This article describes the interaction between Sufism and the Iranian cultures. In spite of cultural and lingual evolutions over the recent 150 years and the impressionability from the world culture and new life that is placed in the network of world communication, still many of the Sufi values, lexicons and terms are currently being used. So this is not strange to see that Sufi (dervish's) presence overshadows our folktales.Sufi (Dervish) is often the symbol of a man who relies on God and who is released of being the slave of power, wealth, prestige ethnicity and even borders of place and time. This article looks at some folktales concerning some old Sufis, tales which express a way of training and punishing the soul, self-making (self-educating) and establishment a deep evolution in the soul. A fully developed folktale becomes the plan for a real person's biography. Some Sufi viewpoints are indicative of the fact that love stories and failures in love are the basis and the cause of diligence and deep evolution of the soul that is what psychologists call sublimation. Practical and theoretical basis of Sufi trainings (especially its folkloric anecdotes) are: asceticism, imagination, greatness, errantry, forbearance, coexistence with other religions, leading to soothing the problems. The Sufi prevails in the face of difficult and exhausting rules of nature, even Demon, Pixie and death. Deep-rooted wishes are accomplished and translated into the reality after forbearance. We may face strange and even "digressive" imaginations and depicting which can be considered from different aspects like: sublimation, cultural contradictions, ethnological problems, the relationship between the human beings and God, human and world, between human and himself, human and nature, and human and others.

Folk literature is one of the most important subsets of Iranian culture, and understanding it plays a significant role in the recognition of hidden aspects of the culture and people›s daily life in different time periods. Folktales, which are an important part of this literature, have their own elements. Accordingly, authors of the present paper have attempted to find and introduce the major folk elements in Farahi’s Mahboob Al-Gholoub which is a prose fiction of the Safavieh era. In this work, although it seems that the novelist aims to create heroes and conflicts, and to arouse curiosity and amusement of the reader, but in reality it has a higher goal and wants to promote human values, brotherhood, equality and social justice. Some of the major folk elements of Mahboob Al-Gholoub are as follows: 1- Having a hero who is always the winner against the anti-hero,2- Absolutist characters who are absolutely good or absolutely bad; 3- Inconceivable events, 4- Having a weak plot;5- Generalization; 6- Static characters; 7-Imaginary time and place; 8-Similarity of speaking in heroes; 9-Characters inevitable fate;10- Surprising caused by inconceivable events; 11- Independence of episodes; 12- Obsolescence.

The concept of power and its relation with ideology is one of the basic components of critical discourse analysis. In this article, the power position of one of Shah Abbas Safavi's chivalrous, named Hosein Kord Shabestari, is analyzed according to sthe face-threatening and face-saving acts against Shah Abbas's enemies. In the face-threatening act, Hosein Kord puts himself in the power position fearlessly and the audience in accepting the power position in different ways of expressions. In the face-saving act, there is a high frequency of facesaving acts for Hosein Kord and it sometimes belongs to Shah Abbas at a lower level. So far as these two acts are concerned, it is found that a chivalrous named Hosein Kord is in a high place, sometimes even higher than the Shah Abbas's place. This is why he uses facethreatening acts against Shah Abbas. The aim of this study is to show the position of Shah Abbas's chivalrous especially Hosein Kord so far as ideology is concerned.