Part of what we know as the heritage of Iran and India has originated from the Indo-Iranian culture, and this heritage belongs to the East and the common life of Indo –Iranians in the past. We can consider the similarities between ARASH-e Kamangir in Iranian mythology and Vishnu in Indian mythology as an original example in this case. In this research, we try to show the characters of ARASH-e Kamangir, in the ancient, middle and Islamic periods, according to the comparative method in the French School and the method of content analysis. The results of the research show that ARASH and Vishnu are two myths that have a common origin, and consequently, they have vast and widespread common aspects; and in making of mythological character, the subject of the attack between Good and Evil has a special place in the two cultures. Being warrior god of rain in creating the myths like ARASH and Vishnu; being bodily and their connection with natural elements and heavenly realms are the other results obtained in this study.

The myth of ARASH the archer is rooted in a miraculous cow which determined the border of Iran and Turan, and whose soul, after death, emerged out of his body and found its way to Ahuras court. Afrasiab, demon of draught, leaves Turan and trespasses Iran, and destroys springs and rivers, the result is an enmity between the sky and the earth, followed by a long draught. The border between Iran and Turan thus needs to be marked by an arrow shot. ARASH is chosen for this great task. He places his soul in the arrow, while his body helps his soul to reach the primary borderline. Assisted by Ahura and angles, the arrow reaches the border of Iran and Turan. The result is an incredible reconciliation of the sky and the earth followed by a rainfall. Tirgan festivity is held each year to celebrate this great day of rain.

According to most researchers, the story of ARASH did not exist in Abu Mansoori Shahname and other Books of Kings, but a group of researchers believe that this story existed in the sources used for writing Shahname and was omitted by Ferdowsi. Nevetheless, the evidence is against this last claim. Regarding the fact that even in Pahlavi texts there has not been more than one reference to this story, it can be concluded that the story should have not be mentioned in Books of Kings. ARASH might have been either one of the saints in Parti culture, a popular hero, or a name remained from a pre-Zoroastrianism. ARASH has been a warrior in Manoochehr army and by no means can be one of the kings or king-heroes; it is thus illogical to look for his heroic stories in Shahname and other Books of Kings.

Pierre Bourdieu pioneered a new theory for sociological studies of literature. According to his theory, people engage in various economic, political, cultural, and literary fields which greatly affect their personalities. Literary field is one of these fields. Based on Bourdieu’s theory, although a literary work is affected by various fields, it is the field of literary production that determines the literary value of a text. In the field of literary production, form is the innermost issue. The more form-based a literary work is, and the less dependent on other fields, the higher its literary value would be. Kasraei’s ARASH-e Kamangir1 is the first and the most popular reproduction of the ARASH myth in the field of literary production in Iran. Analysis of this poem based on Bourdieu’s theory proves that the traces of the poet’s Marxist objectives in this poem and the fact that the poem several times slides into other fields have reduced the literary value of the work.

The versified story ARASH-e Kamāngir is among the typical examples of modern Persian narrative poems which can be analyzed from different narratological perspectives. In this article, apart from the story’s plot, time, characterization, and focalization, its mythological nature has also been studied. The results reveal that the poet has benefited from a variety of narrators to direct the narrative; he has also dramatized the social circumstance through explaining the incessant actions of the focalized and focalizers who play their role in the formation of heroic and mythical characters. This aspect of the work accompanied by its epic context, lyrical descriptions and mythological spirit has turned the poem to a memorable work of literature.

In the north of Iran, the province of Mazandaran, there is a rite called "Lale-Shish-zan". In this rite, in the middle of summer, a person in the role of a dumb (lal), enters the houses and beats barrens, girls of marriageable age and fruitless trees with a wood (shish). Some mythologists believe that it is rooted in old Persian myths and the wood is a symbol of bow of A`rash-e Kama`ngi`r, ARASH the Archer. The present article is to analyze this rite with respect to the mentioned Persian mythology.

ARASH storyas Epic and majestic nostalgiaisa clear exampleof Iranianancient culture that showschangethedestiny of anationbydedication of aperson. Archer ARASH poetry, Poemsof Siavash Kasrayi is are-creation of this national epic. This poemshould beconsidered the first modernepic poemthatis written in the new style. Kasrayi wears eye from the historical truth of this storyandmakesits epic more than historicalfacts. He also has tried to portray symbolically social and political space of the country in the thirties by usinglinguistic techniques. Archer ARASHlyricissongful of theh opethatwaswritten in space full of despair after the coup of 30th of August. Kasrayiwho is inspired by Savior emersion, knows ARASH appearance, hopeof everyone in the world. In this article with deliberationin Archer ARASH poem, we tried to answer the following two questions: 1-Whichcapacitiesareusedforre-inventionthe myth of Archer ARASH and Streng then aspects of its epic? 2- How much poethas been successful Inorderto portrayaspects of athletics.

Bahram Beizaei is an Iranian author, filmmaker, theatre director, scenarist, and prominent and stylish researcher. Benefiting from myth, epic, and historical backgrounds and folklore of Iran and the world, he has created artistic work; thus, his works are contemplative and extensively linked to intellectual topics, Persian cultural themes, and other nations. His play titled ‘ARASH’ also possesses such salient feature. This point should be further noticed that based on intertextual approaches and theories, the creators of artistic works may not too rely on their own personal experiences, information, and intact subjective faculties for the generation of such works, but by considering pre-existing texts, they edit their works where these texts are assumed as the foundation for culture, idea, art, and literature of their time. We have tried in the present article to conduct a content analysis on the play of "ARASH" and with reliance on librarian and documentary studies and based on the theory of trans textuality of Gerard Genette (as one of the theorists of Intertextuality). The findings achieved from this study suggest that this play is composed of Inter-textuality, hypertextuality, metatextuality, arcitextuality, and paratextuality elements which are noticed with some frequency where this has caused this work to have new conceptual potential and deserving of altered review. In the intertextual view of this work with its contemporary text, the poem "ARASH" by Siavash Kasraei, Beizaei challenges the myth and Kasraei depicts himself and his society's desire; However, both works are associated with the myth of water and the demon of drought. On the other hand, in metatextual analysis, the existing classes in the play "ARASH" can be considered in accordance with the existing classes in Wittfogel 's theory of Oriental Despotism, which is defined on the basis of the Hydraulic Society and the relations that govern it. From the perspective of contextual analysis, this work is related to the plays Azhi Dahāka and Kārnāme-ye Bandār Bidakhsh. In terms of contextual analysis, this play is similar to a kind of tragedy that is not unrelated to the story of Christ and Ta'zieh of Karbala.

One of the controversial discussions about the Shahnameh is about the absence of the story of ARASH the Archer in it. A number of scholars are of the opinion that this story did exist in Abu Mansur's prose Shahnameh but Firdawsi intentionally did not turn it into verse. The reason some of them put forward in support of their argument is the spurious presence of an expression in the first edition of the Preamble of the Abu Mansuri' Shahnameh. In the second edition the phrase "dastbord-e ARASH" (the appropriation by ARASH) has replaced "dast-e baradARASH" (his brother's hand) used in the first edition. It is this new recording that has become the basis of some scholars’ argument for the presence of the story of ARASH in the Shahnameh. However, the AllamehQazvini is suspicious about the recording of "dastbord-e ARASH". Moreover, this recording, based on the most important rule in critical redaction that the more difficult recording is more reliable, has little validity. Therefore, the more difficult recording, namely "dast-e baradARASH" of which "dastbord-e ARASH" appears to be the distorted form, is of greater credit and can well be related to the ensuing sentence, as confirmed by the reasons stated in the article.

The myth of "ARASH Kamangir" (ARASH the Archer) is an ancient Iranian myth that predates Zoroastrianism. ARASH Kamangir plays a significant role in heroic Persian prose and poetry prior to the emergence of Rostam, one of the main characters in Ferdowsi’s Shahnameh. This research aims to demonstrate that the myth of ARASH is closely related to the myths of "sun, fertility, and wind". It further argues that Rostam is a transformation of ARASH, which explains why the Shahnameh does not mention ARASH. Rostam appears to embody the characteristics of ARASH, Zu, and Manuchehr. Like ARASH, Rostam saves Iran from drought (Afrasiab) and, similar to Zu and Manuchehr, he assists Iranians. Additionally, Rostam, like ARASH and Manuchehr, is mortal. The name of Rostam's horse, Rakhsh, and his son, Sohrab, are reminiscent of sunrays. The names Rudabeh, Rostam's wife, and Rostam himself, as well as Zu's role in creating rivers and irrigation, further suggest the transformation of the character of ARASH into Rostam.