The Myth of Love Mining in "Bait Khaj and Siamand" by Mokrian

                                                                    Abstract
In the first step, the myth seems to be a narrative and a story; but myths carry the way and method, thoughts and messages hidden in the margins of the narrative. The truths contained in these narratives in many ways provide a model and method based on our ancient culture for living in today's society. The dominant culture of the West in the world spreads new patterns of love and degrades the status of love to physical pleasure. This has caused a crisis of human relations in society. Therefore, the analysis of love patterns in the past culture seems necessary and inevitable.
In the northwest of Iran is a region with a mountainous climate known as Mokrian and the center of Mahabad city. Mokrian Kurdistan is a very large land that is naturally a high mass that leads from the north to the city of Oshnoyeh and Lake Urmia and from the south to the city of Sanandaj and from the west to Iraq and from the east to the city of Maragheh and Tabriz. The people of Mokrian region, like other scattered ethnic groups and civilizations in Iran and the world, have their own unique culture and art. Although due to historical conditions, social spheres, etc., in the distant historical background of this civilization, we do not find a trace of visual art and written literature in the classical European and traditional Iranian way, but many unspoken and cultural components are transmitted and preserved in a traditional way. This has given rise to a special kind of oral literature. One of these cases is the expression of many principles and biological rules of these people, hidden in the heart of stories and legends, which are narrated in the form of heart-to-heart songs and are safe from the bite of history. In the oral culture of the Mokrian people, there are narrative and descriptive systems called verses. These narrations have a word that has mythological, ritual and historical aspects. The verses are narrated by Mokri singers in a cursed form only with singing and without the use of any musical instrument. The narrators of the verse are generally old people who, in their own tone, tell the audience the myths and stories they have inherited from the distant historical past. One of the most famous of them is Bait Khadijeh and Siamand, which tells a love and tragic story between two cousins. In order to study and identify the pattern of love in the ancient culture of the Mokrian people, the method of love between Khadijeh and Siamand was the main subject of this study. This mythical narrative is expressed in most Kurdish regions of the world in different ways and with small changes in the details of the narrative, with great enthusiasm, and in the contemporary period it penetrates and shows itself in other arts. The thoughts and ideas of each civilization are reflected in their works of art. This presence and reflection in music is much more colorful and impressive than other arts. This is important in Kurdish works of art, especially the verses, if these verses, which have been inherited from the distant past, are carefully examined and analyzed as paintings. Many social, cultural, economic and other issues will be revealed in the past. Love as an essential element of human life has always been the focus of researchers in all fields of humanities, but today, due to the crisis of family and social relations, it has become a fundamental necessity. The dominant culture of the West in the modern and contemporary world spreads new patterns of love and with it expands its thinking and degrades the status of love and leads to physical pleasure, and this has caused a crisis in human relations in society. Little research has been done on Kurdish traditional music. Beat and bit-reading, as an essential part of Mokrian Kurdish traditional music, have also received very little attention from researchers. For most readers, stories that analyze personal relationships are more appealing than other stories that tell only a linear narrative. That the protagonist establishes a romantic relationship with another person attracts the peak of the reader's emotions and attention. The character of the lover usually has a significant attraction for the audience and attracts his all-round opinion. The lover decides at the peak of his feelings that they will be together until the last moment of life and even death will not separate them. Bait (Khaj and Siamand) also show this. Khadijeh wants to mix her existence with Siamand like a firm lover, but such an action carries the risk of her death. Narratives in which the lover prefers death to separation speak of the belief that love goes beyond death. The story of Khadijeh and Siamand is of the kind of lovers who prefer death together to living alone. This narration has different themes, some of which are important in relation to love. The manner and manner of love relationship between Siamand and Khadijeh is the main subject of this research and its purpose is to study and identify the pattern of love in the ancient culture of the Mokrian people and present it to young people far from their ancient culture. The most important act of love is fidelity, because true love is a special and exclusive relationship between lover and beloved, a relationship that leads to complete fidelity to the beloved. In fact, loyalty is the most important indicator of love that is, not seeing a friend. Loyal people will easily withstand adversity and adhere to their love. Love in Iranian culture is a moderate love due to its cultural and religious status. The theme of love in art and literature has been more infidelity, because romantic fidelity, especially marital fidelity, is considered normal and necessary, and infidelity has been described more because it is considered unusual. The authors of this study believe that the mythology of love has given us a correct understanding and a new reading of the verse (Khaj and Siamand) in Mokrian and has clarified one of the patterns of love in this culture. This research seeks to answer the question: Does love have a specific structure in the narrative in question? Is there an example of this structure in other myths of Iran and other nations? The result showed that this structure of love in this narrative is purposefully designed and its structure is recognizable. This structure is also found in other myths of other nations. In this narration, several important themes were studied and analyzed, but the main theme of the narrative of loyalty was recognized. Khadijeh's loyalty to love and lover caused her to resist the family's decision in the first stage and even ran away from home with Siamand, and in the last stage the story reveals the culmination of self-sacrifice and loyalty. Khadijeh, when she sees that Siamand loses her gift on the way to preparing a gift for her family, throws herself from the top of the mountain with the intention of compensating for the gift, loyalty to love and the beloved, so that she can be with her lover forever. In this narration, Khadijeh has emerged as a woman as the first character of the story and has played a role as a loving human being, regardless of gender. Finally, at the end of the story, she reaches the final stage of love through sex and physical pleasure and dies until Remain faithful to your love and eventually evolves. In fact, Khadijeh's character in this story represents true love and the true meaning of loyalty. Comparing the narration of the story with other myths, it was found that the structure of the love story presented in this narrative is comparable to the structure of love presented in the myths of other nations and there is a similar example. Therefore, this structure is purposeful and has mythological originality. This research has been done in a descriptive-analytical method, collecting information using library and field resources, as well as the global information network.