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The oath has long been manifested in culture and literature in a variety of ways. In this study, the patterns of swearing in Bakhtiari people is analyzed. Oaths of fire, fire stoves, blades of sun, running water, bread, nuns, temples, devotees, underworlds, and thugs are the most important examples of swearing among the people of Bakhtiari. The importance of taking an oath to this people is the last way to prove the truth of the word and to distinguish the righteous from the wrongdoer. In this study, while studying the types of oaths in Bakhtiari people, the literary characters and their mythological aspects are investigated as well. This research is fundamentally based on the field-based library study and qualitative content analysis. After examining various sources and analyzing the literary and mythological aspects of swearing among the Bakhtiari people, it can be said that the ritual is a remnant of the same ritual in ancient Iran. Also, the oaths of fire, bread and salt, time, running water, sun and souls of the beloved ones are among the most important and common manifestations of oath taking among these people that have many literary and mythological aspects. The function of oath is to prove the truth of the word and recognize the true from false.
 

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One of the stories about the myth of Mithra is her war with the god of sun on the birthday. On the other hand, one of the most questionable stories in Bible is the wrestling of Yaghoub with Elohim, the style, theme and features of which attributed to God does not certainly belong to the Old Testament. But so far as the elements of narrative are concerned, it is similar to the narrative suggested by Mehr religion.  According to the similar fiction in the Mithra religion, this article suggested that the wrestling with the goddess has moved from oral fiction of Mithra religion to Judaism. We considered the historical study of cultural contact that seems to have started from the era of Huris rule and Nuz civilization. In addition, some common elements like night, water, the sun and the morning are also reviewed. The most important mythological element of this narrative is to grant Farrah (blessing); however, the difference is that in the genesis, Elohim grants the blessing to Yaghoub, while in Mithra, the Mehr grants the light beams and the rule of the heavens to the sun. This difference is due to the transfer of one mythic element from a non-monotheistic religion to a monotheistic one.
 

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According to critics and experts in the field of myth, "Achilles" or "Achilles" is the most immense Greek mythological hero in the Trojan War. Humorous, the oldest and most famous Greek epic, in his book The Iliad, the most comprehensive epic version of the West and the Greeks, is the story of this myth and his adventures in the Trojan War. This book has had tremendous effects on the cultural and literary communities of the West and the East. In the same vein, some contemporary Arab poets, like Suleiman Al-Bustani (1856), Mahmoud Darwish (1941), and Abdul Aziz Al-Maqalah (1937), have often been influenced by Iliad Homer, calling this myth. The purpose of this article is to critique and evaluate the effects of the presence of the myth of "Achilles" in the poetry of the poets, based on Pierre Brunel's theory and how to apply it in their poetry. The research achievement, which has been written with a descriptive-analytical method, shows that the Achilles myth in the poetry of some named, such as Darwish, and the articles that are poets of the generation of screaming and catastrophic events and defeat in Arab lands, The mission of a war hero on the battlefield of Troj, as a sinner and political ambassador among Arab nations, is that the emancipation of contemporary human beings from pain and suffering is political-social.

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Narrative structures and elements are main fields to express and reflect the cultural underlying structure of civilizations and recreation of such underlying structure in the form of narrations counts as the important elements of linguistics and semiotics. These narrations, reflect different social and cultural status and express the human thoughts and experiences. So, exploring such narrations is considered a method to access dominant discourse of every society and explain its hidden thoughts. Many narratives include stories and pictures of animals which have had human position in the past and have changed the border between human and animal. Horse had been the subject of mythical narrations in different nations due to its unique specifications such as intelligence, adroit, loyalty and chastity. By adopting the theoretical framework of semiotics of discourse, this research tries to study the status and role of horse in civilizations of China, Japan and Iran to show what structures or process on the basis of horse mythical function are formed and how horse functions in forming and developing these narrations. Narrative analysis of  the texts either abstract or concrete shows that there is a kind of semiotic fluctuation which changes horse from an animal and terrestrial creature to an enhanced and holy creature and implicates that how narrations relying on horse as mythical creature and enunciation function of horse are influenced by these fluctuations. The main aim of this research was to study discourse systems on the basis of horse narration function in Chinese, Japanese and Iranian civilizations to answer this question that how and on the basis of which criteria it can be accounted for better understand its status in improving physical and spiritual competence. Accordingly, this study presented at first the review of related literature alongside the investigation of the actional and stative system of the subject.Finally the results showed different kind of horses with diverse axiological features . Furthermore findings of the current study included two different economical and ethical aspects.    

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Ajaib-Nname is written document from the fifth to twelfth centuries. This study hypothesizes that there is a relationship between Ajaib-nameh and mythological views. To text it, eight texts of this genre were described and analyzed. Using Foucault's theory of genealogy, it was revealed that collective imagination in Ajaib-nameh has a relationship with the quasi-mythological motifs, despite the former's methods and objectives. The evolution of these texts has been explained in three distinct eras, including the geography-based era, the narrative era, and time-based era. The intensity and weakness of imagination in these texts are highlighted in three colors: yellow, orange and dark red.
 
 

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In Ferdowsi and his contemporaries' view, Shahnameh was not merely a literary and poetic work. In fact, it was a scientific and historical writing about the monarchical dynasties and traditions of Iranian real history. With the advent of archaeological sciences, the real history of Iran was distinguished from epic and mythical, so far, the history of Shahnameh and its counterparts has been called unrealistic and this raised the question in the Iranian societies: Is it all real or is it all fantasy? To answer this question, one way is to find evidence that could be be felt, seen and understood, in other words, discovering places or buildings which are related to Shahnameh and myths, there might have been many other places during the millenniums, which are either forgotten or kept unknown, places which have been more mythical and epic rather than historically or naturally real. In this paper, 25 of such places will be focused and analyzed considering the oral and folklore evidence about people's beliefs. Finally, the findings will be discussed

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Propp recognizes two initial situations in the morphology of Russian fairy tales: defect and evildoing; however, he considers both as original spontaneous situations. In this article, it is assumed that these patterns are significant and also the deficiency has always its origin in evildoing, but this is not an independent condition in the Iranian thought. To discover the meaning of these patterns, the fairy tales and Iranian myths as well as the national epics have been comparatively studied. The analytical method is structuralism and diachronic. The results of the study show that the myths of creation have two models, both based on the struggle and conflict of two opposing forces; however, one is creative and the other is destructive. In the first, the creator needs an element based on which the material universe is made or dependent on. This model appears in the magical legends as a defect situation. In the second one, the creator creates the universe in an ideal situation, but it can be invaded by the devastating forces and exit from its ideal situation. This pattern appears in the magical legends as the evildoing situation.
 

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Abstract:
The Shahanshahnameh is the most famous historical epic of the Qajar period, which was written by Fath Ali Khan Saba Kashani in an imitation of Shahnameh. The final part of this poem is about the Iran-Russia war and the heroic efforts of Abbas Mirza. The report of war and the heroic description are the main themes of this epic, and the myths are crystallized in various ways. Myth, on the other hand, is inextricably linked to popular belief. The present study examines the following mythological and popular themes in the Shahanshahnameh: prediction through sleep, magic, Haft Khan, Royantani, divinity, Ferdowsi, Deceptive Cover, Izad Soroush. The main purpose of the study is to explain the function of myth and popular beliefs in Shahanshahnameh as the historical systems. Hence, it was revealed that the themes used in Shahanshahnameh were influenced by Shahnameh or created to mythologize history. Considering the reflection of these themes in Shahnameh, Saba's method of using them and, in fact, the quality of these themes in Shahanshahnameh were also examined to clarify whether Saba had resorted to repetition and mere imitation or had actually intervened in them. The findings showed that Saba has used these foundations to mythologize history because of its predominant pragmatic approach. He derives from Shahnameh, which is sometimes rooted in popular culture; but he also has developed some elements and reduced some others. This research has been done in a descriptive-analytical method and  was based on library studies.
Keywords: Popular believes; Shahanshahnameh; myth; mythical foundations; dream; historical epic.
Research background
The subject of the present study has no background. The text of the Shahanshahnameh has not been completely edited and published, and the only excerpt, which is dedicated to the narrative of the Iran-Russia war, has been printed in India. Almost all researchers have access to the same publication, and their analysis about the Shahanshahnameh is based on this version.
Research has been done on the Shahanshahnameh, as well as a report on the Iran-Russia War, which, of course, did not address any of the mythical foundations. Only Shams Langroudi (1375, p. 129) has pointed to Saba's futile attempt to mythologize. Of course, research has been done on the themes of myths and popular culture in epic works, the most important of which is the study done by Azizifar (2015), examining the mythical themes in Darabnameh of Tarsus. In her doctoral dissertation, Khosravi (2016) also examines the mythical themes in the national epic poems after the Shahanshahnameh. Jabbar Naser (1397) has also examined the public and mythological beliefs in a narrative of the story of Rostam and Esfandiar.
Research has also examined the independent content of a mythical or popular theme. In his dissertation, Mirza Niknam (2001) investigated the prophecy in the Shahanshahnameh. Ghaedzadeh (2008) analyzed the prediction of Garshasbnameh in his dissertation. Gholampour and Poshtdar (2015) did a comparative study on the predictive functions of the great epics of the world (Shahnameh, Iliad, and Odyssey). In addition, in a book chapter, Sarami (2004) examines the dreams in the Shahnameh.
Shahnameh is a historical poem; but the battle with Russia provided a good opportunity for Saba Kashani to strengthen his epic-heroic background. The most important factor in this regard is the application of the mythological themes. This is why Saba Kashani includes kings, heroes, and the mythical creatures such as Soroush and Ahriman as well as the dragon in Shahnameh and mentions amazing events such as magic, dream, prophecy, etc. which are all rooted in myth.
The impact of Shahnameh and the attempt to depict the mythical image of the Iranian warriors have given the Shahanshahnameh, like other poems after Ferdowsi, an epic-mythical taste; however, this differs with Shahnameh.
In the history of epic literature, post-Ferdowsi's heroic poems are often based on written sources. The mythological themes can be found in their narratives, but because sometimes the source of the prose or possibly the payments and possessions of the composers of these works address the habituation more, it could be stated from the poetic point of view that the multiplicity and intensity of exaggerations, and the mythological elements in making heroic stories might make the narrations rather dull. A good example of this is Garshaspasnameh Asadi Tusi (Aidenloo, 2009, p. 52).
Aims, questions, assumptions
Myths are considered one of the basic elements of an epic, but their representation in the artificial epics requires further investigation. This is much imperative in a work such as Shahnameh, because it is a historical system, and what it narrates happened shortly before it was composed. However, several mythical themes have been used, the most notable of which are: sleep and prophecy, magic, weekly routine, deceptive coverage, and mythical creatures such as Soroush, and others.
Notwithstanding, this study aims to answer the following question: Is there a mythological foundation in the Shahanshahnameh?
Discussion
Fath Ali Khan Saba was a key poet in the Qajar court, and as he tried to praise his admirers in the poems, she intended to depict the mythical image of the Iranian warriors, especially Abbas Mirza, in Shahanshahnameh. On the other hand, Saba is strongly influenced by Ferdowsi and some themes of Shahhanshahnameh are taken from Shahnameh. As a result, the themes and mythical foundations of the Shahanshahnameh are introduced, and the present study examines these themes accordingly.
Conclusion
The foundations of myth and popular culture are linked in two ways: first, myth is one of the origins of popular culture and belief. Another is that both are sometimes unreasonable and even exaggerated. The reflection of these themes in Shahanshahnameh is justified from several perspectives: first, the epic context of the work, which is dedicated to the narrative of the Iran-Russia war. Fighting and confronting strangers is the main theme of the epic. Epic, on the other hand, is the most important manifestation of myth. Accordingly, the mythical foundations have found their way to the final part of the Shahnameh, which narrates the Iran-Russia war. Weekly captivating and engaging cover are the most important themes of the war-related myths.
Another issue is Saba's praiseworthy approach and efforts to exaggerate. This approach has led the poet to draw a mythical image of his own heroes. This work of Saba can be labelled as the mythology of history, which is crystallized in the form of dream, magic, and prophecy through dreams. Importantly, its prophecy and magic are also linked to the exaggeration and magnanimity associated with popular culture, which is reflected in Saba's work as well.
The final point is the impact of Shahnameh. Almost all epic poems after the Ferdowsi era are influenced by Shahnameh, and Shahanshahnameh is not an exception. All the mythical themes of Shahnameh are used in Shahanshahnameh; however, the processing and quality of all of these cannot be repeated and imitated. For example, Saba has used dream and prophecy as a starting point for his poem in the narrative of the Iran-Russia war. Soroush and Far were used with some semantic changes in a way that is more in line with Avesta's narrations than that of the Shahnameh. In contrast, what he has put forth about Haftkhan, Royantani, Magic, Letters, and Deceptive Cover is an incomplete and superficial imitation of Shahnameh.
Saba has used mythological foundations to mythologize history because of his praiseworthy approach; but to do so, he has imitated Shahnameh. However, this has been done a bit differently. At the same time, some mythological foundations have found their way into the popular culture as well.
References

•  Aidenloo, S. (1969). From myth to epic. Tehran: Sokhan
•  Azizifar, A. (2015). Study of mythical foundations in Tarabousi Darab. Textbook of Persian Literature, 7(4), 101-118.
•  Khosravi, S. (2016). Examining the themes and themes of myths in poetic epics after Shahnameh. PhD Thesis in Persian Language and Literature. Mazandaran University.

 Langroudi, Sh. (1996). School is back (in Farsi). Tehran: Markaz Publishing.

•  Mirza Niknam, H. (2001). Foreword in the Shahnameh of Hakim Ferdowsi. Master's thesis. Persian language and literature. Bahonar University of Kerman.
•  Saba Kashani, F. (1815). Shahnameh manuscript. Tehran, Majlis Library. Copy No. 587.

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Abstract
Folk beliefs, which are an integral element of the culture of a society, have an inextricable link with myth. To analyze such beliefs, it is imperative to investigate the mythological era and understand the ideas of the ancient time about the phenomena in the universe. It can be said that many of the rituals that are prevalent in people's daily lives today, are actually the mythical beliefs that have changed over time. Shifting from myth to ritual, preserving their mythological underpinnings, they have become folk beliefs, though they might have had major or minor changes. Among folk beliefs that have significant mythical representations, three rituals stand out: "marriage with a fountain", "breaking an egg to ward off a wound", and "passing a patient through a wall hole" that have been common among various Iranian ethnic groups for a long time. The present article, using a descriptive-analytic method, has rooted the three beliefs and explained their connection with myths. The findings show that all three of these rituals have a mythical origin; that is to say, the marriage with the springs is a remnant of the myth of sacrificing for the springs in order to please the owner of the water. After the shift from myth to ritual, it has turned into marriage with the spring. The egg-breaking ritual is also associated with the myth of the Seed of the Universe and it can be interpreted as the regeneration of the first creation. Finally, passing the patient through the wall hole is a reminiscent of returning to the womb and repeating the idea of birth. From the mythological perspective, this is a pure and ideal moment for the sake of its divinity.  

Keywords: Myth; folk beliefs; sacrifice; early creation; return to womb.
 
Research Background

Several studies on the relationship between myth and various elements of popular culture have been conducted. Among them, one can mention the following: Mozaffarian (2012) has examined the relationship between myths and folk tales. Parsansab and Manavi (2013) have dealt with the evolution of the "crow" from myth to popular culture. Mousavi and Spargham (2010) have criticized the mythology of the story "Orange and bergamot girl" and examined the cultural backgrounds of the use of orange, bergamot, and pomegranate in this story. In his article, Mokhtarian (2005) has tried to classify fairy tales based on myths. Motevaseli (2016) examined various aspects of the place of myths in the Persian folk literature.

Aims, questions, assumptions

The purpose of this study is to explain the origins of the myths of the three popular beliefs: "marriage with the spring", "breaking the egg to repel the sore eye" and "passing the patient through the hole in the wall". Therefore, in this article, we intend to answer these questions: Are the traces of the popular beliefs mentioned in this article traceable in mythology as well? Does the mythical position of these beliefs only belong to Iran? What is the mythical view behind these beliefs? The roots of the popular beliefs studied in this article refer to the ancient and distant mythology, which is one of the common intellectual commonalities in many parts of the world. The belief in the myth of sacrifice for the spring through marriage to the spring lies in the concept of reconstruction in the ritual of breaking an egg and returning to the ideal moment of creation via passing the patient through the hole in the wall.

Discussion

In all eras, myths play role in people's lives and they have stayed with us in the form of certain beliefs and rituals. Some of these myths are so ancient that it is not easy to reveal their presence in the current human beliefs and practices; however, they are prevalent in the popular beliefs and rituals, though people might not be conscious of them. Nonetheless, we find that their origin is the mythical beliefs and pristine thought of the primitive man. For this reason, popular beliefs are the best manifestation of ancient and mythical beliefs in our era, which directly/indirectly display mythical thoughts. According to some scholars, various elements of popular culture, such as stories, myths, and popular beliefs are the degraded and surviving form of the ancient myths in which mythological sanctity has faded (Bastid, 1991, pp. 42-46).

One of these popular beliefs is the ritual of marrying a spring, which is rooted in the ancient myths and expresses the mythical interest of snakes or dragons in girls and women. The ancient people believed that myths were used as a trick to satisfy dragons in order to release water; thus, marrying a spring is a technique of proximity, meaning marrying a dragon near the spring.

Another popular belief, the ritual of breaking an egg to repel a sore eye is another case in point. Since in many parts of the world myths are the origin of the creation of the primordial and cosmic eggs, in the mythology of myth and the rites of the people, the breaking of an egg is reminiscent of the first creation. It confirms the return to the beginning of creation and the primary health.

Another popular belief is the ritual of passing the patient through the hole. The organizers of this ritual have one goal: Imitation and repetition of labor (passing through the hole). Their main purpose of the ritual is to pass the patient through the hole, which means a new birth, resuscitation, and treatment of the patient through a new birth and return to the womb.

Conclusion

The results of the research show that myths and popular beliefs have a deep relationship with each other, and the main source of the beliefs we have today is the mythical ideas of the ancients. Although the passage of time has created changes in myths, according to the mythology, they have been manifested in the form of public rituals and beliefs in our current era. Understanding the mythological origins of popular beliefs is the key to understanding the myriad questions that have arisen regarding such beliefs. In this study, it was found that the ritual of marriage with the spring is the same evolutionary form of the myth of sacrificing water for the client in order to escape the drought. The ritual of breaking an egg to repel sore eye is rooted in the myth of the cosmic egg; because many ancient tribes believe that with the breaking of the cosmic egg that floated in absolute darkness, the universe was created; so, this egg is the beginning of creation. The patient's passing through a hole in a wall, mountain, or tree, which is done to cure the disease, is related to the myth of returning to the womb and the initial birth. It means taking the sick person to the past and the moment of birth when s/he came out healthy and undamaged from the mother's womb.

References

•  Bastid, R. (1991). Mythical knowledge (translated into Farsi by Jalal Sattari). Tehran: Toos.
•  Matevasoli, N. (2016). Study of the place of myths in Persian folk literature. Indexed on the Ittehad Khabar website under the supervision of the Ministry of Culture and Islamic Guidance. Published: 20/ Nov /2016. Visited: 22/June /2020.
•  Mokhtarian, B. (2005). The proposed model for classifying fairy tales based on myths. Anthropology Letter, 4(8), 119-139.
•  Mousavi, M. & Spargham, S. (2010). Critique of the mythology of the story of the orange girl and the bergamot and the study of the cultural background of the use of orange, bergamot and pomegranate in this story. Literary Criticism, 3(11-12), 233-255.
•  Mozaffarian, F. (2012). Folk myths and tales. Quarterly Journal of Mystical Literature and Mythology, 8(28), 213-247.
•  Parsansab, M. & Manavi, M. (2013). The evolution of the crow from myth to popular culture. Journal Public Culture and Literature, 1(1), 71-92.

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Abstract:
Metamorphosis is one of the key issues in myth and mythological stories in which a creature physically changes and temporally or permanently losses its formal shape, as well as its recognized and natural formation to reach perfection or suffer a deficiency; thus, gaining a new shape. Metamorphosis sometimes constructs a part of the creature, becomes eternal, young or vulnerable, or finds a synthetic structure comprised of the human and animal features, and lives contrary to its basic nature. In this study, with regards to the significance of the issue under consideration and the status of culture and folk literature, different types of metamorphosis in the popular culture and literature of the Bakhtiary and Kohkiloye-and-Boyer-Ahmad people are investigated. Going through various kinds of human metamorphosis to an animal, a tree, a bird, heavenly bodies, and vice versa, we shall be concerned with analyzing their literary representations and mythological aspects of different types of metamorphosis among the Bakhtiaries and Kohkiloye-and-Boyer-Ahmad people. This study is conducted fundamentally based on the library and field study using qualitative content analysis. Upon investigating various sources and analyzing literary and mythological representations of different kinds of metamorphosis, it may be indicated that the most important types of metamorphosis in the cultural and belief system of these people subsume the metamorphosis of human to animals such as bear, wolf, tiger, and turtle. As a result of committing sinful actions, humans are metamorphosized into a tree.
Keywords: The popular culture; the Bakhtiari tribe; Kohkiloye-and-Boyer-Ahmad; mythological themes; metamorphosis.
‌‌‌‌‌‌‌Research Background
Reviewing authenticated academic journals and websites as well as library resources, we found no reliable scholarly work on metamorphosis in the folk culture of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. On this basis, the present study is one of the first, if not the first, attempt that takes into account this critical issue. 
Aims, questions, assumptions
In this study, we shall examine the manifestations of different types of metamorphosis in folk culture and anecdotes of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. On this account, the major objectives of this research includes investigating and analyzing various types of metamorphosis from human being to animal, plant, bird and vice versa. Moreover, their representation in culture, belief, and folk literature such as local poems, proverbs, and the anecdotes of Bakhtiari and Kohgiluyeh and Boyer-Ahmad people are investigated. The significance of this study lies in the fact that examining the representation of metamorphosis may throw light on the rituals, beliefs, values, and regulations of those who have devised such myths and stories.
Results and discussion
According to the library-based findings, the most important types of metamorphosis in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people can be categorized as follows:
One of the salient stories represent the metamorphosis of a human being to a turtle in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. In this narrative, God metamorphosed a woman into a turtle because she disobeyed Him. Putting a pan one her back and a baking pan beneath her stomach, God metamorphosed her into a turtle.
A pork is also a metamorphosed human being. The story is that "he refuses to pay attention to the guest and the man asks God to change him into a ferocious animal. Then, God metamorphosed him to a pork". The story of the bear is also the same. Moreover, tiger and rabbit were also of those human beings who were metamorphosed for their committing sinful actions. 
Of the most important instances of human to animal changes is the metamorphosis of a fairy into a human who defrauds other humans at the gardens, streams, and ponds at night.
Besides animals, birds are also metamorphosed in the culture and beliefs of the Bakhtiari and Kohgiluyeh and Boyer-Ahmad people. Cuckoo amongst the Bakhtiaris, or Gapi-Gapu amongst the Kohgiluyeh and Boyer-Ahmad people are two examples of birds that were firstly human and then were metamorphosed into birds because they beg God in order to have relief in the life. Also, birds such as Jaze, Titek, and Gow-Gow are some other metamorphosed animals.
So far as the metamorphosis of the celestial bodies is concerned, there are stories about the moon and the sun amongst the Bakhtiaris and the Kohgiluyeh and Boyer-Ahmad people. The moon was a boy and the sun was a girl who were metamorphosed for their sinful deeds.
The most important instances of the metamorphosis of a human into a tree amongst the Bakhtiari and the Kohgiluyeh and Boyer-Ahmad people are a plant called Chevil and Kardah (growing from human's bloodshed), human's brain to an oak tree for committing robbery, Gesha Khashkha for drinking wine. The most important instance of metamorphosis of a tree into a human or an angle can be seen in the story about the metamorphosis of the Hawthorn tree to a pretty woman.
Conclusion
In relation to the folk culture and stories of the Bahtiari the Kohgiluyeh and Boyer-Ahmad people, this study aim to investigate the metamorphosis of human to animal, tree, celestial bodies, birds and vice versa. These stories help us figure out the values, beliefs and obligations embedded in these anecdotes. Most of these anecdotes are related to the metamorphosis of a human to an animal, a bird, and celestial bodies. This happens as a consequence of committing a sinful action that masks a man with the heinous features of an animal, some examples of which are: behaving badly with others (pork and bear), cannibalism (tiger), being ungrateful to God (turtle), betrayal (rabbit), drinking wine (Khashkhash), fratricide (Gogu), naughtiness (Jaze and Titek), helping someone for robbery (Kaji-pati) and robbery (oak tree). Through metamorphosis, many of human beings are changed into animal, bird, tree and celestial bodies. In these stories, the people are indirectly given heinous characteristics so as to emphasize the educational and ethical aspects of the narrative.   

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Abstract
The similarity between myth and story has brought about theories based on which recurring elements between myths and stories can be explored and analyzed. This research, borrowing a descriptive-analytical method and following the theoretical framework of Carol S. Pearson and Hugh K. Marr Psychological -archetypal analysis in "Awakening of the hero within", and Joseph Campbell's The “Hero's Journey” theory, tries to examine the process of the "hero within" journey in the story of Bahram and Golandam. The study tries to analyze the manifestation quality of archetypes throughout the journey to show that the hero of the folk stories, like the sages, can step into the process of individualism and starts the heroic journey via the manifestation of these archetypes. Analyzing the mythical structure of this story, it turned out that the story consists of three stages of “departure”, “initiation” and “returning” which pave the way for the advent of the archetypes. The hero starts the journey by leaving home, and then the explorer archetype begins. Throughout the journey, according to fictional situations, the inner hero archetype faces metamorphosis and other archetypes arise consequently. The most vivid archetypes of Bahram are “lover”, “explorer” and “warrior” when the end comes by forming a family which shows the "returning" stage to the home environment where the “ruler” archetype occurs.  The results of this study show that the story of Bahram and Golandam has a mythical structure, and can be analyzed on the basis of the archetypes theories, due to its psychological approach.  

Keywords: Folk literature; mythical structure; hero within journey; Bahram and Golandam; children's literature.
 
Background
In context of hero within journey and the manifestation of archetypes, remarkable studies have been done such as Sarmadi et al. (2014) in which they the studied hero within archetypes in the novel Shazdeh Ehtejab. In another case, Ghasemzadeh (2014) analyzed the characters of Kaykhosro and Siavash in Shahnameh based on Pearson- K. Marr theory. Lastly, Ghasemzadeh (2013; 2016) studied the Little Black Fish and Bi-o-Tan stories based on the same theory.
The story of Bahram and Golandam has been studied from different aspects. In one study, Zolfaghari and Arastoo (2008) studied the themes in Bahram and Golandam, and Mashhadi and Dastan (2014) analyzed the narrative structure of Bahram and Golandam story on the basis of Greimas theory. Nevertheless, considering these stories from the psychological-archetypical aspect leads to more precise perception of society, culture and history of children literature.
Aims, Questions, and assumptions
Reading, revising and studying of stories can be done through archetypes analysis theories in order to reach a collective unconscious interpretation. Zolfaghari (2015) believes that studying folk decorum in one way relates to anthropology, and on other hand, relates to literature. The goal and necessity of reading and studying Bahram and Golandam story, on basis of hero within journey theory, is linked to the perception and cognition of collective unconscious and the spirit of stories society. This becomes increasingly evident in the case of Bahram and Golandam story which is classified as a part of the Iranian folk literature and also a readable resource for children and teenagers in the Qajar era and even before.
This study attempts to find the answers to the following questions: What are the courses of archetypes development and the process of their emergence in the story of Bahram and Golandam? What are the main archetypes in this journey? What are the effective factors in hero’s evolution and growth? How the hero’s image would be criticized on the basis of the archetypes criticism method?
Discussion
The hero in the journey within will experience three stages of departure, initiation, and return (Campbell, 2010). After passing these stages, 12 archetypes with unique traits will appear within the hero. He would gradually experience these archetypes and returns with power and strength at the end which is all due to the experience of self-knowledge and exploration. (Pearson- K. Marr, 2011) the study of hero within journey process and the acts of Bahram, as the manifestations of each archetype, shows that the lover, explorer, warrior and wizard archetypes are most frequent in Bahram's heroic journey. This begins with the explorer and innocent archetypes at the departure stage. Explorer archetype is repeated throughout the journey and the innocent archetype is removed after the initial steps. In the initiation stage, in order to reach the goal (i.e. joining the beloved – the meaning), the hero denies his identity and chooses anonymity consciously. Since Bahram and Golandam story is classified as love stories, the repetition of lover archetype is realized in Bahram’s character. In addition to the lover archetype, there are three dominant archetypes in Bahram’s heroic journey: the explorer, warrior, and wizard. Wherever no power and strength remains, he calls for the supernatural powers.
Conclusion
Bahram and Golandam folk story basically stands on the mythical structure. In this regard, Joseph Campbell's theory can be an appropriate means of investigation for this story. According to Pearson- K. Marr theory, Bahram can be respectively the Icons of lover, explorer, warrior, and wizard archetypes, and Golandam is the allegory of the hidden half of existence, a mysterious journey for discovery and cognition. Lastly, China is the code of true world. It seems that real maturity is gained by finding the hidden half of the existence, and Bahram, passing the stages of his journey, reaches the true destination of discovering his half (i.e. joining Golandam). He finishes his heroic journey and returns home like the king of two worlds. As mentioned earlier, Bahram and Golandam story is classified as a folk literature and children literature history, thus, considering Bahram as a hero in the mind of children and young people shows that the four explorer, lover, warrior, and wizard archetypes are attractive and acceptable among them.
References

• Campbell, J. (2010). The hero with a thousand faces. Mashhad: Gol-e-Aftab
•  Ghasemzadeh, S. A. (2014). The analysis on quality of awakening hero within in Siavash and Kay Khosro Persona relying on Pearson- K. Marr. Journal of Adab-e-Hemasi, 17(10), 107-134.
•  Ghasemzadeh, S. A. (2016). The quality of awakening the hero within in Little Black Fish fiction. Journal of Adabiat Parsi Moaser, 3(6), 55-75.
•  Ghasemzadeh, S. A. & Sarbaz, F. (2013). Psychological-modernism analysis of Bi Va Tan novel based on the theory of awakening hero within. Journal of Pazhoohesh Adabi, 42(10), 113-142.
•  Mashhadi, M. & Dastan, F. (2014). Structural-narrative analysis of Bahram and Gol-andam based on Greimas theory. Journal of Matn-Pazhuhi Adabi, 61(18), 83-104.
•  Pearson, C. S & Hugh, K. M. (2011). What story are you living? Tehran: Farhang-e-Zendegi Institute.
•  Sarmadi, M. & Gorji, M. & Mozaffari, S. (2014). A review of heroic journey of persona in Shazde Ehtejab relying on awakening hero within archetypes. Journal of Adabiat Parsi Moaser, 4(2), 53-81.
•  Zolfaghari, H. (2015). Culture and folk literature of Iran (in Faris). Tehran: The Organization for Researching and Composing University textbooks in the Humanities.
•  Zolfaghari, H. & Arastoo, P. (2008). Bahram and Gol-andam (in Faris). Tehran: Cheshme.

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Worship of the mother goddess is one of the deepest beliefs in the minds of various nations and peoples throughout human history. Ancient civilizations such as the Iranians and the Turks have long had this religion and the beliefs and customs related to this myth still remain in the culture of these tribes; considering the closeness of the cultural and historical background of Iranians and Turks, a study on their mythology can  give us lots of information of the history and culture of both nations; Therefore, the aim of the present study is a comparative study of the mother goddess in Iranian and Turkish mythology and the main question is what is the relationship between the mother goddess in Iranian and Turkish mythology? The method of this research is comparative-analytical. Findings show that despite the differences in some aspects attributed to the Iranian and Turkish mother goddesses in the myths of the two nations, there are many important similarities between the concept and function of this myth among Iranians and Turks.

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According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

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In some romantic stories and legends, the pair seeker initially appears as a beast and after marriage, will restore its human face. The stories of animal-groom in the West are influenced by Keivid and Psike by Apolis, and in Iran by Zahhak marriage to Jamshid’s sisters. In accordance with the principle of myth displacement, the base of animal-groom in the Islamic period of time has been adapted to the conditions and religious characteristics and has found a place to remind future generations in mind by expression in the Mystical stories. This story is included in the book of Hezar Hekayat-e Sufeyane and its central theme is the marriage of a wolf to a human girl.
In this paper, initially the the structures of the story is assessed by the story of Zahhak’s marriage to Jamshid’s sisters in Shahnameh Ferdowsi and some Iranian legends of animal-groom. Then, the symbolic aspect of the wolf is checked. In Iranian mythology, this animal is harmful and one of the manifestations of evil, but on the contrary, it is the totemic ancestor of some neighbors and enemies of old Iran. According to the findings of this study, marriage of the human daughter to a werewolf in the mystical tale is linked with exogamy tradition.

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Cooper, J. S. (2013). Culture of ritual symbols (translated into Farsi by Roghaye Behzadi). Scientific.

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The Jung’s criticism is real area of mythological criticism. When
this criticism focuses on the archetypal deep structures that also
describes the "archetypal criticism". In recent decades, with the
growth of postmodern philosophy and with the influential of theorists
such as Lacan about language and unconsciousness, Jung’s criticism
too was affected from post-modern views. Post- Jung criticism which
possesses three approaches and eight main schools was abstracted
from this main approach. Among areas of Post- Jung criticism, one of
the most widely applied theories in the field of literary criticism is the
archetypal criticism that is both inclusive and pluralist. In this
approach, internal and external elements of texts are interpreted
through deductive method.
In this paper, in order to examine the methodological approach of
archetypal criticism, we have explained the quality of critical theory in
the text. Then, with the classification of various texts, we tried a
practical approach to the textual analysis to show how the theory
attempted to extend the area of operation.

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Fertility myths are one of the most important and repetitive types of myths of the nations in the world, which describe the fate of "martyred vegetable god", "hero / god dragon", and "hero / evil-killer god" and is usually an allegory of the death and life of nature. It is also the change of seasons. The mythological beliefs, while spreading among the people, are also accumulated in the collective subconscious of the people; therefore, myths - created by the general public - are a good means for the reflection of fertility myths in different eras. So, in this article, a descriptive and comparative method examines the reflection of fertility myths in 140 legends belonging to the provinces of Chaharmahal. And Bakhtiari, Lorestan, Kohgiluyeh and Boyer-Ahmad. The aim of the present study is to achieve the mythical patterns of fertility crystallized in the legends of the mentioned provinces. The findings show that the patterns of "martyred vegetable god" are reflected in 14 myths, "hero / god of dragons" in 9 myths, and "hero / evil-killer god" in 30 myths. The reproductive myths have been transformed into myths influenced by religious issues and the change of the patriarchal discourse to patriarchy.

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Myth is a kind of story in which there are gods, goddesses, and divine beings. It also refers to a narrative at the beginning of the time. Fairy tale, on the other hand, is a kind of myth in which we deal with the transcendental beings such as demons, fairies, as well as amazing events. Their relation with the mythological narratives is another feature of such stories. As fairy tales have similar structure to that of the mythological stories, this study aims to investigate the similarities between the characters in the fairy tales and myths.

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One of the characters seen in Iranian enchanted legends is Darvish. Darvish has certain abilities in the magical myth. He knows the treatment of some diseases and problems, and is aware of some hidden knowledge. In legends, in addition to Darvish Yarigar, who is particularly involved in the hero's birth and guidance, a kind of vicious dervish can also be seen. The vicious Darvish in the legends is a kind of witch who struggles to destroy the hero. At times, Darvish may not actually be a filthy creature, but in part, by creating a kind of ambiguity about his intentions, he seems to be a negative character who is in fact a hero's benevolent. The purpose of this study is to show that the dual face of the legendary Dervish appears to have a mythical infrastructure, and that Darvish's personality is linked to some ancient Iranian gods such as The Wyo, Anahita, and Mehr.