This study aims to examine the elements of stylistics in three stories. They include three poetical NARRATIVEs by
A  ar in mystical genre pivoting around the character of  allaj. The main research question of are: a) According to which stylistic mechanisms of NARRATIVE are the NARRATIVE-stylistic elements explained? And b) How are these elements reflected in the NARRATIVE discourse? This study hypothesis check the components of Simpson's NARRATIVE discourse to determine the stylistic features. Therefore, analysis of the texture of these NARRATIVEs showed that in total, material processes with 16 applications had more performance than verbal process with 3 cases, mental process with 13 cases and behavioral process with 1 case. The research uses library method for collecting data and is analytical in nature, employing the methodology proposed by Simpson in his Stylistics approach. The results indicate the extent of characters’ collaboration by analysing the processes. In terms of point of view on the temporal plane, there is no specific time since all three NARRATIVEs revolve around  allaj. The descriptive pause is another example of this point of view and NARRATIVE time in the stories is longer than story-time. In the second story, however, the NARRATIVE is denser and more concise. An example of a point of view on the temporal plane can be seen in the three discourses of narration using "the use of past verbs", "descriptive pause" and "NARRATIVE time" in two NARRATIVEs, and the NARRATIVE of “ tashte khakestar va amadane ashegh" is rejected. Naturally, from the spatial point of view, referring to space is not pertinent because it the prestige of  allaj which is the focus of the author. All three NARRATIVE discourses confirm Hallaj's high position on psychological plane. The point of view is the third person in all three stories. In the first and third stories, the third person perspective is reflective, and in the second story, the third person perspective is prominent. Modality has some features in NARRATIVEs of  allaj: since the narrator narrates  allaj’ s emotions and the Lover’ s character by direct speech, it has a positive shading. This may be explained using Fowler-Uspensky model. In terms of idiolect, the words uttered as the Lover’ s reaction to see the Beloved’ s (i. e.  allaj’ s) ash and finding a trace of the latter are in line with the mystical context of the story. All three stories of  allaj can be discussed in view of Labov’ s ‘ textual structure’ . Therefore, in future research, it is possible to examine the textual structure of the elements of this model in the NARRATIVE context by examining the structure of the text in other anecdotes of mystical poetry and consider the anecdotes related to elders. The results of this study showed that in almost these three stories, the result, the solution and the terminal phase are the same, and the reason is Attar's advice, which replaces any kind of analysis. With regard to intertextuality, two stories ‘  allaj in the gallows’ (
allaj bar sar-i dar) and ‘  allaj decapitated in sleep’ (
allaj ba sar-i burida) are referred to in other texts. The results of this study clearly show that the study of NARRATIVE stylistics and the application of its components have mechanisms that are suitable for analyzing different levels of NARRATIVE discourse context. In addition, this study provided an understanding of the style of Hallaj's NARRATIVEs that had not been previously explored.

The general pattern of NARRATIVE structure in Mathnavi’s TALES is simple. To understand the falling and rising of the stories and also their stasis and duration, it is enough to distinguish the narrating from denarrating lines. Besides, realization of the frame-stories leads the reader to a deeper understanding of the distinction between narration and denarration. This article, while explaining the NARRATIVE pattern in Mathnavi, studies its two features of artificiality and recurrence. Artificiality denotes that the characters and actions strongly depend on the prescriptive conventions of author or omniscient narrator. The research concludes that the TALES of Mathnavi show an interest to various intertexts and thus make the existence of recurrence tangible and natural.

The most eloquent and adequate means of expressing and conveying concepts and ideas in the holy books, particularly the Holy Qur' an, is narrating and depicting the events and incidents through "TALES".This article attempts to explore the basic elements, attributes and components of the Holy Qur' an's TALES by employing the basic concepts and principles used in narrating TALES, stories and drama (e.g. character and characterization, dilemma, suspension etc.).The findings indicate that there are lots of commonalities in the principles of modern story-writing and the Holy Qur' an's TALES in terms of the narration, methods, structure and in the mode of employing the literary and artistic delicacies and skills.However, these TALES enjoy certain outstanding attributes which differentiate them from human-made stories. These TALES include peculiarities, methods, skills, exquisite and peculiar structures that could provide different literary-artistic frames, particularly TV and cinema with certain potentialities for such stories to express the most sublime human-God themes.

A considerable part of Persian classical literature is devoted to didactic literature. Mysticism has also been very important in Persian didactic literature and Sufi TALES are clear example of that; since all these TALES have been used for the purpose of teaching. Attar, one of the greatest Persian poets, has paid lots of attention to these TALES and has benefited them a lot in his works. Attar's knowledge about these TALES is actually representing his mystic method. The writers of this article have studied the structural and NARRATIVE features of Sufi TALES in Attar's works and his ways of telling the stories.

Amid the variety of literary genres, lyrical literature as one of the oldest poetic genres encompasses a vast spectrum of human emotions and feelings. Among the literary figures of this country, Nezami Ganjavi shines as the one of the most brilliant stars of our classical literature in terms of composing love stories, romances and Saghinameh, and therefore is highly regarded. Among his works, the three romantic verses khosrow and Shirin, Laily and Majnoon, and the grand work of Haft Paykar are considered as the most significant lyrical works in the Persian literature. In this article, two domes of Haft Paykar as examples of the most beautiful and enchanting lyric-epic romantic verses have been selected and structurally analyzed. For this purpose first the theoretical principles of narratology and morphology and Props functions in this domain were presented then, the NARRATIVE structure of two TALES namely the tale of the unconscious city and the king in black from the first dome and the story of good and evil from the sixth dome based on Props’ NARRATIVE model is analyzed and compared respectively in terms of morphology, motifs and characters.

In the structural narratology there are two types of time for each NARRATIVE: time of the text, time of the story, arrangement, duration and frequency within the ‘time of the context’; calendar time and the sensory and emotional time in the range of ‘time of the story’ are the main topics of time in narratology knowledge. Although theorizing about the techniques and methods of time in historical and literary NARRATIVEs is a new discussion and dates back to the twentieth century, style of storytelling in Kalileh and Demneh Stories, has provided an appropriate ground for layout of the main components of time in this work. This article is the result of a research that has studied the time in the main and secondary TALES of Kalileh and Demneh using the descriptive-deductive method and based on the theory of "time in narration". Result obtained from the research show that Kalileh and Demneh TALES have significant match with features "the time of the text". As in “duration” descriptive pause, stage of the play, summarizing and removing, have respectively higher frequencies, in “arrangement” frequency of after-look is more than that of pre-look and in the discussion on “frequency” more attention has been given to recount frequency than repeated frequency. These achievements show that despite having technical prose, Kalileh and Demneh, enjoys a moderate approach in narrating the stories and that, its circumlocution is never more than its brevity and moderation.

"Fairy TALES" are considered one of the popular NARRATIVE and literary genres in the world. The global spread of these stories is such that reaching a convinced and comprehensive theory about the origin of fairy TALES has been associated with many challenges and difficulties, as well as the views expressed in this field also face many challenges and problems. The widespread popularity of these stories in Indo-European cultures, and the existence of similar NARRATIVE patterns, elements and functions in these stories are other issues that show the necessity of research to explain the NARRATIVE and historical origins of fairy TALES. In this article, in order to analyze the NARRATIVE and historical origins of the formation of fairy TALES; the problem of the ancient spread and dissemination of these stories in Indo-European cultures; ritual and epistemic functions of these stories in these cultures and its connection with the cultural and ritual foundations of the Indo-European peoples, relying on the NARRATIVE, ritual and mythological evidence, we investigate and analyze the origins of the formation of fairy TALES. The results of the research show that the primary origin of the formation of fairy TALES goes to "the second millennium BC"; That is, it goes back to the period of confrontation between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and rituals of the lands they migrated to, as a common NARRATIVE and epistemological system can be seen in these stories, which had an educational function with a political-ideological approach for their audience and in connection with the young or adult audience, they have had their own special NARRATIVE and cultural form and function. Also, the long-term and ancient continuation of these stories has been the source of the formation of some NARRATIVEs such as exogamy. Extended Abstract Fairy TALES are among the important literary genres in Indo-European cultures. Similar meanings and derivations of the concept 'fairy' in Indo-European languages, as well as the presence of relatively common NARRATIVE elements, motifs, functions, and NARRATIVE structures in these TALES, indicate a common NARRATIVE and epistemological system in these stories. Given the global spread of these TALES in Indo-European cultures, this indicates the very old age of this NARRATIVE and epistemological system in these stories. One of the significant challenges in the field of fairy tale studies is understanding the NARRATIVE and historical origins of these stories. In this article, relying on various NARRATIVE, historical and mythological evidences, the NARRATIVE and historical origins of the formation of fairy TALES are investigated and analyzed. In this study, we try to find out the reason for the ancient spread of fairy TALES in Indo-European cultures; the relation between the intellectual and epistemological system of these stories with the cultural and ritual foundations of Indo-European peoples; and the ritual and epistemological functions of these NARRATIVEs in these cultures, so that finally a historical and NARRATIVE origin can be considered as the origin of the formation of fairy TALES. Before the dominance of Indo-European immigrant tribes in the regions of Greece, Asia Minor and Iran, the Mesopotamia civilization with a history of five thousand years BC, as one of the oldest origins of human civilization and one of the most important origins of the systematic rituals of goddesses in the ancient world, had significant effects on religious systems in Iran, Asia Minor, Syria, Egypt and even Central Asia and parts of Europe. Archaeological evidence shows that in Iranian societies before the Aryans (under the influence of Mesopotamian rituals) there have been rituals of worshiping female gods. The dominance of Indo-European peoples over Greece and Asia Minor in the second millennium BC and later Iran in the first millennium BC played an important role in the evolutions of the ancient world, especially in Iran and its surrounding lands. The belief of the Indo-European peoples in gods with the characteristics of order, treaty and militarism with male characteristics; their tendency towards social centralism and descentism based on their own cultural-ideological characteristics, gave them different cultural and ritual characteristics, which was in conflict with the cultural and ritual foundations of the natives of their migration destination. On the other hand, close to the age of arrival of the first branches of the Aryan peoples in the Asia Minor, significant political and ideological developments had also begun in the Mesopotamia, as parallel to the concentration and consolidation of powers in the Mesopotamian states, and the transformation of city-states into larger states and the rise of the powerful states of Assyria and Babylon, a gradual transformation from subjectivity to objectivity and centralism occurred in ancient discourses and ideologies, which altogether, it was accompanied by the increasing decline of matrilineal rituals and cultures related to goddesses and the predominance of rituals and cultures related to male gods. One of the oldest forms of these cultural developments can be seen in the Sumerian NARRATIVE "The Tale of Gilgamesh" (which is the oldest surviving written epic from about 4175 years ago). This story is one of the primary forms of cultural transformation of an ancient goddess (i.e. Ishtar: the powerful goddess of Mesopotamia and Syria). The continuation of these developments has played an important role in the political (and later cultural) domination of Indo-European peoples in the lands of their immigration destination. In fact, the secret of the gradual dominance of the less advanced Indo-Europeans over the advanced and long-lasting civilizations of the lands of their migration destination lies in the deep political-social-cultural changes in the ancient world and the increasing decline of the cultural and civilizational energy of the cultures related to the goddesses and the alignment of these changes with the cultural-ideological foundations of the Aryans. In total, factors such as: the ritual and cultural confrontations of the Indo-European peoples with the native rituals around the goddesses in the local communities of their migration destination; Trying to overcome the native communities (especially considering the specific descentism and authoritarianism that was hidden in the culture and ideology of the Aryans) and also the effort to preserve own ritual and cultural foundations in the face of the ancient and influential rituals of goddesses, provided the ground for ritual and ideological confrontations with the cultures and rituals of the natives in the Indo-European NARRATIVEs. In these NARRATIVEs, the nature of goddesses (through conceptual and ideological transformation) was transformed into a demonic and harmful nature (in the form of the concept of "fairy"). Among these, Zoroastrian texts have a special place. Iran's proximity to Mesopotamia caused that religion and culture of the Aryan immigrants in Iran to be directly confronted with the influential Mesopotamian rituals. In Zoroastrian texts (such as Yashthā, Vandidād, Bondahesh, and Dinkard) in many cases the name of fairy appears in the ranks of demonic creatures and enemies of Minavī creations. According to their ideological basis, these religious and ritual NARRATIVEs have played a very important role in the formation of the NARRATIVE and epistemological system of fairy TALES, such as the origin of the functions, main elements and identity components (such as: the demonic nature of the fairy) in fairy TALES (and their changed forms in epic NARRATIVEs and romances) can be found in these religious and ritual NARRATIVEs. Based on this, the historical origin of the narrating fairy TALES' date backs to the "Second Millennium BC"; which means to the period of the beginning of the encounter between the Indo-European peoples in Iran, Asia Minor and Europe with the native cultures and customs of their destination lands of migration. In fact, the secret of the common structures and motifs of fairy TALES in Indo-European cultures, on the one hand, goes back to the cultural and ritual foundations of the Indo-European peoples and on the other hand, to the confrontation of these peoples with the cultures and rituals of the natives of the lands they migrated to, which have been in opposition to the religion and culture of the Indo-European peoples, especially in the regions of Iran, Asia Minor and Europe, which faced the influence of Mesopotamian religions from far or near. Therefore, the Indo-European branches that immigrated to Iran (which were adjacent to the Mesopotamia) played an important role in the creation and expansion of these stories, as well as among the ritual NARRATIVEs of the Indo-European cultures, the highest frequency of confrontation and enmity with fairies is seen in Zoroastrian texts. The NARRATIVE pattern of fairy TALES is based on a "fundamental educational doctrine". It has been an organized and widespread effort in Indo-European cultures based on their political-ideological tendencies and interests in dealing with indigenous peoples. The ideological basis of all these NARRATIVEs is the "alienization" of fairies (=Goddesses) and then describing and defining them as alien and demonic beings that distance the hero from the traditions and religious and moral teachings of his society and culture, and one should stay away from them, as the Avestan word "Pairïkä", which Bartholomew considered to be the main root of the concept of "Fairy" in Indo-European languages, in addition to meaning "female procreative and fertile", also means "alien and foreigner". These NARRATIVEs functioned as an effective educational media in the ancient world and were a way to moral and ritual education to children, teenagers and young audiences. The popularity and wide spread of these stories and their various appearances in religious and literary NARRATIVEs shows the wide-ranging effort of the ancient narrators to confrontation the very old and influential rituals of the goddesses. In transformed NARRATIVEs of fairies such as the stories of Zāl & Rudābeh, Rostam & Tahmineh, and Kaikāvus & Sudābeh the role of fairy as a "woman from a foreign land" (and in a more completely transformed form: from a society or a class opposite to the society or class of the hero, even with an ideology opposite to the hero's ideology) is another form of the fairy's belonging to the "other" and rejected world, which is strange to the self-conscious "I" of the hero. This category is one of the old patterns in the NARRATIVE structure of stories based on exogamy in literary works.

Most of the TALES in various manuscripts, translations and editions of “ One Thousand and One Nights” are valuable examples of narration in the Eastern literary tradition, containing complex and fascinating structured frame TALES and many embedded TALES. To truly understand this work whose story-tellers have passed through the Islamic territories for its compilation, one should know the multicultural world of the text and the exchanges it has experienced in its transmission to other nations. Thus, a bilateral analysis of both textual and inter-textual devices seems necessary since it reveals the function of embedded TALES and leads to the recognition of the process by which a sub-tale has been used in different NARRATIVE cycles. This study examines three of the embedded TALES in One Thousand and One Nights ˗ their in-text NARRATIVE devices, and their intertextuality ˗ and indicates that although these TALES, which are generally in line with the international story-telling tradition, have undergone some changes, they have preserved their basic foundations.

Jami’s Baharestan enjoys a prominent place amongst the works imitating Sa’di’s Guletan. The presence of prominent discoursal aspects in the NARRATIVEs of Jami provides the ground for analyzing those NARRATIVEs in terms of structuralist theories like Todorov’s theory in order to find out whether they have a proper NARRATIVE structure or not? And how much do they conform to the ideas of Todorov?Todorov considers three aspects for NARRATIVEs: semantic, discoursal and syntactic. Due to loose plot and weak structure, most TALES of Baharestan are so that other critical approaches cannot be used for analyzing them. However, in terms of discoursal aspect, especially the four elements of aspect, tense, viewpoint and tone can be interpreted via Todorov’s model and theory in this text.