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The magnificent story of Rostam & Sohrab, which has been truly considered as one of greatest stories of the Shahnameh Epic, has attracted a wide audience of diverse status and background including serious researchers and instructors of this masterpiece. Among the one thousand verses or so, a number of verses have specially provided challenges for the interpreters of the great work of Iranian literature. Naturally, providing a full critical account of the viewpoints concerning all the challenging verses goes much beyond the scope of this paper. Hence, this paper addresses the existing critical comments on the very first two verses of the story. To this end, first, after stating the problem and briefing the background, we proceed to an evaluation of these views based on a clear typology of them prepared for the purpose of this study. Finally, we argue that there is a long way to go in order to publish a neat version of Shahnameh which is the true representation of Ferdowsi's poems. Furthermore, the existing interpretations are still far from being able to demystify the secrets of Shahnameh.
 

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The story of “ Keikavous Going to the Mazandaran” consists of three parts: the beginning, the middle and the ending. The story opens with an incident and introduces the main character (Rostam) to the reader. The story adopts a shortcut, which is the turning point of the story, and connects the introduction to the middle part. After the incident, events take place one after another and the story progresses on a linear sequence. In the middle of the story, the character is tested. The story has a chainlike sequence and the consequence of events culminates in the climax, which is the second turning point. By this point, the story goes to the end part and the character’s fate is clarified. Rostam, the hero, should travel from Sistan to Mazandaran to achieve his goal which is freeing Keikavous from the Devil’s prison. Zal has sent him on this mission. Finally, Rostam manages to pass through the difficult stages and complete his mission with the help the assisting forces; God, his horse “Rakhsh”, Owlad, and the obese sheep. The story is close – ended and follows strong cause and effect relationships and eventually closes with a definite result.
 

 

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What has been told about Shahnameh and Shahnameh – reciting in different books notifies the superiority of Ferdowsi’s skill in his "the high palace". One of the reasons which provide evidence as to Ferdowsi’s fascinating discourse is considering the rhetorical issues, organizing the draft and unifying the tone of Shahnameh. Considering rhetorical issues and especially the skill of story – telling is a point which most of the followers have not noticed yet. A relevant example is Garshasbnameh by Asadi Tousi which although some theorists have considered it as the successor of Shahnameh, it provides nothing but a mere imitation. This paper examines the rhetorical comparison between the story of "Zaal and Roudabeh" in Ferdowsi’s Shahnameh and the story of "Jamshid and the King of Zabol’s daughter". In spite of some formal similarities in the structure of the story, the results of studying the draft and structures of these two works, the unity of tone and figures of imagination especially simile and metaphor indicate the exalted excellence and superiority of Shahnameh to Garshasbnameh.
 
 

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None of the major poets of Iran, according to Adib Pishavari, despite their greatness, is greater than Ferdowsi, the Master of Tus. Of these poets, only the two great poets of Shiraz, namely Saadi and Hafiz, have been able to overtake the others and come close to Ferdowsi. This devotion of Adib made almost all his poems to take the colour of the verses of Shahnameh.Indeed he appreciates the poetry of Adib who knows well the content and language of Shahnameh. This article is an attempt to study the influence of Ferdowsi on the poetry of Adib Pishavari.