اساطیر

The numeral system is one of the most important and challenging components of the writing system, which has two dimensions and is not simply limited to the written form of numbers. The challenge of number writing, on the one hand, is due to the nature of numbers and the way they exist in each language, which itself is the result of the different attitude of each nation to existence, and the second dimension of the challenge is related to the way of writing numerical entities in each language. Therefore, even though number writing is a phenomenon of the writing system, it cannot be considered a purely inscriptive phenomenon, but to describe the numeral system, it is necessary to pay attention to the type of attitude and vision of peoples and nations towards existence and especially the mythological foundations of the attitudes of each nation. Middle Persian is no exception to this approach, and one of the neglected requirements for responding to the ambiguities of the Middle Persian numeral system is the attitude towards existence, particularly the mythological beliefs of Iranians. Following the valuable efforts made so far to compile and describe the Middle Persian numeral system, this article proposes other considerations while discussing the answers to some uncertainties still existing in the Middle Persian numeral system. Moreover, some of the traces and reflections of this system are tracked in the Modern Persian language and script, which on the one hand helps compile the Middle Persian numeral system and on the other hand, facilitates the understanding of Modern Persian words and texts. The findings of this study show that it is possible to describe the Middle Persian numeral system, and to do so, seeking help from the mythological foundations of Iranian thought is beneficial and crucial. The present article does not claim it has formulated the Middle Persian numeral system, although it presents considerations and suggestions for compiling it.

Today we see storytellers and screenwriters using world myths. These works have imperceptibly drawn the minds of readers and viewers to ancient myths and symbols, and paying attention to these mysteries and mysteries can reveal the hidden intent of the owners of these works; Because the authors of these works sometimes deliberately use these symbols to hide their original meaning. In addition to this revelation in the series "Dark", the present study seeks to show the connection between Greek and Persian mythology in this series. "Dark" is a European series that has probably benefited greatly from Greek mythology In this article, we find out to what extent the beliefs expressed. in this series are from the beliefs of Iranian mythology, especially Zarwani beliefs, a religion that has been prevalent since the Achaemenid period and reached its peak during the Sassanid era, and then in the form of Mithraism. Inside, it originated and also how they were reflected during the scenes of this series.

Counter-discourses with religious, mythological and metaphorical motifs are among the most diverse counter-discourses in the novel Jazire sargardani. The novel Jazire sargardani by Daneshvar is one of the socio-political novels after the Islamic Revolution, in which the author was able to examine the social forces and intellectual developments of the revolution generation, taking into account the conditions of Iran in the 1950s, and give a realistic picture of Iran's social situation. In this novel, to express ideologies such as the ideology of freedom, westernization, conflict and class divide, seeking justice, etc., the scholar has been influenced by Quranic verses, hadiths, national stories-mythologies and metaphorical antidotes. Investigating the types and methods of deepening and intellectual, semantic and cultural development of counter-discourses and their structure is essential for better understanding of the narratives; Therefore, in this research, the reflection of religious, mythological and epic counter-discourses in the novel Jazire sargardani has been investigated with a descriptive-analytical method. The emerging data show that in some cases, the author has used pods to emphasize or justify discourses or to convince and persuade his audience. For example, to oppose Westernization, while some characters consider following the West and imitating it as the only way out of problems, using Quranic verses reminds Iranian Islamic culture, or to express the concept of seeking justice from the story of Bahram Khorramdin and the epic. Ashura has benefited. By this method, he strengthens and supports critical discourses.

Iran has a rich cultural and historical background, and many of today's cultural moods and human behavior are from the distant past. "Death" as an important subject has occupied the human mind and thoughts in all eras. Death has received a lot of attention in the remnants of ancient Iranian myths and culture. Since the culture and believes of a nation could not be easily forgotten and remained permanent, so there should be similarities between these two parts of Iranian literary works, mythology and mysticism. My thology and religious myths have given mystical poetry more depth and has contributed to its richness. This article deals with the types and types of death, namely: emergency death and optional death in the myths and ancient section, as well as mysticism. Given that the Qur'an and hadiths have not been separated from mysticism, a brief look is taken at it.

Rituals have long served as reflections of a society's culture, beliefs, and attitudes. Within different societies globally, a significant aspect of mythology is dedicated to fertility rituals, often symbolizing the cyclical death and rebirth of nature portrayed through the demise and subsequent revival of a god or goddess. A notable example is the mourning ritual of Siavash, a prominent figure in Iranian myth, known as Siavashan. This ritual celebrates his symbolic reincarnation in the form of a plant and his son Kei-Khosrow, embodying the concept of the god/hero's death and rebirth as part of the natural and temporal cycle. In Greek mythology, the Dionysia and Adonia festivals honor Dionysus and commemorate Adonis respectively, both fertility deities whose rituals focus on their deaths and resurrections. One aim of this article is to draw parallels between the Siavashan ritual and the Dionysia and Adonia ceremonies. Through an analytical-comparative approach, all three rituals are examined to reveal their shared characteristics. Despite differences in culture and geography, the research highlights the interconnectedness of world myths. The key commonalities among these rituals include the annual mourning ceremony and celebration of resurrection, often accompanied by customs like carrying icons, performing sacrifices, music, and singing mournful songs, typically led by women.

The mythological circle in the countries of the world has been introduced in such a way that it reflects the mother as a creative element. In the earlier myths, it is clear that the powers are higher than women, but with the role of men in society, compared to women, the mythological circle has slowly changed and turned to the male element, which is a factor in the poems of poets. Ancient times have also emerged. But beyond the ancient times, the same can be seen in the poetry of poets of later periods. The poet studied in this article is Naser Khosrow.

In this article, using descriptive-analytical method, Nasser Khosrow's poems are evaluated and compared with the myths of Iran, Greece, Egypt and India, in which the power of the female is masculine, in order to study the etymology of these verses in It should be discussed among the myths of other countries and it should be revealed how such beliefs are manifested among the myths of the other four countries.

Using the research that was done, evidence was extracted from the poems of Naser Khosrow, which indicates the reflection of very ancient myths in world mythology. These verses show that in the divan of Naser Khosrow, as one of the few poets of Persian literature, a very old belief that existed among the forgotten civilizations is reflected,

By conducting this research, it was revealed that Naser Khosrow has made speeches in his poetry collection that from the mythological point of view,

In Persian literature, the old rock is a symbol of impenetrability and hardness, and the mountain is a symbol of stability and endurance. The multifaceted nature of stone in culture and literature has both positive and negative aspects. It is also a factor of fertility and destruction. This research aims to investigate the archetype of stone and mountain in mythology and in Nizami's "Khosro and Shirin" in an analytical-descriptive way and how the word "stone" is used. In this regard, examples are presented by examining the mythological roots of "Khosro and Shirin" Nizami. The main tool for collecting information is to get files from library sources. In this research, it was found that the words "stone" and "mountain" are frequently used in military works, especially "Khosro and Shirin". In many places in this story, the word "stone" is used in several key ways, both in the construction of literary arrays and in different parts of the story. Shabdiz's mysterious birth, sweet life in a stone building with the intrigue of Khosrow's palace women, Farhad's stonework to create a milky stream and bring him the desired drink, and digging a mountain for sweet love are among the things. Highlights of this story, which has a mythological aspect. Examining the presence of the main characters of this story is not complete without considering the rock and the mountain.

Initiation rituals that prepare individual to move from one stage of life to the next, are all mythological. Initiation includes physical, mental and psychological dimensions and is associated with rituals that intend to help the individual to cope with his new responsibility in society. In all religions there are different rituals for the stage of initiation, which are in line with individual growth or acceptance of a new position. This research, which is based on library studies and has been done in a descriptive-analytical manner, analyzes the initiation rituals of different cultures. By examining the mentioned types of ceremonies such as puberty, travel, spiritual death, sacrifice, etc., in Avesta and comparing them with world examples, it was determined that the stages of transition exist in all religious and non-religious professions and drinks and their analysis shows common points with other cultures.

Var (trial by ordeal) was a form of divine judgement carried out by Zoroastrian judges to ascertain personal truthfulness. This ritual was not exclusive to Iranians; it was prevalent in Europe until the middle centuries. In the mythological and religious culture of the southern region of Kerman, the var ritual has been practiced in various ways throughout history. These include loqmeh-nevisi (eating consecrated morsels by the accused), takhteh-nevisi (writing the accused's name on a board), kāseh-ghardoon (identifying the culprit with a bowl of water), and qesme-chār (passing the accused through fire), among others, all aimed at proving personal truthfulness. The purpose of this study is to examine the role and implementation of Var rituals in this specific region. The research method is descriptive-analytical and involves collecting documentary information and conducting interviews with local inhabitants. The findings of the research indicate that the origins of Var rituals can be traced back to religious and mythological epic texts such as Shāhnāmeh and Avesta. Similar to other rituals, Var has undergone changes and transformations over time.

Plants, especially trees, have always had a symbolic presence among various religions and denominations. An example of a tree is full of mysteries that humans are a part of, or rather the central part of this image. The tree is a kind of link between earthly and celestial elements due to its distinctive properties. Suhrawardi and Rumi, by combining the mythological and mystical features of the tree, created an image that is multifaceted, evasive, ulterior, and at the same time comprehensive of opposites. In their works, they used the image of the tree to express various meanings and concepts. In other words, the tree has been used as a single image for several meanings. This article tries to study the image of the tree as an image that is a constructor of meaning and at the same time the life and worldview of the mystic with this image and the like by defining descriptive and analytical methods and relying on the allegorical stories of Suhrawardi and Rumi's Masnavi. It becomes

"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.

Myths are stories from the ancient times, and pre-historical adventures which still serve a deeper purpose to reflect some truth, and have been transferred from the past to the future generations. Due to culture exchanges, Iranian and Greek nations had similar and common myths in past. That's why champions like Rostam and Esfandiyar in Iran and Hercules in Greece were sacred and have been treated respectfully. Some myths appear in numbers, for instance seven and twelve. In Ferdowsi's Shahnameh it has been referred to Rostam and Esfandiyar's seven labours and these narrations could be related to twelve labours of Hercules. Investigations into mythological labours will reveal cultural similarities of Iran and Greece. There mythological champions including Rostam, Esfandiyar and Hercules had supernatural capacities. These differences and commonalities will reveal the cultural development pattern of these nations to a high extent.  The common characteristic of these three champions is the selection of the road not or less taken instead of the easy one.

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.

Music is very important in the mythology of different nations. This science, as one of the parts of theoretical wisdom, has an unbreakable connection with literary mysticism through similarity in intuitive and inner perceptions, metaphysical dimension, infallibility, etc. The conceptual expansion of music originated from here, which led to liberation from the monologue and one-dimensional atmosphere and to the music of the cosmic spirit, which gradually penetrated and gained strength in mysticism. The perception of music, which is a manifestation of mystic hearing and the resurrection of the worlds and spiritual states of the seeker, reveals and intuitively finds a celestial and cosmic music and directly engages emotions and feelings.Molavi has a very aesthetic view of receiving music, and because it is at a high level of heart import in esoteric receptions, and in other words, it is a symbol of all systems, customs and habits, the connection between his view and his thoughts with cosmic music is important. Show

Examining and applying the principles of epic works of different nations can play an important role in understanding them as much as possible and can also explain the relations between the literature of the nations of the world and the development of literary, intellectual and cultural exchanges. Jamshid is one of the mythological characters of Shahnameh whose life stages and events during his life have many similarities with Osiris, one of the mythological characters of ancient Egypt.

This research has been done in a descriptive-analytical manner.

Jamshid and Osiris in Iranian and Egyptian mythology have common features that indicate the collective human unconscious. By examining and comparing the lives, deeds and destinies of these heroes, one can get acquainted to some extent with the collective unconscious contents of the two nations (Iran and Egypt) and to illuminate the dark and obscure corners of the ancient cultural and social structure and understand the way of thinking and beliefs of the people. Ancient times helped.

By examining the lives of the two main heroes of the stories (Jamshid and Osiris), their lives can be summarized in three stages: 1. The simultaneous birth of the hero, 2. The creation of a golden and ideal era by the hero, 3. The fall or death of the hero A time of disaster or turmoil.

Arthur C. Clarke seeks to present a new spatial eschatology. Until now, the analysts have only pointed out in a scattered and inconsistent way the eschatological and religious nature of the presence of aliens and gods along with space travels. In the present article, we have coherently analyzed the eschatological elements and compared them with their origin in the stories of Clarke. These elements of modern spatial eschatology are mythological answers to the needs of the contemporary era, based on the intellectual assumptions of modernity. The method used in the article is analytical– comparative. The findings of the research show that Clarke's stories, such as The Hammer of God, 2001: A Space Odyssey and Childhood's End, present a seemingly new eschatology along with myths about immortality, resurrection and the end of human history, in order to respond to the intellectual needs of contemporary mankind. But Clarke still uses the elements of the past ecclesiology, which shows that he has not completely broken with the previous eschatological systems and indicates that he has revived these systems in a transformed form.

Proverbs represent the cultural wealth of nations. Many proverbs are forgotten and lost during the time and we are never aware of their roots and their formation. This paper addresses a forgotten proverb used in a Haft Peykar couplet. The expression “The old woman is a wolf” is an expression probably considered as a proverb in Nizami age. This proverb seems to be welcomed in Persian literature from Turkish, Kurdish or Azeri. This study takes a descriptive, qualitative approach to examine the mythological and folkloric effects of this proverb. Comparing an old woman with a wolf is not new in Persian literature. They both represent death and world in culture, and world folklore and they signify snow, witchcraft, sexual drive ad moon. In this paper we have analyzed some overlapping points between old woman and wolf. In literature, wolf is the symbol of trickery and fraud. It seems that the main motivation behind taking an old woman for a wolf is their wide-range wisdom, experience and cunningness. Due to their command on the matrimonial secrets, old women have played significant roles in social relations of the past and they could connect men and women who wanted relationship.

Iranians, have had some beliefs as their own faith in society and family in their mind from ancient times. Certainly, these beliefs have some sources, and there has been a reason to write about them ,in addition, flesh out  or not these items has existed. For example, one can be refer to an imaginary creature such as “Roc” and “Dragon”, that has been prevalent since the pre_Achaemenian period in Iran and even in other  nations, also now is widespread too. Same everyone  knows well about this issue, it is impossible to find any piece of literacy works that are completely empty of this subject, and anywise, statement that contains the belief in a fictitious creatures or imaginary belief in a real existence is not on a sheet of paper. Absolutely, as we go farther away, due to the lack of modern equipment _which human enjoy today_ more and more, we will see the dissemination of folk beliefs and sometimes , utterly, superstitious about few works and existence. One of the texts in which these beliefs can be found , is the Nafsatolmasdur. This work, with all the simulation and heavy items, contains the factors and elements which, one to one signification such beliefs about fictitious beings or the mythological faith and common of the true and real creatures. Therefore, we decided to extract these factors from the text of this book and analyze, also sometimes explain their roots in this essay.

One of the most important topics in the mythologies of nations is how spirits are guided to the afterlife and enter the world of afterlife. In various myths and based on the beliefs of each ethnic group about immortality, the "leader" is a person who guides the spirits of the dead - according to their deeds and actions - to their eternal place. In the present research, by using an analytical-comparative method, the types of leaders are introduced in Iranian and other nations mythology, and the relationship between the leader and the gender of the dead person is explained. By recognizing the role of the leaders, people used to gain a deeper understanding of the afterlife, their fears and anxieties decreased, and they calmed down. The research findings show that the performance of the leaders of the spirits is evaluated based on the good or bad deeds of the dead, and the role of the leader in the mythology of one nation is different from its role in the mythology of other nations.

Symbols reflect natural phenomena, particularly celestial bodies that are embedded in myths and popular culture and are abundantly employed in Persian literature. Fakhri Heravi was a Shiat pot of the court of Iran and India in the 10th century AH, who compiled Haft Keshvar in the reign of the Safavid Shah Esmail I in three years. Haft Keshvar is a travel book of 388 pages (edited by Afshar and Afshari) written in prose and ornamented occasionally by verses. It embeds references to narrative stories, myths, and history including Tarikh Tabari, Tarikh fakhr Baenakati, Javame AlHekayat va Lavame AlRevayat, Seraj Algholoob, Shhnameh and Boostan. Haft Keshvar is a meta-narrative work of fiction that incorporates a range of symbols related to celestial bodies. It depicts journeys of Ibn Torab who visits seven different countries and their kings whose ideas are determined by astronomy and myths. The present study explores intertextual clues to dig into symbolic representations of constellations and seven planets of the solar system.

A work of literary importance is uncovered by a thorough analysis of its sublayers. Thus, the present study uses a documentary, library, and note-taking method to collect data. It also uses descriptive-analytic method to examine narrative style of the work in terms of structure, narrative elements, and key features storytelling in Haft Keshvar. Persian writers have extensively used symbols to convey ideas and establish their belief systems. For instance, Fakhri Heravi wrote Haft Keshvar as a symbolic and allegorical work. Accordingly, this study examines the relationship between symbols and astrology in this work.

Haft Keshvar is a journey to seven countries that symbolically represents ideas on astrology based on constellations of the zodiac and seven planets of the solar system. It proves to be a deeply symbolic literary work with different layers of meaning. The present study focuses on symbols that relate to astrology and how they are interwoven into the text. It evolves around the idea of the evolution of life on earth.Ibn Torab accompanies Aghi-aldin in the journey and arrives in the first country ruled by Keyvanbakht who abides in a magnificent palace called JeddiAbad topped by a big poll called DaloAbabd. The king’s name stands for the plane Saturn. The pool in this work represents water in ancient mythology and local folklore. Ibn Torab and Aghi-aldin move to the second country and stay there for 30 days. The king is Malek Girgis and abides in NahangAbad ia big palace called Qosiyeh. The king symbolizes Jupiter, the city symbolizes Pisces and the palace stands for Sagittarius.Upon their arrival in the second country, a messenger in red garments from the third country welcomes them. His name id Shahab and serves his king Bahram who lives in a palace called Aqrabiyeh in HamAbad. The king and his living place in the third country symbolize Mars.Before they arrive in the fourth country, a messenger receives them. His name is Najm the Agile whose lord is Sultan Beyza. The King lives in his palace, AsadAbad, at a meadow called Sepehr. The palace is built in the form of a lion. The lodging of the king and reminds the reader of the Leo Constellation and the King’s name stands for the Sun, which respectively imply resurrection, eternity, life, warmth, light and authority.In the fifth country, Dorry the Night Walker welcomes Ibn Torab and Aghi-aldin. The ruler of this territory is Zohreh Banu who abides in her cow-shaped palace, Soriyeh, at the top of a mountain. Zohreh Banu stands for Venus and her land represents Taurus constellations.The king of the sixth country is SahmKhuy whose messenger, FalakPeyma, meets the travelers in the story. The king lives in his palace, Joza, in ParvinAbad, all reparenting Mercury.In the last country, the messenger is a man named GardoonSeyr who is in the service of his lord, Malek Qamaraddin who lives in his palace, Saratan, near the Nile. The king is the symbol f the moon and his palace is the symbol of Cancer constellation.

Haft keshvar was written by Fakhri Heravi in10th century AHand that is replete with mysticism, mythical, geographical and astrological ideas. The study shows that the journeys to seven countries are in correspondence to the seven celestial bodies and planets. The level of symbolism is more tangible when we realize that the twelve constellations in the sky are in seven planets. For instance, Asad is the sun and Saratan is the moon. The other planets have two houses that are represented in the story of Haft Keshvar. This implies the mastery of the writer over astrology and his gifted naming procedure. In representing the seven planets and countries, the writer emphasizes on some lofty notions such as justice, freedom, generosity, respectfulness, authority and autonomy.