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
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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.
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