Mythological signs in Samnameh and Garshaspnameh

Epic and myth own strong boundries, and notion of epic is being considered as emerging from the heart of the myth in some cases. Numerous ancient folk and epic stories have mythological foundations and their characters, creatures, and events are often wrapped in a mythological layer to make them more effective. Both Samnameh and Garshasabnameh are works arising from the mythological, historical, and cultural heritage of ancient Iran. Precisely, they are more or less mixed with the monotheistic worldview of their authors. By comparing the mythological signs in these two works and what is known as the characteristic of the epic text, the origin of these texts among epic and mythological texts can be examined. With this analysis, it is clear that the sequence of the events that heroes face in Garshasbnameh is, to some extent, towards national and ethnic goals, and is completely in accordance with the characteristics of epic texts. However, in Samnameh everything revolves around Sam's personal love, despite the use of metaphors by its composer. From the mythological viewpoint, this work can be classified in the category of semi-epic-semi-lyrical texts. 
Introduction:
Legends and myths have been created during their lifetime, and are considered as the result of their thoughts and feelings, and their interests and emotions, which have been used throughout the ages to create epic works (in different types). Shafi'i Kadkani considers the four story fields, heroism, breaking the habit, and nationalism to be the most dominant fields of an epic poem (Shafi’i Kadkani, 2006: 32) and Zabihullah Safa emphasizes on the two characteristics of nationalism and heroism (Safa, 2007: 24).
Both Samnameh and Gershasabnameh contain the mythological stories of ancient Iran and its constituent elements, especially the description of the heroic deeds of Sam and Gershasb, one of the greatest heroes of ancient Iran. Some of these stories have their origins in Iranian myths (especially in Avesta and Shahnameh), and traces of some others can be found in the myths of non-Iranian nations. However, their use in these two books is different according to the style and context of their composers: the style of Samnameh, despite the use of mythological elements, is still in the form of texts of the Iraqi period, and the style of Garshasbnameh is the origin of Khorasani Sikh texts.
Materials and Methods:
The method of doing the work in this research is the library method and the statistical community is based on two books, Garshasabnameh and Samnameh.
Results and Discussion:
As Cassirer's philosophy declares; myth is referred to as a symbolic form that preserves the unity of the word with existence, and the signifier with the signified. As myth establishes itself in the important and developing structure, it also forms the basis of religion by using tangible symbols and signs. Myth is closely bounded with human activities, artistic and scientific creations, law, language, and technology all of which indicate that they were mixed with myth at the beginning of their origin. Myth has been one of the most important factors in creating ethnic bonds and social life of humans and building ethnic and national identity.
In Iran, as the time passes by, national narratives, religious myths, historical facts, stories of warriors, strong interest in religious beliefs and gods and goddesses were mixed together and created related stories whose basis, history, and appearance are stories and their perception is mythological. To be precise, it was the religion that became the source of our national stories in other eras.
 Historical and mythological characters and creatures, and supernatural forces such as fur, magic, prophecy, and astrology are the main pillars of these stories.

Main mythological characters

The characters of such stories often have supernatural powers, unusual habits, and splendor to face the amazing events that come their way. In most of them, warriors and gods are present together in various scenes. One of the most difficult tests of a warrior and the biggest event that happens to gods and goddesses and warriors is dragon slaying which the hero must do in order to achieve spiritual growth and show his merits and achieve the ultimate goal and receive a reward (which is usually a lover's connection). Both the stories of Gershasabnameh and Samnameh follow the pattern of marriage outside the family. According to this model, the sons of kings, like other people, left their family when they were young and married a girl from another lineage and lived with their spouse's for the rest of their lives, which is in accordance with the ritual of familiarization or initiation of heroism in the structure of romance. The use of this structure is due to the importance of this pattern in the depth of these stories, which is based on the opposition of the hero's journey to a foreign land and his return to his hometown, the opposition of his father's and beloved land.
In our mythological tradition, Sam is the manifestation of Garshasab. Sam in Samnameh is completely different from Sam in Shahnameh. In Samnameh, Pahlavi has fallen in love with the picture of a beautiful Chinese girl and begins a long journey to find her and marry her.
Also provided in this book is Rostam and his heroic deeds. In Garshasbnameh, we come across the exaggerated point that war is the cause of Garshasb's creation. A large number of Iranian researchers consider the dragon to be a symbol of drought. The dragon in Gershasbname is also a symbol of drought, and Gershasb fights with him and defeats him to deal with the drought. The fight between the warrior and the dragon is one of the main and frequent actions of Garshasab due to his kindness to his servants and helping the people. Asadi talks about the demonic nature of the dragon and shows the conflict between Ahurai and Ahrimani in helping Garshasab to ask Yazdan.

mythological creatures

2.1. Phoenix
This bird is one of the important and sacred creatures and can be counted as a totemic animal. One of the manifestations of totemism regarding this bird is addressing its healing feathers. However, the main difference between Simorgh in Shahnameh and Samnameh is that in Samnameh (unlike Shahnameh), Simorgh seeks help from Sam to kill the demon Arqam who kidnapped his children, despite having supernatural powers.
2.2. fairy
A fairy in mythology is a gentle and beautiful creature from the invisible world that deceives people with its beauty. Fairies fall in love with men and wrestlers and bewitch them, just like the way Gershasb was deceived by a Khanasheeti fairy in Kabulistan and joined her, disrespecting fire, he became one of the sinners. Fairy is one of the highly used myths in Samnameh. In addition to Fairy Dekht (Faghfur Chin's daughter and Sam's lover), almost all the women in the story are fairies that use their transformations throughout the story and pull Sam after them to reach the goal. However, they all fall in love with him. In this book, the world-renowned fairy turns into a grave and drags Sam to his palace, and Sam falls in love with her after seeing the face of the fairy girl in his palace. In this book, the world-renowned fairy turns into a grave and drags Sam to his palace, and Sam falls in love with her after seeing the fairy girl's face in his palace. Asadi considers fairies as an example of beauty and tenderness (Asadi: 42-43).
2.3. Soroush
In Islamic culture, it is referred to as “Hatif” or “Occult Inspiration”. He is the special courier who helps the hero in the most critical moments. In Samnameh, Soroush appears most of all in Pahlavan's dream and is in the position of a courier who whispers in Sam's ear when he is disappointed and makes him determined in the goal he has in front of him (Samnameh: 49). In Garshasabnameh, it is mentioned about Sorush after the descent of Adam and Eve to the earth, which is good news and hopeful.
2.4. demon
The devil is one of the biggest evildoers and demonic creatures which is also referred to as one of the main symbols of ancient Iranian myths and has a close connection with magic. In addition to what was mentioned about Garshasb's divination, there are multiple divans, including Arqam Diu, Mokukal, Abhara, Farin, Nehangal, etc. Spells and magic stand in front of Sam, but he wins over everyone with God's help (Samname: 63).
Conclusion:
These books have the elements that make up the epic, i.e. having mythological stories, being heroic and breaking the habit; But the main leaven of these stories, which is the hero's long and wonderful journeys and encounters with demonic and evil creatures in pursuit of personal and minor goals, makes them far away from the national epic texts. As it was observed, being free from national and patriotic wars and sacrifice for common ethnic goals, its main difference from Shahnameh (as a criterion for national epic texts) in which dealing with emotional issues is on the sidelines.
The author of Garshasabnameh, as the second epic work of Iran in which religious beliefs have a wide expression, consciously used the pillars and mythological signs, the heroes of this book are in the service of their nation and country and for the well-being of the people with Evil (Ahriman) and what he represents (e.g. drought). They fight and characters, creatures, and supernatural and mythological forces are all used to create a national epic work.
As it had been observed in multiple cases, myths in Samnameh have a metaphorical and figurative application so as to create poetic themes. The creator of Samnameh does not seek to describe the details and address each of them. Furthermore, in order to compose the most individualized Pahlavi poem of Iran, Sam and his supernatural powers are merant to have the direct focus on connecting the beloved. This is in contradiction with Garshasbnameh in which a detailed description of mythology and the creation of a national and natural epic work is grasp, imitating the Shahnameh