جستجوی مقالات مرتبط با کلیدواژه « “jamshid » در نشریات گروه « ادبیات و زبان ها »

The story of Jamshid and Zahhak is the primary cornerstone of distinguishing Iranian identity from other identities. For the first time in this story, Ferdowsi deals with differentiation and represents the identity and independent geography and also unique components of Iran and Iranian kings. Despite of dualities like Iranian king’s kiani far and Zahhak's demonic temper as the main line of differentiation of Iranian identity, this distinction has shown itself especially in the context of geography and territorial identity. like distinction of Iran from other lands such as Arabia or India.Regarding the importance of this story in shaping the subsequent events and the story line in Iran's national epic, the main purpose in which this article is written on is to explain and represent the components of Iran's territorial identity in the story of Jamshid and Zahak through the use of Van Dijk's discourse analysis method. using the mentioned method, selected verses from the story were analyzed and explained by use of discourse strategies. Based on this, the results of this research show that the selected verses from the story of Jamshid and Zahhak match the Iranian identity against the non-Iranian identity to the land and territorial distinction, which can be considered as a part of the process of identification of Iranians.

Semiotics is the targeted study of the factors that are involved in the production and meaning of signs or the signification process. This science examines signs and their semantic relationship in a single syndrome system. Social semiotics, as one of the branches of semiotics, is one of the important approaches of attitude towards meaning, whose main goal is to find meaning from human behavior in social life. The novel, which is the place of representation of social events, is one of the most important and significant platforms for analyzing and finding meaning from the perspective of social semiotics. Jamshid and Jamek's research novel with the mythological narrative of Jamshid's life contains many social signs. In this research, by adopting the qualitative method, we have analyzed the semiotics of the ciphers in this novel. The obtained results show that, based on Pierre Giroud's point of view, signs related to identity such as sleep, place and food have implicit meanings such as "being seduced by the devil", "importance to people from Jamshid" and "the direct effect of food on the soul and personality of a person." And signs related to social etiquette, such as tones and idioms with the meaning of "informing and warning" are among the most used signs in this novel.

In the vast majority of post-Islamic sources, the story of Zhahak's victory over Jamshid is as follows: after the decline of Jamshid's authority, the farr departed from him and Zhahak advanced and conquered the country, then Jamshid abandoned the kingdom and fled. For some time, as a fugitive, he wandered in different parts of the world and Zahhak looked for him everywhere. In the end, He found Jamshid and cut him in half with a saw. Now these questions are raised: Why did Zahak kill Jamshid in this unique way? Couldn't he cut off the head of his enemy, like many kings or heroes of the mythological history of Iran? Why didn't Zahhak hang him? Or even without telling how he was killed, it was enough to mention that Zahhak killed Jamshid after finding him. Undoubtedly, this particular way of killing Jamshid, i.e. sawing him, refers to a symbol. The present research assumes that the myths of the indigenous peoples of Iran have been influenced by the myths of the city-states of Mesopotamia, and by using descriptive-analytical method, attempts to study the compatibility of the myth of Zahhak with the myth of Marduk.

In the Avesta, two worlds can be distinguished, material and spiritual. The spiritual world includes sacred beings, Ahuramazda, Amshaspands and Yazatas. Ahuramazda is at the top and obviously more powerful than the others. Just after Ahuramazda, Spǝnta mainiiu appears very close to Ahuramazda. Angra mainiiu is also related but opposite to Spǝnta mainiiu. On the other hand, the material world also includes characters that Zoroaster is at the head. Zoroaster is the highest material personality. Jam and Aži Dahāka are the well-known Avestan figures among the material world. It seems that a heavenly pattern can be seen in Zoroaster's character which has made based on Ahuramazda's character And the same issue can be seen in the case of Spǝnta mainiiu and Angra mainiiu with Jam and Aži Dahāka. The purpose of this article is to study these characters and find their similarities to prove the existence of a spiritual pattern in their material characters. For this purpose, first, the characteristics of Ahuramazda, Zoroaster, Spǝnta mainiiu and Angra mainiiu, Jam and Aži Dahāka are examined , then their similarities are extracted. In the end, we will see that these material characters follow a heavenly and spiritual pattern in the Avesta. Descriptive-analytical method has been used for analysis and conclusion in this research. This research is based on Avestan evidence but help has also been taken from the Shahnameh in the case of Jam and Aji Dahāka.

Examining and applying the principles of epic works of different nations can play an important role in understanding them as much as possible and can also explain the relations between the literature of the nations of the world and the development of literary, intellectual and cultural exchanges. Jamshid is one of the mythological characters of Shahnameh whose life stages and events during his life have many similarities with Osiris, one of the mythological characters of ancient Egypt.

This research has been done in a descriptive-analytical manner.

Jamshid and Osiris in Iranian and Egyptian mythology have common features that indicate the collective human unconscious. By examining and comparing the lives, deeds and destinies of these heroes, one can get acquainted to some extent with the collective unconscious contents of the two nations (Iran and Egypt) and to illuminate the dark and obscure corners of the ancient cultural and social structure and understand the way of thinking and beliefs of the people. Ancient times helped.

By examining the lives of the two main heroes of the stories (Jamshid and Osiris), their lives can be summarized in three stages: 1. The simultaneous birth of the hero, 2. The creation of a golden and ideal era by the hero, 3. The fall or death of the hero A time of disaster or turmoil.

Myths are the narrators of the man’s first stories and in the later stage where man moves from the primordial thoughts towards a newer life is no longer faced with the primal questions instead answers his new needs with myth.  In epic we encounter more logical narratives of the stories.  Ferdowsi’s Shahnameh as a written heritage of Persian myths in a newer epic genre is a retelling of the narratives which in the other epic and mythological books were orally communicated.  After logical expression of the history of heroes such as Kyomarth, Hoshang, Tahmores, and Jamshid, there is a gap in the reign of Ahurian and Zahhak comes into power, and later with the coming of Feraydun, Zahhak is overthroned.  In the thousand years of Zahhak’s demonic soveriengty, the fate of Jamshid’s  and  Feraydun’s dynasty and their relationship is not clear.  On the basis of other epic and historical sources in particular Kushnameh,  the purpose of this article is to retell this narrative.  The outcome of this research is that after wondering in India and Zabolestan, Jamshid marries Khaqan’s daughter and the King of Zabol’s daughter.  From one branch, Rostam’s clan is born and from the other Feraydun’s clan.  The method of the research is descriptive analytic one.

Due to their common roots, the epics and myths of Iran and India are very similar. Zahhak the snake shoulder is one of the characters of Iranian epics, whose functions are also seen among the epic characters of India. Vishvarupa because of having three heads and Vritra because of his connection to drought are epic characters that scholars consider them to be the Indian counterpart of Zahhak. Also, the story of Indra's sin and the transfer of his power to Nahusha has many similarities with the story of Jamshid's sin and accession of Zahhak to the kingdom. In Indo₋Iranian narratives, Indra and Jamshid are examples of sinners who lose their Farr (glory and splendor). But Zahhak and Nahusha, as their successors, after committing similar crimes such as trying to seize the former king's wives, humiliating the clergy and supporting heresy in religion and society, are deposed and taken captive in places like the underworld. In the present article, the commonalities of these stories in Shāhnāmeh, Mahabharat and other Indo-Iranian narratives are compared and analyzed. The findings show that, contrary to the opinion of many scholars who compare Zahhak with Vishvarupa and Vritra, in Indian narratives, Nahusha is more consistent with Zahhak.

 In the Qajar Era, some poetic anthologies were written in literary and fictional genres. One of these anthologies belongs to Mirza Mohammad Bagher Rashha Isfahani who was one of the famous authors of Isfahan and Yazd. This anthology is considered the methodology of Persian anthology writing because firstly,it is poetic and secondly, it is written as a story. Therefore, the authors of this study consider it as an implicit anthology. In this study, we examine storytelling and anthology writing as a story and investigate the related cognitive errors. The results show that Isfahani, being aware of the literary conditions of the Iranian central region, tried to ignore the common norms of anthology writing in the Qajar Era and added stories as flavor. Since memorizing a poem is much easier than prose, Isfahani used poetic stories to write anthologies to attract the audience and make his work notable. His efforts in describing the life and works of poets were valuable as means of remembering and recognizing anonymous poets. Besides, in many cases, his work was the main source of knowing some of the poets from Yazd, Isfahan, Fars, and other regions of Iran.Introduction One of the anthologies written in the Qajar Era is the one written by Mirza Mohammad Bagher Rashha Isfahani which is unique. This anthology can be classified as an implicit anthology because it is written with the storytelling method. In this anthology, the story is a platform by which the biography of contemporary poets is described. Isfahani tried to forget about the traditional and common methods of anthology writing and employed a creative method to write it. Isfahani's anthology which Mohammad Ali Vamegh, the author of Meykadeh Anthology (Tazkareh of Meykadeh) called "Atashzaneh" is a poetic one with samples of poems written by the poets of that era. In this research, we aim to introduce Isfahani and his enlightening method of anthology writing. Also, we will examine the criticisms regarding his work and the reasons for its popularity.Materials and Methods The authors did not find any research done on this subject. Isfahani and his anthology are briefly introduced in Ahmad Golchin Maani's book and no other book has ever mentioned them. A Monumental History of Persian Anthologies (Tarikh-e Tazkareha-ye Farsi) is the main source for studying the history of anthology writing in Iran. This book introduces and criticizes 529 anthologies and compares their writing styles. It is an authentic and reliable source for studies related to anthology writing. In Golchin Maani's report of Isfahani's work, errors can be seen that will be discussed in this study. Except for the two mentioned works, no other papers have studied his work. In 2016, a study entitled ‘A Grammatical Reflection upon Isfahani's Anthology’ by Maryam Mahmoudi and Mojtaba Saadat was presented in the International Conference on Language and Literature which has nothing in common with the present paper. Some sources have provided information about Isfahani and his life which will be discussed while introducing him.  Discussion of Results and ConclusionsIsfahani's story-anthology is an implicit anthology and a great effort in the tradition of writing Persian literary history. Isfahani was a wise man and wrote this story to be a part of the anthology writing movement of the Qajar Era. The uniqueness of his work has two reasons: being poetic, and being written as a story. About the poetic feature, the writer was limited to the rhythm and rhyme, so the information given about the poets might be restricted to observing the poetic figures of speech. On the other hand, the combination of poems from different poets and using the Hazaj meter are the reasons that readers face difficulty and frequent pauses while reading them. Also, using rhetoric in anthologies written in the Safavid Era became so common that the facts and information got lost under the shadow of metaphors, puns, and rhythms. This problem is seen in his anthology and the reader gets no clear information about the poets. However, many contemporary poets’ names were mentioned and it is enough reason for it to be important and popular. Some poets got known only through this anthology and their names are not mentioned anywhere else. Isfahani made an effort to mention the name and title of poets of Isfahan, Yazd, and Fars.Regarding his ability of storytelling, it should be mentioned that due to repetitive plots and clichés, the reader experiences no special excitement. The linear story of lovers and beloveds is told without any characterization, suspension, or even an open ending. Isfahani tried to imitate Nizami Ganjavi, but like many others, failed in doing so. Nevertheless, Nowruz and Jamshid is considered as a great effort in anthology writing history, and the creativity and courage of the author to ignore the traditional methods is admirable.

According to the opinion of Aristotle, mythos or tragic plot has some aspects analyzed and compared with utilizing documents on an analytical-descriptive method based on the elements through the tale of Jamshid and the play of Oedipus Tyrannus. The most important results including: the three aspects of the mythos of tale – transformation and recognition and catastrophe – are in descriptive category shaped with the morality of protagonist and in the case of the play it should be shown in two types of mixed – on transformation and recognition – and grievous – on catastrophe –. The complexity of mythos that is established of solidarity and its relation to transformation and recognition, indicates the tale in a simple mythos – because of rupture of actions and absence of recognition – and the play in compound one – on solidarity with continuity of dependent actions and transformation and recognition –. The tale is not regarded in a complete mythos; because of its affiliation to the out; but the play conversely is embedded in complete one. Referring the tale to an epic, which is narrated, prohibits to show it as the play which based on visual actions. Both of two works have the surprising conditions of mythos; hence everything has two sides of reasonability and unpredictability. The end of both composed in the way dedicated from their own. The referential myths are about the upper class human being and it is obviously shown the next imitative ones were patterned on them.

Shahnameh explains the history and destiny of Persian land and hence is an authentic translation of the cultural background of the Persian nation, therefore one of the most important discussions one can find in it is Ferdowsi’s sociological outlook.  In mythological section of Shahnameh the social life trend is very similar to the trend discussed in social theories.  One significant theory belongs to Ibn Khaldun.  He is a prominent figure in the history of social theory.  Among the concepts he had devised one can refer to the most important ones namely the concept of “Asabiyyah” which has been translated as social cohesion and the five stages of rise and fall of empires.  The purpose of this article is to study the reasons for the downfall of Jamshid’s empire in the light of Inb Khaldun’s sociological theory.  Jamshid is a Pishdadi king, a sage who has achieved all arts and is competent in every aspect.  The main assumption in this research is that Ibn Khaldun’s theory applies to all aspects of Jamshid’s empire.  First a brief introduction is given regarding sociology in literature, then the above concepts are defined, finally Jamshid’s empire are analyzed according to the five stages from the rise to its decay.  It is concluded that although in Ferdowsi’s time the science of sociology had not existed as the present form, sociological theories are reconstructed in his epic.

Ferdowsi Shahnameh as a natural epic work has a special place among other epics in the world. One of the reasons for this is the great and prominent theme of philosophy, the causes and results of the struggle, which from the beginning to the end of this work in each of its stories creates a kind of exciting, sad and emotional scenes. One of the important struggles in this great work is the struggle against Jamshid and Zahak in the stories related to them, which in this article examines philosophy, its causes and results.

In the present study, for better and more useful access to information, the library method has been used.

Combat events, in turn, have powerful sources that are the result of the boiling of centuries and millennia, and undoubtedly help their strong motivations, and in addition, will bring results and consequences. In fact, Ferdowsi Hakim had more goals in the struggles of the epic characters of Shahnameh than just narrating the history of the past of Iran; The main philosophy of the struggle against Jamshid is religious tyranny and in Zahak's story, his socio-political and cultural tyranny.

The story of Zahak is associated with anti-political, social, economic and cultural dimensions of the Iranians, which with the overthrow of this tyrannical king and the accession of Fereydoun Farzaneh Dadgar, promoted results such as peace, security and politics. Instead of accepting superstitions, the culture of rationality leads to ideological unity, building and fighting destruction and war, economic growth, strengthening the economic base by employing efficient forces in agriculture, strengthening defense by employing talented military and war forces.

The poem “Jamshid and the Sun” is an unknown and strange work among the general public and the encyclopedia of scientific research. Undoubtedly, the historical and uncertain ignorance of the intertextual approach of this poem has led us to write this article. Through a historical-mystical approach, while referring to the individual and social psychology of that era, the article tries to show circles of literature-mysticism., Applying the intertextuality approach and the theoretical framework of "mystical historicism", the article has tried to prove the mystical nature of “Jamshid and the Sun” poem with reference to in-text and extra-textual signs - contrary to popular beliefs. According to the results from this study, from this perspective, the hypothesis about the mystical nature of “Jamshid and the Sun” text can be proved. That is, the article deciphers the intertextual foundation of the work, which despite the dialectical link, is still "conversational". This poem has a mystical color and atmosphere which comes about through resorting to the epic myths of ancient Iran and imitating the lyrical background and narrative techniques, especially those of Nezami’s poem “Haft Peykar”, the structure and mystical techniques of Suhrawardi stories such as: Red Wisdom, Sanaei’s Sir Al-Ebad, the stories of "Castle" "The Essence of Pictures" and "The Controversy of the Chinese" from Rumichr('39')s Masnavi. Therefore, the poem “Jamshid and the Sun” is an unknown and strange work in expressing the general theories of society and even in scientific research. By analyzing this work, we can reveal the depth of this example of eighth-century Sufi poetry. This work was composed in response to the intellectual and cultural framework of the eighth century’s intellectual and philosophical background, namely mysticism. This article has been written based on the "mystical historicism" approach and the intertextual approach used for depicting the depth of “Jamshid and the Sun” poem according to the elements of poetry (literary-mystical) in the eighth century.

In Iranian and Indian literary text, Jamshid is a mythological figure. According to one of the oldest Aryan myths, he was the first Human and spread in India and Iran in two separate ways; he became the king of the dead in India and the powerful kingdom in Persian. In Persian mythology, he claimed to be God and that's why the fortune was kept off. Zahhak destroyed the Jamshid's kingdom and saw him in two. In addition to texts such as Avesta, Denkard and Bundahishn, the tale of Jamshid is narrated by the Ferdowsi's Shahnameh and historical books of the Islamic period. The current paper studies the narration of Ferdowsi from the Jamshid's story through the source criticism. Investigating the possible origin of the Ferdowsi's narrative is the main purpose of this research. Based on the investigation of Jamshid's story in the Shahnameh and other texts and the analytical comparisons of similarities and inequalities, it can be concluded that narratives of Arabic historical books are influenced by the literature of Islamic religion and connected to pre-Islamic Pahlavi texts through textual mediation. The narrative of Sa'alabi show textual connections with Tarikh-i Tabari. Further, some other sources have been used. However, the narrative by Ferdowsi for the tale of Jamshid has an origin connection with the Pahlavi texts, and no possible connection is found with the Abu Mansouri's Shahnameh.

Genesis of Mehr in myths and development it to Jamshid on epicOne of the general theory about the heroes is that are developed over time and with the men who live in different terms of historical and geographical conditions to acquire its own form. One of the intellectual pillars of Iranian and Indian Aryans, the tendency has been that natural events .The question now is that with the passage of time stamped with the legend,  what transformation will be created and the epic, love the look and have taken?The author has tried according to the patterns of mythic and epic proper answer to this question.Alpha Mhrparsty as a phenomenon in the minds of certain functions of this family has taken various courses. West puts up Mhrprsty with the Persian conquest, and then accept the new face of solar deities, some functions of the human form - Godchr('39')s own evolution continues. Structures Mithra in Iran, according to their previous form and the transformation that occurred in the phenomena ,combined with the newer, In a more recent phenomenon, combined with new paradigm in the face of the title character reveals the name of Jamshid. In this paper, research and analytical way, the genesis and evolution of

Ferdowsi’s Shahnameh is one of the greatest masterpieces in the Persian literature which is in close connection with the society, sovereignty, and politics of its time.  The kind of sovereignty in Shahnameh is monarchy whose foundation and principals are originated from the Iranshahri thinking.  The pillar of sovereignty is the monarch whose incompetence brings destruction to the country and its realms.  Ferdowsi’s ideal Iranshahr is the manifestation of a sovereignty with a just, wise king who has Farr or God given glory.  Apart from having an ideal worldwide view, Ferdowsi explains how power drawbacks and the flaws committed by the kings such as not acting according to wisdom, justice and engaging in extravagance lead to the final breaking of the rule of Asha.  This article made use of descriptive analytic approach in order to criticize and analyze Kings’ and sovereign’s vocation in Shahnameh with specific emphasis on the tale of Jamshid  since he is the first example of a monarch who acted according to his vocation but later disregarded his calling. The following results were obtained first that the major source in recognizing one’s vocation lies in having a Farr, God given glory and a king with a Farr is a wise and just king.  Kings’ vocation should come from the Lord of wisdom and creator of the world otherwise violation of the vocation not only harms the basis of monarchy, government, and nation, but also is regarded as a sign of disrespect to creation in general and it brings forth chaos and devastation to the country.

Cultural Semiotics, concerned with revealing the processes of meaning formation and identifying inherent values and norms in texts, was established by Yuri Lotman (1922-1993). This approach to text analysis, by focusing on the interrelation of different semiospheres, provides a new possibility to analyze cultural events to identify the means of text production in a specific semiosphere. Mythological-theological texts appear to be significant cultural sources for such an analysis and therefore Avesta, as a mythological-theological text, was selected for the current study. This paper has focused on Jamshid and attempted to study the delegitimization process of Mithraism and legitimization process of Zoroastrianism. Jamshid was studied in the binary of Self and Other and he was viewed as a god in Mithraism who, by the depreciation of vedic ideas and the influence of Zoroastrian semiosphere, had obtained a sinful character. Sinfulness of Jamshid was explored here by analyzing his introduction to the new semiosphere, the rejection of Other and the emphasis of Self culture (Zoroastrianism).

Building a haven or a citadel named Var-e Jamkard is one of the most significant functions of Jamshid narrative; which is cited in ancient Persian sources like Avestā and especially in Pahlavid sources. But can it be considered that there haven't existed even a sign of this most significant function of Jamshid in Shāhnāme of Ferdowsi; which plays whether or not a distinguished roll in resurrection myths? The studies discussed in this paper affirm that Var-e Jamkard is clearly showed in the variation of Jamshid narrative that quoted by Ferdowsi in Shāhnāme. We have deducted this fact from newfound Shāhnāme which is known as 'St Joseph manuscript'. This manuscript is facsimiled in 2010 by Iraj-e Afshār, Mahmud-e Omidsālār, and Nāder-e Mottalebi-ye Kāshāni. This ancient authentic manuscript is kept in the Library of Saint Joseph University of Beirut; and is recently represented by Seyyed Mostafā Musavi to scholars. In this manuscript, there are special words in the tale of Jamshid which clearly corroborate that Var-e Jamkard exists in the Ferdowsi's variety of Jamshid narrative. In St Joseph manuscript for instance, we see the word 'charāgāh' instead of 'garmābe' that is saw in all other manuscripts and printed editions of Shāhnāme. In this paper, we evaluate and compare this special section of the book in different credible manuscripts like St Joseph and London 675, beside well-known printed editions of Shāhnāme like Xāleqi-ye Motlaq and third edition of Moscow. Eventually, the expression of Jamshid and Var-e Jamkard is compared in Shāhnāme and Avestā, especially the Vandidād part of it.

‘Binary opposition’ is the fundamental basis of Jamshid’s story and characterizes the two periods of gratitude and ingratitude in Jamshid’s life. In the deep structure, there are two binary opposition principles called “overvaluation of kinship" (OOK) and “undervaluation of kinship" (UOK). The first principle has given a positive light to all events Jamshid’s gratitude and the second portrays all events of Jamshid’s ingratitude negatively. In the binary opposition view of Levi-Strauss, each event is called “mythyme” and, in this article, all the story of Jamshid from the ‘synchronic’ point of view is divided into forty mythymes in two periods on the basis of OOK and UOK and is presented in a table. This categorization reveals that two sorts of overtly ‘binary opposition of cause and effect’ and ‘binary opposition of contradiction’ exist in Jamshid’s story that help to express the final meaning of each mythyme and general meaning of the story’s opposition periods. Ultimately, the final results, on the analysis of the story's binary opposition, show that the story ends with the destruction of Jamshid and humiliation of Iranians. This is because there are more mythymes in Jamshid's ingratitude period than in his gratitude period. What has been said is an abstract that the present article that presents in detail with Levi Strauss's binary opposition theory to answer some basic questions about the structure of this story in Shahnameh.

According to one of Iranian myths, Khvarenah (splendor or Farrah) separates from Jamshid in the disguise of a Warghan (Symorgh or falcon) and is released to Mitra, Fereydoun and Garshāsb. It is one of the ancient mythological underpinnings that has a strong reflection in Iranian mythology, epic and story-telling texts (naqqali). A mythological underpinning undergoes a variety of alterations- based on the temporal and spatial context- in its journey from the world of myth to the logical sphere of epic so that it would appear rational to the minds of readers. Then, in changing from epic to folk literature, has been transformed in accordance with the taste of people. Therefore, a mythological motif distances thematically from its origin to such an extent that it is difficult to locate its roots. In the present article, the attempt is made to consider the nexus of Jamishid’s talisman with separation of his Khvarenah and its releasing to Garshasb in the following heroic poems and story-telling scrolls (tumār): Sām-nāmeh, Garshāsb-nāmeh, Bahman-nāmeh, Farāmarz-nāmeh, Jahāngir-nāmeh, Shahryār-nāmeh, Tumar Naqqāli Shāhnāmeh, Tumār Haft Lashkar, Tumār Kohan Shāhnāme Ferdowsi, Tumār Shāhnāmeh Ferdowsi, Zarrin Qabānāmeh, Tumār Sāme Savār va Dokhtar Khāqān Chin. According to the authors of this paper, the attempts of Sistani heroes to open the talisman of Jamshid and to get the treasure or the sword embedded in the talisman are symbolic representation of releasing the heroic splendor (Khvarenah) from Jamshid to Garshāsb and it is presented as a metamorphic form in heroic poems and story-telling texts (naqqali).

Jamshid, the son of Tahmuras in Shahnameh, is the most glorious king in the Iranian national narratives during whose era the major events happened for shaping the civilization of Iran. The stories and narratives about Jamshid myth (such as the construction of Var-e Jamkard, passing the myth of the storm, the healing power, rebirth as the god of the land of the dead, ascending to the sky, and communicating with the sun) have similarities to the stories and narratives of other nations. This paper, after reviewing the Indo-Iranian myth of Jamshid, narrates some similar narratives of other nations and their effect on each other. The result is that, in many cases, the myth of Jamshid has been a model for myths in other ancient civilizations, and in some cases, common human ideals or archetypes led to the creation of similar heroes.