نشریه جستارهای نوین ادبی
سال چهل و هشتم شماره 1 (پیاپی 188، بهار 1394)

The renowned proverb “Shāhnāma axarash xoš ast” has implicit question which its answer may change our understanding of the nature and function of Shāhnāma. The end of Shāhnāma contains numerous tragic events in Sassanid age. Also it does not seem to be normal if the Iranians have deemed the bitter adventure of the Shahs and Pahlavāns as a happy ending like what Firdausi narrates at the end of his Shāhnāma. This article tries to reply the main question using an illustration on the story platform and domains of two independent Iranian traditions namely the “formal” and the “informal” epic and championship narratives. The Interaction between oral tradition and influential authorities (political/religious) has led to a new generation of Iranian epic genre (Khwadāy-nāma) that was then underlying the emergence of variations of Shāhnāma in the early Islamic era. Inevitably the structure and the form of، “The Sistani cycle of epic” and “The Kurdish Shāhnāma” as two branches of the oral epic narratives which seemed to have been preserved from the influential discourse of “formal narrative” are argued. The conclusion is that this proverb is referring to the end of the story of Bahman and Faramarz based on the oral tradition version.

Every day، we see the numerous works and articles which are published about Shāhnāme. In this massive volume of writings، Shāhnāme is in the center of attention and is viewed from different perspectives and angles: from the discussion on the words and lines of Shāhnāme and to the reflections on its stories، characters and myths، from the Ferdowsi’s life to the effect of the Shāhnāme on the other Persian works and its relation with the myths and eposes of the other nations and so on. Among these topics، the Ferdowsi’s sources in the Shāhnāme have always been one of main issues of discussion among experts on the Shāhnāme and Iranian culture. Mohl، an early editor and translator of the Shāhnāme، started doing methodological research about the sources of this book in 1878. From that time until now، the fire of this discussion has lived on and remained and it is safe to state that the discussion will be alive forever. With a descriptive and analytical approach، in the present article، first، various theories about Ferdowsi’s sources are classified in three groups with reference to their proponents، and then each of these theories is critically and briefly analysed. After a detailed introduction to Kumiko Yamamoto’s work The Oral Background of Persian Epics: Storytelling and Poetry، which is the latest independent academic work on this field، it is evaluated in view of the different theories proposed for the sources of the Shāhnāme، and some strengths as well as weaknesses of this work are discussed in this article. In his preface to Shāhnāme، even though Mohl mentioned two types of sources، oral and written، he implicitly took a stand for oral sources. After him، three different theories appeared in this field: A) the theory of written source/s، B) the theory of oral source، C) the theory of both oral and written sources in the genesis of the Shāhnāme، which I prefer to name it the moderate and interstitial approach. The theory of written source was firstly proposed by Nöldeke and some of the experts on the Shāhnāme mainly Iranian ones such as Minorsky، Taqizade، Qazvini، de Blois، Khaleqi Motlaq، OmidSalar، Khatibi، and Aydenloo cen be considered as its proponents who completed، explained and expanded this theory. According to this theory، the source or all the sources of Shāhnāme had been ‘written’، mainly the Sassanian Khwataynamag through Abumansuri’s Shāhnāme. In the first half of Fourth century، Abumansuri’s Shāhnāme was compiled. In any form، the compilers have an access to the Sassanian Khwataynamag (in Pahlavi language) or to its Arabic translation by Ibn-e Moqaffa’ and rewrote it in new Persian. In the second half of this century، first Daqiqi and then Ferdowsi tried to versify this book and it was Ferdowsi who finally succeeded to complete the work. Many similarities between Shāhnāme and the parallel texts confirm this theory. On the other side، the opponents reject this theory because of some main weaknesses: first، there is no sign at hand of neither the Abumansuri’s Shāhnāme nor its main source i. e. Sassanian Khwataynamag and its Arabic translation by Ibn-e Moqaffa’. Second، there are many intertextual signs in Shāhnāme that confirm its oral source. Third، there are some differences between Shāhnāme and the Arabic or Persian parallel texts. The second theory was formed in a different way. Mohl mentioned two types of sources، oral and written، and implicitly took a stand for oral sources، but it was not totally clear what he meant from oral sources. After a while، Mary Boyce emphasized on oral tradition in the transmission of national narrations and its impact on the shape and style of the Middle and New Persian eposes [Gosan tradition]. The publication of the results of researches of two experts on folklore i. e. Albert Lord and Milman parry about the oral tradition [in storytelling and poetry] in the poetry of Homer and، especially in the oral literature in the South Slavs has a main role in the formation of the theory of oral source of Ferdowsi’s Shāhnāme. Some scholars such as Boyce، Davidson، and Davis are the supporters of this theory. The theory is: The Shāhnāme was composed based on the narrations which were transmitted by oral traditions; these narrations originated from ‘Gosan’ narrations and oral storytelling traditions; even Ferdowsi، himself، could be considered as or may be has been one of the members of this group. According to this theory، the signs of orality are obvious throughout the Shāhnāme. Among the latest efforts in this group is Kumiko Yamamoto’s work، The Oral Background of Persian Epics: Storytelling and Poetry which in a scientific approach، attempts to find the signs of orality in Shāhnāme. Davidson attempts to interpret the Shāhnāme as an oral composition; Ferdowsi، according to her view، not only inherited the older Iranian oral tradition، but also as an oral poet re-created new Persian oral poetry. This theory can also be brought drawbacks. First، the narrative traditions of each nation are different from those of other nations; thus، theories and methods applied to Homer’s poems or the south Slavic oral traditions are not readily applicable in the case of the Iranian epic tradition and on the Shāhnāme. Second، not much is left of oral tradition and narratives of Gosans and story tellers. Then، the bringing evidence of Naqqali tradition to prove the similarity between the Shāhnāme and that tradition and thus to prove orality of Shāhnāme’s source is false. Because the stories of Naqqals rooted in the Shāhnāme and there is no evidence to prove their existence before the Shāhnāme. C) Finally، in the third theory، we can see the scholars such as safa، Bahar، Matini، Yarshater and even Zarrinkoob who take the middle way and believe that Ferdowsi used both written and oral sources. According to this view، the old، rich، and popular tradition of oral storytelling، performed by narrators، was prevalent among all Indo-Europeans، especially the Aryan tribes that inhabited the Iranian plateau. For a very long time، this tradition had preserved and transmitted ancient Iranian myths، fictions، and epic legends، as well as historical events. Most probably، even some religious texts، such as the Avesta، were also preserved and transmitted in the same way. In each period، the oral storytellers have had different names، e. g. gosan، xonyagar، mohaddes، naqqal، pahlavan، ‘asheq. After the wider spread of writing، some of those narrations were written down. The most famous work to appear by this process، the Sassanian Khwataynamag، was composed in western Iran with religious and political intentions. In the Islamic period، probably with patriotic motives، this book was translated into Persian as theAbumansuri’s Shāhnāme، and shortly after Ferdowsi used it for the Shāhnāme. Bahar believes that this important and popular tradition was commonly encountered even down to the present day. It seems that the first two above mentioned theories have not stood far from the non-scientific enthusiasm and extremeness. There is nothing available of pre-Ferdowsi oral tradition and of oral storytellers as well as written sources. At the same time، In the Shāhnāme، there are many references implicitly referring to both oral and written sources of the work and it is clear that the Shāhnāme reflects both oral and written characteristics. Thus، any attempt to limit the text to one of these two and to prove that it is based on only one type of source - at least until the time when some clear samples of these two groups will be found - is condemned to failure and reduces the magnitude of Ferdowsi. The logical result of such an approach would be that Ferdowsi was either a professional storyteller without any esteemed goal or a poet whose only achievement was to versify already written narrations. The results indicate that the third theory has a moderate and reasonable approach to the issue of the sources of Shāhnāme. Not only the similarities and differences between Shāhnāme and the parallel texts، but also the signs in Shāhnāme which refer to oral or written sources can be explained by this theory.

One of the ancient indo European motifs is the story of a young hero who is destined to rescue a woman or king from the demon or enemy and has to fulfill several difficult quests during which he transforms to a mature champion. After finishing these breathtaking quests، the young hero develops into a complete champion and according to Iranian tales، he emerges as the “world champion”. The concern of this study is to investigate the mythical structure of the seven quests that the Sam’s clan has to confront with the main assumption that through studying this mythical structure، it is possible to find a unique pattern that not only follows the same rule in the shape and order of the quests but also in their infrastructure. Structural mythology is an approach in myth analysis that tries to find the structural rule of the myth through studying the pillars of the myth narrative and their syntagmatic and paradigmatic relations. This method which is derived from structural linguistics was first introduced by Claude Levi-Strauss and is known as “Structural Study of Myth”. Levi-Strauss believes that each myth narrative consists of small parts which he calls “mythemes”. Structural study of myths intends to find these relations in a systematic way. This relation is not necessarily horizontal or as he says “diachronic” and it is possible that the mythemes are displaced in different narratives with the same structure. It is important to re order them in their correct place in order to rebuild their bundles of relations and find out their differences. It seems that we can find out about the same structural pattern of the seven quests and discover the narrative unity and their structural rules through that. We can find similar and repetitive structures in the seven quests we have studied for the Sam’s clan which reveal the structure of the myth. In all of these narrations، the king or the girl is abducted by the demon and the young hero travels west to its nest and after facing difficult tests and fulfilling the quests، he eventually finds his lost one and frees him/her from the demon through a pitched battle. The structure of these seven quests are almost alike and only differ in very small details. We see the same repetitive parts from the first quest which is normally on a flat land to the seventh one in the depth of pit in a high mountain. The obstacles that each hero has to overcome and how he does it follows the same pattern in all narrations. The theme of each quest shows that each of the four heroes deal with the same similar obstacles and overcome them using similar methods. The hero’s path is from east to west and from below to the above. But at the end of the road when the hero reaches the peak of the mountain، he finds his lost one in a downhill resulting in a new path from the top to the bottom. If we consider this movement as a curve، it reminds us of the Sun’s movement that rises from the East and sets in the West; disappears at night and comes back to the East in the next morning. The hero in the seven quests goes through a curve path that starts from a flat land in the East and hurries to the demon’s nest on a mountain peak in the West to rescue the girl or the king and he finds his lost one down a pit. This path demonstrates the daily movement of Sun from East to West and shows that the pattern of the seven quests is in fact the rescue mission of the Sun from the darkness demon that resides in the West. Mani’s symbolic narration of the creation myth can also be considered as one of the most important signs of this pattern. It talks about the apprehension of parts of light by dark and its eventual freedom and return to its main land. Based on this theory، the seven quests is the result of instability of good and evil or light and dark. At the beginning of all of such narratives، the good forces or forces of the light and the evil forces or forces of the dark reside in their own territory. The evil forces capture the light (girl or king) by a trap. This is when the conflict between the two forces starts. In the end the hero defeats the demon and sets the light free and the dark forces are demolished for good and the conflict is resolved.

The word parī (fairy) is the remaining of the Avestan word pairīkā that derived from the Indo- European root *per- ''to bear، to create''، then it can be defined as ''fertile، creative''. pairīkā، in the ancient time were the admirable، beautiful and always young goddesses of birth and fertility that they were denoting to mankind fertility، birth and life with their presence. After Zarathuštra made the changes in Iranian''s beliefs، pairīkā were converted into negative creatures in the ahreman army that they played an active role against Ahuramazda and his followers by deceit of Champions. Although the word pairīkā is not in the Gathas، but in the other parts of Avesta pairīkā has been accompanied by three names which are completely demonic characters: pairīkā xnaϑaiti، mūš. pairīkā and pairīkā. dužiiāriia. In the Avesta، the parīs are always the magician female demons with the rejected and hated characters، but in east Iran they still have worshippers that hero Zoroastrians as Garšāsp fighting them. All three pairīkās in Avesta that the sign of their physical presence is the meteors، became pairīkās of lack of water and drought without any sign of birth and fertility. Pairīkās in Avesta are related with magic، deceit، dream، shape shifting and water، these are the features that have entered to Shāhnāmeh. Although there isn''t pre-Zoroastrian positive character of Parī in Avesta، it has still kept the inner layers of the Aryan thought about believing in goddesses of fertility and birth، as we can easily see two different faces of the Parī in Shāhnāmeh: a positive pre- Zoroastrian face، and a negative post-Zoroastrian face that both has used; sometimes، explicitly with the word ''Parī''، like ''Parī'' in Haft khan (seven ordeals) of Rostam، and sometimes، implicitly and without the word ''Parī'' with the fairy-like characters in the story، such as Siyavash mother or Manijeh. In this research، by examining some couplets in Shāhnāmeh، it has been studied the pre- Zoroastrian، post-Zoroastrian، hidden and obvious face of Parī، It has been revealed the characters such as Rūdābeh، Manijeh، and Siyavash mother are the symbols of the goddesses of fertility; beautiful and young with romance and fertility characteristics، While the magician women of Haft Khans are the Devil Women with the characteristics of magic، charms، shape shifting، sleep and dream.

Exogamy or marriage outside a tribe or clan that one belongs to is a type of marriage in which the people of a tribe or land are not able to marry women belonging to the same tribe. In order for them to marry، they have to move to another tribe or alien land. According to some historical sources، this kind of marriage stands in contrast to the marriage that was common in Iran. In Shahnameh of Ferdowsi، marriage inside one''s tribe or clan was immensely popular and many of the outstanding kings and heroes of Shahnameh married women who belonged to tribes and clans outside their own. The authors of the current research paper believe that considering the mythological structure of Shahnameh and the fact that Shahnameh received influences from mythologies and beliefs of other countries، this can be investigated in light of the myth of creation. Since the myth of creation has a patriarchic structure، similar to the Iranian epic poem، one can find traces of patriarchic culture in the stories of Shahnameh. The current research is thus based on the following hypotheses: a. The marriage between Iranian men and Tourani women has a mythological deep structure. Such relations can be further studied through studying the different phases of Gomishen and Vichareshn (marriage and freedom). b. The marriage of Iranian heroes with non-Iranian women has a patriarchal deep structure. Mythology essentially has a patriarchal nature. Research The research method used is descriptive-analytical and the data were collected from library and digital resources. The current paper attempts to provide a picture of the myth of creation in Iranian mythology and tries to give a picture of exogamous marriages in Shahnameh based on some of the major patriarchal features of mythology reflected in such marriages. According to the myth of creation، the history of the world comprises a period of 12000 years which is itself divided into four three-thousand year cycles. The first phase is that of heavenly creation which only happens in the mind of Ahuramazda. In the second phase، which is known as Bondeheshn (the beginning of creation). The third three-thousand year cycle is known as Gomicheshn through which the agents of evil will attack Ahuramazda and will throw the world into chaos. The world is a place where there are constant clashes between these two hostile and opposing forces. During the last phase which is known as Vichareshn (freedom) the impure creation will take back its former purity; this phase of existence is comparable to death in the life of an individual. In the exogamous marriages of Shahnameh، there are motifs that can be assessed with this mythology. In such marriages، men wonder off during their hunts and enter alien lands where they meet their future wives. In many instances، the hero faces strong opposition from the father or mother of the girl. The girl will however and eventually marry the hero. Afterwards، the bride will move and live in the motherland of the hero; she may in some stories stay in her homeland. The child born out of such a marriage is often a boy who stays with his mother. Such marriages that more than often end with disaster are so abundant in the stories of Shahnameh of Ferdowsi that one can strongly claim that most of the women of Shahnameh have non-Iranian parents. The approach of Shahnameh، the Iranian epic poem، to such relations can be studied from different perspectives. The first one believes that according to Shahnameh، Iran is a heavenly land and stands in opposition to non-Iranian lands which are evil. This reminds us of the opposition between Ahriman and Ahuramazda in the myth of creation. The second important point is that in many such marriages، the marriage proposals are given by the girls or their families. In this phase، which in the myth of creation is called «Gomicheshn» or marriage، heavenly and evil forces intermarry and the whole world becomes the scene of battles between uncompromising elements. The third point says that in most such marriages، clashes and battles are accompanied with the deaths of the bridegroom of the son child. This phase can be compared and contrasted with Vichareshn (freedom) in the myths of creation that is the phase in which heavenly forces are liberated from the raids of evil forces. Therefore، marriages between Iranian men and non-Iranian women are a reflection of the opposition between these two opposing forces and their eventual unification. According to this myths of creation، the world is a production of this opposition. In other words، the world is constructed on the solidarity and coherence between opposing forces. This paper concludes that in ancient beliefs، it was thought that woman were symbols of dependence on the world and thus impure. All women under discussion in this study are women. The presence of different types of marriage in Shahnameh is a demonstration of the evolution of marriage tradition from ancient times until the time of Ferdowsi. The idea behind this research is to investigate the features of democratic culture in exogamous marriages based on the myth of creation.

An investigation into valuable works of Persian literature and works related to literature، politics، psychology، philosophy، and new sciences such as management indicates that literature does not just belong to the area of emotions and taste، but rather it covers a broad scope of sensory experiences based on objective facts. Since Firdausi''s Shahname is a proper context for researchers who are interested in interdisciplinary studies such as literature and management science، particularly human resources، researchers have sought to raise Firdausi''s top management attitudes regarding the direct and undeniable relationship of management and culture and introduce it as a significant pattern for today''s managers. Authors have selected descriptive-analytic method for the present study. Exploring some information related to four basic dimensions of management definition and investigation of Maslow''s needs pyramid، some verses of Firdausi''s Shahname which have had direct relation with raised principles have been selected as evidence to indicate in a scientific and documented way that Firdausi has had a notable attitude toward this new science. Given the richness of Persian literature، authors have always tried to match the agreed definition of management science from management scholars'' point of view with Maslow''s needs hierarch pyramid and Firdausi''s management patterns in order to investigate the clear and effective relationship between literature and management. An investigation into Firdausi''s Shahname indicates that governmental plans of Shahname kings have the scientific features of providence، continuity، flexibility، and time management. Governors'' providence-based planning indicates the presence of strategies based on community''s discretion which can reflect transformations in the form of a lasting process to achieve goals. The second principle is organization which is implemented through task division، delegation of authorityregarding the expertise of employer، organizational hierarchy and unity of command. In Shahname، everyone knows his/her responsibilities and governors can use existing sources in management system in a correct way. People are selected carefully and social levels are formed in a regular framework. Another principle which is particularly considered by Firdausi is motivation. This attitude is the result of Firdausi''s attention to human resources. Respect to human is present all over Shahname. Shahname governors seek to create motivation in people، so that they in turn do their best for community''s health. Every manager who wants to be successful in this area has to be aware of human needs. The best pattern in new science is Maslow theory which is matched with Shahname atmosphere. In Shahname، addressing people''s primary needs is considered one of governmental tasks and their security as well as peace of mind is considered in kings'' programs. Communication and a sense of belonging take place based on respect; so that popular people always want to be more than a simple member. Giving honor and self-confidence to subordinates and financial as well as spiritual rewards are strategies used to increase people''s motivation. The last principle is control. This process is associated with ensuring that activities done are matched with planned objectives. Shahname kings continuously get information about their territories. They research about reports received and deal with violators firmly and without bias. Supervision is followed seriously and directly or indirectly based on the time and place. This principle is so important for the kings that sometimes they act themselves to collect information and collected information is never useless. It should be noted that supervision is more focused on close relatives and this is a management advantage in Shahname. These methods lead to fostering of people''s potential talents and characters such as Zal، Rostan، Siavash، Piran، and Aghrirath who prefer group benefits to their own live happily and with pride. Firdausi pays attention to other issues such as consultation with wise people، public justice، correct selection based on qualifications along with avoidance of gossipers who lack knowledge and flexibility in order to make his ideal land. Firdausi has the following pattern in his management strategies: - Managers should be long-sighted and provident people who see tomorrow from now and who have a broad scope of attitudes. - They should avoid giving big tasks to small and ignoble people and ask help from efficient and noble people. When the works are done by experts، Gods blesses appear and when works are done by inexperienced and infidels chaos will spread all over the world. - Social security is due to social justice that can be achieved by having fair and regulated managers at top of organizational pyramid. - Employees'' motivation should be increased in order to perform organizational works better. Fair and thoughtful rewards will lead to better attitudes toward manager and can help in achieving organizational goals. - Manager''s attention to individuals'' needs guarantee his success in achieving objectives. - If managers don’t respect active، freethinking، religious،، and faithful people – even if they don’t agree on some matters- and don’t avoid those who are greedy for office، they won''t be able to improve their organizational system. - They shouldn’t ignore their subordinates، but rather they should respect all human beings as active members. - They should believe that improvement of knowledge level and wisdom of staff will bring national dignity.

The Horned god is an early 20th-century syncretic term for a horned or antlered anthropomorphic god with pseudohistorical origins. These Gods represents the male Gods of the religion''s ditheistic، the other part being the female Goddess or Mother Goddess. the deity is always shown with either horns or antlers upon his head، in this way emphasizing «the union of the divine and the animal»، the latter of which includes humanity. Methode: The Horned God has been explored within several Archaeological theory، mythological، psychological، historical، cognitive nature، anthropology، and so on. The Horned God has become a recurrent theme in fantasy literature. Evil creatures in Iranian mythology، evil (Ahryman) companions، the most prominent being the villain in Iranian mythology، demons (Divān) are. In this paper، a new analysis of this existing presentation، which is based on comparing them with horned deities in ancient cultures of Asia and ancient Europe and provide a new theory about what is the origin of the Persian demons? In this paper، the analytical comparison between demons and deities Horned، this result was compared between the two sides shared the following parameters: relevance Horned deities and demons with the sun god at the age of religious thought turns naughty and as a result، the deities ancient Horned devil and his followers converted. Black and Horned demons and deities of the Horned (morphology)، communication with the gods known as bull، dark world of underground and traditions associated with death and sacrifice and cannibalism legend terrible gods. Horned deities belong to the cultures of the era of the goddess worship. This has led، in monotheistic culture، «battle» with horned deities and demons، dragon-killer has the same function، this conflict has become a test for the initiation heroes are hard، they function as a barrier against creatures that God created well the challenge to the hero in the course of their evolution. Hero with divine support charisma (Farreh or manna s) on creatures with Magic won، defeating the locks and pass the initiation، is immortality.

Shahnameh (Iranian Nation Epic)، has been imitated by many of the poets and drew attentions in many cases، from the beginning، which it can be claimed no other work along with the Iranian literary history، has been imitated or has been summarized as far as Shanameh. These imitated works and anthologies، as independent Ms with titles such as: gozide، kholase، montakhab of Shahanameh which have been remained، are mentioned in Persian catalogues، or some fragments and lines as part of Persian anthologies and finally parts or lines throughout the prose Persian works، particularly historical texts، shows the significant role of Shahnameh in Persian literary process in particular and Persian language dominant in general. Every knowledge in this regard will assist for writing Persian literary history. In this article، based on librarian method، after studying directly or listing the summaries of Shahnameh based on the cathalogues of inside and outside of Iran’s libraries، has been dealt with the historical process of the summarizing or finding the coded fragments and lines of the Shahnameh in other books، including historical texts، anthologies، etc inside and outside of Iran، particularly in Sub-continent، with the emphasize on Tarikh e delgosha ye shamshirkhani. We show the elevation and decline of pay attention to Shahnameh during the time. I we ignore the only ‘Awfi’s word on Mas’ud sa’d’s (d. 1121) summary of the Shahnameh، it to be mentioned that the first summary of the Shahnameh، which has been known، is Ekhtiyaray by Ali ben Ahmad، which has been introduced for the first time by Taghizadeh، in Kaveh Magazine. This anthology has been composed as to be said، in 474 / 1081، dedicated to the Seljukid Malekshah. M. A. Reyahi stated that this book has been composed for Abulfath Malekshah ben Mohammad from the Rumi Selgukid، not for Malekshah of Selju، and therefore the date 574/1081 must be corrected to 574/1178 (Reyahi 1382/2001:199). The Anthology has been composed، on the whole، in 2417 lines، and 13 chapters in a particular method. More over the author himself composed 139 lines for the introduction and describing the chapters، and 61 other lines in Shahnameh’s meter and style، in the conclusion of the work on Malekshah’s praising. The second anthology of the Shahnameh in fact is the Bondari’s Arabic translation of this book، which came to an end in Shawwal 621/Oct. 1224 in Damascus. Thus Ali ben Ahmad anthology (based on Reyahi’s point of view) and Bondari’s one hjas been composed in Asia Minor، not inside Iran. Indian sub-continent was familiar and had a very closed tide with Shahnameh from the beginning. Shahnameh is one of the valuable works which its decorated copes has been preserved in the Indian libraries and Museums. In this regard Shahnameh can be compared easily with Mahabharata and Ramayana، two epic works belong to the Ariyan civilization in India (‘Abedi 1370/1991:337). If the Mas’ud S’ad’s anthology has had preserved، we could claim that the first Summary of Shahnameh has been composed in sub-continent. One of the most important of the Shahnameh summaries which became important، and drew much pay attentions، is the prose summary of Shahanmeh which has been composed for Shamshirkhan the governor of Ghazne and by this reason has been called: Tarikh-e Delgosha-ye Shamshikhani as well، by a certain Tavakkol biek، in 1063/1653. Due to its reputation and importance، many handwritten copies of this book have been knows in various libraries in India (Ghasemi 1995: pp. 46-57)، and more than 50 copies in Pakistani libraries (Akram 1384/ 2005: p. fifteen). In addition of this book and its summaries، which contain more than 70 copies only in Indian libraries، about 30 other summaries have been known in Indian libraries، catalogues، which most of them are selected stories from Shahnameh، especially Rostam and Sohrb، Rostam and Esfandiar and other copies contain Shahnameh’s paintings. Some of these summaries are for the army’s purposes and texts for the officers’ exams. The above mentioned copies are only part of preserved manuscripts of the Shahnameh in Indian libraries (Ghasemi 1995:69) The anthologies and collections are a valuable treasure which contain the Shahanameh lines. In Safineh ye Tabriz 1245 verses of this book have been selected which include Rostam and Sohrab (1020 v.)، Rostam and Akvan div (186 v.)، Rostam and Esfandiyar (10v.) and 13 lines from other parts of Shahnameh. There are some other summaries from parts of Shahnameh in various of biographical sources، which have been selected according its author’s tastes. According of Iraj Afshar’s Bibliography of Ferdowsi، the first printed summary of Shahnameh is E. G. Hagemann’s one، which have been printed in Europe between 1814 and 1926. After that between 1814 and 1926 summaries of the Shahnameh Have been published in Calcutta، Mumbai، Istanbul، Allahabad and Tashkent by Atkinson، Mohl، Vullers، Kamal، Jarret، Pizzi، Pashazadeh، and Yusef. In Iran، the first selecting of the Shahnameh was provided by Foruzanfar for teaching in Zaraostrian High Schools (3). Nasayeh-e Ferdowsi selected by Rashid Yasami، was one of the valuable selections from Shahanameh which published in 1307S/1928 (Afshar: 3535:281-283). Then، the most valuable selections of Shahnameh in verse، which was a complete and notable one، has been provided by Mohammad Ali Foroughi in 1934. This selected in verse was a time-consuming hard work، which، in spite of his engaging with state works، has been done carefully with patience and became a pattern for the later Shahnameh selectors. This book has possessed the first rank in compare with the Shahnameh selections so that almost the whole other selections have been inspired by it، So at present time، in spite of the fact that numerous other selections which have been provided during the long time، it can be considered as the best and most successful one. As the particular result of this research، we can announce that until recent century، the main summaries of the Shahnameh have been provided outside Iranian present borders، but selecting of the lines of the Shahanameh have been started in other texts. Central Iran، and continued in other parts of Persian dominants. إ Being in common use of selection writings of the Shahnameh in present time، is due to Foroughi’s valuable efforts in the field of Shahnameh studies and designating the year of 1934 to honor of Ferdowsi and Shahnameh in the world. This event caused a universal activities، including publishing some new editions and some selections of the Shahnameh inside and outside of Iran.