جستجوی مقالات مرتبط با کلیدواژه « myths » در نشریات گروه « ادبیات و زبان ها »

Rituals have long served as reflections of a society's culture, beliefs, and attitudes. Within different societies globally, a significant aspect of mythology is dedicated to fertility rituals, often symbolizing the cyclical death and rebirth of nature portrayed through the demise and subsequent revival of a god or goddess. A notable example is the mourning ritual of Siavash, a prominent figure in Iranian myth, known as Siavashan. This ritual celebrates his symbolic reincarnation in the form of a plant and his son Kei-Khosrow, embodying the concept of the god/hero's death and rebirth as part of the natural and temporal cycle. In Greek mythology, the Dionysia and Adonia festivals honor Dionysus and commemorate Adonis respectively, both fertility deities whose rituals focus on their deaths and resurrections. One aim of this article is to draw parallels between the Siavashan ritual and the Dionysia and Adonia ceremonies. Through an analytical-comparative approach, all three rituals are examined to reveal their shared characteristics. Despite differences in culture and geography, the research highlights the interconnectedness of world myths. The key commonalities among these rituals include the annual mourning ceremony and celebration of resurrection, often accompanied by customs like carrying icons, performing sacrifices, music, and singing mournful songs, typically led by women.

The mythological circle in the countries of the world has been introduced in such a way that it reflects the mother as a creative element. In the earlier myths, it is clear that the powers are higher than women, but with the role of men in society, compared to women, the mythological circle has slowly changed and turned to the male element, which is a factor in the poems of poets. Ancient times have also emerged. But beyond the ancient times, the same can be seen in the poetry of poets of later periods. The poet studied in this article is Naser Khosrow.

In this article, using descriptive-analytical method, Nasser Khosrow's poems are evaluated and compared with the myths of Iran, Greece, Egypt and India, in which the power of the female is masculine, in order to study the etymology of these verses in It should be discussed among the myths of other countries and it should be revealed how such beliefs are manifested among the myths of the other four countries.

Using the research that was done, evidence was extracted from the poems of Naser Khosrow, which indicates the reflection of very ancient myths in world mythology. These verses show that in the divan of Naser Khosrow, as one of the few poets of Persian literature, a very old belief that existed among the forgotten civilizations is reflected,

By conducting this research, it was revealed that Naser Khosrow has made speeches in his poetry collection that from the mythological point of view,

Initiation rituals that prepare individual to move from one stage of life to the next, are all mythological. Initiation includes physical, mental and psychological dimensions and is associated with rituals that intend to help the individual to cope with his new responsibility in society. In all religions there are different rituals for the stage of initiation, which are in line with individual growth or acceptance of a new position. This research, which is based on library studies and has been done in a descriptive-analytical manner, analyzes the initiation rituals of different cultures. By examining the mentioned types of ceremonies such as puberty, travel, spiritual death, sacrifice, etc., in Avesta and comparing them with world examples, it was determined that the stages of transition exist in all religious and non-religious professions and drinks and their analysis shows common points with other cultures.

Var (trial by ordeal) was a form of divine judgement carried out by Zoroastrian judges to ascertain personal truthfulness. This ritual was not exclusive to Iranians; it was prevalent in Europe until the middle centuries. In the mythological and religious culture of the southern region of Kerman, the var ritual has been practiced in various ways throughout history. These include loqmeh-nevisi (eating consecrated morsels by the accused), takhteh-nevisi (writing the accused's name on a board), kāseh-ghardoon (identifying the culprit with a bowl of water), and qesme-chār (passing the accused through fire), among others, all aimed at proving personal truthfulness. The purpose of this study is to examine the role and implementation of Var rituals in this specific region. The research method is descriptive-analytical and involves collecting documentary information and conducting interviews with local inhabitants. The findings of the research indicate that the origins of Var rituals can be traced back to religious and mythological epic texts such as Shāhnāmeh and Avesta. Similar to other rituals, Var has undergone changes and transformations over time.

The plant is a cosmological metaphorical entity that, in the dual classification of existence between the realms of Mago and the divine (higher) world, is specific to the realm of darkness. The symbol of the plant encompasses a wide spectrum of vegetation, which has been important as the plant of life since ancient times; from perennial and self-sufficient plants to annual plants like reeds and rice, fermenting plants like mushrooms, invigorating liquids such as wine and plants associated with it like date, palms and figs, citrus fruits, and oilseeds such as olives, medicinal and poisonous plants like sugar cane, fire-prone trees like oak and pine, and fragrant and aromatic plants, are examples of plant life. These plants are the symbol of nature, the primordial nature of the world through which humans and all beings inevitably pass. The ritualistic and tangible functions of plants have been a function of their symbolic position in human worldview, and each of them, in some way, represents the characteristics of this realm. The structures and concepts governing the realm of darkness, including vitality, immortality, intoxication and ecstasy, fermentation, nudity, love and sexual energy, medicine and healing, fire, and the like, are common structures related to the plant symbol. Classifying plants according to cosmic and mythological regions is a different method of classification that, while symbolic, conforms to the properties and nature of these plants. Our field of study is ancient Iran and Mesopotamia. The most important method of research is using written sources in the fields of archaeology, art, and myths of this region with a comparative mythological approach. Alongside this, ethnographic data from Zagros ethnic groups, including Kurds, has been utilized.Plant of life,Darkness, Myths,Demon and Evil spirit

Abstract
Popular culture and beliefs are an essential part of the civilization of nations and due to their oral nature, they have continued to live and be dynamic over the centuries, being transferred from one generation to another. Popular culture and beliefs, which have long-standing and ancient roots, are closely related to various cultural manifestations such as myths, epics, and language. In the present research whose purpose was to identify the roots of oath rituals in the public culture of Kermanshah, the author has investigated and analyzed the relation between the common religious and astronomical beliefs of the tribes of Kermanshah (with a focus on Sanjābī, Kalhor and Gūran clans) and mythology, using analytical and field methods. According to the results, respecting the sky and swearing to it, believing in the judgment of the sun and praying to it, swearing by the times of the sun and the moon and the Haftgām oath are the main astrological beliefs in the tribes studied, and these beliefs are rooted in Iran’s mythological beliefs and also Zarvanism, Mehriism and Zoroastrianism. It should be mentioned that Mesopotamian beliefs also influenced the formation of many of these beliefs, and the influence of Islamic beliefs is also evident in later periods.

The clothes used in ritual ceremonies show the continuation of an ancient mythological rite. The type and color of the clothes, decorations and objects used in rituals have certainly a symbolic root; though not everyone who is wearing these clothes or using these objects is necessarily aware of their symbolic meanings. This research, in an analytical and descriptive method, is dealing with the relation between clothing and ritual-mythological ceremonies. In every ritual ceremony, we are witnessing special clothes and tools related to that special ritual. Different nations and tribes have different mythological narratives, usually with a common root, regarding the process from primitive life moving towards the modern life. The subjects related to the industry, producing fabric and the method of putting on the clothes are normally ascribed to gods, while in epics they are attributed to the characters and heroes. The color of the ritual clothes is in harmony with the universal symbols and their roots could be found in the mythological beliefs.

Myths are stories from the ancient times, and pre-historical adventures which still serve a deeper purpose to reflect some truth, and have been transferred from the past to the future generations. Due to culture exchanges, Iranian and Greek nations had similar and common myths in past. That's why champions like Rostam and Esfandiyar in Iran and Hercules in Greece were sacred and have been treated respectfully. Some myths appear in numbers, for instance seven and twelve. In Ferdowsi's Shahnameh it has been referred to Rostam and Esfandiyar's seven labours and these narrations could be related to twelve labours of Hercules. Investigations into mythological labours will reveal cultural similarities of Iran and Greece. There mythological champions including Rostam, Esfandiyar and Hercules had supernatural capacities. These differences and commonalities will reveal the cultural development pattern of these nations to a high extent.  The common characteristic of these three champions is the selection of the road not or less taken instead of the easy one.

On this basis, this research is looking for mythological themes in one of the valuable collections of Iranian folk tales named Mashdi Galin Khanum's stories. In this research, after identifying mythical elements and characters among the stories, it is determined that the process of transferring myths into the folk tales of this book has changed them. Among other things some components of mythology have been removed or changed in their folk definition, or other details have been added to them and some ancient myths are reflected in the bodies of other characters. The total evolution of myths in the stories of this book, based on the pattern given by Mehrdad Bahar, has been studied under four headings: transformation, fracture, integration, and the entry of foreign elements. In the end, it is concluded that based on the evolving nature of myths, mythical characters and phenomena in folk tales are also narrated with changes to make them believable or in harmony with the new space. It is also possible to find out some neglected aspects of mythology by examining folk tales.

Semiotics has provided researchers in the immediate past years with a tool for analyzing, understanding, and criticism of literary texts and discovery of hidden meanings. Semiotics has tried to unveil, decipher, and discover the deep meanings behind the structure. Amal Donqol (a contemporary Egyptian poet) and Siavash Kasraei (an Iranian poet) lived in their turbulent times. Political and social disorders intensively influenced the content and structure of their poems. The comparative semiotic study investigates meticulously and in detail the works of the Egyptian and Iranian poets considering hope and despair. It hopes to have a better and deeper understanding of the poets’ thoughts and spirits and their influence on their poems. Moreover, the study makes the ground for better presenting of the similarities and differences of their attitudes, as they live in rather similar conditions.Using the semiotics of the application of time, place, and myths, the study investigated the duality of despair and hope  in some poems of the two poets regarding the structure and poetic language. It tried to answer the question that how despair and hope have been presented in the poems and in mentioned components and how their poetic and artistic manifestations are.

 This descriptive-analytic study was done within the American framework of comparative literature.

Semiology (or semiotics) is a new type of criticism that has had a great impact on literary studies and related research. This field of study interprets literary texts according to such criteria and layers as time, place, intertextuality, narration, character, etc. This study explored the place, time, and mythical characters to show the appearance of hope and despair in the selected poems. The components work as codes for the poet through which he shows his inner feelings and imposes positive or negative meaning upon them. The analysis of the signs unveils the hidden layers of meanings in a literary text and familiars readers with the world, thoughts, and feelings of its writer.Time and place as signs and their signified are various and wide in literary texts and important for reading texts. The poets have used many words showing place and time. In many cases, adverbs showing the place in Donqol and Kasraei's poems lose the characteristic of being adverb of place and become a signifier having specific signifiers. The time adverbs have also been used in this way as their poems shows the change many times. The words become positively or negatively marked as they convey the poets’ feelings.  These words convey meanings different from their place and time meanings, which engages the readership with one of the dualities of despair or hope. Myth is also an important component that imposes meaning on the meaning in works of both poets. Using and recreating the myths, the poets communicate their ideals and spirits to the audience.

 The study investigated the duality of despair or hope in the poems of two poets based on the application of some components of the semiotics of time, place, and myths. The socio-political conditions that the two poets live in seem to be the same and their poems protest against their contemporary situation, but based on the mentioned examples one can say that when the poems have been composed, when death and despair were dominant in the mental space of poets, he optimistically expected a bright future, whereas death and despair are always dominant in Amal Danqol's poems. As a result of the different views of the poets, time, place, and myth have a hopeful and liberating application in the poems. In Amal's poems, however, the place, time, and myth components become nightmares of fear and failure, as a result of his sad and desperate creations. Finally, looking from semiotic analysis, it can be concluded that the fully optimistic and hopeful poems of Siavash Kasraei sometimes lack poetic fantasy and becomes similar to prose, making it a weakness of the poems. On the contrary, Amal Danqol's poems, though exaggerates in expressing darkness, they are totally strong and surprising sometimes regarding poetic beauties, creating new meanings, and linguistic deviations.

Folk stories are kind of oral literature which form the background of today’s written literature. This research aims to scrutinize Iranian myths, which have been compiled by Ali Ashraf Darwishian and Reza Khandan and issued in nineteen volumes, from the viewpoints of folk elements like folk beliefs. Rather than these elements, other subjects like matals, appreciation, deception and cunning, types of allegories, magic and spell, mysterious stories, poverty and wealth have been also considered. Examples have been provided from each one of them. The findings of this research indicates the following outcomes: Almost sixty-eight thematic elements,Twenty-nine items of the role of numbers in destiny,Thirty items of the common traditions and customs in stories,Twenty-nine items of ancient elements in stories, Moreover, the findings have been arranged as tables including the name of the stories, the intended subjects and the use of numbers and the folklores practiced in stories based on different theories such as the theory of Marzelov and the classifications of Mahjub and other researchers specialized in this field.

Symbols reflect natural phenomena, particularly celestial bodies that are embedded in myths and popular culture and are abundantly employed in Persian literature. Fakhri Heravi was a Shiat pot of the court of Iran and India in the 10th century AH, who compiled Haft Keshvar in the reign of the Safavid Shah Esmail I in three years. Haft Keshvar is a travel book of 388 pages (edited by Afshar and Afshari) written in prose and ornamented occasionally by verses. It embeds references to narrative stories, myths, and history including Tarikh Tabari, Tarikh fakhr Baenakati, Javame AlHekayat va Lavame AlRevayat, Seraj Algholoob, Shhnameh and Boostan. Haft Keshvar is a meta-narrative work of fiction that incorporates a range of symbols related to celestial bodies. It depicts journeys of Ibn Torab who visits seven different countries and their kings whose ideas are determined by astronomy and myths. The present study explores intertextual clues to dig into symbolic representations of constellations and seven planets of the solar system.

A work of literary importance is uncovered by a thorough analysis of its sublayers. Thus, the present study uses a documentary, library, and note-taking method to collect data. It also uses descriptive-analytic method to examine narrative style of the work in terms of structure, narrative elements, and key features storytelling in Haft Keshvar. Persian writers have extensively used symbols to convey ideas and establish their belief systems. For instance, Fakhri Heravi wrote Haft Keshvar as a symbolic and allegorical work. Accordingly, this study examines the relationship between symbols and astrology in this work.

Haft Keshvar is a journey to seven countries that symbolically represents ideas on astrology based on constellations of the zodiac and seven planets of the solar system. It proves to be a deeply symbolic literary work with different layers of meaning. The present study focuses on symbols that relate to astrology and how they are interwoven into the text. It evolves around the idea of the evolution of life on earth.Ibn Torab accompanies Aghi-aldin in the journey and arrives in the first country ruled by Keyvanbakht who abides in a magnificent palace called JeddiAbad topped by a big poll called DaloAbabd. The king’s name stands for the plane Saturn. The pool in this work represents water in ancient mythology and local folklore. Ibn Torab and Aghi-aldin move to the second country and stay there for 30 days. The king is Malek Girgis and abides in NahangAbad ia big palace called Qosiyeh. The king symbolizes Jupiter, the city symbolizes Pisces and the palace stands for Sagittarius.Upon their arrival in the second country, a messenger in red garments from the third country welcomes them. His name id Shahab and serves his king Bahram who lives in a palace called Aqrabiyeh in HamAbad. The king and his living place in the third country symbolize Mars.Before they arrive in the fourth country, a messenger receives them. His name is Najm the Agile whose lord is Sultan Beyza. The King lives in his palace, AsadAbad, at a meadow called Sepehr. The palace is built in the form of a lion. The lodging of the king and reminds the reader of the Leo Constellation and the King’s name stands for the Sun, which respectively imply resurrection, eternity, life, warmth, light and authority.In the fifth country, Dorry the Night Walker welcomes Ibn Torab and Aghi-aldin. The ruler of this territory is Zohreh Banu who abides in her cow-shaped palace, Soriyeh, at the top of a mountain. Zohreh Banu stands for Venus and her land represents Taurus constellations.The king of the sixth country is SahmKhuy whose messenger, FalakPeyma, meets the travelers in the story. The king lives in his palace, Joza, in ParvinAbad, all reparenting Mercury.In the last country, the messenger is a man named GardoonSeyr who is in the service of his lord, Malek Qamaraddin who lives in his palace, Saratan, near the Nile. The king is the symbol f the moon and his palace is the symbol of Cancer constellation.

Haft keshvar was written by Fakhri Heravi in10th century AHand that is replete with mysticism, mythical, geographical and astrological ideas. The study shows that the journeys to seven countries are in correspondence to the seven celestial bodies and planets. The level of symbolism is more tangible when we realize that the twelve constellations in the sky are in seven planets. For instance, Asad is the sun and Saratan is the moon. The other planets have two houses that are represented in the story of Haft Keshvar. This implies the mastery of the writer over astrology and his gifted naming procedure. In representing the seven planets and countries, the writer emphasizes on some lofty notions such as justice, freedom, generosity, respectfulness, authority and autonomy.

Human relationships do not stop at the boundaries of spoken words, but instead use physical gestures. The body language is consistent with the spoken language to convey the meaning of expression. The study became unique to this task. The study began to subform the body language in the evangelicals left by Badr Shakar Sayab. The study tried to reveal the extent of this language in his love poetry based on the analytic descriptive method. The poetic examples were chosen randomly from the bloom of "Azhar and Asatir" which contained a large percentage of the love song of this Iraqi poet. Since the body language itself is a complex branch, researchers have taken six subdivisions: the language of the eye, the language of the lilies, the face language, the language of lips, the language of perfume and poetry to fit the poetry of the Sayab. The research concluded that the language of a poet in this area, often translated and inspired his poems; The language of the eye is like charm and beauty, the language of the hand that is most commonly used in its language, because the words of the poet are supplemented by the expression of his feelings, the language of the lips is suppressed by the expression of the Arabic, and the face language of the egregious poet has revealed the mysteries of the faces which have become enmeshed in the open world.

Genesis of Mehr in myths and development it to Jamshid on epicOne of the general theory about the heroes is that are developed over time and with the men who live in different terms of historical and geographical conditions to acquire its own form. One of the intellectual pillars of Iranian and Indian Aryans, the tendency has been that natural events .The question now is that with the passage of time stamped with the legend,  what transformation will be created and the epic, love the look and have taken?The author has tried according to the patterns of mythic and epic proper answer to this question.Alpha Mhrparsty as a phenomenon in the minds of certain functions of this family has taken various courses. West puts up Mhrprsty with the Persian conquest, and then accept the new face of solar deities, some functions of the human form - Godchr('39')s own evolution continues. Structures Mithra in Iran, according to their previous form and the transformation that occurred in the phenomena ,combined with the newer, In a more recent phenomenon, combined with new paradigm in the face of the title character reveals the name of Jamshid. In this paper, research and analytical way, the genesis and evolution of

Myth criticism is one of the few methods known in Iran. Myth criticism focuses myths. In this article a story of Eric-Emmanuel Schmitt is studied using this method. As in the twentieth century also exist many mythical themes in the works of some writers and since the story is still one of the best, it was chosen for analysis. Among contemporary writers Eric-Emmanuel Schmitt is very interested in myths. He even uses legendary names as titles of his stories. Schmitt’s Les Dix Enfants que Madame Ming n'a Jamais Eus is one of his last stories that is very similar to Pygmalion. Pygmalion is a sculptor from Cyprus who hates women because of their weaknesses. He avoids marriage because he thinks women are treacherous. He built a statue to show the weakness of women but he falls in love with her. Then he prays constantly Venus to make her alive. In this book Schmitt speaks, of o Chinese woman who has ten children. It is clear that it is totally impossible to have ten children in a country with one-child policy. It seems incredible but at the end, we see not only these ten children, but also some others for whom Madame Ming.

Mythical subjects are one of the fundamental and first issues in literature. Undoubtedly, literature and myth are inseparable and myth is a simple and primary effort for imagination of the human world that mostly it is a story about a god or goddess. One of the goddess is moon that is represented as Goddess of Sin, Celine, Artemis, Diana and Anahita. This research tries to investigate the myth of woman and moon as one of the human fundamental beliefs in the verse of Vis and Ramin. In this research, the aim was to extract and explain the myth of woman and moon and respond to the question of what is the reason for similarity between woman and moon. The research method was descriptive-analytical which investigated the myth of woman and moon. According to the findings it can be referred to the moon as the heavenly goddess that embodies the beauty and beautification of the creatures, particularly women who have relationships with moon. On the other hand, this belief has been assigned significant number of similes in the verse of Vis and Ramin.

In the belief of primitive humans, stones, plants, animals and celestial bodies (moon, sun, and other stars) had spirits, and there were gods and goddess beyond them. The humans visualized heavenly gods as stars. The primitive man imagined the gods as men and women from very beginning. Accordingly, the sun and the moon are no optional in this rule. The sun shines directly. Therefore, one principle is active and the other is passive. The sun is the manifestation of male power and the moon is the manifestation of the female power, and the moon is considered as the maternal goddess and source of power of life. On the other hand, the moon always provokes the sensation of beauty, and the beautiful face people are resembled to the moon. Wherever it is spoken about beautiful faces, the moon is represented and the lovers actually observe their beloved faces in the moon. The woman’s similarity to the moon is one of the common themes of literature that can lead us to think about the reasons for this similarity. When the moon is considered as the manifestation of beauty, what is the logic behind this similarity; although the moon has a smudge and, contrary to popular imagination, may not be too beautiful? So what is the relationship between the moon and the woman, and sometimes even the existence of human? Does this human imagination about the moon have any mythological aspect in its ancient belief? Why are all the beauties in the literary texts and especially in lyrics resembled moon? Considering that this issue is applicable in the literature of different nations, it is necessary to find out the reason for this similarity. In this article, the expansion of the relationship between the moon and the woman is discussed, and the evidence has been obtained from a noble Persian lyric known as Weis and Ramin.

The research method in this research is descriptive-analytic. In this regard, at first, the myths of woman and the moon and their relationship with each other are examined and then analyzed by the samples in the verse of Weiss and Ramin and their relationship with mythological issues.
 3-Discussion The moon, as the source of power and rejuvenation, creates all the bodies and living beings. This issue connects the woman to the moon in the unconscious of the nations, and on this basis, the moon is known as the mother goddess. Mother-goddesses are always related to the moon, and all goddesses were the goddesses of the moon. In the mythology of the world, the moon goddesses have been a symbol of beauty. Astronomers have considered attributes for the moon and light. "Buti, a well-known divine comedian interpreter, quotes from Arab astronomer Al-Mabsar that: The moon is cold, humid, and mysterious planet that sometimes, creates warmth and exhilaration and readiness to work, and sometimes makes sense of purity and need to pray. It always provokes the sense of beauty and friendship, but it also stimulates the magic talent, metaphysics, explorations of the earth and the sea. In a sentimental way, it is a special star of noble women and blessing marriage (Alligier 2010: 1155). In Avesta, the moon is the brightest part of the grateful creatures. In the Mahyasht, it is spoken about the brightness of the moon and pointed out that “Amshaspandan rises and provides that blessing entity and spread on the ground life” (Dosutkhah, vol.1, 1996:326). In Bundehehsh, it is written that the moon grants the creatures light and luminosity. “The moon offers light, happiness and power in three states early moon, crescent moon and full moon”(Samadi, 2004: 100) On this basis, it can be said that the brightness and beauty of the beautiful faces is originated from the moon. As it is said in a part of Bundehesh that “Amhaspand Imardad has likened the beautiful faces to the moon” (Afifi, 2004: 619).
In folk beliefs, the moon is not only the donor of beauty for the beautiful people but also grants flowers colors and according to this belief, the Persian poets have called the moon the decorator of the flowers” (Mosafa, 1987: 696). “In Persian literature, the moon is mostly a manifestation of beauty and a great example of dignity and perfection. It is related to these concepts that metaphors and various combinations of the fantasy have been created by Iranian poets, and especially the beauty of women has become liken the moon.”(Yahaghi, 1990: 385)

The moon, as the benchmark of world rhythms and the source of power and rejuvenation, creates all the bodies and living beings. This issue connects the woman to the moon in the unconscious of the nations, and on this basis, the moon is known as the sky goddess and manifestation of the female power. In the mythology of the world, the goddesses of the moon have been the symbol of beauty and attribute this beauty to the moonlight and its properties. In Avesta, the moon is the brightest part and donor of gratefulness to the creatures. In Mahyasht, it was spoken about luminosity of moon and pointed out that Amshaspandan rises and provides that blessing entity and spread on the ground life. On this basis, it can be said that the brightness and beauty of the beautiful faces is originated from the moon. According to these issues, the poet has portrayed the relationship between the moon and the woman beautifully, and, given the large volume of these similes, it can be considered as one of the features of the Weiss and Ramin poems. In addition, in general, the mythological relationship between the moon and the woman can be mentioned as a result; however, the secondary results of this research are as follows:1- In this verse, 190 couplets points to the evidence referring to the relationship between the woman and the woman.2. Weis who becomes the beloved of Viro, Shah Mobad and Ramin has a stunning beauty and in 156 couplets, the beauty of Weis and her relationship with the moon have been mentioned and only in 34 couplets, it has been pointed to the moon and other beautiful people.3- Because of being beautiful, Weis has been likened to the moon and the sun in seven couplets.4- Men are also likened to the sun, which 23 couplets are devoted to this issue, two of which point to the Shah Mobad, one refers to Viro and three couplets point to Jamshid (Ramin son) and the rest refer to Ramin.It is worth noting that the relationship between the moon and the woman is still present in the life of the people, and every beautiful creature is resembled to the moon, and this issue points the continuity of mythology with human life, and human beings have had myths related to their culture throughout the history. This brief piece of writing can be a valuable alternative to research on the reflections on many mythological issues. 

Understanding the mythological background of epic characters helps us to analyze their functions in literary texts. Studying the functions of Vayu and the existence of some similarities between this lord and Kai Kāvus provides a comparative investigation of these two mythological characters.Kai Kāvus, as described in Shāhnāmeh, is one of Iran's greatest epic kings and has a mythological background. Vayu is the god of wind and air that rules the empty space between heaven and earth. The present study, by using descriptive-analytical method, has found the similarities between the two characters. They are as follows: having ambitious personality, having divine light, having magic-medicine power, being warlike, being messenger of death, having a windy nature and being the father of first man. Although there are slight differences, the similarities between the two mythological characters make us think that the Kai Kāvus is a transformed and human form of Vayu. The purpose of this research is to present Kai Kāvus' godly background, his epic behavior and his multi-dimensional character in Shāhnāmeh.

Myth is a reaction to man's inability to cope with his/her infirmities and weaknesses. Mythical elements and characters are rooted in realities that change over time; as cultures are intertwined, myths blend together and new myths are created. Sometimes myths appear with different names but identical functions in different areas. The present study is an analytical-comparative one based on library data; its aim is to show the similarity of the functions of Iranian and Greek myths. Accordingly, they are compared, their common points are shown and the theory of the uniformity of the thoughts of all human beings in the early millenniums are examined. Since myth is the product of human thinking and derived from human nature, there are obviously similarities between the myths of different nations. These nations refer to same phenomena with different names, and the differences between myths can be attributed to the social conditions of each nation.

In this paper, the place of the horse in the Persian and Russian literary works has been discussed. In the literature of both nations, horses mostly own human characteristics and are counted as humansʼ faithful companions and friends. This legendary animal, in the literature of both countries, has always been a positive symbol and never does have negative characteristics. In order to explain this case, we resorted to some literary works from both nations in which horses played a role. By contrast, in one of the famous Russian heroics entitled “A Song of the Wise Oleg”, one of the historical Russian stories which merge with Russian myths, the role of the horse is different from the other literary works and it somehow unconsciously causes the hero to die. In the heroic stories, the horse is considered as a complement for heroʼs character and plays an important role in developing his personality. The purpose of this research was to indicate the perspectives of two cultures on a common symbol.