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Despite many obstacles and difficulties, Ferdowsi'sShahnameh, as a literary masterpiece and record of national identity, entered the lives of people right after its publication. Thenceforth, generations of people have chosen different forms of preserving this masterpiece, according to their time and lifestyle. Minstrelsy or performance of Shahnameh is among these forms. This famous and ancient form, despite all its values, is giving its place to new dramatic forms. Shahnameh's artistic language and its dramatic aspects has given modern artists the opportunity to form its stories into other literary forms, including drama. To show the strong dramatic aspects of Shahnameh, we have chosen five plays derived from the story of Siavash in Shahnameh. To identify and analyze the values and the shortcomings of these plays we have applied Wagner's categories of imitation. This study shows that the playwrights are usually inclined to interpretive imitation, and that comparative imitation and displacement are done not according to the general audience, but according to the modern tendencies in literature an art.

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Myth is thinking and reactions of the first man in the face of natural disasters and therefore the people were ambiguity to understand the causes of these accidents then their reactions to those events, along with the fear. The fear caused that they assume a God for everything to resort to it due to safe from accidents. The formation of myths in human societies have been based on the principle so in the myths of different nations, similarities can be seen. Among the Nations legends mythology, Iran and India are most similarities due to cultural commonalities. This research is analysis the common elements with considering the assumption of common themes between the Ramayana epic and Shahnameh in two characters of Siavash and Rama. Unity of these two mythical stories are outbreaks of mythological similarities in the two main heroes, the battle between good and evil, loyalty to the covenant and the covenant, fire-proof judged for show guilty and the innocent, the bravery and courage force, Cum control of the heroes fate, love, hate, the intrigues and conspiracies stepmother-in-exile of Rama and Siavash and entrusting their education to another in teenage period, Semi-divine eternal immortality of the soul heroes that to discuss it in a descriptive- analysis study of the story of Siavash in Shahnameh and epic Ramayana of Valmiki paid artifact. Methods of this study are based on the findings of the library and descriptive-analysis. Research results show that many common features of these two stories are same and the myth of Rama and Siavash common is a strong reason beliefs rooted influence of Aryan on the formation of these two stories.

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Hakīm Abu'l-Qāsim Ferdowsī `s Shahnameh (epic of the kings) is the most punctilious and artistic versified work of the world and Iran literature. Multiplicity of characters in this work and their acts and interactions indicate that its creator was fully aware of many personal and psychological points and ideas, and paid the necessary attention as soon as creating the characters .Rostam , the national hero of Iran, is the most effective character playing numerous  roles for Iran and is the   main Shahnameh`s paladin of denouement. This study was aimed at evaluating the emotional aspect of Rostam-e Pil tan (strong), because, in the tragedy of Rostam and Sohrab and the story of Siavash, he shows the most trivial emotions and, since Ferdowsī is worry about the destiny and psychological conditions of Shahnameh characters, giving the rearing of Siavash to Rostam and replacing his emotion toward Siavash, desires his spiritual and psychological consolation. This indicates the deep attention and cognition of the poet to psychological issues and human personality. The role of Rostam in the story of Siavash matches the theory of defense mechanism and coping with psychological pressure. Having no opportunity to be the mentor of his own son (Sohrab), Rostam wants to satisfy his personal and psychological lacks when he meets Siavash. He sees Sohrab in the mirror of Siavash and, with the defense mechanism, leads his unsatisfied motifs to a place where his psychological stresses are reduced, and his self-respect is preserved.

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The angle of vision is a perspective in which the author narrates through it the events and adventures of the story. The angle of vision, as one of the main elements of the story, has an impact on the feelings and perceptions of the reader as well as other structural elements of the story such as personality, the development of the plot, style, and stage. In this descriptive-analytic study, various angles of vision and points of narration in the story of Siavash have been investigated. The results showed that Ferdowsi, as a wise narrator, has managed to maintain the structural coherence of the narration, using the narrative of the story and characters from the third, personality, subjective and inward, factual and objective angles, as well as from the point of view of the first person, and applied the types of inner and outer recollections, thus avoiding the mere description of the story. This variety and multiplicity have caused the variables and perspectives of the narrative and points of view in the story of Siavash to be diverse. On the one hand, due to the dominance of the entire knowledgeable narrator of the story, the narratives are mainly related to the third-person perspective; on the other hand, the use of both the outer and inner vision center and the use of the focal species associated with the position of the narrator are related to the person's first-sightedness.