Archetypal analysis of the story of Rostam and Esfandiar

Type of article: Scientific- research
writers
Dr. Seyed Mojtabi Mirmiran1; Anoush Moradi 2

Abstract
One of the important approaches to criticism of literary works is archetypal or mythological criticism, which itself is considered one of the branches of in-depth psychological criticism.. This type of approach, which was developed based on the thought of the Swiss psychiatrist, Carl Gustav Jung, investigates and analyzes the structural elements of myth that are present in the collective unconscious mind.. According to Jung, these elements are a kind of common experience that is repeated in all generations, and enters the individual's psychological organization by being in the collective unconscious.. Jung's archetypes can be examined in each of the Shahnameh stories. In the present research, we will use the story of Rostam and Esfandiar as the body of research data using a descriptive method- Let's study analytically. In this research, we show that the requirement of self-discovery and integrity of personality is that a person passes the difficult stages of the journey, endures hardships, and learns that one day he will truly overcome the serious challenges of the world, even in the same exaggerated way. which is the image of his fears will prevail and this will enrich his character. This story warns that if one fails to transform himself into a responsible person at the highest level, he should expect destructive and destructive consequences.. The final result of the research is that each of the aforementioned archetypes are considered multiple manifestations of a single psyche.
key words
archetype; collective unconscious; old man Rostam and Esfandiar; Shah nameh
Title [English]
An Analysis of archetypical of story,s rostam and isfandiyar
Abstract [English]
One of the major approaches to literary criticism is archetypal or mythological criticism which is a brance of Jung’s psychology. This approach which has developed on the basis of the ideas of Swiss psychiatrist, Carl Gustav Jung, examines and analyzes the structural elements of the myth which are present in the collective unconscious mind. Jung believes that these elements are a kind of universal experience that is repeated in all generations, and enters the individual’s psychological organization via being placed in the collective unconscious. Jung’s archetypes can be studied in each of the Shahnamah’s stories. In the present study, the story of Rostam and Isfandiyar, as our data, is examined by applying a descriptive-analytical method. It is indicated that to know oneself and to make an integrated personality, the individual should tolerate difficulties and difficult stages in his way. Besides, he should learn that one day he will overcome the severe challenges of the world, even in the same way that they make exaggerated images of his fears, and this is what improves his personality. This story reveals that if a person cannot change himself into a responsible individual at the highest level, he should expect destructive outcomes. At the end, the authors will conclude that each of the archetypes is considered as the numerous realizations of a single soul.
key words [English]
Archetype, collective unconscious, the wise old man, Rostam, Isfandiyar, The Shahnamah
original article
Introduction
One of the fundamental axes of today's literary studies is the reading of ancient texts from the point of view of today's theorists, which becomes the source of the dynamics of these texts.. Carl Gustav Jung (۱۹۶۱-۱۸۷۵) He is among these theorists. He is a famous Swiss psychoanalyst and psychiatrist and the creator of the theory of archetypes..
Along with Sigmund Freud, Jung is considered one of the founders of the modern science of psychoanalysis. According to Fordham, a researcher of Jung's works, Jung completed what Freud left unsaid.. At first, he was Freud's assistant for a while; However, Freud's strong emphasis on the importance of gender caused a rift between the two.. Through deep attention to the content of patients' dreams and their analysis, as well as through gathering extensive information from religious ceremonies and beliefs of various ethnic groups and religions, and also considering the symbolic concepts of mythology, Jung formulated a theory about the construction of human personality..
Jung considers the human personality to be composed of several systems or devices, which, while being independent, interact with each other.. These systems include:
1. Unconscious (unconscious)
Jung considers the unconscious to have two levels:
a thousand) The personal unconscious, which lies just below the conscious and contains all the memories, wishes and other experiences of the individual's life that have been repressed and forgotten. This part is more or less the same as the surface layer of the unconscious, which is what Freud meant by the unconscious. Slow is the same.
B) There is another deeper layer which is general and collective and impersonal and although it expresses itself through personal awareness, it is common to all people.. (Moreno, 2008: ۶) According to Jung, the collective unconscious is older and more experienced than other parts of the psyche.. (Yavari, 2008: ۸۳) This layer of the human psyche has become the common, hereditary and psychological factor of all members of the human family.. (Guerin, 1978: 192)
2. Archetypes (archetypes)
The research on archetypes is actually a kind of literary anthropology and has a clear relationship with the way literature has been enriched by relying on topics and categories such as myths, rites and ancient and ancient literary legends. finds. (Russian, 2000:202) According to Jung, the inherited tendencies in the collective unconscious, which are called archetypes, determine natural affairs.- They are experiential and psychological, which prepare a person to behave in the same way as his ancestors did in similar situations..
According to Jung, archetypes have a universal nature and their existence is derived from the formation of the human brain and mind throughout history.. (Belskar, 1388: ۶۰) In other words, archetypes represent self-care and the role that characters play in a story.. Among the archetypes, the following are the most reflected: The veil (persona), anima and animus, shadow, old man, self.
1-2. Niqab ( persona ):This word means the mask that actors wore on their faces in ancient Greece. By using this term, Jung means the way a person appears in society. In fact, the persona is the social or theatrical personality of everyone, and his real and private personality is under this mask.. If the influence of the society is strong, the guarantee of this mask increases and a person loses his personal independence and becomes the way society wants him to be.. Therefore, he can no longer pursue his real goals and dreams and achieve them. This mask shows us the way we want to appear in society. According to Jung, the mask is a necessity and we relate to our world through it. (Fordham, 1356: ۹۱)
2-2. Anima and Animus(anima & animus ): The archetypes of anima and animus mean that each person exhibits some characteristics of the opposite sex.. Anima means femininity in men and animus means masculinity in women. In these archetypes, a person cannot achieve a healthy personality unless he expresses both aspects of himself.. In Jung's view, no woman is fully female and no man is fully male.
2-3. Shadow (shadow): The shadow archetype is the base and animal part of our personality. The heritage of the race that has reached us from the lower forms of life. The shadow includes all desires and immoral and lustful activities. Each of us, says Jung, is haunted by a shadow that grows darker and denser the less it mingles with one's conscious life.. (Jung, 1379: ۲۸۳)
The shadow is the seat of the defeated monster of the inner world. The characteristics that we denied and tried to eradicate, but are still hidden inside us and are active in the shadow world of the subconscious mind.. The negative face of the shadow is cast on characters such as villains, anti-heroes or enemies. (Vogler, 2006: ۹۳)
According to Jung, shadow also has a positive side; Shadow is a source of arousal, creativity and deep excitement. All of these are necessary for the full development of a human being. In fact, the shadow is the necessary source for human perfection.
2-4. Old man (the wise old man): In the human psyche, the old man is a representative of the superego, the god within us and an aspect of our personality that is connected with everything. This superego is wiser and more virtuous than humans.. (The same: ۶۰) This archetype appears when a person needs introspection, understanding, good advice, decision-making and planning and is not able to meet this need on his own.. The wise old man has a dual and conflicting nature and is able to work in both good and evil directions, and the choice of each depends on the free will of man.. (Moreno, 2008: ۷۳-۷۴)
2-5. Self (self): Jung considered "self" to be the most important archetype. "Self" provides unity and stability for the entire personality structure by creating a balance between all unconscious aspects.. In this way, the "self" tries to bring the different parts of the personality to complete integration. According to Jung, when a person seriously and persistently fights with his male or female element so as not to be confused with them, he unconsciously changes his character and becomes a new symbolic form that represents the "self" that is, the inner. It is the core of the soul, it emerges. (Jung, 2007: ۲۹۵)
In Jung's view, "self" is a manifestation of the totality of man, that is, all his conscious and unconscious content.. Jung discovered the idea of ​​"self" in the Orient. An absolutely spiritual thought that is symbolically represented in mandalas, these symbols of reflection and revelation.. "Self" combines individual and collective unity and immortality. According to Jung, the self is the representative of the totality of man and the goal of his development.
Archetypal criticism focuses its attention on common, repeated and conventional elements in literature; Elements that cannot be explained in terms of tradition or historical influences. Classical criticism studies every literary work as a part of the whole literature. The basic principle of archetype criticism is that archetypes- Images, characters, narrative designs and themes, and other phenomena of literature- They are present in all literary works and in this way, it provides a foundation for the study of the mutual relations of the work.. (See for more details. Makarik, 2005: ۴۰۱-۴۰۵)
Based on Jung's thought, the archetypes that make up the contents of the collective unconscious are revealed in the myths and legends of nations and in fantasies and dreams.. The Shahnameh, a precious work of Ferdowsi, which contains a huge and rich collection of these myths, should be considered as a treasure of the heritage of the experiences of the ancestors, and in other words, the crystallization of the collective unconscious of Iranians, whose stories contain several similar structural elements and It is common that, according to Christopher Wegler, their role is universally found in all myths and fairy tales and dreams..
In the stories of Ferdowsi's Shahnameh, especially the story of the battle between Rostam and Esfandiar, a clear pattern of various archetypes can be seen, and the set of these archetypes represent the role played by the characters in this story and in general they perform mythology; And in fact, from the perspective of Jung's psychology, each of the characters in the story, multiple manifestations of a single psyche and parts of a body are linked together in pursuit of the ultimate goal and home.. I must remind that each of the stories and characters of the Shahnameh in all three mythological, heroic and historical sections has the capacity to analyze Jungian criticism..

background research
The beginning of literary criticism of psychology in Iran is mostly connected with the name of Sadegh Hedayat and his works, especially the blind owl.. In the field of Shahnameh, the first person who took a look at the story and its characters from a psychological point of view is Mahmoud Sana'i.. Mohammad Reza Amini has published the story of Zahhak and Fereydoun based on Jung's theory in the Social Sciences Journal of Shiraz University.. The analysis of Siavash's story based on Jung's theory by Iqbali and others has been published in the research journal of Persian language and literature. The myth of Gol Shah by Fateme Modaresi has been published in Shiraz University Social Sciences Journal. As far as the authors know, no article with the title of this article and its approach has been published in a journal.

Research hypotheses and objectives
Even though the Shahnameh was written on the superficial and epic levels, due to its mythological tendencies, it can be viewed in an internal and deep way; That is, the outward forms are the symbols of the inner layers.
Jung's view of the collective unconscious and epics and legends is an enlightening view.
The archetypal critique and the theory of the discursive individuality process are coherent; And it can be examined in the framework of an independent discourse, texts such as Shahnameh.
The most important proposition of Jung's analytical psychology crystallizes at the level of world myths and human dreams..
The view and approach of Jung's analytical psychology from a classical text such as the Shahnameh has the general concepts and characteristics of a discourse..
The current research aims to project a psychological perspective of the Jungian type to the classic text of the Shahnameh, and with this approach, it pursues specific and major goals, among which the following can be mentioned.:
Determining how each of Jung's archetypes manifests in Rostam and Esfandiar's story.
Determining the relationship and explaining the action of each of the characters in this story and a hero like Rostam with the archetype of the hero.
Determining the role of Zal and Simorgh in terms of archetypes.
Determining the relationship between Simorgh and factors such as Rakhesh in reaching the archetype of individuality and self.
Showing the obstacles and serious challenges in the process of individuality.
Explaining that all factors and archetypes can help humans in reaching the process of individuality, provided that they can be used logically, legitimately and in a timely manner..

Narration of the battle of Rostam and Esfandiar
After his success, Ghstasab forgot his previous promise to hand over the throne to Esfandiar. Esfandiar asks his father to fulfill his promise; But Ghstasb, who is obsessed with his kingdom, turns to Jamasb for a solution..
Jamaseb looks at Esfandiar's horoscope and predicts Esfandiar's early death in Zabul at the hands of Rostam Zal and says that even if the kingdom of Iran is entrusted to Esfandiar, he will not escape from this fate.. This knowledge leads Ghstasab astray and asks Esfandiar to bring Rostam handcuffed to him in order to hand over the royal throne to him.. Esfandiar mentioned that there is no answer to Rostam's sacrifices except his father's insistence on executing the order. Esfandiar knows that Ghstasb wants his death and the preservation of his kingdom from this order. Ketayoun, recalling some of Rostam's bravery, the battle with Pahlavi, because he considers him distasteful in the judicial system, and warns his son from going to Sistan.. But Esfandiar ignores his mother's words and Shabgir moves to Zabulistan with an army, and on the road between Zabul and Dezhganbadan, the camel turns away from going to Zabul, and Esfandiar takes this as a bad omen.. According to Esfandiar's order, they cut off the camel's head, so that the evil of this work comes back to itself. After leaving, the caravan pitches a tent on Hirmand beach.
Esfandiar decides to send a wise courier to Rostam. For this reason, he sends Bahman to Rostam, to ask him to obey the command of Ghstasb.. Bahman, who was watching from the top of a mountain, on seeing the barzo on top of Tahamtan, feared his dominance over Esfandiar and rolled a huge stone towards Rostam, to kill him, to ease Esfandiar's suffering.. But Rostam moves the stone away with his heel without moving.
Bahman conveys his father's message, Rostam rushes to Hirmand. He sees the position of Esfandiar. Seeing Rostam, Esfandiar calls him to his screen and asks him to come with him to Ghstasb, and he makes a pact with him, upon reaching the kingdom, he will untie Rostam himself.. Rustam has shame on his feet. Esfandiar tries to anger Rostam by belittling him. But Rostam calmly instructs him that from the memory of the battle, the kings of Kiani have found a kingdom from Rostam's family..
Several days of efforts by Pehlwan Piro Pashtun to reconcile Esfandiar are in vain.
Finally, both of them engage in hand-to-hand combat. The battle between the two fighters drags on for a long time. It seems impossible to overcome Esfandiar Ruintan. Both Rakhesh and Rostam get many wounds from Esfandiar's arrow and drown in blood.. Rostam's arrows do not fall on Esfandiar Kargar. Rakhesh loses power. Rostam gets off so that Rakhesh can return home. While blood is dripping from his wounds, he takes refuge on the top of the mountain, and the helpless Zal considers the Simorgh as the only solution and cure for Rostam and Rukhesh.. Therefore, Zal calls him for help by setting Simorgh feathers on fire. The Simorgh pulls out the arrows from the body and face with its beaks and heals them by rubbing its feathers on the wounds.. Simorgh, who tries to prevent Rostam from fighting Esfandiar with Anders, informs him that the killer of Esfandiar will suffer in both worlds.. Despite all this, he takes me to the sea. He shows him a gazi tree and says, make a beam with two branches from this wood. Grow with gold and aim at Esfandiyar's eyes in the campaign, know that the hand of fate will put this arrow in Esfandiyar's eyes..
At dawn, Rostam prepares for battle before Esfandiar. Esfandiar, surprised that he survived, tells Pashtun that Zal has brought Rostam and Rakhesh back to life with the power of magic.. But before that, Rostam makes Hamavard swear to Dadar Zardasht and Din Behi to stop fighting and honor him with a feast and promises that after offering many gifts, Hamaanan himself will come with him to Ghstasb and fulfill the king's order. Even if it is killing and tying, he will be killed. But Rostam's words are not accepted by Esfandiyar, a foolish and arrogant man. Inevitably, Rostam also puts the arrow in the bow, then releases the stinging arrow from the quill of the bow into the hands of fate.. The arrow hits Esfandiar in the eye and knocks him to the ground. But Esfandiar, on his deathbed, considers his father as his murderer. He leaves Bahman to Rostam to be raised by him. (Summarized by Debirsiaghi, 2006: ۲۱۲-۲۳۲)

Analysis of the battle story of Rostam and Esfandiar
Esfandiar in Avesta spanta dāta means holy creation. This word is also the name of a mountain mentioned in Zamiyad Yasht. Purdawood says, this is probably the same mountain mentioned in the Shahnameh as Sepand. (Nick. Pordawood, second volume, 1377: ۸۷) Esfandiar is mentioned in Farvardin Yasht and Vishtasab Yasht. In Pahlavi books, he is referred to as a warrior and a loyal and steadfast defender of the Behi religion. But, in the national saga, due to his bravery, especially his fight with Rustam and his tragic death, he appears much bigger than he is.. (Nick. Yar Shater, 1383: ۵۷۹-۵۸۰)
The evolved root of the word is raoδa taoxma. the first part; raoδa means to grow, growth and growth and part of taoxma means brave and brave, charge; In general, strong body, big body. Although Sarkarati considers Rustam to be from rauta-us-taxman, meaning a flowing river.. (Surrender Mirmiran, 1384: ۱۳۶)
Among the great warriors, Rostam Pahlavi is the one who has more than others, the Shahnameh papers; But Rostam is not mentioned in the Avesta, and there is no mention of him in the Pahlavi texts except once or twice (Amoozgar, 2006: ۶۵) And the origin of his saga and his family is one of the most difficult issues of the national saga. Despite the importance given to Rostam in the national epic, signs of Zoroastrian clerics' initial enmity with him can be found in the fight that Esfandiar has with Rostam and the revenge that Bahman takes from him..
The narrations that some Islamic historians narrate clearly consider Esfandiar's battle with Rostam as Rostam's disrespect to the Behi religion.. Bringing his lineage to Dahhak is another sign of clerics' enmity with him. Neither he nor any of his family members are involved in Ghtasab jihads. This point also indicates the existence of a period of legends that emerged outside the Avesta periods and only later did it merge with the Avesta periods.. The ratio of Rostam in the Avesta and some of his similarities with some of the functions of other characters made him to be considered the same as Gershasb, Gondofars and others.. (For more information, see. Yar Shater, 1383: 563-567; Spring, 1386: ۲۲۷-۲۴۴)
Some people are of the opinion that Rostam is a follower of the ancient pre-Zoroastrian religion, and he is not in common with Ghstasab and Esfandiar, who support the Zoroastrian tradition in religious texts, and therefore there is no mention of him in religious texts.. A group also believes that Rostam was originally the hero of Scythian stories and the stories related to him in the Shahnameh were mixed with other stories.. (Amoozgar, 2006: ۶۵)
Mehrdad Bahar, there are significant similarities between Rostam and Esfandiar, Achilles and Hector, as well as many similarities between Rostam's Zaden, Zal and Krishna. (Great warrior of Mahabharat wars) has found. He compares Gestasbe with Agamemnon and says that the Persian legend is a synthesis of the Homeric example that was carried out during the cultural interaction between the Greeks and the Eastern Persians after Alexander's conquest.. Although, the fact that Rostam, unlike Hector, is not killed by the enemy, does not create a weakness in this comparison.. He says that this difference does not create a special obstacle in our comparative analysis. Because in the science of mythology and the comparative study of epics, commonality and themes are important. But Greek influences in some aspects of this myth may not be completely rejected. He considered the formation of this myth and its origin basically in the region from Indus to Mavarlanhar.. (Nick: Spring, 1386: 244-235; Yarshater, 1383: ۵۷۹-۵۸۰)
The battle between Rostam and Esfandiar can be seen as the conflict between two generations with strong, experienced and relaxed personality traits and structure and the other with immature, selfish and ambitious personality traits.. Esfandiar's frantic effort and his internal conflicts to find the right way to gain his father's pleasure and ultimately rely on the throne; And Rostam's struggle for how to be freed from the domination of the devil. These are the motivations and temptations that pull the hero from the static and dark world to the world of change, movement and danger and, according to Campbell, an invitation to adventure..
In the myths and stories of nations, this transition and path shows itself in different forms and types. Ghstasb, the autocratic king, is a nightmare and an archetype of a demon-like father who seriously leads his son into the valley of danger in the difficult tests of the Tashraf ritual and drags him to the point of destruction.. That is why he has sought refuge with his mother many times. It is quite natural that sometimes the hero first tries not to undertake this adventurous and dangerous journey and shirks from the task.. Vogler says: Heroes usually decline the invitation with a long list of flimsy excuses and, in an apparent attempt to postpone facing their inevitable fate, accept the adventure only on the condition that they do not incur a series of heavy obligations.. These excuses and excuses are considered temporary obstacles and the urgency of the search usually overcomes them.. (Vogler, 2006: ۱۲۵) Of course, continuous rejection leads to disaster. In the Bible, Lot's wife became a statue of salt because she rejected God's call, based on leaving her home in the city of Sodom and not looking back.. Looking back, thinking about the past and rejecting reality are different forms of rejecting the invitation. (The same: ۱۴۶)
Ghstaseb is so rooted in his life that he can hardly understand values.. The shadow usually covers the self-conscious needed values ​​in such a way that it is difficult for a person to bring them into his life.. Therefore, Gestasb, the archetype of the shadow, appeals to Jamasb, his visionary and prophetic minister.. In fact, he destroys the inner intellect and inner knowledge of the seeker. Here, Jamasab shows the base side of Pirdana and proves his evil face.. However, spiritual tensions and challenges with opposing parts and negative aspects of the psyche are necessary to build the soul and bring about change. With this work and tricks, Jamasab casts evil temptations in Ghstasab's life until the death of Esfandiar in Zabul was at the hands of Rostam, but there are forces in the mind that prevent the process of gaining self-awareness in humans.. Those forces are the robbers of the positive part of the psyche. Esfandiar's surrender to his father's will, although apparently it is considered a heroic act and obeying his orders in a difficult and critical situation, but in its own way, it creates excessive pressure and conflict between two opposing natures and causes the destruction of the positive energies of the psyche. will be.
He ate raw wind for two days and two nights
He calmed his heart on his skill
Sim Rooz Gestasb was informed
who became the son of a seeker
Add it to your heart
May the crown and throne come to him
Read that time of Shah Jamasab
The same fortune tellers of Lehrasab
They went with the zijs
The king should ask Go Esfandiyar
who gave him a long life
Sit happily and calmly and cutely
To put the royal crown on his head
Go ahead and follow me
(۶/۱۱۵۱/۲۷-۳۳)

Gstasb is possessed by the shadow, and according to Jung, the one who is possessed by the shadow stands in the pretre of his own light and falls into his trap at every moment and tries at every opportunity to have a strong negative effect on others.. As a result of this negative impact, my self-awareness, Esfandiar, takes a demonic path in walking the path of individuality and achieving the archetype of myself.. He uses the worst methods to reach the kingdom. Esfandiar's vulnerable point of view does not give him the ability to see the truth and understand inner values. His inner eyes and insight remain completely vulnerable. He has completely lost his inner intuition. His mental unity is completely broken. Therefore, lack of intuition, lack of positive sensitivity or failure to follow one's own knowledge leads to choices that have wrong and even disastrous results..
All this makes him refuse to accept the guidance and advice of his inner anima in this way.. As a manifestation of Esfandiar's anima, Ketayun tries to help him understand his unconscious actions.. His psychic anima is no longer able to bring the opposite dimensions of the psyche closer to each other and bring them together to a peaceful and reconciling point.. He can no longer find his lost half and the rest of his lost identity. Esfandiar's internal tension is the battle between the shadow and the hero.
The most beautiful and attractive sign of this doubt is in the scene of the camel sleeping on the road between Zabul and Dezh Gonbadan.. Esfandiar kills the camel. This killing of the camel is a manifestation of the conquest of consciousness by the shadow within the psyche. In fact, the camel is a manifestation of instinct and inner intuition that Esfandiar, by killing it, welcomes serious dangers and maximizes his vulnerability.. This camel is the representative, a part of the intuition, knowledge and inner intellect that carries the whole knowledge and the greater self.. He is the one who reveals the hidden enemy through that intuition. The little old man inside Esfandiyar is the helper who moves in front of him and shows him the way and tells him which way to go in order to be of the greatest benefit to Esfandiyar.. Esfandiar does not understand the camel. He does not recognize this instinctive wisdom and kills him, and it is by killing the camel that great damage is done to his psyche.. Pashtun is trying to give him benevolent advice; But he also does nothing; Therefore, Pashtun can be the manifestation of the archetype of the wise old man who tries to give him the tact and insight necessary to recognize the shadow.. The mentor equips the hero's character with motivation, inspiration, guidance, training, and a gift for the journey, and the hero is guided by someone or something, and the story is incapable and weak of accepting such raw energy.. (Vogler, 2006: ۷۱)
Pashtun told him Kai Namdar
You talk like this about the campaign
You have reached the bow and arrow
Shame on you, Iblis, for this thought
You have let the devil into your heart
Do not listen to the advice of this guide
I see you well, we are full of strife
Everything I have said so far is trivial
(۶/۱۱۸۸/۹۲۴-۹۲۷)

However, the tremendous force of the shadow has plunged Esfandiar's soul into its blackness so much that he has lost his ability to recognize, understand and see on that path.. According to Jung, sometimes a bitter experience can come to our aid or, for example, a calamity befalls us, so that the tendencies and motives of the shadow subside.. Sometimes a heroic decision can have the same result. Of course, only when the great man within us, that is, Mistapoeo (self) He helped us in this work. The battle between Rostam and Esfandiar is my battle between myself and my shadow. In the meantime, Rostam tries to shine the light of his awareness on self-awareness by pushing back the darkness of the shadow.. But, the hero archetype fails to confront the shadow.
Jung believes that sometimes the shadow is powerful only because the "self" is aligned with it. In such a way that a person does not know whether the shadow arouses him or himself. (Jung, 1377: ۲۶۶) Therefore, Esfandiar's upper body, which is a gift from Zoroaster, can be an example of his alignment with the shadow..
Since the beginning of his existence, man has always had a lot of worry and sorrow. But his greatest concern and sorrow, especially his philosophical one, has been the issue of death. The constant occupation of the human mind to achieve eternal existence and to remove and suspend the material time has been the most important and obvious challenge of his life.. From this point of view, man, especially the mythical and ancient man, is evasive from the normal and material time and the tumult that makes him grow older and drags him to death and nothingness, and his effort has been to bring himself closer to the borders of eternal life; in such a way that in the spongy world, it has a time like the Parmenidean era and thus connects itself with eternal time.
In the mythology of nations, immortality has appeared in different forms. Sometimes it is obtained by the water of life that whoever eats from it or perhaps dives into it, remains immortal.. Mircha Eliade said that the water of life is the source of youth renewal and the heir of Omar Javid. The water of life has a magical essence and healing properties. Baptism is considered a means of purification and renewal. (Nick: Eliade, 1376; 189-209) Sometimes by eating plants or drinking milk and plant extracts, humans have sought immortality.
In the works of the Sufis, the water of life appears as the water of life, the water of animals, and the water of Khidr, and it is the water that in ancient belief is located at the end of the inhabited world and flows.. Whoever drinks from that spring will have eternal life. In the term of the Sufis, water is sometimes alluded to as the source of love and affection that whoever tastes it will never perish or become mortal.. (Goharin, 2008: ۱/۴) The tree and eating its fruit has found a more metaphorical meaning, and in this way, man wanted to achieve immortality..
He said, "Knowledge is a secret, my friends."
which is a tree in India
Everyone ate and took away his fruit
Never grow old and never die
(Masnavi, 888/3641-3642)

In various places, Esfandiar's physical appearance is mentioned; But there is no mention of how he grew up in any text. (Amoozgar, 2006: ۷۵) Basically, a body with immortality and immunity from injury, disease, death, etc… it is related. In some myths, wearing a special costume has brought a kind of fatness and a long life to the hero. Beber Bayan had a kind of invulnerability and immunity for Rostam. To clarify the matter, it is necessary to say that at least two opinions can be given about the meaning of tiger; If the meaning of "tiger" is the skin of a "tiger" and we consider "bayan" to mean God from the ancient Iranian root bay or bag, and consider "an" as a relative sign.. The result is a skin that has been sanctified by the god or gods. which seems not to be a common analysis. Although, from the point of view of linguistics, "expression" in this context, i.e. with the combination of "tiger" must have evolved from the ancient Iranian word vidānā, which means tent, tent, cover.. Obviously, by considering the latter meaning, we get closer to its conceptual truth. (About the origin and phonetic evolution of the word "expression", see also. Lazar, 2004: ۱۸۳)
Rostam loses against Esfandiar Royinten. Rostam has lost his connection with his creative mind and intuition. It is separated from its origin and essence. He has been neutered and now his instincts and life cycle have been lost. As a result, he flees to the mountains. The mountain is a reminder of the archetype of the mother, and as the mother's womb, it shelters Rostam so that once again with the help of transcendental and Ahuraic power, she can give birth and get a new life..
The bitterness of Rostam's defeat and his flight to the mountains provided an opportunity to renew his strength. He seeks the help of the great man inside him. Zal, the old man, in moments of crisis and helplessness, sets the Simorgh's magical feathers on fire.. Simorgh is mentioned in Avesta texts, including in Bahram Yasht and Rashan Yasht.. It has been mentioned a lot in Pahlavi texts and sources of the Islamic period. Simorgh is found in Avesta as saēna mareqa. On the side of Sein Moru, that is Sein chicken. In Farvardin Yasht, paragraph 17, saēna is mentioned, which is the name of a person who lived after Zoroaster.. It appears from Farvardin Yasht that Simorgh was the name of Hakim Danai; A family called Saēna is also mentioned. It is interesting that the first part of the word Sindekht is also derived from Simorgh. (For more information, see Pordawood, 1377: ۱/ ۵۷۵)
So Simorgh, as it comes from its meaning, can be a wise and knowledgeable person. Therefore, in the analysis of our story, it is not irrelevant if we want to consider Simorgh as a symbol of old man. However, Simorgh can also play the role of mother archetype. Because he is the one who grows and boasts and spreads his fame in the world. At the same time, we can assume Simorgh as one of the incarnations of "Self".. Jung says that the "self" usually appears in the form of an animal and symbolizes our instinctive nature and its connection with the environment.. This is exactly why in the myths and legends of fairies, we come across countless helping animals.. (۱۳۸۷: ۳۱۰)
Simorgh is the crystallization of the archetype companionship of oneself. He is also a wise old man who rushes to the hero's aid in times of crisis. In the human psyche, the old man is a representative of himself, the god within us and an aspect of our personality, due to his knowledge and wisdom, we can survive the hard tests of life and come out proud from the thickets of difficult tests.. Simorgh, however, carries many healing and therapeutic drugs that can relieve pain. Whenever the human personality becomes weak, lifeless, lethargic and invisible, whenever we become unable to move and create, whenever we become weak, it takes our whole existence.. Whenever we get bored and monotonous. The inner nature rises up and flows water in the dry desert of life; That inner nature is always with us and by our side.
From the porch, take three fire-filled mugs
They went with him three times
Fesunger Cho reached the top of the blade
Diba pulled out a feather
One of the culprits is selling fire
On top of it, burn bare
Cho died later that dark night
You said why the black iron returned
Just look at the chicken from the air
He saw the shining of the sharp fire
Sitting in the hall with pain and sadness
By the flight of the chicken, he came to my fort
(۶/۱۲۰۱/۱۲۲۸-۱۲۳۳)
The presence of Simorgh and Zal in front of Rostam is actually listening to the inner voice and relying on it to pass through the darkness and dominate the shadow force.. He has been able to use an aspect of his psychic nature. As a result, he has achieved an understanding of tremendous power so that he can go towards the shadow more confidently and determinedly and with more firm steps, in order to reach the stage of individuality and self of the psyche by reacting to the negative aspects of his psyche..
Louise von says about Simorgh, that is why it is called Simorgh in the East. ]Because[ This bird expresses the collective spirit of all birds, and as the spirit of the tribe or totem, it contains the characteristics of all birds.… In some Eastern texts, it is written that Simorgh has a human face and speaks like a human, and in Christianity, the symbol of Christ in the Middle Ages plays a great and lasting role.. (Louisa Phone, 1383: ۱۸۰) It is not in vain that Simorgh is mentioned as Hakim in Avesta. He says that Simorgh creates inner experience and integration and unity, but Simorgh that Attar thinks is only the mental intuition of God and guides man towards a real experience.. The bird is the process of individuation. (The same: ۱۸۱) Rostam is also guided to real experience through him. Simorgh is a kind of primitive intuition that guides the hero to an understanding of the true goal. Simorgh heals Rostam and Rakhsh, wounded by Esfandiar's arrow, with his magical power, so that the hero can revive his sense of self and his soul, to restore his wisdom, insight and infinite power.. Simorgh then shares Sepehr's secret with Tehamtan through Mehr and says that the killer of Esfandiar will not live long and will suffer in another world as well.. In fact, the old man warns him and informs him about the obstacles and difficulties on his way, with the difference that Simorgh sees the darkness, misfortune and suffering as the result of the hero who destroys Esfandiar.. But this dark day of the hero can be the coldness and soullessness of life after the suppression of the shadow, or the self-alignment with the scary power of the shadow and the appearance and reappearance of this shadow creates a dark day.. If in the world of action, the humanist is the result of his actions, he loses his centrality and basically his immortality..
Thus said Simorgh Kez Rah Meher
Let me tell you the secret now
that whoever he is is Esfandiar's blood
Pour over and thank the Lord
He is also alive to suffer
If he doesn't get rid of it, it's not a treasure
That's why he was so lucky
If it passes, it will be suffering and hardship
(۶/۱۲۰۲-۱۲۰۳/۱۲۷۶-۱۲۷۹)

Despite all this, Simorgh takes Rostam to the sea. He shows him a gossamer tree and says, make an arrow from two branches of a gossamer tree, water it with poison and aim at Esfandiar's eye in the campaign.. Pirdana knows the way to reach the goal and also shows him the magic spell and reveals the secret of Esfandiar's death to Rostam.. Rostam could not defeat Esfandiar in the previous day's war. One of the ways to reach the goal and achieve it is to have mental balance and peace of mind; A person who does not have this quality will not taste victory and will lose the purpose in life.
The archetype of the hero knows that relying on his own skills is not enough.. He does not rely on his physical skills and abilities in this battle. Rather, his reliance and look is on himself; Help from within. When we rely on our intuition and look at the world with the eyes of intuition, it is as if we are looking at the world with thousands of eyes.. It is in this way that we are equipped with a powerful spiritual tool. It is this reliance on intuition that sharpens our ability to move confidently and confidently in the outside world.. It is intuition that feels which way to go, how to aim for the goal. It is intuition that perceives motives and ultimate intentions. It is intuition that preserves itself.
String the bow and this stick
This is how it is covered in rose water
The cloud of his eyes, straighten both hands
That's how the people of Gazparast were
It's time to see it right
Know that your heart is full of anger
(۶/۱۴۰۴/۱۳۰۴-۱۳۰۶)

The arrow enters Esfandiar's eyes and knocks him to the ground. With the death of Esfandiar, the fearsome and powerful shadow of the shadow is pushed back into the depths of the unconscious psyche, to prepare itself for another sinister attack at another time.. Esfandiar's wish, which is actually the cultivation of Bahman in Rostam's hand, causes the formation and revival of the power and strength of the shadow.. Rostam unwittingly nurtures a shadow within himself, the result of which is the destruction of the Zal family. Probably the archetype of the hero does not know enough about the shadow and its dark nature that he later falls victim to its influence and destructive and destructive effects.. Man must always keep his spiritual candle lit in the journey of his individuality development; So that he does not drown in the depths of the darkness of the unconscious and does not lose his way in this journey, that the shadow always goes side by side in the process of the individuality of the soul.. Either way, the hero's greatest enemy is his own shadow.
Kanon Bahman, this is my name
Wise and awake to my command
I will die, my father will accept it
Learn everything I say
Be happy in Zabulestan
Remember bad words
Learn campaign makeup
Goat seat and hunting plain
May and Ramesh and the injury of polo and work
Greatness and eating from day to day
(۶/۱۲۱۰/۱۴۶۱-۱۴۶۵)

conclusion
Ferdowsi's Shahnameh, in which all the parts of its stories, elements and characters are connected in a complex network of relationships of hatred and friendship, war and reconciliation, deceit and truth, captivity and freedom, defeat and victory, and death and life, should be considered as a whole. He considered that he has passed away from the limitations of the individual mind and has reached universal dimensions with a global structure..
In a sense, the Shahnameh can be seen as treasures from the heritage of the experiences of the ancestors, and in other words, the crystallization of the collective unconscious of Iranians, whose stories contain several similar and common structural elements, which, according to Vogler, are universally found in all myths, fairy tales, and dreams..
In the stories of Ferdowsi's Shahnameh, various archetypes can be seen.. Many of the occurrences, behaviors, and actions of the characters in the Shahnameh are impersonal and, in other words, universal, and each of the characters in a story, like multiple manifestations of a single soul and parts and members of a body, are connected to each other in search of the ultimate goal and home; Just as diverse and numerous archetypes of the collective unconscious during the process of individuality, such as Simorgh Attar, have gone through many difficult and difficult valleys until finally, by joining all these archetypes, they reach their Simorgh..
Shahnameh stories do not present true images of our real life; In the sense that it does not intend to describe the outside world and reality, and this is so obvious that every normal person knows that these stories are not a realistic description of the world, the truth is our imagination, not the truth of material causality.. as symbols of events or psychological issues that return internal processes to the language of imaginary and tangible images. The stories of the Shahnameh show our mental functioning well and tell us what our psychological problems and issues are and how to overcome them in the best way..
In the analysis of this story, we have shown that human wholeness will be incomplete and incomplete without the presence of any of the archetypes, even the shadow, that is, all that we don't want to know about ourselves.. Especially the understanding of the existence of the shadow, which itself really has an emotional nature, and if a person cannot free himself from projecting his emotions on the outside world, he will have a heavy shadow on his back.. The unconscious mechanism of projecting the outer world will be a return from the inner world. If we cannot separate our complex inner tendencies in the psyche, we will be deprived of understanding the roots of our confusion about ourselves. It leads to psychosis. If all aspects of the psyche achieve convergence and convergence and a high transformational unity of the opposite and opposing elements and aspects of the psyche, the result is the activation and dynamism of the refreshing spark of life.. In Jung's opinion, the convergence of mental aspects is not something that a person can go out of a place and get it, but it happens because of doing something very difficult.. In the explanation of this story, it was said that the heroes have many positive and admirable qualities, but the common failure of all of them, including Rostam and Esfandiar, is a tragic error that causes them trouble; And it is the so-called Achilles' heel or Esfandiar's eye, and this ultimately leads to their destruction.. As it was said, the completeness and perfection of Rostam and Esfandiar does not mean that they never make mistakes, rather, slips always slide people as long as they are alive.. Especially, Esfandiar, despite his perfection, his hand growth and his body size, is a fundamental weakness. (Eye of Esfandiar) It is his short-sightedness and his short-sighted eye takes him to his slaughterhouse.. On the other hand, Ferdowsi provides Haft Khan and the path of growth and perfection for all Iranians who are free.. However, the hero must seek the way to perfection; Now, some of them, who are more favorable like Rostam, have fewer errors, and some like Esfandiar, who are more unfavorable, have more errors.. In the story of Rostam and Esfandiar, in the confrontation between these two warriors, tragedy comes to life in the true sense, and the reader does not know which hero to give credit to, and in the end tears fall on both Esfandiar and Rostam.. (Amoozgar, 2006, b: ۵۴۷) According to Jung, there is necessarily a tragic flaw for the hero. According to Vogler, the most common tragic error is a kind of pride or arrogance known as hubris (hubris) is, the tragic hero is often a man of extraordinary power, but tends to think himself above the gods, to ignore the warning of reason, or to scoff at moral codes by thinking that he is above God's law; This deadly arrogance is inevitably a force called Nemesis (nemesis)He releases her, who is considered to be the goddess of torment, and her job is to establish balance and usually bring death to the hero.. (Vogler, 2006: ۱۲۲)
With his incomparable genius and mental and psychological ability, Ferdowsi has narrated the roots of human corruption and decay and victory, and according to Yavari, the stories of the Shahnameh characters show that the most capable men have a weakness and the wisest have the possibility of stupidity..
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