The current article is an aesthetic and philosophical reflection on the epic essence of Ferdowsi’s Shahnameh compared with other chivalric verses after it. The chief concern of nineteenth-century aesthetic philosophers such as Schiller, Holderlin, Schelling, and Hegel has been eliminating the Kantian binaries of ‘freedom versus nature’ and ‘mind versus object,’ and this turns this concern into the central issue of modernity. The contact of these philosophers with Kant has resulted in a wide spectrum of historical formulations endeavoring to narrate the history of the soul prior to its division into object and mind. Also, the formulations seek to represent the essence of the beginning era known by terms such as being, essence, absolute, general spirit, totality, as well as coherence and totality. Hegel refers to this era as the epic or classical period. This article looks at Ferdowsi’s Shahnameh from this aesthetic standpoint, seeking to demonstrate how the poet during the late period of subjectivity and positive religions has been able to summon up the universal spirit of epic in his poetical form and get close to its poetic spirit which is absent in all chivalric texts after it. Here the main argument is historical possibility and the issue under discussion has not been reduced to the personal genius of Ferdowsi and preconditions like nationality and the periodic display of early emergence of civilization.