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Narratologists often make a distinction between classical and modern narratives and contend that classical fiction mainly focuses on characteristics such as the intention of the author, the single and fixed meaning of the narrative, and its closure. In contrast, in modern fiction certain other elements are emphasized like the centrality of the reader, lack of closure, plurality of meaning, and intertextuality. However, with a glance at some classical texts like Ferdowsi’s Shahnameh this distinction can be challenged. For example, Ferdowsi employs certain mythological and symbolic narratives in his epic which had no place in classical literature and at the same time he warns the reader not to restrict himself to the surface meaning of the story. Thus he lifts the addressee to narrative addressee and makes his stories open-ended and open to interpretation

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With the development of Bakhtin's theory of polyphony in literary criticism, the kind of attitude to literary texts has changed, and according to the needs of modern society, this discourse became the focus of attention of thinkers and literary theorists. Polyphony, with its own meta-lingual potentials, brings with it a new approach, a rethinking of the audience, so that the reader can have a new range of experiences. In this research, employing Bakhtinian dialogical logic, it is possible to examine Sange Saboor as polyphonic and dialogical. Sange Saboor has a special structure that differs from other works of Chubak and utilizes components such as the plurality of voices, the use of stream of consciousness, internal  monologue, intertextuality,  two-way discourse, literary schools, etc. The author of this article attempts to find the features that turn the text polyphonic and explore their function. 
 

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For Kristeva all texts are results of a textual network before themselves. So, in order for decoding a text, one must take the textual network into consideration. Authors and poets have always benefited from texts before themselves. This is sometimes done as legendism which is nothing but a kind of rewriting and recreating legends and does not help literature much. However, “legend-turning” has another approach which can be a cause for literary evolution.  Legend-turning does not just refer to legends in a manner of allusion and referencing, but deconstructs the texts of the past by employing intertextuality to the point that the reader cannot easily recognize what texts and legends have been used in the formation of a piece of text. In the novel Spells, we are faced with three methods: Legend-telling, legendism, and legend-turning. In The Blind Owl, too, the writer has deconstructed the text of the past through use of multiple legends and myths. A conclusion of this study is that both novels have benefitted from legends in opposition to legends. This article examines the two novels based on legend-turning or legendary intertextuality.