Hidden and Visible Evidences of Magic in Ayyari Techniques of Sammak-e Ayyar & Jamshid Nameh

The Ayyars movement, despite its prominent role in the historical developments of Iran, remains a hidden social current and a relatively unknown military organization. It is difficult to provide a documented and detailed description of it. For the study and analysis of Ayyāri techniques, Persian prose epics serve as the only authoritative sources. Unlike the detailed but scattered reports found in historical texts—which are often influenced by the interests of centers of power—these epics offer a significantly richer content. This article attempts, in two parts and primarily through inductive and fictional approaches, to introduce a new perspective on the connection between Ayyars and magic by providing available evidence from Sammak-e Ayyār and Jamshid Nameh.
Introduction:
Persian prose epics are regarded as one of the most significant text types and defining works in the epic literary genre of Iran. Due to their abundance, diversity, substantial volume, rich content, and their crucial role in the development of this literary genre, focusing on them allows us to appreciate their enduring vitality. It became a coherent and independent body of literature within the history of Persian geographical writing. The presence of the moral community of Ayyāran in prose epics is considered the most prominent theme and defining aspect of these narratives, distinguishing this literary movement from other poetic and prose works. However, due to limited knowledge in the textual study of prose epics, it must be acknowledged that a correct and comprehensive understanding of the concept of Aiyar, the origin and evolution of the Ayyāri movement, and the customs and tactics of the Ayyārans has not yet been achieved. In the present discussion, based on the case study of the rare yet abundant evidence found in Sammak-e Ayyār and Jamšid-nāmeh, an attempt has been made to reveal both the hidden and visible examples of Ayaran witchcraft, which have been entirely overlooked in previous research and remain unexplored.
Methodology:
Ayyāri, as a social and moral movement, has an ancient and relatively unknown historical origin in Irānshahr and has been considered one of the pleasant subjects of Iranians long time, which is evidenced by the wide-ranging presence of Ayyāri in military and social aspects. More specifically, it can be obvious in the prose epics of the Islamic era. The main issue of this research is to propose the familiarity or relationship of Ayarans with the profession of witchcraft, citing the rare evidence of two fictional texts related to them, and therefore, the results of the research are considered to be the product of a fictional study and are apart from any historical or social approaches. Magic, a transcendental force, consists of a set of beliefs, techniques and methods, which are considered effective and beneficial to use to take over or transform supernatural, natural and environmental conditions, and to achieve good or bad purposes and goals. Magic is one of the relatively unrealistic elements of fiction in epic, lyrical and historical texts, and in most of its cases, it is usually used by fictional evil characters and demonic forces, and in general, there is no good approach towards it. Despite such a perception, sometimes the amazing theme of magic has been proposed in a compact and transient way for the good side of the narrative or Iranian kings and historical figures.
Results and Discussion:
Samak-e Ayyār, as evidenced by numerous textual evidences, unlike his peers, was a literate, scholarly, alert, and agile personality and always benefited all the mental and practical abilities of an elite and the knowledge of every Good or bad profession. He has learned as much as he needs and yet he never stops learning new skills. Apart from this, Samak has been endowed with extraordinary talents that others do not have in their natural state, and the narrator mentions this characteristic of Samak under the title of "perfections". With this introduction, one should ask: How is it possible for Samak to travel to and from the court of the King of China in the service of the Jackal, and take over the administration of the city as the successor of his old boss? Has she not benefited from the knowledge of Sharvaneh, the fairy witch's nanny? Samak was well aware of the identity and kinship and causal relationships of Sharvaneh, and even without his master's knowledge, he also knew about the condition of Muqogur (Sharvaneh's son). So, it is possible that witchcraft is one of the false and evil techniques that Samak was interested in.
He should learn magic or other magical skills to be useful to himself one day. Therefore, the idea of Samak's relationship with Sharvaneh and her knowledge of certain magic spells and techniques is quite plausible, especially since Samak herself acknowledges this implication several times, either explicitly or ironically. When Samak encounters the charm of the snakes in Tahmoorth’s treasure house, he regrets not having learned the charm of snakes earlier, which would have allowed him to repel the snakes today. From whom was Samak supposed to learn the charm of dispelling snakes? Was such an opportunity ever available to him, perhaps through a connection with another magician? Has Samak been familiar with any magic besides Sharvaneh? Throughout the narrative, Samak Ayar encounters Khizr and Elias multiple times during moments of need and helplessness. With their assistance, he finds a place to reside or experiences healing and miracles. What is particularly intriguing is that when Samak meets them, he makes requests such as the ability to disappear into a crowd, enhanced physical strength, or possessing a weapon to dispel magic—abilities that closely resemble those of wizards.
Magic medicine is another related topic that stands unmatched among the magical and astonishing feats of Samak. Samak Ayar possesses a magical medicine called "Two and One, unclear due to missing earlier sections of the book. This medicine not only cures every incurable injury but also heals every fatal disease instantly, and its effectiveness is consistent in all cases. Although magic is a common and pervasive theme in narratives, its prominence in the Jamshid-nameh is significant because, in addition to magicians, lovers, kings, and sages also openly practice witchcraft. In Jamshid-nameh, in addition to demonstrating skill in performing magical acts, Kimek is also knowledgeable in witchcraft and charms. Numerous examples of his magical tricks appear throughout Jamshid-nameh, through which Kimek sometimes prophesies or summons demons. The clarity of these examples is such that they require little further explanation.
Conclusion:
Although magic is one of the common themes in narratives, which are often mentioned in connection with magicians and sometimes kings, but the evidence discussed in Sammak-e Ayyār is sometimes intangible and hidden, and in the examples of Jamshid-nameh, it clearly defines the limits of application and use. It confirms the use of magic, which, now, cannot be further justified and explained, and it seems strange and unprecedented. Another conclusion that can be obtained from the presented examples is that, despite the high number of Ayyārs present in Sammak-e Ayyār and Jamshid-nameh, magic and its use was only a feature of the elite and prominent Ayyārs of both epics, not all Ayyārs. Since Sammak-e Ayyār was probably written in Iran (6^th century AH) and Jamshid-nameh was definitely written in Central Asia (10^th century AH), it seems unlikely that the magic tricks of Ayyāran were a matter of taste and thought of the authors of the narratives.  Furthermore, the content of the story must be older and less. It can be considered a rumor that storytellers sometimes used, and for this reason, few similar cases of it have been observed in prose epics.