Introduction
Consciousness is a fundamental human characteristic that has far-reaching implications and reflections on various aspects of human life. It is a mental process that occurs in the present moment, encompassing multiple states, including cognition (beliefs and understanding), perception (analysis), emotion (fear, envy), feeling (pain and suffering), sensory perception (seeing and hearing), quasi-perceptual states (dreaming, imagining), and behavioral states (acting and attempting) (Morland, 2012, p. 142). From a historical perspective, oral literature, also known as folk literature or popular literature, predates written literature. As noted by Jafari Ghanavati (2005, p. 96), “thousands of years before inventing writing and entering the historical stage of their lives, humans had acquired the ability to speak”. Therefore, folk literature can be regarded as the earliest manifestation of human language and imagination. It is no surprise that folk literature, particularly national myths, is one of the greatest and oldest manifestations of individual and collective consciousness of human groups. The present research aims to address the fundamental question of what differences and similarities exist in the constituent elements of awareness in the personalities of South Khorasan and Mazandaran myths.
   Methods
The research methodology employed in this study is informed by Robert Johnson’s theory of levels of consciousness, specifically the masculine dimension. According to Johnson (2007), human consciousness can be categorized into three distinct levels. The first level, epitomized by Don Quixote, is characterized by simplicity and instinct. At this stage, individuals inhabit a self-created, unspoiled paradise in their minds (Johnson, 2007, p. 38). While some aspects of this level of consciousness may be perceived as violent and prejudiced by modern standards, it is essential to examine these components within their original context. The second level, exemplified by Hamlet, is marked by complexity and three-dimensionality. Modern individuals strive to attain this level of awareness, willing to pay any price for it (Johnson, 2007, p. 46). The third and highest level, embodied by Faust, represents the stage of enlightenment. Individuals who reach this level possess a strong motivation to teach and have a profound understanding of their internal and external conditions. They are aware of the interconnectedness of their inner world and external reality, resulting in genuine happiness (Johnson, 2007, p. 132).
This research relies on primary data collected from two books: Khorasan Legends: Birjand by Khazaee (2006) and Legends of the People of Mazandaran by Emadi (2014). Additionally, supplementary sources were consulted as needed. A descriptive and analytical approach was employed to examine the data, guided by Johnson’s theory of the evolution of consciousness. In fact, the study analyzed the elements of first-level consciousness, including the use of magic, anima, adherence to ancient collective patterns, the presence of the old man, and other relevant themes, through qualitative content analysis.
Findings
In the first level of consciousness, the similarities of the myths of the regions under study outweigh their differences; the slight difference that exists between the consciousness level of these myths is due to the type and extent of the use of the inner world by primitive man and attention to the outer world, the level of awareness in the child and personality development during the story, the type of view towards women and the embodiment of the wise old man. According to the frequency of data, the myths of South Khorasan (15) compared to the myths of Mazandaran (10) are more committed to tradition and instinct. The heroes, by following these two, are very practical and two-dimensional. This is while in the myths of Mazandaran, the heroes have slightly moved towards doubt between conscience, personal choice, and separation from traditions and following instinct and tradition. The hero of the myths of Mazandaran in some cases and after personality development holds a higher level of awareness and acts more modern. He is realistic and has distanced himself from the world of fantasies and myths. The situation is similar regarding the presence of anima and magical elements. In the myths of Khorasan, the presence of anima (30) is more visible than Mazandaran (20). However, anima in these myths is generally passive and subject to conditions, not dynamic and influential. Magical elements are also observed more in the myths of Khorasan (40) than in Mazandaran (30). These elements usually have a vital and influential role in the course of the story, indicating the impact of these factors on people’s lives and beliefs.
In the myths of South Khorasan, the number of cunning and clever characters with much intelligence to survive is more than in the myths of Mazandaran. While the child in the myths of Mazandaran (20) has a wider presence compared to the myths of Khorasan (10). This, at first glance, indicates a higher level of awareness (or more precisely “intelligence”) in the myths of South Khorasan; but it should be noted that it is the instinct of survival and following instinct that ultimately leads to the dominance of traditionalism and the world of the father or the two-dimensional and imaginary world of primitive man; because the hero, without hesitation and doubt, chooses survival and devotes all his power to it. But the hero who approaches the second level sometimes sacrifices his life for doubt (like Hamlet). On the other hand, the intelligent hero of the myths, from the perspective of modern man, is ultimately nothing more than a smart child who tries to deceive others with childish plans. The hero of the legends of South Khorasan, in accordance with their lifestyle and geographical conditions, benefits from their colorful inner world. This benefit is to the extent that the outer world never overcomes the inner world. A world is full of colorful imaginations that connects them to the beyond, the sky, and paradise. The timelessness and placelessness in the legends indicate the hero’s introspection. Moreover, since the hero's unconscious dominates their psyche, they live in peace with their inner self and existential elements, although they are unaware of these elements. Heroes in legends usually do not have a mask and do not repress their desires into their unconscious, thus they do not create a terrifying shadow. They are accompanied by it without being aware of its existence. Ultimately, this inner peace, albeit false, and the absence of a shadow in the unconscious psyche, leads to their tranquility and happiness. For this reason, the end of almost all legends is beautiful and happy, and in fact, by the desire of the two-dimensional human, without effort and struggle on the part of the hero and by the forces of nature, everything ends well and happily.
Conclusion
In conclusion, the heroes in the legends of South Khorasan are generally more two-dimensional and primitive compared to those in the legends of Mazandaran. The legends of South Khorasan are more imaginative and better embody the concept of a legend. In contrast, the legends of Mazandaran often blend realistic and historical elements with imaginative ones, which adds depth to their heroes. As a result, the heroes in the legends of South Khorasan tend to exist more at a surface level, whereas those in the legends of Mazandaran exhibit more complexity and nuance.