Culture encompasses various topics, especially when we examine a story with multiple narrators from a cultural perspective. This is because the geographical position and environmental culture of the narrator, as well as the cultural background of the first storyteller, whether unknown or known, play a fundamental role in shaping the structure of the story in both popular and classical literature. The objective of this study is to compare two narrations of Sheikh San'an in Kurdish and Persian from a cultural standpoint. The analysis is conducted using two distinct and thought-provoking sources, namely popular and classical literature. The study employs a descriptive-comparative approach to examine the cultural similarities and differences between the two narratives. By presenting a comprehensive statistical population and data, the study aims to provide a scientific comparison and draw meaningful conclusions. Both narrators of these two narratives have been Iranian, one being a Persian speaker in the 6th century AH (Islamic calendar) and the other being a Kurdish speaker from 80 years ago. According to researchers, the mentioned story had a prevalence with an Islamic mysticism tone even before Attar, and its source can be traced back to folk traditions after the advent of Islam. When discussing the combination of popular literature and traditional music, it becomes necessary to determine its origins through the study of ethnomusicology. Therefore, further extensive research will be required to delve deeper into this subject. The cultural elements within the structure of the mentioned story serve to express the lofty mystical purposes. Another aspect is the preservation of the narrative's allure through the storytelling techniques employed by the narrators and the influence of the narrator's contemporary culture on the story. These factors contribute to the unique categorizations in understanding the cultural aspects of the story.

One of the themes of romances is the fighting of the beloved. In Iran's mythical and legendary history names of women and mistresses like Golshah, Sarvkharaman, Gordafarid, Azra, and Sanambar are found who used to come to the battle field with their lover sand defend them like a male warrior. Such actions are extant in the greate pics or their reproduction and they have been so frequently repeated in romances that they have been turned in to regular themes. In this article the researcher attempts to introduce these poems and their beloveds and show the actions of the female warriors. Ten Stories are studied in this article, including Bano Goshasb Nameh, Rabe’e and Baktash, Sohrab and Gordafarid, The Iranian Princess in Thousand and One Nights, Heydarbeyk and Samanbar, The Killer Hero, Gordiehand Khosrow Parviz, Varghe and ​Golshah, Vamegh and Azra, Homay and Homayoun.

Poems in local and tribal dialects have not been popular in classic poems of Persian language and most poets have written their poems in formal Persian which has been the original language for Persian poets. With the exception of Fahlaviat-e-Baba Taher, there is not remarkable volume of local Shirazi dialect in Golestan or Mosallasat-e-Saadi as well as Divan-e-Hafez. Within the recent poetry of Persian, utilizing dialectal languages are most popular among the traditional poets; of course, it was assumed as a recreation only. But in 1306 A.H. for the first time Malek_o_ Shoara Bahar mixed and connected local and informal language in folkloric poets, then Ahmad Shamloo made the Paryaa and that was the peak of this start. "The Story of Nane Daryaa Daughters" was published some years later. Under the influence of Shamloo Forough Farrokhzad published "Be Ali Goft Madarash Roozi" [Some day mother told Ali] in 1338-42 A.H. All three books contained social massages for adults. But for the special colloquial language used in them, they were all put in the category of children’s literature.In this article, after discussing the dialectal poetry, the above mentioned collections will be investigated.

One of the ways of recognizing beliefs of any nation is examine the mythical symbols and institutes of those nations which have originated from their minds and inners and have been remained in their history, art and literature. Of the most important ways to survive ancient myths it could mention to their transformation as folkloric stories that by their cultural functions help lives of mythical figures as a vivid and dynamic body. That is the words of myth and fiction in Iran and the words are mixed together. The story is a weaken form of stronger concept, i. e. myth. When myth in part of its history, by losing part of its holiness as stories that in each period become the place for reflection of several thoughts, new words, customs and rituals and transform itself. Reading these stories introduce us with the mythical bed of these fictions deeply. Azeri myths from the aspect of having samples to body transformation figures have rich wealth, as the present research indicates in Azeri myths several kinds of body transformation, human to animal body transformation and human to human and human to plants and reversely and demon and fairy transmutation and other strange organisms and myths are observable well.

One of the romantic Poems of Persian Literature is mathnavi of "Jamal and Jalal" by Mohammad Nazlabad, the poet of the ninth century. Recently, University Publication Center has published this unique manuscript. This poem has several romantic, symbolic, mytic, folkloric and tri cheur motifs, yet it has not been mentioned as alluded to in manuscripts and Dr. Poornamdarian has not refored to it in his analysis of symbolic stories. This study is the first to introduce the poem. It is been concluded that the poet must be Mohammad Amin Nazlabadi who has also written Bahram and Golandam.

Folkloric literature is a branch of literature which is mostly ignored by the experts. Although this section of literature is of great importance, and has been used as pillars of literature, some people look at it in a despising way. These groups believe that some of it belongs to the laymen, who don't grasp the literature well, or the children who are in play which doesn't have any value from literary point of view and may cause the culture and literature of a nation to be despised. In Shamloo's ideas, the language of mass people is dynamic, constructive, and profile. Those who look at the language from the altitude of their lectern, and the background of their satisfaction is "The Kalileh and Demneh", it is not possible for them to have a profound understanding of it (Shamloo, lecturing in 1990). It is true that this kind of literature belongs to the people, but it cannot be attributed to those who whose understanding is in a low level; because this branch of literature expresses the literary soul of a nation. Therefore, Shamloo, in addition to collecting people's folkloric literature, sets to compose verses in this style and creates noticeable works in this domain about which we'll deal with as far as our ability permits.

Superstitions and folkloric beliefs are social-psychological phenomena and it is made of the human being in confrontation with the nature and his mysterious surroundings.When man was unable to make a logical relation between events and extraordinary phenomena, therefore tried to use spells and prayers to get his favourite results in order to release himself from the cata rophes and ease his pains, then it formed superstious beliefs in his mind.Nezami was the master of writing the stories and could write stories about jinns, fairies, demons and ogres etc. and their extraordinary deeds that ordinary people enjoyed and believed in them.These superstitious beliefs are categorized into four categories.1-superstitious beliefs in magic and spells; 2-superstitious beliefs in evil eyes and how to defuse it; 3-superstitious beliefs in palpitations of heart and jerking of eyebrows and eyes; 4-superstitious beliefs in metaphysical creatures.

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.

A lot of poems which do not directly compose for children have been acceded to the world of children during the history of poetry. Because they were simple, folksy, full of affection and musical. The popular literature like songs to blandish children reveals the demands, view points and messages of adults. These songs reflect the mother’s wishes, ideas and feelings.In this research, the common content between 172 folkloric songs to blandish children which have been collected from 13 cities of Bushehr is investigated using analytic-inductive method. It was shown that the mothers of this region have tried to explain their worries, ideas and wishes simultaneously they have made their children happy. The result of this research shows that these songs not only reflect the social and cultural conditions but also indicate the women’s status and mother’s position at such a culture.