- Count View : 21
- آدرس کوتاه شده مقاله: https://bahareadab.com/article_id/2042
- کد IranDOI مقاله: IranDOI :10.irandoi.2002/bahareadab.2026 .19 .8255
volume Number : 19
number In Volume : 5
issue Number : 123
Journal of the stylistic of Persian poem and prose
volume Number 19،
number In Volume 5،
،
issue Number 123
From Confrontation to Convergence: A Dialectical Analysis of the Archetypes of ʿAyyārī and Repentance in the Play Iranians Have Not Written This Tale
Ava Kazemi , Vida Dastmalchi (Author in Charge)
Abstract
BACKGROUND AND OBJECTIVES: The play Iranians Have Not Written This Tale (Īn Qiṣṣeh rā Īrāniyān Nabishteh-and) by Alireza Naderi, through its re-creation of the narrative of Naṣūḥ’s repentance, juxtaposes two Iranian and Islamic cultural traditions: ʿayyārī (chivalric outlawry) and repentance (tawbah). The present study aims to examine the relationship between these two archetypes and to elucidate their movement from confrontation to convergence, culminating in a synthesis of identity within the dramatic text.
METHODOLOGY: Employing a descriptive-analytical approach and drawing upon Carl Gustav Jung’s theory of archetypes and Hegelian dialectics, this study analyzes the characters, dramatic actions, and the semantic system of the play.
FINDINGS: The findings demonstrate that ʿayyārī in the play is not merely trickery and stratagem, but an ethical system founded upon javanmardi (spiritual chivalry) and fidelity. Similarly, repentance is not solely a ritual act, but a process of identity transformation and a transition from self-centeredness to God-centeredness. Through the confrontation between the ayyārs’ tadbīr (human agency/strategic ingenuity) and divine taqdīr (predestination), the text lays the groundwork for the redefinition of these two archetypes.
CONCLUSION: Ultimately, the play does not establish a confrontational relationship between ʿayyārī and repentance; rather, it dialectically leads them toward a novel, unified identity. The innovation of this research lies in explicating the play’s movement from the thesis of ʿayyārī to the antithesis of repentance, culminating in an identity synthesis wherein the two cultural and religious archetypes are reproduced within a single paradigm. Consequently, the work is not a narrative negating ʿayyārī, but a narrative of its transcendence through the path of repentance and the re-creation of the Iranian-Islamic hero.
Keyword
Ayyārī
, Repentance (Tawbah)
, Dialectic
, Play
, Iranian-Islamic Identity.
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