Ever since the human has become aware of the differences in his own kinds, he has turned to battles so as to make up for his deficiencies, while the ones attacked have engaged in self-defense and perseverance. Therefore, perseverance roots back to the primitive years of the human life on this planet. Mythology, as one of the ancient sub-branches of the literature, entails the idea of perseverance. Besides, you can find the rudimentary symbols of perseverance in the Mythology and Epic part of the literature.As a result, Myths and EPICS are representative symbols of the Perseverance Literature, even when they are introduced using the figurative language, they speak of the realities that people have been involved in. Therefore, being aware of the Myths familiarizes us with parts of the Perseverance History, that is to say the history of the mankind’s perseverance and withstanding against the nature and the intrusive forces. This article aims at reviewing and analyzing the Perseverance Literature in the most important Sumerian Myths, opening with a short introduction on the history of the human life and perseverance models in the primitive eras. The findings of this study show that Sumerian’s Literature and Poetry call for their readers’ attention and concentration trying to guide him as well as providing him with enough knowledge and encouraging him to change the current circumstances.

GILGAMESH epic is one of oldest EPICS in the world that is known as ‘eternity epic’. In this epic, GILGAMESH is regarded a good hero who looks for eternity with a great effort and finally, finds out that there is only one way that a man can earn eternity and that is good name and eternal not long life.In this essay, based on a deconstruction approach that opens other readings and interpretations; we proved that in this epic, GILGAMESH is not a positive character rather a symbol and a devil of famine who wants drought and infertility dominate the nature. Furthermore, according to existing proofs and evidences, it is a fertility myth not an eternity epic.

The epic of GILGAMESH has sumerian origin but what we have is a babylonian version. We now have the epic as it has been translated from stone tablets to European languages and then to persian. In persian we have some comprehensive translations or summarized versions with different stories. Though the original version of the epic has one chronological story, in some versions the details are different. In this research all the details are not considered, but the details which are effective on the comprehension of the main version will be dealt with. In this essay I have tried to mention the reasons for the existence of different narratives and the reasons why they exist, I will bring forward the reasons showing their truth or falsity. The benefit of this essay is that it helps the scholars of GILGAMESH not to look at the epic from a narrow point of view one - sidedly. The basis of this research is the book "Ancient Near Eastern Text" by james B. prichard.

Rostam is the preeminent national hero in Persian EPICS. There is no mention of Rostam’ s name in Avesta and Dinkard, yet in few Pahlavi texts there are some brief references to his name all the more reason for later addition of it. Rostam’ s tales are quite well known and popular in Parthian era and towards the end of Sassanid era in particular and had therefore an important role in transmitting and spreading the tales to the Islamic era in two branches, eastern one with Persian language as the focal point and western one with Gorani language as the main concern. The study of the role and standpoint of Rostam in western Iran is the subject matter of this article. In fourth and fifth lunar century, Piruzan Shahnameh in western branch include the mythological history of Iran from the reign of Kayumars till the reign of Bahman with numerous tales of Rostam. Shahnameh or Gordnameh composed by Larijani in Hamedan was produced following the example of Piruzan Shahnameh. In Gorani EPICS there is a reference to a Shahnameh in prose which seems to be that of Piruzan. Probably the fountain head of Gorani EPICS goes back to this Shahnameh and narratives of Gordnameh Larijani and their sources. Gorani EPICS encompass the full cycle of Rostam’ s life from birth to his death. Apart from Rostam’ s tales in Shahnameh Ferdowsi, there are extra narratives and EPICS added after the composition of Shahnameh, also narratives recited by the minstrels or naqqals such as Rostam and Zonoon, Rostam and Zardhang of which only their Gorani versions are available.

AbstractAmong the well-known heroic long poems, there are two called Faramarznameh, the first one the big Faramarznameh and the second one the small Faramarznameh. The editors of both texts have dated them as belonging to the fifth and the sixth centuries A.H., respectively. But in both works there are signs that are not compatible with these claimed dates. These signs have not yet been fully studied, but have attracted the attention of some researchers to some extent. In this article, after mentioning the opinions of researchers about the antiquity of the two works and evaluating the related arguments and documents, focusing on the language of these two poems, it is shown that neither of these two works can be regarded from pre-Mongol texts. In both works, the use of some words and grammatical constructions, especially phonetic features, along with some other linguistic and literary characteristics, leads the researcher to believe that the dating of both should be reconsidered and as a result, both of them should attributed to the eighth century A.H. or even afterwards.

Undoubtedly the 4th century i.e. samanian governance should be recognized as peak of Islamic and Iranian civilization. In this era of Iranian history den to providing cultural, social, political etc and different technologies and sciences finds considerable progress and so Persian literature and poem is impressed by this medium, one of the important issues considered in literature of this era is EPICS and writing epic poems.The most famous poet of this era is Roodaki although is poems in lyrical literature and also learning takes place, but a little thinking in his poems shows that he was quite awarded of sterile and epic issues and cold by complete skill reflects this problem in his poem, and also poems of Roodaki shows epic medium that had covered on society of those days.Roodaki often has used in lyrical descriptions from element of EPICS, and thus has given special horror to his poems. In this article, epic appearances in Roodaki poem has been divided and defined under five general titles.

Au cours d’une longue préhistoire que l’on devine, la genèse littéraire de chaque nation a été lentement élaborée à partir des mythes, des traditions et des coutumes de différents groupes humains réunis dans un territoire géographique donné, créant de nouveaux systèmes. Lorsque ces peuplades, avec chacune déjà son point de vue religieux, ses propres rites et ses propres mythes, ont été unifiées en un seul État politico-religieux, leurs patrimoines culturels ont souvent survécu dans le nouveau système. Ainsi avec le temps, l’interaction de chacun des systèmes a parfois abouti à des synthèses (théologique, idéologique, littéraire) savantes et complexes.Rédigée en Mésopotamie, l’Épopée de GILGAMESH est la plus vieille oeuvre littéraire connue du monde. Cependant, le cadre géographique des grandes expéditions de GILGAMESH et la description des paysages évoquent plutôt les territoires entourés par la mer Caspienne et le mont Damavand que la Mésopotamie.Cet article en étudiant certains thèmes et motifs de l’Épopée et du roman médiéval de Wîs et Râmîn, essayera de démontrer le prototype du héros mésopotamien dans la mythologie des Pré-Iraniens ou des Élamites qui habitaient bien avant les Mèdes et les Perses sur le plateau iranien.

Initiation, in its broadest sense is the proper performance of the expected and unexpected trials of life, since the very birth of an individual up to his death in order to lead him to his psychological and sociological maturity. In the domain of mythology, initiation ends in a symbolic death and rebirth. This article by following a double approach of psychology and sociology investigates the mythical EPICS, particularly those of Shahname, and describes the initiation forms of the mythical heroes. We believe that such an approach to initiation has no previous records.

Ferdowsi's epic, Shāhnāmeh, has had a profound influence on Persian Literature. Some poets have tried to develop their own EPICS, stories and poems by imitating his. But an admirable imitation of Shāhnāmeh has not been created. By considering two EPICS, Jahāngirnāmeh and Borzū-nāmeh, and based on Vladimir Propp's morphology, the present article tries to answer why there has not been created an epic like Shāhnāmeh.

One of the ancient rituals in practice for miliniums in Iran, India, and Rome is Mehr worship. It has been headed by a god named Mehr. Being the greatest of gods, Mehr is assisted in guarding the univers by such subordinate associate gods as Moon, Venus, Sun and Wind as well as Soroush and Roshan (god of justice). These many may not be independent; they are not of any effect unless they serve on the side of Mehr. Sun worshipped by both Iranians and non Iranians is considered to have so much in common with Mehr, hence invariably taken the same as that. The two names meaning the same, Sun worship has equated itself with Mehr worship. However, ancient religious texts like Rigveda and Avesta refer to Mehr and Sun separately. This obviously suggests that the two gods are distinct ones.The present research is a verification of the above - mentioned. It aims at the status of Mehr and Sun in national EPICS. which finally leads to the conclusion that the word Sun is employed in numerous texts with the same characteristics as Mehr, the god.