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Hamidi,S.J ,Ph.D.
Shamian, A.
 
Abstract:
 
This essay studies Dream Allegory in Persian contemporary poetry. In this research, Dream allegory has been defined as one type of the vision literature and then comments on its antecedent usage in myths and literary works are explained. Dream allegory expressed spiritual progress in structure of vision journey in the past. But, in recent centuries, except that traditional theme, some new contents have been expressed in its form. Studying this form in Persian contemporary poetry maybe distinguishes quantity and quality of the new themes. The notable examples of dream allegory in contemporary poetry have been seen in Eshghi, Nima, Shahriar, Sepehri, and Shafyi Cadcani’s poets.
 
 

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In many of the Iranian and the world stories, both force and guile are operating events comprise the story. Investigate and psychological and symbolic compare of those popular legends which good and evil forces in their beloved reaching over, shows that in these works, however, appear to benefit the beloved hero acts in subtle and cagey narrative infrastructure And before taking functions based on deception, this battle will be in Median dose and involvement of the opposing forces will conduct their own profit. In such stories, the central character is not the brave prince nor vicious Dave, but the beautiful girl that wishes marriage with the hero and have her own child. In this way, despite the apparent physical disability, using various scheming like secrecy, feminine and magical elements, and even sometimes to hire antiheroes, the real initiative and is available on the course of events towards their desired ending. The joint adventure stories generally setup for this peak point and the common ending: they are well and happy years together they live. " This paper uses views of Northrop Frye, Joseph Campbell, and Bruno Bettelheim. regarding the fundamental structure, number forty Farsi folk tales and that compared with a drop of evidence shows that such a common infrastructure indicative of mental concerns of women in patriarchal times and the women place the narrator or audience of this tales, dreams sweet Dream that are impossible in real life were often deprived of it, the story of a woman in the story of the hero in imaginary world have stories appear. Considering the existence of this feature in ancient stories and romances, these tales may have roots in old narrative structures that can lead them to myths about Matriarchy period.

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The present study attempts to discuss some of the spiritual travelogue and classify them as a genre

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. Dream is one of the most important elements of modern novel. In Derakht-e anjir-e ma’ābed, the only modern novel by Ahmad Mahmoud, this element plays a key role. At the beginning of the novel, Alamdar-e Avval, mentions his dreams and the Alamdar of the next generation narrates those dreams and finally the Alamdar of the third generation writes down those narrations. Alamdar’s dreams are obscure and complicated and challenge the reader. Besides, later in the book two dreams by Mard-e Digar and Sarmast-e Bakhtiari are narrated. The major dreams form the first chapter of the novel have not been studied analytically yet. This research offers an analysis of these dreams by summarizing the dream in the author’s own language and with the help of Freud’s method in the Interpretation of Dreams based on genetic structuralism according to which different parts of the novel find their meaning only in a general structure.

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The River’s End is a fictional work with a dream-like structure. In this article we analyze this story and its meaning-making structure through a Freudian approach. This reading includes two layers: (1) the overt or surface structure of the story; (2) the covert or deep structure of the story. In the overt layer, it is demonstrated that the story has a conceptual structure and its events are narrated in a disorganized plot in which the causality and time sequence are distorted. In the covert layer, we have distinguished between metaphoric and hidden plot. In the metaphorical plot, the symbols of the narrative of The River’s End have been identified and two symbols of Zāyandeh-Rood and Gāvkhuni as two prevalent feminine symbols which are related to the return to the womb are analyzed. Many of the characters then based on their relationship to these two symbols are psychoanalyzed. In the hidden plot the relationship between the narrator with the pleasure principle and death principle are analyzed to unravel the unending suspension of the narrator in the procedures of fate, repetition, and movement toward death is defined.

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Adonis’ poem“Tahavolat al-‘asheq” borrows from multiple theological and mystical texts and focuses on the encounter between tradition and modernity. This encounter formulatesa new concept of “surrealistic mysticism.” This paper studies different conceptual aspects of surreal mysticism in Adonis’ poem. The study shows that the embedded confrontation of different texts in this poem represents the formation of a modern thinking that transforms the lover from a spiritual essence to the embodiment of carnalinstincts in the modern world and reduces human to a sensual being by depriving him from the divine elements of nature and mysterious qualities.    

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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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This article initially studies viewpoints of the past generations and contemporaries about the study of poetry; while later studying the poems of Amaq, based on the theories of psychologists on the impact of subconscious mind on writing poems and receiving poetical inspirations.
The past generations believed that poets are inspired to write poems via invisible creatures.
Contemporary psychology and literary criticism considers poet’s subconscious mind as the source of inspiration. The factors behind poetical inspiration; whether internal or external, are more active in sleep. The needs which have been driven toward the subconscious mind, display themselves within the framework of dreams, revealing the secrets embedded in the subconscious mind.
Amaq, like many poets, claims that many of his poems are rooted in his dreams. His subconscious mind, which is considered as the source of inspiration behind his poetry maintains a diverse range of manifestations.
The topic, form and the main pattern of odes, which are cited from the source of inspiration; highly resemble each other.

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In all types of literature, dreams and related phenomena are among the most important foundations of poets and writers, which have been viewed from different angles. In most cases, Rumi does not express his message naturally and is based on a structure based on linguistic habits and the Sufi system of thought. The dream is also intertwined in Rumichr's mind with a multifaceted attitude and finds a different manifestation every moment. In this research, with a descriptive-analytical method and a library method, by examining Rumichr's lyric poems and Levinaschr's book "From Existence to Existence", the concept of a night owl and sleep aversion from the perspective of Rumi and Emmanuel Levinas from the perspective of the American school has been studied. The results of the study suggest that both thinkers believe that drowsiness is one of the first features in the course and behavior and the basis of movement. The invitation of Rumi and Levinas is an invitation to go beyond the situation of a captive human being in the world and to abandon theoretical customs and to engage in true conduct with the help of true awakening and to address the "other". Levinas substitutes another God for an infinite position, and in the opinion of another Rumi, the same is the beloved, and Shams in the position of the beloved is for Rumi a mixture of earthly and heavenly attributes and is similar to what Levinas says about another

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One of the main reasons of building Qadamgāhs (literally meaning the place of foot or the place of stepping) was the dreams a believer had of a saint. There are a large number of such buildings in Iran. In some cases, the dreams are inscribed on tablets in order to preserve the dream for future generations. This paper introduces five lustre ceramic tablets, which contain records of such dreams. The texts of two of them have been preserved completely, and significantly show astonishing similarities. The first is dated back to 1312 AD and belongs to Qadamgāh of Mehrīqābād. Its text mentions that Fakhr al-Din Hasan Tabari saw Imam Ali in a dream ordering him to build a shrine. According to the text of the second tile in Qadamgāh-i Khezr in the village of Yazdelan in 1607, someone saw Khezr in a dream who orders to reconstruct a ruined domed building. This article examines the differences and similarities between these two tablets from the Ilkhanid and Safavid periods, and analyzes them in detail. It can be said that these two tablets have a common content that have been written with the aim of documenting the reconstruction of a religious building borrowing the Iranian and Shi'at themes. These two examples show that the tradition of recording dreams on lustre tiles was not only prevalent at the glorious era of lustre production, but also extended to three centuries later.
Introduction
“Qadamgāh” refers to some places of pilgrimage in the Islamic world where a Prophet, Imam or saint has passed or has been seen in a dream. Dreaming has been one of the main reasons for building Qadamgāhs, in that, it was built when someone saw one of the saints in a dream and based on the saint’s order or his own decision, he called that place a Qadamgāh. This phenomenon, which sometimes led to the establishment of a building, has been common among Shi'ats. In some cases, commemorative tablets made of stones or tiles were used to record the dreams. Five lustre tiles, which belong to the Qadamgāhi buildings, have been identified in the region of Kashan, that contain a record of a dream. Three of them, which bear the name of a Qadamgāh, called Darb-e Mehriqābād, were produced in the fourteenth century. Although the tradition of writing on lustre tiles has continued until the Safavid period, no example containing a dream is known except for an unpublished tile from Qadamgāh-e Khezr in Yazdelan village. This tile, which dates back to 1015 AH/1607 AD, is full of symbolic and mythical signs. Interestingly, the Mehriqābād tiles dates back to 711 AH/1312 AD, and the Yazdelan tile have significant similarities with them in terms of form and content.
Research Background
The major research on lustre tiles has been done by Oliver Watson (1975, 1985). However, no research has been done on the Qadamgāhi lustre tiles, except for two papers written by Chahryar Adle about the tiles of Mehriqābād (Adle, 1972, 1982). Nonetheless, he has made some mistakes in reading the text and also did not notice the fifty-year difference in the date of these tiles. In addition, he was unable to identify the exact building of this Qadamgāh.
Discussion
There is a pair of circular lustre tiles in the Musée national de céramique de Sèvres, the text of which mentions the construction of a Qadamgāh in Kashan. The text of the tiles tells us that a person named Sayyed Fakhr al-Din Hassan Tabari finds himself in a dream in the middle of a crowd in the garden of Amir in Kashan. There, he sees Imam ‘Ali who tells him to construct a building in that place so that whoever wants to visit him can come to that position. Three centuries later, a lustre tile was installed in the Khezr Qadamgāh of Yazdelan, which narrates a dream that led to the construction of the building. According to its text, a person saw Khezr in a dream, who asked him to repair a domed building.
One of the similar and important elements in both dreams is their connection to the garden. In fact, the holy sites in question are located in the garden that was famous at that time. The timing of both dreams is interesting in its own way. The dream of Mehriqābād coincides with Eid al-Fitr and the dream of Yazdelan coincides with Nowruz. In fact, the dreamers have been influenced by the religious festivals at both times, which belong to a mythical and ritual time. Another common feature of both texts is the effort to document the dream, which mentions the exact characteristics of the place and time of the dream.
Conclusion
During the Ilkhanid period, as there was more religious freedom for Shi'ats, the opportunity to express and document such Shi'at dreams became more prominent. On the other hand, with the rise of the Safavids and the prevalent freedom for the Shi'ats, the emergence of Shi'at beliefs developed unprecedentedly. Although the two lustre tiles examined in this paper were made over a period of three centuries, they are certain significant similarities in their content. The main theme, the type of time and place, the sacred personality, the attention to documentation and the influence of Iranian culture in both examples are comparable. In fact, they both express an identical concern: the reconstruction of a religious building the location of which has sacred memories. Interestingly, in the inscriptions of both buildings discussed in this article, there are signs of pre-Islamic beliefs of the people of the region. However, this is far from the common traditions of Islam and is based mostly on popular beliefs.
References
Adle, Ch. (1972). Un disque de fondation en céramique (Kâšân, 711/1312), Journal Asiatique, CCLX (3‒4), 277‒297.
Adle, Ch. (1982). Un diptique de foundation en ceramique lustrée, Kašan 711/1312, In: idem, ed., Art et société dans le monde iranien, (pp. 199-218). Paris: Institut Français d’Iranologie.
Watson, O. (1975b). Persian lusterware, from the 14^th to the 19th centuries. Le Monde Iranien et l'Islam: Sociétés et Cultures, 3, 63-80.

Watson, O. (1985). Persian lusterware. Faber and Faber.

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. Ahmad Rezai. PH.D
 
Abstract
 
In this study, attention has been made to the denotation and connotation of dreams and the related functions and theories have been enumerated. The features of dreams in the epical and mystic-educational genres have been named and their possible differences and similarities have been researched. The result of this study shows in epical texts, dreams are more bonded with the text in regard to time, driving force, and elements. Hence, in these texts, dreams are more effective and involved in the process of narration, compared to the mystical literary genre, such that dream is an integral part of the related text. Additionally, the message or theme of the dream is more transparent in epical texts or is revealed upon the assistance of the dream reader, removing all existing ambiguities.
 
 

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Literary genres in Persian literature are divided into three Epic, Lyric, and Didactic types. Each of these main types includes sub-branches; the didactic genre has several sub-genres, one of which is the genre of the dream interpretation (Dictionary of Dream). The issue of the present paper is whether Persian dream interpretation can be considered as a sub-genre and why. The results of the research show that Persian dictionaries due to: subject, plurality, variety, and literary characteristics are a genre. Independently written dream interpretation (Dictionary of Dream) have the most characteristics of the didactic genre, but the abilities that come from other genres are epic and lyric, the theme and features of these genres can be found in them. The genre of dream interpretation (Dictionary of Dream) is rooted deep in history and myth, but it can be said sacred texts: Torah and the Quran are the most important origins.

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The present paper compares the principles of traditional Iranian dream interpretation and psychoanalytical dream interpretation with an emphasis on Sigmund Freud's views. The studies previously dealt with the Islamic dream-books have primarily focused on the historical, literary, codicological, philosophical, and social aspects of these texts. However, some researchers have alluded to psychoanalytical considerations of their authors. In addition to collecting these hints, this study quotes examples of Persian dream-books as evidence for many psychoanalytical terms about dream interpretation. These materials and findings indicate the considerable similarity between modern psychoanalysis and early dream interpretation in principles and details. For instance, similar philosophical and professional principles have been observed in early dream interpretation and psychoanalysis schools, both providing a similar description of the functions and production processes of dreams. Following Lacanian psychoanalysis, the author discusses the various types of metaphor and metonymy and explores the sources of some rare metaphorical themes in Dari poetry.
Extended Abstract
Literature Review
Freud (1900: 123-124) points to Arab dream interpreters whose methodology relied on inquiring about the dream. Moreover, Lamoreaux (2002) considers Islamic dream interpretation a subset of psychology. However, he regards the attempts to equate it with psychoanalysis as unjustifiable (Kahana-Smilansky, 2014: 141). On the other hand, Bulkey (2002: 6) sees some similarities between Ibn Sirin’s doctrine of interpreting dreams based on the dreamer’s personal attributes and Western psychologists. It should be mentioned though that Afrasiyabi and Komeili (2005: 139) argue that using metaphors and idioms to interpret dreams is not limited to Islamic dream interpretation. Contemporary psychoanalysts, too, employ it in interpreting dreams (ibid: 141).
Goals, Questions, Assumptions
Traditional dream interpretation is wholly different from modern psychoanalysis. It has more to do with astrology, fortune-telling, and prediction rather than therapeutic functions. Contrary to psychoanalysis, traditional dream interpretation is forward-looking. Nevertheless, from its contents, the outline of a pseudo-psychoanalysis emerges.
Main Discussion
Traditional Dream Interpretation and Psychoanalysis was contrasted in the study and the findings are presented. Joint Philosophical Foundations include 1) The Interpretability of Dreams; 2) Recognizing the Divergence among Interpretations. Joint Professional Principles could be categorized in three sections: 1) scientific and ethical sensibilities; 2) relying on the dreamer’s biography; and 3) memorizing dreams through practice. Moreover, it is found that the functions of dreams can be categorized in four aspects. The first category is “compensation aspect”. The interpretation of many dreams or dream elements in interpretation texts can be categorized into one of the following elements that embody the aspirations of the peoples of those eras. For instance, “taking a wife,” “purchasing a bondwoman,” “husband,” “son,” and “property”. The second aspect is “warning aspect”. Even though these interpretations are mostly predictive, they can reflect the dreamer’s current circumstances which can be altered upon their awareness and intervention. The third one is “sexual aspect”. This aspect is apparent in the symbology of dream interpretation. The fourth aspect is “problem-solving”. In the following statement, the narrator seems to have received the answer to his religious questions in his sleep: “When I looked carefully, it was Ali ibn Abi Talib ... He posed four to five questions. Then he gestured at the Prophet Mohammad ... that ... he answers correctly” (Tiflisi, 2009: 219).  Furthermore, it is discissed that dreams can have three specific functions. 1. Condensation: Metaphors are instances of condensation that appear in dreams. Paradoxical descriptions are forms of compression. 2. Displacement: Metonymy is an example of displacement. 3. representation/ dramatization:
Idioms, conceptual metaphors and converting words into images, which are more etymologic, constitute the main embodiments of representation in dreams.
Based on Freud’s view, dreams are seen as unconscious symptoms and they have been analyzed based on Freud’s concepts and terms. 1. Freudian Slip: Paying attention to homophony and other phonetic similarities implies the crude understanding and discerning of slips on the part of the traditional dream interpreters. 2. Psychic Determinism: In Islamic literature, “nightmares of the fall” attributed to Pharaoh and Nimrod and others reflect the determinism that pushes the dreamer toward his eventual fate. The traditional dream interpretation abounds with the themes of “escaping the dream” or “welcoming the dream”.  3. False Memory Syndrome: The following statement can be taken to mean that the interpreter is the one who constructs the meaning of the dream that leads us to believe something that is a construct of his mind: "The dream follows the dreamer's interpretation... and ends and is proved with the interpreter's interpretation (ibid: Altahbir/ 40-41). 4. Free Association: Take, for instance, the following evidence: "If a man dreams that he is wearing garments made of Bord or Washy... he had no choice but to speak words in it because there were lines written on him, and the lines are words" (ibid: 98).  5. Psychosomatic Ailments.
Based on the analysis, the linguistic implications of the dreams have also been scrutinized. These implications constitute the link that connects Freudian psychoanalysis with Lacanian psychoanalysis. They include metaphor (a large segment of the corpus on dream interpretation simply provides a list of dream metaphors, e.g., “sunshine: the king”, “judge: God”), conceptual metaphors (For instance, behind the following traditional terms lies the metaphor “religion is a way”: “the right path”), and metonymy (For example: “crown: kinghood”; “pen: science”; “camel: Arab man”).
Conclusion
In this paper, the author sought to extract the psychoanalytic core of dream interpretation texts, comparing it with the idioms of psychoanalytic dream interpretation to underscore the accurate interpretations and precision of Muslim interpreters.
 

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"Dream and dream interpretation" is a common theme between literature and psychology, the most important similarity between the two is their symbolic language. In many literary works we see the narration of dreams that have been interpreted by dream interpreters and have come true. Shahnameh isn’t an exception and dream interpretation is one of the most frequent cases in this book. In this paper, the interpretation of Goodarz's dream in Shahnameh was examined from two perspectives of traditional dream interpretation and Jung's unconscious and was compared with the interpretation of a narrative. The research method of this article is comparative analysis. In the traditional dream interpretation section, dream symbols are reported based on Iranian and Islamic dream interpretation; but in the psychological analysis section, the symbols of Goodarz's dream are analyzed regarding the events of dreaming time, life events, and his personality. In the final section, the structural similarities of this dream with myths and archetypes are examined. Finally, from the perspective of traditional interpretation of the dream, the dream symbols were in accordance with their interpretation in the Shahnameh narrative, and in examining individual unconscious, it was concluded that Goodarz's unrest and concern to end Siavash's revenge battles damaged his psyche that led to such a dream. This dream can be explained from several perspectives of collective unconscious, archetypes, and alignment with ancient myths. These approaches include the hero archetype, the abandoned child, the fertility myth, and the creation myth.
 

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The dream of contemporary poetry refers to the presence of dreams as a poetic element in the structure of contemporary poetry, which contributes to the aesthetic expression of concepts and acts as a means of expression. Al-Jabouri is one of the contemporary Iraqi poets that have had an important role in the country’s poetic transformation. The most important features of his poetry are the extensive application of dream and this presence stems from his tendency to the realist approach. This research is on the theme of the dream and its manifestations in the poetry of Al-Jabouri and is based on the descriptive-analytical approach. The dream in the structural appearance in the poems of Jubouri is used in both negative and positive contexts, i.e., related to attendance and absence. On the level of absence, the dream carries signs of silence and reluctance to surrender. Whereas in the presence, it becomes the subject of the dream revolution and the dream of return or life is with warmth and euphoria or becomes the poet's way to build a paradox meaning the dream come true through his presence and loss of the same in the different scenes.