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The wide variety of ethnic groups and cultures in Iran has been a great advantage for this country, providing a rich substantial culture and a lively society. However, this variety and multiplicity has sometimes been used by the country's enemies as means for engendering the national identity and unity. Ferdowsi's Shahnameh, due to its richness and profundity, can play its traditional role of providing national identity and unity. In order to demonstrate the significant role of Shahnameh in providing Iranian groups with a single national identity, we considered the effect of Shahnameh on naming the geographical phenomena in Ghorveh with four towns and twelve rural areas. This research, registering geographical names and being impressed of Shahnameh, prevents this national unity from obliteration.
 

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This article is an effort to recognize the devil of  “Az”_avarice- and its significance in Greek mythology and Zoroastrian texts as well as the worthy masterpiece of Ferdowsi_Shahnameh_ and the evil nature of this mighty and powerful devil the ways of fighting with whom have been discussed in some mythological and Zoroastrian sources.
The importance of Az’s presence in Shahnameh has been dealt with based on certain verses of Shahnameh . The author has tried his best to besides unveiling the avarice of a number of kings and heroes mentioned in Shahnameh, highlight the deceit of this treacherous evil. Those kings who successfully resisted the deceit of the devil and promoted justice, goodness and generosity have been introduced in the article as well.
In a nutshell, the article differentiates between avarice and greed and making the best of what life offers and other such issues.

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Indo-european worldview has been reflected considerably in the formation of the Persian poem and prose, because of its literary and contextual grandeur. It has affected many works in various aspects, so that its mythology has been used in the prominent works such as Firdausi's Shahnameh and the Kyrgyz epic of Manas. However, the way of possessing such a worldview by Shahnameh and Manas is the subject of current research. In this regard, we have described and considered the behavior of heroes in the two works based on the George Dumezil's Three Functions Theory. Our study reveals that the tree functions of the theory have been applied all over the stories of these two epics. This theory is based on the two vises: coordination and contrast; meanwhile Shahnameh and Manas are based on goodness and evil, which are symbolized in heroes such as Siavash/Bakai as well as Rostam/Manas. The first section consists of the wisdom, intellect and calmness symbols, and the second section is related to the symbols of violence, stringency warmness, militancy, and self discipline; while ordering the Quadruplet elements system, provides the people with peace and self-coordination by its force. Moreover, there are invulnerable Demons and Personages in both epics such as Esfandiar (in Shahnameh) and Malgun and Mady Khan (in Manas). However, their only vulnerable spots are their eyes through which they must be killed and their dominance must be ended. This is the motif of “Killing the Demon by blinding him”, which forms one of the worldview's elements mentioned in Indo-european mythology.

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King Afrasyab is the Torani famous athlete and the enemy of Iranian people in Shahnameh on which the talks have been presented concerning nearby the city of the friends and athletes in Iranian mythical-epic recourses. Following the 20th century A.D., some of the experts on Iranian Cultures and civilization and along them, some of the Iranian myth researchers have put forward the theory that Afrasyab is the symbol for Apoush, the devil of drought, and also the equivalent and symbol for dragon and, recognized his first and mythical nature as a non-human creature and fiend. Although the devil or dragon or devil-like nature of Afrasyab is not explicitly expressed in any existing recourses, more probes into Shahnameh will reveal some more signs ; like calling him as  ill-generated in Shahnameh, creating famine and removing the rain and water and aggression to Iran, the ability to live in land and in the depth of water (amphibian), his life in the basement, relation with black color, Afrasyab charming, the irrelativeness nature of his close relatives, similarity and ties with devil and fiends, verifying this theory.
It is documented in this study, through explaining the sings mentioned and presenting the required example from Shahnameh and other recourses, that Afrasyab in the ancient myths and very ancient patterns, is a very fearful and satanic devil, dragon converted to the Shah’s committee- the Torani athlete and Then Turk athlete and historical existance but, some other testimonies from the mythical and first nature are left by him in Shahnameh and some other resources.

 

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Ferdowsi's Shahnameh has always been interest of readers, and many authors have tried to imitate it. Like other Iranian orators, the Kurd poets have recreated different stories of Shahnameh with innovations and sometimes translations. No doubt, the introduction and thinking of the epic verses after Shahnameh can expose some of the important issues of this valuable work and be effective on the morale of unity and patriotism among Iranian ethnic groups; therefore, in this study, we first introduced the verse of "Kordish Shahmghal and Rostam" and then compared it with the narration of " Shahnameh's Rostam and Shaghad", Salby's historical narratives, Toomar Naghali Shahnameh, Haft Lashkar, and Ferdowsinameh.

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Hakim Ferdowsi's Shahnameh has been always the focus of  attention by Kurdish-speakers. This issue has encouraged Kurdish poets to compose epopees in Kurdish due to the style of Ferdowsi's Shahnameh. The epopees named Kurdish Shahnameh available in Kurdish Goorani dialect are not totally abstracted from Ferdowsi's Shahnameh, but they have some famous stories, characteristics and poetic formats and even epic and heroic nature in common with Ferdowsi original work. Studies have revealed that the narrated stories in Kurdish Shahnameh are in accordance with the stories narrated in narrative cliques and the content of narrators' scroll. Narrating epic stories in narrative and story-telling cliques have directly influenced on the Kurdish poets. It also has made Kurdish Shahnameh like narrators' narration, influenced by the oeuvre's contemporary needs, mixed with Islamic themes being careless about word superficial features.

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Women in the book of “One thousand and one nights” and “Ferdowsi’s Shahnameh”, various social roles, sometimes positive and sometimes negative, are responsible; the role and position of women in two somewhat different. More tales One thousand and one nights, unlike the shahnameh, the loathing of women begins. At the beginning of this story, it seems that she is defeated and surrendered, but it is not so, but at the end of her affair with a feminine subtlety to spend, will win. In this paper with the method of descriptive-analytical, social status and role of women in two great works have been reviewed and compared. Most of the stories have been studied in this paper, which are responsible for a good female role. The results of this study indicate that the legend of the One thousand and one nights unlike the shahnameh, role of women in negative and sometimes mixed with evil of satanic. .  

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As an epic Shahnameh in Iran, along Iliad and the Odyssey are the world''s most famous epic works. Today, in the modern world, especially after the birth of comparative literature and comparative approach to the works of world literature as it is faced with acceptance. Anand critical discourse analysis of the literary text like other texts, in the service of communication. Therefore, they can also be analyzed with a critical attitude and approach. Tuesday Asrmvrd review, centered around personalities, Hector, Odysseus and Rustam planned. This epic heroes in bed, sometimes for homeland  himself in the role of king with heroic.place. Ferdowsi''s epic Homer and the composition of dominant discourses, in the form of pre-existing genre, have now opened a new epic. Thus, the three epic, as a communication event, only a reflection of the thoughts of the The poet thought, but rather, criticized the cowardly actions look heroic and popular discourse reproduces special.



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Abu Tāher Tarsusi is one of the literate and eloquent narrators in Persian literature that has been known by two published narratives called, Darabnameh and Abu Moslemnameh. A theory has been given already about his historical identity and assignment to the court of Sultan Mahmud of Ghazni. For the first time, this research has attempted to propose other possibilities during the first theory by newfound documents that obtained from the other Tarsusi’s narrative, called Qeran Habashi. This paper analyzed in three parts of great Shahnameh, Gitinama Minar and twofold sources along stating some reasons and the results of this research indicate the Abu Tāher presence between the ends of the Ghaznavid dynasty to the middle of the Ghurid reign. Based on this article evidences, Qeran Habashi was the last Tarsusi’s work and its hero is another desired and idealized figure of sahib Qeran Sultan deeds, Ghiyāth al-Dīn Mohammad Ghurid, that her mother called him, Habashi.

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In the early human thought, the objects or person's names were consistent with his essence, because primitive man thought that the relationship between the name and object or person is not conventional, and the forces of evil can harm him through his name. This vision is not spatially bounded, and there is in all societies and to all of them has been imposed special rules as taboo naming. In Iranian folklore and Shahnameh, we can easily see the following statements: Sometimes the name is same person's essence. This kind of taboo is seen when Rostam speaks about Siavash murderers by Human. Another example of taboo is the choice of two names to escape the magic injury. We can see this kind of taboo in the southern coast of Iran and among Turkmens. In Shahnameh we can see this factor in the story of Ghobad and Shide. The third example of taboo naming is to not say the name in the battlefield. This can be seen in the following two ways in the Shahnameh: 1- to repudiate the name explicitly. 2- to avoid saying the name. The latest example of taboo naming is replacing or renaming, that were used for deceiving spirits and escape from their damage.

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The story of Bahman in Shahnameh, despite the apparent independence, isn’t an independent narration; and In fact, it is a part of the main story of Rustam and Esfandiar; but the story, independently, becomes the subject of "Bahman-Name" of Iranshah ibn Abelkhayr and "Bahman and Faramarz" of Nowshad of Abolvafa , famous Lak poet in the Safavid era. The adventure of Bahman in Shahnameh is a brief story. In this story, after Bahman's Enthronement, he has attended to his animosity of the house of Rustam. He addressed there to Bahman's enthronement, his campaign in Sistan (to vengeance of Esfandiar), captive of Zal and Faramarz war, and finally, the marriage of Bahman with Homay and his death. But narrative of "Bahman and Faramarz", is the painful tragedy and partial description about oppressed death of Faramarz. This verse book begins with a description of Faramarz's bravery; narrates Bahman's Unequal battle with him and after describing his deplorable death, describes the story of revenge of Azar borzin in a beautiful and effective narrative voice. In this paper, we are going to analyze and compare the similarities and differences between the narrative of Ferdowsi and the influence of Ferdowsi of Nowshad and also show the degree of Nowshad's independence from Ferdowsi and finally, the particular characteristics of the verse book "Bahman and Faramarz" of Nowshad. Overall, the differences between "Bahman and Faramarz" of Nowshad and Ferdowsi's narrative, are more than their similarities. 

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Zolfaghari. H.,PH.D
                                                
Abstract:
 
One of the stories of Nezami’s Haft Peykar is named Bahram Goor and his female slave "Fetneh" in hunting-ground. Nezami has extracted this story from very simple, short, schema-scheme and temporal Ferdowsi's narration and developed it and has added the second part to it. After Nezami, Amir Khosro Dehlavi (752-651) has mentioned this story in Hasht Behesht and Abdi Beyk Navidi Shirazi (988-921) has brought it in Haft Akhtar. Both of them are the imitation from Nezami's Haft Peykar. Amir Khosro has brought the middle part of story with little changes in comparison with Nezami narration and Abdi Beyk has added the range of changes.
By comparing and analyzing of these Four Narrations, we find out that Nezami's skill about narrative elements, motifs and moral, mental aspects has preference over the other narrations.
This comparison has been done with the view of the narrative structure not verbal aspects and expressive, stylistic devices. At the end of this article, for example, we only narrate the description of female slave from Four Narrations, so that the reader compares oneself.
In the beginning of the paper, not only do we introduce four works and reports of Four Narrations, but also present the narrative motifs, and consider the aspects of similarity and difference of narrations with the use of a chart.
 
 

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Boasting poem is one of the special features of epic literature that includes the vaunt of the heroes and the expression of their works and honors, and is most commonly used during the war, but in other situations we also find it. None of the heroic stories of Shahnameh of this kind of discourse is empty. In this research, which done based on the documentary-analytical method and with a library study has been completed, We are going to explore the aspects of the content and language of the two poets in the area of boasting poem by studying the epic rebellion in the Shahnameh (Story of Rostam and Esfandiar) and the epic poem of Amr-ibn Kolthum Taqlabli. The central question of the research is whether the two poets are approaching each other in the direction in which they are located; whether the element or elements in the two branches are present and how effective the canvas and the climate have in their quality. After review we found that the language of the two poets, especially Ferdowsi, in the report of Rostam’s Rajaz, has a markedly diminished literary significance, and there is little rhetorical in his language, From the rhetorical point of view, "allusion" is the central axis of two poets, but indigenous and climatic elements have been effective in their regressive quality, as the vast landscape and geography of the inherent features of the epic does not appear in Amr-ibn Kolthum's poetry. Alongside the horse, which is a pivotal epic, the Arab poet has mentioned camels, which are the main capital and native Arabic animal. Esfandiar's Rajaz is accompanied by Rostam's reproach and humiliation. The rhetoric expressed in this story in the early years of the story is longer than the final stages of the tragedy of Esfandiar's death; that is, the more we get closer to the story and death of Esfandiar, the shorter and more violent ones are. Of the ten cases of Rajazi's intentions, two poets shared in seven categories, the expression of power, and the description of abusive acts, rape and race, the concern of disgrace and name, weakening of morale, threats, intimidation and in three cases Humiliation and expression of rival, admonition and uncompromising and oppression are different.

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Shahnameh position experienced many ups and downs in last century among the people. During the Reza Shah this literary text used as a supporter for his nationalist policies. They took some of patriotically verses to promote a sense of nationalism among people. Aalso during the second Pahlavi Shahnameh used to showcase the grandeur of ancient Iran and its traditions for other countries and civilizations. Nearly can be said they took advantage of Shahnameh in all national celebrations and festivals. For this reason, people from the people that were not aware of the Shahnameh truth were away from the Shahnameh gradually. They also saw the Shahnameh as one of the royal Instruments and should be considered outcasts.
On the other hand, replacing rreligious ideas instead of nationalist ideas as well as migration of some eminent researchers of Shahnameh Led the literary text is more unkindly. In this study, we will discuss this issues.

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Of the most famous proverbs of Iranian people one is this: the end of Shahname is happy. This is used when something evil happenes for someone to give him a ray of hope. As it is obvious the Shahname ends with the attack of Arabs, the question is how the end of it is regarded happy? Some critics take the word "happy"as verbal irony, some other critics take "happy"'s original meaning: a critic relates the proverb to the triumph of Kaykhosro over Afrasiab. Some critics relates the meaning of this proverb to the fact of sharing candies by shahname singers (Naqaal) after their ceremony of citing the poem. A critic believes that the fact that Ferdowsi ends this great book was a kind of happiness. The article in hand believes this proverb refers to the reveng of Yazdgerd the third's murderer. Avenging the king's murder was sacred in Iranian thought, and this is seen in different parts of the Shahnameh. Therefore, since Bizhan by killing Soory takes revenge of Yazdgerd, they call it happy ending.

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Wisdom is a complex concept for which an accepted definition has not been presented yet. However, experts generally agree that wisdom consists of knowledge, insight, reflection, and the combination of an individual’s interests and others’ welfare. Due to the mysterious nature of wisdom, it has been the focus of research in different times, places and cultures. Since wisdom has a close relation with culture, and no clear definition of wisdom is available in Iranian culture, the present study analyzed and discussed wisdom and wisdom features in Shahnameh through the comparative study of characteristics of wisdom behavior in Zal based on Ardedt’s three-dimensional model. The population of this qualitative study included Ferdowsi’s Shahnameh. Through purposive sampling, Zal was selected for further analysis. Shahnameh’s content was analyzed through open coding, axial coding, and selective coding. Findings showed that wisdom features include religiosity and ethics, thinking/ awareness, perception of facts and lack of subjectivism and projection, empathy / affection and support/ service, communication and acquisition of cultural experiences and values. Furthermore, results showed that it is possible to express wisdom in five different dimensions, including spiritual, cognitive, reflective, emotional, social and cultural dimensions.

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Statecraft, or what is called modern politics in the Shahnameh, has prosperity and authenticity combined with knowledge and insight. The foundation of Shahriari and governance is based on the two principles of truth and justice. Ferdowsi′s Shahnameh is one of the greatest and most influential epics works of Iran and the world. This great work can be studied and researched from different aspects. In many stories of Shahnameh, a manifestation of positive psychology can be explored.
One of the most outstanding literary works in the field of Persian literature is Ferdowsi's Shahnameh, which contains characterisations, depictions of lofty and ideal human goals, references to desirable solutions to improve the quality of life, and so on. In his literary masterpiece, Ferdowsi has mentioned the human being and its positive dimensions, and has provided extensive explanations in relation to idealistic figures such as Ky Khosrow - who go beyond the usual norms of society. In this regard, the present research, by applying Seligman's psychological opinions, will examine and analyse other aspects of Shah Kiani's personality and Shahriari's and Pahlavi's actions in order to answer the following questions: a) Which of the characteristics of positivist psychology emphasised by Seligman are prominent in the character of Khosrow? b) By approaching Seligman's intellectual foundations, can Shah Kiani be considered a positive and self-fulfilling person?

 

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Thousand and One Nights is tales from the language of an informed and literate narrtor which is aware from tales of different nations anf fiction litertures earlier than himself (or herself); such that it is said that there is rarely an story in this book that not to have leaders, derivatives and similarities. One of anectodes of this book is "Anectode of Women's Imposture" which its plot structure has many similarities with "Soudabeh and Siavash" tale in Shahnameh. This research in a comprativemanner, has addressed to this narrative elements and has obtained this conclusion that the plot in these two stories is very close to each other and this similarity of the plot structure in these two stories is related to thier root and background. Present sermon implying that anectode of Women's Imposture from Thousand and One Night book beacause of morphophonemics reasons and similarity and harmony of plot structure of these two stories and writing of Thousand and One Night in periods earlier than emersion of the Siavash tale in Iran, can be another report and narration from Siavash tale that has been narrated in Ferdowsi's Shahnameh

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In the present research, mores of Kosty close and Sedarh wear is analyzed in Zoroaster religion, then, its reflection is shown in Ferdowsi’s Shahnameh and Kurmanji Wrestling. Kurmanjs are one of Aryan kurds tribes that at the moment most of them is live in the khorasan north. In the first phase, is proceed to structural and lexical definition of kosty and sedrah and after which, is discribed ceremony as to this two dresses. In the second phase, linkage and reflection of Zoroaster kosty and sedrah is expressed with kurmanji koshn and chukhe and kemend, peshmine and ezar in shahname. research result is based on this which kurmanji chukhe and wearing ceremony it more is similar with Zoroaster sedrah, as hum woolen goods in shahname is demonstrator mores of kosty wearing in ancient iran. Kurmanji Koshn is similar with Zoroaster kosty of viewpoint application and lexical, as is similar hum’s lasso and brehman’s train and his messenger in shahname; as well as, koshn is derive from infinitive of koshan mean to thresh, as kosty is derive from infinitive of kostan mean to same. Kosty word is use in Shahnameh get together with the verbs two of close and devest, as its purpose is close-kosty in zoroaster religion when converted to close-kosty and is meaning wrestling when converted to devest-kosty.