International Journal of Art and Literature
2014; 1(3): 26-33
Published online September 30, 2014 (http://www.openscienceonline.com/journal/ijal)
Studying fantastic structure of Persian epic stories
Vahideh Norouzzadeh Chegini1, Iran Abedi2
1
2
Center of Excellence in Wisdom Literature and Mystical Texts Studies, Isfahan, Iran
The M. A Student of Library Information in Islamic Azad University, Iran
Email address
[email protected] (V. N. Chegini), [email protected] (I. Abedi)
To cite this article
Vahideh Norouzzadeh Chegini, Iran Abedi. Studying Fantastic Structure of Persian Epic Stories. International Journal of Art and
Literature. Vol. 1, No. 3, 2014, pp. 26-33.
Abstract
Fantasy is a literary genre that was appeared on those societies being vanguards of new world. Fantasy means outgoing from
reality, because fantasy permits person to build the world as he/she likes and has a world respondent to his will. In fact,
using his/her fancy, human body could gratify his inabilities against nature and order his mind’s diffused pictures. In other
words, myth and legend has been an important part of culture since the beginning. Literature began with these stories and
fantasy literature is myth and legend created in more recent times. Fantasy has different types that one of the most important
types is ‘heroic fantasy’. This kind of fantasy has been in human literature since very old times. The best example is
Ferdowsi1’s Shahnameh2. “Hakīm Abu'l-Qāsim Firdowsī Tūsī” is considered as the greatest Persian poet. His work is
Shahnameh (The Book of Kings) that belongs to world people. By introducing extravagant places and more extravagant
characters such as Zahhak, White goblin (Div-e-Sepid), Roc and even some champions and heroes such as Rostam and
Esfandyar. Ferdowsi has created quietly fantastic stories, that Shahnameh is one of the oldest in the field of fantasy. Now
Shahnameh is taught in Persian schools and is studied its epic aspect but in this paper we attempt to identify fantastic world
of Shahnameh and show Persian fantastic stories to children, their teachers and literary researchers that they know
Shahnameh is a literary, artistic and historical masterpiece.
Keywords
Fantasy, Heroic (Epic) Fantasy, Rostam’s Haft Khan (I. E. Seven Exploit), Invulnerableness of Esfandyar, Zahhak, Roc
1. Definition of Fantasy
Fantasy is a literary genre which has been created within
two recent centuries. Fantasy has its roots in Latin word
phantasia and it refers to a story that the primary and main
element of its plot and motif is magic and talisman and other
supernatural figures. In Dehkhoda’s Dictionary, it refers to
fancy, fiction and image and in “speech lexicon”, short story
has been defined a specter of life’s laughable, comic and
unreasonable aspects. (Anvari 2002, p. 52-54).
Fantasy refers to that part of literature in which, events,
places and story characters (actors) are done out of believes’
scope. “Fantasies are those stories that on their structure and
processing, imaginary factors have been used which in real
life, the possibility of utilizing them and occurrence of
adventures of this kind are impossible, but, generally, they
describe an actual motto and its objective, is developing
imaginary force (fancy).” (Ghaffari 2000, p.86)
Fantasy literature is an interesting way to recede from real
life. Fantasy life is a world in which we can clear off
limitations and restrictions of this world. Fantastic stories
exhibit a world different from the world where we live in. In
other words, fantasy can entail accidents that are not in our
real life. “Fantastic works, may be started realistically, but, as
soon as possible, they come back (return) to those stories that
don’t occur in our real life so, it has been entitled imaginary
(fancy) literature, too.”(Brown 1998, p.49)
One of the researchers says: ‘Fantasy is a metaphorical
mode. It works by a substitution of the purely imaginary for
realistic description.’(Gooderham 1995, p.173)
Fantasy is a step toward unknowing and mysterious world
where its life section is consisted of magic and talisman. On
International Journal of Art and Literature 2014; 1(3): 26-33
talisman stories, magic stories, can be replaced with natural
rules and everything is possible to occur. For example,
animals are speaking there, inanimate objects are animated
and characters such as giant, dragon and goblin are created.
In other words, in this kind of stories, ordinary patterns are
super-heroes (champions), mares, gods and mythic creatures;
they are made in different places with usual logic and they
are imaged at completely imaginary places. Then ‘What
fantasy literature is doing is providing us with maps of
coherence, which we may imaginatively follow’. (Dickinson
1986, p.49)
It is true that fantastic world is understandable and can be
figured and addressee does not show disbelieve when
encounters situation, and he/she does not ask himself whether
these things are existed or not. But search to find what is
given in fantasies, is a very absurd task, because fantastic
world has verbal and oral value not real value.
Fantastic stories are made on the base of illusory
characters and uncreative things are illustrated and therefore,
the antiquity of this literary genre comes back to the start of
human civilization. Fantastic stories are continuance of
yarning and have a root in myth. ‘Myth is public fantasy,
rather than private, and myth is here taken to include legend,
folk tale, and fairy story and springs from the collective
consciousness.’ (Lavender 1981, p.141-142)
Stories have subjects such as talisman, magic and singular
accidents; there have been before letterpress literature.
Fantastic and mythic elements that eventually made fantastic
genre, started with the first human scrip and probably, with
Iliad and Odyssey of Homer, Gilgamesh Epic, Ferdowsi’s
Shahnameh and Hezar-O-Yekshab ( one thousand and one
nights) Stories that in other era, they formed one of the
largest sections of human literature. Mythic stories, speaks
about gods that create by their unlimited
power. These
myths are demonstrator of first people’s attempts to know
supernatural world that could gratify his/her inabilities
against nature, and because of this, ‘Psychologists refer to
fantasy as a defense against undesirable realities of human
mental (psychic) stresses.’(Alamdari 2004, p.45)
One of the best examples of this literary genre is Homer’s
Odyssey that includes all fantastic details having gods,
heroes, and monsters or Shahnameh Stories having fantastic
spaces such as heroes’ passing through unknowing lands,
wastelands or their fights with goblins and magic creatures is
a sensible example of fantastic genre.
But, appearance of fantastic genre having present theoretic
concept, comes back to the beginning of the new world. By
starting new world in Europe, occurred significant evolutions
in art and literature and on 18th and 19th centuries, first
fantastic genre appeared in England. In recent years, this
literary genre has developed in many aspects and has entered
computer games, painting and music and several films such
as Harry Patter and Lord of Rings have been made this basis.
To continue, we present a definition of epic fantasy which
is the most important and oldest kind of fantasy and then, we
will analyze some stories of Shahnameh such as Haft Khan –
e- Rostam, Invulnerableness of Esfandyar, Snake Shoulder
27
Zahhak (Zahhak-e- Mardoosh) and Roc tale.
2. Epic Fantasy
Fantasy has different types. The most important types of
fantasy include: elves fantasy, epic fantasy, animal fantasy,
trip in the time fantasy and allegoristic (figurative) fantasy.
As mentioned before, epic fantasy or heroic fantasy is the
oldest type of fantasy that its place is mostly at eastern
countries, because there are a plenty of talisman and singular
events in their (literary) works. Ferdowsi’s Shahnameh, is
also situated in this group. Being full of supernatural actions
and having creatures such as Zahhak and heroes such as
Esfandyar, Ferdowsi’s Shahnameh is full of specter resources
of fantastic. It sounds that Fantasies, specially epic and
heroic fantasies, has had deep relationships with old heroic
and epic literary works and mostly utilize their plots.
In epic fantasy, two important subjects are discussed. One
is contrasting good and evil in which God or Sate (devil),
night or light and so on is centralized and usually main
characters who are story’s heroes, defeat evil forces and bring
world to equilibrium and another important subject is
searching, searching a magic thing or a human who is
capable to save the world from evil forces. Additionally, in
one searching, hero of the story has a long journey to an
unknown place where a series of examinations are situated
versus him and he should distance them and of course, there
are some individuals who use talisman and magic power
(force) or their knowledge can somehow help him. For
example, we can mention Fighting of Rostam and Esfandyar3
where Roc using his magic power could medicate Rostam
and learn to the super-hero of the story (i.e. Rostam), the way
of defeating Esfandyar.
“However, dominant prospect of Shahnameh is heroic
(epic) concepts, but this epic reflexes morality of the
age.”(Rastgar Fasaee 1990, p.352).Similar to other fantastic
epic stories, Shahnameh’s stories are started with a realistic
subject and end with a supernatural event. For example, in
Haft Khan Story, apparently, delivering Kai kaus4 is posed,
but Rostam overpasses seven difficult stages and encounters
supernatural creatures and the only way of passing this Haft
Khan, is defeating these creatures.
With these introductions, we precede Rostam’s Haft Khan
Story which is one of the most famous stories of Shahnameh.
By giving some reasons, we can prove that Shahnameh’s
Stories are fantastic.
2.1. Seven Exploits of Rostam (Haft
Khan-e-Rostam Story)
This story starts from an event where Kai kaus has military
expedition to Mazandaran where, he is imprisoned by goblins.
By Zal’s Order, Rostam departs toward Mazandaran to rescue
Kai kaus and other Iranian troopers. He passes several stages
called Haft Khan to reach them and in continue, we will
study this story from different aspects to prove it is fantastic.
1. the most important characteristic of Shahnameh’s stories
is having great heroes such as Esfandyar, Giv and Zal and
28
Vahideh Norouzzadeh Chegini and Iran Abedi: Studying Fantastic Structure of Persian Epic Stories
Super-heroes such as Rostam who by their singular and
special power, have created adorable and beautiful stories.
Rostam is sententious crystallization of humanistic ideals
whose life and characteristics are not natural. He has a
singular power and where in the passages of life and death
and selection between good and evil, suddenly, some animals
appear that with mute language, have a solvent message and
after touching his objective, Rostam commends and glorifies
(God). And they are these properties which cause his
conquering over foul forces and Iran’s enemies. In Haft
Khan-e- Rostam, we see that he passes lonely seven stages
and conquers over creatures such as dragon, white goblin and
witch. Certainly, there is not any person having this power in
the world and this is special for fantastic stories. Another
unnatural property is his food and the manner of eating food
that has been described in the first exploit. In this exploit we
read:” He hunts a zebra and eats it wholly in one meal:
The Lion with his royal lasso caught
A gallant onager and, striking sparks
Upon an arrow's point, enkindled fire
With stubble, thorns, and wood to roast the beast
He ate the flesh and threw away the bones;
The onager itself was pot and tray.
(The kingdom of Kai kaus, couplets: 286-290)
Even ‘Rakhsh’, Rostam’s horse, is also an unnatural
creature and similar to his owner, has a supernatural power.
As in the first exploit, we observe his fighting with lion and
killing of the lion.
His sharp teeth in its back and dashed the beast
To pieces by a shift that made it shiftless.
When Rustam, deft of hand, awoke and saw
How earth was straitened to that ravening beast
(The kingdom of Kai kaus, couplets: 297-299)
2. Another property which is one of the most important
characteristics proving this story is fantastic is Haft Khan.
Because, the number seven(haft), is numinous in many past
cultures and has mythic aspect and additionally, as it
mentioned before, hero’s passing several stages and defeating
evil powers is another sign of epic fantastic stories . In this
story, after passing seven stages, Rostam rescues Kai kaus
and other Iranian troopers and rids the world from a creature
called white Goblin.
3. Another property of fantastic stories is hero’s passing
through a wasteland which we see it in the second exploit.
In this kind of wilderness, Rostam is imprisoned that
eventually, by praying and getting help from God, he reaches
smooth and pure water and also, passes this stage healthy.
This said, that elephantine form became
Weak and distraught with thirst, and fell, with tongue
All cracked and blistered, on the burning dust.
Anon a well-fed ram passed by.
The hero on seeing thought
(The kingdom of Kai kaus, couplets: 317-318)
4. Existing dragon: Third exploit is fighting against dragon.
In Avesta5, the name of dragon has been mentioned to be
“Kharfastaran” and it is a devilish phenomenon. Dragon is a
mythic creature in the figure of a large crocodile having two
wings and has emitted fire from its mouth and guarded
subterranean treasuries and from this aspect, “dragon has
been introduced as stringiest guardian of hidden treasures and
symbol of evil and sate’s tendencies”.(Yahaghi 2007, p.110)
The fearsome dragon roared and, thou hadst said,
Breathed fire
(The kingdom of Kai kaus, couplets: 365)
We have heard many stories about mythic heroes’ dragon
killing in epics, since ancient times until present. In fact,
“One characteristic of Arian (Ariyai) myths is that hero
encounters with dragon in one of its adventures and fights
against it and this has become as one element (part) of heroic
epics”. (Rastgar Fasaee 2000, p.13-12)
For example, in this stage, a dragon enters Rostam and
Rakhsh. Of course, this dragon differs from other dragons,
because it vanishes after Rostam’s awakening:
It turned on glossy Rakhsh, who ran to Rostam,
Stamped with his brazen hoofs upon the ground,
Whisked with his tail, and gave a thundering neigh.
The hero woke up furious, looked about
upon the waste, perceived not that fell dragon,
and wreaked his wrath on Rakhsh for waking him
(The kingdom of Kai kaus, couplets: 351-354)
So, Rakhsh fights against Dragon and after three times of
fighting, asleep Rostam awakes and fights against it and
defeats it.
Another sign that shows this part of story is fantastic, is
speaking dragon with Rostam:
Then said he to the dragon: "Tell thy name;
Earth is no longer thine, yet must not I
Rob thy dark form of life, thy name untold."
The laidly dragon said: "None scapeth me.
For centuries this waste hath been my home,
And mine its firmament; no eagle dareth
To fly across or star to dream thereof."
(The kingdom of Kai kaus, couplets: 376-378)
5. Existing witch: Forth exploit is fighting against witch.
In middle Persian, it is referred to as “jadug. In Avesta, the
meaning of magic and talisman is the same as its present
meaning in Persian language and it is: magic and wizardry.
“Witches (mares) are key characters of fantasies,
especially supernatural fantasies. These groups of characters
are remainder and reason of magic thought. Their presence
on Fantasies also is very similar to their actual and real life.
(Mohammadi 1999, p.296)
Mares have the ability to change into wild and domestic
animals, and in the framework of human body. As we see in
this Khan, old witch prepares herself in the figure of a pretty
girl and comes near Rostam and when Rostam tongues the
International Journal of Art and Literature 2014; 1(3): 26-33
name of God, her wizardry and charm wastes and she turns
into her real figure.
The Giver of all good, now when he named
The Lord of love her favour changed; no soul
Had she for gratitude, no tongue for praise,
But blackened at God's name, while Rostam, flinging
His lasso quicker than the wind, ensnared
And questioned her: "What art thou? Speak and show
Thy proper favor"
In the lasso's coils there was a fetid hag all guile and
wrinkle, Calamitous.
He clave her with his blade
And made the hearts of sorcerers afraid
(The kingdom of Kai kaus, couplets: 418-424)
6. In the introduction, we said that there are an individual
or several individuals using their magic power or their
knowledge, help story’s hero to reach his final objective and
passing several stages and aid him to pass examinations. In
this story and the fifth exploit, Rostam encounters an
individual in the name of Olad: Rostam fights against him
and finally defeats him. By his (Olad’s) aid and support,
Rostam rescues Iran’s Shah and troops and overcomes Arjang
Div (goblin) and Div-e- Sepid(white Goblin).
7. Existing fantastic places is another property of fantastic
genre that Shahnameh has many places of this kind. For
example, at the fifth exploit, Olad describes the house of
Arjang Div as follows:
Whence to the White Div is another hundred.
The road is bad and dangerous, through a gorge –
A fearful spot o'er which no eagle flieth
There is a cavern midst two hundred others,
A wondrous place beyond all measurement,
And there twelve thousand warriors, all divs,
Keep watch by night upon the mountain-top;
Their captain is Pulad son of Ghundi,
While Bid and Sanja are their outpost-guards
(The kingdom of Kai kaus, couplets: 486-491)
Or the house of white Goblin as follows:
O'er seven mountains must thou pass, and troops
of dins throng everywhere. At length a cavern
of frightful aspect will appear before thee,
a fearsome place, as I have heard: the approach
is held by warrior-divs equipped like pards
for fight. That cavern is the White Div's home
He is the hope and terror of his troops
(The kingdom of Kai kaus, couplets: 547-550)
As we see, in these poems, a very fantastic and imaginary
place has been illustrated which is not seen except fantastic
world. In fact by picturing this kind of scenes, we can
understand prominent fancy (imagery) of Ferdowsi.
8. Existing goblin (Div): Sixth and seventh Khans, are
fighting against Arjang Div and white Goblin. In myths,
“Goblin is a tortuous, foul, ignoble, ungrateful, combatant,
29
seiner, remedial and sometimes diligent creature. Their house
in the hell and using their power, they can accede on human
soul and heart.” (Abadi 2004, p.71)
In Iranian traditions, goblin (Div) is hobgoblin, ugly,
cornuted, tailed (has tail), cruel and truculent and has a
terrific power. They transfigure. They are master and
dexterous on talisman and wizardry and on people tales and
fictions, they transfigure into any figure they want. “Avesta’s
goblins in shahnameh, found odd figures and turned into
hobgoblins, giants, monsters and devilish creatures and also
many devilish beings (creatures) stood in the group of
goblins.” (Hinlz 2004, p. 158-159)
On the base of creation myths, after that Ahoura Mazada
created heavenly and earthen worlds, and also after that he
created Amshaspandan, Izadan (gods) and Farvahars
(essences), demiurge was not unemployed too, but he creates
injurious creatures and evil world and creates goblins against
Izadan (gods).
The most famous goblin of Shahname, is white goblin
which in seventh exploit fighting is against it. This goblin
was living in Mazandaran6 and was chief of Shah Bureau of
Mazandaran. In spite of its name, White Goblin, it has been
described very black, dark and dusky. Rostam and White
fight against each other until white goblin traces and
understands Rostam’s supernatural power and says with him:
Life hath no hopes for me, for, should I scape
This Dragon's claws, maimed as I am and torn,
None great or small within Mazandaran
Will look at me"
Such was his wretched comfort!
But still they wrestled, streaming blood and sweat
(The kingdom of Kai kaus, couplets: 591-594)
Anyway, Goblin’s precaution shapes right and is killed by
Rostam.
9. Another sign that shows this story is fantastic is
searching a magic thing. Magic thing describes one of the
most complex needs of human body. Need to encircle all
things that are temporary, bound, limited and exhaustible.
After passing six stages, Rostam enswathe Kai kaus and
other troops, but they have become blind and there is not
remedy for their blindness except white goblin’s blood. So,
Rostam goes to fight against white goblin to find magic and
medicinal thing:
O warrior of blessed steps! Now put
The White Div's blood upon mine eyes and those
of all my folk; God willing, we may see
Thy face again."
(The kingdom of kai kaus, couplets: 553-555)
And as physicians had said, eyes of Kai kaus and his
troops were healed by pouring white goblin’s blood into their
eyes.
2.2. Esfandyar’s Invulnerableness
Esfandyar is another famous hero of Shahnameh that in
30
Vahideh Norouzzadeh Chegini and Iran Abedi: Studying Fantastic Structure of Persian Epic Stories
Avesta it has been referred to as “Sepantoodateh” and in
Pahlavi lexicon, it has been referred to as Sepantdad, i.e.
wisdom creature or holy creature. He is son of Goshtasb7 and
grandson of Rum’s Kaiser. When living in Rum, he got
marries with daughter of Rum’s Kaiser and the crop of this
marriage was a son that they entitled him: Esfandyar.
In Shahnameh, Ferdowsi introduces him as invulnerable
and holy prince, but he has said nothing about the quality of
his becoming invulnerable. There are many traditions about
this which the most famous one is as follows” In the period
of Goshtasb, Zoroaster8 appeared and evoked Goshtasb and
his family to new religion and they accepted it. Goshtasb
demanded four things from Zoroaster which one of them was
invulnerableness.
The same invulnerableness against armaments and
weapons wounds at symbolic story, that is the sight of human
wish to reach everlastingness and deathlessness., the same
desire that from the beginning , specialized human epic,
Gilgamesh for itself( i.e. willing to be deathlessness).
Zoroaster prayed this desire for Goshtasb. There are two
traditions in his invulnerableness. One is that Zoroaster has
Dr. Shamisa(1996,p.78) states: “ Zoroaster fed Goshtasb a
pomegranate that turned him into invulnerable; The other
one is that by the order of Zoroaster, Esfandyar bathes in the
mythic river called “Dahi Ti” and at it is custom, he
blindfolds and all of his body except his eyes become
invulnerable.”
Esfandyar, is the only invulnerable hero of Iran national
epic which is showing Ahouraian (divine), sovereign and
heroic powers. He is different from other invulnerable of
history for his Ahouraian(divine) Power. In fact,
“Esfandyar’s invulnerableness is nothing except reflection of
Totemic believes in which totem is supporter of his children
and regards them and secures them against disasters and
wreaks their enemies.”(Bahrami 2006, p.44)
So, Esfandyar becomes invulnerable to satisfy human
desire to be deathless. In fact, human body shows
deathlessness vision in the personality of Esfandyar, because
always, he wishes his survival and perpetuity, but finally, he
sees death before himself and he understands that there is no
escape by death. In fact, the quality of Esfandyar’s becoming
invulnerable and his open eyes as the only influence manner
of inevitable death, is the deepest and most logical comment
of invulnerableness and inevitableness of death in reality,
compared with invulnerable of other nationalities.
Esfandyar’s invulnerableness is another symbol of
fantastic world that accompanies with myths and totemic
believes. Invulnerableness in the real world is not possible
and this is another reason to prove that Shahnameh is
fantastic.
2.3. Roc (Simorgh)
The history of this mythic bird presence in Iranian culture
reaches before Islam. From Avesta and Pahlavi works, we
can find that Simorgh is a bird having spacious and wide
wings which has a nest on top of a remedial tree called
“Vispobish” or “Harwisptokhmak” which contains the seed
of all plants. In Minooye Kherad9 (2006, p.70) is said about
the Roc :“The nest of Roc on the tree is remover of many
seeds grief.”
When Roc rises from the tree, thousand branches grows on
the tree and when it perches, thousands branches break and
seeds are dispersed.
In the writers’ viewpoint about it, “Roc is a complex and
ambiguous phenomenon and is crystallization of antonym
suppositions and images of Iranian nations. (Mokhtari 2000,
p. 68)
And in the viewpoint of other writer (Bahrami 2006, p. 27),
we can image Roc as the symbol of hidden power of
society’s soul and public classes. After Islam, Simorgh find
his way into epic and mystic books. In the speeches of
Ferdowsi, Roc is living on top of Alborz Mountain.
But swooped down from the clouds and with her talons
took up the infant from the heated rocks,
then bare him quickly off to Mount Alburz,
Where were her nest and young, for them to tear
(Manouchehr, couplets: 83-84)
In Iranian myths, Alborz Mountain is the axis of the world
and the resource of water and life. This mountain is the
partition and median of light and darkness and is a mixture of
earthen and spiritual world. In Zamyad ‘Yasht’10, paragraph 1,
we read “Alborz is the first mountain that grows from the
earth and is a holy and heavenly mount which contains all
eastern and western lands”. In page 71 of “Bondahesh”11 we
read: “In the religion, they say that the only mount that has
grown far, was divine (godly) Alborz. After that, all
mountains grew more than 18 years. Albroz was growing up
to 800 years, 200 years to the stage of star, 200 years to the
stage of Moon, 200 years to the stage of Sun and 200 years to
above the heaven.”
As it mentioned before, fantastic place are among the most
important elements of this literary genre. Except fantastic
world, there are not places of this type having high
mountains that Roc has nest there. Locality in the myths, also
confirms this speech ‘locality is reflection of generic shape of
myths and realization of generic figures are possible at
imaginary and abstract localities and places. Those places are
the container of appearance of effective and generic figures
in the life of human. In these places, all things are appearing
in any shape and sudden.” (Mokhtari 2000, p. 99)
In Shahnameh, Roc has been introduced very huge and
gargantuan that is one of the clearest characteristics of
fantastic world. For example, Esfandyar has been introduced
as follows in Haft Khan:
The Simurgh
Marked from the mount the box, the troops behind it,
and all their trumpeting, and, swooping down
like some dark cloud obscuring sun and moon,
(Esfandyar's Seven Stages, couplets: 261-262)
Roc emerges four times in Shahnameh, Three times; it
encounters Zal12 and indicates his godly visage. The first
International Journal of Art and Literature 2014; 1(3): 26-33
time is when Sam, puts Zal in the nest of Roc, because of
white (albino) hairs of Zal. Roc comes to the foot of Alborz
Mountain to find food for its breeds and finds Zal and
becomes tender minded and kind with him and fosters him.
Epic hero’s growing up by a legendary bird is another sign
that this story is fantastic. Second time, is when Roc rescues
Roodabeh13, Zal’s wife unbends her from the pain of calving
Rostam and third time, is when Esfandyar goes to fight
against Roc in his Haft Khan and kills him. This Roc, in fact
is the coupe of the Roc fostered Zal. And last time, several
hundred years later, the Roc puts unction on the wounds
produced by invulnerable Esfandyar’s of javelin on the body
of Rostam and Rakhsh14 and rescues Tahamtan from an
inevitable death.
When Zal parted from the Roc and came back to his father,
the Roc gave its feather to him and said:
Bear this plume of mine
about with thee and so abide beneath
the shadow of my Grace. Henceforth if men
Shall hurt or, right or wrong, exclaim against thee,
Then burn the feather and behold my might,
For I have cherished thee beneath my plumes
And brought thee up among my little ones.
(Manouchehr, couplets: 136-140)
In fact, this magic and talisman action is a property of
fantastic genre in which a magic object causes magic
adventures and of course, reminds a kind of religious
ceremonies.
2.4. Zahhak
By the narrative of Ferdowsi, there was a man in the name
of Mardas in the period of Jamshid. Mardas have had an
impure, unwell and harebrained, but courageous and
ambitious son whose name was Zahhak and because of
having one thousand horses, he was called “Bivar asb” in
Pahlavi language. By demiurge’s temptation, he killed his
father and attacked to Jamshid15’s Land from his land and
surrogated him. In his period, the religion and ordinance of
wises absconded and goblins overcame.
Zahhak which has been introduced as “ Azhi Dahak” in
Avesta and everywhere he is in the shape of a dangerous
devilish animal having three nozzles, three heads and six
eyes and is the resource of damage, sedition and spoil. In the
40th episode of ‘Bahram Yasht’16, also, it is spoken about
Azhi dehak with the same properties such as having three
nozzles, three heads and six eyes and the owner of thousand
spry horses and Darooj goblin who is the resource of
damaging human bodies and his defeater, i.e. Fereidoon17 has
been reminisced.
Ferdowsi calls Zahhak as a dragon where he says:
Long was he hidden from the Dragon's breath,
But there was no escaping in the end,
for fortune whirled him like a yellow straw
and both his throne and greatness passed away.
(Zahhak, couplets: 181-182)
31
And in addition, he introduces Zahhak as worshiper of
talisman and wizard, because in his period, goblins and
witches (mares) increase in country. For example in the
following poem, we read from Fereidoun’s mother:
Now Zahhak the warlock
stretched from Iran his hand against thy life,
but I concealed thee.
(Zahhak, couplets: 158-159)
In Iranian tales, always blending of power and talisman
and curativeness has been assisted. When demiurge, comes to
Zahhak in the figure of a cook, he requires him to kiss his
shoulder and an event occurs that is among extravagant
events of fantastic world.
The Devil received permission, kissed and vanished.
A marvel followed - from the monarch's shoulders
Grew two black snakes. Distraught he sought a cure
and in the end excised them, but they grew
Again! Oh strange! Like branches from a tree,
the ablest leeches gave advice in turn
and used their curious arts but all in vain.
(Zahhak, couplets: 152-158)
And after spending remedies and recalling physicians, they
aimed no results until demiurge come to Zahhak in the figure
of a physician and said:
He said; “cut not the snakes but let them live.
Give them men's brains and gorge them till they sleep.
It is the only means, such food may kill them."
(Zahhak, couplets: 160-162)
As mentioned before, in the time of Zahhak, the number of
goblins and witches and mares increase at his court, so that
when Fereidoun attacks his palace, he encounters this kind of
creatures:
Then Faridun o'erthrew the talisman,
Raised heaven-high by Zahhak, because he saw
That it was not of God, with massive mace
Laid low the sorcerers within the palace –
All fierce and notable devils - and set himself
Upon the enchanter's throne.
(Zahhak, couplets: 306-309)
And finally, thousand years old period of Zahhak’s
dominion runs out and Fereidoun heirs kingdom.
3. Conclusions
The first section of Shahnameh is mythical. These are
various stories and characters. We try to show the most
famous creatures and heroes such as Zahhak, White goblin
(Div-e-Sepid), Roc and Rostam and Esfandyar. Ferdowsi has
an uncanny ability to create fantasy spaces.
We said that talisman, magic and singular accidents are the
main sections of fantasy that Ferdowsi follows them. In this
paper, many fantastic places were shown and many
32
Vahideh Norouzzadeh Chegini and Iran Abedi: Studying Fantastic Structure of Persian Epic Stories
supernatural creatures appeared that are only a part of
fantastic and imaginary world of Shahnameh. These stories
are not emanated from unconscious of Ferdowsi, but it is the
fruit of his creative and patriot mind and this is the reason of
insolubility of Shahnameh.
Ferdowsi’s Shahnameh, has all properties and
characteristics of a fantastic story and is full of extravagant
pictures and unusual characters. It belongs to all world
people. We wanted to show Sahnameh is not only stories of
heroes but any more than it is for adults, it belongs to
children. We showed the dimensions of fantasy that Children
can strengthen their imaginations and describe a bigger and
wonderful world for themselves.
Notes
1. Ferdowsi is best known for his literary epic, Shahnameh
to which he devoted most of his life. Shahnameh was
originally drafted by Ferdowsi for the Princes of Samanids,
who were responsible for revival of the Persian cultural
traditions after the Arab invasion.
Ferdowsi lived at a critical historical period and so his
book not only reflects the uncertainties and challenges of the
era but his own resilience and determination in creation of a
stable Persian literary identity that was unique and different
from its Arab counterpart.
2. The Shahnameh or The Epic of Kings is one of the
definite classics of the world. It tells hero tales of ancient
Persia. The contents and the poet's style in describing the
events take the reader back to the ancient times and make
him/her sense and feel the events. Ferdowsi worked for thirty
years to finish this masterpiece.
An important feature of this work is that during the period
that Arabic language was known as the main language of
science and literature, Ferdowsi used only Persian in his
masterpiece. As Ferdowsi himself says "Persian language is
revived by this work". The Shahnameh of Ferdowsi, a poem of
nearly 60,000 couplets, is based mainly on a prose work of the
same name compiled in the poet's early manhood in his native
Tus. This prose Shahnameh was in turn and for the most part
the translation of a Pahlavi (Middle Persian) work, the
Khvatay-namak, a history of the kings of Persia from mythical
times down to the reign of Khosrow II (590-628 CE), but it
also contained additional material continuing the story to the
overthrow of the Sasanians by the Arabs in the middle of the
7th century A.D. The first to undertake the versification of this
chronicle of pre-Islamic and legendary Persia was Daqiqi, a
poet at the court of the Samanids, who came to a violent end
after completing only 1,000 verses. These verses, which deal
with the rise of the prophet Zoroaster, were afterward
incorporated by Ferdowsi, with due acknowledgements, in his
own poem.
3. Esfandyar: he was the invulnerable hero of Shahnameh
that was killed by Rostam.
4. Kai kaus: one of the Shahnameh kings.
5. Avesta: the holy book of Zoroastrians.
6. Mazandaran: one of the Persian provinces.
7. Goshtasb: one of the Shahnameh kings and the father of
Esfandyar.
8. Zoroaster: one of the greatest Persian prophets.
9. Minooye kherad: the name of ancient books in Iran.
10. Zamyad Yasht: one part of Avesta.
11. Bondahesh: the name of ancient books in Iran.
12. Zal: one of the Shahnameh heroes and the name of
Rostam’s father.
13. Roodabeh: the name of Rostam’s mother.
14. Rakhsh: the name of Rostam’s horse.
15: Jamshid: one of Shahnameh kings.
16. Bahram Yasht: one part of Avesta.
17. Fereidoun: one of Shahnameh heroes that killed
Zahhak.
*For English translation of Shahnameh‘s poems can refer
this site:
http://www.heritageinstitute.com/zoroastrianism/shahnameh/
htm
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