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Abstract
The similarity between myth and story has brought about theories based on which recurring elements between myths and stories can be explored and analyzed. This research, borrowing a descriptive-analytical method and following the theoretical framework of Carol S. Pearson and Hugh K. Marr Psychological -archetypal analysis in "Awakening of the hero within", and Joseph Campbell's The “Hero's Journey” theory, tries to examine the process of the "hero within" journey in the story of Bahram and Golandam. The study tries to analyze the manifestation quality of archetypes throughout the journey to show that the hero of the folk stories, like the sages, can step into the process of individualism and starts the heroic journey via the manifestation of these archetypes. Analyzing the mythical structure of this story, it turned out that the story consists of three stages of “departure”, “initiation” and “returning” which pave the way for the advent of the archetypes. The hero starts the journey by leaving home, and then the explorer archetype begins. Throughout the journey, according to fictional situations, the inner hero archetype faces metamorphosis and other archetypes arise consequently. The most vivid archetypes of Bahram are “lover”, “explorer” and “warrior” when the end comes by forming a family which shows the "returning" stage to the home environment where the “ruler” archetype occurs.  The results of this study show that the story of Bahram and Golandam has a mythical structure, and can be analyzed on the basis of the archetypes theories, due to its psychological approach.  

Keywords: Folk literature; mythical structure; hero within journey; Bahram and Golandam; children's literature.
 
Background
In context of hero within journey and the manifestation of archetypes, remarkable studies have been done such as Sarmadi et al. (2014) in which they the studied hero within archetypes in the novel Shazdeh Ehtejab. In another case, Ghasemzadeh (2014) analyzed the characters of Kaykhosro and Siavash in Shahnameh based on Pearson- K. Marr theory. Lastly, Ghasemzadeh (2013; 2016) studied the Little Black Fish and Bi-o-Tan stories based on the same theory.
The story of Bahram and Golandam has been studied from different aspects. In one study, Zolfaghari and Arastoo (2008) studied the themes in Bahram and Golandam, and Mashhadi and Dastan (2014) analyzed the narrative structure of Bahram and Golandam story on the basis of Greimas theory. Nevertheless, considering these stories from the psychological-archetypical aspect leads to more precise perception of society, culture and history of children literature.
Aims, Questions, and assumptions
Reading, revising and studying of stories can be done through archetypes analysis theories in order to reach a collective unconscious interpretation. Zolfaghari (2015) believes that studying folk decorum in one way relates to anthropology, and on other hand, relates to literature. The goal and necessity of reading and studying Bahram and Golandam story, on basis of hero within journey theory, is linked to the perception and cognition of collective unconscious and the spirit of stories society. This becomes increasingly evident in the case of Bahram and Golandam story which is classified as a part of the Iranian folk literature and also a readable resource for children and teenagers in the Qajar era and even before.
This study attempts to find the answers to the following questions: What are the courses of archetypes development and the process of their emergence in the story of Bahram and Golandam? What are the main archetypes in this journey? What are the effective factors in hero’s evolution and growth? How the hero’s image would be criticized on the basis of the archetypes criticism method?
Discussion
The hero in the journey within will experience three stages of departure, initiation, and return (Campbell, 2010). After passing these stages, 12 archetypes with unique traits will appear within the hero. He would gradually experience these archetypes and returns with power and strength at the end which is all due to the experience of self-knowledge and exploration. (Pearson- K. Marr, 2011) the study of hero within journey process and the acts of Bahram, as the manifestations of each archetype, shows that the lover, explorer, warrior and wizard archetypes are most frequent in Bahram's heroic journey. This begins with the explorer and innocent archetypes at the departure stage. Explorer archetype is repeated throughout the journey and the innocent archetype is removed after the initial steps. In the initiation stage, in order to reach the goal (i.e. joining the beloved – the meaning), the hero denies his identity and chooses anonymity consciously. Since Bahram and Golandam story is classified as love stories, the repetition of lover archetype is realized in Bahram’s character. In addition to the lover archetype, there are three dominant archetypes in Bahram’s heroic journey: the explorer, warrior, and wizard. Wherever no power and strength remains, he calls for the supernatural powers.
Conclusion
Bahram and Golandam folk story basically stands on the mythical structure. In this regard, Joseph Campbell's theory can be an appropriate means of investigation for this story. According to Pearson- K. Marr theory, Bahram can be respectively the Icons of lover, explorer, warrior, and wizard archetypes, and Golandam is the allegory of the hidden half of existence, a mysterious journey for discovery and cognition. Lastly, China is the code of true world. It seems that real maturity is gained by finding the hidden half of the existence, and Bahram, passing the stages of his journey, reaches the true destination of discovering his half (i.e. joining Golandam). He finishes his heroic journey and returns home like the king of two worlds. As mentioned earlier, Bahram and Golandam story is classified as a folk literature and children literature history, thus, considering Bahram as a hero in the mind of children and young people shows that the four explorer, lover, warrior, and wizard archetypes are attractive and acceptable among them.
References

• Campbell, J. (2010). The hero with a thousand faces. Mashhad: Gol-e-Aftab
•  Ghasemzadeh, S. A. (2014). The analysis on quality of awakening hero within in Siavash and Kay Khosro Persona relying on Pearson- K. Marr. Journal of Adab-e-Hemasi, 17(10), 107-134.
•  Ghasemzadeh, S. A. (2016). The quality of awakening the hero within in Little Black Fish fiction. Journal of Adabiat Parsi Moaser, 3(6), 55-75.
•  Ghasemzadeh, S. A. & Sarbaz, F. (2013). Psychological-modernism analysis of Bi Va Tan novel based on the theory of awakening hero within. Journal of Pazhoohesh Adabi, 42(10), 113-142.
•  Mashhadi, M. & Dastan, F. (2014). Structural-narrative analysis of Bahram and Gol-andam based on Greimas theory. Journal of Matn-Pazhuhi Adabi, 61(18), 83-104.
•  Pearson, C. S & Hugh, K. M. (2011). What story are you living? Tehran: Farhang-e-Zendegi Institute.
•  Sarmadi, M. & Gorji, M. & Mozaffari, S. (2014). A review of heroic journey of persona in Shazde Ehtejab relying on awakening hero within archetypes. Journal of Adabiat Parsi Moaser, 4(2), 53-81.
•  Zolfaghari, H. (2015). Culture and folk literature of Iran (in Faris). Tehran: The Organization for Researching and Composing University textbooks in the Humanities.
•  Zolfaghari, H. & Arastoo, P. (2008). Bahram and Gol-andam (in Faris). Tehran: Cheshme.

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