Aim: The aim of this study was to investigate the effect of Sternberg successful intelligence training program on increasing students' creativity and tolerance of ambiguity. Method: The research method was an experimental with pre-test, post-test and follow-up with control group. The statistical population of the study consisted of 15842 fourth grade male students in the academic year 2020-2021 in the city of Isfahan, that 30 people were selected by multi-stage random sampling method and randomly assigned to experimental (n= 15) and control (n= 15) groups. The experimental group received ten sessions of Sternberg Success Intelligence Program training. Data were collected through Torrance Creative Thinking Test Form B (2002) and McLean Ambiguity Tolerance Questionnaire (1993) and were analyzed by mixed analysis of variance. Results: The results showed that Sternberg successful intelligence program was effective in increasing students' creativity and ambiguity tolerance in the post-test phase and this effect remained stable in the follow-up phase. Conclusion: Based on the findings of the present study, it can be concluded that the training of Sternberg successful intelligence program by providing an opportunity to enrich the educational environment of students by using methods such as problem solving, games Unstructured, unusual use of objects, conversation of numbers and semi-finished storytelling can be used as an effective program to increase students' creativity and ambiguity tolerance.

Love is a human and cultural phenomenon and can be a common field of study in psychology and literature. There are many different definitions of love in psychology. One of the most distinctive of definitions was proposed by Sternberg, called Triangular Theory, which consists of three components: intimacy, commitment, and passion. Sternberg then introduces love as a story to re-evaluate his theory. With a psychometric approach, Sternberg designed two questionnaires with the aim of identifying the type of love relationship and estimating the continuity of marital relationships based on the similarity of the couple's love story. Since Hafez’, s Ghazal as one of the pillars of Persian literature mentions many romantic concepts and miraculously expresses love, this study aimed to explain the possibility of replacing Hafez's poems with two categories of Sternberg's questionnaires through a comparative analysis. Findings show the possibility of replacing Hafez's poems to identify love by describing the psychological features of Hafez's poetry such as mental projection, center of will, imagination, emotion and hope and their equivalence with the aspects of love theory as a story. Also, tracing themes such as faithfulness to the covenant, sincerity, impatience, loyalty, empathy, sharing of assets with the beloved, etc., it became clear that Hafez, as a psychologist, paid attention to complete love.

Love has always been a complex topic throughout history, shaped by various periods and societies in terms of its origin, nature, and levels. Robert J. Sternberg, an American psychologist, proposed two theories: the triangular theory of love and the concept of love as a story. This research aims to analyze three novels—Souvashoon, Tooba va Manaye Shab, and Rouze Digare Shora—written by Iranian women authors from different literary periods, using Sternberg's duplex theory of love as a framework. It is hoped that by reflecting on this plan and illustrating the common patterns of love in the contemporary era as depicted in the story, the results of the research will indicate the prevalence of intimacy and passion, as well as a tendency towards themes of governance, recovery, home, and fantasy in emotional relationships between partners. The inclination of men towards romantic relationships and the efforts of women to experience consummate love are also prominently evident in these works. It appears that Sternberg's desired components of emotional relationships are integrated into the plots of these stories, suggesting that these texts may serve as a reflection of the relationships experienced in real society. Introduction: Love, a profound and intricate emotion, has been a central theme in literature across diverse cultures and historical periods, reflecting societal norms, cultural values, and individual experiences. In the context of Iranian literature, particularly in works authored by women, the portrayal of romantic relationships offers a unique perspective on the interplay between personal desires and societal expectations. This study examines the depiction of romantic relationships in three seminal novels by Iranian women writers—"Souvashoon" by Simin Daneshvar, "Tooba va manaye shab" by Shahrnush Parsipur, and "Rouze digare Shora" by Fariba Vafi—utilizing Robert J. Sternberg’s duplex theory of love as an analytical framework. These novels, which span different periods of Iranian literary history, provide a rich tapestry for examining how love is conceptualized and experienced within various socio-cultural contexts. Sternberg’s duplex theory consists of two interrelated models: the triangular theory of love and the theory of love as a story. The triangular theory defines love through three core components: intimacy, which encompasses emotional closeness and connectedness; passion, characterized by physical attraction and romantic desire; and commitment, the determination to sustain a relationship over time. These components combine to form distinct types of love, such as romantic love (intimacy + passion), companionate love (intimacy + commitment), and consummate love (intimacy + passion + commitment), which Sternberg posits as an ideal yet challenging state. The theory of love as a story complements this by proposing that individuals construct personal narratives about love, shaped by their experiences, cultural backgrounds, and societal influences. These narratives, often referred to as "love stories," shape individuals' expectations and behaviors in relationships. Examples include the "government" story, which views love as a power dynamic; the "recovery" story, which sees love as a means of healing; the "house and home" story, which portrays love as a familial foundation; and the "fantasy" story, which presents love as an idealized vision. By applying psychological constructs to literary analysis, this research aims to illuminate the nature of romantic relationships as depicted by Iranian women writers across various eras—specifically the 1960s, 1980s, and 2000s. This interdisciplinary approach not only enhances our understanding of these literary works but also highlights the cultural and psychological dimensions of love within Iranian society, revealing both unique cultural nuances and universal patterns of human connection. Methodology: This study employs a qualitative literary analysis methodology, grounded in close reading and thematic interpretation, to explore the romantic relationships depicted in "Souvashoon," "Tooba va manaye shab," and "Rouze digare Shora." The analysis aims to identify textual evidence—such as dialogues, character reflections, and narrative descriptions—that illustrates the dynamics of love according to Sternberg’s duplex theory. For the triangular theory, relationships within the novels were categorized based on the presence and intensity of intimacy, passion, and commitment. Intimacy was identified through instances of emotional bonding and mutual understanding, passion through expressions of physical attraction and romantic fervor, and commitment through characters’ explicit or implied intentions to sustain their relationships despite obstacles. The analysis also explored how these components interacted to create specific types of love within each narrative. In the context of the theory of love as a story, the study examined the implicit narratives or "love stories" that shape characters’ perceptions and experiences of love. This involved identifying recurring themes, motifs, and plot elements that align with Sternberg’s taxonomy, such as power struggles, healing processes, familial stability, and idealized romanticism. The historical contexts of the novels—ranging from the politically charged 1960s in "Souvashoon," the transformative 1980s in "Tooba va manaye shab," to the contemporary 2000s in "Rouze digare Shora"—were considered to assess potential shifts in the portrayal of love over time. While this method facilitates a nuanced exploration of the texts, its subjective nature presents a limitation, as interpretations may differ among readers. To address this issue, the analysis is grounded in Sternberg’s well-defined theoretical framework, which ensures a structured and replicable approach. Results and Discussion: The analysis reveals a diverse portrayal of romantic relationships across the three novels, with intimacy and passion emerging as prominent components, while the significance of commitment varies depending on the narrative context and character dynamics. In "Souvashoon," set against a backdrop of political upheaval, romantic relationships often reflect a balance of intimacy and commitment, aligning with the concept of companionate love. The societal constraints of the time seem to temper passion, emphasizing duty and emotional support, as illustrated in the "house and home" narrative, where love underpins familial stability. In contrast, "Tooba va manaye shab" foregrounds passion, with relationships characterized by intense emotional and spiritual connections, often lacking a strong commitment. The novel’s mystical and allegorical tone aligns with the "fantasy" narrative, portraying love as a transcendent and transformative force. "Rouze digare Shora," a modern narrative, presents a complex interplay of all three components. Relationships oscillate between companionate love within marriage and passionate romanticism in extramarital contexts, with the "recovery" narrative evident as characters seek emotional healing through love.Common love stories identified across the novels include the "government" narrative, where power dynamics shape relationships and reflect patriarchal influences; the "recovery" narrative, which highlights love’s healing potential; the "house and home" narrative, emphasizing familial roles; and the "fantasy" narrative, depicting idealized aspirations. A notable gender disparity emerges: male characters frequently pursue romantic love, prioritizing passion and intimacy without long-term commitment, while female characters strive for consummate love, seeking a holistic balance of all three components, often thwarted by societal norms. These findings suggest that the portrayal of love evolves over time, reflecting changing cultural attitudes and individual agency within Iranian society, yet remains deeply intertwined with traditional expectations and gender roles. Conclusion: This study demonstrates the efficacy of Sternberg’s duplex theory as a robust framework for analyzing romantic relationships in literature, providing insights into both the psychological underpinnings and cultural contexts of love. The predominance of intimacy and passion, along with the variable role of commitment, underscores the complexity of love as depicted in these Iranian novels. The recurring themes of love—government, recovery, home, and fantasy—underscore how cultural narratives shape romantic experiences. Gender differences further illuminate enduring societal dynamics, particularly the challenges women encounter in their pursuit of consummate love. These literary portrayals not only reflect real-world relationship patterns but also potentially influence readers’ perceptions of love, creating a bridge between fiction and reality. The findings enhance literary criticism by demonstrating the significance of psychological theories in textual analysis, while also contributing to psychology by offering narrative case studies that explore cultural influences on relationships. Future research could broaden this analysis by examining a larger corpus of Iranian literature or conducting comparative studies with works from other cultural traditions. This approach would further explore the universality and diversity of love's depiction. Additionally, investigating how these literary representations influence readers' attitudes toward love could enhance our understanding of the relationship between narrative art and lived experience.

Background: Job satisfaction is defined as the viewpoint of a person and the collection of positive thoughts about his job. In the other word, job satisfaction is affected by salary, interconnections and etc. Job satisfaction of physiotherapists has never been investigated precisely in Iran so the aim of this study was to evaluate the job satisfaction of Iranian physiotherapists.Methods: 102 physiotherapists attended in the annual congress of physical therapy participated in this study and filled the “Sternberg” job satisfaction form. This test comprised of 30 questions. Except the twelfth and thirteen’s questions other questions have three items and items are graded to one, three or five according to the question. Higher grade indicates more job satisfaction. SPSS software was used to analyze the data.Results: results showed that 81.4% of physiotherapists had an average satisfaction, 15.7% had low satisfaction and 2% had very low job satisfaction scores. Our test range was between 39 and 122 and showed that none of the 102 participants had a high job satisfaction.Conclusion: complete independence in managing the patients is one of the satisfaction reasons for the physiotherapists all round the world and physical and mental stress is a reason for unsatisfaction. It is suggested that job satisfaction need to be evaluated every six months to study the changes occur.

BACKGROUND AND OBJECTIVES: Literary Localization Movement is on the path of its growth and sublimity and Magic Realism has impressed the contemporary Persian writers. By utilizing the components of “Magic Realism”, Aram bestows Boy Snails (2014) a fanciful atmosphere and illustrates various types of love in the framework of this literary school. Characters’ love behaviours to which Sternberg (1998) refers as “love story” is built on specific social and cultural factors which are, in turn, responsible for the survival of their love relations. This study aims at determining the degree of overlapping between characters’ love stories with Sternberg’s theory through stylistic analysis of magic realism strategies in the selected novel. METHODOLOGY: This interdisciplinary research is conducted by using descriptive-analytic methodology. Analysis of data is made by using SPSS software and the frequencies of magic realism components as well as eight forms of love in Sternberg"s theory are determined through Chi-square results. FINDINGS: The findings indicate a meaningful difference in the frequencies of magic realism components and eight types of love in Boy Snails (2014). “Infatuation” has the highest frequency among eight forms of love which is looked upon by the writer from “Multiple-points of View”. CONCLUSION: In Boy Snails, “love stories” which are narrated in polyphonic manner from “Multiple-points of View” overlap with Sternberg"s theory. “Fantasy story” has higher frequency and it suits with the novel’s atmosphere of magic realism. Although the writer has tried to show the privilege of “consummate love” for bringing it into premier discourse, the chararcters fail to achive this ideal relationship in the novel.

The notion of love is one of the recurring themes in world literature. With the aim of investigating the Love-making styles in the relationships of the characters in The novel L'Ame enchantée, the two theories of Sternberg, American psychologist: "love triangle" and "love as a story" have been utilized as the criteria of measurement. This research is a theoretical study, in a library style, which was conducted with analytical-descriptive method. The scope of the research is addressing the first part of the novel translated by Mahmoud Etemadzadeh, which was published by Doostan Publishing House. The hypothesis of the research is the possibility of examining and explaining the styles of Love-making based on the aforementioned theories. Paying attention to the internal and external factors affecting love, in describing relationships and creating debates between characters to clarify their inner stories and attitude towards love is a recurring method in this story. Precisely, it can be considered as the author's special style. He has expressed the characteristics of the two components of intimacy and excitement from the three components of love which defines the three types of love, Liking, Infatuated love and Companionate love. We can see a number of love stories: Art, House and Home, Game, Religion, Sacrifice, teacher-student, Travel, Dream story. Introduction: This article, after introducing "Romain Rolland" and his novel "L'ame enchantée", according to Sternberg's theories (i.e. triangular theory of love and love as a story) analyzes the love styles of the characters, especially "Annette", the main character of the story. In the first part of this great novel, titled "Annette and Sylvie", a number of romantic challenges and faced which should be examined so as to answer a few questions in this article; Is it possible to provide an explanation for these romantic challenges using Sternberg's psychological theories about love? What are the components of love in the first part of the novel "L'ame enchantée"? Which types of love are mentioned in this part of the novel? According to Sternberg's theories, what kind of love stories are we dealing with? Methodology: The scope of the research addressed the first part of the novel "L'ame enchantée". The elements and characteristics of Annette's romantic relationships, in this part, have been matched and analyzed with two theories about love from Sternberg; "The Triangular theory of love", and "love as a story". Last but not least, the presented research follows a descriptive-analytical procedure which has utilized a library method for data collection. Results and Discussion: "L'ame enchantée" is one of the best fiction works of the 21st century by the great French writer "Romain Rolland". By dealing with diverse aspects of the characters in the novel, he expresses their attitude towards human values (especially love) and shows the impact of various social and religious factors on it. It is the story about one of the first modern French women, Annette Riviere; who stands in front of narrow-mindness and wrong and old thoughts of his people in order to have an independent life. The novel takes place in Paris at the beginning of the 20th century. At the beginning of the story, we meet Annette who has lost her mother and now her father and her prosperous life and facing many problems. Sternberg presented The Triangular theory of love in the late 1980s, which methodically stated the components of love. According to the presented theory, love has three components: (a) intimacy, which encompasses the feelings of closeness, connectedness, and boundedness to be experienced by individuals in love relationships (b) passion, which encompasses the drives that lead to romance, physical attraction, and sexual consummation, and (c) decision/commitment, which encompasses, in the short term, the decision that one loves another, and in the long term, the commitment to maintain that love". (Sternberg, 1986, 119). The intimacy component refers to those feelings in a relationship that promotes closeness, bonded ness, and connectedness that it includes, among other things, feelings of (a) desire to promote the welfare of the loved ones, (b) experienced happiness with the loved one, (c) high regard for the loved one, (d) being able to count on the loved one in case requireds, (e) mutual understanding with the loved one, (f) Sharing of one's self and one's possessions with the loved one, (g) receipt of emotional support from the loved one, (h) giving of emotional support to the loved one, (i) intimate communication with the loved one, and (j) valuing the loved one in one's life (Sternberg & Grajek, 1984).The passion component of love comprises those motivational and other sources of arousal that lead to the experience of passion. In a loving relationship, "sexual needs may well predominate in this experience. The other needs, such as those for self-esteem, nurturance, affiliation, dominance, submission, and self-actualization, may also contribute to experiencing passion. The decision/commitment component of love consists of two aspects, a short-term one and a long-term one. The short-term one is the decision that one loves a certain other. The long-term aspect is the commitment to maintain that love. (Sternberg, 1986, 122). These three components can be combined and, according to the amount of each component, create different types of love, which are named as: Non love, Liking, Infatuated love, Empty love, Romantic love, Companionate love, Fatuous love, Consummate love. In the mid-nineties, Sternberg proposed the theory of "Love as a Story" and tried to find an answer to the question of why a person falls in love with a certain person and does not fall in love with another. This theory states that everyone has a story or stories for love. "Love", as a matter of fact, is a story that individuals are the authors of. The main point of this theory is that we unintentionally fall in love with people whose stories are exactly like our story or similar to it, but the role of that person in his story complements our role in our story. Annette's romantic relationships are formed among her social relationships. She meets different people and has different experiences. Annette's relationships with her father, sister and some other young people were examined in this article. Roland first creates a situation where a new character enters Annette's life story, then describes his occupational characteristics, appearance and physical charms to prepare the ground for love, then his family, social and describes his religion. IT makes the characters to face each other and find out each other's opinions and depth of feelings through long conversations; in a way, it creates a debate that is the product of the characters' attitude towards life and love. We can consider Romain Rolland's way of dealing with various social, religious and even historical issues through the expression of different forms of love, his special style of thinking. He presents different forms of love and explains various issues that affect love. In each part of the novel, according to the cultural, social and religious status of the characters, he reveals their attitude towards love well, and in this regard, he uses the description of the details competently. "Rolan" considers the inner attitude of each person and the external factors in the way of making love. They shape the stories they consider for their love lives based on the insights and attitudes of their cultural, religious, family, and social environment and use different descriptions, discussions, and images. These stories can be explained by Sternberg's theory. Conclusion: All three components of "Sternberg's love triangle", i.e. intimacy, passion and decision/commitment, can be understood well in the author's way of expression. He displays the elements of "intimacy" component, especially secret telling, heartache and support in the behaviors, mentalities and long conversations between the characters. In dealing with the emotion component, stimulating and motivating romantic behaviors such as looking, touching, kissing and hugging, which are elements of this component. He does not forget the existence of the "commitment" component is more dependent on the type of insight and attitude of people than the other two elements; therefore, due to the difference in the type of social vision of the characters, the element of commitment can be found less in their relationships. Roland describes and narrates various types of love including "liking", "infatuation" and "Companionate love" among the characters. The romantic stories were identified in this part of the novel based on the theory of "love as a story"; they include "The Game story", "The Art story", "Object story" (House and home story), "The Religion story", "The Sacrifice story", "The Travel story", "The Teacher and Student story" and "The Fantasy story". The multiplicity of these stories in the novel shows the author's broad insight and his knowledge of the society he has addressed in the novel.

Qaiser Aminpoor as a prominent poet in contemporary Persian poetry has devoted much of his poetry to the phenomenon of love. What makes this book particularly important is the change in the poet's attitude to the phenomenon, which can be studied from a literary and psychological perspective. In this study, various aspects of love in the grammar of love have been studied, using library sources and descriptive-analytical methods, as well as using the Sternberg's theory of psychological theory. The results show that although the poet considers ideal love to be perfect, its frequency is not significant compared to non-ideal love. The quest for realism is justified. According to Sternberg's views, Qaiser's look at the phenomenon of love and its quality has been declining in this office and has been accompanied by pessimism and negativity, which is why his poems have a romantic (black romantic) side. Most of his poems have only two pillars of dedication + excitement, and the element of intimacy has echoed to a limited degree that the conclusion of this love affair is a philosophical-personality one and highlighting the dark and unpleasant aspects of life.

One of the most important methods of interdisciplinary studies is the reading of literary works with a psychoanalytical approach, which entered the field of literature and art in the 20th century with Freud's innovations and evolved after him with various methods and theories. One of these important approaches is the view of Robert Sternberg - the famous American psychologist - in analyzing the love system as one of the most basic and profound human behaviors and psychological actions. In the theory of "love triangle" and also in the theory of "love story", Sternberg interpreted the life and emotional relationships of each person with another from a new point of view, and after categorizing and analyzing it, he achieved several patterns in understanding love. The results of this study will show that, in general, all the emotional relationships in this narrative started with the component of passion and shared the component of intimacy. But the difference between Shirin and Farhad's love and Khosrow's love is in the stage of commitment. This difference will transform the pattern of love in Shirin and Farhad into ideal love and in Khosrow into romantic love, which sets the stage for the tragedy in this lyrical work. On the other hand, the first form of stories are of the art story type; that in the next stages, the stories of addiction, collection and sacrifice will be found in this narrative.Abstract: Psychoanalytic criticism, Nizami, Sternberg, Khosrow and Shirin.Introduction In the contemporary era, with the importance of finding and highlighting details, subjects and concepts, these movements have been led to specialization and focus on special concepts and specific axes of human emotions, the most important and prominent of which is the subject of "love". It has involved human emotions since prehistoric times. One of the most important theorists in this field, who has devoted his research exclusively to the field of love, is Robert J. Sternberg, who considers the three sides of this feeling to be the components of intimacy, enthusiasm, decision, and commitment in the theory of the love triangle. He then put forward the theory of "love story" that the premise of a love story is that we are interested in being in a relationship with those whose love story is similar to ours and who have a complementary role to us. Because love is a story and only we are the authors of this story. On the other hand, in the context of Persian lyrical literature, Nizami Ganjavi is one of the most important writers who compiled his works with the focus of love, and his Khamsa is indicative of the mastery of this subject, as a central concern and subject in the creation of a literary work. Among his works, the narrative of Khosrow and Shirin is one of the best texts that can be analyzed and interpreted from Sternberg's point of view. Therefore, this research aims to examine the narrative of Khosrow and Shirin Nizami from the two perspectives of Sternberg's "Love Triangle" and "Love Story" and interpret and define the types of love in this narrative.Materials & methodsthis research tries to analyze and analyze the love poem "Khosro and Shirin" by Nizami Ganjavi based on these two theories with a descriptive-analytical methodDiscussionA) Passion component: since in Sternberg's theory, the passion component is based on physical motivations and physical aspects, and often "the initial stages of a relationship are mainly characterized by passion, the first component that is found in Khosrow's love for Shirin It is visible, it is the component of passion. This component has its initial appearance when Khosrow Parviz, just by hearing the features of Shirin's appearance from Shapur's language and in the next stage, when Khosrow meets Shirin at the spring, becomes fascinated and enamored with him. This state in the first experience of sweet love, which was started by Shapur and with the representation of a statue of Khosrow, sweet fascination means the component of passion, which is an example of the arousal of physical and physical factors. In Farhad's encounter with Shirin, the first component that comes to mind is enthusiasm; Because Farhad falls in love just by hearing sweet words, which are considered physical elements of beauty. But his love quickly turned into mania and restlessness, and the restlessness and sleeplessness in Faraq Shirin is the expression of this component in his personality.b) Intimacy component: This component in Sternberg's definition and in the signs arising from the relationship goes to the extent that the parties should share their feelings and thoughts with each other, so that the conversations in any way and shape even Grievances and complaints are also objectified in the form of signs of intimacy, and expressing the secret of the heart or complaining about the beloved is one of the characteristics of the intimacy component. The signs of this can be seen in Khosrow's complaint after seeing Shirin, in closing the palace door on him. In addition to that, one of the components of intimacy can be mentioned as esteeming the beloved and respecting him. But this state is much stronger in Shirin, and wherever Shirin confronts Khosrow, both in terms of the desire for the well-being of her lover and the emotional support mentioned by Sternberg, Shirin is in a position of intimacy towards Khosrow.Facing the experience of love, Farhad obeys her orders for the well-being of Halah Shirin, and with an ax in his hand, he begins to carve a thorn stone and provides a pond for the well-being of his lover. And frequently, the element of Farhad's respect for Shirin will be more objective. Even where Shirin gives her the best jewel in honor of the architecture of the pond, Farhad immediately gives it to Shirin's feet, which in Sternberg's system of signs, he will recognize as one of the elements of honoring the beloved and a component of intimacy. became. The manifestation of this respect and value is in Farhad's character to such an extent that even if there was a dust coming from Dargah Shirin, it was so sacred and valuable to Farhad that he would put it on his eyes instead of crimson. In addition to these, Farhad's complaints and pleas in the mountain while talking to Shirin are other signs of intimacy, which are depicted in a monologue in the narration. On the other hand, Farhad's desire for Shirin's well-being, as well as his sense of responsibility and Farhad's emotional support for Shirin, are important and prominent features of this component.C) Commitment component: In the definition of the commitment indicator from Sternberg's point of view, it can be seen that Khosrow questions this commitment for different reasons and in communicating with two other lovers, he is almost empty of the circle of commitment. But on the other hand, having a lasting and long commitment in sweet love to Khosrow has turned the narrative into a story of sweet commitment. And also in Farhad's love experience, it can be seen that he does not talk about Shirin except for Shirin because of his committed love, and he only remembers Shirin's thoughts and feelings. In fact, the main component of Farhad's love is his commitment to Shirin, which he adheres to until the last moment of his life.ResultAfter examining and re-reading the text, it can be seen that the component of enthusiasm in Khosrow is at its highest level. This issue has resulted in the type of love in Khosrow and Shirin's narratives, respectively, romantic love, ideal love, romantic love, foolish love, and empty and empty love. Soda love and romantic love, silly love and empty and empty love have been discussed once each. On the other hand, according to Sternberg's reading of love as a story, it can be seen that the cause of the tragic situation in the narration of Khosrow and Shirin is more than anything based on the heterogeneity of the love stories in the three characters. Since, according to Sternberg's view, the durability of relationships depends on the alignment and harmony of stories, this situation in Khosrow's character is the story of art and collection, and in Shirin, art and sacrifice and addiction. The same difference in the second part of love is the basis of the lack of success and continuation of the relationship between these two characters. On the other hand, Farhad's love story has a close resemblance to the sweet love story of Khosrow, but the kind of sweet love towards Farhad basically makes it impossible to establish a relationship and since the relationship is not formed at any level, there is no room for experiencing the love story. It will not be possible. And since the story of sweet love in interaction with Farhad is completely in conflict and repulsion with the story of Farhad, the tragic aspect of the narrative will be realized. Finally, the results of the research will show that from Sternberg's point of view, the lack of commitment and loyalty in the story of Khosrow and Shirin has lowered the narrative from the level of a romantic work to a level that Nizami calls it a lust. It is a sad aspect of the narrative that, in the end, ideal love experiences failure in this story and signs of success appear in Khosrow's collection or foolish love.