Story has Long been Exploited to Transfer Human Culture and Concepts. It is the most Consistent Verbal form to the Human Mind. Therefore، its Audience Spectrum is more Widespread and its Influence Power is Higher. Though the Qur''an''s main Language is the Language of Religion and Spiritual Guidance، it Exploits the Storytelling Method in its Complete form to Disseminate its Message. Useing the Literature on Qur''anic Stories، this Paper Attempts to Examine the Privileges as well as the Differences Existed between Qur''anic Stories and Human Stories and also to Classify them into Fourteen Headings of “Accuracy of the Statements، Being a true Story، Compactness of Talks، Selectivity، Breakdown of time Unity، Step-by-Step Process، Obfuscation and Vagueness، Iteration، Talks Amid Stories، Stories in Stories، Variety and Fun in Storytelling، Sudden Report of the Story، Secrecy and Virtuousness as well as small Presence of Women in the Qur''anic Stories”. Earlier، a Short Etymology of the Words in the Stories as well as the Special Structure of the Qur''anic Stories were also Considered.

Khaleghi Motlagh is one of the last scholars of with the expertise of knowing texts and Shahnameh correction. He has edited and published Shahnameh in a critical scientific manner. The basis of his work is that the editor first reviews and evaluates all or a large part of the manuscripts and determines its independence or kinship and grouping, then chooses the most valid ones and puts one which is known as the oldest and the most correct ones as the basis of the text, and records the manuscript differences accurately and scientifically at the footnotes or in a separate volume, but unlike the method in which the editor have to be loyal and faithful to the original text in composing, he does not make himself to follow the main text. Rather, he evaluates the recordings in terms of their degree of authenticity (selection) and among them he chooses the right or more accurate recording on some more difficult recording criteria (Lectio difficilior) and takes it from any copy to the text; while in cases where all versions are corrupt, he makes a deductive correction. These three steps in the scientific-critical method of text correction are called Rezension, Examination, Konjektur. After reviewing forty-five manuscripts of Shahnameh, Khaleghi Motlagh, selected fifteen manuscripts for his correction among which he made Florence’s copy (1217 AD) as the oldest and the most correct volume and as the base of his work. Other copies including the London (1276 AD), Istanbul (1331 AD), Leningrad (1333 AD), Cairo (1340 AD), Cairo (1394 AD), Leiden (1436 AD), Paris (1440 AD), the Vatican (1444 AD), Oxford (1448 AD), Britain (1486 AD) and Berlin (1489 AD) copies were determined as the original manuscripts; while the London (1437 AD), Leningrad (1445 AD) and Istanbul (1498 AD) manuscripts have been introduced as non-original ones. Despite many corrections in which only the difference of recordings (negative way) are presented at the footnotes (negative method) Khaleghi Motlagh recorded the differences at the endnotes of his work (positive method) Accordingly, in addition to the discrepancies of the manuscripts, he has also presented the similarities and homologies of the recordings at the footnotes. This article attempts to critically study Khaleghi Motlagh’s critical-scientific correction method in order to find the level of his loyalty to the well-accepted principles of critical-scientific correction method and to offer some suggestions for improving the correction and refinement of the text.

In this study, the beginning verses of Shahnameh, as corrected by Khaleghi Motlagh, are evaluated in two parts based on the principles of scientific-critical correction and the images of the recordings. The first section deals with the direct relationship between the text and the footnotes. Then, the second part discusses the shortcomings and extensions of the text. Finally, the article will end with some suggestions to improve the texts

Based on Khaleghi Motlagh’s correction, the number of verses at the beginning of the book (from the beginning to the start of the Kioomars story), which he named preface, are 209 verses. We contrasted the text with fifteen versions used in the correction and find a difference. That is, the recording different copies (footnotes) of this section from pages 3-18 of the first volume that cover the edited text. In this regard, 81 handwriting malfunctions or negligence in recording different versions (out of 479 footnotes) can be seen. Add to this list the 24 unreported items (based on original manuscripts) which have been left unanswered. This section discusses such cases that make a fundamental change in the context of Shahnameh, including controversial verses besides the editor’s method of correction. There are also cases being discussed in which the editor has intertwined some manuscripts and created new recordings. The editor has counted a number of verses adjuncts for reasons such as the existence of Arabic words or not being in the original version (Florence) and driven them as footnotes. Based on the textual evidence of different versions of Shahnameh, in this study, the authenticity or non- authenticity of these verses has been discussed, and it has been concluded that mere Arabic words or external references (relatively simultaneous works) cannot be conclusively related to the adjunct verse or verses. In his correction for various parts of Shahnameh the editor has chosen titles that cannot be found in any of the manuscripts .These titles are the result of a mix of recordings of various versions that have resulted in producing new copies and have led to more confusion. In this section, we have illustrated such things and noted its damage to textual work.

Khaleghi Motlagh’s attempt to identify the Shahnameh manuscripts and his attempts to correct those manuscripts in a scientific-critical method is undoubtedly an important step towards the advancement of textual studies on Shahnameh, which has unique complexities qualitatively and/or quantitatively. Failure to adhere to the manuscripts of the work, failure to show the different versions of the text, using eclecticism, and referring to sources outside the text of Shahnameh necessitates a critical approach to Khaleghi Motlagh’s correction. Based on the presented textual evidences and analyses, this article argues that Khaleghi Motlagh’s correction cannot be a complete example of a scientific-critical correction that adheres to all definitions and methods. Moreover, it cannot be considered as a work that makes the readers needless to refer to the original manuscript. Finally, examining the beginning verses of Shahnameh with regard to our proposed suggestions for a better modification of the text, it seems that a new critical approach to the mere scientific-critical correction of Shahnameh is necessary and inevitable. It has been discussed and concluded that mere Arabic words or external references (works at the same time as Shahnameh) cannot be conclusively related to the adjunct verse or verses. In his correction for various parts of Shahnameh the editor has chosen titles that cannot be found in any of the manuscripts .These titles are the result of a mix of recordings of various versions that have resulted in producing new copies and have led to more confusion. In this section, we have illustrated such things and noted its damage to textual work. Khaleghi Motlagh’s attempt to identify the manuscripts of Shahnameh and begin to correct them with a scientific-critical method is an important step towards the advancement of textual studies on Shahnameh, which has in the terms of quality and quantity unique complexities. Failure to adhere to the manuscripts of the work, failure to show the different versions of the text, using eclecticism and referring to sources outside the text of Shahnameh necessitates a critical approach to Khaleghi Motlagh’s correction. This article, based on the textual evidence and analysis presented, argues that Khaleghi Motlagh’s correction cannot be a complete example of a scientific-critical correction that adheres to all definitions and methods and it cannot be consider that his audience has no need to refer to the original manuscript. Also by examining and analyzing the verses at the beginning of Shahnameh, while presenting our suggestions for a better modification of the text, it shows the necessity of a critical look at the only scientific-critical correction of Shahnameh.

Abstract The author uses the story of the formation and consolidation of the story itself deals Story elements such as plot, point of view, event, action, climax, conflict, story structure helps. In this paper, we examine the structure of the Shahnameh story Forud the definition and structure of the story is told, The review will examine the elements of the story. Ferdowsi processing this story has managed to make good use of the elements And stories with good structure, advance For this reason, the story ends with the beginning of the appropriate causality and ends.

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.

Plot is the main element of a story based on a temporal chain and causality. Although Siavash story is an epic story، there are some structural elements on the basis of which we should call the first episode of this story –from Siavash birth till his emigration– a ‘Dramatic story’ and its second episode –from his emigration till being killed– a ‘Tragic story’. Analysing the plot of this story، we can summarize it in three sequences. Every sequence consists of three to five functions and every function is mentioned as a sentence. We can name these three motifemes as ‘Death & Resurrection sequence’، ‘Dying in Youth sequence’ and ‘Jealousy & Vilification sequence’. These three motifemes in Siavash story can be seen serially in three stories، namely ‘Siavash & Sudabe story’، ‘Siavash & Kavus story’ and ‘Siavash & Afrasiab story’. In considering every one of these three motifemes we can reckon every sequence as a structural pattern on the basis of which several stories in world literature can be analysed and some of these motifemes can appear as mythemes.

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 study compares the stories of Veis and Ramin and Khosrow and Shirin. The basis for this study is Greimas theory and the characters’ communication model, which assists the study to systematically identify the characters’ contributions in the events, and their motivations, demands and wills in the story’s incidents and actions. The essential grounds for this comparison is the transition from a similar superstructure to the Narrative infrastructure differentiation in two stories. The results of this study is an indication of the plot for Weis and Ramin which narrates the struggle of love with the law and the royal throne. Last but not least, the victory of love but the story of Khosrow and Shirin is based on the conflict and then the compromise of royal power with morality and religion. These are the most important differences between the two stories: In the story of Khosrow and Shirin, unexpected events and destiny play a greater role Creating beautiful scenes has no role in the plot. In the story of vis and Ramin, the plot has a logical order. The role and action of the characters is important in completing the plot, and women play a more important role in the story.
Veis and Ramin and Khosrow and Shirin are referred to as famous and prominent love stories in Persian literature. The Story of Veis and Ramin, the lasting work of Fakhroddin Asad Gogāni, is the third Persian Masnavi in terms of antiquity and the first Persian love poem that has survived to this day. This story is one of the most natural and influential stories of celebration and love in Dari Persian language, the subject of which distinguishes it from other ancient romance novels. 
Fakhr Al-din Asad's fame for the provision of the arrangement method in this story dates back to the fourth century, however, since the subject of this story was, in many cases, far from the moral standards of the Islamic environment of Iran at that time, the fame and popularity of Fakhreddin's story diminished after Nezami Ganjei's Poetic stories and the poets who imitated him.  Nezami is one of the most famous poets who imitated the weight and composition of Veis and Ramin in composing the element of Romance in Masnavi. There are many indications that Nezami, after reading the story of "Veis and Ramin", has thought of like those of composing love poems and perhaps Fakhreddin's work was his inspiration in selecting Khosrow and Shirin. Nezami's ability to compose festive stories has made him a role model for others and, according to some scholars, Khosrow and Shirin, the second Masnavi of Nezami's “Five Treasures”, is the best and most famous love story of his poems.
The connection between these two stories, the influence of Veis and Ramin on Nezami in composing the story of Khosrow and Shirin, and the similarity of these two stories in subject, nature, weight, and narrative characteristics, has made it possible to compare these two works. The purpose of this comparison is to identify the differences between the two stories, in terms of the impact of the characters’ actions in the plot and the events of the story. This comparison is based on Grimas's narrative theory and the action pattern of the characters and helps to identify the similarities and differences in the narrative structure of Persian love stories.
This research is based on the description and analysis of the text, and the action pattern of the characters in Grimas theory. The analysis method is based on dividing the text into the components of the sequence and then identifying, analyzing, and describing the action pattern in each sequence.
Both the stories of Veis and Ramin and Khosrow and Shirin include a grand plot that narrates their love and struggle with rivals and deterrents, the constant joining and separation of two lovers, and finally overcoming all problems and the final and the creation of an eternal bond between the two lovers.
In the story of Veis and Ramin, Veis, Ramin and King Mubad are the main subjects in the story. The most important assistants for Veis and Ramin, are Veis himself, the old maid and, sometimes, the mothers of the two lovers. Furthermore, there exists some opposing powers like Power, custom and law, the Shah's mother and brother, and sometimes Veis's mother. The most powerful opponents of the two lovers are the power of the king, the law and custom of society, and then the king himself and the mutual love of Veis and, finally, Ramin is the most important obstacle for Shah Mubad to enjoy Veis's love.
In the story of Khosrow and Shirin, Khosrow and, sometimes, Shirin are the only subjects in the story, and it is only at the end of the story that "Shiruyeh" appears as another target. In this story, love is the main theme and at the beginning of the story, Shapur and the kingdom, are the motives for Khosrow's actions. Accident and destiny are the most important helpers and opponents of the characters in the story. Another opponent of the two lovers which abandons them from reaching each other is Khosrow's marriage to Maryam and Shirin's motivation to maintain chastity. Shirin's love for Khosrow is also the cause of Shiruyeh's failure.
The story of Veis and Ramin is the story of the victory of love over the law and the royal throne. This story has very few extra scenes and images, its plot is coherent and the events play an important role in complication, denouement, creating a crisis and bringing the story to an end.
The story of Khosrow and Shirin is the narration of the alliance and agreement of religious laws and social traditions with royal lust and domination. The plot of this story has very few events and there is no serious and effective tension and conflict in complication and denouement with the story and, finally, the characters are not threatened by a serious crisis. The story of Khosrow and Shirin includes a large number of beautiful but redundant scenes and images that make the story come to an end late. This story, Contrary to the story of “Veis and Ramin”, contains a large number of beautiful but redundant scenes and images that make the story end late.
In the story of Veis and Ramin, accident and destiny have no role in the story, except in the scene of Shah Mobad's death. The main actors in this story, are the characters and the formation of the plot depends on their actions and motivations. In this story, women have a more effective role than men as subjects or helpers and opponents; They are active actors, depending on the situation and events of the story, try different solutions to achieve their desires.
In the story of Nezami, Contrary to the story of Veis and Ramin, accident and destiny play an important role in creating and completing the plot; Accident and destiny are the most prominent assistants as well as opponents in the story and Shapur, except accident and destiny, is the only helper of the story. He, unlike the maid of Veis, is the only the executor of Khosrow's orders and his messenger.
In the story of Khosrow and Shirin, the number of characters, in all roles, is much less than the story of Fakhreddin Asad Gorgāni and, more importantly, the motives and actions of the characters in this story, unlike the story of Veis and Ramin, remain constant throughout the story. The story of Khosrow and Shirin is the Scene of action and superiority of the will of men, especially Khosrow, and Women in this story, unlike the story of Vis and Ramin, do not play an active role in the events of the story.
The results of this study confirm the validity of Forouzanfar and Mahjoub's opinion. They hold the idea that the story of Veis and Ramin has got a great influence is more beautiful and influential in terms of story structure and rules than Nezami's story and has had a great impact on the flow of Composing poetic stories in Persian literature.

One of the important tricks of writers is to use the elegance of words and narrative creativity. Among their creative methods is the use of a minimalist format (story), which includes removing unnecessary elements of the story and relying on simplicity and brevity. The Qur'an contains many stories that, in addition to the purpose, the method of storytelling is a tool to express ideological and moral issues. Most of these stories are classified as short stories or short stories, and prolongation in the stories has been avoided.This article has evaluated the existence of stories with a descriptive-analytical approach, especially single-verse stories of the Holy Quran, and while defining stories and expressing its most important features, with a descriptive-analytical approach, it has analyzed these features in stories. This article shows that most of the single-verse stories of the Quran have the characteristics of stories such as: brevity, realism, evasive introduction, silence, limitation of elements, etc. have represented As a result, contrary to Western claims, the Holy Qur'an was the initiator of this type of literature.

The main goal of this research was a comparison between Iranian folktales, Iranian picture-story books and English picture-story books based on philosophical thinking components. The stories in this study consist of 10 Iranian folktales, 10 Iranian picture-story books and 10 English picture-story books that were picked by chance and using the method of deductive content analysis were investigated according to the Philip Cam’s philosophical thinking components. The findings showed that, there is no remarkable difference between Iranian picture-story books and Iranian folktales, but there are some variations between Iranian and English stories. Iranian picture-story books and Iranian folktales contain more philosophical thinking components than English stories; therefore the former stories are richer in content than the latter ones. Also, the component of exploring skills is more in Iranian stories than English stories.