National epic in the context of "Ramakien"

A national myth is an inspiring narrative or anecdote about a nation's past. Such myths often serve as important national symbols and affirm a set of national values. A myth is entirely fictitious but it is often mixed with aspects of historic reality to form a mythos, which itself has been described as "a pattern of beliefs expressing often symbolically the characteristic or prevalent attitudes in a group or culture". Myths, or mythoi, thereby operate in a specific social and historical setting that help structure national imagination and identity. A national myth may take the form of a national epic, or it may be incorporated into a civil religion. Mythos derives from μῦθος, Greek for "myth".

A national myth is a narrative which has been elevated to a serious symbolic and esteemed level so as to be true to the nation. The national folklore of many nations includes a founding myth, which may involve a struggle against colonialism or a war of independence or unification. In many cases, the meaning of the national myth is disputed among different parts of the population. In some places, the national myth may be spiritual and refer to stories of the nation's founding by a God, several gods, leaders favored by gods, or other supernatural beings.

The Aeneid (/ɪˈniːɪd/ ih-NEE-id; Latin: Aeneis [ae̯ˈneːɪs]) is a Latin epic poem that tells the legendary story of Aeneas, a Trojan who fled the fall of Troy and travelled to Italy, where he became the ancestor of the Romans. Written by the Roman poet Virgil between 29 and 19 BC, the Aeneid comprises 9,896 lines in dactylic hexameter. The first six of its twelve books tell the story of Aeneas' wanderings from Troy to Italy, and the latter six tell of the Trojans' ultimately victorious war upon the Latins, under whose name Aeneas and his Trojan followers are destined to be subsumed.

The hero Aeneas was already known to Graeco-Roman legend and myth, having been a character in the Iliad. Virgil took the disconnected tales of Aeneas' wanderings, his vague association with the foundation of Rome, and his description as a personage of no fixed characteristics other than a scrupulous pietas, and fashioned the Aeneid into a compelling founding myth or national epic that tied Rome to the legends of Troy, explained the Punic Wars, glorified traditional Roman virtues, and legitimised the Julio-Claudian dynasty as descendants of the founders, heroes, and gods of Rome and Troy.

The Kebra Nagast (Ge'ez: ክብረ ነገሥት, kəbrä nägäśt), or The Glory of the Kings, is a 14th-century national epic of Ethiopia, written in Geʽez. In its existing form, the text is at least 700 years old and purports to trace the origins of the Solomonic dynasty, a line of Ethiopian Orthodox Christian monarchs who ruled the country until 1974, to the biblical king, Solomon and the Queen of Sheba.

Modern scholarship considers it not to have any historical basis and that its stories were created to legitimize the dynasty's seizure of power in Ethiopia in the 13th century. Nevertheless, many Ethiopian Christians continue to believe it is a historically reliable work.

Pan Tadeusz (full title: Sir Thaddeus, or the Last Foray in Lithuania: A Nobility's Tale of the Years 1811–1812, in Twelve Books of Verse) is an epic poem by the Polish poet, writer, translator and philosopher Adam Mickiewicz. The book, written in Polish alexandrines, was first published by Aleksander Jełowicki on 28 June 1834 in Paris. It is deemed one of the last great epic poems in European literature.

Pan Tadeusz, Poland's national epic, is compulsory reading in Polish schools and has been translated into 33 languages. A film version, directed by Andrzej Wajda, was released in 1999. In 2014 Pan Tadeusz was incorporated into Poland's list in the UNESCO Memory of the World Programme.

Runic song, also referred to as Rune song, Runo song, or Kalevala song, is a form of oral poetry and national epic historically practiced among the Baltic Finnic peoples. It includes the Finnish epic poems Kalevala and Kanteletar, as well as the Estonian Kalevipoeg. Estonian and Finnish researchers suggest the term runosong for English translation, or local terms, such as Estonian regilaul, Seto leelo or Finnish runolaulu when it is about regional tradition.
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The Shahnameh is a long epic poem written by the Persian poet Ferdowsi between c. 977 and 1010 CE and is the national epic of Greater Iran. Consisting of some 50,000 distichs or couplets (two-line verses), the Shahnameh is one of the world's longest epic poems, and the longest epic poem created by a single author. It tells mainly the mythical and to some extent the historical past of the Persian Empire from the creation of the world until the Muslim conquest in the seventh century. Iran, Azerbaijan, Afghanistan, Tajikistan and the greater region influenced by Persian culture such as Armenia, Dagestan, Georgia, Turkey, Turkmenistan and Uzbekistan celebrate this national epic.

The work is of central importance in Persian culture and Persian language. It is regarded as a literary masterpiece, and definitive of the ethno-national cultural identity of Iran.

The Shahnameh of Shah Tahmasp (Persian: شاهنامه شاه‌طهماسب) or Houghton Shahnameh is one of the most famous illustrated manuscripts of the Shahnameh, the national epic of Greater Iran, and a high point in the art of the Persian miniature. It is probably the most fully illustrated manuscript of the text ever produced. When created, the manuscript contained 759 pages, 258 of which were miniatures. These miniatures were hand-painted by the artists of the imperial workshop in Tabriz under Shah Ismail I and Shah Tahmasp I. Upon its completion, the Shahnameh was gifted to the Ottoman Sultan Selim II in 1568. The page size is about 48 x 32 cm, and the text written in Nastaʿlīq script of the highest quality. The manuscript was broken up in the 1970s and the pages are now in a number of different collections around the world.

Petar II Petrović-Njegoš (Serbian Cyrillic: Петар II Петровић-Његош, pronounced [pětar drûɡi pětroʋitɕ ɲêɡoʃ]; 13 November [O.S. 1 November] 1813 – 31 October [O.S. 19 October] 1851), commonly referred to simply as Njegoš (Његош), was a Prince-Bishop (vladika) of Montenegro, poet and philosopher whose works are widely considered some of the most important in Montenegrin and Serbian literature.

Njegoš was born in the village of Njeguši, near Montenegro's then-capital Cetinje. He was educated at several Serbian monasteries and became the country's spiritual and political leader following the death of his uncle Petar I. After eliminating all initial domestic opposition to his rule, he concentrated on uniting Montenegro's tribes and establishing a centralized state. He introduced regular taxation, formed a personal guard and implemented a series of new laws to replace those composed by his predecessor many years earlier. His taxation policies proved extremely unpopular with the tribes of Montenegro and were the cause of several revolts during his lifetime. Njegoš's reign was also defined by the constant political and military struggle with the Ottoman Empire, and by his attempts to expand Montenegro's territory while gaining unconditional recognition from the Sublime Porte. He was a proponent of uniting and liberating the Serb people, willing to concede his princely rights in exchange for a union with Serbia and his recognition as the religious leader of all Serbs (akin to a modern-day Patriarch of the Serbian Orthodox Church). Although unification between the two states did not occur during his lifetime, Njegoš laid some of the foundations of Yugoslavism and introduced modern political concepts to Montenegro. Venerated as a poet and philosopher, Njegoš is well known for his epic poem Gorski vijenac (The Mountain Wreath), which is considered a masterpiece of Serbian and other South Slavic literature, and the national epic of Serbia, Montenegro, and Yugoslavia. Njegoš has remained influential in Serbia and Montenegro, as well in neighboring countries.

Translatio imperii (Latin for 'transfer of rule') is a historiographical concept that was prominent among medieval thinkers and intellectuals in Europe, but which originated from earlier concepts in antiquity. According to this concept, the notion of decline and fall of an empire is theoretically replaced by a natural succession from one empire to another. Translatio implies that an empire can metahistorically be transferred from hand to hand and place to place, from Troy to Romans and Greeks to Franks (both claiming to be Romans) and further on to Spain, and has therefore survived.

In classical antiquity, an authoritative user of this scheme was Virgil, who has been traditionally ranked as one of Rome's greatest poets. In his work Aeneid, which has been considered the national epic of ancient Rome, he linked the Rome in which he lived, reigned by its first emperor Caesar Augustus, with Troy. The discourse of translatio imperii may be traced from the ninth century to the fourteenth, and may be carried on into the sixteenth century or even further. In the Early modern period, the translatio scheme was used by many authors who wished to legitimate their new centre of power and to provide it with prestige. In Renaissance era Florence, humanists wrote Latin poems fashioning their city as the new Rome, and members of the Medici family as Roman rulers.