Tantra is one of the ancient cults that has influenced Indian religions such as Hinduism, Buddhism and Jainism. Feminine aspect is one of the most important characteristics of Tantrism which, for example, is presented in the goddess Śakti and her manifestations such as Kālī. In this respect one can allude to feminine aspects in Tantric doctrines about cosmology, theology and anthropology (mystic body and the subjects related to it, such as Cakra and Kundalinī) and Tantric rituals such as sexual intercourse (Maithuna) and sacrifice (Yajña) which have been explained in some scriptures like Tantras and Kāmasūtra. Lack of academic studies on doctrines of Tantra and the role of feminine aspects in this cult, on the one hand, and enthusiasm of learning about mystical and esoteric doctrines of Tantrism which could lead to misunderstanding, on the other, can explain the necessity of studying Tantrism. Therefore, this article tries to survey the doctrines of Tantrism and the role of feminine aspects in this cult.

Panch Tantra or Kalila and Demaneh among the masterpieces of mystical and philosophical wisdom of ancient Indian literature with the excellent translation of Nasrullah Manshi from the 6th century of Hijri in the literature of Persian language and literature with the discourse of education and ethics has been noticed by many thinkers of Iran including Rumi. It is because the rich Persian and Sanskrit languages of the land of Iran and India have long been the cradle of mystical and philosophical thoughts, meditations and enlightened wisdom. The author of this research aims to investigate and criticize the allegorical discourse using the method of comparative content analysis. First, the allegories of the Jackal in Panch Tantra and Masnavi Manavi were extracted and analyzed, and then a comparison was made between these two works. The main sources include authentic versions of the Panch Tantras in Sanskrit and Masnavi, as well as articles and books related to the analysis of comparative literature. This research shows that jackal allegories are used in both works as an effective tool to convey mystical and philosophical concepts. By using these parables, Rumi has been able to express mystical teachings in a story-like and understandable language for general and special audiences. The comparative analysis of these two works clarifies how the Sanskrit language and classical literature of India had a deep impact on Persian literature and the mystical thought of Rumi. The findings of this research show that Rumi deepened mystical and philosophical concepts by using allegories of the jackal and other animals. It is to express Ishrakhi wisdom in a sweet and story-like language. This method has made general and special audiences easily communicate with these concepts and benefit from mystical teachings.

Storytelling and storytelling in Indian land has a long history. The works of the "Five Tantra", which are considered important stories in ancient Indian history and have world renown, are of this category. Persian prose, although after poetry emerged in Persian literature, but until contemporary For various reasons, he has fallen behind the poem. The first reason why in Iran prose is less poetic from the point of view of poetry Perhaps that which in the literature of other peoples is often devoted to prose, and beliefs and ethical teachings, stories and stories, is manifested in Iran in poetry, and works such as Boostan and Masnavi Lili and Majnoon, Khosrow and Shirin , Are signs of the promise of the work of the poetry, and since these poetic works have had considerable mental health Persian prose has been left out of attention to such works, and inevitably in comparison with the poetry of the limited realm

One of the common features between myths and fairy tales is shapeshifting, which is manifested by changing the shape of fictional characters into non-human beings, such as animals, demons, plants, fairies, gods, etc. The marriage of a maiden with a nonhuman (mostly a snake) has many manifestations in Iranian fairy tales, and its traces can be traced in several narratives, such as "Sultan-e- Mar's play, Mirza Mast-o-khomar and Bibi Mehrnegar, Shah Khestekhumar, the story of Ah, Mehrinnegar and Sultan-e-mar" and many other oral narratives originating from different regions of Iran. In European literature, there are numerous “Div-o-Delbar” stories in which a maiden marries a nonhuman being. Human-animal marriage has a mythological background in European literature, but in Persian literature, it is not possible to consider a mythological background for this type of literature, because in Iranian myths, contrary to folk traditions, there is not much evidence of this type of marriage.

Procedure Review:

In the writing of the first part of this article, we delve into the effects the aforementioned narratives have had on one another through the French approach of comparative literature; and in the second part, with an eye to the "psychoanalytic and archetypal" approaches, the discussed narratives are analyzed and their similarities and differences are explored. In psychoanalytic analysis, the theory and approaches of Freudian thinkers are the basis of work, and in archetypal analysis, the theory and approaches of Jungian thinkers.Considering the fact that there are different narrations of the aforementioned works, it is necessary to mention the sources and versions from which the narratives are taken. The works that are the basis of the analysis are:1- The story of "The girl who married a snake" from the Panchatantra attributed to Vishnu Sharma (see. Sharma, 1925: 177-179) and also the translation of this story from the book of Shirin and Delneshin Stories (Kalila and Demaneh): 27 short and informative stories from Panchatantra (see Kumar, 2013: 68-71).2- The mythological narrative of "Psyche and Cupid" from the book "Golden Ass" by Apuleius (cf. Apuleius, 1393: 171-122).3- The folk tale "Beauty and the Beast" taken from the book "Beauty and the Beast" (cf. Luprince De Beaumont, 2015).4- The folk tale of "Mirza Mast-o-khomar and Bibi Mehrnegar" which is taken from the book "the Encyclopedia of the legends of Iranian People" (cf. Darvishian and Khandan, 1399: 14/627-637) and has been analyzed among its Iranian counterparts.

The Transformation of a Narrative

The myth of Cupid and Psyche is a Roman story that was first mentioned in Lucius Apuleius' Golden Donkey, and due to the similarities between Roman and Greek gods, it entered Greek mythology in later periods. Although Friedrich Creuzer hypothesized that the myth of Cupid and Psyche is Iranian (Benson, 2020: 276) and Richard Reitzenstein also considered Iranian Gnostic origins for this story (Tommasi Moreschini, 2013: 126), but due to the fact that there is no evidence that shows this myth has been influenced by Iranian myths or stories, these hypotheses cannot be confirmed. One of the reasons given by these thinkers for the Iranian origins of the myth of Cupid and Psyche is that the Mithraic religion of Rome was taken from the Iranian Mithraic (Mehri) religion, and the narrative of Cupid andPsyche entered Roman mythology from the Mehri religion, and the other reason is that this narrative is based on the principles by which the school of Pythagoreanism (Pythagoreanism) was formed.Another hypothesis which cannot be relied on is that the myth of Cupid and Psyche is taken from the folk tale "The girl who married the snake" in Pancha Tantra (See: Bottigheimer, 1989: 5 & Zipes, 2013: 205-206) due to the fact that there is no document to prove that theRomans had access to the Pancha Tantra in the second century AD and the considerable differences between the narratives. Considering that Lucius Apuleius was one of the Romans who lived in Africa and was born in the city of Madaurus, which is located in today's Algeria, and the proximity of this land to Egypt and the possible knowledge of him and other residents of the city of Madaurus of Egyptian legends and myths , it can be said that the hypothesis of the influence of the myth of Cupid and Psyche is more stable than the myth of Isis and Osiris; Because in addition to the proximity of Egypt and Algeria and the great possibility of the people of Madaura being aware of Egyptian legends and myths, several other reasons can be considered to strengthen this hypothesis, which are: 1- The numerous similarities between the two mythological narratives, 2- Both of the narratives have dealt with the legends of gods and 3- sacred marriage in these myths.There is a story with a very similar narrative in the Indian Pancha Tantra, which, in comparison with the Roman myth, some Iranian narratives have many similarities to; this story is "A girl who married a snake." Considering the access of Iranians to Pancha Tantra and its entry into Persian literature, what can be more likely is to consider Iranian stories as ones influenced by the story of "The Girl Who Married a Snake" and European stories of human-animal marriage such as Beauty and the Beast and East of the Sun, West of the Moon as stories derived from the myth of Cupid and Psyche. It can also be said that there are mixed stories from Indian stories and Roman myths in Persian literature, which the influence of both narratives can be seen on them. Among them are the stories of "Mirza Mast-o-khomar and Bibi Mehrnegar" and "The Girl and the Jujubee Tree" in which traces of the Roman myth can be seen as well as the influence of the Indian story. Since the history of oral stories is not known, it is not possible to say in what period and how this combination took place.4) Psychological and archetypal analysis of human-animal marriage in the investigated traditionsIn the psychoanalytic approach to these narratives, they can be considered as an allegory of the initial fear of teenage girls in their first sexual encounter with men; It means that the narratives in which teenage girls see men as demons are considered to be symbolic, and in fact, they show the girl’s primary sexual anxiety in avoiding the loss of virginity imposed by the society and the environment. Moreover, in these narratives, we can see manifestations of Oedipus complex and Electra complex, which in the myth of "Cupid and Psyche" we witness its male type, that is, Oedipus complex, and in the two-folk tales, the Electra complex.

Through the archetypal lens, these stories can also be considered as an allegory of the journey of heroin and her desire for individuality. Another thing that is prominent in the archetypal approach to these narratives is the encounter with the archetypes of anima, animus and shadow, which has various manifestations. Furthermore, the confrontation between patriarchal, matriarchal and feminist attitudes is another archetypal situation that exists in these three narratives, which is accomplished by the dominance of the female hero(heroine).

The present paper studies the theory of salvation in Osho's movement and tries to find its roots. First, the following three important questions have been answered through a brief review of Osho's life and most important doctrines: salvation from what?; By what means?; Towards what? These questions have been answered in Osho's doctrines as follows: we should attain salvation from limited and deficient sexual desires which prevent the complete meditation of man's mind; however, we should not resist our sexual desires to decrease them. Rather, we should fulfill them by the guidance of a skilled master and without usual limitations. Furthermore, these desires will be decreased and the ground for passing the stages of meditation will be provided by building a particular electric circuit between opposite sexes and achieving complete orgasm. In Osho's doctrines, the focal point of meditation is emptiness of mind which results in absolute tranquility. Finally, this paper proves that contrary to Osho's claim, he has not provided a unique soteriology. Rather, he has mixed the doctrines of ancient eastern schools, especially Tantra and Kundalini Yoga, and Zen Buddhism, and provided them in a more modern format. Although these doctrines are themselves severely criticized, they have been briefly mentioned in some paragraphs.

Śakti, from Sanskrit shak, means sacred power and energy. In Hindu scriptures, it means the "efficient energy" of the Supreme Principle, or the feminine aspect of the Supreme Principle, which is responsible for every act of creation. According to Tantric doctrines, the supreme Śakti is the only feminine substance behind the well-known triple-aspect of The Reality i.e. Sat, Chit, Ānanda. Thus, similar to Brahman in Advaita Vedānta, Śakti is also regarded as "Satchidānanda", and like Brahman, it descends into the world of manifestation, while keeping herself concealed and unperceivable behind the veil of universal illusion, i.e. the Māyā. Śakti is also responsible for the world's final destination, so much so that the whole manifestation is supposed to be reintegrated into its single substance, i.e. the Śakti. Therefore, Śakti is the supreme creative substance, the divine-mother, from her sacred womb the whole manifestation comes forth and to her, the world strongly desires to return.

Yoga is the physical, mental, and spiritual practices or disciplines, originated in ancient India with a view to attain a state of permanent peace of mind in order to experience one's true self. It has eight principles, called “yoga culture”, beginning from “Yama” (abstentions) and ending with “Samadhi” (Liberation). There are various physical and mental purposes behind yoga, including body fitness, alleviating pains, curing illnesses, and relaxation, easing anger, blood pressure, depression and tension; however, there has been criticism of the school in terms of methodology, ontology, monotheism, Gnosticism etc. The present article examines yoga and its principles and tests it against Qur’anic, Mysticism and Logic principal pillars.

Baḥr al-Ḥayāt ("the Ocean of Life") is a 16th century Persian text written by Muḥammad Ghawth Gwaliyari (d 1563). It is originally a translation of a yogic text known as Amṛtakuṇḍa ("Pool of Water of Life") which is now lost. Muḥammad mentions only an Arabic version named Ḥawḍ al-Ḥayāt. Baḥr is consisted of ten chapters. In its last chapter there is a kind of cosmology similar to those of the Tantric and Purānic. It promotes the doctrine of "Multiplicity in Unity" which is in accordance with Muḥammad's thoughts. Muḥammad employs Islamic proofs for Hindu ideas for instance when the text speaks of the Sound as the first manifestation of the Absolut, or the love as the vital element of creation or the primeval waters as the foundation for creation Muḥammad brings quotations from Quran and Islamic traditions as evidences. This paper tries to trace Muḥammad's narration in the Hindu literature.