Abstract:
Each narrative, as a combination of narrative chains, is made up of small components such as nouns, verbs, and words, so that the foundations and underpinnings of the narratives end in these elements in the shortest possible time. In linguistics we consider verbs to be dynamic, definable, and time-bound phenomena that represent the action of the actor, but in the narrative science the extraordinary power of the verbs and their frequency becomes apparent when we know each genre depending on the theme, theme, and theme of the actor. Accordingly, the present study seeks to illustrate the process of linking the color and hierarchy of verbs in psychological and horror narratives, and to map the process of action in such stories from situational verbs to achievements in a precise and calculated scientific course. The results of the present study show that in the psychological and horror narratives we see a regular hierarchy of verbs: situational, dynamic, accomplished and attainable, and this hierarchy is very closely related to the color of such narratives. 
Keywords: Narrative Verbs, Structural relationships, Narrative, Wonder.
 
Introduction:
In the science of narratology, apart from its known definition, the verb is classified in other ways in relation to the events of the story. This division is formed based on the three factors of "action", "event", and "situation" in narratives (Reck, Kaden, 2010: below the narrative) and depending on the type of story, different verbs also play a role in its narrative structure. Now, we should pay attention to the fact that in all kinds of narratives (police, psychological, realistic and terrifying) depending on the actions of the story, which type of verbs has more frequency. Examining verbs in this approach is of interest from various aspects such as: time, state, event, process and situation. In psychological and eerie narratives - which is the subject of this study - because of the mental and inner states of the actors, "state and situation" are more important; Therefore, the frequency of verbs with this approach plays a more prominent role in the pirang structure of such stories. Zeno Wonder has divided narrative verbs into four categories: active, final, achieved, and situational. In the pirang structure of psychological and eerie narratives, certain hierarchies of these verbs are regularly repeated and form the pirang structure. Based on this, the basic question that forms the body of the current research is raised as follows: What is the process of forming the tone and hierarchy of verbs in psychological and spooky narratives based on Wendler's theory?
 
 
Discussion:
 Zeno Wendler divides the verbs into four categories based on the type of time: active, passive, achieved, and situational. In this theory, dynamic verbs refer to a uniform process in a moment of a free time interval. The precision in the definitions of each of the verbs in Wendler's theory shows that he has a narratological and not a linguistic emphasis on the active, as each of the verbs of the above division is based on a story action and not on linguistics. The word process in the dynamic verb indicates an action and the free time period indicates the uncertainty of the start and completion time of the action. The word event in the past tense indicates that a certain action or episode is taking place at a moment, and the closed time period indicates that this action has a definite end. So active and passive verbs can be distinguished from each other according to whether their time of occurrence is known or unknown (Safi, 2008: 61). While dynamic and action verbs are different in terms of time, situational and achieved verbs are distinguished from each other by another means, and that is "the structure of achieved events against the integration of situations in situational verbs" (Ibid.: 62).
 
Conclusion:
One of the fields of expansion of the theories of literary criticism in Western literature and following it in Persian literature is the expansion of previous theories. The present research was carried out in line with the expansion of Zeno Wendler's theory: "Hierarchy of types of verbs in the horror and psychological fiction genre", which resulted in the following results: 1- In Wendler's theory, there is no mention of the structure of two genres, and we want to explain The relationship between the structure of the plot and the hierarchical position of the verbs, inevitably, at the beginning, the structure of the plot consists of four stages: beginning and description (status verbs), organizing the node (active verbs), (activist action to solve the crisis at the climax (finitive verbs) and achievements We drew the action for the actor (acquired verbs) for these two genres. 2- The relationship and the place of the order of the verbs in the narrative structure of the following two genres, which we were able to explain with limited (but accurate) examples and this is important. We have found that in each of the stages of the structure of the story in these two genres, a specific type of four verbs (in the order: situational, active, end, and achieved) is seen with greater frequency, in such a way that between the structure of the story and order There are verbs in these two communicative genres.