فصلنامه ادبیات عرفانی و اسطوره شناختی
سال پانزدهم شماره 57 (زمستان 1398)

In this paper, by using descriptive-analytical method, the authors try to consider the concept of "the perfection of Demons and Amesha Spenta" in Avestan language. By delving deeply into the vocabulary structure and the comparative concepts, it is attempted to present a new version of the subject. Dualism can be found in all the details and practices of Mazda religion and has a "tree-like" function; as we move from the root to the details, the proliferation in quantity becomes more apparent while the fundamental properties of the root can be pursued in the sub-branches and details. What constitutes the roots of this dualism is the first confrontation of Ahura Mazda with Ahriman in which Ahura Mazda creates the Amesha Spenta and, in retaliation, Ahriman creates Demons. The detailed analysis of the characteristics of each member of these two groups (Amesha Spenta and Demons) reveals the details of the dualism and the hidden angles of the confrontation. The most effective method to achieve this is to examine and compare the traits of them. This method paves the way for other confrontations that exist in the sub-branches of this "tree-like" system and manifest in the form of and Ahuraic Ormazdian and Ahrimanian creatures.

Myth is a reaction to man's inability to cope with his/her infirmities and weaknesses. Mythical elements and characters are rooted in realities that change over time; as cultures are intertwined, myths blend together and new myths are created. Sometimes myths appear with different names but identical functions in different areas. The present study is an analytical-comparative one based on library data; its aim is to show the similarity of the functions of Iranian and Greek myths. Accordingly, they are compared, their common points are shown and the theory of the uniformity of the thoughts of all human beings in the early millenniums are examined. Since myth is the product of human thinking and derived from human nature, there are obviously similarities between the myths of different nations. These nations refer to same phenomena with different names, and the differences between myths can be attributed to the social conditions of each nation.

Scapegoating is one of the religious-mythical rituals, having been long common among different tribes and nations for various purposes. Many of the mythological and ancient traditions have suggested different ways of scapegoating to stay away from disaster or to abolish it. In classic Persian literature, Sanāī has been named as one of the first innovators who spread the mystical and philosophical and didactic teachings. As evidenced by the great number poems of Hadiqat al Haqiqa, Sanāī is very familiar with the myths and has well made use of the popular culture of his day. By employing descriptive-analytical and library methods, in the present study, we attempt to show that Sanāī took into consideration various forms of scapegoating - including sacrificing, writing amulet, burning peganum harmala (esfand) - in Hadiqat al Haqiqa. To clarify the matter, after analyzing the doctrine of scapegoating and the related rituals, we examine the cases found in Hadiqat al Haqiqa. The findings of the research indicate that Sanāī has been fully familiar with the rituals of scapegoating and used them in the most artistic way possible in Masnavi of Hadiqat al Haqiqa.

The theory of possible worlds is one of the theoretical foundations of cognitive stylistics that is rooted in Leibniz's philosophy. Understanding how narratives are narrated is central to this theory; it illustrates the text-reader interactions and the relationship of reader with literary narrative. Masnavi Manavi, as one of the largest source of the mystical literature, encompasses the foundations of practical and theoretical mysticism. By using descriptive-analytic method and based on the theory of possible worlds, in the present article the attempt is made to propose a new reading of Masnavi Manavi. Jalāl ad-Dīn Muhammad Rūmī, as the narrator of the stories, speaks subtly about narrative discourses and creates worlds, including epistemic, fantasy and ideal worlds, in the mind of reader. In the story of Dezhe Hooshroba (the castle of Fortress), the theory of possible worlds is mostly portrayed as an epistemic world with the aim of teaching mystical doctrines based on the pattern "if ... so". In the ideal world portrayed in the story, Rūmī uses the conjunction of "or" and terms that include desiring, yearning, and demanding. For him, love is the most important means of discovering, constructing and taking intuition of the ideal world. Love helps the sālek (the holy traveler) in the path of intuitive knowledge. We have access to these worlds in temporal, linguistic and natural way, but the frequency of temporal access is greater.

Undoubtedly, death is the biggest unsolved, strange and terrible mystery of man. He/she has always longed for eternity and immortality. Man seeks to create abstract places where there is no death; in this way, he/she convinces himself/herself and comes to rest. Man builds forts, castles, palaces and paradise gardens that show his longing to return to Eden. On the other hand, these buildings refer to a safe place that is impervious to death and provides peace of mind. Var of Jam is one of the most prominent mythological places among the ancient Iranians that has been built to imitate Mitra Palace. There are similar places in the myths of other nations; the most important common point of these places is immortality for those who enter them. The results show that the mythological buildings have much in common with each other. In the present study, by using the analytical-comparative method, these common points are examined.

In the present study we examine the hereditary and intertextual relationships in Khalil, a short novel written by Leonid Leonov, Russian author of the 20th century. The story is influenced by Iranian mystical and classical literature and has been created with Oriental and Iranian tone. So, we take into account the concept of intertextuality and examine the impact of texts on each other. The prototype of the hero of the story (Khalil) is one of the kings of the Timurid era, and the chronotope (spatio-temporal) pattern of the story relates to ancient Iran. The Oriental atmosphere of the story is conveyed to the reader through the use of a large number of Persian words and a language style similar to Iranian works. Also, the main character of the story has characteristics similar to those of Iranian literary heroes. In terms of content and structure, there are semantic and structural connections between mystical, mythical, and folk narratives and the story. Its themes and contents have been adapted from various anecdotes, and each of them has influenced part of the story. In the end, by using descriptive-analytical method, we show how successful Leonov is in creating a special story with a multi-dimensional discourse combined with Eastern narrative traditions.

Khajuye Kermani, one of the great poets of the 8th century AH, has composed Gol o Nowruz at the request of a beloved and has dedicated it to his noble patron. According to him, the story is originally in Hindi and has been compiled by Babylonian storytellers. Although it has many similarities to Nizami Ganjavi's Khosrow and Shirin, it is a unique work because of having some love sub-stories, a lot of figures of speech and epics, and mystical and mythological themes. Also, Indian and Babylonian mythological beliefs and traditions are present in Gol o Nowruz and the influence of their culture, beliefs and myths on Iranian mythology, religion and epics and traditions has been proven. With regard to this influence and based on the statements of Khajuye Kermani, in the present article the mythical background of Gol o Nowruz is studied by using descriptive-analytical method, and its relation to the mythical narrative of Indra (Indian god) and waters or the cows captured by the Demon, as well as its relation to the Mesopotamia blessed Goddess and his husband are examined.

Shams-i Tabrizi is one of the great mystics and great thinkers of his day, but until today and about two or three decades ago, he did not hold a prominent place in the history of Sufism except in the circle of Mulānā Jalāl-al Din Rumī and his companions. Our information about him is limited to Maqalat-e Shams-e Tabrizi (Discourse of Shams-i Tabrizi) and the sources that have written about his acquaintance with Rumī. It is only in Maqalat-e Shams-e Tabrizi that we get more detailed information about his life. One of remarkable thing about him is his teaching method. As it is clear from the sources, he used to teach children Qurān. His methods of teaching are different from the principles of modern education. They address two issues. First, to a certain extent, they refer to the methods of education of children in the seventh century AH; second, they show Shams-i Tabrizi method of education in great detail. His method of educating children is in line with his world-view and his critical and explicit approach. In the section of Shams-i Tabrizi's biography, the present essay used books and articles and his personality was evaluated by the analysis of content.

Lunar symbols refer to features that are related to functions and holy manifestations of the moon (as a goddess). These features generally include transformation, adjustment of time, making fate, fertility and rain bearing, revitalization, death and resurrection. Anything or phenomenon that has one or more of these attributes presents a lunar symbol and the moon dominates it. The lunar symbols have also been reflected in Iranian national legends. The legend of "Cheshme Pari", selected from Iranian Legends and Fairy Tales Encyclopedia, covers a collection of lunar symbols. By using descriptive-analytical method, the authors of the present article try to examine the legend of "Cheshme Pari" and to show the trace of worship of moon and water in the mythological beliefs of the Iranian people. Water is the most important symbol and element of the legend; it is pillar of the narrative and is present at all events. Almost all of the functions related to lunar have been used in the legend.

Moving from color to meaning is a process that has been discussed by many thinkers with different intellectual backgrounds. This article seeks to answer the question that in a semantic triangle consisting of audience, author, and work of art and regardless of author's intention, if an audience is aware of Ala ud-Daula Simnani's views on the manifestations of colored lights, how will he/she analyze a work of art? By using the method of hermeneutic phenomenology of Henry Carbon, it is attempted to analyze the theory of Ala ud-Daula Simnani, and then, to examine the colors of a work of art based on the descriptive-analytical method. The results show that when a work of art is judged on the basis of Simnani's ideas, we can go beyond mere observation and obtain a kind of personal intuition. As a case study, the colors and design of a tomb-cover, were examined. This work of art represents, allegorically, a part of the spiritual journey of man to Lord that is already underway, as if he/she has been interrupted for some time by his/her physical life and has begun to pass through the body.