Allegorical literature enjoys a high status in world literature. This is especially the case for allegorical and symbolic tales, which very well reflect artistic thoughts and concepts. Allegorical literature has a good record in Persian literature, including a number of classic works such as Sanaei's Seyrol Ebad Elal Ma'ad, Attar's Manteghotteyr, and some of Ibn Sina's works. While allegory has such a record, contemporary Iranian writers have mostly neglected it; however, in spite of this neglect, there are a few writers, especially in the 1330s and 1340s and even before that, who have shown an interest in creating allegories and traditional fictions.One of the main reasons for such tendencies could be the repressive political-social system of Iran at that time, which would lead writers toward allegorical literature. Making use of heroes and fictional characters, these writers could express their thoughts and fight against the government. From among the contemporary writers, especially the second generation of writers whose major works came out in the 1330s and 1340s, we can point to Sadegh Choobak and Bahram Sadeghi, who have, although sparingly, worked on symbolic literature alongside with other topics in the years after the Coup and in the early 1340s, and have left us with worthy works, which have been underestimated so far.In this paper, an effort has been made to find the similarities and dissimilarities between Sadegh Choobak's Pariman and Parizad and Bahram Sadeghi's Haft Gisooye Khoonin in terms of structure and content through doing a comparative study.