Myth

Open Access Article

1 - Plant Holiness Displays in Iranian Fairy Tales (Based on Dictionary of Iranian Myths: Ali Ashraf Darvishian And Reza Khandan Mahabadi
فرزانه مظفريان

Fairy Tales are a part of popular tales that are full of great and wonderment events. We can unlock thoughts and beliefs which are rooted in human unconscious and have a sublime status in nations’ cultures by reflecting on these tales. Herbal myths are among these belie More

Fairy Tales are a part of popular tales that are full of great and wonderment events. We can unlock thoughts and beliefs which are rooted in human unconscious and have a sublime status in nations’ cultures by reflecting on these tales. Herbal myths are among these beliefs. The article reviews Iran fairy tales from “Dictionary of Iranian Myths” book which are classified in magic and witchery stories No. 300 to 749 in Aarne–Thompson classification system with library method; and it also unlocks constructive elements of these tales with descriptive-analytic method; after these, we analyze the thought of plants’ holiness and presence of herbal heroes which are a various form of herbal and productivity gods. High frequency of believing in wish tree and its related stories, emergence of fairies and humans through trees and plants shows effective presence of plants’ holiness and hidden link of human and plant in Iranian fairy tales. Manuscript profile

Open Access Article

2 - National and Religious Mythological Symbols in Holy Defense Poetry
Mohammad قربانی

Myth had inspired poets and authors in all cultures and they had applied it based on their contemporary circumstances and up to an acceptable level. Due to this, Myths were sometimes respected and sometimes disrespected and despicable. One of these periods is the perio More

Myth had inspired poets and authors in all cultures and they had applied it based on their contemporary circumstances and up to an acceptable level. Due to this, Myths were sometimes respected and sometimes disrespected and despicable. One of these periods is the period which is often called Holy Defense Period and or War Literature. Poets and writers of this period had used national and religious myths to awaken resistance and persistence morale against enemy. Symbols and myths were like a media in this period. Motivating audience to participate in war fields is indebted to these symbols and myths. The current article is to discuss about national and religious myths in Holy Defense Poetry and their view toward Myths and attempts to clarify how much these mythical names were effective in motivating audiences to war against enemy. Manuscript profile

Open Access Article

3 - The Analysis of "Where is Khezr?" by Taghi Poornamdariyan based on an Intertextual Approach
همایون جمشیدیان

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epi More

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epic, lyric genres and the type of their combination in the creation of contemporary romantic poem. The word "Khezr" has mystical and epic implications. According to the feature of Khezr who is the helper of the lost, it is expected that the narrator of "Where is Khezr?" be confused and wandering in spiritual journey abstinence domains. Such implications can be observed in words and terms like "darkness", "alkahest" (i.e. water of life), "the desert of night". On the other hand, based on the content of poem, there would rise this question that how are elements of poem and its different semantic implications interrelated to each other? The results of the current research shows that this poem is lyric and it describes an earthly beloved, but there are symbols of other genres. The narrator of the poet passes difficult stages like an epic hero to reach their target, for example s/he passes darkness land. Fourfold sections of the poem associates four seasons. These seasons are periodical like epic time and do not have linear circuit. Separation and tinker would occur simultaneously with passing of different seasons. This poem is the product of conflux and different genre association which is emerged from the unconscious of the poet who had lived in the ecology of cultural worlds. In this article the intertextual analysis of poem was applied and components of different genres were compared and analyzed and their ratio in producing a coherent and structured text was also reviewed. Manuscript profile

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4 - Figure (Naghsh) and Banner (Derafsh): An Investigation into the Underlying Relations between Hero, Color, and Figure in the story of Rostam and Sohrab
محمدکاظم یوسف‌پور نسرین کریم‌پور

Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the More

Underlying structures of literary or artistic works are shaped by implied and multilayer semantic relations among their constituents. At the surface structure, they manifest as aesthetics of the works. So, their key concepts and symbolic meanings should be sought at the layer of deep structure. Shahnameh is a literary work having rich meaning depth, and broad underlying semantic relations. The variety and multiplicity of its constituents open it up to study from different perspectives. Focusing on two frequent structural elements in an episode in the story of 'Rostam and Sohrab', namely, 'the color of Sarapardeh' and 'the figure of Darafsh', this article reveals the their implicit relations, and sheds light on one part of the colorful and mysterious world of this masterpiece, in order to show to what extent the overall meaning and the numerous concepts of the text have been conveyed through these two elements alone. Manuscript profile

Open Access Article

5 - Analyzing the movement of Iranian Mythological Themes and Narrations in Persian Novels. (Mordad 28, 1332 – 1387)
سعید بزرگ بیگدلی حسن شاهی‌پور دکتر سید علی قاسم‌زاده

The emergence of mythology in the contemporary Persian novels, as the dominant literary discourse, is an epoch making movement. Based upon their vision and socio- political situation, many of the contemporary authors have used mythology in order to achieve two main goal More

The emergence of mythology in the contemporary Persian novels, as the dominant literary discourse, is an epoch making movement. Based upon their vision and socio- political situation, many of the contemporary authors have used mythology in order to achieve two main goals: one, to present an interpretation of the world around, and the other, to enhance the esthetic and attractive values which they are to present in their works. According to the findings of the research, novelists within the 1340’s and 1350’s showed most concern toward restructuring and reproducing myth ever. A main reason was the authors’ nostalgias caused by the events such as the defeat of folk movement and the coup of Mordad 28th which mad long and deep impression on them. The most tendencies to myths in post-revolution period can be seen in 1370’s and 1380’s. However, the authors’ motivations differ from those of the pre-revolution period. A vast number of writers follow modernist and postmodernist movements and aesthetical tastes; some try to strengthen and revive national features, turn back to their traditional origins rather than pure imitating the West. The present research seeks to study and analyze how the mythological theme and narratives have been reflected, reproduced in the contemporary Iranian novels from mordad 28th 1332 to 1387. Manuscript profile

Open Access Article

6 - Hafiz and Iran's Cultural Identity
صابر امامي

The present article surveys Iran's cultural identity in terms of Hafiz' poetry. It is to prove that Hafiz paid especial attention to the cultural oppositions of his time and their manifestations in his language. The expressions such as Pir-e-Moqan (the Magian Elder), Ja More

The present article surveys Iran's cultural identity in terms of Hafiz' poetry. It is to prove that Hafiz paid especial attention to the cultural oppositions of his time and their manifestations in his language. The expressions such as Pir-e-Moqan (the Magian Elder), Jam-e-Jam (the world-displaying cup) Manichaeism, joy, and contents adapted from Shahnameh are indicative of the historical and mythological roots of Hafiz' poems in pre and post-Islamic Iran. The article studies the signs and traces of Persian-Islamic culture in Hafiz' poetry, and analyzing the lines having these signs, shows Hafiz' attempts to establish links between these concepts and the Persian-Islamic identity which caused strengthening the new geographical borders of Iran. Manuscript profile

Open Access Article

7 - Analysis of “Seir-ol-Ebad Elal-Ma’ad” by Sannayi
معصومه غیوری

The poetic work entitled as the couplet poetry of “Seir-ol-Ebad Elal-Ma’ad” is an interesting work in the field of Islamic mysticism and a story on spirit’s journey to a supernatural world. Although this poetic work is affected by Prophet Mohammad’s Ascent and the previ More

The poetic work entitled as the couplet poetry of “Seir-ol-Ebad Elal-Ma’ad” is an interesting work in the field of Islamic mysticism and a story on spirit’s journey to a supernatural world. Although this poetic work is affected by Prophet Mohammad’s Ascent and the previous ascents, it manifests the most pure spiritual and mental maturity of the poet in an elegant and lofty manner. Seir-ol-Ebad Elal-Ma’ad is a journey within self, and the mysterious human spirit; enjoying a high number of symbolic images originated in the general and great treasury of mankind’s knowledge and passion since the creation of universe. Seir-ol-Ebad Elal-Ma’ad is the story of spirit’s journey, the ascent, resurrection and birth in the creation, all in a comprehensive spiritual atmosphere. This article presents an analysis of this work from mystical, mythical and psychological points of view in the following four sections: 1. Desire to return to the beginning (analysis through mythology and mysticism) 2. Individuality and the evolution of mental characteristic (analysis of Seir-ol-Ebad within the domain of psychology) 3. The rite of heroic path or the opening ceremony ( analysis of the work in the domain of rites and mythological ceremonies) 4. Resurrection and progression cycle ( analysis of the last part of Sanayi’s journey in giving meaning to the materialistic life Manuscript profile

Open Access Article

8 - The Development of Iranian Myths Based on Pishdadi and Kiyani Myths
محمدتقي راشد محصل مرتضي تهامي

The Iranian myths are explained in the form of creation of Twelve Thousand Zoroastrian or Nine Thousand Zarwani. The main characteristic of these myths is the dualism and limitation of the universe. The Pishdadi Dynasty and Kiyani Dynasty cover a part of this Creation P More

The Iranian myths are explained in the form of creation of Twelve Thousand Zoroastrian or Nine Thousand Zarwani. The main characteristic of these myths is the dualism and limitation of the universe. The Pishdadi Dynasty and Kiyani Dynasty cover a part of this Creation Period. The foundation of thought and belief in the existence of demons and fairies on the one hand and the appearance of tyrannical men such as Zahak and Afrasiyab on the other hand takes place in these two fictional periods. The magnificence and glory of Iran and the significance of kingdom also count as the main characteristics of this mythical period. The promotion of mankind (kings, heroes) and taking the place of gods are the other considerable features observed in these myths. Furthermore, one should not forget that the Iranian myths were affected by the myths and cultures and civilizations of neighboring regions (Mesopotamia, Greece, regional area of Indus). Manuscript profile

Open Access Article

9 - Mythological Buildings, Secret of Immortality, in the National and Religious Mythies
هيبت‌الله اكبري گندماني

Ever since man appeared on earth, he has made every effort to achieve immortality. To do this, he has made imaginary symbols of immortality. Of the most prominent of these symbols are the imaginary eternal buildings. In the ancient Iranian mythology, there existed build More

Ever since man appeared on earth, he has made every effort to achieve immortality. To do this, he has made imaginary symbols of immortality. Of the most prominent of these symbols are the imaginary eternal buildings. In the ancient Iranian mythology, there existed buildings in which one would be protected from death and become immortal. These buildings have apparently been made of sacred stones or metal, enjoying supernatural characteristics. Many of these buildings shared the same patterns. Disregarding the formal differences, one comes to understand the deeper hidden layers of these imaginations, and that these imaginations somehow give form to eternity. It has been the objective of this paper to probe into these characteristics in order to illustrate that all these buildings share the same origin, and features. Manuscript profile

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10 - Analyzing the Iranian, Islamic and Creek reflection components in Souhravardi’s interpretation upon the Rustam and Esfandiar Story
حسن شاهی‌پور

Although, interpretation of the anecdotes has thousands – year history in the west and it is now considerable in the west literature, it has not been paid so much attention in Iran classic literature due to some reasons including their being profane. Along with the scat More

Although, interpretation of the anecdotes has thousands – year history in the west and it is now considerable in the west literature, it has not been paid so much attention in Iran classic literature due to some reasons including their being profane. Along with the scattered and little interpretation by Sanaie, the poet of the 5th century, Sheikh Eshragh, the mystic and philosopher of the 6th century is the last person interpreted and reflected upon the Iran ancient myths. He wants to make a concrete link between three separate dimensions of Islamic culture, Iranian ancient wisdom and Creek philosophy. For he, as a believer Muslim, is familiar with Islamic culture and its components including mysticism in one hand and he is the heritance to the pre-Islamic period as Iranian generated one on the other hand and so can not ignore the Creek philosophy as the result of human valuable reason and wisdom. Souhravardi, with his especial perceptivity, has found that the three mentioned apparently opposing cultures essence is the same and in case of their unification and harmony, Men can have a great experience in Human development and leadership. This article tries to show this great genius attempts for linking the Human thinking follows reflected in his interpretation from the Rustam and Esfandiar Story, revealing and the reasons for such interpretation while showing the elements of the cultures said above. It is clear that during Souhravardi day, this story and Shahname stories were famous in such a way that,deconstructing them was not an easy task except for some specified reasons but, Sheikh Eshragh could do so by his special thought background and broke the structure of this story aimed at finding his views within the layers of it. Manuscript profile

Open Access Article

11 - An Archeological Account of Kiumarth as Narrated in Shahnameh
حسن شاهی‌پور عبدالله واثق عباسی

Mythologists have adopted various approaches to the study of myth. But, archaeological approach to myth is unprecedented. There were some attempts like that of euhemerists to degrade the mythical gods, suggesting that they are real personages (humans) by desanctifying t More

Mythologists have adopted various approaches to the study of myth. But, archaeological approach to myth is unprecedented. There were some attempts like that of euhemerists to degrade the mythical gods, suggesting that they are real personages (humans) by desanctifying them. Though, none of these attempts were based upon archeology which can be considered a new science, and also is deeply different from what has been done in this research. This paper aims at analyzing the mythical character of Kiumarth according to archeology. The surprising result of this research is as follows: Kiumarth era matches Mesolithic period and Kiumarth man matches Neanderthal man and his culture matches Mousterian culture, and the climate at his era matches the last glacial climate. Methods used in this research are derived from archeology (stratigraphy and typology). This study can be a starting point for exploring myths from an archeological perspective. Manuscript profile

Open Access Article

12 - The Function of Myth in the Postcolonial Discourse of Persian Novels (Analyzing Savushun, Secrets of My Native Land, The Drowned)
Nafiseh Moradi maryam آخسسثهده

A number of contemporary Iranian writers in the pre and post Islamic Revolution period focused on explaining the western colonialism and the resistance to it as the theme in their novels. These writers tried to react to the political and cultural influences of the Weste More

A number of contemporary Iranian writers in the pre and post Islamic Revolution period focused on explaining the western colonialism and the resistance to it as the theme in their novels. These writers tried to react to the political and cultural influences of the Western colonialism and imperialism through the effective use of myths in post colonial discourse. Simin Daneshvar, Jalal Ale Ahmad, Reza Barahani, Shahrnush Parsipur, Moniru Ravanipur, and Ghulam Hussein Saʽedi are among the post colonial writers. In this inquiry, the use of myth will be analyzed in three novels, namely, Savushun (Daneshvar,1970) Secrets of My Native Land (Reza Barahani,1982) and The Drowned (Ravanipur, 1990). The results of this study show that the use of political and cultural myths created by novelists based on Iranian ancient myths has an essential role in the formation of the postcolonial discourse and representation of colonial period in Iran’s history. The writers of these three novels succeeded in depicting their abhorrence of Iran’s occupation by western colonizers, and they could well show the invaders’ face and the Iranians’ resistance. Manuscript profile

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13 - Analysis of the Metamorphosis of the Myth of Mithra in the Poem of “Arash-e Kamangir” Composed by Siavash Kasraei
یوسف نیک روز Jalil Khalili Jahromi

The mythological narratives have always been accompanied by mysterious indications and implications. One of these surprising things is the transformation of creatures and phenomena into one another. Metamorphosis is a change in the appearance, or identity of a person or More

The mythological narratives have always been accompanied by mysterious indications and implications. One of these surprising things is the transformation of creatures and phenomena into one another. Metamorphosis is a change in the appearance, or identity of a person or a thing through the use of supernatural power. The myths about Iranian gods and goddesses who are created by human imagination can be transformed into different forms and shapes, especially the rulers or heroes living on the earth. Although so far, numerous books and articles have been written about the transformation of mythological phenomena and their analyses, as well as about the myth of Arash-e kamangir (Arash the Archer), the poem of Arash, by Siavash Kasraei is considered to have a mysterious multiplicity due to the re-creation and utilization of the principles of Mithraism and the myth of Mithra (Izad-e Mehr) and its conformity with the conditions of the society of that time. Therefore, it is necessary to analyze the instances and aspects of the Metamorphosis of the myth of Mithra into Arash in this article through an innovative and deep examination of the poem. Then, the compatibility between poet’s ideas and social situations will be examined. The results show that the amazing power of Arash in defending his homeland, overcoming the deadlocks and humiliating the enemy through the use of the special Ahurai equipment is due to this metamorphosis, and could have the same function in the poet’s time. Manuscript profile

Open Access Article

14 - The Origin of the Battle Between Elephant and Sheep in a Parable in Golestan

Parables (proverbs) as a part of culture and experience of old-time people represent lots of thoughts, perceptions and beliefs that have endured the course of times. Therefore, researching the parables can lead us to the origins of our ancestors’ thoughts. Sometimes, my More

Parables (proverbs) as a part of culture and experience of old-time people represent lots of thoughts, perceptions and beliefs that have endured the course of times. Therefore, researching the parables can lead us to the origins of our ancestors’ thoughts. Sometimes, myths which are related to group unconsciousness in a mysterious way are used in parables, or in another word, sometimes parables mirror group unconsciousness, especially mythical thoughts. One of these parables which the writer believes represents a very old belief in Iranian culture is “Sheep is clean and the elephant is carrion” in the first chapter of Golestan of Sa’adi. The mythical origin of this parable is studied in this research, and it is shown that how the elephant as an Ahrimanic creature confronts the sheep as an Ahurai force, and how the fight between an elephant and a sheep can represent a fundamental belief in Iranian culture in the form of a parable. . Manuscript profile

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15 - The investigation of mythological structure of the first fight of the Indo-Iranian Hero

This study aims at analyzing the structure of narratives about the first battle of the three Iranian heroes Garshasb, Sam and Rostam to define the common structural pattern in them and compare it with the myth of Indra’s fight who was the Indo-Iranian god of war, with V More

This study aims at analyzing the structure of narratives about the first battle of the three Iranian heroes Garshasb, Sam and Rostam to define the common structural pattern in them and compare it with the myth of Indra’s fight who was the Indo-Iranian god of war, with Vitra, the evil god of drought. With this purpose, and using a structural analysis of myth, narrative segments of these heroes’ first battles will be defined and their mythemes will be compared. Then, it will be revealed how the structural patterns in these narrative are in consistent with Indra’s first and famous battle. The aforementioned battles take place in parallel with an event that is the young hero/god becomes his father’s successor by removing his authority. Thus, the result of the research suggests that there is an intertwined relationship between the fight of Indo-Iranian hero with dragon, and the elimination of the venerable status of the hero’s father. It seems that these two events are somehow the transformed forms of one another and each is the alternative for the other one. Here, there is one linking element that keeps the two sides of the equation connected like a chain, and it is the weapon of having a father, i.e. the symbol of father`s power to defeat the dragon and consequently denying the father’s authority. Manuscript profile

Open Access Article

16 - The Myth of Doppelganger in “Bouf-e Kour” and “Peikar-e Farhad”
Atefe Moosapour fateme casi

The belief of doppelganger (spirit doubles) has always existed in the culture and myths of different nations. In western literature, the myth of doppelganger is explained through psychology. In Iran, under the influence of western works, Sadegh Hedayat paid attention to More

The belief of doppelganger (spirit doubles) has always existed in the culture and myths of different nations. In western literature, the myth of doppelganger is explained through psychology. In Iran, under the influence of western works, Sadegh Hedayat paid attention to the myth of doppelgänger. In Bouf-e Kour there are characters with the same identity that represent the doppelgangers for a person. These similarities will result in the lack of difference and a static society in different centuries. This research aims at studying Sadegh Hedayat and Abbas Ma’roufi’s new approach towards doppelganger in “Bouf-e Kour” and “Peikar-e Farhad”. The myth of doppelganger is studied in both novels using an analytical method. We aimed at discovering the origin and the results of this belief. Therefore, the research begins with studying the origin of doppelganger in ancient myths and legends; Otto Rank’s thoughts have also been mentioned here. Then, we will deal with the lack of change in the history as a consequence of this phenomenon. . Manuscript profile

Open Access Article

17 - The Mythical Goddesses in Folktales
Sarah chalak

Some folktales have a mythic origin. In these tales, characters and events are based on a myth, and an ancient belief. One of these myths is "the goddesses". Their holiness, importance and their various characteristics have the capacity to create remarkable, variant the More

Some folktales have a mythic origin. In these tales, characters and events are based on a myth, and an ancient belief. One of these myths is "the goddesses". Their holiness, importance and their various characteristics have the capacity to create remarkable, variant themes in myths. In this article, the descriptive-analytic method is used as the research method. First, the mythological character of the goddess is introduced under these three titles: “The Mother Goddess”, “The Wife of Martyr” and “Anahita”. Then, their impacts on the folktales, and the way they are represented in these stories are investigated. In order to do so, “Qessehaye Amiyaneye Farsi” by Seyyed Abolghasem Enjavi Shirazi, and “Afsanehaye Azarbayjan” by Samad Behrangi have been examined. Manuscript profile

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18 - The function of color as a symbol in mythologization and demythologization: a case-study of "Chaahaar Sandough", play written byBahramBeyzaie
ali yarahmadi زهرا سیدیزدی hamid jafari gharyeh ali

Myths reflect our ancestors' understanding of their surrounding phenomena. Many myths, in their evolution after re-reading and reproduction, have been usually compounded with the two main concepts of mythologizing and demythologizing. In Iran, one of the towering figure More

Myths reflect our ancestors' understanding of their surrounding phenomena. Many myths, in their evolution after re-reading and reproduction, have been usually compounded with the two main concepts of mythologizing and demythologizing. In Iran, one of the towering figures in this field is Bahram Beyzaie. One of his works is a play called "Chahar Sandough", in which he has constructed and addressed myths wich is not bound to any time or place. This study investigates the influence of the ancient myths of Iran as well as the role of Beyzai on the production of mythological elements with regard to the function of the color symbol in the text of the play. The research question deals with the role of the color symbol in the play "Chaahaar Sandough".The authors of this paper will also attempt to examine the manner of mythologization and demythologization in Beyzai’s text. The result of the research indicates that the Beyzai’s narrative, on the one hand, has a deep connection with the myths related to the geography of his place of residence, and and on the other hand, he tries to highlight the mythologization and demythologization in the play. Refusal to show the superiority of good over evil in the end of the play, the symbolic use of colors instead of the characters' names and the reversal of symbols, especially colors, are all signs of demythologization in "Chaahaar Sandough" play. In this play, like a myth, we face the story of creation. Of course, the story of creation that is confronted with changing. The devil (scarecrow) is created not by the will and power of God, but by imperfect beings (colors), as they themselves admit. This component is a sign of the Beyzai manipulation of myths. Manuscript profile

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19 - The Mythical Foundation of the Conceptual Metaphor of Death in Rumi's Masnavi
Alireza Shabanlu

According to the Islamic mysticism, the death is the main path to the truth recognition and connection to it.Death frees the soul from the cage of the body and gives meaning to life and defines his/her purpose; Hence, death is the fruit of life.This kind of thought is a More

According to the Islamic mysticism, the death is the main path to the truth recognition and connection to it.Death frees the soul from the cage of the body and gives meaning to life and defines his/her purpose; Hence, death is the fruit of life.This kind of thought is also in some myths. Rumi is one of the mystics who has used mythological ideas in drawing the image of death.The current paper explored the death metaphors in Rumi's Masnavi using the conceptual metaphor method and theory to figure out the relationship between Rumi's thought about death and mythical ideas as well as the role of mythical beliefs in defining the path of mystical conduct.We found that Rumi, like most mystics, has recognized and dealt (especially the death of immortality) in the context of the "journey back and up to the Principle / God / Truth" and through this, has opened the path of mystical conduct and has introduced death as a method of the truth recognition and mysticism attainment with shown its key role in the process of receiving divine knowledge and mystical conduct.The basis of this metaphor is the principle of the duality of soul and body in the belief in the duality of the ancient Iranians, which spread in the region of West Asia and North Africa and southern Europe until it emerged from Plato's "The theory of Forms". Manuscript profile

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20 - Mythological analysis and investigation of the origin of the story of Siavash and Kay Khosrow in Shahnameh based on familiarization ritual
aliakbar kamalinahad meysam rustaei

20.1001.1.17351030.1401.20.67.2.3

One of the aspects of analysis in Shahnameh stories is the ability to interpret their myths. Among the stories of Shahnameh, Siavash's story is one of the examples that is appropriate to its previous and subsequent narrations in terms of narration and the connection of More

One of the aspects of analysis in Shahnameh stories is the ability to interpret their myths. Among the stories of Shahnameh, Siavash's story is one of the examples that is appropriate to its previous and subsequent narrations in terms of narration and the connection of vertical and horizontal axes of the story. In this article, Siavash's story has been mythologically analyzed with a combined view and based on structuralist, mythological, and receiving theory approaches. The basis of this analysis is the ritual of familiarity and by using the view of Iliad, we have opened the ritual of entering the narration of Siavash. In this representation, the story from Siavash's birth to the end of Kaykhosrow's acting is considered as a unit and the actions of these two characters are considered to complement each other. According to the research findings, Siavash's rise and fall and then his sinking in Turan Zamin's graveyard is like sinking a seed in the soil; It is as if the story remains unfinished in this part, so much so that on the other hand, with the emergence of Kaykhosrow away from the eyes of Aghiar and his boasting in the same land of Turan, the story leads to self-sufficiency. Symbolic signs and evidence in the text of this story unit, such as: mountain, midwife, crossing the water, symbolic animal, test, etc., strengthen the concept of familiarity in it. Manuscript profile

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