An important part of nowadays story is depend on a collection of elements that the story writer uses for his work. The Quran also uses stories and its elements to advice and giving examples. During the adventures of story, the addressee is placed in the context of the events and the incidents become apparent to him. The story of Talot’s battle is one of the Quran's stories which have considerable artistic importance. In this story, other story’s elements are artistically combined under the umbrella of an element called Plot. Plot of this story follows a pattern that is currently being discussed in the field of story writing. This story is narrated in a dramatic way that allows the reader to go through the battle of a war and experience bitter and sweet moments of the story with different characters. This article tried to extract the general Plot of story and then, through the help of story elements, explain the artistic displays of story to the addressees.

The old-age and widespread story of Bijan and Manijeh and its episodic place in Shāhnāmeh has led to dispute among researchers. Some attempt to present a historical justification for it and consider the story to be originated in the Parthian Era. The main issue is what kind of thought the story of Bijan and Manijeh contains which makes it so widespread and inclusive. At the same time, the question is how it could be placed in a great book like Shāhnāmeh. Analysis of the structure of the story based on Vladimir Propp's method shows the main structure is based on the plot of familiarization of the hero. Repetition of functions and main characters of this story in other Iranian stories confirm the basic and non-historic structure of Bijan and Manijeh. Investigation into the deep structure of the story too shows that it is formed under the influence of fertility rituals whose various forms are present in other stories. The reasons for the geographical inclusion of this story are the joint plot, structure and deep structure of the story.

The Holy Quran has used the story and elements of the story for its guidance and educational purposes. New studies in the field of literary criticism have paved the way for a better analysis of these stories. During the adventures of the stories of the Qur'an, the audience is placed in the context of the events and the currents become objective for him. The story of the Israelite cow is one of the stories of the Qur'an that has a special artistic significance. In this story, the elements are artistically combined under the umbrella of an element called a plot. The plot of this story follows a pattern that is still present in the field of storytelling today. The story is told in a dramatic way so that the reader is aware of the ups and downs of killing a person and experiences the exciting moments of the story with the characters of the story. This article is dedicated to extracting the main plot of the story and analyzing its artistic effects with the help of analyzing the elements of the story.

This article studies and analyzes the morphology of Shaykh-i San’ān’ story. First, we defined the concept of Morphology, and then we isolated the constituents of the story such as the heroes’ chara-cteristics, the roles of the story’s characters, time, place, motivations and movements. We subsequently analyzed the structure of the narrative and compared it with 5 analogous stories:  1- ‘Abdul alrazzāq-i San’ānī 2- Abū Abdūllah Andulisī, 3- Rāqid-u layl 4- Mo’azin-i Balkh, 5- Vali-yi Samarqandī   Our research showed that the first two stories, particularly ‘Abdul alrazzāq-i San’ānī, are structurally very similar with Shaykh-i San’ān’s story while the other narratives exhibit significant structural differences.

This article, after its introduction about a selection of twenty Children stories, studies the most important narrative elements such as plot, character, theme, viewpoint, atmosphere and setting in them. These stories have simple plots and apart from one with two sequences, all the other stories experience one sequence. The characters are one dimensional, allegorical and static. The stories, through images and words, present a histrionic atmosphere which is conventional and moves towards its happy ending.

Nushāfarin nāme is an Iranian prose folk tale recounting the passionate love and courageous acts of “Prince Ibrahim”, the son of “Jahangir Shah”, a king of China, to attain the hand of his beloved, Nushāfarin Gowhartāj, the daughter of Damascus king. There are stylistic features of folk tales and traditional romances to be perceived in this tale, as heroic deeds, and the presence of supernatural creatures, plants, places, objects of wonder, use of cyclic plots, cliché statements, ballads, folk songs, proverbs, ironies and hyperboles, to count just a few. A semi-literary language has been employed there, with a prose reminiscent of that of the Gājār period, lacking the old fashioned style of the Safavid era's writings. There are many instances of descriptive verbs and colloquial expressions, with conspicuous folk tale and chivalric legendary themes. This tale, along with the tale of “Shiroyeh Namdar” have functioned as models of story-telling for Naqib-ol-Mamalek in writing Amir Arsalān. The present paper, having introduced Nushāfarin- nāme, explores elements of its influences on Amir Arsalān Nāmdār, while discussing and analyzing various features of the former.

Some parts of the story of “Siavash” in Shahnameh is similar to the story of “Lion and Cow” specially that part in which the Iranian prince arrived at Turan and then was killed by Garsivaz (Afrasiab’s brother). It is worth mentioning that the root of the story of Siavash is known to be related to the myth of Ishtar and Tamuz of Mesopotamian’s myths which is just related to the first parts of the story and was not included in this article. As it could be seen in the following, the scenes and dialogues of the story proceeded similarly but the differences such as symbolic characters in Kelileh va Demneh in comparison with Shahnameh could be studied. Therefore, it was not unusual to look for this part of the story of Siavash in the aforementioned story of Kelileh va Demneh. However, it was possible that these two stories were rooted in another older story. In this paper at first the roots of the stories were analyzed to have a precise comparison of them. After that the scenes, dialogues, and different characters of these two were compared and finally, the difference between the two stories were emphasized.

One of the most important elements of the stories is plot. Plot is in fact a pattern for connecting the events of the story based on some causal relationship. Stories before the 18th century in Europe and before constitutional revolution in Iran were written based on simple plots and they were very different from today’s stories. Since plot originates from the nature of the characters, the reader needs intelligence and memory to understand it. The most obvious difference between ancient and modern stories is in fact plot; since the plot of ancient stories was based on simple and superficial causes while modern stories have plots based on complicated events resulting in challenges. The present article attempts to compare the element of plot in ancient Iranian stories (Khosrow and Shirin) and ancient European stories (Iliad & Odyssey) with modern Iranian stories (Tangsir) and contemporary European stories (War & Peace) to observe their points of similarity and differentiation.

Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings.

The beginning of modern Persian storytelling is intertwined with the Constitutional Revolution and modernist movements in Iran. The modern Persian short story is a style of storytelling that makes use of the components of modernism such as urban society, civility, humanism, etc. The aim of this article is to explain the elements and characteristics of modern storytelling in Bijan Najdi’s story “The Day of Horsepouring.” The narrative that the author presents in this story is not about an unexpected event in the real world, but rather an explanation of the metamorphosis that occurs within the central character. Through descriptions from the perspective of a horse, the author informs the reader about the inner world and thoughts of the character. Using a documentary method, this study aims to analyze this story to assess the use of modern elements in it. Findings suggest that “The Day of Horsepouring” highlights the author’s portrayal of the alienation of modern man, bound by mechanical and machine-like life, through the figure of a horse, by taking a different, modern, and creative approach to engaging with the elements of the story.