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plot is a term that literary critics have discovered and analyzed in all prominent narrative works. The meaning of "Plot" is the chain of narration with the causal connection between the events.Plot is the story, but in plot, the cause and effect sequence of events is narrated, and in the story, the chronological sequence of events. The essence of the story of Vis and Ramin is love, in which, after the struggle of three suitors over the beloved Weiss, in the end, the true and bold lover (Ramin) wins and reaches the beloved. This work is of the literary type of romance, in which the element of searching and finding has a prominent appearance in its plot. Gorgani has added other sub-topics to the plot of the story; including the description of different landscapes and environments. The characters of this story are completely earthly characters no spiritual character.

"Focalization," as one of the innovative theories proposed by Gérard Genette in narratology, examines the structure of narrative, techniques, and strategies for distributing knowledge (awareness) by the narrator. It elucidates the dominant ideology of the text in relation to its impact on the audience’s understanding of the narrative. Genette’s significant distinction between two key narrative agents—"Who sees?" and "Who speaks?"—identifies two primary functions within the text: the act of "telling" and the act of "seeing." The focalizer (the agent of focalization), after positioning itself as an intermediary between the reader and the text, influences the reader’sperception through different modes of focalization: perceptual, psychological, and ideological. These modes operate with varying degrees and qualities, leading to different effects on the audience.In this article, focalization techniques in Vis and Ramin, a work by Fakhr al-Din As'ad Gorgani, are examined to determine how the element of "awareness" is distributed within the narrative. The findings indicate that the narrator successfully maintains a balanced and proportional approach in utilizing both external and internal focalization. This balance ensures a meaningful distribution of information between the reader and the characters, effectively conveying the dominant ideology of the text. The organization of event sequences by the narrator-focalizer is structured in such a way that, in most instances, the reader does not possess more information than the characters. However, the reader is implicitly engaged in the psychological exploration of the characters' destinies, maintaining a distinct yet introspective presence within the text’s systemic framework.

The Karpman triangle, designed by Stephen Karpman and named after him, is a psychological model that expresses the performance of people in a psychological drama triangle. In the triple sides of Karpman's triangle, there are three roles that people remain in this triangle while interacting with each other and moving in the triple roles. The opposite point of Karpman's drama triangle is Ted's triangle, where the three characters with awareness Through their thinking and behavior, they are saved from the drama triangle. In this article, the author examines the main characters of Weiss and Ramin based on Karpman's personality model, following this psychological analysis, Mobed, Weiss, Ramin and Daye played roles as abusers, victims and saviors and with Behavioral turns in these three roles remain in the drama triangle. The purpose of this research is to investigate the characters of the Weiss and Ramin system according to Karpman's drama triangle, and according to the results, a fixed pattern governs various human conditions and relationships. which is also reflected in different stories, based on this, people are condemned in inevitable forced conditions, who are not able to change the conditions and get rid of the drama triangle except with mindfulness.

Lyrical poems can be examined not only for their literary and linguistic qualities but also in terms of narrative structure. This research analyzes the element of plot, which is one of the fundamental components of a story that organizes other elements, in two poems of Weis and Ramin by Fakhreddin Asad Gorgani and Vamegh and Azra of Nami Isfahani. The reason for selecting these two works is their common themes, as well as the fact that Weis and Ramin is one of the earliest lyrical poems in Persian literature, while Nami's Vamegh and Azra was written during the later periods of classical Persian literature. Analyzing the plots of these works reveals the evolution of narrative elements in lyrical poetry. This research highlights the differences and similarities between these two verses regarding plot structure and the impact of systematic plot organization on the promotion of a work. The beginnings of the events in both verses are similar, as they introduce the characters, setting, and events that initiate the narrative. Conflicts are often emotional due to the lyrical nature of the works; however, when physical conflicts arise, epic elements tend to dominate.

 Based on the theory of intertextuality, a text is formed in a complex interaction between other texts. The theory of intertextuality was first formally proposed by Julia Kristeve and then entered the field of structuralism with Gerard Genette. Genette declared that the text reveals its meaning through the relationship with other texts. The lyric poem of Khosrow and Shirin is one of the texts that rely on it to find many semantic signs in the implicit intertextual interaction in the poem of Weiss and Ramin. Therefore, the main goal of this research is to analyze the hidden and implicit intertextual relationships in the present text (Khosro Shirin) Nizami and the later text (Vais and Ramin) of Fakhruddin Asad Gorgani.

 The research method in this thesis is descriptive-analytical based on library studies and document analysis and using the hidden (implicit) intertextual approach in Gerard Genette "s theory. The statistical community of the research includes two lyrical poems by Khosrow and Shirin Nezami and Weiss and Ramin Fakhruddin Asad Gorgani.

 Research findings indicate that Khosrow and Shirin Nezami is an example of implicit and hidden intertextuality of Weiss and Ramin Fakhruddin Asad Gorgani, and Nezami has adapted different implicit and implied meanings from this poem.

 The results of the present research show that Khosrow and Shirin Nezami in the structure of the story includes initial components and propositions such as Tahmidiyeh and the main body, including the same role of Hormuz and Mobad, the social position of Shirin and Weiss, letter writing, false dreams, rival characters such as Maryam, Shekar. , Gol, testing Khosrow and Ramin, the negative role of the nanny, the active role and activism of women as implicit intertextual expressions based on Genette "s theory have been influenced by Weiss and Ramin.

In romantic poems, one witnesses many events that unfold around love. Different poets and writers express their views on love in the form of a series of fictional events. To analyze these events, Robert Sternberg has proposed one of the most reliable theoretical frameworks on love stories. He has drawn five main axes for love stories, and for each of them, he has listed twenty-six sub-branches. The present study is an analysis of the poems of Weiss and Ramin and Khosrow and Shirin through the lens offered Robert Sternberg's theory of love as a story. Since the parts in Sternberg's love stories are numerous, the space of this research allows only for what the writers consider to be more important and outstanding love stories. The results show that Weiss and Ramin and Khosrow and Shirin prove to contain many components of Sternberg's theory. Among these components are, psychological reasons for characters' actions revolving around love as well as their interactions and approach to romantic and physical relationships which reveal the hidden psychological dimensions of the characters to a great extent. The study reveals that elements of Sternberg's theory are more prominent in Khosrow and Shirin compared to Weiss and Ramin.

Naming and reputation are key factors in social recognition, a practice observed in Iran since ancient times. Examining these appellations reveals which elements each society considers important for identity and fame. This research employed an analytical-descriptive methodology, considering the evolutionary stages of human societies as a cultural context. The study conducted linguistic analysis within morphological and syntactic frameworks while investigating cultural roots. The research focused on pre-Islamic Iranian fame and surnames, primarily drawing from Ferdowsi's Shahnameh and Vis and Ramin, due to their rich repository of ancient Iranian names. Findings indicated that the most common linguistic structures were syntactic combinations of "name + e + father's/grandfather's name", "name + e + city/country name + relative", and "name + e + occupation + relative". In terms of cultural context, kinship relations and paternal/ancestral attribution were most prevalent followed by fame derived from individual skills. These patterns reflected the influence of tribal life and patriarchy. City and country-based fame ranked next, indicating the emergence of urban life. Occupational attribution also occurred frequently, stemming from class-based society and social castes, reaching its peak in Shahnameh and the Sasanian period. Notably, fame constructions with religious content were minimal, suggesting the limited spread of religions in the Late Middle Ages.

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

Imagery is one of the prominent elements and components in the field of aesthetics of literary works. The aim of the research Is to discuss images in lyrical literature, based on which three poems were studied and imaginary elements were extracted and then classified and compared into four image elements. These four elements are: abstract element, elemental element, element of nature and astronomy. Exploring the imagination of each poet helps the audience to better understand his view of his surroundings and to be able to connect with his poetry.One of the remarkable topics in lyrical literature is the topic of love, which in every period the poet tries to portray this topic in his poetry in accordance with his words and the relationship between the lover and the beloved and their connection and separation according to the circumstances. In this article, each of the poets in the field of imagery in all three poems has assigned the highest amount to the element of nature, which in Weiss and Ramin is more than similes, in Khosrow and Shirin the metaphor of Masrah and in Gol and Nowruz. We had both elements of fantasy.Also, all three poets have used the least abstract elements, which was in the form of a metaphor. In terms of the use of abstract elements, the three poets have tried to sensitize mental matters and give them life. Weiss and Ramin, as the first poem, has been a model for other poems.

In this article, we have tried to take a look at the poet's allegory in this poem, especially the close relationship between Fakhruddin Asad Gorgani's style and two important themes, unconscious and self-conscious, can better show the poet's artistic level in adapting and paying attention to allegory. Since Weiss and Ramin's system has not been examined and considered from the point of view of allegory, the research method in this research is analytical and descriptive in the form of a library after collecting the available sources (articles and books) and commenting on them as well as After sampling, it has been done in an analytical way. Allegory in Weiss and Ramin's lyrical system is about 90% of the type of parable and 10% allegorical allegory. The most important achievement in this article is that all the parables in Weiss and Ramin belong to Sending proverbs and folk wisdom in a concise and concise language is expressive, which, of course, shows the wisdom of Wonders, literary concepts and artistic beauty in the best possible way.

One of the points that has not been paid attention to in the subject of rhyme and line is what is the difference between the use of rhyme and line in different literary genres and whether the poet in different literary types (epic, lyrical and didactic) uses Has he commented on the difference in its literary type from the rhyme and the line or not? Although important works such as al-Mujajm Shams Qais Razi and al-Khawaja Nasir al-Din Tusi"s poetry standards and other prominent works in this field are important as the initiators of these sciences, none of these works have mentioned the important relationship between rhyme, row and their use in a specific literary type. and the main focus of these works has always been on rhyme and line as a means of creating music. This research has investigated, analyzed and compared 1279 verses from the two love poems of Weiss and Ramin with the love story of Bijan and Manijeh in the discussion of rhyme and line. The purpose of this research is to show the behavior of these two poets with rhyme and line and their use in lyrical and epic genres.

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking notes and classifying the materials.

The special place of rhyme and line in the structure of verse helps to understand and analyze it in the history of various developments of Persian poetry, and by examining these influential elements in verse, we can get valuable results in the analysis of verses and the poet"s style of verse making. He achieved in his type and literary style.

In this research, by extracting the rhymes and rows of verses of these two love stories, we showed that Ferdowsi, unlike Fakhruddin Asad Gorgani, uses rhymes and nominal rows in his verses, and deliberately moves his syntax away from standard syntax, and although a story He narrates a romance, but in no part of his work, he does not leave the epic genre and the unnatural language, while on the other hand, Gorgani is loyal to the natural language by using more current rhymes.

Formalism is one of the schools of literary criticism that pays attention to the form of the literary work and played a major role in the creation of the theory of structuralism. The best field for formalist theories and structuralism is folk, folkloric and indigenous stories. According to the formalist point of view, all of these stories, while having variable characters, have specific and specific functions and actions. Weiss and Ramin's poem is also a romantic genre with variable characters and specific actions. In this article, an attempt is made to examine the motifs of Weiss and Ramin's story, based on Vladimir Propp's structural model, in order to understand the similarity of the actions of the characters of romantic stories in different forms of the story.

The research method in this article is descriptive-analytical and gathering information through studying, scanning and sampling library documents and databases.

Weiss and Ramin's system has ten suspensions, three climaxes and seventeen functions. The characters are divided into main and secondary categories, where Weiss and Ramin are among the main characters and Mobed, Shiro, Daye, Viro, Zard and Gol are among the secondary characters. From the perspective of prop division, there are seven roles in this system, which are divided into two groups of active and passive characters. Weiss and Ramin are among active actors, and Mobed and Gol are among passive, victim and productive actors.

Based on Vladimir Propp's model of structuralism, it can be concluded that in lyrical stories, even with the existence of different forms and multiplicity of characters, self-work, function and actions are limited and specific.

One of the main aspects of Veis and Ramin poem is its attempt at reviving ancient Iranian culture, what we can also observe in the story of Samak-e- Ayar an Iranian story written in the time of Seljuk Empire. The two works borrow certain cultural elements such as the type of governing, drinking custom, war, swearing, entertainment, hunting, among others from the pre-Islamic era. There are some mentions of Veis and Ramin in the story of Samak Ayyar which shows that the author was aware of this former work. However, Samak-e- Ayyar is considered an epic work and thus far, no intertextual analysis of these two works has been done. As Veis and Ramin is written in poetry, and Samak-e-Ayar in prose, the former lyrical and the latter epic, this study aims to provide an intertextual reading of the two works. The findings suggest seven intertextual elements: the folkloric origin, common reference to sun-king, the negative role of nurse maid, letter writing, role playing of women, the role of music and different types of swears.

There have been many discussions about the origins of the story of Weiss and Ramin for a long time. Some researchers do not believe that this story belongs to a specific time and place and refer to it as "fictional". Others have given it a historical identity and attributed its origin to the Sassanid, Parthian, or other historical periods. Based on Minorski's research, the attribution of this story to the Parthian era is more likely than other periods. In the current research, an attempt has been made to present new evidence and references about the Parthian origin of the story by analyzing historical and literary sources from a new perspective, in addition to Minoruski’s evidence. Furthermore, more evidence has been provided in support of some of his views. The method used in this research is to avoid generalization and try to get clear details related to the Parthian origins of the story. First, the background, various hypotheses, and theories about the origins of this story are mentioned; then, by studying the history and sources related to the Parthian era, it is shown that the events of this era are reflected in Weiss and Ramin. In this regard, new evidence from the Parthian period in connection with the geographical territory, narrative, epic and oral traditions, rituals, entertainment and games, the importance of horses, riding and shooting, the structure of the army, and the like are examined and analyzed.

Imagination is the essence and the main substance and constant element of poetry and it is something that comes from the power of imagination. Imagination is the measure of artistic value and validity of poetry. If we accept that poetry is the entanglement of thought, emotion and imagination in a melodious language, and that imagination is the main element of poetry, then we will realize the importance of imagination in the field of poetry. One of the most beautiful elements of imagination is metaphor, which has many types but In this article, it is tried to be investigated in general under the title of Masraha metaphor and Makaniyeh metaphor and to determine the amount of imagery with this element in the poems. To express his feelings, the poet chooses the most general element of imagination, i.e. metaphor. Based on this, three romantic poems which are similar in terms of theme, situation and romantic images have been chosen to examine the element of metaphor in them in order to know that in these poems, in different situations that occur in the story, To what extent have the poets decided to use the element of metaphor to convey their meaning? In this research, three love poems have been studied in a descriptive-analytical way, and the evolution of the images of fantasy from the 4th century to the 8th century has been examined. Also, a statistical chart of imaginary elements has been prepared,

Myths are narrative patterns that spread in different ways according to the conditions of the society in different eras; Therefore, in addition to epic and religious texts, its works can also be seen in Ghanaian poems. The poem Weiss and Ramin by Fakhreddin Asad Gorgani is full of mythological elements. In this research, the author tries to investigate the themes and mythological incidents related to the beloved in the descriptive-analytical way and the library tool, considering the features of adaptability, repetition and adding meaning in the process of the story, and to answer the question which of the themes Mythological characters have been able to appear in Weiss and Ramin, related to the beloved? And how have these themes been transformed according to the content and special structure of Weiss and Ramin's system? The results of the research indicate that in the narration and plot of the story of Weiss and Ramin or the pattern of events, there are mythological events and incidents such as ascension, descent, magic, virginity, the test of honor and marriage, and concepts that are connected with mythological beliefs and rituals and in the formation Events have played an effective role; Is mentioned.

From a holistic and teleological point of view, the principle of poetic justice - derived from the idea of natural law - forms the basic structure of most of the old stories and love poetries. As a matter of fact, the pleasure of the story is rooted in the artistic expression of this law. One of the purest classic, romantic works, that complements these two features, is the verified love story of Weiss and Ramin. Therefore, in this article, while avoiding reductionist one-sidedness, this claim is to be examined, using two morphological and phenomenological approaches - which incidentally confirm each other in convergent paths in this story.

Morphology of the main movements based on love The morphological analysis of the work, which emphasizes the spesific role of different types of love, the structure of movements, and the way events are embeded in the organized body of the story, indicates its central idea of ​​the victorious end of human emotions and destruction and decline of evil and inhuman desires. This idea in this approach is in line with the nature and general purpose of the stories. The morphology of folk tales can be considered a big step in proving the institutionalization of the doctrine of natural law and Poetic justice in stories because we see that in Weiss and Ramin, according to the morphological rule, the story begins with the illicit (irrational) love of Moobad to Shahroo (in the place of evil or initial deficiency) and expands. So the signs of permissible love (rational) between Weiss and Ramin in the story gradually appears and evolves. 2-2. Phenomenology of other events and behaviors Interpreting each of the events and behaviors according to its relation to other events and to the whole story, regardless of the presuppositions and effects of previous experiences, shows that Weiss and Ramin story expresses the lived experiences of the characters in facing the system of punishment and reward with a demanding time and place requirements. Generally, in this story, two categories, consistent or inconsistent with the evolutionary and justice-oriented end of the story, can be examined. Factors contradictory and inconsistent with natural law (evil wills, false beliefs, traditions, etc.) remain suppressed or unfulfilled. On the contrary, factors in line with natural law (natural and supernatural events, enlightened thoughts, etc.) destroy those disparate factors or prepare the ground for the manifestation of this law.

The results of a morphological study of the structure of the story, and also the phenomenological look at cognitive content of the emotions of love and other natural or supernatural events - affecting the story and how to understand their meanings in the lived experiences of the characters - show its justice-oriented system. In this relation, to better explain and analyze the phenomena of love - which are collected in this story - some philosophical perspectives have also been used. Generally, this is a valuable work that has a special place among Persian language romances. It acquaints the thoughtful reader with concepts such as love and lust, belief and rationality, and the role of the human will against the principle of natural law. This is achieved by looking at the whole and considering its totality and ultimate goal instead of a superficial and cross-sectional view.

The love poems of "Wis and Ramin" by Fakhreddin Asad Gorgani and "Khosrow and Shirin" Nezami are Undoubtedly, they are among the most prominent works of lyrical poetry. The dimensions of romantic relationships between the characters of the story also provide a good basis for studying the subject of love and its types with psychological theories. One of these topics is John Lee's theory of love. He has studied the three main love styles of Eros, Ludos, Storg, secondary mania styles, agape, pragma and also compared it with the main colors. The purpose of this study is to study the love of Eros in these two love poems using John Lee's theory of love. So the main question is to answer the question of what color of love in these stories corresponds to what color of love in John Lee's theory and what are the most important components of Eros love that is the main factor of beauty and charm in these stories? The result of this research shows that by examining this issue descriptively-analytically in both stories, an important love component (Eros) is identified related to the behavior of the characters in the story. This component includes a number of actions and motivations that are consistent with John Lee's view in red.

Wiss and ramin's poem is a romantic love story by fakhroddin asad gorgani, a fifth-century poet in which the issue of love and marriage is based on pre-Islamic social structures. Apart from the forbidden love and the roots of its formation in this story, it can be seen as a manifestation of the superiority of power and how the formation of resistance to the dominant discourse of power. In this research, by descriptive-analytical method, we have examined the relationship between the exercise of power by government and capital on the one hand and human love and emotions on the other. Research results shows that the reaction of the characters in this story to power is different. "Shahro" surrenders to the power of capital. Viro's reaction is to resist the power of the government, but eventually surrender. Wiss uses the power of love to wage a fateful war that has been unintentionally imposed on him, and he is on an evolutionary path.

When it comes to dealing with the concept of love and romantic relationships in Persian literature, the elements of death and loneliness also come into view. Being somehow masochistic, passionately in need of love and in pain and suffering, the lover"s character in Persian literature often feels lonely and dies from the sorrow of love at the end of the story; either committing suicide or being killed. These two items also play a key role in story development of romantic epic poems, by some means paving the way for the manifestation of poetic imagery. The present research examines the elements of death and loneliness in three main well known romantic epic poems in Persian literature: Vis and Ramin by Fakhruddin As"ad Gurgani, Khosrow and Shirin and Leili and Majnoon by Nizami Ganjavi. It aims to analyze and describe the abovementioned elements in these poems with the consideration of psychological, fictional, cultural, literal points and the like.

This research uses a library-based descriptive-analytical method.

In Persian romantic epic poems, "love" provides a foundation for different dimensions of the element of "death" and "loneliness". In fact, these two elements are directly related to the ups and downs of romantic relationships.

The dimensions of loneliness in these works include "loneliness as a result of the separation from the beloved", "loneliness as result of betrayal by one side of a romantic relationship", "voluntary loneliness and solitude as a result of failure in reaching the beloved", "preferring loneliness to unlawfully reaching the beloved" and "loneliness because of unrequited love". The dimensions and causes of death in these works can also be summarized into "wishing for death because of separation or failure", "committing suicide for the sake of love or the beloved"s death", "death from the conspiracy of the opponent in a love triangle" and "death from old age".