In a strange and mythological tale in the so-called historical section of the Shahnameh (the Sassanid empire period of Hurmuzd), Bahram Chobin meets a crowned woman in the palace. After that, he weeps blood, overlooks and changes his manners and speeches. He claims to be a king. A number of eight different interpretations and views have been presented about the identity of this mysterious woman, extracted from the Shahnameh or contemporary writings. These are: (1) a witch, (2) fortune of Bahram, (3) a fairy, (4) an angel, (5) a deceptive soul, (6) Daena, (7) a Demon or female demon, and (8) glory. In addition to the Shahnameh referring to this woman as the "fortune" and two ancient and reliable texts introducing her as a "fairy" (Tarikh-i Tabari or The History of al-Tabari and Tabari and Nihayat al-Arab), the traditions and characteristics of the story show remarkable similarities to the narrative theme of "Fairy and Hero". This lady is more likely to be the fortune of Bahram, originally appeared in the form of a fairy and made him fond of her beauty, and provoked Bahram be a rebel against the Sasanian king as he faced his fortune. Through metamorphoses of Iranian national narratives and dropping some part of her mythological points, this fairy has changed to a good-natured, but obscure lady in the Shahnameh.

This study explains why Bahram Chobin’ s rebellion against the Sassanid Hormizd IV (579-590 AD) has been recorded in the historical texts of the Ilkhanate era in an advisory approach. By referring to Bahram Chobin’ s rebellion based on deterrent theory in history, the historians tried to warn the rulers that if they did according to justice and avoid unrighteous behaviors, they could prevent the insurgency of subordinates, politicians and Martials. Although some have criticized Chobin’ s rebellion, most of them believed that the reason was unfair and unrighteous behaviors of Sassanid Hormizd; and thereby they urged the Ilkhanate not to repeat such a mistake. Based on a descriptive-analytic method to study the historical texts and some of the literary books of the Ilkhanate era, which are all library resources, the views of historians of this period about Bahram Chobin’ s rebellion are examined. The results showed that although most historians were so-called courtiers, by referring to Chobin’ s rebellion, they have tried to persuade Ilkhanate to rule according to the principles of justice and sound advices.

According to the phonological rules of New Persian, the name "Isfandiyar, " which belonged to Gushtasp’s brave son, is an irregular word. This name is derived from Old Iranian "*Spanta. dāta-", and should be pronounced in New Persian as "Ispandiād", as in Middle Persian. However, there is no attestation of this pronunciation in Persian books. This article argues that the proper name "Isfandiyar" is actually a loanword in New Persian, originating from the Azari dialects. A phonological peculiarity of Azari is changing Old Iranian */t/ to /r/ in postvocalic or intervocalic positions. Furthermore, we provide evidence that the Parthian house of Mihran, who claimed that Isfandiyār was one of their ancestors, was the primary source of stories about this hero. As rulers of the Caucasus and Azerbaijan, they delivered the Azari form of his name to the central and eastern Iranian regions in two stages. During the rebellion of Bahram Chobin, they made prominent resemblances between the stories of Isfandiyar and Bahram, which helped to spread the Azari form of his name. In the second stage, the rulers of the Samanid dynasty, who claimed to have descended from Bahram Chobin, extended the Mihranī version of the heroic exploits of Isfandiyar to Khorasan and eastern Iranian regions. As a result, the Azari form of the name became more prevalent, and other forms of this proper name were forgotten, as evidenced by the works of contemporary poets and authors in other regions of Iran.

Lyric is one of the most extensive literary genres. This field is the extended Persian lyric poetry and the continuation of iambic verse. Associating narrative with poetry and presenting it in the form of couplet poem and creating masterpieces such as Nezami's Khamseh and Vis and Ramin made this field flourish.Bahram and Golandam is one of the lyrics that a poet named Aminoddin Mohammad with the pen name Safi from Sabzevar has recited in ninth and tenth centuries. The verse has been attributed to Shamsoddin Katebi Neyshaboori in some sources. In this article, the relation is rejected and after the account of the narrative, the verses and the person that has recited it are introduced. We also consider briefly its narrative motifs.The objective of this article is to introduce one of the famous verses in the opinion of people so that the readers may understand its stylistic and linguistic values and also its plots.

Archetypal criticism is one of the modern literal theories based on psychological theories based on Jung ideas. While studying and examining the archetypes of a work, it is revealed, in this type of criticisms how they are understood by the author. Based on these studies, heroic journey is possible in order to achieve the perfection and individuality dream. The present article aims to review Malakut by Bahram Sadeghi from the perspective of archetypal criticism relying on the fundamentals of Carol. S. Pearson and Huo. k. Marr are based on 12 archetypes of awakening heroes. The author tries to introduce these archetypes briefly and also show the fictional characters manifesting these archetypes, following individuation and taking heroic journey. The findings show that Malakut is full of archetypes and due to its psychological approach, it can be analyzed based on archetypal theories.

Studying and analyzing the ways of rewriting and recreating in Bahram Beyzai’s literary works is the main goal of this paper. He is a norm-breaker author who destroys the reader’s mental and language structures and defaults. The plays, scripts and narrations which are analyzed in this article are Azhdehaak, Arash, Ahu, Salandar, Talhak va Digaran, Pardeye neiy, Siavash Khani, Shabe hezar-o Yekom and Majlese Ghorbaniye Sennemar. At first, in this research, Beyzai’s descriptive-analytical ways are introduced, and then these ways are analyzed in Beyzai’s works. The ways are generally as follows: 1. recreating an old work on two levels: “changing the plot” and “changing the dutifulness of characters,” and 2. rewriting an old work in some ways by “adding dialogue between characters”, “suggesting cause and effect relation” and “changing the ways of narration.”

Shabdiz and Golgon, two beautiful horses of Khosrow Parviz’s court, have been the subject of many historians, especially Shabdiz, that according to some historical sources, was one of the wonders of the court of Khosrow Parviz. The fame and glory of this historic horse brought it into the world of myths as far as many Persian literary works came out and many poets used it to create unique works. Since the name of Shabdiz is linked to night and darkness, it is a beautiful theme for the poet's imagination to fly in the night sky; however, the poet's imagination was not limited to the night sky, but the sky of the day, with its companionship, Golgon, was seized by him. Nizami is one of the most talented poets in the field, which illustrates the story of these two beautiful horses in the style of Myth-Lyric. The symbolic birth of Shabdiz's birth is somewhat reminiscent of the birth of the Mithras from the Stone and a marker of the new processing of the ancient myths, which undoubtedly derives from the past ritual beliefs in the drawing of day and night as a horse; it is possible that Nizami depicted Shabdiz and Golgon to associate them with Mithras and Bahram and as the symbols of day and night. Golgon symbolizes the day and the brightness of the god Bahram, and his counterpart, Shabdiz, is the night sky, and is a symbol of Mithras, the god of the night, as if they are a concept of time in a hall of symbols and similes. The magic of the Nizami’s word, with the preservation of the historical and structural framework of narrative, has tied the story of these two horses to the ancient beliefs, rituals and mythologies, so that the names of these two always shine in Persian literature.

Exploring the meaning of literary works has always been the focus of critics in this field, but the crucial issue is the use of a methodical approach to reach the hidden meanings in different layers of the text. The transtextual approach is a holistic apparatus among literary theories, through which hidden layers of meaning can be discovered. This theory does not have a precise formulation in semantics. However, its elements, from a holistic viewpoint, show special semantic capacities in the syntagmatic and paradigmatic axis of semantic, which have not been investigated so far. For example, hypertext, intertext and metatext work on the paradigmatic axis of semantic. Paratext works on the syntagmatic axis of semantic and architext works both on the syntagmatic and paradigmatic axis of semantic. As such, the interaction of these elements leads to discovering the overall meaning of the text. Therefore, in this research, according to the new perspective of "Transtexual interpretation, it is aimed to analyze y Testament of Bondar Bidakhsh, using qualitative and quantitative analytical methods and relying on library and documentary studies. By applying the theories of transtextuality and semantics to the play, we both seek to formulate a new theoretical apparatus and show the hidden layers of meaning in this play. The results of this analysis show that Beyzaei conveys meaning to the audience through paradigmatic and syntagmatic transtextual elements and transtexual interpretation is an efficient theoretical apparatus to analyze this work.

Sacrificing is one of the oldest rites that has been noticed by religions and nations. Throughout the ages, human beings have tried to obtain the satisfaction of the gods and to protect from the anger of them by giving gifts and sacrificing. The aim of the present article is to analyze "the myth of sacrifice" in the screenplays and plays of Bahram Beyzai. Beyzai has an extensive knowledge about myths and has used a variety of them to write his literary works. In his writings, he has used "the myth of sacrifice" in two ways. First, throughout a story, he has explicitly spoken about the ritual of "myth of sacrifice" in various forms and for various purposes. Second, he has created screenplays or plays that "hero-sacrifice" is the main character of them. And sometimes, this creative writer uses both ways. In the present article, the play Kalat Claimed and screenplays The Tales of Mir-e Kafanpoush, The land, Talhak and the Others and The Scrolls of Sheikh Sharzin are analyzed. The results of the research show that Beyzai uses a variety of sacrifices, such as bloody-human, bloody-animal, and unbloody (drinks) sacrifices. In his narratives, he divides the purpose of sacrificing into three types: for atoning, for imploration and for thanksgiving. Also, "hero-sacrifice" has a significant presence in his works.

Bahram Beizai is one of the top play-writers in Iran and a director of theater and cinema who has used myths, legends, folklore and oral literature in the best possible way in his plays. Beizaei's plays have a great importance due to their influence on ancient Persian and Arabic treasures. As it is clear, Beizai in his plays continues Ferdowsi's way in re-reading and recreating history, myths and epics, and he has inspired ancient Persian and Arabic sources in his literary works, including plays. This researcher intends to categorize Bahram Beizai's plays in a descriptive-analytical manner in the framework of "reading-oriented" critique and evaluate them with a favorable summary of the author's theatrical sources and the author's specific processing and approach. The results of the research show that Bahram Beizai, by examining different historical periods and adapting the epic myths, Ashura, pre-Islamic and post-Islamic history of Iran, has been able to bind his works with contemporary currents and ideas by these re-readings.