By interpreting fictional elements like scenery, setting and the voice of characters in Bihaghi History and by using association of meanings on the vertical and horizontal axes of language, this article tries to prove the hypothesis that Abolfazl Bihaghi used such elements not only to embellish his language but also to criticize Masoud Ghaznavi government and describe the unreliable milieu of his court. Thus, it can be argued that Bihaghi’s language is not simply conservative but also criticizing. This criticism targets the corruptions which lead to unreliability in Masoud Ghaznavi’s court. Of course, this kind of criticism is a smart one which conserves the status of the king.

This article reviews and analyzes fictional elements of Fraed o Soluk.We research these titles: tale and story, genre, size, language, dialogue, character, narrator and speakers, view angle, action and structure of stories, moral results,time and place in Fraed o Soluk.This study explains the structure of stories from different dimensions. Fraed o Soluk includes the moral stories and its prose was written according to the method of Kalile va Demneh and Sandbadname.In stories and tales of Fraed of Soluk, there are features such as emphasis on the events, the absence of a strong cause and effect relationships between events, absolutism, moral results, immutability of characters, quality of narrative, common themes, and hypothetical time and place.There are 58 stories in Fraed o Soluk. The main stories are longer than secondary stories. Dialogue occurs mostly between main characters of stories. Linguistic features of technical prose (sixth and seventh century) in this book can be seen. There are 289 characters in the stories of this book. 85 percent are public and 15 percent are special. Most characters are animals (29 percent), men and boys (19/5 percent) and job holders (14 percent). Main narrators include: book’s author, Behrooz, businessman son and Ghasir.The main narrators of the stories are often unknown.From a total of 58 stories, 45 percent have action and 55 percent have no specific action.95 percent of stories have moral results and recommendations.38 percent of the stories have time.70 percent of the stories have place.

The review and critical analysis of the works of writers in the second generation of Iranian contemporary story telling with new means and methods of writing clarify some of the abilities and drawbacks of narration technique of writers apart by detecting some of the hidden aspects of these works. In this research, all of Rasoul Parvizi's stories have been criticized and analyzed in detail based on eight important elements of storytelling. Methodologically, the present study is based on library work with an analytical-descriptive approach. It has been conducted through complete inductivity. The results of this research demonstrate that Parvizi seldom uses the new styles of narration and using them in some cases is due to the nature of his writing and unconsciousness rather than his contemplation and previous thought. In contrast, the use of comic language, the full recognition of the characters in a single geography and intimacy in narration compensate for the lack of new styles in attracting the audience.

In the Holy Quran the story life of several prophets is elaborated through a story. One of these stories speaks of Joseph's life. Joseph’s Sura has a hundred and eleven verses. The first three verses and also the last ten verses are non-fictional, while the other verses cover the entire story without any the non-fictional verses interrupting. Quran's purpose is not to tell a story, but this Sura possesses many of the common and known aspects of the fictional elements recognized in fiction. This article intends to study and survey the plenitude of the fictional elements in this story.The present article is both descriptive and analytic; through which it discusses and analyzes the fictional elements such as point of view, plot, structure, the idea (including theme and subject), conflict, character, characterization, dialogue, time and place setting as well as the atmosphere in a story.The story of Joseph is the only story in the Holy Quran which is atually told from the beginning to the end in one Sura. In this Sura, through utilizing the modern techniques of fiction, the religious culture, education, teaching, guidance and men's learning lessons are all introduced, in addition to indicating the lofty purposes of the Holy Quran in the form of a story. In this story the elements of fiction are structured in a way that the reader feels as if he himself is present in the story just like one of the characters.

In the course of being recreated and reproduced in later periods, old myths undergo a great deal of changes in their my theological characteristics, godlike characters, extraordinary features, and sacredness. Finally, what is left from them is just a story which only possesses some ancient settings and very old elements. In this study, "the deeds of Ardeshir-e-Babakan" a story left from mythology is examined on the basis of its fictional and narrative features. The elements considered in this study are the following: plot, verisimilitude, theme, conflict characterization, point of view, setting, the tone and dialogue. The fact that these elements all exist in the text of "the deeds of Ardeshir-e-Babakan indicates that it has the structure of a story. One of the implications of this story can be proving the existence of the elements of story-telling in ancient Persia. The study can also be employed for the investigation of the above-mentioned elements in the stories belonging to ancient Persia.

Bakhtiari myths are narrated in simple language and it appeared so close to Farsi language, which combined with local one. However, in expressing other aspects of public literature, ie, tongues and proverbs, myths and stories, the main source of narration is the dialect of the area in question. Bakhtiari tales have semantic and structural similarities to linguistic proximity and the legends of the central regions of Iran. Regarding a few changes to these myths, most of them can be converted to a potential source of material for most audiences even in other regions. Apart from the importance of collecting such stories in the field of anthropology, sociology, social history of ethnic groups, etc., in terms of language, the inclusion of syntax, vocabulary and type of pronunciation, they have great importance in the structure of the tales. It is possible to record the syntax, vocabulary and pronunciation of their syllables by preserving and recording the stories. Moreover, in a period, it tends to use the official language to help disappearing dialects,accordingly, in this research one of the local myths of Bakhtiari (Sparrow story) has been collected and translated into Persian accent. Then, considering the descriptive method and content analysis, the story elements in this story have been analyzed. Due to the disappearance of many dialects and the new ones, the purpose of the present research is to preserve the stories and dialect used among them.

In the history of Persian literature, memoir has received scant attention compared to fiction. But this genre was revitalized when the Iraqi-imposed-war against Iran broke out and the Iranian warriors started to record their memories. The significant number of memoirs published in the aftermath of the war calls for a special heed to this genre and the need for the examination of memoirs in the light of literary standards. Memoirs are of double nature: historical and fictional. Every single memoir, depending on the techniques it employs, has either historical or fictional orientation.Analyzing the elements of the story may well prove the fictional orientation of the memoirs. Investigating the elements of “plot”, “narrative”, “dialogue” and “character”, the common elements between fiction and memoir, the present study evidences the affinity between the memoir of Daughter of Sheena and fiction.

This paper aims to examine the extent and specificities of the relation between Manichaean and Persian literature through an in-depth analysis of Manichaean tales which recur in the folkloric Iranian literature. In the first stage of the paper, we selected 30 parables by analyzing Iranian Manichaean manuscripts. We, then, explored some well-known Iranian folkloric tales to find similar examples. The quantity and characteristics of similarities in the literary elements, plots, and subplots showed that the Manichaean literature has had more chances to be represented in folkloric literature than in the official literature. Furthermore, analyzing folkloric literature provides a better tool for tracking the path the Manichaean thought has left behind in different cultures. Finally, we argued that similar versions of tales may help us reconstruct some of the damaged Manichaean fragments

The fictional character may be completely imaginary and the author is the creator. The author is also able to use the characteristics of himself, others and even historical and literary figures. In this case, his story will have a real background. This type of character is called a fictional character with a background, and in this article, the creation of its species is examined. Sometimes, to build a scientific and real character, the author uses the analysis of psychologists to identify various fictional characters in his work. Some of the characters created by the author become role models so that the author can use their characters in other stories as well. Some social figures express the ideas and ideals that society likes. Sometimes the author uses these characters in the story. But people hate some characters. The author may refuse to use them. In reconstructing the character, the author sometimes uses various factors such as the tone of the people in the story.