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Bahaar-e-Daanesh is one of the folk and ancient Indian legends in Persian language with the theme of love,written by Inaayatullaah Kanabweh Laahoori(died 1088 AH)who authored it in the year(1061 AH)under the name of Shah Jahaan Gurkaani. This book is part of fiction literature, that is,the intersection of folk and literary stories and in the Indian storytelling style, a story within a story. Its main and long story is fictional and its theme is the love of "Bahre-Varbaanu and Jahaandaarshaah" and the theme of the main story and its main sub-stories are stories about women's tricks. In the spring of knowledge, themes such as shape-shifting, spells, magic, incarnation in a shape-shifting state, awareness of the science of dismembering the body,and the transfer of the soul from one body to another can be seen throughout the stories. In addition, the presence and conquest of Divan and ghouls,talking with magical animals, using the magic in the elements of nature,etc. are present in all the stories. In this article, the functions of magic and its helpers,objects and tools of magic and the ways of using them, magical trips and places and surreal beings,ways to achieve magic factors and nullifiers. Magic and talismans in the stories of Bahaar-e-Daanesh have been examined and analyzed to emphasize the importance of studying,knowing and preserving the cultural and social background of folk tales,which is the most important platform for the presence and manifestation of mythological and ancient themes among the masses. It is the people - to be emphasized.

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Assistant Professor Of  Persian Language and Literature Shahid Chamran University of Ahvaz rn rn rn   rn rn rn According to the  intertextul approach there is no text that is self-sufficient; rather,in this approach, it is supposed that every text is an intertext from previous texts and for following texts. In this essay, first different aspects of text and intertextuality are explained and then, a tale from Marzbanname is analyzed according to this approach. At the end,it has been shown that as Barthes, Bakhtin, Keristova, Genette, Todorov and other adherents of Intertextulity approach have emphasized, there is no authentic and original text; therefore, the mentioned tale from  Marzbanname , like other texts, is a retelling of previous texts.

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Folkloric fictions are considered as part of cultural heritage of every nation that reflects customs, ideas, traditions, and world view of each nation. Sometimes mythical, cultural and sociological themes are placed in their deep structure. In the recent centuries with growth of technology, many of these oral fictions are going to be endangered, it is important that these fictions be recorded and analyzed before death of their narrators, as far as possible. So, in this study, some fictions of Doshman Zeyari region have collected with field study research methodology and then have analyzed based on mythical, cultural and sociological deep structure. Some mythical, cultural and sociological themes in these fictions are the woman valuable place, emergence of heroin, the battle of drought dragon with rainy year, the relation of horse and moon with fertility, existence of the universe from the cosmic egg, the growth of plant of God’s blood and revealing the secret of slain by the reed that has grown from the blood of slain. On the other hand, we can see the theme of discussed tales in other folkloric tales such as: "Girl and yellow cows "," Mah‌Pishani "," Ajah k m hoo "," Smiling flower "," The secret of the beautiful reed ","The Girls of pomegranate "and" Orange and bergamot "
 
 

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Horse is one of the most important themes in epic literature that has always been with the hero from the oldest era and even is sometimes unified with the heroes, and during the time it has taken many functions. In this essay, analyzing verse and prose epics and folklore based on the content analysis method, it became clear that sometimes the horse has a direct bond with water and fertility. In some texts, the horse is considered the symbol of wind, as it is evidently mentioned in Eskandarnameh. On the other hand, horse is sometimes a symbol of death, as the black horse of Aphosh, Shabrang Behzad, and the black horse of Esfandiar are linked to death. Sometimes the horse is unified with demon and fairy, as it is mentioned in the Hamzanameh, Firooz Shahnameh and Darabnameh Tarsosi. The horse of Tahmooreth in Shahnameh is also considered as the devil. Horse in some texts has such an important position for the hero that the selection of the horse is also one of the important stages of hero’s improvement, and sometimes even a horse and the horseman will unify as the hero cannot accomplish his mission without the horse, as Rakhsh and Sheborg Behzad in Shahnameh, and Ashghar, the horse of Boran-Dakht in Hamzanameh and Darabnameh Tarsosi are cases in point.

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The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the king's main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.
 
 

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The main question of this article is whether myth can have an unconscious presence in the process of forming a literary form; to answer this question, first, with a descriptive-analytical approach, the two layers of mythological beliefs about the relationship between water and rain, fertility and blessing with the king's main function in a political-cultural system are explained. The findings of this article show that the belief in the relationship between the king and the set of beliefs related to water and rain has been an important and effective source in the subconscious formation of the most common and frequent system in Persian poetry. This article also examines the relationship between myth and literature and examines the corresponding relationship between the concept of the king and water and rain and fertility and analyzes the characteristics of the mythical king, examines the dimensions of the development of a recurring image stereotype.
 
 

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Although Ferdowsi's Shahnameh contains many narrations of Iranian myths, there are myths, that Ferdowsi did not address for some reason. One of the most controversial myths that are not present in the Shahnameh is the myth of Arash Kamangir. Some scholars believe that Ferdowsi did not intentionally refer to this myth, and others believe that this myth was not in Ferdowsi's sources. However, this research tries to look at this issue from the perspective of "paradigm analysis" And show that in the Shahnameh paradigm, the natural and obvious act is choosing life over death and the act of consciously and intentionally choosing death has never occurred by the heroes. In other words, the choice of deliberate death or martyrdom is an issue that is outside the Shahnameh paradigm. And Arash's myth could not have a place in Ferdowsi's Shahnameh because it is a story in praise of martyrdom. This is the result of comparing the paradigms that govern the Shahnameh and the myth of Arash, while the deliberate choice of death is absent in the paradigm of the Shahnameh, it is emphasized and praised in the paradigm of the myth of Arash. Hence, the paradigmatic contradiction between the two texts has prevented the presence of such a myth in the Shahnameh.