Nowadays there are many criticisms based on structural functions. Structuralists are always in search of specific narrative patterns to analyze stories and tales by using those patterns. Among available works, Propp’s work is so important. By analyzing Russian fairy tales he proposed a diagram of thirty one own-workings and he believed that this pattern can be applied to other fairy tales and even to novels. Later on Propp’s method was used by other researchers and sometimes it was criticized.Ferdowsi’s Shahnameh is such a work in which many stories and quasi-stories are seen. Among them are stories in which Divans play major roles. This article tries to apply Propp’s method for analyzing Divan’s stories and find the relevance of this method for analyzing such stories. Such analysis leads us to this conclusion that such stories can be analyzed on the basis of Propp’s functions and such functions are seen in these stories. With regard to topic and content, the movements present in these stories are of the first kind of Propp’s movements, that is, expansion through own-working H-I (war and struggle). Own-working of “talisman” and “magic” is present in most stories. In some Divan’s stories certain functions are repeated and this matter not only foregrounds the abilities of the hero but also creates a sense of suspension in the story.

1.Introduction structural analysis recently become important in fiction and narrative literature so it is effective in classifying Fictions, stories, and anecdotes. If we gather trustful informations about the work, we can easily identify the elements and components of the story by using this type of analysis and discover their relationships and achieve the author exact purpose. It is so important to study the morphology of the story of Rana va Ziba- one of the most popular stories in Persian literature- for a clarified understanding and getting the absolute message of this story. Story and fiction are both narrative works that they narrate events. Morphology seeks to classify a unit into its components and constituent elements in various sciences, also it has a close relationship to the structure and style of the works. The story of Rana va Ziba is about Rana va Ziba's love to that at last they reunion Despite all long and amazing adventures which is full of dangerous journeys, suffering and hardship, No research has been done on this prose work and its morphological structure. Introducing the author and works: Mirza Barkhordar Farahi, nicknamed Mumtaz, is the son of Mahmoud Turkman. He was a writer, poet and storyteller of the 11th century. Apparently he lived in Shah Abbas and Shah Safavi’s period of time, and served as a scribe and secretary in the service of the Safavid dynasty. Research Method Current study has examined and introduced the exact constituent structures of Rana va Ziba's story based on Vladimir Propp theory in a conducted, descriptive and analytical way and The data have been collected and classified through library research method and the results have been classified. this story is extracted from the Mahboub Al-Qulub book written by Mirza Barkhordar Farahi, then it is examined according to Propps Method and the results are described in this study. Discussion In morphology discussion of the story, Propp considers the actions as thirty-one operations and determines special symbol for each of them, that can be obtained from a specific image and as a pattern of morphology of the stories of Jen-va-Pari can be generalized to folktales and stories of other countries (Propp, 1392: 11-47). Propp also divided the 31 functions into the following six categories, which can be applied to Rana va Ziba's story as follows: Primary Situation and Preparation: After the Malek Rihan’s death, the kingdom will be handed over to his uncle Sanobar due to the young age of the king's son- Malek Rana-. Malek Sanobar, whom his daughter previously had married to Rana, breach his promise and wants she marry to a Chinese king, so Ziba escapes with Rana. Problem Complexity: In this story, the complexity begins with the trick of Mallah, who only accepts Ziba to vome inside the ship and occurs to his evil temptations along the way.Ziba’s hypocrisy to escape from Mallah, the guard of the thieves' camp, Gholam Habashi and staying at the old woman's house are other complexities of this story, and a new solution is sought by Ziba, Rana and Safdar. Transfer: Rana returns to the beach after three days of waiting. After the death of her uncle Sanobar due to serious illness, Malek Rana became the king and started to seek for Rana in china with the help of Safdar. Controversy: Ziba’s moral combat Mallah, the protector of the camp of thieves and slaves, as well as Rana's fight with the mallah, the hero and destroyer of the camp of the thieves, are some of the conflicts in this story. Comeback: The property of Rana will be returned to Khutan and will be ruled. Recognition: After Malek Rana finds Ziba in China, she returns to Khutan then they got married and live together. Conclusion Rana va Ziba written by Mirza Barkhordar Farahi is one of the popular prose romantic stories in Persian. The story has a special chain that can be analyzed based on the Propp Method. Characters are also categorized into seven areas of action. Time durations are generally described in this story same as traditional stories for example night, day, morning, etc. but where the narration takes place is clear; Such as Khotan, China, Khanbaligh, Sangha Island, etc. Considering that this story is one of the admirable and pleasant Persian prose and is the work of a writer who has had court experiences and has tried to describe the details and generalities of his life and his contemporaries during his travels. His works are informative like this one and all ancient and folktales that are part of our cultural and literary heritage that worth to analysis and study scientifically. Certainly, the importance and classification of stories is due to their diversity and breadth in the literature of various nations. In recent decades, due to the developments that take place on the eve of the twentieth century, a new kind of literary method has emerged that pay attention to morphology of the literary works. Storytelling was introduced by the Russian researcher Vladimir Propp to the literary and narrative society. In the analysis of the morphology of Rana va Ziba’s story according to Propp Method, the graph of performance or narrative of the story is as follows: ie3k1 K2 q1 ↑↓R2 g j hX x ω D L Φ E V Y2 hXD1H2 S2ωLE10VM2Y4Φω↑ΦY1hXωLE1VPuY4D5LE1ΦPuLVjPuj V5Φn↓ω↑ΦY1E2PuV1ΦTr4↓NH4H5Z9 Z2VN The story of Rana va Ziba begins with a ban and defiance and is formed by Rana va Ziba's escape. Tricks and calamity bring the story forward. The abundance of performance in this story is with the supportive element and then decision-making of the protagonist of the story and also the defiance contains the most parts of this story. This story contains three misfortunes and calamity, and eliminating of them, that base on those the three comebacks and transfers happen to the main heroes of the story. This story has written by Indian stories style. The narration of a story in another story begins with advice and makes the plot more miscellaneous. The main plot of this story is Rana's love and affections to Ziba. The content of this story includes social, intellectual and historical issues that are vital for storytelling. In the story and middle stories, moral points such as honor, honesty, piety and chastity are recommended. References AsaBerr, Arthur, Narrative in Popular Culture, Media and Daily Life, Translated by Mohammad Reza Liravi, Tehran; Soroosh, 2000. Agha Khani Bizhani, Mahmoud, Toghyani, eshagh, Mohammadi Fesharaki, Mohsen, The analysis of the Patterns of Fairy Tales in the Stories Lyric of Shahnameh, Journal of Lyrical Literature Researches, 16th Volume, 31st Issue, Pages 9-28, Winter and Spring 2019. Ahmadi, Babak, Text Structure and Interpretation, 2nd edition, Tehran; Nashr Markaz, 1993. Barthes, Roland, Introduction to the Structural Analysis of the Narratives, translated by Mohammad Ragheb, Tehran; Saba, 2008. Daad, Sima, Literary Expressions Dictionary, 4th Edition, Tehran; Morvarid, 2001. Eskandar Beyk Munshi, History of Jahanaraye Abbasi, by Iraj Afshar, Volume 1. 3, Amir Kabir, Tehran, 1350. Farahi, Mirza Barkhurdar, The Complete Course of Mahboub Al-Qolub Book - Mahfel Ara- Rana va Ziba, Tehran; AmirKabir, 1957. Farahi, Mirza Barkhurdar, Mahbob Al-Qolub, Tehran; University Press, 1994 Goldman, Lucien, Developmal Criticism, translated by Mohammad Taghi Ghiasi, 4th edition, Tehran; Bozorg Mehr, 1990. Martin, Wallace, Narrative Theories, translated by Mohammad Shahba, Tehran; Hermes, 2003. Mirblochezehi, eshagh; Barani, Mohammad; Khalili Jahantigh, Maryam, Studying of the Narrative Structure of the Khurshid-va-Mahpareh According to Propp Method, Journal of Lyrical Literature Researches, Sistan and Baluchestan University, 13th Year, 25th Issue, pages 202-183, Fall and Winter 1994. Mir Sadeghi, Jamal, Fictional Literature, Sokhan, 6th edition, Tehran; 2011. Mir Sadeghi, Jamal,, Elements of Story, 2nd Edition, Tehran; Shafa, 1988. Mir Hashemi, Seyed Morteza, Saadatinia, Zahra, The Morphology of Mahan Mesry’s Legend Based on Theory of Vladimir Propp, Literary Text Research, 20th Volume, 70th Number, pages 73-89, winter 2016. Nasiri, Mohammad Reza, The Creators, 2nd Volume, Tehran; Association for National Works and Figures, 2005. Nafisi, Saeed, History of Persian Poetic and Prose to the Late Tenth Century in Iran, Tehran; Foroughi, 1984. Okhovat, Ahmad, Fiction Grammar. 1st edition, Tehran; Farda, 1992. Propp, Vladimir, Morphology of Fiction, translated by M.Kashigar, 1st edition, Tehran; Rooz, 1989. Propp, Vladimir,Morphology of Folktales, translated by Fereydoun Badraei, 3rd edition, Tehran; Toos, 2013. Propp, Vladimir,Historical Roots of Fairy Tales, translated by Fereydoon Badraei, 1st edition, Tehran; Toos, 1992. Rouhani, Masoud; Enayati Qadiklaei, Mohammad, 2009, The Morphological Study of "Bijan va Manizheh" Ferdowsi's Shahnameh Based on Vladimir Propp Theory, Journal of the Faculty of Literature and Humanities, Kharazmi University, 17th Volume, 66th Number, pages 119-143. Safa, Zabihullah, History of Literature in Iran, 5th volume, Tehran; Ferdows, 1999. Shamisa, Sirus, Prose Stylistics, Tehran; Mitra, 2011. Younesi, Ebrahim, Art of Story Writing, 11th edition, Tehran; Negah, 2013. Zarrinkoob, Abdolhossein, From the past Literary of Iran, Tehran; Sokhan, 2006. Zohoruddinoff, Abu Bakr, The Times and Works of Mirza Barkhordar Farahi, Vol. 1, No. 4, No. 2, Khorasan, Kabul, 1984.

Halliday’s theory of Systemic functional grammar reflects the world in language and analyzes this world in the context of language. Halliday divides the way we use language into three different metafunctions: The ideational metafunction, the interpersonal metafunction, and the textual metafunction. The ideational metafunction is considered in this research which is divided into empirical and logical components. In the experimental process, simple clauses are analyzed, and in the logical process, compound clauses are analyzed. The clause in ideational metafunction is divided into three components: process, participants, and circumstances. Processes are divided into two main and sub-categories and each has three sub-sections. The main processes are material, mental, and relational and sub-processes are behavioral, verbal, and existential. In the present study, ideational metafunction evaluation was considered in Surahs “Al-Waqi’ah” and “Al-Qiyamat” and the processes used in these Surahs and the repetition of each of these processes were discussed so that the aspects of resurrection are known in these Surahs. The research findings showed that the material process has been used in these Surahs more than other processes. The increase in this process emphasizes the occurrence of resurrection and it has given an objective aspect to this event.

In the extensive range of fictional literature, Nezami's "Khosrow and Shirin" shines as one of the most fascinating and most beautiful lyrics in Persian literature. This poem provides a suitable context to the structural analysis due to having concepts, elements and good story motifs. In this research, we intend to review and analyze it in term of narrative structure based on Propp's pattern in the morphological analysis to reach the conclusion that how these elements and narrative motifs change from the raw shape of the story to the narrative outline in its syntax combination and in this manner to attain the effect of story's lyrical content expression on its elements. Before addressing the story based on Propp's models, we'll deal with the preliminary discussions such as history of formalism, structuralism and morphology. Then we'll review and analyze the narrative structure analysis of this poetry based on internal elements according to important points and structural models to find out what arrangements are applied by Nezami to establish units of this story and how the extent of the story's internal strength is due to the structuralistic entity.

In order to explore the smallest structural units, structuralists analyze the inter- related and contrastive relations among texts’ constituents. In this study, the authors seek to investigate and criticize the structure of “Head” Folk Tale – from Khorram Abad – based on Vladimir Propp Morphological model. To this end and at first and by analyzing and investigating tale’s protagonists, the authors have discussed the structuralist approach and Vladimir Propp’s morphological model. This story is composed of two movements and two types of heroes: the hero - victim and the hero- searcher. The general structure of the story with a small number of displacements corresponds to the Propp morphological pattern. The last function of this story is totally different from the last function proposed by Propp. According to the main objective of structuralism which investigates the hidden layers of phenomena; in the end of this article, the authors have tried to analyze the most important contents such as fatalism, zurvanism, virgin birth , the natural son, and abandoned child.

In this paper, we researched about poetry “Katibe ” (inscription) according to the theory of morphology. For this purpose, we defined the theory of morphology. Then, according to this theory, this poem has been analyzed.This poem is divided into roles, personalities and movements. Katibeh (Inscription) is a narrative poem that has dramatic structure. In this poem, the reader sees the story from the poet's point of view. There are twenty three roles in the poem. Characters in these poems are divided into two categories: Human and natural. In this poem, five characters are doing things and there are three movements.

BACKGROUND AND OBJECTIVES: Formalism is one of the schools of literary criticism that pays attention to the form of the literary work and played a major role in the creation of the theory of structuralism. The best field for formalist theories and structuralism is folk, folkloric and indigenous stories. According to the formalist point of view, all of these stories, while having variable characters, have specific and specific functions and actions. Weiss and Ramin"s poem is also a romantic genre with variable characters and specific actions. In this article, an attempt is made to examine the motifs of Weiss and Ramin"s story, based on Vladimir Propp"s structural model, in order to understand the similarity of the actions of the characters of romantic stories in different forms of the story. METHODOLOGY: The research method in this article is descriptive-analytical and gathering information through studying, scanning and sampling library documents and databases. FINDINGS: Weiss and Ramin"s system has ten suspensions, three climaxes and seventeen functions. The characters are divided into main and secondary categories, where Weiss and Ramin are among the main characters and Mobed, Shiro, Daye, Viro, Zard and Gol are among the secondary characters. From the perspective of prop division, there are seven roles in this system, which are divided into two groups of active and passive characters. Weiss and Ramin are among active actors, and Mobed and Gol are among passive, victim and productive actors. CONCLUSION: Based on Vladimir Propp"s model of structuralism, it can be concluded that in lyrical stories, even with the existence of different forms and multiplicity of characters, self-work, function and actions are limited and specific.

One of the predominant methods of structural analysis for tales is Vladimir Propp's morphological approach which is bulit based on character function. In the current study, via considering Propp's theory, Jamal and Jalal poetic romance (by Mohammad Nazl Abadi), which is an unknown yet important literary work of the 9th century AH, has been morphologically and structurally analyzed. Beyond its poetic and narrative appearance, this poetic romance is full of secretive, spiritual, and Ayyari themes having a unique and distinctive structure among Persian poetic romances. In terms of function and character, this poetic romance is in line with Propp's theory. Although in story moves we encounter with lack of sequence and some funtions deletion, due to secretive and spiritual themes of the tale we confront with functions not mentioned in Propp's model namely, dream function. Among Propp`s seven characters, some of the characters have been blended or removed due to function similarity and story necessity. They can be classified into four categories: hero, princess, helper, and evil. Some of these characters have overlaps with the rest roles. Introduction: Narratology is a branch of literary criticism which addresses the analysis of narrative texts that has a structuralist approach and aims to find the system that governs the structure of the narrative. Structuralists have attempted to extract a pattern from each story and, then, create a macro narrative structure from these patterns that is applicable to any literary narrative text. The structural analysis of the story, despite the legacy left from Aristotle until the present time, almost started from the work that Vladimir Propp's did on Russian anecdotes (Scholes, 2013: 91). The morphological method of Vladimir Propp's is one of the existing methods of structural analysis of the story, which is based on the actions of the characters. By analyzing the Russian magical legends, Propp made a dramatic change in the structure of the text as long as other narrative works like Novels, stories, and all kinds of legends can be analyzed according to his method. In the analysis and structural analysis of Iranian stories, attention was also paid to the morphological pattern of Propp, and some ancient stories and oral narratives were analyzed based on this pattern. In this article, according to the Propp theory, the morphological and structural analysis of Jamal va Jalal by Mohammad Nazl Abadi's, which is one of the most important and unknown works of the 9th century Hijri, has been analyzed until the efficiency and structural compliance of this work with the Propp model has been evaluated. Jamal and Jalal, beyond its romantic and narrative appearance, is full of folk, noble, mystical, and mystical themes, which has a distinct and unique structure among the romantic poems of Persian literature. Knowing the narrative structure of this literary work and achieving the narrative pattern that governs it in the manner of Propp is the problem and the main goal of this research. The research questions are: - To what extent does the poem of Jamal and Jalal correspond to Propp's theory and morphology? - What are the characteristics of Jamal and Jalal in terms of narration and story building components and what rules govern its structure? - What pattern does the structure of Jamal and Jalal follow? Methodology: The research method in this research is descriptive-analytical and library-based (documents) based on Vladimir Propp's morphological theory. Results and Discussion: Jamal and Jalal, like most romances and narrative texts, has a special chain of structure and pattern, and it has the ability to be criticized from the point of view of narratology and structuralist theories until a specific pattern and design is extracted from that. One of the best ways to analyze the structure of the story is the morphological model of Vladimir Propp's, which is based on the actions of the characters. In this article, after the preliminary presentation in the field of the theoretical foundations of the research, the analysis and morphological and systematic analysis of the Jamal and Jalal has been done based on Vladimir Propp's morphological method in order to identify the narrative pattern governing the story and their characterization method. In this paper, followed by a preliminary presentation in the field of theoretical foundations of the research, the analysis of Jamal and Jalal was studied based on Vladimir propp's morphology. The story of the poem of Jamal and Jalal starts with a feeling of need of wife and child and, then, with the birth of the child (Jalal), Numerous moves that lead to the development and expansion of the story have been observed. Conclusion: In the morphological analysis of the mystical and romantic system of Jamal and Jalal, it was found that this system corresponds to Propp's theory to a large extent; Although in terms of actions, sequence and personality, it has differences with it. In the construction of the narrative of the system, some of these interactions have a fundamental and main position. The main and fundamental actions that play a pivotal role in the formation of the overall structure of the story are: (aqγδC↑ADFHIMNKW**Z↓X). Although many of Propp's own works are present in the narrative structure of the story, they do not have a fundamental role in the main framework of the story and they can be removed. Due to the mysterious and mystical nature of the story, works such as dreams and mystic annihilation have been added to the Propp's works. The two factors of need and the wickedness of the wicked have caused movement and upset the balance of the story. The story consists of nine movements. The movements of the story correspond to Propp's chart one that is; one movement directly follows another movement. The first, second, fourth, and ninth movements of the story are developed without any of the (H-I) and (M-N) interactions. The third movement is expanded with a pair of (M-N) and (H-I) actions, and the fifth, sixth, seventh, and eighth movements are expanded with (H-I) cares. Many characters play a role in advancing the narrative, all of which are secret. The characters in the story can be classified into four general categories: hero, princess, helper, and villain, which somewhat corresponds to the division of Propp's. Each of these characters have special characteristics and traits, and some of them overlap with the rest of the roles in some parts of the story.

The investigation of basic narrative structures which were followed regularly between formalists and structuralists in twentieth century, has a salient role in literary researches. Among formalists, Vladimir Propp’ s theory, manifested in the book “ Morphology of Folktale” , can be mentioned as the first attempt in theorizing narration that later attracted French narrative structuralists' attention. By utilization of Propp method, it was revealed that final narrative structure could be determined. This method in which the functions of narrative design were taken into consideration, was changed in Greimas’ s and Bremond’ s works. By studying structural semantics and continuing Propp’ s researches, Greimas could present actantial model. Also Bremond whose works were based on Propp’ s view, completed and revised his opinion according to Propp’ s theory. In the present study, by using descriptive-analytical method, Greimas’ s and Bremond’ s narrative viewpoints will be compared with Propp’ s opinion. Then it will be represented how Greimas and Bremond, applied Propp’ s perspective as a source for reflecting their comprehensive theories.

The morphology of Russian structuralist theorist, Vladimir Propp, has for decades been a template for structural and morphological analyses. Propp‟ s model breaks down the structure of folktales into thirty-one functions and seven „ spheres of action‟ . Each tale‟ s components are devised in accordance with each character‟ s function and their sphere of action. The present article investigates the element of movement in Sheikh Bahai‟ s frame narrative Cat and Mouse. Based on library research, this study adopts a descriptive hermeneutic data analysis approach. After scrutinizing a selection of Cat and Mouse stories and the structural data and diagrams on the element of movement in the tales, the findings demonstrate that these tales have one to seven movements and their frequencies are roughly fifty, with two-movement and one-movement tales having the highest frequencies respectively; the reason for this is that these tales are frame narratives and this fact leads to the formation of a multiplicity and diversity of movements.