Following the primary epics, another type of epic was formed, which is called secondary or artificial epics; A type of epic that is formed by imitating the original epics is a religious epic whose poets are based on the wars that took place in the history of Islam, especially in the days of the first emergence of Islam, according to epic texts. They describe the heroism of one of the most prominent figures in the history of Islam, who held a high position among most Muslims. The composition of such poems began in the fifth century, shortly after the time of Ferdowsi, but in the Safavid era due to political and social conditions has been narrated and continued and the attention of poets in later periods to this literary form has been much. In the period between the 11th and 14th centuries, more than twenty religious epic poems have been counted in the Isfahan region alone, which have not yet entered the realms of research.The present study, while explaining the various aspects of religious epics with a descriptive-analytical method, has analyzed and criticized the various areas of the three collections (manuscripts) Ordibeheshtnameh,Shahanshahnameh, Maghamat-e-Hosseini as examples of religious epics. The result of the research shows that the poets of the works did not pay much attention to the linguistic and rhetorical system in such a way that sometimes the epic and lyrical elements are mixed; The semantic and content system has been highly regarded by poets and they have tried to use the text as a means of expressing their religious and doctrinal perceptions, which is a mixture of history and the Poetic preparations. In the meantime, Ordibeheshtnameh and Shahnshahnameh have been very much influenced by Ferdowsi's Shahnameh, but Maghamat-e-Hosseini, apart from rhythm, seem to lack many epic components.

As both epic and history express some stories of the past, their existing similarities and dissimilarities and their relation have attracted the attention of scholars. These two kinds of stories have been so similar that previous experts could not distinguish the historical events from epics. In Shahname, as an excellent sample which Iranians consider as their pre-Islamic history until the last Qajar, the line between historical events and epic cannot be drawn. Finding the roots of many of Iranian national epic stories in Avesta and observing their contradictions to the works of foreign authors, inscriptions and archaeological findings, aroused many serious questions about the existing relation between epic and history in the field of Iranian studies. This essay is generally studying the relationship between epic-history and its ratio to Iranian national epic specifically.

"Karbla" is a long epic poem that composed، in 222 odes and more than 6000 verses، by "Said Alosayly"(1929-1994) the contemporary Lebanese poet and Accounting the life of Imam Hussain (AS) from birth to death in Karbala. this epic enjoys، tender affection، fluent words and phrases and appropriate rhythm. In this epic that is written like storied poetry، the poet in addition to the high goals of heroes of Karbala and their behavior، describe their prowess and courage in battlefield and give his work epic features so he called it "ملحمة " (Equivalent to the حماسه"" in Persian and "epic" in English). Thought there are many differences between Islamic epics and World epics but We can see some technical features epic in recent Islamic epics. This paper is seeking to study the main elements of the epic such as: beginning and end، describe the battlefield، lyricism، prediction، in the Karbala’ s epic.

Shā hnā meh of Ferdowsi, as the valuable work of epic literature, shows collection of cultures and beliefs of Iranian people from the farthest times to the era of Ferdowsi. In this book, Ferdowsi narrates the story of Iranian kings and heroes from mythological to historical times; it is a collection of beliefs, cultures and rituals that kings, heroes, natural elements and animals are its actors. Elephant is among these actors. All the epic, mythological and ritual motifs related to elephant are not mentioned in Shā hnā meh, so in order to achieve a comprehensive overview of the animal, inevitably, other Persian epic books, written after Shā hnā meh and affected by it, should be studied. By using comparative-analytical approach, the authors of the present article try to extract, classify and analyze the motifs of elephant and its related themes in Shā hnā meh and other ten epics including Bā nū goshasp-nā meh, Borzu-nā meh, Bahman-nā meh, Jahā ngir-nā meh, Sā mnameh, Shahriyā r-nā meh, Farā marz-nā meh, Kok koohzā d, Kū sh-nā meh, and Garshā sp-nā meh. The most important motifs include: Ahurian-Ahrimanian motifs, elephant totem, killing elephant by hero, metamorphosis to elephant, presence of elephant in army, its role in games, interpretation of dreams and so on.

Apart from influencing and being influenced through the works of two lands, it is possible to go into specific topics which have some points in common regarding the content. The same common points can be used to compare both a topic and an approach as well as a content similar and common in these two different lands. The issue of having a strong body can be considered to be an important factor in literature and beliefs of different lands demonstrating the human history and primitive humans. The current study aims to investigate Iranian and Scandinavian epical thoughts along with the most famous expression of the same thoughts in epical works of these two nations. It also aims to state and compare the commonalities, superiorities, and inferiorities in order to put these two works in the same framework through which we are able to scrutinize each of them in detail.

Dealing with the contemporary Hosseini verses, the attempt of the research is to discover new subjects, well-known symbols, the explicit differences between this kind of poem and the previous ones. It also attempts to delineate the distinguished technique and the appropriate rhythm and the merits and demerits and their causes. The classic Hosseini poems as it was in the previous eras, were highly appreciated by people, specially in the mourning ceremony of Imam Hossein (Peace Be Upon Him) its popularity among people increased the influence and power of this technique, although some of the weak and low - class poems penetrated among it.In spite of the fact that the main dominant technique in this kind of poems has been "elegy” the epic one has overcome it in the contemporary era and has shed light on sociopolitical issues in recent decades. As a result, new subjects emerged abundantly in relation to the problems of Islamic world in general and Arabic world in particular.Different poets from different religions, beliefs, style and geographical regions have paid attention to contemporary Hosseini poetry, with his own viewpoint concerning the event of Karbala. Although different Hosseini poetry have different motivations and beliefs, a common feature exists among all of them and that is ecstasy, affection, love for Karbala epic and those who created this great Event.

Shahnameh translated by William Jones, and excerpts of which translated into English verse and French prose are recognized to an extent in the west. From then on characters like Louis Langles, Ernest Renan, Jean-Jacques Ampere, Noldeke announced that the Persian national epic outshines any other epic in the world. The purpose of this article is to determine how Shahnameh’ s reputation diffused in France and to what extent the French were inspired by its tales. Since the 18th century and after the great French revolution, in French literature a movement took form which turned the attention of this nation towards literary works of other nations. With the spread of Orientalism in Europe the worldwide process of translation movement took speed. The first translations made from excerpts of Shahnameh were carried out by Louis Langles, De Wallenbourg, and Biyanki, however translation and critical edition of Shahnameh of Ferdowsi undertaken by Jules Mohl took forty years to complete and finally in 1877 it was published in seven volumes. Since then, French authors such as Alfred Delvau, Maurice Maeterlich, Noldeke conducted researches and produced criticism regarding Shahnameh that influenced French poets like Abel Bonnard, Victor Hugo, Francois Coppee, Paul Furt, and Andre Gide.

Although there are radical differences between mysticism and epic in many sections, there are a lot of identical features found for both that through profound look at epic poetries one can find out that the mystical backgrounds are deeply rooted in the beliefs and ancient customs and the footprint of mysticism are evident in epic works. From this perspective the overall heroic works and writings have the potential to be studied just like Shahnameh, Garshasbnameh, Bahmannameh, Kooshnameh, Shahriyarnameh, Banoogashsbnameh, etc. In spite of the fact that dualities have on the surface strengthened the foundation of mysticism and epic, in deep down they have made essential interrelations. Good or bad, celebrating and mourning, being and striving, qualification and disqualification, darkness and lightness, Ahurah and Ahriman, angel and demon, and the like each one is a mixture of the other one, and by pursuing them one ends up with the other one. It is obvious that without making such a master key of thinking applicable, any entry into the mystical and epic minds in Iran is like beating a dead horse.

The narration of history in epic poetry and the desire to write Shāhnāmah were features of post-Ilkhanids Iranian history and literature. These features provided frameworks to strengthen Iranian identity and reinforce the foundations of Iranshahri ideology in both sociological and governmental aspects. In the evolution of thought in Iran, we could consider poetry as the philosophical language of Iranian intellectuals, so epic poetry, in this case, the compilation of history in the style and format of Shāhnāmah, as in Mustawfī's Zafarnāmah, is a manifestation of intellectual and cultural transformation in the Ilkhanids era. Through poetry and epic poetry, Mustawfī presented the position and function of the "justice-oriented king" as a lasting concept. He presented it in a way that restores the glory of the past as well as the needs of the time. In Zafarnāmah, Mustawfī, by the philosophical language of poetry and the use of the desirable past, intended to provide an efficient model of the Persian Shāhnāmah concept in the Ilkhanid dynasty. He completed the process of previous historians in designing examples of epics, such as Ferdowsi's Shāhnāmah, and left a collection of poems in which history has been appropriately presented in the form of epics and poems.

In Ferdowsi's Shahnameh not only people but the elements of nature and animals are playing an important role and reflect a major part in conventions and beliefs.Among the animals, ‘wolf’ is one of those animals with important functions which Shahnameh refers to are many times and has devoted many themes to it self. It is clear that all concepts related to Wolf are not available in Shahnameh. Without examining other epics, a competed research on this subject is impossible, To do so, it is necessary to examine ten other epics as well. They include (Banoogoshasp nameh, Borzoo nameh, Bahman nameh, Jahangir nameh, Sam nameh, Shahriar nameh, Faramarz nameh, Koke koohzad, Kush nameh and Garshasp nameh) examination of these epics, the most important characteristics and points about this animal has been characterized and analyzed. These characteristics are as follows: Devilishness, darkness of skin, speaking, staying in cave and guarding from hoard, riding hero on wolf, wolfs totem, breeding child with milk of animal, killing wolf heroes and champions, transformation to wolf, Gorgsaran (the land of wolf), wolf and human community.