Epopee is one of the most valuable of iran national works in which Reader faces with many persons that everyone expresses today human’s state, act. And react against daily event. So, Epopee is a suitable floor for researchers which want to realize personalities analytically. Because by knowing past man we can solve difficulties and problems today. Also researcher wants to realize AFRASIYAB personality which has an influencing and long role in the most of Epopee stories, so that he can realize some part of today man’s spirit and personality. In this research, at first an induction will be given about personality and antisocial personality disorder. Then AFRASIYAB behavior will be compared with antisocial personalitiesNow the question arises that what Afrasiab with antisocial personality traits are consistent? AFRASIYAB behavior expresses his antisocial personality in Epopee. He has a lot of properties which theorists recount for antisocial personalities, such as lack of loyalty to his promises and people, irritability, aggression, lack of experience for his past action, the ability of giving quick reasons, mistrust, inclemency, japery, flippancy, use others & lack of planning and thinking for doing his duties.

Most of the old celebrations and rituals have their roots in ancient myths; they are indeed reflections of the beliefs of a people who lived in a particular milieu and at a particular time. "Teer-mah Seezzehshoo" descends from the ancient Iranian grand celebration of "Teergan"; it is still celebrated in the north of the country, especially in the northern Iranian province of Mazandaran.The author of the current article will try to demonstrate the relation between "Teer-mah Seezzehshoo" with some other Iranian mythological stories such as archery myth of Arash, AFRASIYAB, Sepandarmaz, etc. which have close associations with water and greenery of the north of Iran.

This article is about Siavash; one of the most important and fundamental characters in Shahnameh. He has had the opportunity to encourage goodness and scorn badness in the Iranian national epic; Shahnameh. The narration of Siavash's life does not merely belong to Shahnameh and Ferdowsi, but it is also seen in the legendary history of Iran before and after him too. Therefore the various stages of his life are reflected. Yet Ferdowsi's narration is more comprehensive and complete, compared to the other texts and it enjoys more fictional elements. As a result Siavash's fiction in Shahnameh has become the fundamental point and other texts like "Tarikh Bale-Ami", "Mojimalo-Tavarikh", "Tarikhe Saa'ealabi", etc have been compared with it; relating both the diffences and common points.

This article aims at a narratological study of the “Haftgordan story” of Ferdowsi’s Shahnameh and the story of “Afrasyab-ibn Pashang” as narrated by Anushirvan Marzban in Hormozdyar. After a review of the summaries of the two narratives, a comparative structural study of the works coupled with a study of their mythical and ritual origins are presented. These studies show that Ferdowsi’s account of the story is characterized by its bucolic, nationalistic and rationalistic nature as well as the exclusion of some ritual (Rostam as a Zoroastrian hero) and mythical (Afrasyab’s visit to Satan) parts. Although it seems that the exclusion of  ritual parts may have occurred some time before Ferdowsi, it is quite probable that the omission of mythical parts was his own decision. Conversely, Anushiravan’s narrative, originating from priestly order with emphasis on the teachings of Mazdisnai, is more original and unified, and it enjoys from an equally mythical and ritual deep structure that is more in harmony with the similar patterns in Persian stories. This story particularly plays an important role in the analysis of the Persian epic in its transmission from priestly to bucolic narration.

In the prologue to love story of Bijan and Manijeh, Ferdowsi presents a meaningful description of a night. This is, in fact, a foreshadowing to the story and the difficulties the heroes encounter in the land of Turan. Along with his engagement to the motif of the battle between good and evil, or light and darkness, in the Iranian doctrine-the most striking example of which in Shahnameh is the battle between Iran and Turan-Ferdowsi employs similes for describing the night originating from the ancient Iranian beliefs. The mythical accounts of these beliefs are given in Pahlavi books, and through studying these sources, directly or indirectly, Ferdowsi has employed them.Based on the sources from the Iranian Middle period such as Bundahishn, Pahlavi Rivayat, Menog i xrad and Vizidagiha i Zadisparam, the present study examines the implicit links of Firdowsi with Iran’s ancient beliefs and traditions in the prologue of Bijan and Manijeh.

Iranian and Indian nations have common racial and ethnic origins; and during the time, they have left impression on each other. These impressions are reflected and can be seen in the two nations literary works. Assuming existance of common themes between Shahnameh of Ferdousi and Ramayana, one of the great Hindu epics, the article tries to compare three antagonist characters of these two works: Zahhak and AFRASIYAB with Ravana. The study shows the salient presence of devils of drought in both of works as their common root.

The Iranian myths are explained in the form of creation of Twelve Thousand Zoroastrian or Nine Thousand Zarwani. The main characteristic of these myths is the dualism and limitation of the universe. The Pishdadi Dynasty and Kiyani Dynasty cover a part of this Creation Period. The foundation of thought and belief in the existence of demons and fairies on the one hand and the appearance of tyrannical men such as Zahak and AFRASIYAB on the other hand takes place in these two fictional periods. The magnificence and glory of Iran and the significance of kingdom also count as the main characteristics of this mythical period. The promotion of mankind (kings, heroes) and taking the place of gods are the other considerable features observed in these myths. Furthermore, one should not forget that the Iranian myths were affected by the myths and cultures and civilizations of neighboring regions (Mesopotamia, Greece, regional area of Indus).

By composing “Ghoghnoos” in 1316, Nima Yooshij began using symbols in contemporary poetry. After him, strong and serious followers were found. By contemplating and meditating on Nima’s poem, especially the poems composed after the mentioned year, we can find the origin of his poetic symbols. The main origin of his symbols is, first, nature and its various manifestations like time, place, some of Four Elements, birds, animals, jungles, trees, etc and then humane symbols which are often related to native characters and people of Nima’s living area. In his poem there is no trace of legendary and epical characters such as Rostam, Esfandiyar, AFRASIYAB, and the Islamic characters such as the Prophet of Islam, Imam Ali and other leaders as symbol. Some of his other symbols are rooted in our past mythology, tradition and culture.In this article, by examining symbols in Nima’s poem, it is clarified that most of his symbols are innovative and personal. Of course, even his most subjective and personal symbols originate from the observable and objective world and the environment of the poet.

Dream is one of the important subjects that were concerned by human being during the long history of humanity, therefore, literature, especially Persian poem, never forgets it. Mean while‚ the nature of epic poem because of its relationship to the myths take plentifully advantages from meanings ‚relations and symbolic language .Aside from characters ‚ethnicities ‚roots and its effects dream in Shah name is the center of gravity of many stories in Shah name that Ferdowsi because of awareness of the common aspects of myth and dream in literature area, specially in symbolic language takes properly advantages and make it more eternity. Although‚ abundance of dreams in Shah Name is high in quantity, but for shortening of article, authors pointed out only to some samples of Iranian dreams‚ for example: Sum‚ Keykhosrow‚ Siavash, and Anooshiravan’s dreams as well as Niranian’s dreams such as Zahhak‚ AFRASIYAB, and Jarire. Any of these dreams has common sensible aspects like reflection of individual- unconscious mind. Also the common aspect of myth and dream is hidden in this subject ‚with this exception that the myths are due to cumulative-unconscious mind. In conclusion, In Shah Name, interpretation and obviousness of some Ferdowsi's thoughts require perfect understanding of dream.

Introduction: In the study of ancient Persian religions, three religions are prominent; they are Zorvani religion, Mithraism or Kish-e Mehr and Zoroastrianism. Mithraism has close ties with Zorvani religion.  It also had two major rituals, one was the sacrifice of bulls and the other was drinking juice and extract of Hoom, a sacred plant of ancient times. Hoom is considered to be ephedra vulgaris, a small plant with yellow flowers.There are many sacred trees and plants in religious and mythological narratives of many religions which usually represent the living universe continually rejuvenating itself. There are also mysterious relationships between human beings and trees and plants; some tree or plant is considered as the mythological ancestor of a tribe.The word Hoom (Avestan haoma, Middle Persian hom) is mentioned in different parts of Avesta. Hoom was a golden plant and a drink was extracted from it which enjoyed a special place in Mithraic ceremonies. With the advent of Zoroastrianism Hoom was regarded negatively but later on regained its importance as depicted in adding a part to Avesta named Hoom Yasht in which Haoma is manifested as: 1) a golden plant, 2) an intoxicating drink, 3) a man, 4) a god.In this paper the role of this mythical plant is discussed in the formation of some of the narratives of Persian Epic, Shahnameh. This study uses textual analysis of ancient religious texts and Shahnameh to discuss the mythological and archetypal elements of a classical Persian epic. Discussion: Hoom is only once mentioned directly in Ferdowsi's Shahnameh, that is the appearance of a woolen-clad pious man named Hoom. The story relates how during his prayers at the temple, Hoom hears a man groaning in a cave. Finding out that he is AFRASIYAB, the enemy of Iran, he ties his arms with his girdle. However, AFRASIYAB tricks Hoom and runs away, but with the help of Kai Khosro he is captured again, then Hoom disappears.In Shahnameh, Simorgh (phoenix) the legendary bird advises Rostam to use a special plant to be mixed with milk and musk in order to cure Rudabeh's wound. In Rig Veda and Avesta the mixing of Hoom and milk and pounding them in a mortar are mentioned many times. It is also mentioned that this plant is medicinal. Hoom is said to grow on Alborz Mountain where Simorgh used to live. Hoom can also be traced in the story of Rostam and Sohrab. Rostam not recognizing his son, Sohrab, wounds him; he asks Kai Kavus for an antidote with wine to cure Sohrab. The description of antidote is very much like that of Hoom. Another instance is the story of the death of the invincible Esfandiar in war with Rostam. Simorgh advises Rostam to choose an arrow and to dip it in raz water (grape juice) or wine which is supposed to be fatal. Again the description and the toxicity of the drink is very much that of Hoom.Conclusion: The ritual-mythical relationship of Simorgh and Hoom in Shahnameh is mostly related to Rostam's family. Simorgh and Hoom are also related to Mithraism and the worship of Mehr, an older religion that Rostam is its chief priest. That is why Esfandiar as the upholder of the new Zoroastrian religion kills Simorgh that with the help Hoom is the protector of Mehr and the followers of Mehr.