دکتر امیرعباس عزیزی فر

Jahangir Nameh, written by Qasim Madah, is one of the epic poems after Shahnameh in the history of Persian literature, which contains different layers of meaning due to the various narratives and adventures, and the action and confrontation of the characters. Precisely, it expresses social, historical, mythological psychology and such confrontations on two levels of deep structure and superstructure are the main reason for the formation of different stories in this system. In other words, such confrontations express the reason for the formation of such a system and, for this reason, it is provided in this article in a descriptive-analytical way. Such fundamental confrontations are provided to determine what they are and what their function is. Based on the results obtained, along with other possible confrontations, this poem is in the depth of the narration of the four confrontations between Father and Cheser, Iran and Turan, the tribes of the desert and the settled tribes of herders and warriors and Ardas. It precisely takes the form of a confrontation between Jahangir and Rostam, Afrasiab and Kikavus, Rostam and Shabanan are the presidents of Shah and Rostam and Ardas.

The Philosophy for Children (P4C) is an educational program developed by Matthew Lipman in the second half of the 20th century. It is aimed at developing the power of thinking and reasoning in children. The best method and element for teaching thinking in this educational program is the use of stories. With the various atmospheres it provides, a story allows the child to associate with its heroes and put himself in their place through identification and active comparison and get involved in challenges. Using a descriptive-analytical desk-based method, this study discusses the philosophical, literary and psychological richness of the stories "The Book Lover", "Baby’s Navel" and "Fish" from the collection of stories "Majid’s Tales" by Houshang Moradi Kermani based on the P4C educational program. Results show that all three studied stories are rich in terms of philosophical themes, although they do have some weaknesses which need to be modified and rewritten in order to be used in the P4C educational program.

Mokhtari's Shahryar nameh is one of the epic and mythological poems with a relatively large volume, the structure of which contains a main narrative and several sub-narratives. A romance has been expressed that, according to the action and confrontation of the characters in them, in the depth and depth of these romantic sub-narratives, various similarities and combinations with mythological themes and components can be found, and these mythological components can reflect certain fields of psychology. For this reason, in this research, the recognition of such mythological components in the romantic sub-narratives of Shahryar nameh and the explanation of the possibility or impossibility of reflecting the psychological fields through these mythological components, is presented as an important research problem, and their analysis can provide an answer to the research problem. In this research, three major questions are raised as follows: 1. Can the romantic narratives of Shahryar nameh Mokhtari be a subject to be investigated in terms of mythological and psychological criticism?In case of a positive answer to the first question; What is the mythology of Shahryar nameh 's love stories in terms of mythological criticism of the narrator?What archetypes or areas of psychological science do these myths reflect in their depth?The theory proposed in this research states that the romantic narratives in Shahryar nameh, like many epic stories, narrate various myths that can be analyzed from the point of view of psychology. Regarding the background of the research, only a few researches have been conducted on the subject of Shahryar nameh: Reza Ghafouri (2016) in an article titled "Attitude to Shahryar nameh and its Compilation Period" has investigated the most important differences between several manuscripts. Hassanpour and Qavam (2021) in the article "Archetypal Criticism of Shahryar nameh based on Jung's theory" based on Jung's analytical psychology in a different way from the method of this article by analyzing the symbolic numbers of the poem and Nine steps of Shahryar, his journey and journey in nine steps are symbolized.

Review:

Among the heroic texts of Iran, the story of the bravery of Shahryar is found in the Shahryar nameh poem, and in the Iranian folk texts. This work contains a main narrative and several sub-narratives. The main narrative of this work is the story of Shahryar, Barzo's son, from Sistan and going to India and finally returning to Iran and Sistan. All the sub-narratives of this work are eventually somehow connected with Shahryar's story. Many of the adventures in this poem are reminiscent of the stories of the Shah nama; In a way that in many places the poet clearly refers to the above-mentioned stories, such as: kidnapping of Delaram by Mezrab Div following the story of Akwan Div, nine steps of Shahryar like seven steps of Rostam, … In this article, only two relatively romantic narratives related to Shahryar are analyzed, each of them in one of the layers of meaning is a manifestation of Carl Gustav Jung's theories of individuality process and perfectionist self-knowledge and George Fraser's fertility myth. According to Jung, due to the collective unconscious origin of the subjects and the basis of legends, myths and stories are common and specific and are repeated always and everywhere, in fact, archetypes are the materials of the hereditary building of the human psyche in the formation of literary works. According to this reading, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) Shahryar's blame and lack of attention, has left it and entered the unconscious (India) by turning his back on the current reality. At this stage of his life, a wise and helpful old man in the form of a merchant takes care of him and provides the ground for change and exit from this stage by taking Shahryar to the public meeting of Arjang Shah and playing polo. During Arjang Shah's visit, the unruly elephant, attacked, who kills people and arms in the city square (sparks of power and inner ability), plays the role of a shadow in Shahryar's psyche, which, when Shahryar overcomes it, falls to the lower layers of the unconscious, and pushed back. After acting, Shahryar, by attracting the positive look and trust of Arjang Shah (symbolic father), again faced his real and class face, the warrior class, and accepted it, and with the meeting of Arjang Shah's daughter (Anima) and the projection of failed love and lack of affection Finally, by accepting the social role of a warlord, his motherly self reaches a psychological balance and harmony between consciousness and unconsciousness. A god or a hero goes to battle with the dragon and kills him, as a result, the water flows again and is free, and once again greenness and vitality return to nature.

From the point of view of Jung's psychological analysis, in this work, Zabul (Iran) is in the self-conscious state of Shahryar, who, due to Zal's (symbolic father) blame and lack of attention, Shahryar leaves it and enters India (the realm of the unconscious) and by choosing clothes and the mask of agriculture lives with anonymity instead of the mask of the warrior class; But as soon as he meets and gets to know the Iranian merchant (the wise old man of the story), the ground for his transformation is provided, and by confronting and overcoming the elephant, he becomes repressed (the shadow) and attracts the positive look and trust of Arjang Shah (the symbolic father) again with his real and classy face. That is, the warrior class faced and accepted it, and by marrying Arjang Shah's daughter (Anima), he reached harmony between consciousness and unconsciousness and went through the process of separation. From the point of view of the myth of dragon slaying and fertility, Shahryar is the hero of dragon slaying, who follows the abduction of the goddess of fertility (Delaram) by a dragon or a drought demon (Mezrab-Div) under the guidance of a worldly person (Jumhorshah) with the aim of releasing the goddess, steps on the path of Noh Khan and by going through different stages, he succeeds in freeing the girl from the whole (the world of the dead) and accomplishes his mission. In another reading, Shahryar is a martyred god who is symbolically killed by the conspiracy of a rival god (Frank) and is imprisoned in a whole (the world of the dead) until the goddess of fertility (Delaram) travels to the world of the dead with a disguised face and causes freedom and return.

Darabnameh of Tarsusi is a profound story with mythological, epic, and historical themes that has a prominent role from the perspective of studying the beliefs, rituals, and religions of Iran, especially the beliefs and religions related to the Sassani era. Using a descriptive-analytical-documentary method, the researcher assumes that the story contains national, Semitic and Islamic epic elements and themes due to the existence of undeniable epic and mythological elements. As it is indicated, elements of Zoroastrianism, Sassanid Mazdaism, Zarwanism, Manichaean, Semitic, and Islamic elements have a prominent presence. Furthermore, Zoroastrian ritual elements (Zarwani and Semitic), and Zoroastrian and post-Zoroastrian (Manichaean and Islamic) elements are well-reflected in this story. Precisely, at the end of the Sassani era, the religious beliefs and convictions of the Iranians underwent changes, and for this reason, there exists a combination of different beliefs in this period. The Behdini signs provided in this study are, therefore, the modified Behdini of the late Sassani era that are blended with other religious elements such as Zarwani, Maoism, Sami, and Islamic beliefs. Accordingly, the questions posed by this article are; what elements and beliefs existed in the Sassani Behdini, and what elements does this religion actually include in the book under investigation. The importance and necessity of research in recognizing the beliefs and beliefs of Iranians in the Middle Ages and the Sassani era is to report the stages of evolution and transformation, and even its integration with other elements of eclectic belief whether in line with or opposing the existing ones. In fact, through this study and with the help of non-historical sources, such as folk tales, we can review the history of the growth of Iranian civilization and culture

Myths around the world have inherent dialogue and interaction. The concept of creation and the creator of the universe has been one of the most central aspects of mythological trade. In this study, in order to understand the global concept of Pandora and her box, we want to explore the manifestations and symbols of this box as the home of the evil and evil settlement in the context of written Persian folk tales. In these tales, all the places that are somehow related to the element or elements of evil and are the source of the plague, are considered as examples of the Pandora's Box. The tales which studied are Darabnama of Tarsus, Hamzanama and Amirarsalan Namdar. The reason for selecting of tales is the frequency of these places. After investigation, seven locations were considered to be the residence of the evil settlement and the symbol and appearance of the Pandora's box; Such as gardens, wells and basements, chests, fences, castles, domes, crypts, islands, valleys and crevices of rocks, and in the meantime the frequency of castles in these stories is more than other places and in the Darabnama, is more than two other tales. The heroes of the tales are the forces of good to either destroy or imprison evil; so they are all metaphors for "hope," the same "hope" that is mentioned in Pandora's Legend.

Image studies is one of the new fields of comparative literature in which the researcher examines the culture and literature of a land in the works of a writer of a period or school. Khaled Hosseini is one of the famous contemporary writers of Afghanestan, who has more or less displayed the cultural elements of Iran in his works. The present research is carried out in the field of comparative literature under the theory of imagery with the help of library study and descriptive-analytical method. How these influences appeared in Iranian characters and cities in the two novels Kite Runner and Thousand Shining Suns are the issues investigated in this essay. The findings of the research show that the source and foundation of many of the author's thoughts are rooted in Iranian culture and literature. In his works, he has been influenced by Iranian culture and literature, and he has illustrated his ideas with the help of these elements. Hosseini has benefited from the art and literary approaches of poets such as Hafez, Movlana, Jami, Nezami, Foroogh Farrokhzad and Khajeh  Abdollah Ansari, and among the cities of Iran, he also mentions Tehran, Mashhad and Isfahan frequently. The issue of immigration to Iran, Iranian cinema, the Iranian car Peykan, the Shiite structure of the social fabric of the Iranian people, Iranian proverbs, and the customs of the Iranian people are among the other issues that are mentioned in the text of the two novels Kite Runner and Thousand Shining Suns.

llustration is one of the most widely used and artistic aesthetic elements of poems, which makes speech more stable and tangible in the mind; for this reason, poets have based their poems on artistic and imaginative images. In this research, which has been done in a descriptive-analytical method with a comparative approach, the authors seek to answer the following questions: What images did Abdolrahim Mahmoud and Hossein Esrafili use to express the themes of sustainability and resistance? And what are the commonalities and differences between the two poets in the depiction of themes of stability? The purpose of this study is to examine some of the poetic artistic images as well as the most important themes of sustainability used in the poems of two poets. The result of the research indicates that Abdolrahim Mahmoud and Hossein Esrafili, as prominent poets in the field of resistance and sustainability, the most important artistic images used in their poems are: metaphorical, metaphorical, ironic, allusive and paradoxical images. The two poets share and differentiate in depicting themes of sustainability in such matters as freedom-seeking, invitation to revolution, self-sacrifice, praise of martyrs and patriotism; Israfili has made great use of religious concepts as well as religious personalities in expressing enduring themes, which reflects his special style in his poems; Abdolrahim Mahmoud. The national and ethnic tendency is evident in his poems.

Evasion or deviation, which is called in English literature by Digression and Excursus, is a speech outside of the main subject, which the author/ poet speak for his aims during the narration. In this research, which is done through descriptive-analytical-documentary and library studies, we are going to define the digression in the heroic section of Ferdowsi's Shahnameh. The central question of the research is how basically digression is a statement, what kinds of it has been reported in Shahnameh, and what the poet pursues, what goal or goals he is trying to find out. After examination we found that Ferdowsi in the first, middle, and ending episodes of his work presented the kinds of digression. In the first part, the poet through some devices such as Prologue tried to deliver his idea. In the middle section, he has deliberately a pause to deliver a moral point, and in the final section he often refers to by wording, blame the world state, blame of avarice, condemnation, worship of wisdom, and inevitability of death. The most digression is related to the wheel of time, and among them, the instability of the wheel has the highest frequency and this matter is due to the reflection of Zorwanism's beliefs. In digression which related to avarice, the point of view of poet concerned with demon of avarice and the poet through animism he tries to beware of human kind. The only way to cure this disease and this devil- in the poet’s view is wisdom.

In this article, we decided to analyze motifs in the fiction of "Homay and Homayon" by Khajoye Kermani. In this research, the descriptive-analytic study was conducted to investigate if the poem of "Homay and Homayon can be classified as classical Persian literature, how close it is to folk tales, and what demonstrated classification of its motifs can be offered. After investigating and extracting all motifs, we classified and analyzed them in six classes: human motif, animal motif, thematic motif, place motif, wonder motif, munificence motif. The results showed that the absence of anything essential, fundamental, mythological, and epic such as snake, dragon, cow, elephant… and such elements as plants and transformation of creatures detracted from its appeal. Saints and masters play no important role. Thematic motifs showed the highest frequency, which indicates that the system is dynamic and fluid rather than static. The writer has reported the story by using only some issues that reduced its appeal.

Myths and stories are important types of popular literature, and popular literature is one of the main forms of expression of popular culture. These public products have a large share in the cultural heritage of any nation. The deep layers of these stories are a reflection of the culture, thought and imagination of the people. These stories are among the oldest examples of the emergence of human thought and imagination, and among the various branches of popular culture and literature, they are considered to be the oldest human cultural heritage, and “If myths and stories "It should not be the oldest work and the oldest leak of the human mental system, but it is one of the oldest works left from human thought and imagination" (Mahjoub, 2008, vol. 1, p. 121). Myths, epics, myths, and folk tales originate from the collective unconscious of man and are inextricably linked. The dragon is also one of the common elements of myths, epics and folk tales. This mythical-epic creature has passed from the world of myth and epic and, by preserving most of its functions and actions, has entered the realms of folk tales. "Iranian Tales" with two hundred and eleven narrations in four volumes, is the first example of scientific collection of folk tales that has been provided in two decades by Anjavi Shirazi and a large collection of cultural researchers and all researchers confirm the authenticity of these stories. (cf. Marzelf, 1994, p. 106). Therefore, the four-volume collection of "Iranian Tales" of the statistical population of this study has been selected. In general, twenty-one dragons are shown in the statistical population. In ten stories from the four-volume collection of Iranian stories, a dragon appears, and in five stories, more than one dragon emerges. This article tries to answer the following questions: What are the characteristics of the dragon's appearance, food and habitat in folk tales, what actions did the dragon appear in the tales with, and what is his end in the tales.

The research method in this paper is library and documentary and based on notes from written and non-written sources. In this study, the four-volume collection of Iranian folk tales collected by Anjavi Shirazi with the letters of Iranian tales, the patient stone doll, the flower to the spruce, and the orange and bergamot girl are examined. The present study uses descriptive-analytical methods to examine the apparent characteristics, feed and habitat of dragons in folk tales and to examine the actions and functions of dragons in tales, and finally this creature in myths To dig.

Iranian myths and legends are a reflection of a long-standing tradition in Iranian culture and civilization that has been transformed by the transformation of the barrier to self-destruction and continues to be supported by millennia: “Iranian myths, stories and tales There are ancient beings that include supernatural and transcendental beings. These myths, which have survived from the legend of Iran, reflect the views of the society to which they originally belonged ”(Curtis, 1997, p. 3). The dragon is one of these supernatural beings. In the legends of lands such as India, China and Babylon, the dragon is a symbol of drought, darkness and destructive floods, and in Iran it is a symbol of moral vices and a manifestation of deadly and evil forces (cf. Koyaji, 1999, p. 77). The dragon "in epic narratives and folk tales, is a manifestation of calamity, drought and evil. By destroying him, the hero restores blessings and comfort to the people ”(Pakbaz, 2006, vol. 1, p. 965). This evil creature is a prominent element in folk tales and stories, and provides the basis for the emergence of good and evil. The dragon has special appearance in the stories and is manifested in the legends by the way it prepares food and its habitat. The dragon does not behave in the same way and appears with different actions. The dragon determines the end of his life and finally his stories with his actions. The dragon's appearance, food, and habitat are then examined, then the dragon's behavior, and finally the creature in the stories. 

The dragon of fairy tales, in terms of its limbs, food and habitat, has the same characteristics as the mythical and epic dragon. Dragons and snakes are not separated from each other in some of the stories. The dragon is described in the stories as majestic, horned, eloquent, fiery, old, black, or green. The dragon has the power to kill humans and its prey with its powerful breath, and this is the feature that makes it a scary and invincible creature in the eyes of humans. Storytellers, like mythical and epic narratives, provide their food in the form of hunting or sacrifice. The dragon of fairy tales is always successful in hunting humans and wild animals or in sacrificing to the general public, but with the presence of the hero in eating Simorgh chickens or eating princes and princesses, it fails to draw the victim. In most cases, the habitat of this creature is either not identified or is associated with water. Wells, mountains, caves in the mountains, forests and deserts are other dragon places in fairy tales. Unlike the myths associated with the two elements of water and fire, the dragon of the tales maintains its connection with the water in the tales rather than the fire. Dragon actions are destructive and destructive in most stories, and therefore the evil dragon is killed. These actions include hunting, fighting the hero, blocking the water, capturing the victim, and enchanting. The battle of the dragon and the hero is rooted in the myth of the battle of good and evil. In these stories, the hero, like the epic narratives, represents Simorgh in the battle of good and evil. By circling the water, the dragon also shows the functions of taking the victim and fighting the hero, which is another manifestation of the battle between the forces of good and evil. The heroes of the stories, unlike the epic narratives that are likely to be defeated, are always victorious and dragonfly. Women and the general public have no role in fighting and killing dragons, and their dragon heroes must be the sons of the king (except for one example), and this thinking is rooted in the beliefs of the ancient Indian and Iranian gods. However, the destructive actions of the dragon make it an evil character, and evil is perishable in the minds of Iranians. Therefore, evil dragons are killed in stories, but sometimes the dragon does not show evil by having passive and constructive actions. Dragons with actions such as supporting and helping the hero or the action of his actions in the stories have caused us to no longer be able to call this creature a pure evil, and the dragon with such actions in the stories is not doomed to deat.

Poets, because of their sharp insight and linguistic delicacy in their poetry, transcend social conventions and enter into forbidden realms, which are called "taboo". In this descriptive-analytical study, we have studied the taboo and its types in Hafez's poetry according to a case study, then we have categorized and analyzed its types. The leading research seeks to explain these issues, what types of taboos existed in Hafez's sonnets? Which is more frequent and what is the poet's purpose in breaking the taboo and by what means was he able to break the taboo softly? It seems that Hafez breaks the taboo with the help of humor and with the adaptation and community of "opponents". His main approach in the taboo is socio-political rather than doctrinal and ideological. Hafez has been able to enter the forbidden realms through the dual confrontations that exist both in his content and in his rhetoric in the form of ambiguity. He seeks a form of socio-political reform. In addition to expressing Hafez's taboos, this article pursues another secondary purpose, which is to express and explain the rhetorical and aesthetic features of Hafez's sonnets.

Myths and stories have kept their link with history and religion as a branch of popular literature and have provided an appropriate field for recreation of historical and religious figures. This essay has studied the four-volume collection of Iranian stories utilizing a descriptive-analytical approach and examined the historical-religious characters appearing in these stories. The results of the research show that these characters have appeared in the thirty nine stories from the collection of Iranian stories by Enjavi Shirazi - as the statistical population of this research. The historical and religious characters and celebrities studies are as follows in order of frequency: Solomon, Imam Ali, Iblis(Devil), Alexander, Khidr, Prophet Muhammad, Abbas and Zakaria. The Prophets, the Imams and Awlia - o - Allah (lovers and supporters of the Lord) are the most remarkable characters supporting the heroes of the story. Often, these characters appear in opposition to the two forces of "the good and the evil", and they help the hero in the challenges that the anti-hero has created for him. Among these, Solomon because of the relationship between him and the supernatural and surreal creatures who constantly have a rich presence in the stories, and objects associated with him, they are the most abundant forces supporting the heroes of the stories. Stories such as Zechariah's testimony or Alexander's personality in adventures like seeking life water have been recreated in accordance with popular beliefs.

Eulogy is one of the oldest and most frequent themes of poetry in Persian literature. Indeed, it can be considered as a fundamental theme that arose at the beginning of the formation of poetry. Originally, it comes from Arabic literature. In eulogy, the purpose of the poet is to praise a person to expresses his or her request to that person. Eulogy is a literary genre that, due to exaggerated descriptions of some poets, is criticized for exploiting literature. However, it should be noted that it has goals other than receiving rewards, gaining reputation, and so on in the works of some poets. Anvari is one of the most outstanding Persian poets who is considered as one of the prophets of Persian poetry. Anvari’s divan (poetry collection) consists of two volumes and the first volume includes eulogies. Abu Tayyeb Mutanabbi is one of the most renowned Arabic poets and, like Anvari, is considered as one of the prophets of Arabic poetry. He has written odes in praise of Seif-o-Doleh. This article, which is a descriptive-analytical study, aims at comparing the first volume of Anvari’s divan with Mutanabbi’s odes in the framework of American comparative literature. It tries to compare them in terms of their purpose of praise and their rhetoric. The findings reveal that there are similar themes such as bravery and generosity in their poetry. However, they differ from each other in that Anvari praises the appearance, the estate, and other worldly belongings of the object of his praise, while such praise is cannot be found in Mutanabbi’s poetry. Besides, has a high self-respect and shows great arrogance in the major parts of his poetry. Thus, the most important difference between them is Mutanabbi’s narcissism. The analysis of these commonalities and differences is one of the objectives of this comparative research.

This study is based on the  descriptive-analytic library method. Three tales were selected for this study: Darab nama Tarsusi, Hamza nama, and Amir Arsalan Namdar. Three motifs were considered in this regard: Darab Nama has a mythical, epical, and historical motif; Hamza Nama has an epical-religious motif; and the motif of Amir Arsalan Namdar is romantic. The study, on the one hand, aims to investigate what categories of viziers' actions could be extracted from the Iranian folk stories and the factors which play role in this regard, and on the other, to pursue if these actions reveal any historical and social events or they are typical actions throughout the stories. The results of the study showed that there are two kinds of vizier; one kind is "Mobad-vizier" and another is "Sepahbad-vizier". From this point of view, the first one is cultural, social and juridical consultant and the second one is martial consultant. These two kinds of viziers are present in Darab Nama and Hamza Nama. Based on this dual division, the first vizier (Mobad-vizier) has roles such as fortune telling, wedding ceremony, ambassadorship, intercession, dream interpretation, political advisor and magic works. The other vizier, however, is a martial consultant and sometimes shows his treachery and skullduggery. Viziers in the story of Amir Arsalan Namdar are different from viziers in the other two stories. In this story, viziers are categorized as "vizier on the right hand" and "vizier on the left hand". Often the right-hand vizier is a well-mannered, kind-hearted, well-natured person and naturally the supporter of the main hero of the story. The other one, however, is an evil-minded, wicked conspirator and anti-hero. Lastly, it could be mentioned that Hamza nama and Darab nama are reflecting the social and historical events of the Sasanid era, while Amir Arsalan is related to the Qajar period.

Comparative literature has opened many fields of study to researchers, one of them is interdisciplinary studies. The relationship between cinema and literature as two human arts is not pervasive, and social drama directors make their drama audiences more lucrative, engage in sweeter and farther ironies to bring the genre of dialogue closer to people's conversations. The present study is a qualitative and audiovisual study and content analysis, so that the drama is examined by using CD (cd), then conversations are recorded and finally analyzed. According to comparative literature schools, this approach is based on the American school, which does not seek to develop the fixed and restrictive rules. The reason for choosing this drama was the type of artistic thought of the director, its dramatic character and the particular style of the director. In Separation of Nader and Simin, we are confronted with common conversations of people use in their daily lives. The irony in this drama is examined in three categories: consonantal, linguistic, and inventive. The irony in this work is neither poetic nor out of mind, nor superficial, that is to say, according to the situation of each character and the process of the story. Of the seventy-six ironies used in this drama, forty-three are linguistic, twenty-three are vulgar, and eight are inventive. Rather than expressing the hidden layers and clarifying the social complexes and presenting the solution, the drama focuses more on everyday social issues.

This essay seeks to explain the typology of kings and to report on their practices to represent their role in the advancement of tales. The method used in this research is library-based and qualitative in terms of content analysis. The criterion for choosing these stories is, besides its reputation, a wide range of readers, the general interest and the frequencies of the presence of kings. After reviewing these stories, the author found that kings often seemed to be in Iranian and non-Iranian affairs according to the narrator's type of attitude, and that the picture of kings was reported according to the general context of the story and its context. In addition to requiring a particular content, it also requires certain heroes and types of character. Darab-Nameh has an epic & mythological content, and therefore the behaviors and actions of the most kings are mythological epics. Hussein- Kord is also an epic-religious tale. Our hypothesis is that storytellers seek to shape and regulate the structure of society in the form of king, the courtiers and other heroes; in other words, they seek to establish a definitive framework that is occasionally violated. They are problematic and are considered as unforgivable. In order to study the stories and according to the frequency of types, the author concluded that the "courtiers", especially the king, his family and his ministers, had the highest frequency and presence, and most of the stories began with the words "Shah" or "Prince". There is an intense sense of indigence and Iranism in these stories, so that the types of Iranian kings are much more subtle, more human, richer, more just and wiser than other non-Iranian officials. Darab Nameh is more epic than the other two stories, and the type of kings has been portrayed in a more fictitious, confident and historical way. It should be noted that in Hussein- kord, the kings are not very present and do not act much more.

Existentialism was one of the most important philosophical schools of the twentieth century, which featured prominent figures such as Kierkegaard, Nietzsche, Heidegger, and Sartre, had a great influenced on literary movement. Existentialism has been translated into Persian by the originality of existence. The primacy of existence on the nature, individuality, freedom, immortality of inwardness, inefficacy of the universe and existential emotions, such as sadness and anxiety, are the basis of this philosophical movement. Sohrab Sepehri is one of the most prominent contemporary poets who have had many existential concerns about his poems. These concerns are presented in his works such as eight books. This study seeks to explain the main principles of the philosophy of existentialism in Sepehri's eight books. The central subject of this study is to what extent Sohrab's thinking is consistent with the philosophical principals of this school. The research method is qualitative and library study based on content analysis. The despair and grief of Sohrab from the current state of the world, his deep emotions, death, loneliness, genuine life, as well as the turning of the attention of the audience to the transcendental matter are among the factors that show the tinge of existentialist philosophy in his poem. Loneliness and sadness, love, the quiddity of life and death, and the transcendent, including the philosophical principles of existentialism, are also seen in eight Sohrab books.

„‟Character” and “Type” are inseparable characteristic of fiction and tale. This study investigates the characters of tales which are always considered as the hero, and these heroes changed into ”type” because of their general and repetitive characters. Character and characterization of today tales and novels in which evolution is of its common attributes are seen more in modern novels, it is while in folktales the characters are always static who do some static and repetitive actions which are considered as “type”. The researcher tries to find what kinds of differences exist between character and type in the tales, in other words, is there any clear difference between these two? This study is a descriptive- analytic on the researcher finds that “TYPE” is different from character from the view point of “Easiness of recognition”, “commonality in action”, “being predictable”, “being repetitive” and “cliché” and these features are classifiable. In this study, three known tales have been studied: Samak-e ayyar, Darab Name of Tarsusi and Hossein- kurd.

Darab name tarsusi is one of the most known of Persian folktales that has a high research capacity. Symbolic criticism and its cryptic capacity, myth criticism, epic criticism and surrealistic aspects of this story is that it will shows its important. Tarsusi brought out a prose religious- historical epic, with adaptation of national epic, that it show his knowledge and acquainted. The role of epics and national epic characters in this fiction, no doubt, is very effective. In this fiction iskandar, however, has same epic- heroic function as rustam, isfandyar and sam(in sam name of khajo- kermani). This research done in a descriptive-analytical and library attitude, and we sought to understand to know that how many acquainted tarsusi with national and transnational mythology and are we can separate and sort mythology and beliefs. After reviewing we are sorted them in this kind: myths and beliefs that are Iranian origin, myths and beliefs that are Islamic origin and myths and beliefs that are sami origin.