محمود رضایی دشت ارژنه

In the pantheon of Proto-Indo-Europeans, there is a mysterious deity who is usually represented as a plant. This god- plant, from which an intoxicating beverage extracts, is called “Haoma” in Avesta and “Soma” in Vedic Sanskrit texts. But we can also trace this Indo-European deity, with other names and different figures in many other cultures related to the Indo-European race. Kvasir, the god of ancient Norse myths is one of them Whose story is mentioned in Prose Edda and Heimskringla, both written by Snorri Sturluson in 13th century, and in the poetry of skalds. Kvasir is a being who was created by the Æsir and Vanir gods at the conclusion of their war and then he was sacrificed by two Dwarfs in a ritual ceremony by mixing his blood with honey, the mead of poetry obtain; The beverage whose drinking causes poetic inspiration and therefore the ancient Norse poets used it in order to be able to sing the heroic epics of their nation. and for this reason, it is also referred to as ‘mead of poetry’.The aim of this essay is to compare the similarities between Kvasir, the beverage of Norse gods and Avestan Haoma and Vedic Soma. These similarities have been investigated from three aspects, etymological, mythological and ritual. The essay also tries to be a preface in search of the archetype of the divine drink of the Proto-Indo-Europeans.

This research is based on descriptive-analytical method with a comparative approach, in order to identify the common patterns and themes of the mentioned texts and to find the relationships between them.

The name of Kvasir is derived from the word “kvas”, which means strong beer. This beverage represents in some aspects the intoxicating drink of soma- haoma. On the other hand, just as soma had been brought from the heaven by an eagle to be used by Indra, Kvasir was also snatched from the mountainous territory of Suttungr by Odin, in the form of an eagle, to offer it to the gods. Remarkably, Kvasir is a god who is sacrificed to be resurrected as a beverage that is being used by gods and epic poets. in the same way Soma - Haoma is a Sacrificial god, and the result of Sacrificing him in Avesta, is the good sons that Ormusd has given to his sacrificers. Basically, the "drink of the Gods", or ambrosia causes immortality as well as strength and courage. And that's why the heroes of epics drank it before their fateful battle with the demonic forces. On the other hand, as Loki, in Prose Edda after escaping from the gods, transforms into the shape of a salmon and hides himself in the waterfall of Franang  and  finally Kvasir, The wisest of gods, pulls him out of the water and chained him to a rock in a cave, in Avesta and Shahname (The Book of Kings) Afrasiab, an opponent of kay Khosrow after escaping from him, hides himself into the cave and then Chichast Sea, in order to be saved, but  Hom  the Hero, Eventually found him. Loki's fate is also similar to Azi Dahaka( Zahāk) that Frēdōn, the hero of Shahname, had chained him on the mythical Mt. Damāvand.On the other hand, the vessels in which the flowing blood of Kvasir, is kept, i.e, Óðrœrir, Boðn and Són and have symbolized the meanings such as Divine madness, infatuation, wisdom and horse of the sun, have similarities with soma- haoma and its rituals; Because Soma- haoma is also a god and an intoxicating beverage that indicates the wisdom and one of his characteristics is zairi or golden, which implies the sun.

The ritual beverage of the ancient Indian, Iranian and Norse peoples, Despite their differences, basically are the same and their similarities from the etymological, mythological and ritual aspects are remarkable.Kvasir, like Soma-Haoma, is a god who is sacrificed in a religious ceremony in order to exist again in the form of a beverage and bring good and blessings to his followers. But the archetype of the mentioned beverage is still ambiguous for many researchers. some of them consider it as a drink which extract from a specific plant, But others consider it as  an alcoholic beverage made by fermenting honey mixed with water, and sometimes with added ingredients such as fruits and spices and grains, or hops. But there is no doubt that there is a significant similarity between the Sanskrit grā́van (a stone used to pound the soma plant and extract its juice) and the Avestan hävana [mortar] which has the same application. The similarity between grā́van, hävana and Hnitbjörg- the mountain abode of the giant Suttungr in the Norse mythology- is undeniable. The word Hnitbjörg can be translated as 'colliding rocks' which may have implied that the mountain could open and close. The origin of this word is the Greek word Συμπληγάδες[Sympligades] which is mentioned in the twelfth book of  Homer's Odyssey (The Wandering Rocks) and refers to a pair of rocks at the Bosphorus that clashed together whenever a vessel went through.On the other hand, the vessels in which the blood of Kvasir, after sacrificing him, is poured, i.e. Óðrœrir, Boðn and Són, have, respectively, the meanings such as “divine madness” infatuation”, “wisdom” and “horse of the sun”. These meanings remind us the Soma- Haoma, that intoxication and wisdom are their characteristics.It should also be noted that the meaning of  Boðn in Icelandic  is cask, a wooden container used for storing liquid; which is   equal  to  Avestan word, tashta (aTCaT) ,that is used  in the Haoma Ceremony and its original meaning is  cup or goblet. we should also mention the etymological relationship that between the Icelandic word, Boðn, and the Sanskrit word, Buddhi[बुद्धि]exist. the latter also means intelligence and wisdom

The guilt of Fereydun, one of the greatest Pishdadi kings, is mentioned in Mainyō-ī Khard and the Pahlavi narrative alongside Jamshid and Keykavus, although there is no indication of his guilt in the Shahnameh. In this essay, after criticizing the previous views on this matter, two hypotheses about Fereydun's sin have been proposed: one is considering that the Vedic counterpart of Zahhak, Vishurupa, a three-headed, three-faced and six-eyed dragon, in the Mahabharata, is a devout and religious Brahman who continuously recites the Vedas with one head, and Indra, fearing that he might take his place among the gods, kills him and because of this sin, loses the dominion of the sky and his strength decreases, it could be that Fereydon's sin is also connected with killing Zahhak; who is also a worshiper in disguise of Mardas and also vowed and sacrificed to Anahita and Wayo, still has signs of his Brahminism and religion in the Shahnameh. On the other hand, considering that Indra's other sin, is the seduction of Ilya/Ahlia, a Brahmin woman named Gautmahnam, and as a result of this sin, Indra loses all his beauty and it is transferred to two Nasitiyas, it is not unlikely that Feridun's other sin was kidnapping two Brahmin women. A matter that has been elegantly depicted following the fundamental Post- Zoroastrian transformations.

Although Ferdowsi's Shahnameh contains many narrations of Iranian myths, there are myths, that Ferdowsi did not address for some reason. One of the most controversial myths that are not present in the Shahnameh is the myth of Arash Kamangir. Some scholars believe that Ferdowsi did not intentionally refer to this myth, and others believe that this myth was not in Ferdowsi's sources. However, this research tries to look at this issue from the perspective of "paradigm analysis" And show that in the Shahnameh paradigm, the natural and obvious act is choosing life over death and the act of consciously and intentionally choosing death has never occurred by the heroes. In other words, the choice of deliberate death or martyrdom is an issue that is outside the Shahnameh paradigm. And Arash's myth could not have a place in Ferdowsi's Shahnameh because it is a story in praise of martyrdom. This is the result of comparing the paradigms that govern the Shahnameh and the myth of Arash, while the deliberate choice of death is absent in the paradigm of the Shahnameh, it is emphasized and praised in the paradigm of the myth of Arash. Hence, the paradigmatic contradiction between the two texts has prevented the presence of such a myth in the Shahnameh.

For the first time, Wikander, with his research on Mahabharat and the Shahname, suggested that the warrior class among the Aryan people was an independent class of social structure, and that the clergy and the peasants constituted two other classes. By placing the group of rulers next to the clergy in the first class and examining the social structure of other Indo-European peoples, Dumézil extended the theory of the threple systhem social structure to other societies of this nation. He believed that in addition to the social structure, gods, families, and even more detailed concepts such as medicine, fire, and Farrah in Iran followed this structure. But by examining these issues in more detail in Shahname and Mahabharat, we can say that many of Dumézil's analyzes can be criticized. In this article, an attempt has been made to critically examine the foundations of Dumézil's theory based on the myths and epics of India and Iran, and to critique and analyze this theory. According to studies, it seems that social classes and other concepts that Dumézil emphasizes are not very separable and demarcating. On the other hand, the peasantry in Indo-Iranian beliefs was not as important as other classes and Contrary to Dumézil's view, craftsmanship has a long history in these societies.

Ferdowsi's Shahnameh is the greatest national epic of Iran which is a difficult and elusive text despite its simple and definable surface structure. Therefore, in spite of various comments and independent articles in determining some of its ambiguities, the record of many couplets is still doubtful and commentators report on some of the couplets doesn’t seem acceptable. In this study, the authors, by analyzing some verses of the Shahnameh edited by Jalal Khaleghi Motlagh, found that inadequacies and ambiguities are seen in the interpretations of some couplets which are either due to insufficient attention to the texture or due to incorrect record of the couplet. Therefore, in this study an attempt has been made to suggest a more appropriate comment either by critically analyzing the record of a few couplets or   criticizing the reports presented on some couplets to provide a more appropriate interpretation by using more authentic and reliable sources.

One of the most controversial acts of kings in Shahnameh is Goshtasb's attempt to kill Esfandiar. Goshtasb's interest in being a kingdom is generally cited as the reason for his action. In Shahnameh, Pashtun mentions this issue, but there are a few things to keep in mind in this regard. First, Pashtun is Goshtasb's first child and should be his crown prince, but he does not claim to be a king. Second, Goshtasb later transferred the government to Bahman. Moreover, examples of attempts to transfer power to grandsons can be seen in Iranian stories and the epics of some other countries; it is especially an Indo-European theme. Also in Iranian beliefs, girls are one of the mediators of Farrah transmission. Accordingly, in this article, we have tried to investigate the reasons for Goshtasb's attempt to kill Esfandiar. Based on the analysis, it can be said that Goshtasb's attempt to kill his son is a recurring theme and that the transfer of kingdom to a grandson was considered as a powerful transfer. According to the form of transmitting Farrah by girls, Goshtasb's Farrah reaches Homay, and Bahman inherits Farrah through his mother. Goshtasb also tries to behave in such a way that Esfandiar does not become a king because he does not have Farrah.

Rostam’s family is very much associated with magic-healing and shamanism in Iranian epics. It is possible that this family belonged to one of the most influential Aryan brotherhood associations in Iran. In these associations, each person performed initiation rituals before entering and in addition to fighting, he acquired the ability to communicate with the underworld to communicate with the spirits and cure diseases. Two stories about Rostam in the national epics of Iran are related to the two concepts of initiation and traveling to the underworld. The first is the story of ''Babr-e Bayan'', which is Rostam's initiation in the shamanic and militancy associations, and the second is the story of ''Haft Khan Rostam'', which is an aspect of a journey to the underworld. In this article, we have examined the signs of shamanic rituals in these two stories. Eventually, it becomes clear that ''Haft Khan Rostam'', unlike ''Haft Khan Esfandiar'', is not his initiation; rather, it is a narration of the shaman traveling to the spirits world to recapture the sick soul.

Eliade believes the ritual travels of heroes is one of the main themes of epics. On the other hand, Iran is one of the most influential societies in shamanic rituals and shamanic manifestations are seen in many Iranian epics. Esfandiar's Haftankhan is one of the examples of the connection between Iranian epics and shamanic rituals which includes the basics of ritual travel. In this story, Gogsar is a symbol of the novice guide shaman and the stories of Haftkhan are symbols of initiation, the arrival of the learned hero in the associations and his journey to the dead's world to bring back the souls of the sisters. In this article, an attempt is made to compare the manifestations of the initiation ritual in this story by comparatively checking the stories of Esfandiar's Haftkhan with the shamanic passage rites and show why this story is his initiation. The article will also show that Esfandiar in the third stage passed the rites of initiation successfully. And the stories that follow are a description of his journey to the underworld to restore the soul. This task was performed by shamans in ancient societis.

Due to their common roots, the epics and myths of Iran and India are very similar. Zahhak the snake shoulder is one of the characters of Iranian epics, whose functions are also seen among the epic characters of India. Vishvarupa because of having three heads and Vritra because of his connection to drought are epic characters that scholars consider them to be the Indian counterpart of Zahhak. Also, the story of Indra's sin and the transfer of his power to Nahusha has many similarities with the story of Jamshid's sin and accession of Zahhak to the kingdom. In Indo₋Iranian narratives, Indra and Jamshid are examples of sinners who lose their Farr (glory and splendor). But Zahhak and Nahusha, as their successors, after committing similar crimes such as trying to seize the former king's wives, humiliating the clergy and supporting heresy in religion and society, are deposed and taken captive in places like the underworld. In the present article, the commonalities of these stories in Shāhnāmeh, Mahabharat and other Indo-Iranian narratives are compared and analyzed. The findings show that, contrary to the opinion of many scholars who compare Zahhak with Vishvarupa and Vritra, in Indian narratives, Nahusha is more consistent with Zahhak.

In epic narratives, there are signs of mythology and mythological patterns. Some characters, narratives, places, and other elements may be rooted in mythology. One of the characters who has been talked about much of his mythological or non-mythological and narrative related to him is Rostam. The narratives and stories that Rostam presents in the epic of Iran includes some other heroes like the birth of Rostam, bringing the king from an alien land or his way of death. In these narratives, similar to Rostam's narrations, there are some pieces of material that are more or less authentic than Rostam's stories. In this article, several of these narratives have been investigated and shown. Other stories follow Rostam's stories from the older or primary mythological material, and in the narratives of Rostam it is neither visible nor visible, or the color is lost or a newer form And more logical. Therefore, other narratives are more or less original than Rostam's narratives, and narratives related to Rostam are probably newer in narratives or because of his conversion to the first epic of the National Epic, based on other narratives.

Jahangosha-ye Juwayni’s history is one of the most valuable classical Persian prose texts, that is very important in both historical and literary terms. While many explanations have been written about this great work and tried to explain the difficulties and ambiguities of it, still it seems that some expressions have not been explained as they should, and some of the comments of respected commentators are inconsistent with the context of the text. Therefore in this article, we have tried to review some difficulties and ambiguities of Jahangosha-ye Juwayni’s History according to the intertextual and textual evidence to present more appropriate meaning. So the idiomatic expressions Bad bar kasi jastan, kheumeh be Sahra zadan, Ghovvad, az rahe tahatok dar keshti neshastan, az tamakkon rojoom bar hojoom emtenaa kardan, andisheh dashtan, laal e masooh, mostadfea, hasher, nefar, sader & vared, obneh, beraz, fara ab dadan, etc were analyzed.

One of the most challenging parts of Shahnameh, is historical part,whether it can be considered in historical studies or completely outdated legends that cannot be trusted in historical studies. In this essay, with a case study of Balash and the degree of convergence of the narrative of Shahnameh with the Islamic sources, it became clear that the historical part of Shahnameh can also be regarded as a reliable source along with other historical sources; As succession Balash in the absence of Firouz, the transfer of monarchy from Balash to Ghobad, the supreme position of Sukhra during the reign of Balash, the reconciliation request of Khoshnavaz in Balash period, the four years of the kingdom of Balash and his justice and tolerance,has narrated in both Shahnameh and historical sources, and an interesting Similarity between Shahnameh and the historical Islamic texts is seen. but as historical sources themselves disagree in many cases, the confrontation of Ghobad with the reign of his younger brother, the way of transferring the power from Balash to Ghobad, the confrontation Sufra with Khoshnavaz and the built Several cities by Balash, in Shahnameh and historical texts, there are seen some heterogeneity. But the most fundamental difference is that, contrary to Shahnameh, which, without any tension, monarchy transfer from Balash to Ghbad, in most of the historical texts, Ghobad resorts to Khoshnavaz to overthrow Balash, while this adventure in Shahnameh follows after the reign of Ghobad to removal his brother Gamasp, not Balash.

Fertility myths are one of the most important and repetitive types of myths of the nations in the world, which describe the fate of "martyred vegetable god", "hero / god dragon", and "hero / evil-killer god" and is usually an allegory of the death and life of nature. It is also the change of seasons. The mythological beliefs, while spreading among the people, are also accumulated in the collective subconscious of the people; therefore, myths - created by the general public - are a good means for the reflection of fertility myths in different eras. So, in this article, a descriptive and comparative method examines the reflection of fertility myths in 140 legends belonging to the provinces of Chaharmahal. And Bakhtiari, Lorestan, Kohgiluyeh and Boyer-Ahmad. The aim of the present study is to achieve the mythical patterns of fertility crystallized in the legends of the mentioned provinces. The findings show that the patterns of "martyred vegetable god" are reflected in 14 myths, "hero / god of dragons" in 9 myths, and "hero / evil-killer god" in 30 myths. The reproductive myths have been transformed into myths influenced by religious issues and the change of the patriarchal discourse to patriarchy.

The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the kingchr('39')s main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.

 The world of myth and legend is a world filled with mysteries, symbols, and enigmas that since the 19th century onwards with the advent of different mythological approaches, attempt was made to throw light on the obscurities found in the wonderland of myths and to reveal their symbolic deep structure.  Using descriptive analytic method, this research is concerned with the study of the subject of horse, a perplexing theme quite distinct in the realm of myths, in epics both in prose and verse.  It became clear that horse, alongside cow and woman is the symbol of rain.  Owning a horse equates having rain at hand, and losing it equates drought.  Horses such as Rakhsh, and Shabrang-e-Behzad are often stolen by demons and one task of Gods or warriors is to return the horses to the Persian Land, as these horses were taken to Turan land at times.  According to numerous evidence it can be understood that horse stealing, like stealing cow and woman in myths and beliefs, are the symbol of stealing rain, and their return is the symbol of rainfall.

One of the most important epic works after Shahnama is the Old Burzunama which composed by Shams al-Din Muhammad Kusaj in 4200 verses in 8 AH; it has been narrated the story of Burzu, the son of Suhrab, with epic tone and posh utterance. The latter work was amended according to 5 manuscripts by the eminent professor Akbar Nahwi in 1387 SH which is one of the most coherent and scientific works that produced on a work after the Shahnama. In this review, in addition to introducing details of the work, the authors have tried to explain the meaning of some couplets, while presenting some suggestions about the recording of about 33 vague couplets.

Ferdowsi's Shahnameh is a marvel on which the more we reflect and contemplate, the more we confront its linguistic dlicacies and nested meanings. Shahnameh is Ferdowsi's masterpiece which is easy to read but, at the same time, difficult to understand.  In spite of the fact that ther are numerous explanations to the book, along with independent articles written to unfold some of its ambiguities, there are still a number of couplets whose authenticity is in question and hence cannot be recorded. In addition, the commentators' explanations on some of the verses are not acceptable. In this article, having analyzed some verses of Shahnameh edited by Jalal Khaleghi Motlagh, as the latest and best edition of Shahnameh, the researchers have found some inefficiencies and ambiguities in the description of certain couplets. This is either due to the insufficient attention paid to the texture of the text or due to the inaccurate recording of the couplets. Therefore, after critically scrutinizing the recording of some couplets, the researchers, first, have given some suggestions for a more accurate recording of the couplets. Then, after critically reviewing the descriptions of some of the couplets, an attempt has been made to provide a more appropriate meaning by giving reference to the intratextual and extratextual resources.

Simorgh is one of the mysterious characters of Shahnameh, which in many cases transforms the fate of the war or the hero with its own power. But despite the outstanding position of him in the epic literary and narrative scrapbooks, its evolution and performance have never been studied as a centralized work. Therefore, in this essay, we tried to examine the evolution and performance of Simorgh in three areas of pre-Islamic literature, epic literature and narratives. The results of this research indicate that, unlike Shahnameh, in the other post-Shahnameh epic poems,prose epics, narrative transcripts and Folklore literature , there are more widely used powers related to this bird such as: helping Faramarz, asking Sam for help to get rid of Argham Div, spelling the city of Eram, helping Rustam in defeating Sorkhab Div and releasing Rakhsh, helping Rustam in defeating Jabbar-Shah and retrieving the ring of Prophet Soleiman from Sakhre Div, calling on Zal to convert to Islam, predicting the defeat of Zahak, Supporting Fereydoun, designing the Kaviani flag and Feridun’s weapons, upbringing Zal, releasing Keykavous from Mazandaran, Finding Rakhsh and Informing Zal of Faramarz's Survival, Killing Esfandiar, helping  Simorgh by Garshasp, Curing Rostam and birth delivery of Faramarz, Liberation Kaykhosrow, the coronation of Kayqhobad, killing Div-e Sepid, Choosing Rakhsh, victory over Sohrab, finding the way to survive Sohrab, and helping Zal to confront Borzu, Making armur of Rostam, keeping Rustam and Siavash from death.. On the other hand, regarding to the two aspects of Ahura and the demonic of Simorgh , his connection with Zervan is not impossible.

Horse is one of the most important themes in epic literature that has always been with the hero from the oldest era and even is sometimes unified with the heroes, and during the time it has taken many functions. In this essay, analyzing verse and prose epics and folklore based on the content analysis method, it became clear that sometimes the horse has a direct bond with water and fertility. In some texts, the horse is considered the symbol of wind, as it is evidently mentioned in Eskandarnameh. On the other hand, horse is sometimes a symbol of death, as the black horse of Aphosh, Shabrang Behzad, and the black horse of Esfandiar are linked to death. Sometimes the horse is unified with demon and fairy, as it is mentioned in the Hamzanameh, Firooz Shahnameh and Darabnameh Tarsosi. The horse of Tahmooreth in Shahnameh is also considered as the devil. Horse in some texts has such an important position for the hero that the selection of the horse is also one of the important stages of hero’s improvement, and sometimes even a horse and the horseman will unify as the hero cannot accomplish his mission without the horse, as Rakhsh and Sheborg Behzad in Shahnameh, and Ashghar, the horse of Boran-Dakht in Hamzanameh and Darabnameh Tarsosi are cases in point.

A comparative analysis of Bram Stoker's Dracula and Zahaak's myth In this query the authors after analyzing and comparing the horrific novel Dracula and the ancient myth Zahaak concluded that two works have many similarities in contrary to their heterogenous superstructure. The basic principles of Zahaak myth are manifested in the contemporary novel Dracula as in both works the antiheroes are ugly and demon, in both of them, the antiheroes return to the world after the death or release of the captivity and going to ruin the world and love the darkness, in both of them anima, wise master and shadow have activity action, in both of them the antiheroes convey devilish spirit to others and anima release from the shadow or in the other words, rain clouds is released from the drought dragon and in both of them, antiheroes are cannibal, sorcery and being metamorphosis. Key words: Dracula, Zahak, Anima, Pure wisdom, Shadow, Returning again, Devilish spirit, metamorphism, Witchcraft, cannibalism

Following the explanation of the historical position of Shahnameh, in this study, Firouz’s character in Shahnameh has compared with the Islamic historical texts, and it became clear that Shahnameh is one of the reliable historical sources too, and in general, is consistent with historical texts about the adventures of Firouz era; as Firouz's rebellion against his brother, Hurmazd, and taking the reign, seven years famine, Firooz's humanity, and the management of the crisis during the famine, the construction of cities in Firouz era, Firouz’s war with Khoshnavaz, the defeat of Firouz in confrontation with Khoshnavaz and being killed in the bay, appointing Sufra and Belash in the capital during the battle in front of Hephthalite’s king, twenty-seven years of the reign of Firuz, taking revenge from Khoshnavaz by Sufra and the return of trophies and captives, are all mentioned in Shahnameh and most of Islamic historical sources; and there is a conspicuous reconciliation between Shahnameh and the historical texts of the Islamic period. Obviously, in some details, there are differences between Shahnameh and the historical texts; as in the length of the period of famine, the duration of the kingdom of Firouz, the number and names of cities were built by Firuz, the method of his war with Khoshnavaz, his reactions in confrontation with Hurmazd, the reason of his war with Khoshnavaz, and his companions in the battle with Khoshnavaz, there are some differences between Ferdowsi's narrative and some historical sources.

In Iranian mythology and since the beginning of creation war has been a current theme. Some Iranian gods, such as Bahrām, Mitrā, Bād, Hoom and Soroush, are fighting for peace, security and purity on behalf of Ahuramazdā against Angra Mainyu (Ahriman). Myths play an important role in the collective and subconscious memory. As such, they have a profound impact on religions, arts, literature and general culture of all times. Therefore, this article examines the gods of war in the legends of Chahārmahāl and Bakhtiāri, Lorestān and Kohgiluyeh and Boyerahmad province. The research context consists of legends written in Persian in Chaharmahāl and Bakhtiāri, Lorestān and Kohgiluyeh and Boyerahmad province. The purpose of this research is to explain and analyze the presence of mythological war gods in the legends of the above-mentioned provinces. Through a careful reading of this article, the reader will understand that the gods of war such as Bahrām, Soroush, Wind and Mehr are present in the legends of these provinces, sometimes superhuman and sometimes terrestrial with metamorphoses in their appearance and function.

Analyzing mythical content analysis of myths is one of the most important issues in the field of folk tales research. Birds are so important to humans in the distant past that they have been present even in the myths of different nations. In this research and by adopting the content –analysis research methodology, the authors have tried to investigate mythical content of birds among Luri’s myths gathered around Chahārmahal and Bakhtiāri, Kohgiluye and Boyer Ahmad and Lorestan provinces. The objective of the current study is to analyze the functions of birds on the one hand and the manner the mythical beliefs can influence the birds’ place on the other hand.  In this research and in comparison with mythological beliefs, the authors have studied the reasons for the transformation of the roles of certain birds in Luri’s myths. The results showed that out of a total of 140 Luri’s myths in 48 myths, birds such as eagle, Simorgh, crow, owl, swan, pigeon and asparagus are present with positive functions among Luri’s myths which may indicate their popularity among the people. It is worthwhile to mention that mythological and religious beliefs alongside the eco system exert the great influence on the place and function of the birds.

1. Introduction The Reflection of actions has a special place in Islamic mysticism. Based on this component, it is believed that any good or bad act in this world has a reflection that causes the good or bad reaction, and in addition to the punishment of the practitioner in front of God, in this world also, everyone sees the result of his or her good or evil actions according to the kind of action. In this essay, by analyzing Shahnameh, the author tried to find that how Ferdowsi has demonstrated the reflection of actions in his works based on pre-Islamic sources and Islamic mysticism. Among the cases in Shahnameh, that practitioner sees the result of his or her good or bad deeds in this world, The following can be mentioned: Justice, nemesis, reconciliation, shedding innocent blood, breaking border, dishonoring the king, killing the king, oppression and claim of divinity, killing the child, breaking the covenant, killing innocent prisoners, take the power with force, etc. 2. Methodology The research method is based on content analysis, i.e., after gathering data from relevant resources and Shahnameh, the researcher tries to determine the subject of the study by by analyzing the data. This research attempts to answer the following questions: Are the reflection of actions represented in Shahnameh? In what cases did Ferdowsi represent the reflection of actions? 3.Discussion In this essay, the researcher tries to list the manifestations of the reflection of actions in Shahnameh in order to illustrate the quality and the way of this Qur'anic and mystical concept in Shahnameh. 1-1- Justice Given the king's place in ancient Persia, it was evident that when the king was leading the truth, the world under his realm was also luscious, and if the devilish way and path were to proceed, the entire nature of the earth was pragmatic and drought would come down to the country; as when Anoushirvan practices justice, the reflection of his good action brings lush greenery, rain, abundance, comfort and security for the world. (Ferdowsi, 2007, vol. 7, pp. 281,289) 2-1-Grudging and Reconciliation At the time of the reign of Zo-Hamasp, Iranians and Turanians participated in a war against each other, which arouse God's wrath, and brought famine and drought to the two countries. Therefore, the armies became suddenly aware thinking that famine and drought were the result of the reflection of their actions and their antipathy. Thus, as soon as they reach the path of reconciliation and abandon hostility, the rain will fall, and both lands will be luscious and green. In other words, the reflection of the good actions of the armies and their tendency towards peace and reconciliation, in the rainbow board, will blow them out of the drought, and Ferdowsi himself also wisely recalls that " God saved the world from the drought and grew lively " (Ferdowsi, 2007, vol 1, p. 327) 3-1- shedding innocent blood As Garvi Zereh killed Siavash, who was innocent, by the command of Afrasiab, immediately the result of his evil act was presented and the darkness covered the earth and the time. (Ibid, 1386, c 2, p. 358). It is interesting that as soon as Afrasiab kills Siavash, Ferdowsi immediately reminds that God created Keykhosrow having Siavash's blood, to take revenge of his father and show him that victory is for God. (Same, 2007, 2: 420) On the other hand, Ferdowsi clearly points out that Afrasiab will see the reflection of his disgraceful actions and will be punished due to killing Siavash, as at the end, he was killed by Keykhosrow (Ferdowsi, 2007, 3, p.397) Another example of shedding innocent blood is the killing of Foroud, Kheykhosrow's brother. Some scholars of Shahnameh believed that killing Foroud was plotted by Keykhosrow himself to kill his eldest brother, the great rival of the monarchy (Rezaei Dasht Arjaneh, 1392, pp.60-39). But, anyway, whether we know Kheykhosrow or Tus as the murderer of Forood, the consequences of the murder of the innocent Foroud throws the Iranians in a hardness as they kill their horses and eat them (Ferdowsi, 2007, p. 3: 63). Ferdowsi, also, clearly condemned Iranians' defeat as a direct result of murdering the innocent Foroud (Ferdowsi, 2007, 3: 82) 4-1- Breaking the border When Pirooz, reign over the throne, he will seek to increase his dominion and narrow the realm of Hispanics and Turanians. But Bahram Gur had met the Minaret on the border between Iran and Turan, and vowed that the Iranians and the Hitalian would not have to cross the border. But Pirooz breaks the border, and as much as Khoshnavaz ask him to keep the promise of Bahram, and avoid the war; pirooz refuse and finally he and many Iranian people were killed. (Ferdowsi, 2007, 7: 37) 5-1- Humiliation the king When Khosrow Anoshirvan goes to the land of Rome, where he gives him and his armies no notice, immediately God's retribution comes upon Romans and half of the castle collapses, and the situation of Romans becomes so difficult that the bishop of Rome apologize to Anoshirvan (Ferdowsi, 2007, 8: 80). 6-1- Killing the King Yazdgerd takes refuge in Khorasan following the attack of Arabs. Farrokhzad sends Yazdgerd to Mahooy Soori and asks him to protect the king. Mahooy Soori accepts Farrokhzad's proposal, because he was the pastor of Yazdgerd who had been promoted him. But, after a few days, he breaks off his pact with Farrokhzad and kills Yazdgerd. Therefore, it does not go far enough that he was punished as the feedback of his treason to the king and he and all three of his sons were burned. (Ferdowsi, 2007, p. 8: 485) Another case of the killing of the king is in the tragedy of Rustam and Esfandiar. As Rustam was forced to kill Esfandiar, as Zal and Simorgh had foreseen, after this massacre, he was killed by Shaghad himself, and his family was killed by Bahman (Ferdowsi, 2007, vol. 5: 419). 7-1- Defiance and arrogance Yazddir Bahram initially leads a good way in government, but since it has gone a long way, he brings the country into chaos and even claims to be God; Therefore, a horse comes from the sea and kicks him into death (Ferdowsi, 1386, p. 6: 362). Another example is about Jamshid that he is arrogant and calls himself God, so Farrah is separated from him three times in the form of the bird of Vareghan, and is stripped of his rule, and in the end, Zahak killed him (Ferdowsi, 2007, 1: 52). 8-1-The OppressionThought When Bahram Gore becomes a guest of female farmer and asks a woman about her kingdom, she complaints from some of the agents of Bahram and believes that this is due to the king's indiscretion. Bahram is angry and is going to oppress people. Surprisingly, only with the king’s wakefulness of thought, the milk of the cattle breaks out and the blessing of the farmer's house cleans up. In the following, when the king takes up the notion of oppression, the milk is flowing again in the beef lamb, and blessing and other abundance appear (Same: 473). 9-1- Child killing When Goshtasp, in order to keep the throne, sends his son to war with Rustam and kills him by Rustam, Pashootan clearly blamed Goshtasp for that ,and this was the reason that he lost charisma and in this world people blamed him (Ferdowsi, 2007, vol. 5: 429). 10-1- Breaking the Promise When Rostam and Esfandiar pledged that other soldiers would not interfere in the war and only have a war of their own, Zavareh and Faramarz, the brother and son of Rustam, would interfere without Rostam being aware, and they killed Mehrnoush and Azarnosh, Esfandiar's sons. Esfandiar, who believed that this crime comes from the knowledge of Rostam, got angry and warned Rostam against the reflection of his actions: If you die, by arrow/ it's the result of killing my two sons (Ferdowsi, 2007, p. 5: 366). 12-1-Killing the innocent prisoners When, despite the request of being safe by the elders in the Afrasiab's corps, Rustam killed them all, due to that, Iran experienced seven years of drought and hardship (Ferdowsi, 2007, p. 2: 412). 13-1- Unfair Usurpation of power When Fairouz made Hormuz abdicate his throne aggressively, the reflection of that action was soon present in Iran going through seven years of drought and famine (Ferdowsi, 2007, 7: 16). It is surprising that when Firouz chose to practice justice and exempt people from taxes because of drought, it, immediately, started raining and everywhere became green. (Ferdowsi, 2007: 7: 17) 4. Conclusion The Reflection of actions has a special place in Islamic mysticism. Based on this component, it is believed that any good or bad act in this world has a reflection that causes the good or bad reaction and in addition to the punishment of the practitioner in front of God, in this world, also, everyone sees the result of his good or evil actions according to his type of action. In this essay, the study of Shahnameh revealed that Ferdowsi with knowledge of Islamic mysticism, believed that except the adjuration in the hereafter, anyone will find the results of his actions also in this world. So he leads us to good deeds until the consequences of our evil actions cannot be ruled out us, as in the Indian religions, this law of action and reaction is referred to as karma. in Shahnameh, among the actions the results of which the practitioner sees as soon as done in this world, the following can be mentioned: Justice, nemesis, reconciliation, shedding innocent blood, breaking border, dishonor the king, killing the king, oppression and claim of divinity, killing the child, breaking the covenant, killing innocent prisoners, take the power with force. Keywords: : Ferdowsi, Shahnameh, Reflection of actions, Karma vinity, killing the child, breaking the covenant, killing innocent prisoners, take the power with force and ....