نشریه ادب فارسی
سال دوازدهم شماره 2 (پیاپی 30، پاییز و زمستان 1401)

One of the most common techniques in the works of Persian language poets is to turn prose stories into poetry, especially mystical stories and sayings. In this regard, Attar Neishaburi has a prominent position among poets. In order to create his valuable masnavis, Attar took a lot of inspiration from Tazkirat al-Awliya, which is apparently the result of his studies in the sources of Sufism during his youth. One of these masnavis is called Asrarnameh. Asrarnameh is the shortest masnavi of Attar Neishaburi. This Masnavi in the latest critical edition has eighteen sections and a total of 3307 verses. Tazkirat al-Awliya contains stories and sayings of ninety-seven of the most prominent Islamic ascetics and mystics. The Tazkira al-Awliyai that we have today consists of two parts, the first part of which has been attributed to Attar Neishaburi from the past until now, and the second part of which, according to the majority of researchers, cannot be from Attar and is probably added by anonymous authors or scribes. This article is an attempt to explain the commonalities of the content of Tazkirat al-Awliya and masnavis of Attar Neishabouri, which has specially reread and adapted the common anecdotes of Asrarnameh and Tazkirat al-Awliya. The authors studied and compared the two recent works with the motivation to better understand how the masterpieces of the Persian language were created; With the aim of providing quantitative and qualitative statistics of the details of the comparative examples and after giving an introduction about these two books, they have shown that Attâr took at least fifteen anecdotes from Tazkirat Al-Awliyâ to create Asrârnâmeh and regardless of minor additions and deletions, he has been faithful to the core of the narrative in most cases. Most of the anecdotes are related to Bayazid Bastami. The anecdotes under study are used to simplify and express mystical concepts such as demand (Talab), poverty (Faghr) bad ending (Sou al-’Aghebat), consent (Reza), sacrifice (’Isar), unworldliness (Tark-e Ta’alloghat-e maddi), self-purification (Tahzib-e Nafs) and unity of being (Vahdat-e Vojoud). Among them, "unity of being" is the most repeated. Studying the biographies of the characters in these stories, such as Bayazid, Shibli, and Abulhasan Bornouzi, shows that in the cases that Attar took from Tazkirat al-Awliya, he was more interested in the stories of mystics who were inclined to Sokr. We also found that in the majority of these fifteen anecdotes that Attar arranged, he was faithful to the text of Tazkirat al-Awliya and preserved the core of the anecdotes with full skill and elegance. The minor additions and deletions that he included in the verse forms were only to maintain brevity, prosodic limitations and literary attractiveness enhancement or explanation and interpretation of the text.

The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

In the history of Persian literature, poets and writers used to dedicate part of their works to educate their child which attested to the importance of children’s education by means of literary text. Authors’ book to his child forms the text in literary corpus though embedded in text, yet conveys an independent meaning. Though these books of authors’ to his child find no special mention in texts but are visible in a text at the beginning or the end of the book. Books of authors’ to his child are often found in the lyrical poems of Sabk-i Iraqi. Men of letters have inculcated moral values in their son and help them to overcome human vices. The purpose of the research is to trace the works of authors’ book to his son in the annals of Persian literarture since 4th Century A.H. to the present day. It seeks to have the practical dimension of training and up bringing in the comtemporary period. The research method in this article is descriptive and contains analysis. This research is applied with a purpose to generalize and use for education and child-upbringing indicators in the present era. Since the purpose of this study is to identify the components of optimal education embedded in text, the basis of this work is to develop concepts and contents of advising child by using qualitative data. These ideas have been developed from the works of the poets of lyrical poems. They  have seen, heard, and experienced what they have imbeded in their writings. The poets of the lyrical poems portray to their children the truths of all classes of society in attractive and pleasing manners and convey it to the audience in the form of maxim and advice. The present study encompasess nine lyrical poems including  Leily and Majnun of Nizami, Leily and Majnun, Hasht Behesht (Eighth Heaven) and Duval Rani-Khizr Khan of Amīr Khusrau , Leily and Majnun, Yousef-Zuleikha and Salaman-Absal of Jami, Salman Savoji Divan, and Yousef-Zuleikha of Masoud Ghomi. Indices of individual and social moral development have been selectively extracted and compiled from the core of child-advising poetry of romantic poets. Books of authors’ to his child are often found in the form of lyrical poems of Sabk-i Iraqi. Nezami Ganjawi dedicated 36 couplets in Laili wa Majnoon to his son Muhammad, Amir Khusro Dehlvi in Daval Rani and Khezr Khan dedicated 224 couplets to his son Mubarak and in Majnoon wa Laili dedicated 157 couplets to his son Khezr. Salman Savji in Firaq Nama dedicated 93 couplets to his adopted son Sultan Owais and Jami in Yusuf wa Zuleikha dedicated 99 couplets and in Laili wa Majnoon 32 couplets and in Salaman o Absal dedicated 11 couplets to his son Ziyauddin. Khwaja Masood Qummi who was a poet in the second half of the 9th century A.H. in his poem Yusuf and Zuleikha dedicated 143 couplets to his Ghiyasuddin Muhammad in which poets’ children are addressed in poetry. Poets and writers have encouraged their son to imbibe ethical virtues and shun human vices. Only Amir Khusro in his lyrical composition Hasht Behesht has advised his daughter Afeefeh in 76 couplets. In all the nine given romantic poems of this article, the individual moral refinement, as well as the teachings related to science and friendship, secrecy, social relations, etc., have been highlighted and this theme is a knack of the poets of romantic poems for expressing their thoughts.

The Blind Owl is an artistic text with a psychological background. The novel has been written using the technique of Transposition. This technique has a long history in Europe, especially in the works of Hoffmann and Maupassant. Sadegh Hedayat, the author of the novel, has been influenced by the literary and artistic works, as well as the theories of the western psychoanalysts, such as Ewers, Freud, Jung, etc. One of the goals of psychoanalysis is to reveal important psychological aspects buried in the unconscious. One of the theories proposed in psychoanalysis is that “double” is one of the buried belongings of the human psyche, and some people can see the double of their psyche. In Freud’s psychology, human natural passions become important as the unconscious becomes important. As a result, the artists and writers influenced by Freud choose the psyche’s freedom and its tendency to deviate from the norm as the subject of their work. The world of The Blind Owl’s characters is overfilled with romantic perspectives and emotional feelings. In this novel, the influence of psychological perspective of “shading” and the tradition of focusing on the “double” in the world of narrative literature is observed more than any other perspectives. All the characters in the novel are in fact shadings or doubles of the protagonist. The representation of the characters in different personas has caused the development of the novel, the structuring of its world, and the complexity of its language. One of the works with which The Blind Owl has the most commonalities and similarities is the screenplay of The Student of Prague written by Hannes Heinz Ewers, whom Otto Rank has called the modern Hoffmann. Ewers wrote the screenplay of The Student of Prague in the genre of horror, adapting the works of his predecessors, including Goethe's play Faust, some of Hoffmann’s stories, etc. The screenplay was premiered in Germany in 1913, reformed in 1926, and voiced in 1935. The purpose of this article is to find the commonalities and similarities between these two works. To this end, a methodology of comparison has been applied: comparing the structures, the procedural development, the use of instruments and symbols, the role of the characters, the relationship of the characters with the protagonist, and the messages of the works. The results of the study indicate that the commonalities and similarities between The Blind Owl and The Student of Prague are more highlighted than the other works compared with The Blind Owl so far. These commonalities and similarities are conveniently seen in the elements mentioned in the methodology. Among the similarities in the area of content, the following can be mentioned: man’s destiny is subject to his emotions and his emotions are subject to chance; the ultimate value of life is unique to the supreme lover to whom everything must be sacrificed; a double could be more original than the real one.

One of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction they have with ordinary weapons. Although in the original heroic poems such as Shah-nameh, Garshasb-nameh, Bahman-nameh and Kush-nameh, we are faced with a handful of these amazing weapons of heroes, but instead, in the scrolls of the Shah-nameh, later Pahlavani poems and Persian folk epic-adventure stories, there are a lot of such weapons that we are faced with them, arising from the structure of such stories; A structure that one of its characteristics is modeling the stories of the Shahnameh, heroic  poems and religious-historical sources, and building new narratives and references; In other words, the requirement of the structure of such texts is to model from several examples of martial weapons mentioned in the Shah-nameh or other authentic heroic  texts and to create a large number of new weapons and war tools. Although some of these weapons expressed in Naqali scrolls and long folk tales have their roots in ancient sources such as Avesta and Ferdowsi's Shahnameh, but many of them are created by the minds of storytellers and narrators. One of the most famous and prominent weapons in the Naqali scrolls and long folk tales is "Tahmoureth's blade". This blade, which is made and prepared by the creative mind of the narrators and storytellers, is a magical blade that only the Rostam family uses, and if we see very few examples of it in the hands of other fighters, they are the fighters who their actions were influenced by Rostam's stories. The importance of the present research is that the author deals with the mythological roots of Temmorth's blade, and examines its formation in scrolls and folk tales based on the common discourse in mythological and heroic literature. This research, which was carried out in a descriptive-analytical method and by using first-rate mythological, historical and epic sources, comes to the conclusion that the reason for the attribution of the anti sorcerer's blade to Tahmoureth is three mythological events: first, his being among the first kings; Second, Having a weapon, which is called "Zinavand" in mythological and Pahlavi texts.; And third, the anti-demonic function of Thammorth in Avesta, Pahlavi, epic and historical texts, which has caused him to be nicknamed "Divband". In addition, this blade, due to the "phenomenon of transmission", (which is one of the most important common topics in mythology and history, and by means of it, the features and characteristics of a mythological or historical character, for reasons such as similarity, proximity, kinship, companionship, substitution and synchrony, is transferred to another person), has also been attributed to kings or prophets such as Kiyoumarth, Jamshid and Suleiman, and has three important functions in narrative and folk texts, which are: killing Invulnerable demonic creatures; Killing Divan and dragons, invalidating the magic of witches.

Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have a didactic tone. When we talk about didactic literature in verse, it means that one "I" conveys an idea to another in the form of a narrative text, and in the narrative literature of verse, it is the "story" that is the container of this container. This introduction shows a general structure of narrative literature, which is drawn based on the general mission and moral message hidden in these works, but the deep structure of these narratives, which includes the discourse that governs them and has multiple narrative aspects, is due to the existence of a methodical process. It informs in a context-oriented, artistic and creative manner. The texts of Persian narrative-didactic poems play an important role in our lives with the help of stories.On the surface, it may seem that there is no difference in the narrative structure of Persian narrative texts that have an educational motive, and the claim of the creators of these works was to create a narrative text with the intention of conveying a moral message to the audience. These works show that the process of producing meaning in each of these works is based on discourse patterns and unique structural systems; So that each text has a distinct discourse system. Also, the function of the story as a container in these works has many aspects, which can only be achieved by studying the deep structure of the discourse. Accordingly, in the present research, we intend to explain the structural system of several of these works by going through the structure of poetic narratives, so that at the end of the research, we will witness the drawing of the discourse system in each of these works. The results of the current research, which have been provided in a descriptive-analytical way, show that four types of discourse systems: "a system of stepwise development of a message with a high frequency emphasis on a theme", "narrative Chinese introduction and distributive expression of a message", "message development with a tone" There is an address to the motive of persuading the audience" and "Ethical Discourse System of Davarani - Parateti" in Persian didactic texts.

Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, both poetry and fiction, as recurring stylistic elements. Of course, there are differences in the definition and role of motifs in poetry and fiction, and in this research, motifs are considered in their poetic function. In the history of Persian poetry, from the beginning, poets have used various motifs; For example, "candle and butterfly" and "flower and nightingale" are among the oldest motifs of Persian poetry. Some poets are more related to the use of motifs, and some have a special relationship with one or more specific motifs. With a more detailed study of the poetry of the Safavid period, known as Indian style poetry, we find that the use of motifs in the works of most of the poets of this period has a high frequency and significance. In addition to using this literary element a lot, the poets of this era also made some changes in the motifs in order to differentiate between their poems and the tradition of Persian poetry. One of the most important of these poets is Saeb Tabrizi, a poet of the 17th century and one of the most famous poets of the Indian style. He has a great tendency to thematize through the use of poetic motifs. Apart from that, the other characteristic of his poetry is the changes he makes in the meanings of the themes compared to their common and conventional meanings in the previous poems. In Persian literary research, these symbolic meanings are referred to as associations. In the present research, an attempt has been made to examine the evolution of poetic themes from a new perspective by matching the concept of the term association with the term motivation in the works of Gérard Genette, a contemporary French theoretician. In the end, by basing the theme of cypress and lunar/cuckoo in Saeb Tabrizi's sonnets, it has been concluded that one of the characteristics of Saeb's individual style and on a more general level, his period style is that his great desire to create new and original motivations for Poetic themes have caused a feature that was called "fluidity of motifs" in the present research. In many cases, this feature has led to the abstraction of multiple and sometimes chaotic and contradictory motivations for a single motif. In fact, the fluidity of the motifs can be seen as the excess of thematization and unbridled imaginations in the poetry of the period in question and a reaction to the possible loss that the poets of this period felt when looking at the great poets before them.

The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern Iran. There, the successor and grandson of Sheikh Ahmad Jami, Qutb al-Din Muhammad Jami, stole two books from Rozbahan Baghli Shirazi (Rasala al-Quds and Ghalatat al-Salekin). Qutb al-Din Muhammad Jami was known among mystics and scholars of that time, and he was considered a mystical writer. Rozbahan lived before Qutbuddin. He is a great mystic. A mystic who has written more than fifty books. His books are taken all over Iran. It seems that Qutb al-Din was unaware of this issue. Qutb al-Din has included two books of Rozbahan in one volume and presented them to the audience under the name of Hadiqah al-Haqiyah. To start the work, it was necessary to determine who the books were written by. I have provided a lot of evidence to identify which author each book belongs to. In this article, I have determined with what tricks Qutb al-Din did this plagiarism. In order to hide his plagiarism, he asked the scholars of his time to confirm the authenticity of his writings. I have examined these confirmations from another point of view. I have also determined which manuscripts of Rozbahan's books he had access to. For this purpose, I have compared the manuscripts of the books. Qutb al-Din stole Rozbahan's books but did not agree with all his opinions. In the investigation of this plagiarism, I have examined the difference in the views of these two people. These differences can be called ideological differences. This article is done by descriptive analytical method. Examining and comparing Roozbahan's books with Qutb al-Din Muhammad's Hudiq al-Haqiq shows that he stole Rozbahan's Risal al-Quds and Ghalatat al-Salekin, with minor changes, and presented them in his own name. The concern of convincing the audience has caused Qutb al-Din to change some signs of dependency of Rozbahan's books and remove others in a process that we have called the process of personalization. The most important characteristics of personalization of the text are: removing Rozbahan's rejection, modifying some of his views, extensive quoting of poems attributed to Sheikh Jam's family, adding the text of Sheikh Jam's treatises and adding personal views; In addition, in order to stay away from the disciples' question, he has asked the elders approved by Sheikh Jam's family to confirm that the text of Hadiqa al-Haqiyah is in accordance with Mustafa's Shariah; But now we know that Qutb al-Din, in this way, sought to prove the dependence of this work on himself and remove the accusation of plagiarism. The issue of including the poems of Sheikh Jam and his family in Hadiqah is also one of the issues to consider. By comparing the poems in the treatises and Hadiqa, it became clear that Qutb al-Din did not follow the trust in attributing poems and attributed other people's poems to Sheikh Ahmad Jam. Based on this, the attribution of the poems to the narrators claimed by Qutb al-Din is seriously doubtful. Some changes applied in the course of this plagiarism have gone beyond a simple difference and can be called an ideological difference. Differences in topics such as al-Tabas, unity, hearing, the expression of mystical experiences and the issue of vision are among these ideological differences. The revelation of this plagirismalso helps to examine the etymology of Rozbahan treatises. In this way, by examining the degree of correspondence between the versions of Risal al-Quds and Ghalatat al-Salekin with Hadiqa al-Haqiqah, we can approach the original version of Rozbahan's treatises. In the review of the versions, it was found that version "A", which was written in 817-822 A.H., is the closest version to the versions of Hadiqa al-Haqiqah and the closest version to the version approved by Rozbahan.

Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept of "Farr" in our time is the basis of many topics of modern physics, including luminous aura, energy chakras and it is energy therapy, in the review of Ferdowsi's Shahnameh, the historical roots of "Farr" and its various forms are less mentioned in connection with the manifestations of cosmic energy. The authors, looking at the concept of "Farr" and its characteristics, with a descriptive-analytical method and a library approach They have investigated the metamorphosis of "Farr" and its connection with cosmic energies, how it has appeared in today's world issues and what are its main sources? What are the types and interpretations of "Farr" and today's manifestations, and what is the reflection of "Farr" in Ferdowsi's Shahnameh. This article aims to investigate the material and spiritual forms and incarnations of "farr" and its connection with cosmic energy, and to analyze and investigate its transfer from the Mehri religion to the Avesta and then from Ferdowsi's Shahnameh to the present age. Some of the researches that have been written in connection with the theoretical foundations of this article in the field of cosmic energy include books on traditional cosmology and modern science, the quantum ideas of Rumi, the quantum world, research in Iranian mythology, Yashta, Farrah Ezadi in the ancient Iranian monarchy. and the article "Farah, this magical and heavenly force". The conducted research shows that human beings are surrounded by a subtle energy called aura of energy. In the past, this subtle energy, especially in the area of the head chakra, was known as "farr", and it is the most important discipline that connects humans to the beyond; At first, the donors of the "farr" were Mehr and Apam Nepat, and "farr" belonged to the sun and water, but after Zoroastrianism came into use, Ahura Mazda became the donors of the "farr" and fire became its main element. In the Shahnameh, "farr" is the main pillar and the fundamental element and in its incarnations it is transformed into an alive creature or objects and manifests itself in the form of strength and talent in the form of beauty, wisdom and power or mysterious objects. The appearance of the "farr" in Mehri religion, Avesta and Shahnameh is a luminous aura, and the appearance of the "farr"  has been attributed to tangible signs and forms, for example, in the Avesta, it is the bird of Verghan and Ghorm, and... after that in the Shahnameh, it is called Simorgh, Homa, A deer, a horse, a Jahanbin Cup, a ring, etc., and also the effect that this energy had on the head chakra and made the aura of energy  around the head brighter, they called Shamse, Crown, Dastar, Dihim, etc. as well as the effect that this energy had on the head chakra and made the aura of energy around the head more luminous, were like Shamse, Taj, Dastar, Dihim, etc., of course, in the Shahnameh, "Farr" is a divine gift, and sometimes it shines in the form of light from the faces of kings, etc., and sometimes it is manifested in the form of a divine thought in finding secrets and breaking magic.

The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed and became the basis for the formation of different poetic movements. Each of them interpreted poetry based on their idealistic ideas. The poets of these poetic movements have also used colors as a tool to express their political and social goals; especially the poets of the movement of resistance. One of the best movements of contemporary poetry in Afghanistan, have used a range of different colors in expressing their thoughts.Since colors play an important role in reflecting the emotional and spiritual personality of a human being. They have also been considered in the modern psychology and thus, Psychologists can understand the mental states of the composers by considering the quality of the choice of colors in poems. One of the tests that can tell the artist's mental state based on the quality of the use of colors, is Max Luscher's theory of color psychology.This article is looking for a precise and methodical reading of the poetry of Afghanistan resistance based on the theory of Max Luscher, so that it can help us in a comprehensive and accurate understanding of the thoughts and personalities of the poets of this movement and the important reflected elements of their poetry. To introduce the hidden layers of contemporary poetry of Afghanistan and the way of thinking of its contemporary poets.The present study, using the descriptive and analytical method, investigates and analyzes the colors used in the poetry of the first poet of the Afghanistan resistance, Khalilullah Khalili. In this article, Luscher's applied colors and their evocative have been collected first. Then each of them has been classified, analyzed, and studied with the approach of Max Luscher's theory.A case study of Lusher's use of eight colors in Khalilullah Khalili's poems shows that his first choice in his poems is red and black. Red is a symbol of life and death. The symbol of death with burning flames that destroys everything and the symbol of life that pours the passion of love in the heart. The choice of black color next to red in the first choice expresses his displeasure and disgust with the surrounding environment and his protest against the current situation, hatred of aggression, injustice, and the suffocating atmosphere of the society. But the green and blue color in the second choice, which reflects the real situation and the desired goal of affairs, shows his desire for a better life and hope for the future, which requires peace and intimacy. The choice of brown and gray colors in the third step shows that due to social unrest, Khalili expresses his feelings and emotions in a hidden manner, and this issue makes his poetry more mysterious and consequently more artistic. And the choice of yellow and purple in the fourth step shows the poet's desperation, which has led him to take refuge in himself. He hides his natural passion and imaginative nature as much as possible, and this issue has made his poetic language symbolic.As a result, it can be inferred that the abundant use of red and black colors in the first situation shows the poet's tendency towards the concept of the uprising and struggle against aggression, tyranny, and social disorder.  The red color in his poems tells about martyrdom and struggle, and he seeks the way out of black color in red color, and therefore all his poems are covered with blood and martyrdom, and it tells about struggle. But also, the frequency of green and blue colors in the second situation which indicates the real situation, manifests the poet's desire for a better life, the end of aggression, tyranny, the creation of deep change and transformation in the society.

Ambiguity of space in Shāhnāme is an interesting subject which attracts reader’s attention in the mythical and heroic parts of this epic. Irān is one of those ambiguous places which plays important roles in different stories. In three stories of Iraj’s enthronement, imprisonment of Kekāavoos and The Great War of Keykhosrow and Afrasiab, Iran plays an important role in the narrative of the story. Also, ambiguity of Irān as a place and its mythical characteristics is eminent in these stories. In these stories, Iran is not just a political unit but according to mythical thought of the creators of these stories is something beyond the logical entities and cannot be limited to what we understand of space. In this study, with the use of desk study and content analysis and emphasis on Lévy-Bruhl’s theory of mythical thought we have tried to reach an anthropological reading of these three stories. We have found out that ambiguity of space is rooted in the mythical thinking of the creators of these stories. In these stories, Irān and Iranians are not independent entities but participate in meaning and cause mystic emotions. In other words, Iran and Iranians can be used interchangeably as the context of stories suggest, meaning Iran is Iranians and Iranians are Iran. In Addition, mythical thought considers any threats to the members of a group as a threat to the group as a whole because it perceives the member and the group as one. A member of a group is not just a person but contains the mystical powers of the whole group. So what happens to one member of the group, happens to the group as a whole. If a member is injured, the whole group is considered to be injured. Furthermore, According to this kind of thinking, this perception of group and its members is not paradoxical.  So, wars between Iranians and Turanis are something beyond political wars and are an effort to protect Irān and Iranians. In these stories, taking revenge is not simply a political act but is an ethical responsibility of all members of the group in order to protect and preserve the group as a whole. So in these stories that we have analyzed, revenge plays an important role in the narrative of the stories since taking revenge is accepted as an ethical act to save the group in the mythical thinking. Alongside other reasons, our findings show that the ambiguity of space in Shāhnāme can be the product of mythical thinking.

Iranians were the people who lived in the land of Great Iran in ancient times, in their social relations with each other and with the neighboring countries and with the people of the world of those days, they had wars, peaces and reconciliations, friendships and relationships. This behavior and their relationships and belief, which is history as the preserver and guardian of the documents of the past, has been preserved for the future generation. The ancient Iranians, for whom Ardeshir Sasanian used the word Iranshahri for the first time, had thoughts and ideas to express their opinions, beliefs in establishing relations with others, in the manner and ritual of governance and statecraft. Historians, poets and writers have been influenced by these ideas. Especially the poets of the 4th and 5th century were more influenced by it in their epic works, one of them is the famous Iranian poet Asadi Toosi. Asadi Tusi's Gershasp Nameh is the most important heroic and epic text after the Shahnameh. Although its subject is wars and heroic performances, it contains important and effective elements in the formation process of Iranshahri's ideas. Various topics and elements that have happened throughout history in the thoughts of ancient Iranians and the long-standing beliefs of Iranian citizens in their daily lives have a prominent appearance. The purpose of this research is to identify and analyze the intellectual foundations of Iranshahri as one of the coordinates in the intellectual level of this valuable work. Now this question is raised, what were Iranshahri's beliefs and thoughts in this book? And what has been reflected? In order to answer the questions in this research, which is analytical-descriptive and based on library studies, topics and elements such as "minorism, theology and religious orientation, Shah Armani, reconciliation and friendship, pact, oath, prophecy, catacombs, magic , fate and destiny" which was one of the main intellectual bases of Iranians and ancient Iranians, based on "Gershasp Name" and reference to "Shahnameh", "Bahman Nameh", "Barzonameh", "Faramarznameh", "Bano Ghassab Nameh" and "Detailed Court" has been examined and analyzed. By studying and examining Gershasep's epistles and epic poems in the Khorasani style, we can conclude that there are few parts of his poems that are not influenced by Iranshahri's ideas. Garshasp, the book of Esdi Toosi, travels, stories, wars, and performances, which are the result of the presence of Gershasp, the mythical warrior of Iran. Events have taken place in it, and there have been effective elements and phenomena, and beliefs that the people of Iran have fully believed in. In this work, the literary master has shown himself in the best way and these themes and elements in Asadi's book have been manifested as the second and best literary work of Khorasani style. And compared to the works of other epic poets of this style, it has been reflected in the best way.