symbol and symbolism are principles which the writers of rhetoric have disgraced them, and in most writings they have mixed them with other shapes of expressions. By studying the definitions of metaphor, symbol, allegory, token, archetype, mythology and their intersection with symbol , a definition is offered where the implications of the color and pattern of flags in the Shahnameh and four religious epics: Tazian nameh (abstract of Khavaran nameh), Haydari Bazel Mashhad attack, Haydari Raji Kermani attack and Alinameh will be dealt with. The color and pattern of each hero is illustrated in accordance with his spirits and his stance in the army. The writers have demonstrated different ideas about the symbolism of Rostam's Derafsh which mostly have alluded to its negative aspect and have not considered its multi-dimension. Therefore in having discrepancy between Rostam in killing the dragon and the flag which was very giant (the size of a dragon), violet color and the picture of dragon, both refer to a symbol of making the enemy desperate but is a sign of aristocracy and royalty, a token of the Arians. Rostam is a hero with the manner of dragon who protects Iran and the Iranians like a precious jewel. The symbolic color of the Iranians in the Shahnameh is violet whereas the symbolic color of the Turanians is black. In religious epics the symbolic color of the moslems is green and the symbolic color of the Sofianian in black.

In order to express their profound mystical and emotional concepts, mystic poets inevitably resort to using symbols and breaking norms through raising linguistic capacities. In this study, the animal symbol of hawk in Ghazaliyat of Shams has been analyzed from a semiotic perspective. Semiotics is the systematic study of signs in order to gain insights into the various intellectual backgrounds of a poet or an author. By examining the animal symbol of hawk via this branch of science, one can understand various intellectual layers of Rumi including the concept of return, quiescence, journey, etc. Signs in various texts are represented through various forms including words, sounds, smells, movement, location, etc. Through studying the dependent networks in the symbol of hawk, one can observe the match of the function of this symbol with different acts of color, location, movement, and sound. In this study, the binary oppositions and the transformation of the symbols are also examined. The investigation of these identifiers allows us to unveil the hidden intellectual layer of the poet along with the patterns of quiescence, unity, and intellectual infrastructures of Rumi. The important point in the binary oppositions is not the selection of the type of oppositions but the dynamic way of addressing the relations. This issue is indicative of the turbulent spirit of Rumi in his love for Shams Tabrizi or mystical themes. This way of treatment is noteworthy in the medial function of the positive and negative poles of hawk symbol. On the other hand, the mental space of Rumi including the cultural codes of Buddhism and Mithraism influencing the religious atmosphere of Balkh and Konya, and the mythical atmosphere has been explained. In sum, this paper has examined the patterns, acts, norm-breaking, the play of signifiers, the network of matches, and the transformation of the oppositions in the animal symbol of hawk and has analyzed and elucidated them in the samples of Ghazaliyat of Shams.

Mountain has been regarded as the preserver of identity for Kurds. The Kurdish language and literature are rich in vocabulary regarding mountain, in a way that there are more than 200 words for it in Kurdish language. Living in the mountains from 1985 to 1986, Shirko Bikas, contemporary Kurdish poet, wrote ‘ mountain poetry’ against the Baath regime. He has formed a symbolic stock of vocabulary different from the general vocabulary of mountain in his poems. He has used the symbol of mountain in different ways, sometimes in an artistic way and sometimes as a motto. symbol, as an artistic trope, is intertwined with ambiguity and vagueness. In poetry, a symbol is an artistic arena to oppose social and political injustice and oppression. Using the mountain as a symbol in his poetry, Shirko Bikas has given a wide variety of meanings to it, such as freedom, poverty, body and soul, struggle, city, and sacredness, which are all different from the meaning and symbol of mountain in the general vocabulary. The prominence of narrative in Shirko Bikas’ s poetry has led to the narration of history in the form of poetry. This has caused a little weakness in the poetic characteristics, discourse, and sacredness of the mountain.

Nature has always been the source of inspiration for poets and writers in different parts of the world especially among Arabic speakers who have close connection with it. While reading Ebrahim Al-kooni' s works, we can clearly observe existence of deserts as well as living and dead nature. Therefore, he has frequently used the elements of nature and using these elements, he induces his thoughts and ideas to his readers. Ebrahim Al-kooni in "Al-tabar", chose camel as one of the elements of nature and hero of the story and considering supreme human values for the camel, he not only regards a higher place for it than other animals but also he prefers it over all humans and even his own wife and child.This study tries to investigate function of this animal in this novel using descriptive –analytical method and the results indicate that the writer with considering ancestors' traditions, beliefs and myths has used the animal as a symbol in service of Sufic concepts and thoughts like companionship, love, sin and its consequences and patience.

Mysticism entails insight in the Absolute, insight in his names, traits, and expressions. All names of Allah, such as Jamil, Badie, Mosavar, etc. are tied with art and aesthetics. Color is the expression of pluralism in unity. Light, per se, is a symbol of unity but it is embodied by color and color acts as a media for expression and emergence of light. Colors signify a specific meaning in the realm of art. For instance, green implies a divine mystical state but white is the symbol of Absoluteness. Goethic architecture seeks to create mysterious spaces through a combination of lights, shadows, and bright colors, so that the sacredness of that space is immadiately perceived. Present study attempts to examine the application of light and color in Goethic architecture and paintings. It is of descriptive-analytical type. Data is gathered through inductive reasoning and librarian method. Research findings show that Goethic architecture and painting imbued with religious concepts makes an attempt to embody God embeded in mysterious spaces through a combination of lights and colors.

Analytical and statistical method of research is used in current study. After discovering and classifying of symbols and myths, they categorized into five areas which derived from nature, positive and negative characters, animals and other items which with regard to their essence cannot be included among natural, characteristic and animal areas. Then functional range of these sections and variety and ingenuity of the poet in the use of these concepts will be examined in this study and we'll try to answer to these questions that how much quantity range of symbol , mask and myth elements are used in Aminpoor's poetry and  what kinds of  concepts are included in his poetry? Poetry of war in early years, had fallen into a slogan, Poets policy was improvement of speech toward imaginary horizons. The use of symbolic speech is one way of emergence, consolidation and spread of the poetic imagination in the war poem (Poorjafi., 1384: p 22). Identity, ambiguity and seeking a path to literary and artistic richness are the major trends of Aminpoor in the use of symbolic elements. Mythic approach and using of historic characters, which became a part of nation's history (Abbas, 1992: p 125), in Aminpoor's poetry are used to create a hero and heroism in his poetry and expressing resistance ideas as well. Hence, poets by recreating historical, national and religious characters, according to the needs of the community, strengthen a sense of strength, durability against foreign domination and flatter their power and steady to their enemies (Lak, 1384: pp. 64, 69). However, in mask poetry, Aminpoor uses historical, religious and Sufi figures and with recreating these characters, impose his own thoughts and perspectives upon them completely (Ahmad Ali El Zobaidi, 2008: pp. 140 & Ashari Zayed, 1978: p 93). "from the countless names of your martyr / Abel was the first name / anymore / do not remember these days / Abel / was my other name" (A. M., 1388: p 264). With using the name of Abel, Aminpoor, gives an objective and intellectual response to the cultural needs of war-torn community.  He uses Abel's name as a symbol of the first man who was killed innocently.  Using of the masks, in addition to  represents the poet's aim, should be include modernization features and if it doesn't able to interpret concerns of modern man, then it can be said that it doesn’t deserve to promote to an artistic element (Azzam, 1995: p 137). Relationship between symbol and mask is the same as relation between parts to whole. When Aminpoor converts his mask into a symbol, his purpose is to relate his own experience to human experience and by this method bestow a depth sense to his poetry (Kenndy, 2003: pp. 65-66) and also provide a report of war against Iraq and its consequences. The results of study show that (77) out of (306) Aminpoor's poetry (with respect to the version of Morwarid publication 1388) enjoys elements of symbol, mask and myth. Some of his poems, among (306) poetry, contains different samples that in determining percentages are considered. The word of  'Mirror', has been used in (18%) of his poems and  high frequency  of this word can express the poet's mental and spiritual concerns about declining values such as truth, knowledge, and honesty in the community after war. Natural section includes: colors, flowers, gardens, trees, forests, air, water, river, ocean, night, morning, sun, dust and desert. The positive figures include: Adam, Abel, Ishmael, Joseph, Jesus, Imam Hussein and Hallaj and Shaban (shepherd). Negative figures including Nimrod and is Zoulaikha. The animals section includes: pigeon, Phoenix, swallow, bat and ant. Other items include: mirrors, lights, axes, walls, windows, streets, childish, train, station and road. After counting the symbolic aspects of Aminpoor's poems, it can be seen that there is a relative dominance of natural elements in contrast to other sections. symbols that were selected from nature are about (47%) which in one dimension depend on environment and in other dimension make a relationship with mystical, divine and holy concepts. Generally positive and negative character areas consist of (8%) Aminpoor's poems which include the concepts such as: Martyr, leadership, purity, innocence, kindness, justice, enemies and carnal desires. Eight percents of poems allocated to the animals which suggests a quantity balance between personal and animal realms. Friendship, love, peace, freedom and the enemy are prevailing concepts of animal symbols. Other items and concepts section, consist of a range about (37%) and mostly covers factors like truth, honesty, purity, brightness, slavery, communication, intimacy and implies good old days. As was stated before, most of Aminpoor's symbols, have single semantic and signified, but play a key role in the coloring of imagination, giving depth to the meaning and ambiguity or poly-semantic aspects of Aminpoor's resistance poetry.

Study and research on Attar's poetry show that signs and symbols have received a lot of attention for expressing Mystical teachings and thoughts. The structure of some of Attar's works such as Elahi Nameh and Mantegh Al Teyr is symbolic. Sometimes, symbolic concepts are expressed through connotation meanings rather than denotation. One of these words is the word sea. This word is in contrast with the words such as drop, dew wave, fish, pearl etc … have different meanings. Attar has used this symbol for explanation of various concepts. Frequently used word of Sea in Attar's works is for expressing the thought of freedom from oneself or annihilation and accomplishing the excellent truth and achieving Monotheism.

Human limbs, in particular heart, have been the centre of attention in religious texts and specifically in the holy Quran. Recently, some experts such as Michael Rison believe that there are thousands of nerve cells in heart that function as saving data. Based on these resent scientific studies, some other researchers in the field of Islamic studies have announced that the word "Heart" in the verses of the holy Quran is literal and not figurative or metaphorical. The present article, taking into account the exegetical tradition of the holy Quran tries to prove that consciousness in not a function of physical heart, despite its very strange functions in human body. Consequently, in many of the Qur'anic verses, "heart" has a figurate meaning.

In our stories, magician are female and we are familiar with this word than a male wizard. Carl Gustavo Young says that it’s reason found in men’s dreams as a female. This issue is common among different societies. In Iran, we can see this character in Shahnameh and folks stories which are noticeable. Because of often face negative and represented deserves blame. The point in such stories is using iron for defending against witches. In this research we have tried to study witch features in Shahnameh to show that the female wizard is Anima symbol in Shahnameh which is the feminine element in male’s spirit. There also is a cultural background for men’s negative view to women during history. The contrast between magic and iron belong to its anti magic properties which were in ancient beliefs of people.

What is quoted from Aristotle today is usually based on the works he created during the last period of his philosophical life, when he was involved in scientific activities in the Peripatetic school of Lyceum. In other words, they are based on the notes he taught at this school under the categories of physics, metaphysics, ethics, politics, art, etc. The works of the first and second periods of Aristotle's life either lacked enough attraction for other thinkers or were extremely technical and specialized. Therefore, they seem to have played a minor role in the development of his philosophical system. However, the studies conducted during the recent decades have revealed that his later works not only are far from being secondary and peripheral but also constitute the basis of the main structure of his philosophy and play a key role in the correct understanding and interpretation of his thoughts. For example, his interpretation of Plato's Ideas have commonly been summarized in the form of a critique, however, an analysis of his later works in this regard indicates that in a period of his philosophical life, this theory and all of its consequences had a significant presence but developed a critical aspect during a specific period of time. In this paper, through the study of one of the most important works of this period, Dialogue on Philosophy, the writer has examined some dimensions of Aristotle's ontological interpretation in the second period or the so-called period of transition.