سعید بزرگ بیگدلی

The depictions derived from the subjective mystical experiences, in Molvi's lyrical poetry, have not been analyzed specifically and independently, in one place and in a regular manner; Although in a general way, the types and branches of Molvi's imaginations and imagery have been included in the cycle of research. This research claims that Maulvi was able to express the pure images of his internal and intuitive experiences, which are generally indescribable, in the Ghazalyat of Shams, and this is a rare event that Maulvi went through and managed to express the most abstract experiences. In this research, which is based on the descriptive-analytical method, with library and citation tools, and in the theoretical framework of Gadamer's hermeneutics, after reviewing the opinions of various researchers about the separation of mystical experiences, those poems of Divan Shams which, in particular, are manifestations They are considered to be one of Molavi's personal mystical experiences, based on the current feeling in the ghazal, they are divided into four categories: pride and warning, reprimand and blame, the need to recognize oneself, and joy and forgiveness, and for example, a ghazal from each of these categories is examined. and analysis has been done.

A reciprocal and ongoing interaction holds between literature and society. Some literary creations, particularly novels, represent and reflect societal concerns more than others. Drawing on Anthony Giddens’s theoretical framework, this descriptive-analytical study has been aimed to delve into a social issue in Mahmoud Dowlatabadi’s"Jāy-e Khāli-ye Salouch".Trust is a crucial component in every society and an indicator of social capital, for which sociologists have proposed multiple definitions and types. Indeed, distrust remains a shaky pillar of social harm.This analysis explores the roots of the widespread distrust that Dowlatabadi narrates in "Jāy-e Khāli-ye Salouch". The results indicated that the novel spotlights how the White Revolution in Iran, with land reform as its principal policy, and its consequent troubles for Iranian villagers impacted the amplification of distrust among the misery-ridden villagers. It pinpoints that the failure of Shah’s economic policies pertaining to the White Revolution and the incapability of the social system to address public participation were among the factors that diminished social trust. Unemployment, poverty, and migration from villages were some of the main outcomes of this project. Another contributor to distrust is injustice. The transformation of the underlying pillars of economic life, the state’s poor performance, and the consequent dire economic status of villagers were the major causes of distrust represented in "Jāy-e Khāli-ye Salouch". The novel’s weightiest types of distrust were institutional and interpersonal, highlighting the villagers’ lack of trust in the government and signifying that the policies of the second Pahlavi regime were not directed toward developing different types of trust.

In addition to being one of the most important mongol historical works, Tārikh- ‘i-Jahāngushā is also a literary masterpiece of Persian literature. In the present study, the moral and didactic aspects of Tārikh- ‘i-Jahāngushā are considered and specified. The major argument of this study is that in addition to Tārikh- ‘i-Jahāngushā’s historical values, it is a tour de force regarding the promulgation of moral and didactic issues. To prove this argument, the researchers have categorized historical issues into positive and negative. In addition, they have scrutinized different kinds of expressing moral issues by Juvayni. The results of this study indicate that Juvayni in the position of an instructor of morality had been more inclined to encourage people to righteous moral deeds, and warning people against negative deeds has had a lower position in his moral thought. Additionally, it seems that the diversity of moral issue expression methods indicates the importance of didacticism and morality in his ideological system.

The Divan of Jamal al-din abd al-razzaq-e Isfahani, an influential poet of the sixth century AH, has been emendated three times so far, and two earlier amendments have been published. Editions that, despite the great efforts of editors, have defects. The most important shortcoming of these amendments is the absence of certain poems of Jamal. One of the most important poems omitted from the divan of this able poet is a masnavi with 138 verses, which was composed to a person named Ouhad al-din. In this article, in addition to searching for manuscripts and editions work related to Jamal, especially his divan, and providing the full text of the masnavi, we have introduced the only leading manuscript of it and enumerated the reasons for the correctness of this attribution. The results of the present study show that reasons such as the similarity of meter and content of Tashbsib of one of odes with masnavi, the similarity of some hemistichs and compositions as well as the similar syntactic structure in Divan and masnavi can be presented in the correctness of the attribution.

The subject of "evil" is one of the most important topics in theology and culture and has appeared in the literature of different nations in different ways and through variety of techniques. Rumi's works, as one of the greatest writers and thinkers of the Islamic Middle Ages and Shakespeare’s, the great poet and writer of the Renaissance, have given certain artistic aspects to this theology that are prone to analysis and comparison, especially from a poetic point of view. The differences in cultural, historical and religious origins between these two thinkers, of course, have been effective in their techniques, in different conceptualizations, and have been reflected in their works. In The Philosophy of Symbolic Forms, Cassirer introduced the earlier forms of Kantian cognition into the field of analysis of human culture and, using Hegelian historiography, began to formulate the forms of the history of cognition that began with myth and reached higher forms of religious, mystical, artistic and scientific cognition. For him, symbolism is the only road map for the study of culture. Comparative studies, meanwhile, is a field of fertility that can be aided by Cassirer's theoretical framework. The method of the present research is descriptive-analytical and is based on Cassirer's theory of "symbolic forms of cognition". Also, using his theory on the analysis of symbolic structures in the form of narrative constructs, we try to show how allegorical and tragic techniques in the concept of evil are shown in the stories of Moses and Al-Khidr and Macbeth.

Mystical experience, as a type of religious experience, has characteristics that each of the religious philosophers and mystics have listed characteristics according to their point of view. Walter Stacey is one of these renowned scholars who in the book Mysticism and Philosophy has seven basic characteristics including monotheistic vision or unifying consciousness, timelessness-impossibility, sense of objectivity or reality, sense of peace and tranquility, sense of holiness and sanctity and divinity, Has mentioned paradoxes, and inexpressibility for mystical experience. Divan-e Shams contains manifestations of Rumi's mystical experiences, including objective and subjective experiences. Rumi's objective experiences have manifested themselves in the form of mystical fables, mystical springs, transformations, mystical epics, and wonderful encounters In her psychic experiences, in which God really speaks in the language of Rumi, categories such as pride and warning, questioning and reproach, the need to recognize oneself, and enthusiasm and forgiveness can be seen. Analysis and explanation of the sonnets of each category requires knowledge of the theoretical foundations of mysticism, attention to the structure and meaning of the sonnet, as well as mastery of the poet's mental system. In this research, one of Rumi's mystical fables has been studied. In this narration, Rumi has used the code "thief" to express the manifestations of one of his objective experiences. The present study, while deciphering this poem using other lyric poems of Divan-e Shams, has discussed all the features considered by Stacey for mystical experience.

The story of Rostam and Esfandiar is one of the most technical stories in terms of plot, characterization, and dialogue, which, after centuries, corresponds to the style of modern fiction. In this research, an attempt has been made to explain and analyze the moral characteristics of Rostam and Esfandiar based on their conversations and conflicts. The multiplicity of dialogues in the story gives the storyteller more opportunity to address the concerns, conflicts, and moods, and helps him uncover the hidden layers of the characters. Reading this story makes it clear that a limited part of the story is devoted to physical conflict, and internal conflicts play a broader role in the form of dialogue and monologue. Analysis of the two main characters also shows that although both characters have many internal and external conflicts, both adhere to their intellectual and doctrinal principles and do not retreat from them. Finally, the characteristics of dramatic conflict are introduced as the most creative type of conflict in this article. More specifically, the present paper shows that the poet combines linguistic and physical conflicts (dialogue and action) to highlight and objectify the confrontation and conflict between the characters. This accompaniment between dialogue and action makes the audience more attractive and influential.

The study of the literary works from different nations of the world, along with the analysis of similarities and differences in these works is always one of the interesting and important topics in the field of literary research. China and Iran, as two great ancient civilizations with a history of common commercial and cultural relations, inevitably have a great deal of similarities and effects over time. Li Bai (701-762C.E.) is the most famous Chinese poet to date with his poetic genius for writing lyric and romantic poems. He lives contemporary with the Tang Dynasty and has his own poetic style, which is creatively different from the structural form of eulogy and luxurious style before him. There are about a thousand poems left by him, which have attracted a lot of attention from Chinese and non-Chinese poets after him due to their creative features. Less than 2 centuries after Li Bai's death, in Iran contemporary with the Samanid dynasty, the Persian poet and writer Roudaki (237-319 AH) appeared as the father of Persian poetry in the field of Persian literature. He is one of the prolific poets of Persian language, and the existing poems are about 1000 verses which is mostly Qasida and Taghazol. This study compares the lyric poems of Li Bai and Rudaki. Our case study will be the thousand poems left by Li Bai and the thousand verses left by Rudaki. The similarities and differences between of these two poets have been studied in a comparative descriptive-analytic approach.

A pseudonym or poetic name is one of the characteristics of Persian poetry that became common as a literary tradition from the sixth century onwards and stabilized in the poetry of seventh century poets. Poets such as Sanai, Khaghani and Anvari are the mainstreaming poets in this field and especially provide the ground for identifying and establishing of pseudonym in the Lyric. Relying on the repetition of a word that is one of the main characteristics of the definition of a pseudonym, some contemporary scholars have made a mistake in determining the pseudonym of poets and have attributed incorrect pseudonym to sixth century poets. Among these mistakes in attribution, we can mention the word Rahi, which has been introduced as the pseudonym of some poets. In this article, in a descriptive-analytical method,we mentioned the history of pseudonym in Persian and Arabic poetry as well as its place in poetry. We examined the hidden pseudonym in Sana'i and Rumi's poetry and by searching in Persian poems from the beginning and with emphasis on research in the poems of sixth century poets, we have studied the word Rahi in the place of pseudonym. The results show a kind of literary tradition and theme and words synonymous with the word Rahi in the use of this word by different poets, which cannot in all cases indicate the poet's pseudonym.

Shahnameh is one of the most important identity and historical works of Iranians that can be studied from different aspects of mythology, fiction, rhetoric and stylistics. What distinguishes Shahnameh from other works of all times is Ferdowsi"s personal style. In many books and articles, Khorasani style has been discussed, but Ferdowsi"s personal style has received less attention. In this study, in order to understand Ferdowsi"s style and understand his ability to create dialogues, two opposing human discourses, namely prayer and curse, which are manifestations of human emotions and feelings in different situations and situations and are rooted in human sadness and happiness, have been studied.

This research is theoretical and has been done in a descriptive-analytical manner. The study area and society are two stories by Rostam and Esfandiar and Kamus Keshani from Ferdowsi"s Shahnameh by Saeed Hamidian, which was published by Qatreh Publishing.

The prayer propositions in these two stories are 18 bits and the curse propositions are 19 bits. Thus, in the beginning, the content of prayer and cursing propositions is extracted and classified from the verses. The theme of the Shahnameh"s prayers is more seeking happiness and peace, overcoming enemies, longing for heaven and paradise, and curses include calling for the destruction of enemies, cosmic curses, and cursed glories. The real curse, which is the request to destroy the enemies, occurs in a state of rage and anger, and generally on the battlefield, but the curses of the universe and cursed glories appear in a state of sorrow. After examining the content of prayers and curses, the descriptive-analytical method of words, verbs, syntax and sentence arrangement patterns in both types of propositions are described.

Ferdowsi did not follow a specific pattern in the arrangement of sentence components, but by examining and analyzing the data, key and repeated phrases are found that Ferdowsi has used in drawing the two situations of prayer and curse. In the prayer propositions, the key and frequent phrases "without you", "being away from" and "bad luck" are seen, and in the cursed propositions, the phrase "may + ... + prayer verb + may + ... (Wind) »is repeated. Also, in this research, it has been determined that the irony in prayer and curse, as the most colorful literary array, causes more rhetoric of prayer and curse propositions.

The speeches of the great mystics and Sufis have long been considered by the general public, especially their followers and students, and over time in the form of daily reports and oral teachings, especially in the subcontinent, has become a special type of content. Jama'at al-Kalam or Sufi melodies of the scientist Seyyed Mohammad Hosseini Gisudraz (721-82 AH) is one of the most famous and one of the ancient mystical texts of the ninth century AH. This work, which is famous for the daily speeches of this Sufi, is important in terms of prose style, outlining the basics of Sufism and mentioning the virtues of Sufis and describing their predecessors, as well as a sign of the Persian language and its spread in the subcontinent in the eighth and ninth centuries AH. From this work, limited information can be obtained from the available sources, and so far, except for a lithographic version, with many mistakes, misreadings and omissions that were published almost a century ago, nothing appropriate has been done to introduce and recognize it. In the present article, a descriptive and analytical method has been tried by examining the information contained in the text of the contents and other works of Gisuderaz, as well as sources related to sufism and mysticism in the subcontinent, especially the elders of the Cheshtiah dynasty and his elders and students, as well as historical and literary works. In his time, he gained more information about this work and analyzed the thoughts and opinions of Gisuderaz and the evolution of sufism in the subcontinent.

Since the beginning of the eighteenth century, the awareness of the masses increased in different societies and has sparked screams of protest over the ruling regimes. After the protest movements occurred in Iran and in the Arab countries, the authors of the course used the story as a good form to express the pain of the people and describe their tragic and sorrow lives. Since the late of eighteenth century to today fiction witnessed many developments and exposed to various ideas and theories. Moreover, while defining the current and the schools in Persian and Arabic has been mentioned to the most influential literary currents and schools and its famous writers in Arab countries and Iran. Studies shows that similarities are more than the differences in contemporary Persian and Arabic literary literature, and literally most of the schoolchr('39')s realism was the school of fiction writing in two communities. In terms of the trends that have emerged, the flow of political novels, climatology, feminization, and the two main tendencies of historical and social novels. The distinguishing differences in this comparison are the literature of immigration, which is discarded in Persian fiction, as well as the committed literature is much more limited in Iran than Arabic countries.

Masnavi-ye Molavi is an allegorical and symbolic mystical poem and this has made it explained after composition. Today we encounter the ideas and viewpoints of different authors that have interpreted it and in this way, it can be argued that there have been many thoughts utilized in the interpretation of the verses in Masnavi. In the present research, we have dealt with the viewpoints of explainers who have explained the mythological symbols in Masnavi. In this study, we have selected the personality of Rostam. The major research question was as follows: Have the interpreters noticed the outlook and mythological knowledge of Molavi? What were their explanations in interpreting the symbol of “Rostam”? On the whole, there has been a slight relationship recognized between mythology and Masnavi in the resources. Such a difficulty could be recognized in scientific studies and this fact can be identified in Masnavi that the mythological study of the interpretations are missed. To conduct the present study, we have selected Forouzanfar, Shahidi, Jaafari, Gulipnarly, Nickelson, Estelami, Zamani, and Abghari.

The present investigation has been a library study and has been carried out using a descriptive-analytic method and a content analysis. In order to do the research, we have selected the outstanding interpretations carried out after 1920s. At first, the symbols of “Rostam” have been extracted from the Masnavi text and then the views of interpreters about “Rostam” have been investigated. Then, the interpreters’ differences and similarities in their viewpoints have been summarized in a table.   

The effect and fame of Ferdowsi’s masterpiece in Persian literature helped it to be represented as involving the elements of mythology and bravery in poems of well-known poets. These elements reached a conceptual metastasis as mystic poetry evolved and it changed into symbols instead of using similes and other literary verbal tools. Furthermore, these hermeneutic changes of the mythology and epopee were interpreted as mystic symbols in a way that the names of characters in the masterpiece were interpreted as an isolated mystic conception. The most outstanding character in the masterpiece who reached mysticism is “Rostam”. In mysticism, “Rostam” is represented as the origin and the potential power source to fight against selfishness missioned by God. Such an ability changes into the sure heart after following the right way and bearing the difficulties and pains during the route and fights against the evils during the seven stages of faithfulness in mysticism procedure and it is considered as the counter force against selfishness. Also the symbol “Rostam” has been utilized in Masnavi. On the whole, the investigations on symbols showed that Molana knew about the ideas and thoughts of Iranians before Islam and has used them to express his mystic viewpoints within the stories. But the art of Molavi was to mix the personality of “Rostam” with religious symbols. Regarding the mythology, he had a Quranic (mythological) view, but “Rostam” has been represented as a complete Iranian human being along with religious characters. Molavi mentioned the name “Rostam” in 17 lines of Masnavi and in these 17 lines of the poem, the presence of Rostam is seen in two forms: (1) surface meaning and vocabulary meaning, (2) the symbolic meaning.The interpreters have interpreted the word meaning of “Rostam”, to represent a man with a strong and tall body and have had a consensus that he has been different from anybody else and in one case, Farvanfar has considered Rostam as the man of God. But in some lines through which Rostam has been clearly represented with epopee and revolved mysticism, he has been considered as a symbol. The main interpretation of Molavi is that Rostam has been a complete human being and this has been repeatedly used in sonnets of Shams. In these poems, the interpreters such as Estelami and Zamani and Abghari have mostly considered the mystic conception of Rostam.

Molavi has introduced the personality of Rostam in surface structure as a very strong and brave man and in symbolic concepts, he has been introduced as a complete human being. The viewpoints of the interpreters in interpreting the poems related to Rostam could be divided into three categories as follows:1- The intended line of the poetry has not been explained or the description of the name of Rostam has been missing.2-These lines of poetry have been translated verbally and there has not been any remarks on the mystic representations of Rostam.3-  In some cases it has been explained and a mystic conception has been mentioned.

Myth is one of the issues that has caught the attention of scholars in the field of literature since the beginning of the literary genre. The reflection of myth in contemporary Persian stories can, on the one hand, inspire the creation of meaning and instill underlie the novel's link to a precious legacy. The emergence and emergence of myths in contemporary Persian stories and the role they play in its richness are of particular importance. In this article, the course of reflection of national and religious mythical narrative in some contemporary Persian stories of the forties and fifties has been studied and analyzed. One of the main reasons for the rise of this trend has been the failure of the popular movement to nationalize the oil industry and the other approach of writers to historical fiction. The themes of Persian stories from the constitutional period onwards were mainly historical and social, but not without mythical references. But after the August 28th coup and the suppression of the national oil movement, the emergence and reflection of myth spread in contemporary Persian fiction and continued with a passive tendency because of the overwhelming sense of failure and frustration caused by the collapse of Mossadegh's government and the creation of an oppressive atmosphere. Draws on the widespread reflection of myths and the use of their symbolic language in the story. The national mythical narratives of our period are more focused on the narratives made from the Shahname

Shia poetry with variety of concepts – approaches – practices and the forms of poem in different historical periods could continue in form of countinuos and dynamic process. The lovers of ahle-beit with love and enthusiasm despite the obstacles and threats abound created the most sincere shia literature before safavieh. Yet necessary researchs in collections of poems left by pass havnt shaped but this the out shows that shia poetry could both the basin form and content form add to the diversity and richness of Persian literature. Including the information of new species and sub species is that in this article we want to introduce some samples that we extract them from handwritten poem collections. The classification of the species is according to their content that is mentioned in beiginig of poetry as title. The titles that later overtime and by repetition is represents a kind and literature genre in religious literature . In this article for the first time (vafat nameh) genres will proposed and introduced some samples of them from courts and manuscripts as evidence brought obviously with deeper check can arrive to new samples in shia poetry.

Literature has a special position in representing society. The novel is a special literary genre and a perfect mirror which reflects and reveals the events, progress, growth and change of the society. Most especially in both countries of Iran and Senegal, this style of writing has been accompanied by the social and cultural changes. Family is the most important and fundamental element of the community. The main role of the story is been played by the family in most contemporary novels. The concept of family plays a key role in most contemporary novels, and the main role of the story is always introduced in the family. On the other hand, the roles that humans take in their families often expresses the realities of the community. Regarding the political and social conditions governing each period, the way writers pay attention to family issues. In this article, we have studied the comparison and analysis of family in Iranian and Senegalese contemporary novels (showhare Aho khanom and so long a letter), in response to these questions, which are these similarities as well as the structural differences of the family in the contemporary novels of these two nations and how they emerged narratively. In addition of studing family in novels, this research is also a kind of comparison between Iranian and Senegalese cultures, and the important works of contemporary writers in these two nations are compared, which can help the develop of comparative literature in both countries.

Narration of the Risalat al-tayr (TREATISE OF THE BIRDS) has an important place among the educational works in Persian Literature. In each story, value/s are defined by means of actors trying to achieve them. The narrator makes an attempt to get the actor to the axiological system of story and create narrative periods. By Narrative periods we mean that from the 1960s (the peak of structuralism till now), narrations have been based on a model, each period is different from the other in terms of theoretical and semeiotic and semantic aspects. Semiotics and semantics tries to categorize the narrative periods of classic and modern literature. Identification and exploration of narrative periods of Farsi and Arabic Risalat al-tayr with focus on investigation of axiological system of dialogue allows us to move beyond this generation and provide a model for narrative division of the literary texts.
In this regard, the purpose of this research is to investigate the narrative periods based on Manṭiq al-ṭayr (conference of birds) by Attar in order to explain the related model to study the narrative systems. Narrative periods make us encounter with the transformation of the narration. For this purposes, one of the research goal is to provide the narrative periods based on Manṭiq al-ṭayr in order to provide a comprehensive method to literary text analysis. It is assumed that in Manṭiq al-ṭayr this function has a multiple concept. In other words, the actor experiences different periods to reach the value. Other questions are also as follows: what are the underlying components of the axiological system in Risalat al-tayr? How these components are organized? With investigation of Risalat al-tayr, which is the suitable method to measure the effect of the stories on each other. Risalat al-tayr uses a unique similitude in storytelling, for this reason, it benefits from a special kind of narration. So, by investigating the narration of this text, it is possible to understand the mentality of the narrator and depict the effect of these stories based on their narrative style in order to reach a model of studying the narrative transformation. To this end, the authors have adopted Paris school Semiotic approach. The findings of the present research indicate that the Risalat al-tayr is totally composed of narrative periods including “Programmed Actional Regime, “Interactional system based on dialogue and negotiations” “ Actional regime based on competence” , “ Passive tension” , “ Sensible paradigm based on subject adjustment to the existence”, and “ attraction- correlation and assessment”. First and second periods are called tension periods and are an introduction to the periods of action, sensation, and assessment. Only Manṭiq al-ṭayr by Attar contains all these periods. In other treatises, only some of these periods are observed. In the first three periods and the period of assessment, the value of thing is outside the actors and in the periods of tension, sensation and attraction, the value is in the subject. In all of these texts, the value is added one by one to the text.

The relationship between reason and love in mystical ideology has long been considered by mystics and scholars of mysticism. This relationship can be seen as the result of the rise of the confrontation of mystical thinking with philosophical thinking and the rejection of the philosophy of reason and the rejection of reason in the understanding of the truth in the fifth century. The relationship between reason and love in mystical poetry is presented in two ways: "Conflict and Continuity". In some cases, reason as opponent is always outstretched against the love, and in some other cases, reason as a leader in the risky path of love until the destination is the truth. Attar Nishaburi is one of the mystics who considers love as a journey of experience towards a beloved and, in this way, believes in stages and contexts in which reason is one of them. From this point of view, reason has not no conflict with the concept of love. The significance of this kind of view in Attar's intellectual system is that it does not put mystical thinking in opposition to reason and does not reduce it to the extent of the emotional intuition of escaping reason. In this article we are going to bring wisdom and love within the framework. Conceptual metaphor and metaphorical mapping "love as a journey" examine the role of reason in this experience.

During the Safavid era, communications between Iran and India became deeper than before due to the common official language. Persian romantic stories were among the written works during this period in the countries. The question is: "Are Persian romantic stories in the Safavid era in Iran and India fully similar due to the concurrency, common language and existence of similar structures, or have distinction due to different cultural environment?" Some Researches has been done on the storytelling of the Safavid period, But so far, there has been no works published on the influence of intellectual motifs on the Iranian and Indian Persian stories in any of the topics.
In this paper, it has been attempted to answer the question, by analyzing the content of the Stories. Of course, the assumption of this research is that there are many similarities in language, structure, sequences and character's functions in the Persian romantic stories in Iran and India, but despite these similarities, there is a different worldview and attitude towards the characters and events. These differences include: "Death of the lovers at the end of the story", "Girl's freedom in choosing a spouse", "supernatural creatures’ role", “presence of Mysticism and Sufism, "animals’ impact in the story ", "presence of Indian characters" and "independence of the source" that would help to understand the stories written in India from Iranian stories.

According to an old history philosophy, some general rules govern the history. So if the man does same works in different times, the results usually will be same. Therefore, we should write or study the history for knowing and predicting witch works lead witch results. But in this research, we show the story was reverse in Shahname as a part of Persian historiography. The historians at first, determine the general rules according to their central thoughts and then write the history in direction of the central thoughts. They write the history for documenting a thought. For analyzing we selected “the kingdom of Yazdgerd”, last part of Shahnameh as an important and effective period that changed the cultural order of the Shahnameh’s atmosphere to the cultural order of the historian period. Our metoodology is based on time narrative theory of Gérard Genette.

The idea of death and life is one of the most important principles of human beliefs. Man, after the creation and observing of death, has always been looking for immortality and undying dreams from the past. In the eyes of the early humans and in most religions, death is not the end of life and absolute destruction, but it can be a factor for a better life. In the mythology and ancient traditions of early humans, the animal (cow), the plant, and death and life have been of utmost importance, causing the connection between these three elements of creation. The present study aims to investigate the relationship between the three main elements of creation, humans, animals (cow), and plant in the mythology of Iran, as well as the relationship between death and re-life of these three elements of creation to answer the question that how is the representation of the elements of creation (man, animal (cow), and plant) in Iran's mythology and what is the relationship between the death and life of these three elements? The present study, by examining the mythology of death and life of the early humans in Iran with a symbolic approach and a descriptive-analytical method, has concluded that in the mythology of the creation of Iranian myths, different people possess the first place. In the Zoroastrian myths "Kiomars", among Iranian and Indian myths "Jamshid", and in the Mithraism "Mehr, Mitra" had this title. The connection between death and life of humans, the animals (cow), and the plants is also direct, in such a way that one's death causes the other's life which ultimately leads to the completion of creation and its elements.

Kashmir is a geographical region in the north-west of the Indian high mountains of the Himalayas. Kashmiri language is spoken primarily in the Kashmir Valley and the other regions of Jammu and Kashmir. Kashmiri language is a member of the Dardic subgroup of the Indo-Iranian languages. It is due to prolonged contact between Kashmiri and Persian languages from 14thto 19thcentury, Persian language has left deep influence of linguistic features and literary styles on Kashmiri language. This influence could be studied in three parts: lexical borrowing, phonological changes and grammatical borrowing. The aim of this paper is to study the influence of Persian language in the valley of Kashmir and Kashmiri language, form the language borrowing perspective by using library resources and previous works to confirm and reveal the cultural ties between Iran and Kashmir from ancient times and in different historical periods. Novelty of the research is to study Persian fundamental influence on the Kashmiri language and suggests that this influence is due to spread of Islam in this region by Muslim (Iranian) mystics and missionaries. Research results indicate that the influence of Persian language, in addition to lexical borrowings, has caused deep changes in the grammatical other constructions of Kashmiri language and if this influence had continued, based upon the reasons mentioned above, perhaps,this language would have been replace with Persian.