تیغ تهمورث

یکی از موضوعات رایج در اساطیر و حماسه‌های جهان، اختصاص رزم‌افزارهایی شگفت برای پهلوانان است، که وجهِ مشترک همگیِ آن‌ها، تفاوت و تمایزی است که با رزم‌افزارهای معمولی دارند. گرچه در منظومه‌های پهلوانیِ اصیلی چون شاهنامه، گرشاسب‌نامه، بهمن‌نامه و کوش‌نامه، با تعداد انگشت‌شماری از این رزم‌افزارهای شگفت پهلوانان روبه‌رو هستیم، ولی در عوض، در طومارهای نقالی شاهنامه، منظومه‌های پهلوانی متاخّر و قصه‌های حماسی-ماجراجویانۀ عامیانۀ فارسی، با انبوهی از این‌دست رزم‌افزارها مواجه‌ایم که معروف‌ترین و شاخص‌ترینِ آن‌ها، «تیغ تهمورث» است. این تیغ که ساخته و پرداختۀ ذهن خلّاق نقالان و قصه‌پردازان است، تیغی است سِحرگشا که فقط خاندان رستم از آن بهره می‌جویند، و اگر هم نمونه‌های بسیار معدودی از آن را در دست پهلوانان دیگر می‌بینیم، آنان، پهلوانانی هستند که ساخت‌و‌پرداخت کردار و خویش‌کاری‌هایشان، تحت تاثیر قصه‌های رستم بوده است. اهمیت پژوهش پیشِ ‌رو در آن است که نگارنده، به ریشه‌شناسی اساطیری تیغ تهمورث می‌پردازد و شکل‌گیری آن را در طومارهای نقالی و قصه‌های عامیانه، براساس گفتمان رایج در ادب اساطیری و پهلوانی بررسی می‌کند. این پژوهش که به روش توصیفی تحلیلی و با بهره‌گیری از منابع درجه اول اساطیری، تاریخی و حماسی صورت پذیرفته است، بدین نتیجه می‌رسد که علت انتساب تیغ سِحرگشا به تهمورث، سه رخداد اساطیری منتسب به او، یعنی: پیشدادی بودن، زیناوند بودن و نبرد با دیوان و جادوان است. ضمناً این تیغکه به علت «پدیدۀ انتقال»، به کیومرث، جمشید و سلیمانع نیز منتسب شده‌ است، سه کارکردِ مهم را در متون نقالی و عامیانه بر عهده  دارد؛ این سه کارکرد عبارت‌اند از: روئین ‌تن‌کشی، جادوکشی و باطل‌السحر بودن.

tahmoureth's blade

one of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction they have with ordinary weapons. although in the original heroic poems such as shah-nameh, garshasb-nameh, bahman-nameh and kush-nameh, we are faced with a handful of these amazing weapons of heroes, but instead, in the scrolls of the shah-nameh, later pahlavani poems and persian folk epic-adventure stories, there are a lot of such weapons that we are faced with them, arising from the structure of such stories; a structure that one of its characteristics is modeling the stories of the shahnameh, heroic  poems and religious-historical sources, and building new narratives and references; in other words, the requirement of the structure of such texts is to model from several examples of martial weapons mentioned in the shah-nameh or other authentic heroic  texts and to create a large number of new weapons and war tools. although some of these weapons expressed in naqali scrolls and long folk tales have their roots in ancient sources such as avesta and ferdowsi’s shahnameh, but many of them are created by the minds of storytellers and narrators. one of the most famous and prominent weapons in the naqali scrolls and long folk tales is tahmoureth’s blade. this blade, which is made and prepared by the creative mind of the narrators and storytellers, is a magical blade that only the rostam family uses, and if we see very few examples of it in the hands of other fighters, they are the fighters who their actions were influenced by rostam’s stories. the importance of the present research is that the author deals with the mythological roots of temmorth’s blade, and examines its formation in scrolls and folk tales based on the common discourse in mythological and heroic literature. this research, which was carried out in a descriptive-analytical method and by using first-rate mythological, historical and epic sources, comes to the conclusion that the reason for the attribution of the anti sorcerer’s blade to tahmoureth is three mythological events: first, his being among the first kings; second, having a weapon, which is called zinavand in mythological and pahlavi texts.; and third, the anti-demonic function of thammorth in avesta, pahlavi, epic and historical texts, which has caused him to be nicknamed divband. in addition, this blade, due to the phenomenon of transmission, (which is one of the most important common topics in mythology and history, and by means of it, the features and characteristics of a mythological or historical character, for reasons such as similarity, proximity, kinship, companionship, substitution and synchrony, is transferred to another person), has also been attributed to kings or prophets such as kiyoumarth, jamshid and suleiman, and has three important functions in narrative and folk texts, which are: killing invulnerable demonic creatures; killing divan and dragons, invalidating the magic of witches.