich shows the hero’s social performance.
3-3-1. Refuse to Return
The hero’s attachment to the unknown world, on the one hand, and his suspicion to transferability of his wonderful experiences, on the other hand, stops him to return. However, he does not care due to his social goal. In fact, he wants to convey Ahura Mazda’s message to Mazdisnas and tries to remove their doubts and fears.
3-3-2. Magical Escape
Faced with difficulties, he should win the hardships of the way back, but he does not face any obstacles. Thus, he does not need the help of the goddesses through his journey. He passes the journey easily.
3-3-3. A Rescue from outside
If the hero was not able to return, a rescue power would have helped him. Through his journey, Viraf has always remembered his messaging role, so he gets orders directly from Ahura Mazda in the way back.
3-3-4. Crossing the Return Door
This level is an effort to match and perceive two apparently conflicting worlds which, in spite of their conflicts, are two aspects of a unique fact. Although Viraf is not the one that used to be before travelling, he can share the findings and experiences of his journey.
3-3-5. The King of Two Worlds
The hero’s return does not interrupt his separation from the unknown world; he dominates both worlds. Even though he will not go to ascension, he becomes the king of two worlds due to the deep effect of his journey on the goddesses’territory, visiting the unknown dimension of his soul and presence in the wonderful heaven.
3-3-6. Free in Life
The hero continues his routine life to his death. If he has a social responsibility, he will offer his souvenir, saving his nation, to his descends. The spiritual experience of ascension has made an incredible change in Viraf’s soul, motivating him to continue his life virtuously.

The major lines of the story are in accordance with Campbell’s pattern, although, in his pattern, crossing the first door in the departure, reconciliation with father inthe stage of being honored and refusing to return, magical escape and the saving hand in the return stage do not match with the hero’s journey in Ardaviraf. Besides, the hidden relief in a special period of the journey and the quality of meeting with the dark and light sides of his soul isquestionable. The first reason for the aforesaid differences is the existence of slight but determinative heterogeneity in the quality of Viraf’s journey compared with the heroicjourneys in mythical texts. This heterogeneity is due to the weakness and strength of the sacred aspectsofboth myth and religion. Therefore, a hero like Viraf feels less doubt and fear at the beginning of his journey and he is supported by a hidden relief. Besides, even if we underestimate these powers to sheer spiritual symbols, their performance in term of an archetype is more trustworthy than helping forces in mythical stories. The unknown is not that much unknown for such heroes,for they know the destination, their activities and how to return without any problems. However, a mythical hero should start a dangerous journey which definitely passes through darkness and loneliness. Continuous tests and the hardship which are passed by the hero alone and in ambiguitywill shake the curve of characteristic change at the end of the journey. In fact, the heroes are not the ones they wereused to be. Besides, the other reason is going beyond the limit of the hero’s journey and explaining it as a book of ascension. In fact, the pattern of a single myth is the foundation of a potential heroic journey which is changed to real heroism by stimulating inner self-abilities and crossing tough levels. Each person is able to experience this heroism as much as he can, but Viraf is the only one who was prone to ascension in Mazdayasna society. Thus, it is predicted that he has passed his heroic journey in advance to getting ready for another journey as a sacred hero.The third reason is related to the extensive individual aspects of Campbell pattern which can be considered as the seamless manifestations of individuality in Jung psychology. Therefore, Viraf’s ascension is an individual experience, although it has a real social performance which is not mainly accounted as an issue or a level in relation with the individuality concept. Accordingly, the features of Viraf’s memoir are considered more transcendentalthan general achievements of mythical heroic journeys in terms of rank and concept. However, he apparently has less heroic reputations

Allegorical travelogues inspired by religious teachings and traditions appear in literature all around the world. Sey-ol-Ebad Elal-Maad by Sanaie and Ardavirafnameh are among the most significant travelogues in Persian literature. Ardavirafnameh is a religious and moral allegory, while Seyr-ol-Ebad is philosophical and mystical. Both are written based on a hierarchical order: the former mentions the three stages of heaven and hell based on religious narratives, and the latter regards the theory of stages of wisdom. In both works there are guides for the heroes: in Seyr-ol-Ebad the guide is a wise elderly who is the symbol of active wisdom, and in Ardavirafnameh, two angels named Soroush Paak, and Izad Azar support the hero.
This study attempts, through a descriptive-analytical and comparative approach, to explain the similarities and differences of Ardaviraf nameh and Seyr-ol-Ebad. In this regard, the background for the appearance of these works was studied, and the findings showed that during the time they were being composed, religious controversies and divisions were at their peak. It can therefore be concluded that spiritual and allegorical travelogues were written when freedom was not a pervasive concept, and the writers created these works to console their turbulent inner world.

In all places and eras, human has been concerned with thought of fate of the spirit and he has some imaginations about the world after death and destiny of dead souls based on his knowledge. Ardaviraf's travel story to Hell, Purgatory and Eden and visiting Emshasepandan and Ahooramazda is of this kind. This paper is to investigate and analyze this valuable literary masterpiece and to describe experiences of Ardaviraf about visiting Eden, Hell and Purgatory and reward or punishment that spirits of benefactors and evildoers will receive because of their actions in this material world. It also shows what he observes and features in this journey has not been born of his mind and imagination but corresponds with myths of end of the universe among ancient Iranians.