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

The history of ancient Indian literature, the diversity of cultures and religious kinds of literature in India have led to the emergence of complex, rich, and voluminous collections of mythical stories. many of which have been transmitted orally for thousands of years. On the other hand, most Indian mythology, exists only at the rural level and oral culture, which must be recorded. These myths are also ancient, and popular traditions and folk myths, and many of them are the myths that make up the bulk of today's gods in India. In addition, the occurrence of extraordinary things in myths and legends are common and fundamental. Therefore, we encounter creatures that suddenly change from solid to animal, from animal to human, and from human to angels, transform and eventually and doing things that are beyond the natural and innate limits of man. For this reason, it seems that these configurations have been created and addressed as a mirror of the aspirations and unattainable aspirations of those people. this study is to investigate and analyze the functioning of various forms of reincarnation in Indian myths and legends, which are human, animal, angelic, God, divan, fairy and even speech and metamorphosis. Includes them.

Kaftār is a deceitful demonic being that appears in medieval and modern texts, myths and folklore. Some cultures have alternative names for or variations of this character. In this study, ancient written works, myths, popular culture, and folk tales are examined to better understand the role and significance of Kaftār. According to Iranian sources, i.e. Pahlavi, Pazand and Persian texts, Kaftār is one of the manifestations of the devil that is repelled by the Holy Word. In these sources, there is no direct reference to Kaftār being female or male. In Indian texts and mythology, Kaftār is a liver-eating, blood-vampire and child- killing witch, often female. Kaftār is closely related to Dākin and Kāli; their similarities include witchcraft, vampirism, hostility to procreation, infanticide, and deception. Kaftār overlaps with Al in popular beliefs. There is a close relationship between Kaftār and hyena in terms of witchcraft and liver abducting. According to what obtained from the research, Kaftār is one of the often female evil forces with a deceptive function, which is hostile to good creation and birth through magic. Belief in the transformation of Kaftār in the body of a predator - like other similar ones in mythology, stories and popular culture - is evident.

Legends and oral traditions are important sources of the manifestation of mythology and culture of Iran's past. One of the important components of these traditions is magic and extraordinary acts that originated from the imagination of ancient mankind. Transformation is one of the most important and imaginative effects of local legends. According to the climatic and cultural conditions, the legends of South Khorasan are the origin of wishes and dreams, culture and various mythological rituals. In this essay, an attempt has been made to investigate the legends of the region in an analytical-descriptive way in order to answer the questions of what is the figure-turning in these legends, what are its types, and what are its mythological roots. With the conducted investigations, the results were obtained that transformation exists in most legends and one can see all kinds of transformation in them, including the transformation of human into animal, animal into human, and human into plant. This type of personification has been the most repeated and all these personifications go back to mythological roots such as plant gods or descent gods and the important roles of animals in human life as helpers of gods.

Transformation in fictional narratives is referred to the essential changes of human or inhuman characters by a supernatural force. The present article is intended to examine this essential transformation of the characters of folk tales in the context of Claude Bremond's narrative theory. In classifying the role of the character in the narrative, Claude Bremond proposed the "Agent" and the "Patient" characters based on the extension of Levi-Strauss's "Binary Oppositions" theory of "Actant" characters. The agent has an active, effective, and dynamic role in the story, and on the other hand, the patient is passive and impressible. The present study seeks to answer the question: according to Bremond's theory, how the transformation in folk tales can lead to change in the function of the character and consequently, the status and role of the character in the story, from agent to patient and vice versa? This study, through referring to the library sources and by descriptive-analytical methods, in four specific folktales as the case studies, intends to conclude that transformation causes the main and sub characters, to create new actions or be affected by the new ones, after the transubstantiation. And as a result, they change from an agent to a patient or vice versa.

Figure-transfiguration is one of the commonly used themes of folktales, which refers to changing the appearance and the basis of existence and legal identity of a person or something by using a supernatural force. Various forms of representation and its semantic implications are rooted in the mythological thinking of mankind. Therefore, in the present article, based on the descriptive-analytical method and mythological sources, the figure-transformation of four volumes from the ten-volume collection of Khorasan legends have been extracted and categorized. Then, the connection of each type of figure-transformations with mythological elements was analyzed. The result of this study showed that in the 79 investigated stories, there were 165 cases of personification, in which the mythological functions of animals such as snakes, lions, pigeons, roosters, deer, etc. were symbolically manifested in the personification of talking animals. Also, the transformation of objects into humans in Khorasan folktales can be a reflection of animism. The mythical essence of immortality and plant descent of man is reflected in the transformation of man into plants such as watermelon, reed, pomegranate, orange, etc. The metamorphosis of demons and fairies into humans and other creatures indicates the influence of Iranian mythological beliefs regarding their demonic nature.

The transfiguration of a person into a corpse is one of the mythological and symbolic elements in Kurdish folktales. In transfiguration, the shape and nature of creatures are changed from one state to another by using supernatural power of person or creature. The current study was carried out in a descriptive-analytical method based on the library sources and field research. In this research, using mythic criticism, the roots of petrification were investigated. Then, the way people faced it, as well as the causes and tools necessary to get rid of this change, were discussed. The results showed that the reflection of mythical beliefs, passing through history and reaching the present age, in Kurdish folktales, shows the immortality and dynamism of these beliefs, by deciphering and analyzing of which, the common root of this mythological view can be discovered and interpreted.

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 focuses on the effective aspects of the audience's belief in characters as crechers in the selected works from narrative literature and animated films. In this regard, the collective memory and the factors affecting its memory and its communication function are investigated in the personality components of the animated feature film that are aimed at the cognition, belief and interest of the audience. In addition, given the need to find a suitable place for the personality of Iranian animated filmmakers who can compete with popular characters from a global audience point of view, the researcher needs to study and understand the personality components and factors influencing personality. It examines and recognizes the main characteristics of personality belief in the audience and its process in memory. The question of how personality is processed according to the collective memory of the audience is examined and answered qualitatively by content analysis with a descriptive-interpretive approach based on theories of psychologists such as Carl Gustav Jung, Alfred Adler, as well as researchers such as Victoria Grace Walden. given. In order to address the issue of collective memory functions in dealing with audience believability, it is necessary to analyze the narratives and visual works in this field by examining and analyzing the selected characters in the story and then the nature of the personality and the factors affecting memory.

Tales form an important part of folk literature and culture. This part of folk culture is a place for the manifestation of beliefs, thoughts, and the common peoples’ way of living in any nation. The tales of any region, especially oral ones, is an appropriate bed for the analysis of mythical beliefs of that nation. In this study, one of the most current tales entitled “Chelgis” in Fars province “Kohmare Sorkhi” has been analyzed. The author, firstly, with field method, has registered the tale as accurately as possible and, then, with descriptive and analytical method, has attended to the mythical motifs of the tale. The findings of the study show that mythical beliefs in all the pivots of the story are, sometimes, obvious and, sometimes, symbolic and enigmatic. The author has attempted to investigate the motifs in the following parts: 1) Izedbanoo-Anahita: investigating the outstanding characteristics of Anahita in this tale a) the goddess of water b) the increaser of herd c) cleanser of women’s uterus and investigating the brutal appearance and prospect of Anahita in the tale as well 2) the support of the magical animal from the hero in the story 3) the magical plants and their supporting the hero 4) the fairies body-transformation 5) body-transformation of man to tree and vice versa 6) the role of trees in women’s fertility 7) the place of the fairies in the tale 8) hair as a tool for fertility 9) the impressive birth of the hero of the story 10) the holiness of numbers

Transformation of the characters in the story is a feature that can be observed in literary texts and generally studied under the heading of “metamorphosis”. Metamorphosis increases the mythical and imaginary aspects of the text and it is a reflection of human being dreams and an image of the bound between imagination and the real world. It could be defined as a creation of the people’s need for dominance over other people, creatures, and phenomena. Analyzing this subject can be useful to figure out the common culture among nations and can be a proper background for studying literal and cultural bounds for it is seen in the literature of several nations. This article studies different types of metamorphosis in Nart-Nameh</em> and One Thousand and One Nights </em>based on a comparative-analytic approach. Nart-Nameh</em> is a collection of myths about bravery of the Nart nation and the heroes of the North Caucasus and the shores of the black sea. These myths go back to two thousand years B.C. that were verbally transferred from one generation to the other. These myths are about the life’s important aspects such as loving motherland, fighting against evil, helping the week, etc. One Thousand and One Nights</em> is one of the brightest eastern myths which is a mixture of Indian, Arabic, and Persian literatures. This article analyses the differences and commonalities in these books considering metamorphosis.</span>

The relationship between gods, humans, and animals together in myths and ancient traditions of different nations is important. Especially, since some of the animals, due to their distinctive features and prominent roles in the lives and beliefs of various people, have been in the spotlight. Two of these animals are peacocks and cows. Legends of the two animals have countless similarities with each other in different cultures especially in ancient Iranian and Greek beliefs. This can represent that the people of this land have many things in with common with the people of Greece. In fact, different culture may have common myths, and the myths of peacocks and cows are no exception, which symbolizes totemism, based on which the symbols in culture myths of nations are different. Hence, introducing various mythological representations of these legends is valuable to know about their origins, links, and philosophy, which can answer many questions in this regard. Therefore, this study has tried to study the mythological connotations of peacocks and cows in Iranian and Greek myths, an area of research on which there are scanty clues.

A large number of gods have arisen from the world of mythology and have been appeared as famous heroes or great kings in epics. One of these heroes is Samak in the prose epic-heroic story of Samak-e Ayyar. This hero, like the mythological gods Indra and Mitra, is considered to have some mythical characteristics. Some of the mythological features of Samak are as follows: rescuing princesses from the clutches of evil kidnappers; an inseparable relationship with Khorshid Shah; destroying demons and fairies; constantly accompanying a woman who is the manifestation of a goddess. By an analytical-comparative approach and considering the Indo-Iranian sacred texts, Rigveda and Avesta, and the ideas of mythological scholars such as Mehrdad Bahar, the authors of the present article have tried to compare the functions of two gods, Indra and Mitra, with the functions of Samak. The results show that Samak, the prominent hero of the prose epic-heroic story of Samak-e Ayyar, is an amalgamation of two mythological cultures of India and Iran and have metamorphosed into a new form.

Metamorphosisis one of the key issues in myth and mythological stories in which a creature physically changes and temporally or permanently losses its formal shape, as well as its recognized and natural formation to reach perfection or suffer a deficiency; thus, gaining a new shape. Metamorphosis sometimes constructs a part of the creature, becomes eternal, young or vulnerable, or finds a synthetic structure comprised of the human and animal features, and lives contrary to its basic nature. In this study, with regards to the significance of the issue under consideration and the status of culture and folk literature, different types of metamorphosis in the popular culture and literature of the Bakhtiary and Kohkiloye-and-Boyer-Ahmad people are investigated. Going throughvarious kinds of human metamorphosis to an animal, a tree, a bird, heavenly bodies, and vice versa, we shall be concerned with analyzing their literary representations and mythological aspects of different types of metamorphosis among the Bakhtiaries and Kohkiloye-and-Boyer-Ahmad people. This study is conducted fundamentally based on the library and field study using qualitative content analysis. Upon investigating various sources and analyzing literary and mythological representations of different kinds of metamorphosis, it may be indicated that the most important types of metamorphosis in the cultural and belief system of these people subsume the metamorphosis of human to animals such as bear, wolf, iger, and turtle. As a result of committing sinful actions, humans are metamorphosized into a tree

The Well of Babel, a novel written by Reza Ghāssemi, has a mythological theme. Inspired by a Semitic story, it narrates the descent of two male angels named Harut and Marut who fall in love with a woman named Zohreh (Nahid). The purpose of the present article is to examine the metamorphosis of these three characters and their functions. In addition, by using descriptive-analytical method, it also tries to show the history of the fall of the angels and their connection to ancient Indian and Iranian goddesses. In this regard, it's important to investigate the metamorphosis of Anahita, Haurvatat and Ameretat and their relationship with Indian goddess of Saraswati and Ashvins twins. The results show that time, place, and personality in the novel have triple features. In trichotomy of personality, the mythological transformation of Harut and Marut into the body of two men and transformation of Zohreh into the body of a woman happen. Mandoo, Kamal and Filisa play central role in the transformation.
Recurrence, reincarnation and transformation happen in three different eras (the Qajar dynasty, the age of Islamic revolution and the contemporary era) and in three different locations (Russia, Iran and French). They refer to metamorphosis and the mythological transformation and confirm the recurrence of eternal behavior patterns of men.

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.

Sheikh Faiz Decani (1595-1547) is a Persian poet of India. In 1588, he came to the court of Jalal al-Din Akbar Shah, the great Emperor of Gurkani of India, and reached the rank of Amiri and Malakul Sha'ari. Feyzi is the speaker of Persian language in India. He is the son of a poet and son of Masnavi. Faizi, in imitation of the military, has brought Masnavi "Nell and Damman" into order. The metamorphoses and transformation phenomena that have been interpreted as transforming the face or the transformation of beings have a special place in the stories and legends of the people of India. The abundance of exponents in the stories and legends of the world, and in particular among the stories and legends of the people of India, which has been narrated for generations, reflects the rooted mythological thoughts in the folk thoughts of the people of the land of India. Persons who have magic powers move around everywhere in the myths and stories that they need, and they appear in the form of various transformations. The present article tries to investigate sculptors in the beloved fairy tales of Nell and Dean Faiz Dakni. Shaikh Faizi (1547-1595) was a Persian speaking Indian poet who was introduced to Akbar`s court, the great emperor of Mughal Empire in India, and became poet laureate. Faizi was the leading Persian literature scholar in Indian subcontinent. He hold a high position in composing Qasida, ghazal, and masnavi. Faizi written Nal o Daman in imitation of Nizami Ganjavi.
Metamorphoses and transformation implies on a change of form or nature of a subject/person in the story –either a myth, an epic, etc.- and is a frequent and exemplified issue just like other supernatural incidents in mythology and epic, is considered to be a symbolic report of curious ancient man`s desires and wishes. Metamorphoses or transformation which is defined as facial transformation or change in the form of the creature, holds a specific position in Indian people`s stories and mythology. Affluence of metamorphoses in global stories and myths, especially in Indian mythology the way it is narrated from one generation to the other, implies on rooted and deep mythological thoughts in folk thinking setup of Indian nation. Characters having supernatural and magical powers, would transform in myths and stories whenever it is required and appear in various transformed shapes. The story theme of Nal o Daman follows the Nala and Damayanti story in Mahabharata, the ancient Indian epic, and just like Mahabharata it is full of supernatural incidents and extraordinary events. Presence of entities such as demons and fairies and occurrence of incidents which does not belong to the actual world put an emphasis on the idea. Of course unbelievable and amazing phenomenon is observed in almost every Indian myth. Reincarnation, transduction, soul transportation and transformation are elements observed in Nal o Daman epic. In Hindu religion it is believed that beasts benefit character, intelligence and perception thus every beast in the story which turns to a hero, has a specific name. In present study, descriptive-analysis methods are applied based on theoretical framework to answer this fundamental question: what are the most significant types of metamorphoses in Nal o Daman epic? What are the function and impression of them? The research method in this article is an underlying case with a correlation approach.In this research, documentary methods (surveying descriptive)and surveying have been used to collect information. Nal o Daman is a new narration from Indian epic Nala and Damayanti of Mahabharata. Faizi rewrote the mentioned epic with few change in details. Nal o Daman is edited in the same conceptual framework as is found in Mahabharata. The major theme of Nal o Daman is love. In Nal o Daman, main character is a woman who is beautiful, wise, kind and creative. Sometimes the main character turns to the pioneer hero of the story.
In Nal o Daman epic, metamorphoses is often done by Brahman. The Brahman as a Pir – a spiritual master- is one of the brilliant features of the epic. He is representative of wisdom and knowledge. He realizes the code language, forecasts and guides Nal. Sometimes he appears as an oracular assistance on Nal`s way, guides him, and even appears as a young hero himself.
“Snake” plays an effective role in metamorphoses in Nal o Daman epic. Snake is the renewing agent for vital force. She jolts the poison into Nal`s body, thus the snake becomes gestated from him and gives a further birth to Nal. In Nal o Daman epic, snake actually represents the constant transformation of death into life and double polarization of the universe. That indicates the life is permeated from the death, and vice versa.
Metamorphoses, as an extraordinary and supernatural incident is an integral part of Indian story and myth. In Nal o Daman too, we observe that every incident is rooted in supernatural forces. In this epic, emphasize on supernatural phenomenon is taking place to transform and concept the characters. What is contemplative in Nal o Daman is multiplicity and variety of metamorphoses.
  Based on the research founding, the most happening transformation in Nal o Daman epic is related to human transformation, and transformation from human form to animal form. In this epic subjects such as stability and endurance in facing troubles, sacrifice and forgiveness, patience and fortitude, love and attachment, instability of oppression and injustice, and importance of family life and its position are highlighted. The major theme of the metamorphoses narration is based on love and attachment. Women play a vital role in incidents of the epic. In this myth, metamorphoses happens to the hero due to passing from one level of the story to the other, and eventually, the hero would reach his primitive state at the end. In Nal o Daman, metamorphoses happens to award or punish people or entities. Actually, human being is transformed and breaks the rational order of the world to create a new world beyond the existing one, in a search for eternal peace and meaning. Faizi`s Nal o Daman epic holds a significant value as a text in which the author attempts to picture the Hindu mental setup to image mythological beliefs in his love story. Thus, because metamorphoses and transformation is shaping the major foundation of the story, this valuable epic would be reviewed to recognize the sacred elements involved in Hindu metamorphoses. 1-       Disaee, Zia-ol Din. Faizi Life and Work. Translated by Mohammad Mansour Asemi. Persian Journal, number 13. Pp 25-59. 2000.
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One of the ways of recognizing beliefs of any nation is examine the mythical symbols and institutes of those nations which have originated from their minds and inners and have been remained in their history, art and literature. Of the most important ways to survive ancient myths it could mention to their transformation as folkloric stories that by their cultural functions help lives of mythical figures as a vivid and dynamic body. That is the words of myth and fiction in Iran and the words are mixed together. The story is a weaken form of stronger concept, i.e. myth. When myth in part of its history, by losing part of its holiness as stories that in each period become the place for reflection of several thoughts, new words, customs and rituals and transform itself. Reading these stories introduce us with the mythical bed of these fictions deeply. Azeri myths from the aspect of having samples to body transformation figures have rich wealth, as the present research indicates in Azeri myths several kinds of body transformation, human to animal body transformation and human to human and human to plants and reversely and demon and fairy transmutation and other strange organisms and myths are observable well.

Ramayana is the oldest Indian epic which goes back to 3-5 B.C. This epic is in the description of Ram’s heroism who is considered to as one of the manifestations of Vishnu, the God of Protection. During the Akbar Shah period, a group of translators brought back the important works of Indian religious and philosophical literature to Persian, such as Mahabharata, Ramayana, Bhagavat Gita (Azhar Dehlavi, 1972). During the kingdom of Akbar Shah's successors, poets followed this valuable tradition. People such as Mullah Sadol-Dawlah, Masih Pani Pati, Gerdherdas and Chandar man kayteh, Bidel translated the Ramayana's epics to the Persian poetry, and also Amarsing turned it into the prose (Kahdoui & Nargesestan’s introduction, 2014).

There has been a number of scattered studies conducted on the story of Ramayana: In the book, “From Legend to History”, Bahar (2004) compares the stories of Raam and Siavash and concludes that similar to Siavash’s character, Raam is a vegetative entity. In a paper titled, “Ramayana: the Most Ancient Epic Tale of India”, Vaheddoost (1994) also compares Raam and Siavash and concludes that both these characters are Ahura humans who would destroy evil creatures such as Ravna and Afrasiab. In another paper titled, “Comparative examination of drought evils in Ferdowsi’s Shahnameh and Ramayana epic”, Adham (2013) conducts a comparative examination between Zahhak and Afrasiab, two villains in Shahnameh and Ravna, the villain in Ramayana epic; results suggested the presence of drought evils in both epics. In a book titled, Metamorphosis in Mythology, Rastgar Fasaei (2003) examined this mythological aspect along with its types and manifestations in Iranian mythology as well as other civilizations such as India, Egypt, and Greece. In her paper titled, “The metamorphosis of human tree and tree human in Hormozgan folk tales”, Zarei (2014) concludes that the mythological belief regarding the Tree Human as Tree Man and Tree Woman involve motivations such as love and pity, innocent death, anger and deception more than others. A reflection on the contents of these studies show that none of the authors had paid attention to the subject of metamorphosis in particular; subsequently, the concepts have remained hidden from their views. As a result, it is attempted in this study to present the concept of metamorphosis for the first time in Persian epic works of Ramayana. 

The central structure of this research is based on the study of mythological origins in the Persian epic poems of Ramayana from the Chandarman kayteh, Mullah Sadol Dawlah, Masih Pani Pati and Gerdherdas Heroddas, and the examples of these works are compared with the prominent Ramayen by Amarsing. Proving this claim depends on answering the following questions: How have the poets or translators of the Persian epic poems of Ramayana been able to reflect the manifestations of metamorphism based on the prose epics in their reincarnation? Which of the metamorphism species has the most influence on the above mentioned epics? In this research, which is carried out based on the librarian method, the introduction of the metamorphism is proposed, and then the effects of this mythological species are extracted from these works.

The metamorphism is the apparent deformation using the supernatural force that appears unusual. In this case, the person or object changes in a different form, and turns to a new body that may be apparent and tangible, or hidden which undergoes fundamental changes and gain new powers which did not have previously (Rastegar Fasai, 2005). 4.1. Metamorphism of Gods to Humans 4.1.1. Ram In the prose Ramayana, the manifestation of Vishnu in the form of Ram is more tangible and concrete. When Brahma and the other Devata[1] begin their chants to Vishnu because of Ravan’s rage, "Beshn (Vishnu) drives up the Gruda and says:" Do not be sad, I will take your face (human face) for your sake and I will save you from Ravan's heavy rage (Azhar Dehlavi, 1972). Ram, at birth, first appears in his original form on the mother: "The creator of the both worlds, was given birth from her mother from Kushlia’s womb in the form of Chaturbhuja[2]. Kushlia said: I surely believe that you are the Lord of the World. I want to put this face to your face and become human and consider me as a mother. He was suddenly changed to a baby and started crying "(Azhar Dehlavi,1972). 4.1.2. Metamorphism of the Universe into Human and Animal The most important example is the metamorphism of the universe into the monkey and the bear to destroy Ravan (Gerdherdas, 2010; Pani Pati, 2009; Kayteh, 2014; Azhar Dehlavi, 1972). When Ram was sitting pure for three days beside the sea, it reveals the path to him in order to pass the sea and go to Lanka and when the path is not revealed, he gets angry. The Bahr Sagar is revealed as Senyas and Zahed, and comes to him for seeking safety (Pani Papti, 2009; Azhar Dehlavi, 1972; Kayteh, 2014; Gerdherdas, 2010). 4.1.3. Metamorphism of Gods and Clergies Gods such as Berahma, Indra and clergies come to Earth on many occasions, or the pious like Narada[3] goes to the clergy festivity or is connected with Berahma. Sita is impatience for being away from Ram, Brahma goes to Indra[4], and she wants to take the spiritual food to Sita and comfort her. The prose epic says that the spiritual food was milk and rice soup but Gerdherdas said, it was an apple (Azhar Dehlavi, 1972; Gerdherdas, 2010). During the fire test, Berahma, Indra, Jam and others testify the purity of Sita (Pani Papti, 2009; Kayteh, 2014; Gerdherdas, 2010; Azhar Dehlavi, 1972). 4.2. Changing the Appearance Changing the appearance is the most important part of the metamorphism. 4.2.1. Ram Metamorphism Ram leaves his human face and appears in the original form (Azhar Dehlavi, 1972). 4.2.2. Metamorphosis to Animal’s Shape Ravan goes to Maricha “monster” and wants him to reshape to deer in order to deceive Sita (Pani Pati, 2009; kayteh, 2014; Gerdherdas, 2010; Azhar Dehlavi, 1972). Henon reshapes to mosquitoes in order to enter the castle (Kayteh, 2014; Azhar Dehlavi, 1972). 4.2.3. Metamorphosis to Barahman’s Shape Ravan reshapes to Brahman when he steals Sita (Pani Pati, 2009). 4.2.4. Metamorphosis In Ramayana, the pious curses and transforms the fairy or Gandharp and turns it into a more wretched person (Pani Pati, 2009; Kayteh, 2014; Gerdherdas, 2010; Azhar Dehlavi, 1972). 4.2.5. Mythological Animals Ram gets familiar with Jetayu Karkas at Panchvati and Jetayu introduces himself as a friend of Dashartha (Azhar Dehlavi, 1972). The most memorable role of Jetayu in Ramayana's epic is the fight with Ravan when stealing Sita and being killed by the monster (Pani Pati, 2009; Gerdherdas, 2010). 4.3. Changing the Size Hanoman change its size at different places and situations (Pani Pati, 2009; Azhar Dehlavi, 1972). 4.4. Imortality In Ramayana, there are some people who are looking for eternity. Ravan and his brothers worshiped Shiva. They stayed for a thousand years on one leg and did not eat anything but fed with wind. Mahadeva says ask whatever you want. Ravan said, " human and monkeys are my food and not anyone else, and Jam who is a spirit taker cannot kill me (Azhar Dehlavi, 1972; Gerdherdas, 2010). Immortality is embodied as the mythological symbol of living water. Kala, the angel of death from the high world, comes to Ram and gives him the message that he deserves to go back to the great world. The Ram’s brothers and Odeh residents baptize in Sarayu. Ramchandra stood in the water. The body of all three brothers became one and got very bright and went up to the world. And thus, they found eternal life, which is one of the myths of living water. 4.5. Youth Mandoodari, the wife of Ravan, is always young (Gerdherdas, 2010). Sarbehang is a pious who burns himself in the fire after worship and rejuvenates (Pani Pati, 2009). 4.6. Invulnerability (Heroism) Hanoman has an invulnerable and steel body that is not hurt at all (Gerdherdas, 2010). Ravan has life water in his navel and is alive with this. Ram throws the arrow to his navel and kills him (Gerdherdas, 2010; Azhar Dehlavi, 1972; Kayteh, 2014).

The Persian epics of Ramayana were used as the basis of this research referring to Ramayana by Amarsing, the translation of Sadol-Dawlah, Masih Pani Pati, Gerdherdas, and Chandarman Kayteh and the metamorphism effects, which were all studied. Moreover, it was discovered that the themes of the metamorphism in their translations had a special effect and had a better effect on the translation of the prose Ramayana. The Chandarman Kayteh, and then Gerdherdas, followed the translation of prose in recreating the metamorphisms.

Figure turning is the change in the appearance of nature or the ability of Mythological heroes and legendary creatures that sometimes is demonstrated with apparent changes such as: turning inanimate objects to animals, human to animal or vice versa, human to angel and etc. It is sometimes without apparent change. For example, the Hero achieves a numinous power or maybe goes beyond his intrinsic abilities. However, it is important that these changes or figure turnings be considered as the most important factor to wonder in myths, legends and folk stories. The purpose of this study is to examine the written native legends in Sistan and Baluchistan province from the figure turning point of view. According to the diversity of types of tangible figure turning and the Breadth of the subject, the present article is assigned to the types of human transmutation in which human has been transformed in to animal, inanimate, plant, numinous creatures, nature, and human, or gains extraordinary abilities without a change in his nature. The results shows, there is human transmutation in 23 out of 157 myths in the province. The most human figure turnings are "transformation of human to animal" and "amazing trips", "transformation of human to human" and "human to numinous creatures" from the first kind of human transmutation which are not seen in any kind of these myths. The researchers try to demonstrate the obvious reasons of different figure turnings by interpreting mentioned legends and also, to show the role and function of these figure turnings in native legends.