Hero's lover“Recognition of twofold shape of fairy opposition with six mythical character”
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.
1-    Introduction
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 ….?
2-     Research methodology
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.
3-    Discussion
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.
4-    Conclusion
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.
Article Type:
Research/Original Article
Journal of Lyrical Literature Researches, Volume:17 Issue:33, 2019
209 - 232
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