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Quote by Zhinia Noorian

“The Thousand and One Nights" draws on a sea of pre-existing legends, from lands stretching from Egypt to China. But the name “Shahrazad” is Persian, and as folklorist Maria Tatar explains, the material she conveys “made its way from Persian to Arabic manuscripts in the second half of the eighth century CE.” Reportedly, Shahrazad has a library of a thousand books, knows all their stories, and weaves them together like a classic bard. The tyrant who reportedly commands her love while threatening her life is a typical ancient warlord, who assumes that mercy is weakness. In countering his murderous egotism, she wields the power of myth and the beauty of empathy. Azar Nafisi explains it as a kind art therapy: “the heroine … must rely on ‘woman’s guile’ to survive a madman’s clutches. She turns his nights with her into an unfolding drama, spinning a spell of fantasy that finally restores his sanity.” In her survey of female heroes throughout history, "The Heroine with 1,001 Faces" (2021), Maria Tatar describes this sort of spell-casting as a chief characteristic of women’s art: “it gradually dawned on me that the heroines [of most folk stories] were habitually bent on social missions, trying to rescue, restore, or fix things, with words as their only weapons,” Maybe that is the ultimate function of all these legendary Persian “romances,” and the main goal of women’s popular folklore through the centuries.”

Quote by Zhinia Noorian

Book:Mother Persia: Women in Iran's History
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Mother Persia: Women in Iran's History

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Zhinia Noorian

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