جستجوی مقالات مرتبط با کلیدواژه "fairy" در نشریات گروه "ادبیات و زبان ها"

"Fairy Snake" is a peculiar expression that has been used by Sanayi Ghaznavi and Khaghani-e Shervani among other Persian poets. They have likened beautiful and disloyal lovers to it. The exegetes and commentators of the poems of Sanayi Ghaznavi and Khaghani-e Shervani have not yet given the correct meaning to and a true concept about this expression and composition, thus being confused about its analysis. According to the author, the combination of fairy with snake showed a mythical and legendary fate because by examining and studying the myths and legends, it could be said that the fate of the fairy as Goddess of debauch and fertility and that of the snake as a mysterious animal were caused by their very natures attributed to the moon, their correlation with debauch and fertility, and their connection with water, as well as magic and witches from the earliest times. This relationship, which continued after the Zoroastrian Religion and Zoroaster's religious reform caused the creation of a mythological-legendary expression called the "Fairy Snake" in the form of one of the mixed myths of transformation, which is a symbol of both debauch and devil. Sanayi Ghaznavi likened the beautiful and disloyal lovers to that strange and hybrid creature.

The fertility rite is one of the most common rites that existed in most ancient civilizations. Today, manifestations of fertility rites and footprints of fairy and Anahita as gods and symbols of fertility can still be seen in many local and indigenous ceremonies, songs and plays in different parts of Iran. Writers In this research introduced and traced the myths of fertility components and rituals in the mausoleum of the fairies (South Khorasan) and its relationship with Anahita, the fertility goddess of ancient Iran. The rites of the Mazar-e-Pariyan of South Khorasan include sacrifice and offering gifts, spreading the votive table, overnight stay in the tomb, dancing and rejoicing, special lettering, etc. The roots of these rites were also studied in this research and the researcher It turned out that the rites of this Mazar are derived from the worship of Anahita, the fertility goddess of ancient Iran. Of course, the fairy who was the goddess of birth and fertility in ancient Iran, with the advent of Zoroastrianism, was hated because of some of her deeds and was among the devils. Continuing its evolution in the Islamic period, due to some similarities with the jinn, and some popular beliefs about the jinn, led to fairy tales and, consequently, to the fertility mirrors of the fairy tombs of South Khorasan.

In a strange and mythological tale in the so-called historical section of the Shahnameh (the Sassanid empire period of Hurmuzd), Bahram Chobin meets a crowned woman in the palace. After that, he weeps blood, overlooks and changes his manners and speeches. He claims to be a king. A number of eight different interpretations and views have been presented about the identity of this mysterious woman, extracted from the Shahnameh or contemporary writings. These are: (1) a witch, (2) fortune of Bahram, (3) a fairy, (4) an angel, (5) a deceptive soul, (6) Daena, (7) a Demon or female demon, and (8) glory. In addition to the Shahnameh referring to this woman as the "fortune" and two ancient and reliable texts introducing her as a "fairy" (Tarikh-i Tabari or The History of al-Tabari and Tabari and Nihayat al-Arab), the traditions and characteristics of the story show remarkable similarities to the narrative theme of "Fairy and Hero". This lady is more likely to be the fortune of Bahram, originally appeared in the form of a fairy and made him fond of her beauty, and provoked Bahram be a rebel against the Sasanian king as he faced his fortune. Through metamorphoses of Iranian national narratives and dropping some part of her mythological points, this fairy has changed to a good-natured, but obscure lady in the Shahnameh

From the very beginning of creation, the tree has somehow been linked to human life and has played an important role in the myths, rituals and beliefs of the people; Because of the relationship between literature and mythology, the tree has also been reflected in literary texts;Marzbanameh is one of the Persian literary texts in which the tree has a wide reflection. In this paper, the mythological and symbolic concepts of the tree in Marzbanameh are studied. The authors hypothesized that the tree in Marzbanameh stories had a mythological, religious function in addition to its literary function.Based on the aforementioned idea and by analyzing the content of the stories, this hypothesis has been verified. It must be explained that ten mythological attributes of the tree Marzbanameh can be observed, such as the cosmic tree, Illumination (awareness), healing, the relationship between the tree and the fairy, relationship with the snake, the role of the tree in determining the fate, the shelter role of the tree, the relationship of the tree with the genealogy, the worship of the tree, the speaking tree. The widespread application of the mythological concepts of the tree in Marzbanameh reinforces the hypothesis that the book was written in the Sasanian era and in the time of Anushirvan. In addition, the tree's sacredness and respect for humans and its presence in their lives have been due to humans' need for the tree as a food and medicine source. The research method is descriptive-analytical in terms of library work space.

Tales are important parts of folk literature and culture. This part of folk culture is a manifestation of the beliefs, ideas, and the life styles of the people of each nation. The tales of each region, especially the oral ones, provide an appropriate context for exploring the mythological and totemic beliefs of the natives. Accordingly, the tale of Girl and Gazelle, which is one of the most common tales of the Kumereh Sorkhi region in the Fars province of Iran, is analyzed in this study. The author tried to record this tale first via field method, which has not been recorded in any sources, and then study the mythological themes of the tale through the descriptive-analytical method. The results of the study show that the mythological beliefs are seen vividly, or symbolically and mysteriously in all pivots of the tale. The study tried to analyze these themes in different parts: the oak tree of ‘Martyr’, a holly tree in the region of Kuhmereh Sorkhi, the call on the tree to become pregnant, the birth of the girl from the trunk of a special tree, the growth of a plant from the blood of the innocent character of the tale, the role of fairies in the tale, hair as a fertility tool, burying the bones, the tree of life, the journey to the world of the dead in dream, and passing through seven or several labors.

Horse is one of the most important themes in epic literature that has always been with the hero from the oldest era and even is sometimes unified with the heroes, and during the time it has taken many functions. In this essay, analyzing verse and prose epics and folklore based on the content analysis method, it became clear that sometimes the horse has a direct bond with water and fertility. In some texts, the horse is considered the symbol of wind, as it is evidently mentioned in Eskandarnameh. On the other hand, horse is sometimes a symbol of death, as the black horse of Aphosh, Shabrang Behzad, and the black horse of Esfandiar are linked to death. Sometimes the horse is unified with demon and fairy, as it is mentioned in the Hamzanameh, Firooz Shahnameh and Darabnameh Tarsosi. The horse of Tahmooreth in Shahnameh is also considered as the devil. Horse in some texts has such an important position for the hero that the selection of the horse is also one of the important stages of hero’s improvement, and sometimes even a horse and the horseman will unify as the hero cannot accomplish his mission without the horse, as Rakhsh and Sheborg Behzad in Shahnameh, and Ashghar, the horse of Boran-Dakht in Hamzanameh and Darabnameh Tarsosi are cases in point.

From viewpoint of analytical psychology, according to ideas of “Carl Gustav Jung” archetypes are common elements in collective unconscious of the man, and myths including among revelations of archetype. The Fairy, is among archetypes or common spiritual heritage of the human that exist epical stories with mythical foundation and there is in lyric part of those. Purpuse of this query is Identify and recognize of The fairy and her signs, in the stories of “Rustam andsohrab”,”Borzunameh”,”Banugoshaspnameh”,Faramarz nameh”,”Shahriyar nameh” and “Jahangir nameh”.Topic Champions of these stories, contains of “Rustam” and other heroes, that are all of them from his generation, in the lyric part of  stories opposite with the fairy. This query collected to method of analytic- descriptive check up on archetype of “The fairy” in these stories, terminate to this issue that The fairy has a twofold shape; sometimes fairy is responsible of role of anima's hero in form of positive and effective, that terminate to consolidation of character and helping his for attain to perfection and sometimes is in form of witch, a reflection of negative anima's hero and shadow, that prevent from attain to individuality and must be control. Also checked up this point that how archetype of the fairy, from positive role in Ancient Persia changed to the witch in Zoroastrianism literature.
  Archetypes are common elements in collective unconscious of the man. The Fairy, is among archetypes that exist in in lyric part of epical stories. In the stories of “Rustam and sohrab” from Ferdousi's shahnameh,”Borzunameh”,”Jahangirnameh”,“Banugoshasp namehShahriyar” and Faramarz nameh”; this archetype opposition with hero, appear to role of positive or negative anima. Purpose of checking this element of fairy opposition with six heroes is recognize a mythical woman that opposition with hero, helping the hero for attend to object with her love. She sometimes has a devil face and show herself in the face of a beautiful woman that ejected of hero. The fairy in the both her shape has a topical role in the mind of story's hero and helping he for attain to perfection.
-Is the witch in the stories a fairy that changed her face?
-Are fairies and witches appears obviously in the stories?
-How appears The fairy and the witch opposition with six heroes and what is their ….? Collective of this query is to method of analytic-descriptive and type of writing is library form. Topical sources of used are six epical stories contains Borzunameh”,”Jahangirnameh”,“Shahriyar nameh”,“Banugoshasp nameh”,“Faramarz nameh” and Rustam and sohrab” from Ferdousi's shahnameh,”; that fairy recognized in those.
  One of efficiency of collide with female face (or male) of personality for hero that is it witch he disparate, even for a short time from his warfare persona and close to world of sensibility and his real of personality; This separation cause that he acting better in his way and effect of this tear of personas is an attractive anima like The fairy. Among of some of women with the fairy seen some similarities that the fort this supposition that they are fairies. Some of this properties are: Suddenly appearance of The fairy against hero in distance, reveal herself to hero and dazzling beautiful of The fairy, Relate of The Fairy with hunt and hunting-ground and ability of turn to another existent, relate with forest that The Fairies in the various stories and mythology, The fairies live in forest or spring...  (Aydenloo, 2010, 78-80)
Opposition with The Rustam and Borzu, cause properties of fairies can Tahmineh and Shahrou consider generation of fairies or goddess that appear front of heroes and act in consolidation of man hero of stories. In the story of Faramarz nameh and Banugoshasb nameh. The fairy appears front of heroes in the shape of positive anima and animus. In these stories The Fairies show themselves to form of prey (zebra and gazelle). Change the face to prey is methods of The fairies to entice of heroes. She with this miraculous method mediation to interested hero to herself. (Lahiji, 2003: 303) Seems we can’t The Witch same with The fairy, but in the many of stories she has properties that are same with The fairy and try for seduce of hero. The witch that is a villain anima, also can be The shadow archetype. We facing with The witch or negative shape of anima. Also shadow is dark part of mind and is rejected but don’t have to ignore because although shadow reject but these are essential for personality.
  In the six epical stories that checking here, was a personality by name “The Fairy” that exist in the lyric part of epical stories; means when hero falls in love and acting his role as e lover not a hero. The fairy is one of the Archetypes that exist as a femme enticing woman in stories and legends of more old lands. And also she is anima and animus of hero that has twofold shape. Positive fairy is a sign of beliefs of pre-zarastor Iranian people. This view of fairy, seem in the Tahmineh, Shahrow, girl of king of fairies and king of fairies that he is a sign of animus of Banugoshasb, also among Banu and king of fairies not created a link, but instruct of needlework to Banu by king of fairies cause Banu link to her animus, means Giiv. The fairies in this stories have many properties like, beauty, acting supernatural deeds, love-making and connection with water, forest and prey; They are also positive anima of hero that cause to compelete feminine part of their soul. In the Zoroastrianism versions against of stories The fairies are villain existing that these villain fairies or witches there are in Shahriyar nameh and Jahangir nameh. Sometimes have signs of fairies like Marjaneh that has properties like, beauty, be side of spring and hunting-ground, be in castle and trying to seduction of hero. And sometimes like Melikha and Rahile opposition to Jahangir nameh don’t have signs of fairies and will be control because
They are shadow and dark part of unconscious.

Since mythological criticism is related to many disciplines such as Anthropology, History of civilization Studies, Theology, Jungian Psychology and Archetypal Studies, it is counted as an interdisciplinary approach. A critic in this genre of criticism studies and analyzes all the archetypal signs present in the text which had influenced the creation of literary works whether consciously or unconsciously. Paying attention to the application of this approach in recognizing the unconscious values of the text and analysis of its symbolic levels it seems that texts containing mythological references are more prone to this genre of criticism. The novel Paribad written by Mohammad Ali Olomi is one such example. This novel is filled with mythological themes whose author consciously or unconsciously was concerned about. The purpose of this article is to study the important myths of this novel such as fairy, and wind and compare them with their counterparts in Shahnameh using analytic approach. The studies made indicates that these concepts were mentioned in Shahnameh regarded as pre-text and the author of the novel tries to reintroduce these myths in his work.

The story of ‘Mam and Zin’ is combined with ethnic and local symbols and myths of Persian people and denotes archaic culture of this nation by recognition of this story one can wipe out the dust from image of most of these mythical symbols. With focusing on librarian and documentary studies in this investigation and benefitting from inductive- analytical method, we have inquired again into mythical symbols which are tangible throughout this story. Analysis on such stories in various parts of Iran by different techniques prevalent in language of the public will reveal hidden dimensions of culture of this land. Moreover, conducting analysis on symbols and myths of ‘Mam and Zin’ story through researching approach denotes that the ritual theme of this story is prior to its romantic use and perhaps romantic theme of this story is ranked at the next position of importance. Similarly, some signs of Mithraism belief are tangibly seen in this story so one can find the influence of Mithraism in this story by investigation of numbers (twelve, three, and seven) again in the given story. Further, ‘Mam’ stand for s Mam Izad (goddess) and ‘Zin’ is a fairy. In addition, this story includes several features beyond Fairy Tale. The present research may serve as a prelude for mythical critique of this study and prepare the ground for reading its multi-faceted uses of it.

Joneid Nameh, a prologue to the long tale of Abu Moslem Nameh, is a semi-epic, semi-lyric folkloric fiction which conveys the story of Seyyed Joneid. The story focuses on the fictional hero, Seyyed Joneid and his attempts at reaching his beloved, Fairy Rashideh, and converting the inhabitants of the fairy lands to Islam. Seyyed Joneid is supposedly the ancestor of Abu Moslem Khorasani. The hero of Joneid Nameh is a descendent of the Holy Prophet and his Household from one side, and those of the fairies from another side. Seyyed Joneid reflects features of characters like Rostam and Tahmures. Analyzing the structure of the story, the study tries to reveal various roles of the heroes who are of different natures: real, superhuman, mythical, and legendary. The result of this research then shows that creating these characters based on folktale, whether taken from Persian, non Persian, mythical, folkloric, and even epic aspects, the author creates the heroes whose imaginative features liberate them from the limitations of the real world. This way, the stylistic conventions of fictional heroes in Persian literature are revealed to be more developed and multidimensional making the heroes appear both stronger and freer than those in foreign literature.