شکرالله پورالخاص

One of the most important topics in the field of aesthetics in literature is imagery in literary works using rhetorical techniques such as simile, metaphor, irony, visualization and recognition. The head of the Quran is full of images; On the other hand, Saadi owes a large part of his rhetoric to Arabic literature, especially the Holy Quran. The purpose of this research is to explain the position of Quranic verses and phrases in Golestan Saadi's stories. In this article, we are looking for answers to these questions: What are the characteristics of the language of Quranic images in Golestan stories and how are images based on Quranic expressions and combinations used in those stories?

The research method is library-based and descriptive and content analysis; In this way, the anecdotes of Golestan were carefully studied and the cases related to the Holy Quran were extracted and the rhetorical and visual effectiveness of the texts were analyzed Discuss Simile“It is an expression of similarity between two different things” (Shafi'i Kadkani, 1358: 53).Life is in the support of one breath and the world is existence between two absences. They should buy religion from world sellers, sell Yusuf, what will they buy?! It is an allusion to verse 60 of the blessed Surah "Yasin"; Selling religion to the world has been compared to selling the gold of Yusuf's existence to worthless gold coins and has created a beautiful image.Personification.Giving life to objects, including the phenomena of nature, so that they are able to perform human tasks (Seyed Ghotb, 1995: 61).The tyrant got angry at this and turned away and did not spare him. Until one night, the kitchen fire fell into his firewood storage and... (Saadi, 1363:208). It is taken from verse 206 of the blessed Surah "Baghare" where 'conceit' is used here to mean pride and is likened to a person who leads a person to sin. Imaging is a type of personification.Metaphor."It is a simile in which all its elements except moshabah and moshabaonbe have been removed, and a simile is added to it to make it clear that what is meant by it is a pseudonymous meaning and not a true meaning" (Yaghub, 1987: 35).Whoever does not take the right path to the discipline of the world, will be caught in the torment of the future. (Saadi, 1363: 665). It refers to verse 21 of the blessed Surah "Sajdeh" and the contrast between worldly and hereafter punishment and tasting the punishment is a metaphoric image creation.Irony."In the word, it means to speak in secret, and in the reformation of the science of expression, it consists of mentioning the required will and the required will, subject to the permission of the required will" (Taftazani, 1429: 396). Hit the snake's head on the enemy's hand. If this prevails, you will kill the snake (Saadi, 1363: 646).

One of the prominent features of the Holy Quran is the use of images to express various issues. Image creation means the use of various literary and rhetorical tools such as simile, metaphor, personification and irony which makes the understanding of abstract concepts more concrete and the understanding of divine verses easier. Most of Golestan's anecdotes, in which Quranic verses are referred to, are based on the image that the author used the language of the Quran to illustrate. Considering the predominance of imagination and imagery in the industries of simile, metaphor, and irony, it can be concluded that Saadi paid more attention to the Qur'anic style in his story-telling than the illustration aspect of Golestan's stories

Today, literature and poetry have a more comprehensive definition than mere literary expression with academic meanings and tools. Literature is the collection of all the scientific abilities of the language in the field of structure and richness. The artistic creativity of the poet and the employment of excellent compositions and themes lead to the production of a literary and artistic work, which can be found in the excitement and expansion of the audience.
The aim of this research is to reach the communication network of all the factors related to the language and the appearance of the word, which not only carries the meaning, but also creates a different meaning and concept from the apparent meaning that results from the phonetic, lexical or visual mechanism.
A network that is referred to as "artwork". Artistic device (prime) is a meta-array approach to the aesthetic tools of language in poetry, which formalists consider to be the art of alienating language from the mind of the audience.

The foundation of art is original elements, themes, hidden images and the music of words, which leads to poetic discovery in the form of meaning. Vocabulary highlights and defamiliarizations that remove the dust of habit from words and combinations and create a lasting artistic-literary work. Ghazals of Iraqi style, especially Diwan Shams, Saadi and Hafez, are precious works which by formalistic analysis and examination, convincing and solid evidences are found in them. 

Usually, aesthetic issues in poetry are measured with literary arrays, but the formalist theory has opened a new way in literary criticism, which instead of separating word and meaning, emphasizes the union of the two in the form of shape. In this regard, the following questions are answered:
How can the works of art in Molavi's, Saadi's and Hafez's ghazals be interpreted?
What do the topics of "dominant aspect", "surprising", "defamiliarization" and "foregrounding" have to do with the art-making component? 

By studying a library of reliable sources and extracting comprehensive evidence from relevant poems based on formalistic criticism, the author has analyzed poetic examples and considered the prominent role of words and phrases in the association of meaning.

In this research, the prominent role of language in terms of words and combinations, systematic images and the music of words has been investigated by presenting various art forms and norm deviations and the involvement of rhetorical sciences.

Literary and artistic creations depend on the highlighting of words, combinations and aesthetic themes with the organized confusion of ordinary speech, which elevates poetry to the level of "artwork". In this regard, the poet is not satisfied with mere arrays, he paints with words and plays music. With phonetic, rhetorical, visual and auditory works of art, it avoids habit, defamiliarizes and breaks norms. His arrays are no longer trivial and repetitive. By composing multifaceted verses, he makes a new innovation. For example, Molvi reaches his dominant form in music by using sounds, nationalities, repetition, self-made lines and incomprehensible words along with Etanin and Afa'il and Orad Khanghahi.
With his simple and noble language, Saadi weaves all kinds of arrays together in the form of a spider's web in the sonnet, and Hafez uses all the elements and tools of poetry in terms of language, meaning and music to be able to use arrays.

Country is one of the terms and concepts which were paid attention to by patriotic poets from the beginning of Persian poetry and literature. There have been some events in each period of every nation which make the borders of that nation to be under threat by aliens. This threat can be in fields such as cultural and national values. Constitutional period in Iran was one of the period in which alien countries were looking forward to plunder the property and wealth of our country. Poets who tried to guard our country against aliens were one of the effective agents in awakening and awareness of people in Constitutional period. Sayed Ashrafaldin Gilani was one of them who notably tried to look into different aspects of "country" in his Divan. By using this term in his Divan, he wants to make people to be aware of negligence, to show his love to his country and to protect our national values. Since the term "country" has an important position in Persian poetry, the researcher through analysis of Nasim-e shomal'poetry and his knowledge in this field tried to have a brief and thorough look into it.

What is known as mystical literature today is the literature that was formed based on the teachings of Islamic Sufism. The first representatives of Sufism were identified with the works of later periods. "Noya" considered the entry of Qur'anic interpretation into the world of Sufism, coinciding with the formation of mystical teachings and causing the emergence of Sufi technical terms (Noya, 1994: 132). Sufis wrote educational and propaganda books to propagate their religion. The penetration of mystical thought into existence and man and his behavior among the interested people, especially from the fifth century of Hijri, produced many works. The main issue of this research is the analysis and investigation of Maaref as one of the most indicative mystical works of the mentioned period from the literary aesthetics point of view. The main question of the research is how the beautiful aspects of the mystical language were manifested in the Maaref of Bahavalad.

  This is a research at the theoretical level with the library study method and relying on the analytical method. The focus of the research is the rhetorical features in the text of Bahavalads Maaref.

Prose writers, especially the Sufis of the era, have given great importance to the beauty of their prose, and the effects of beauty have appeared more in Sufi prose, and this has led to the emergence of technical prose (Gholamrazai, 2009: 381). The characteristics of aesthetics in the Maaref of Bahavalad are: the frequency of similes in the words of Bahavalads Maaref is more than symbols and metaphors. Metaphor is the basis of language, the creator of meaning and a necessity of style to enhance and decorate words. The metaphors of Maaref are in the field of plants and growth. The frequency of diagnosis has also been a place of attention and it is a means of expressing situations, understanding themes and understanding it by people.Bahavalad has sometimes used irony as required by the word; Reflecting on the entire text, we will find that metaphore is rarely used. And in addition to the use of popular words, Bahavalad has acted widely in the use of popular examples; Example: "Firstcoarse then soft" (2/78). By the method of quoting and describing the behavior and speech of religious figures, Bahavalad has used mystical themes as required; Example: "As Ezra and Wamiq are" (1/229), "Adam and Eve" (ibid., 1/229), "Jalinos" (1/303), "I said, is my ego like Abulahab that it burns me like this" (1/62). Diversity is seen in the use of opposite and mutual words in Maaref. Bahavalad symbolically used four ducks, roosters, peacocks and ravens in a cage to show the negative aspects of the ego (221/1). The elements of balance and music of speech are things like repetition, phonetic arrangement, punctuation, which have provided the means for the melodiousness of Maaref.

With a romantic attitude and mystical language, Bahavalad expresses his ideas simply and fluently behind everyday events. Imaginations in his words replace scientific terms. The beauty of Maaref style is: conversational nature and the influence of linguistic factors of the environment and the age of the author and the oratory nature of the text - which is specific to educational language in assemblies. Bahavalad's Maaref style is similar to Khorasani style. The metaphorical nature of mystical language is evident in education, which is related to the field of agriculture and plants. The original spiritual arrays and the categories of the science of meanings and the subjects of the science of expression have made his speech melodious. Mystical concepts and themes are expressed indirectly with allegory and code. Folk proverbs and sometimes superstitions are reflected in the text.

Research in Persian grammar books and representing their ways of expression and teaching following new educational theories can open the way for grammar writing and scientific education. The purpose of this research is evaluation the educational prose in Persian grammar books based on its communicative Competence. In this research, the data was collected in the form of a library, which was done by examining 9 Persian grammar books. Data analysis was carried out in a descriptive-analytical way and by designing reviews based on the approach of applied linguistics and teaching instruction. Based on this, the characteristics of each of the basic theories were extracted and numbered as an index so that the findings can be inserted in front of them. According to the findings of the present research: Persian grammar books are written according to the structuralist or formalist descriptive order and in an analogical way. In none of them teaching grammar indicators such as context-oriented, considering form and meaning and function, concept-oriented, task-oriented, production-oriented, and paying attention to speech types, have not been the teaching criteria. In this text, the emphasis is on linguistic knowledge; No communication skills. According to this study, Persian grammar is not written based on the corpus of linguistic data.

The effect of the geographical environment on human thinking is a remarkable matter. Islamic Sufism with entering the geographical area of Iran faced new challenges. Iranian mystics and scholars, with a new reading of religion and Quran led the Islamic world gradually to polarization. Soon after, Sufistic romance of Khorasan School was put in opposition to tradition-based Sufism of Baghdad School. Confrontation of these two schools penetrated into fields of thought, politics and society as well. The peak of this conflict was in the death of Hallaj and also the approach the followers of Baghdad and Khorasan schools chose toward that issue. In this study, we discuss the causes and the nature of the confrontation between these two schools. Then, with regard to the importance of Hallaj issue, after investigating the dimensions of Hallaj dispute with Junaid, it became clear that the divergence between these two great mystics had roots in the confrontation of Baghdad and Khorasan schools. These two persons had fundamental disagreements about important issues such as: 1. the political thought, the border between interpretation and explanation of Quran, 3. the meaning of Oneness 4. the conscious rationality and unconsious pondering 5. Arabian servitude and Persian justice- seeking.

Dowalrānī Xezerkhān tells the love story of Xezer (xażer) Khān, Ala-edin khalji’s son, and the princess of Gogojrāt named Dīveldī. This Masnavi written in the poet’s late life comprises two parts. The first part was written at the request of Xezer Khaan in 715/1315 and the second part, including 319 extra verses about murders of Khalji's prince and his brothers, was appended between 720 & 721/1320 & 1321. The poetic language of this historical tragedy is mature, simple, pleasant, and free from conventional conservatism. Multiple literary compositions, simple but skillful illustrations, Amr Khusraw’s special subject headings, and new styles on writing Dah-Nameh are the most outstanding particularities of Dowalrānī Kheżerkhān. None of Amr Khusraw’s historical Masnavis have as much special names as Dowalrānī Kheżerkhān, including good historical, cultural, political, geographical, and social information about the history of the rulers of India, especially Khalji dynasty, their methods of government, political relations, prince's choice, royal wedding, names of people, places, and positions, and also government officials. Dowalrānī Kheżerkhān is the only work of Amr Khusraw, which has a version belonging to the poet's lifetime. This manuscript under the number 178 is preserved in Arg Library of the Republic of Afghanistan. Another feature of the book is illumination of the new aspects of Amr Khusraw’s life and thoughts, as well as mentioning of his son’s name, Ein-ud-dīn Mobārak, and the poet's story of desertion from Mongols.

Significant expansion of communication models and networks; Also, the diversity of biological and cultural needs has caused the disappearance of the contractual boundaries of disciplines and sciences, especially the humanities. Today, due to the increase in psychological problems and rising suicide rates, human beings need methods to use it to increase the psychological capacity of people. Therefore, to help theorize in disciplines such as psychotherapy, we need to use sciences such as literature; because literature-based psychotherapy can provide good services to psychotherapy due to its educational, moral and religious teachings. Saadi, a great thinker who has become world famous for her expression, moral wisdom and philosophical wisdom, has expressed the true connection and meaning of love in her works. In the present study, with descriptive-analytical methods, based on interdisciplinary studies, love in Saadi's thoughts has been studied with the approach of Yalom Existential Psychotherapy. The main purpose of the research is to answer the question of how Saadi and Yalom help human beings, through love and communication with others, to cope with their existential loneliness in life or to free themselves from it. Findings show that despite the cultural differences and temporal-spatial dimension, both thinkers have expressed their relationship with each other through "needless love" in almost the same language and manner.

Regarding the different conditions and characteristics compared to the past, the modern world, always needs a modern voice and ideology. Naturally, the changes in the contemporary world, willingly or unwillingly, influences in the lives of all citizens, especially children and adolescents. Therefore, in order to increase awareness of this vulnerable group, adults should identify the characteristics of the modern world and represent the far-fetched issues in this field. Children and adolescent fiction are the powerful tool for bringing these modern-day themes to the minds of children; because the story plays a prominent role in the cognitive and emotional development of children. This descriptive-analytical study seeks to extract and identify the concepts of modernity in the story of “ the Little Black Fish”. The results show that Behrangi in the field of modernity views concepts such as exile, differentiation, theoretical curiosity, socialism, movement and dynamism, class conflict and freedom. By identifying with the main character of the story, the child moves away from the traditional thinking and the same color as the congregation, sympathy and goes on a long and dangerous journey.

Modernism, as a great movement, led to a great evolution in the field of art and literature,. Shams is one of the writers who intends to acquaint the children and adolescents of the society with the realities of the modern world; so, this author expresses the components of the new era for this group in narrative form. The importance of the present study is to acquaint the audience with the different style of Mohammad Reza Shams, which is in accordance with the modernist atmosphere and is appropriate to the changing children's tastes. The present study investigates the prominent semantic components of modernity, including critical thinking, alienation, elitism and defamiliarization by descriptive- analytical , " Shams criticizes Injustice of society, corruption in bureaucracy, patriarchy, environmental crisis and children with irresponsible parents and intends to acquaint the audience with the trend of current world, hence he exposes the bitter realities of society objectively by critical perspective, so children and adolescents get acquainted with the contradictions of the present society by reading Shams stories.On the other hand, the present life of people in the society is accompanied by alienation, that Shams displays this component in the stories of " in the form of loneliness and death, identity crisis and anachronism.In the story of,Shams deals with the contradiction between the elite class and the middle class by an elitism approach, so in this narrative, the elite tries to complete the mission by superhero ideology and independently, and finally, in the stories of the author by applying the anarchist component, uses characters who are different from their peers, so they think of performing affairs and goals independently by audacity in searching.

Death is the most definite end that can happen at any moment and at any point in life, a horrible truth that humans respond to with horror of death. Many psychotherapists, including Yalom, consider it to be the main source of anxiety, which greatly affects a person’s behavior and psyche. History has shown that poets and writers have thought deeply about death and spoken about it. Saadi, an Iranian thinker who has gained world fame by expressing his moral and philosophical wisdom, in addition to telling anecdotes in his works “Bustan” and “Gulistan” and even in his “Ghazaliat”, has discussed the meaning of death and the anxiety caused by it. Due to the importance of the subject of death, its certainty and inevitability, the current study used Saadi’s works, along with a descriptive-analytical method based on interdisciplinary studies to investigate how Saadi and Yalom help human beings to overcome the horror of death and to live happily or save themselves from its fear despite knowing about death and to face the crises and their mental and psychological problems. The findings show that facing and remembering death not only reduce death anxiety but also make life meaningful, more precious, and valuable. As a result, with such a perception, one can make death enjoyable not only for oneself, but also for others.

Narratology is a set of general rules about narrative genres, systems governing narrative (storytelling), and plot structure.The attention to the structure and finding a common and similar structure are the consequences of the emerging formalism and linguistic theories of Ferdinand de Saussure in this type of literature. Propp, obtained a structural model of fairy tales by studying the morphology of this type of story. But Todorov introduced the term narratology as the science of studying the variety of the story, according to which he examined the structure of Decameron's stories. The ancient and contemporary Persian stories can also be researched based on the narrative structure of Todorov. One of these stories is “the Purple Bath” by Mohtadi, which was tried to review based on the narrative model of Todorov in this study. The results of this study showed that this story has a pattern similar to that of Todorov was raised. The seven characteristics of Todorov model have examples in the text of the story. In the linguistic structure, the story has formed on the basis of verbs, especially the actions of the protagonist. From a syntactic point of view, he has a main sequence in which other sequences are located in it. How to use pirouettes is also in the form of internalization. But the third to ninth sequences are in a chain within the main sequence. Also in this story, the informative aspect is more frequent and the time of occurrence of verbs is the past tense.

Music is one of the inextricable feartures of poetry which is produced by the agreement and harmony of word,symmetry and repetition in the form of traditional meter,rhyme and rhythm,refrain and use of thetorical devices.The poet by adding such devices to everyday normal language presents a kind of musical and impressive language and thus attracts the attention of the reader to his feeling and poetic imagination,augments the transference of his experiences to the addressee and double the effect of inducing his attitude. In this article the researcher shows how Hazin-e Lahiji employs Literary devices,harmony and order in different kinds of rhymed prose,embedding and symmetry,different kind of pun like perfect pun,complex pun,incomplete pun,refrain and rhyme to create music in his poetry.knowing the important role of lexical coherence in creating music and harmony in poetry,in this article first the question and the ways that lead the researcher to the predicted results are explained,then in the theoretical part the definitions and literature review will be introduced and in the practical part the different aspects of lexical coherence

Existentialism is one of the traditional schools in contemporary philosophy and has been able to open its place in many fields of humanities such as literature, art and especially psychology. Psychological theorists and thinkers have offered different views and approaches in this regard. Yalom is a contemporary existential psychotherapist who helps people deal with life issues such as isolation, alienation, meaninglessness (fear), fear of death, pain and suffering. In his theory of psychotherapy, the question of the meaning of life is the most important and necessary component that is the basis of his psychotherapy. In this research, we try to study the existential meaning and ways to achieve the meaning of life, as well as to provide solutions to deal with the problem of meaninglessness in Saadi Park and Golestan.

The method of collecting library information and the method of organizing it is descriptive-analytical. In this research, books, articles and existing researches about Saadi and Yalom and other written sources in this field have been used. The study area and society are Saadi Park and Golestan, edited by Gholam Hossein Yousefi and translated works (Sepideh Habib) by Ervin Yalom, a contemporary psychotherapist.

The research findings indicate that despite the cultural, temporal and spatial differences, both thinkers in almost the same language and manner seek to provide solutions to achieve the true meaning of life and get rid of emptiness and emptiness. They are semantic. One of these strategies is moral values. For Sa’adi, life is inherently absurd and meaningless, but it has a considerable value that man himself is the creator of, and it depends on the observance of a series of moral principles

Sa’adi tries to learn to think about the meaning of life. His goal is to guide man towards moral virtues and create meaning in life; Provided that we are ready to accept hardships and suffer in the face of adversity as part of the process of finding meaning. The words that arise from Saadi"s heart are sincere and deep enough for man to see the slightest hint of deception in it. His words are still practical and valuable after several centuries, just as the student turns to the teacher for the activity he is involved in. Existential turmoil should refer to Saadi"s works and by reflecting on his sayings and poems and applying these points in themselves to obtain a state that is useful for improving life and getting rid of emptiness. Therefore, the more a person pays attention to his quality of life and moral values ​​such as sacrifice, kindness, benevolence, forgiveness and altruism, the more meaningful life will be for him.

The Bani-Adam collection includes six stories from "The Lives of Contemporary Humans". The actions of the characters are a reflection of the author's social and political atmosphere.In this paper, this collection of stories has been examined from the perspective of Van Livon's principles of social semiotics to determine what tacticsDolatabadi - in the action of the actors -uses to represent the social and political harms in society.To achieve this goal, the stories were studied in a descriptive-analytical method based on the principles of Van Leeuwen 's social semiotics.The findings show that the narrative form of the story, in the imaginary and surreal atmosphere, includes social and political harms.The separation of the framing of stories in the infrastructure reveals the opposition between tradition and modernity, right and wrong, selfishness and otherness.The personal and impersonal authority in the lower layers of the stories speaks of the domination of the individual over the individual and the state over the people.The absence of female, lack of her naming and denial indicate the ignoring of women in the patriarchal society of Iran at that time.

‘Observation and certainty’ is a mystical condition. Mystics observe the intuitions of manifestations and confidently call the proof of the truth of things, without any doubt (certainty). In this comparative study, the authors, while examining the type of Ibn Arabi and Rumi's perception of the mystical state of ‘observation’ and ‘certainty’, have revealed the common and different thoughts, beliefs, and experiences of these two scholars in the field of Sufism and Islamic mysticism. This study is based on the descriptive-analytical method, explaining the commonalities and structural and general differences. The results of the study show that Ibn Arabi and Rumi use observation in relation to manifestation. They believe that observation is about observing the manifestations of God, not God himself. However, Ibn Arabi presents a different discussion of revelation and believes that revelation is higher than observation. In describing the first and second levels of certainty, Rumi presents two aspects of knowledge and insight, and both thinkers believe that it is certain that man has some vision and insight. Moreover, the last point regarding ‘certainty’ is when God puts the mystic in the essence of the work and in the occurrence of a mandatory sentence. Ibn Arabi tries not to step outside the scope of Shari'a in explaining certainty. That is why, in his view, certainty has a religious and mystical value, the condition of which depends on worship.

SoltanValad points to loved Station additional to the lover Station in valadnameh and He knows Shams and Rumi, including those who have reached this station. In the article, we recognize that there is such a view of the stages of love in the ideas of Ayn al-Quzat Hamadani and Roozbahan Baqli by studying the theories of the great Sufis from beginning to Soltanvalad age. The idea has been derived from the phrase "Yohebbohom" (He loves them) in Quran and the Hadith (speech) of the Prophet (PBUH). In transcendental mystical thought, the loved Station is vastly superior than the lover Station. Mystic reaches to the Station in love stages that God love him. In the stage, the station of lover and the beloved changes and this time God is lover and mystic is beloved. To achieve such a station requires an individual who mystic meets him and he has reached the station of a beloved; as Rumi visits Shams and reaches the beloved Station.

The post-feminism tendency in postmodernism, with the aim of denying gender differences and proving women's right to liberty and awareness, has rejected the principles of traditional ethics, which have an absolute view of moral and immoral behaviors and attribute some of these behaviors to women according to gender. Instead, this tendency believes in relativism of moral principles.Having entered literature and consequently poetry and postmodern sonnets, the same idea, with a relative look at ethics and in an attempt to break away from traditional beliefs about women and feminine ethics, has led to the emergence of erotic literature, which emphasizes the sexual and physical aspects of love.Postmodern lyricism paved the way for poets to protest against the traditional view, and encouraged female poets to,by mentioning erotic issues,free themselves from the barriers that custom and tradition, in the name of morality, had extended around them.The present study, which has relied on library research through a descriptive method, tries to comparethe post-feminist perspectives with the approach of moral relativism in postmodern sonnets and shows how erotic and sexual-oriented views toward women can leave negative effects on the thoughts of society.

Paradox is one of the literary techniques in the poetry of the Safavid poets. Hazin-e Lahiji, like so many other poets of that age, employed this technique in his pursuit and showed that "unfamiliar meaning". Paradox is used in the poetry of Hazin-e Lahiji for the purpose of defamiliarization and exoticism. The poet in order to create new implications and subtle and insightful points and also to express mystical notions, Love, free thoughts and ethical arguments has used this literary figure. This article is comprised of some parts. At the beginning and in the theoretical section and literature review, Paradox is defined and its difference from other literary terms, and the state of this literary trope in literature and literary glossaries in the past and present have been discussed. In the practical part, the different kinds of paradox, such as verbal and semantic paradoxes, descriptive and relational compounds have been explained and the features of paradoxes in Hazin’s poetry and synesthesia as a kind of paradox have been discussed.

Covenant and contract is one of the social and religious elements and it is the basis of order and discipline in primitive societies.  If respected it brings unity to communities and if disrespected it is understood as an unforgivable sin and brings moral disorder.  Mithra is the great god of the Indo European tribes who with ‘varunah’ are responsible for the protection of covenants.  Upon entry to any land, Mithra mingles with the deities of that land and thus preserves his sacredness.  Covenant which enjoys a superior standpoint and has sacredness in the eyes of Indo European people forms a significant part of their epic and mythological works to the extent that determines the destiny of certain events and decides the fate of champions in the epic tales.  This article examines and compares form, structure, common components of variety of covenants in the epic, historical, and mythological works in Iran, India, and Greece.  The results obtained show that ceremonies such as sacrificing, pouring droplets to earth, presence of witness and the presence of two sacred elements of water and fire and shaking hands when making a contract are among the common features of covenants.  Juxtaposing these practices and common elements, one arrives at similar patterns which are respected in most contracts.  The comparison of these patterns and the common rites with mythological and religious beliefs of Indo European people determines that the structure of contracts with the structure and beliefs of Mithraism cult are closely related.