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Volume 5, Issue 15 (7-2017)
Abstract
Abstract
This thesis is a study of one of the enchanting stories of love in post Islam Iran. Mehr-o-Vafa has 1309 versess and the rhytme is Mafaylon Mafaylon Folon. Poet dedicated it to Shah Abbas Safavid and Etemadol Dowleh Hatam Beig, and imitating the style of Khosrow-Shirin arranged and organized a poetic introduction for it. ُThis thesis is a study of comparative literature, particularly poetry of the lyric literature (fiction epopee) in Persian and Kurdish, which has long been of interest to researchers. Since this thesis the folk tradition of oral literature of Kurdish Mehr-o-vafa story with Sho'ori Kashi's Meho-vafa from eleventh century And with the knowledge that where there is a story of Folk kind and deal with another version of the narrative can not easily determine which version is older than the other. This research tries to idendify more narrators and compare roots and causes of why this story is rewritten by Kurdish poets in the Western parts of our country? Adapting the story of Mehr-o-Vafa in the narrative tradition of oral literature of Kurdish with Sho'ori Kashi's in Persian classical literature from all aspects, including the translation and aesthetic aspects will be done throughout this research.
KEY WORDS: Mehr-o-Vafa , Kurdish folk narrative, Persian narrative, Sho'ori Kashi.
Volume 13, Issue 61 (3-2026)
Abstract
This article employs a descriptive-analytical method to examine the fairy tale "King Ibrahim and the Daughters of the King of Egypt," a folktale from Lorestan, based on Jungian archetypal analysis. The overall structure of the story initially points to the dominance of the masculine principle and the absence of the feminine element, and ultimately shows how the absent feminine emerges and reflects the four psychological functions of humans (thinking, feeling, sensation, and intuition) through the characters. The death of the king and the succession of the youngest son symbolize the need for psychological renewal, and the anima is considered a bridge to the deeper unconscious for achieving psychological wholeness. The results indicate that the roles and events of the story symbolically reveal the path to achieving the higher Self.
Introduction
Fairy tales are full of symbolic mysteries that represent the contents of the human unconscious and demonstrate the individuation process through the archetype of the hero. "The wonder is that the driving force of the creative core within resides in the heart of small fairy tales. It's as if the taste of the ocean is summarized in a small drop and the secret of life in the egg of an insect" (Campbell, 2020, p. 15). This article, using a descriptive-analytical method, seeks to investigate whether the tale of "King Ibrahim and the Daughters of the King of Egypt" has the capacity for Jungian archetypal analysis. The article's premise is that this tale has the capacity to represent the totality of the human psyche, that is, the "Self," and the underlying themes of this tale represent the archetypes of the collective unconscious.
Research Background
The analysis of archetypal symbols using the Jungian method has been conducted in studies such as "The Hero's Journey in the Wind Bath" (2013) and "Archetypal Criticism of the Dervish in Nush Afarin Gohartaj" (2024); however, the tale of King Ibrahim and the Daughters of the King of Egypt has not been examined from any perspective so far.
Theoretical Framework
Jung's archetypal approach considers the collective unconscious to contain archetypes that reside within the waves of the unconscious complex. The ego is a sensitive point between the conscious and the unconscious, and its transformation is necessary for a real confrontation with the unconscious. The ego is the smaller reference point, and the "Self" is the larger reference point; the Self needs awareness and connection with the ego for transformation.
Discussion and Review
By studying the fairy tale "King Ibrahim and the Daughters of the King of Egypt" and analyzing its archetypes, the multifaceted functions of the human psyche can be recognized. This story is about a king who calls upon his three sons to fight a demon after his death. The youngest son undertakes this fight and eventually weds the princess.
The Analysis of the Tale of "King Ibrahim and the Daughters of the King of Egypt" based on the Von Franz Method consists of four stages:
1.Timelessness and Placelessness: The beginning of the story without time and place indicates the collective unconscious.
2.Characters: The characters in the story are initially four masculine figures, but in the end, balance is achieved with three masculine and three feminine characters.
3.Naming the Issue: The king, on the verge of death, asks his sons to guard his tomb against a demon for three nights, which is a test for choosing a successor.
4.Ups and Downs Archetypal Themes in the Story: This includes the death of the king, the disobedience of the two brothers, the victory of the youngest brother over the demons, the discovery of the daughters of the King of Egypt, and marriage at the end of the story.
King with Three Sons
The story begins with a king and his three sons, with female characters initially absent. This symbolizes the dominance of the masculine element and the necessity of recovering the feminine element in the hero's psyche. The protagonist's subsequent search for the three daughters of the Egyptian king represents an attempt to regain the feminine principle and achieve psychological balance.
Renewal of the King Through Death and Succession of the Youngest Son
In this story, the king symbolizes the "Self" and the regulator of the unconscious mind. However, due to age and inability, his death signifies the need for psychological rebirth. The succession of a young, creative force breathes new life into the unconscious mind.
The Hero
After the king's death, the youngest son becomes the symbol of the hero and the Self, seeking Eros, or the element of feeling, for his individual development. Initially, he represents the ego, which, after a symbolic death (sleeping in a dark tunnel), enters the unconscious, battles the demon (symbolizing unconscious complexes), and achieves the inner strength of a hero.
The Battle with the Demon and the Demon's Defeat
The fact that the king summons his sons to battle the demon upon his death is because he feels the need for the rebirth of the Self. He wants to create a new Self with heroic qualities at the vital center of human governance. The hero's battle represents the archetype of the ego's victory over regressive forces (Jung, 1999, pp. 175-176).
The Black, White, and Yellow Horses
Usually, the element absent in its human form in the story later appears in another form (Von Franz, 2018, p. 262). In the story, three horses of different colors appear, symbolizing different stages of psychological development. The black horse represents the beginning of instinctual awakening; the white horse represents purity and instinctual control; and the yellow horse symbolizes the achievement of awareness and perfection.
Jumping Over and Circling the Tunnel
The hero's act of jumping over the tunnel to obtain the daughters of the Egyptian king symbolizes the crossing of a difficult stage and the connection between the unconscious and the conscious. Circling the tunnel signifies readiness for this psychological leap and confrontation with the unconscious.
Marriage with the Daughters at the End of the Story
Marriage in stories is a symbolic image of the wholeness of the human psyche. The ending of this story is a demonstration of obtaining the anima, the feminine element of the male psyche, and ultimately achieving the perfection of the human psyche.
Conclusion
The results of this research show that the story "King Ibrahim and the Daughters of the King of Egypt," using numerous Jungian archetypes, presents a symbolic path for character development. By overcoming various tests, the main character conquers unconscious forces and achieves psychological wholeness. This analysis demonstrates that fairy tales are important tools for understanding the unconscious and the process of human psychological growth.
References
Campbell, J. (2020). The Hero with a thousand faces (translated into Farsi by Sh. Khosropanah). Gol-e Aftab.
Jung, C.G. (1999). Man and his symbols (translated into Farsi by by M. Soltanieh). Cheshmeh.
Von Franz, M.L. (2018). Interpretation of fairy tales and Anima and Animus in fairy tales (translated into Farsi by M. Sarratshedari). Mehr Andish.
Introduction
Fairy tales are full of symbolic mysteries that represent the contents of the human unconscious and demonstrate the individuation process through the archetype of the hero. "The wonder is that the driving force of the creative core within resides in the heart of small fairy tales. It's as if the taste of the ocean is summarized in a small drop and the secret of life in the egg of an insect" (Campbell, 2020, p. 15). This article, using a descriptive-analytical method, seeks to investigate whether the tale of "King Ibrahim and the Daughters of the King of Egypt" has the capacity for Jungian archetypal analysis. The article's premise is that this tale has the capacity to represent the totality of the human psyche, that is, the "Self," and the underlying themes of this tale represent the archetypes of the collective unconscious.
Research Background
The analysis of archetypal symbols using the Jungian method has been conducted in studies such as "The Hero's Journey in the Wind Bath" (2013) and "Archetypal Criticism of the Dervish in Nush Afarin Gohartaj" (2024); however, the tale of King Ibrahim and the Daughters of the King of Egypt has not been examined from any perspective so far.
Theoretical Framework
Jung's archetypal approach considers the collective unconscious to contain archetypes that reside within the waves of the unconscious complex. The ego is a sensitive point between the conscious and the unconscious, and its transformation is necessary for a real confrontation with the unconscious. The ego is the smaller reference point, and the "Self" is the larger reference point; the Self needs awareness and connection with the ego for transformation.
Discussion and Review
By studying the fairy tale "King Ibrahim and the Daughters of the King of Egypt" and analyzing its archetypes, the multifaceted functions of the human psyche can be recognized. This story is about a king who calls upon his three sons to fight a demon after his death. The youngest son undertakes this fight and eventually weds the princess.
The Analysis of the Tale of "King Ibrahim and the Daughters of the King of Egypt" based on the Von Franz Method consists of four stages:
1.Timelessness and Placelessness: The beginning of the story without time and place indicates the collective unconscious.
2.Characters: The characters in the story are initially four masculine figures, but in the end, balance is achieved with three masculine and three feminine characters.
3.Naming the Issue: The king, on the verge of death, asks his sons to guard his tomb against a demon for three nights, which is a test for choosing a successor.
4.Ups and Downs Archetypal Themes in the Story: This includes the death of the king, the disobedience of the two brothers, the victory of the youngest brother over the demons, the discovery of the daughters of the King of Egypt, and marriage at the end of the story.
King with Three Sons
The story begins with a king and his three sons, with female characters initially absent. This symbolizes the dominance of the masculine element and the necessity of recovering the feminine element in the hero's psyche. The protagonist's subsequent search for the three daughters of the Egyptian king represents an attempt to regain the feminine principle and achieve psychological balance.
Renewal of the King Through Death and Succession of the Youngest Son
In this story, the king symbolizes the "Self" and the regulator of the unconscious mind. However, due to age and inability, his death signifies the need for psychological rebirth. The succession of a young, creative force breathes new life into the unconscious mind.
The Hero
After the king's death, the youngest son becomes the symbol of the hero and the Self, seeking Eros, or the element of feeling, for his individual development. Initially, he represents the ego, which, after a symbolic death (sleeping in a dark tunnel), enters the unconscious, battles the demon (symbolizing unconscious complexes), and achieves the inner strength of a hero.
The Battle with the Demon and the Demon's Defeat
The fact that the king summons his sons to battle the demon upon his death is because he feels the need for the rebirth of the Self. He wants to create a new Self with heroic qualities at the vital center of human governance. The hero's battle represents the archetype of the ego's victory over regressive forces (Jung, 1999, pp. 175-176).
The Black, White, and Yellow Horses
Usually, the element absent in its human form in the story later appears in another form (Von Franz, 2018, p. 262). In the story, three horses of different colors appear, symbolizing different stages of psychological development. The black horse represents the beginning of instinctual awakening; the white horse represents purity and instinctual control; and the yellow horse symbolizes the achievement of awareness and perfection.
Jumping Over and Circling the Tunnel
The hero's act of jumping over the tunnel to obtain the daughters of the Egyptian king symbolizes the crossing of a difficult stage and the connection between the unconscious and the conscious. Circling the tunnel signifies readiness for this psychological leap and confrontation with the unconscious.
Marriage with the Daughters at the End of the Story
Marriage in stories is a symbolic image of the wholeness of the human psyche. The ending of this story is a demonstration of obtaining the anima, the feminine element of the male psyche, and ultimately achieving the perfection of the human psyche.
Conclusion
The results of this research show that the story "King Ibrahim and the Daughters of the King of Egypt," using numerous Jungian archetypes, presents a symbolic path for character development. By overcoming various tests, the main character conquers unconscious forces and achieves psychological wholeness. This analysis demonstrates that fairy tales are important tools for understanding the unconscious and the process of human psychological growth.
References
Campbell, J. (2020). The Hero with a thousand faces (translated into Farsi by Sh. Khosropanah). Gol-e Aftab.
Jung, C.G. (1999). Man and his symbols (translated into Farsi by by M. Soltanieh). Cheshmeh.
Von Franz, M.L. (2018). Interpretation of fairy tales and Anima and Animus in fairy tales (translated into Farsi by M. Sarratshedari). Mehr Andish.
Farhad Mohammadi,
Volume 18, Issue 69 (5-2025)
Volume 18, Issue 69 (5-2025)
Abstract
Changing the narrative of a story as a major sign, on the one hand, indicates the unacceptability of the previous narrative in the targeted cultural society and an attempt to eliminate the reality represented in it, On the other hand, it shows that by creating a new narrative, reality has been created in accordance with the expectations of that society. The story of Joseph and Zuleikha, whose narrative in literature is fundamentally different from religious sources, is an example of the category of changing the narrative to align the story with collective desires and expectations. The discourse and semantic-value system that governs the religious narrative of this story is a moral-educational one that is based on condemning Zulaykha’s lust and betrayal, as well as valuing Joseph’s chastity. With changes and manipulations in this narrative, another narration of the story has been produced that has a completely different structure and discourse. In the literary-folk narrative, the discourse of love and infatuation prevails, in which Zuleikha, as the subject, strives with pure love to reach her beloved. The purpose of this research is to explain the factors and motivations involved in changing the narrative of this story, as well as to describe the changes made in the narrative structure and the semiotics of each of these changes. The results indicate that due to the nature of this story, an ideological basis cannot be given for the change in its narrative, so that the origin of this narrative change can be attributed to political, historical, and ideological factors. Rather, emotional, psychological, and value-based factors and motivations have played an influential role in this change in the narrative.
Extended Abstract
Introduction
The story of Yusuf and Zuleikha, which appears in literature as a romantic poem, is considered an example of producing a different narrative from an existing story. Indeed, what is narrated about this story in literature is fundamentally different from its narration in religious sources and commentaries, and the difference between its narrations, in terms of value system and meaning, is such that they are completely opposed to each other. An important question to address is the origin of these differences and the factors that contributed to them. The emergence of a new narrative from an existing story is a sign that the previous narrative was not popular or did not meet the expectations of the target society for various reasons, such as cultural, ideological, political, psychological-emotional, and even personal beliefs.
Methodology
In this study, employing a descriptive-analytical method and a narratological approach, the narrative of Yusuf and Zuleikha—a poem by Khana Qobadi in Kurdish literature—is analyzed as a literary-folk narrative in comparison with the religious narrative found in the commentaries Kashf-al-Asrar and Odat-al-Abrar by Meybodi. The purpose is to explore the process of producing a new narrative from the previous narrative and to explain the narrative-forming factors in this production process.
Theoretical framework
The concepts that constitute the theoretical framework of this research fall into two areas: narrative analysis and narrative change. In the discussion of narrative analysis, issues including the discourse system, narrative structure, and subject are raised, which are related to the internal issues of the narrative. The semantic and functional relationship among these concepts are interconnected and systematic, and the nature of each depends on its role and position in that complex. Two perspectives can be identified regarding the relationship between narrative and discourse. One is that narrative inherently contains a discursive aspect; the second is that discourse plays a formative role in shaping the narrative. In the theoretical dimension of this research, the second form of this relationship is topical, and the meaning of the discourse system in a narrative text is more focused on the same central idea and meaning that the text was produced to represent. Meaning is the product of communication and structure, and the structural framework itself is planned and formulated from an initial thought (= discourse). Ultimately, the combination of micro-meanings—arising from the interconnection of various structures—and the formed structure will be a representation of that discourse. Narrative change is an important issue in discussing the emergence of different narratives of a story and the factors that influence such changes. When discussing the narrative change of a story, it implies that the discourse, semantic-value system, subject, and goals of the new narrative are different from the previous one. In the context of narrative change, two paradigms—de-realization and the construction of a new reality—are simultaneously relevant. Indeed, a teleological analysis suggests that the creation of a new narrative aimed at constructing a new reality aligns with the expectations and needs of the target audience.
Discussion and analysis
The change in the religious narrative of the story of Yusuf and Zulaikha was not due to chance, coincidence, or ignorance, but rather the result of a collective consciousness that actively and deliberately shaped this change. Conformity to expectations and pleasantries plays a decisive role in shaping the public’s narrative of an event. The re-creation of this story in a different narrative also indicates that the way the general public engaged with the previous narrative and how it emerged in their minds and feelings was a systematic process. Therefore, a folk narrative is a narrative that is produced as a result of the dialectical interaction of people with the story in question and by manipulating and changing the existing narrative of that story.
Changing the narrative, from de-realization to realization: Changing the narrative is one of the mechanisms that the collective consciousness uses for specific purposes, the most important of which is the inconsistency of the existing narrative with the collective expectations of the people. Reality corresponds to expectations, and something becomes the level of expectations that people consider reality. The change in the narrative of this story is, on the one hand, a sign of the denial of the reality represented in the original narrative, and on the other hand, it implies a new realism with the current narrative.
Factors that change the narrative: Various factors may have been involved in changing the narrative of a story throughout history, and the type of these factors depends on the nature of the story and its kind. The factors influencing the change in the narrative of this story are not ideological, meaning that external factors resulting from a political, historical, or cultural event do not play a role in this change. The nature of the story is related to the value and emotional-sentimental aspects of the people, and internal issues and psychological interests also played a role in the change in its narrative.
New structure creation for narrative with event enhancement: Changing the narrative is accomplished by changing the structure, and the change in structure itself is often accomplished by adding events, deleting events, or changing events. The change in the religious narrative of this story has occurred mostly through the addition of new events that have changed the previous structure and formed another one.
Interpretation of added events: The changes made in the folk narrative compared to the religious narrative have been made with specific semantic goals and motivations. It is necessary to interpret and indicate what semantic and functional role each of the added sections has in the structure of the narrative and for what purposes they have appeared in its structure.
The difference in discourse and semantic-value system in these two narratives: The semantic focus in the religious narrative is lust and betrayal, and the focus is on condemning and demonizing Zuleikha’s lust and praising Yusuf’s chastity; however, in the popular narrative, love and loyalty are the focus of the semantic and value system.
Changing the subjectivity-identity of the characters: In these two versions of the same story, there is no change in the names of the characters or their number, but the subject and her/his identity in these two versions are completely contradictory.
Conclusion
The results of this study show that the change in the religious narrative of the story of Yusuf and Zulaikha was a sign of the inconsistency of that narrative with the level of expectations and desires of the common people. The common people did not see in this narrative not only a reflection of the general desires and emotions, but also a conflict and tension with their emotions and values. This collective dissatisfaction with the reality represented in the religious narrative was the main factor in its change and manipulation, and this issue is the impetus for the common people to reconstruct and narrate the story according to their inner desires and desires.
Extended Abstract
Introduction
The story of Yusuf and Zuleikha, which appears in literature as a romantic poem, is considered an example of producing a different narrative from an existing story. Indeed, what is narrated about this story in literature is fundamentally different from its narration in religious sources and commentaries, and the difference between its narrations, in terms of value system and meaning, is such that they are completely opposed to each other. An important question to address is the origin of these differences and the factors that contributed to them. The emergence of a new narrative from an existing story is a sign that the previous narrative was not popular or did not meet the expectations of the target society for various reasons, such as cultural, ideological, political, psychological-emotional, and even personal beliefs.
Methodology
In this study, employing a descriptive-analytical method and a narratological approach, the narrative of Yusuf and Zuleikha—a poem by Khana Qobadi in Kurdish literature—is analyzed as a literary-folk narrative in comparison with the religious narrative found in the commentaries Kashf-al-Asrar and Odat-al-Abrar by Meybodi. The purpose is to explore the process of producing a new narrative from the previous narrative and to explain the narrative-forming factors in this production process.
Theoretical framework
The concepts that constitute the theoretical framework of this research fall into two areas: narrative analysis and narrative change. In the discussion of narrative analysis, issues including the discourse system, narrative structure, and subject are raised, which are related to the internal issues of the narrative. The semantic and functional relationship among these concepts are interconnected and systematic, and the nature of each depends on its role and position in that complex. Two perspectives can be identified regarding the relationship between narrative and discourse. One is that narrative inherently contains a discursive aspect; the second is that discourse plays a formative role in shaping the narrative. In the theoretical dimension of this research, the second form of this relationship is topical, and the meaning of the discourse system in a narrative text is more focused on the same central idea and meaning that the text was produced to represent. Meaning is the product of communication and structure, and the structural framework itself is planned and formulated from an initial thought (= discourse). Ultimately, the combination of micro-meanings—arising from the interconnection of various structures—and the formed structure will be a representation of that discourse. Narrative change is an important issue in discussing the emergence of different narratives of a story and the factors that influence such changes. When discussing the narrative change of a story, it implies that the discourse, semantic-value system, subject, and goals of the new narrative are different from the previous one. In the context of narrative change, two paradigms—de-realization and the construction of a new reality—are simultaneously relevant. Indeed, a teleological analysis suggests that the creation of a new narrative aimed at constructing a new reality aligns with the expectations and needs of the target audience.
Discussion and analysis
The change in the religious narrative of the story of Yusuf and Zulaikha was not due to chance, coincidence, or ignorance, but rather the result of a collective consciousness that actively and deliberately shaped this change. Conformity to expectations and pleasantries plays a decisive role in shaping the public’s narrative of an event. The re-creation of this story in a different narrative also indicates that the way the general public engaged with the previous narrative and how it emerged in their minds and feelings was a systematic process. Therefore, a folk narrative is a narrative that is produced as a result of the dialectical interaction of people with the story in question and by manipulating and changing the existing narrative of that story.
Changing the narrative, from de-realization to realization: Changing the narrative is one of the mechanisms that the collective consciousness uses for specific purposes, the most important of which is the inconsistency of the existing narrative with the collective expectations of the people. Reality corresponds to expectations, and something becomes the level of expectations that people consider reality. The change in the narrative of this story is, on the one hand, a sign of the denial of the reality represented in the original narrative, and on the other hand, it implies a new realism with the current narrative.
Factors that change the narrative: Various factors may have been involved in changing the narrative of a story throughout history, and the type of these factors depends on the nature of the story and its kind. The factors influencing the change in the narrative of this story are not ideological, meaning that external factors resulting from a political, historical, or cultural event do not play a role in this change. The nature of the story is related to the value and emotional-sentimental aspects of the people, and internal issues and psychological interests also played a role in the change in its narrative.
New structure creation for narrative with event enhancement: Changing the narrative is accomplished by changing the structure, and the change in structure itself is often accomplished by adding events, deleting events, or changing events. The change in the religious narrative of this story has occurred mostly through the addition of new events that have changed the previous structure and formed another one.
Interpretation of added events: The changes made in the folk narrative compared to the religious narrative have been made with specific semantic goals and motivations. It is necessary to interpret and indicate what semantic and functional role each of the added sections has in the structure of the narrative and for what purposes they have appeared in its structure.
The difference in discourse and semantic-value system in these two narratives: The semantic focus in the religious narrative is lust and betrayal, and the focus is on condemning and demonizing Zuleikha’s lust and praising Yusuf’s chastity; however, in the popular narrative, love and loyalty are the focus of the semantic and value system.
Changing the subjectivity-identity of the characters: In these two versions of the same story, there is no change in the names of the characters or their number, but the subject and her/his identity in these two versions are completely contradictory.
Conclusion
The results of this study show that the change in the religious narrative of the story of Yusuf and Zulaikha was a sign of the inconsistency of that narrative with the level of expectations and desires of the common people. The common people did not see in this narrative not only a reflection of the general desires and emotions, but also a conflict and tension with their emotions and values. This collective dissatisfaction with the reality represented in the religious narrative was the main factor in its change and manipulation, and this issue is the impetus for the common people to reconstruct and narrate the story according to their inner desires and desires.
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