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The anonymous Persian poet, Seif-e-Esfarangi was probably born in the 6^th century (lunar year). His hometown according to the biographers' dictum, was Sfarang, one of the environs of Samarqand. With regard to this point, his poetry-book (divān) enjoys a special importance for the evaluation of the language of Māwarā-e-Nahr, just like those of Am'aq-e-Bokhāri, Mawlavi-e-Balkhi and Suzani-e- Samarqandi. Although it is needless to say that Seif is not leading in poetry. Seif has considered lots of his contemporaries and predecessors and has patterned their odes; Among these, one can note to Mas'ud-e- Sa'd, Amir Moe'zi, osmān-e- mokhtāri, Am'aq-e-Bokhāri, Sanāyi, Anvari, mojir and khāqāni, but the influence of khāqāni on Seif is more striking.

In this article, attempts are made to show some of the verbal and semantic similarities between the lines of Seif and khāqāni. These similarities could provide clues to the point that  Seif has viewed khāqān'is poetry-book.

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One ofthe important stages in the journey of the heroes in myths, legends or folk and fairy tales, according to Joseph Campbell, is separation. The separation usually happens with a secret call, a vocation or a dream, which includes some archetypal symbols. The summon or requestof a Prophet, a master or a father, or falling in love with an image of a beautiful girl who sometimes happens to be a fairy, along with yearning for wealth or power are oftenthe reasons of this ritualistic journey of the hero in the stories.In this article, besides surveying the different “callings”in the stories their psychologicalcauses are discussed.According to Sigmund Freud and his student Bruno Bettelheim, some defects or desires make the hero to start the journey and on passing this stage he has the honor to reach the stage of initiation. Freud and Rank believe this development happens in the first period of the individual’s life, whereas the unity of the conscious and the unconscious for Jung belongs to the second stage of the hero’s life, which is also confirmed by Campbell.

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The flags of the Kings and Heroes in Shahnameh and other epic texts are of important symbolic and ritual significance. The Symbolic signs and their characteristics on flags are important in the analysis of their owners’ personal, public and psychological characteristics. This archetypal approach to signs reflects Ferdowsi’s intention in expressing the function of some epic instruments, such as weapons, flags, horses and tents. In Shahnameh the matching of these signs and their implied cultural significance reflect their semiotic an archetypical power. So each of these signs and images like sun, moon, stars and animals—dragon, lion, wolf, tiger, and eagle—and colors such as black and purple show the complex texture of anthropological feature. This research is both descriptive and analytical and the researchers have consulted different dictionaries of symbols and highlighted the function of each image in its epic space considering the change of its meaning in time

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Carl Gustav Jung, the   founder   of   the   analytical   psychology   in the twentieth century   believes    that   under   the   appearance   of   human   consciousness   exists   an eternal collective unconscious   which is   part   of   the   hereditary   psychological   factor   common in the entire human race. He successfully introduced   the common archetypes in the mythology of   the different   nations and opened up a new trend in psychology.  This article intends to study "Gol-o-Norooz" in light of Jung’s archetype of individuation.  Attention to archetypes for decoding "Gol-o-Norooz" is necessary because this collection is entirely explainable based on these archetypal symbols. Norooz   is   a symbol of   Piroozshah’s unconscious   forces and Piroozshah is in turn the activated representative of his own archetype. After many dangerous   voyages, he finally reached his beloved, and by the birth of his children the cycle of individuation is completed.