An Archetypal Criticism of the Character of

Vaez, Saeed; Manouchehry, Zahra

doi:10.22059/jpl.2023.359939.2177

Document Type : Research Paper

Authors

Saeed Vaez ¹
Zahra Manouchehry ²

¹ Professor of Persian language and literature, Allameh Tabataba’i University, Tehran, Iran

² PhD student of Persian language and literature, Allameh Tabataba’i University, Tehran, Iran

10.22059/jpl.2023.359939.2177

Abstract

The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal; at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i.e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal; And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.

Keywords

Main Subjects

Persian Language and Literature

References

Afshari, M. (2007). Nishan Ahi Khoda: a collection of essays on criticism and analysis of Persian mystical Literature. Tehran, Cheshmeh.[In Persian].

Aghasharif, A. (2004). The Secrets and Mysteries of Numbers and Letters. Tehran, saeed mohebbi martyr publisher. [In Persian].

Akbari Gandomani, M., & Kamali Baniani, M. R. (2019). The Role of Instructive Functions in Identifying the Structure of Rumi’ s Narratives (Case Study: The Story of the Dignified Dervish). Research on Islamic Education, 27(44), 87-110. [In Persian].

Anvari, H. (2003). The Gulistan of Sa’di. Tehran, Payam Noor university. [In Persian].

Chevalier, J., & Gheerbrant, A. (2006). The Dictionary of Symbols, V 2, 4, translated and research by S. Fazaeli, Tehran, Jeihoon. [In Persian].

Cooper, J.C. (1993). An illustrated encyclopaedia of traditional symbols. Translated by M. Karbasian, Tehran, Farshad. [In Persian].

Dehkhoda, A. (1998). Dehkhoda Dictionary. V 7, Tehran, University of Tehran. [In Persian].

Dehghan Dehnavi, Z., & Massoudi, F. (2021). The Characteristics of Dervish and His Dual Face in Persian Fairy Tales. Culture and Folk Literature, 9(41), 43-73. Doi: 10.13921/CFL.9.41.39. [In Persian].

Elwell- Sutton, L.P. (1997). The Stories of Mashdi Galin Khanom. Tehran, Nashremarkaz. [In Persian].

Farnia, N. (2017). Darvish true from the perspective of Saadi. 1st International & 3rd National Conference on Management and Humanistic Science Research, Tehran University. [In Persian].

Four Dervishes (2016). Corrected by H. Zolfagari and A. Saeedi, Tehran, Ghoghnoos. [In Persian].

Franz, M.L., & Edinger, E.F. (2014). Four Jungian Essays. Translator: M. Sarreshtedari, Tehran, Mehrandish Books. [In Persian].

Goshtasb, F., & colleagues (2015). A Study on the Concept of True driyōš in Middle Persian Texts. New Literary Studies, 48(3), 141-158. Doi: 10.22067/JLS.V48I3.53279. [In Persian].

Guerin, W.L., & colleagues (1998). A Handbook of Critical Approaches To Literature. Translated by Z. Mihankhah, Tehran, Ettelaat. [In Persian].

Hamidian, S. (2013). Description of Enthusiasm: Description and Analysis of Hafez’s Poems. V 2, Tehran, Nashreghatreh. [In Persian].

Hinnells, J.R. (1989). Persian Mythology. Translated by J. Amouzgar & A. Tafazzoli, Tehran, Cheshmeh. [In Persian].

Idries Shah (2016). Tales of the Dervishes. Edited by M.S. Molaie, kabol, Amiri. [In Persian].

Jung, C.G. (1997). Four Archetypes, Translated by P. Faramarzi, Mashhad, Astan Quds Razavi. [In Persian].

ـــــــــــــــ (2014). Man and His Symbols, Translated by M. Soltanieh. Tehran, Jami. [In Persian].

Kamarposhti, A., & Naderi Movahed, R. (2017). Analyzing the use of Dervish in Kashf ul Mahjoob, Masnavi-I Ma’navi (also written Mathnawi) and Sa’di’s writings. The third literary research text conference, 1-20. [In Persian].

Mahvan, F. (2020). Folklorism in Litographs of Noush Afarin GoharTaj. Culture and Folk literature, 8(32), 149-174. [In Persian].

Marzolph, U. (1997). Typology of Persian Folk Tales. Translated by K. Jahandari, Tehran, Soroush. [In Persian].

Mashhadi Noushabadi, M. (2016). The Myth of Absence of Girl. Journal of Mytho– Mystic Literature, 12(45), 249-282. Dor: 20.1001.1.20084420.1395.12.45.9.8. [In Persian].

Mashkani, U. A., & colleagues (2015). The role of dervishes, the influence of Sufism on the exaltation of the power of Sarbadaran government. International Congress of Leaders, Sabzvar, 991-1012. [In Persian].

Mazdapour, k. (2018). The beginning of dervish morals. Rasekhoon, https://rasekhoon.net, December 6.

Mira Abdini, A., & Afshari, M. (1995). Qalandari Ritual: Consists of four treatises on Qalandari, Khaksari, Ajam Sect and Sakhonori, Tehran, fararavan. [In Persian].

Mousavi, J. (2016). History and origin of the parable "A vegetable is a gift of Darvish". The letter of the Academy, 16(2), 111-112. [In Persian].

Naqibalmamalek, M.A. (2007). Amir Arsalan Namdar and Maleke Farrokh Leqa. with correction and collection by Y. Razmipour, Tehran, Jajarmi. [In Persian].

ـــــــــــــــــــــ (2005). Malek Jamshid: Asef spell and crystal bath, Tehran, Ghoghnoos. [In Persian].

Pourdavoud, E. (1947). Ancient Iranian Culture. The first part, Tehran, University of Tehran. [In Persian].

Prak, M. (2015). Morphology of dervish face in popular literature based on (Mashdi Galin Khanum's stories). National meeting of the Persian Language and Literature Promotion Association of Iran, 1929-1946. [In Persian].

Rahimi Fard, Sh., & Bayat, H. (2019). Studying folk elements of Nooshafarin-nameh story. Literary and Rhetorical Researches, 7(28), 72-93. (In Persian)

Rahmanian, D., & Hatami, Z. (2012). Charm and Magic, Talisman and Spell, and Women World in Qajar Era. Historical studies, 3(2), 27-44. [In Persian].

The Story of Hossein Kurd-e Shabestari (According to The unknown narration named Hossein Name), (2007). By the effort of I. Afshar & M. Afshari, Tehran, Cheshmeh. [In Persian].

the story of Nushāfarin Gohartāj (2012). By the effort of U. Marzolph, Tehran, Behnegar. [In Persian].

Yavari, H. (2008). Psychoanalysis and literature. Tehran, Sokhan. [In Persian].

Zakavati Karagzlou, A. R. (2014). Reflection of Sufi biography in folk tales. Research Mirror, No. 92. [In Persian].

Zolfagari, H. (2021). Popular Fiction. Tehran, Khamoosh. [In Persian].

Zolfagari, H., & colleagues (2011). A Stylistic Introductionto Nushāfarin Nāme. New Literary Studies, 44(173), 81-98. Doi: 10.22067/JLS.V44I2.12624. [In Persian]

Persian Literature

An Archetypal Criticism of the Character of "Driyōš" in the Story of the Nooshafarin Gohartaj

References

References

Volume 13, Issue 1 - Serial Number 31
November 2023
Pages 89-110

An Archetypal Criticism of the Character of "Driyōš" in the Story of the Nooshafarin Gohartaj

References

References

Volume 13, Issue 1 - Serial Number 31November 2023Pages 89-110

Volume 13, Issue 1 - Serial Number 31
November 2023
Pages 89-110