Summary

Shahnameh is an old epic of Persia that has lots of culture, politics

and history tied into its composition. I am going to go over the text of this
piece to exemplify what the author was trying to communicate through the
passage beginning with the birth of Sekandar.

This specific part of Shahnameh opens up with a quick story of a

queen who is dismissed by king Darab because of her foul breath and
gives birth to a prince Sekandar. Sekandar is then told to be the son of his
grand-father, Filqus, so nobody would know of his daughter's dismissal. It
then jumps scenes back to Darab where he takes another wife and gives
birth to a son Dara. Again it forwards through time to war between the
kingdoms of Sekandar and Dara. Sekandar had defeated Dara and
absorbed his land and army.

Sekandar then goes on a campaign, writing to many kings asking

for tribute and recognition of his power and conquest. The epic goes into Via Goodreads
detail for a few of these encounters, the first being the defeat of an Indian
king in hand to hand combat. From there he tries to trick the queen of
Egypt by delivering his message personally under a disguised name. The clever queen had already
sent orders to have a picture drawn of Sekandars face and humbles him by letting him live after such
threats. The story then transitions as Sekandar continues his arrogant conquest ending up in an
unknown town near a lake on the side of a mountain. There a speaking tree unfolds some of
Sekandar’s future informing him that he will die on this campaign.

The king then moves through China and Babylon where his life and reign will end. He sends
many letters home to make arrangements politically, strategically, and divide up his final will. He is
then buried in Alexandria and mourned by many including his famous mentor Aristotle.

This poem stirs many feelings and thoughts from the odd divorce in the beginning to the talking
tree of destiny. In full this epic is a history of the world and its many kings but at the same time there
are lessons and model characteristics of the orient and royal customs of those times. In two cases we
have the queen of Egypt and King of China decides to quiet their tongues in the midst of anger and
choose wiser routes. This can very well be compared to the book of kings in the Bible, even though it
is a recount of history it served as a guideline for future kings. Like the Bible as well these stories
inspire a faith for the people of the time, Sekandar gives much glory to God in his speech and letters.
The last part of the story of Sekandar tells of what Sekandar left behind in his legacy. In this they
intertwine some words of wisdom, a spiritual awakening if you will and tell how all of Sekandar’s
dynasty and prosperity will eventually amount to nothing in the near future. We see many colors in
Shahnameh and its text, rich in current culture as well as the past and full of imaginative history we
see why its influence on the Persian and middle eastern area is so influential.

Works Cited
Ferdowsi, A. (2012). From Shahnameh. In Shahnameh (3rd ed., Vol. B, pp. 185-207). New York:
W.W. Norton & Company.
 Texture

Persian Epic
Shahnameh or “book of kings” is a Persian epic poem written by Abolqasem Ferdowsi.
Shahnameh is also the national legend of Persian which contains ancient legendary material, derived
both from written and oral traditions, put together into a new literary genre. Ferdowsi’s Shahnameh
was the first Persian text which was primarily not meant for oral performances even though it was
strongly influence by oral literature. Shahnameh is divided into three different sections; the mythical
age, heroic age and the historic age and is very different from the other epic poems that we have
read so far. Unlike the epics poems before which focused primarily on one character or hero,
Shahnameh focuses on a lot of different heroes. In all Shahnameh has 62 stories, 990 chapters, and
contains 60,000 rhyming couplets but in our reading we used a prose version, which primarily
focused on the life and adventures of Sakander or Alexander the Great. Although the passage we
read was only a small part of the full story, it does give you a feel of what the full epic poem was like.
Most Persian epics have to two things in common; they’re poems and they’re heavily influenced by
religion.

Figurative Language
Almost every poem you read has some sort of figurative language in it and Shahnameh is not
different. The story also uses a lot of figurative language, which shouldn't come as a surprise
considering it’s a poem and all, but what is figurative language? Figurative language is when a writer
describes something through the use of unusual comparisons, for effect, interest, and to make things
clearer. Figurative language is used a lot in this poem, especially in the beginning of the story. The
author starts off by comparing the queen to a moon and the smell of her breath to sweet musk. Then
he describes a female horse as cream-colored with lion-like chest. His use of figurative language also
creates a lot of Imagery. Throughout the story you will also find small rhythmic poems. These small
poems are mostly used as dialogue between characters.

Religious Aspect
The story is greatly influenced by the religion of Islam and you could see it throughout the
story. Reading this also felt like reading a religious text, mainly because god was mention a lot, plus it
had a lot of advises commonly found in religious texts. It talked about how one should live his life
humbly and treat everyone with kindness and how we should be grateful to the sole Creator of the
world, god, for the blessings that we get every day. It also talked about how we should be prepared
for death, because eventually we are all going to die. It gives advice on how we should cherish our
life and not take it for granted. These are basic things that most Muslims are taught throughout their
life.
Conclusion
Overall, the shorten prose version of Shahnameh is very easy to read and understand
compared the original version. It’s use of imagery and figurative language helps you better
understand what the author is trying to say. The story it’s self is quite sad because of it unhappy
ending. But that is not surprising considering death is one of the primarily themes of the story.

Works Cited
Ferdowsi, A. (2012). From Shahnameh. In Shahnameh (3rd ed., Vol. B, pp. 185-207). New York:
W.W. Norton & Company.
Raziuddin Aquil. Review of Yamamoto, Kumiko, The Oral Background of Persian Epics: Storytelling
and Poetry. H-Mideast-Medieval, H-Net Reviews. November, 2004.
Abolqasem Ferdowsi, Dick Davis trans. (2006), Shahnameh: The Persian Book of Kings ISBN 0-670-
03485-1, modern English translation, current standard.
 Context

History
The Shahnameh, or “The Book of Kings,” was written during the Iranian Muslim Dynasty of the
Persian empire, known as the Samanids (819-1005), by Abolqasem Ferdowsi in an attempt to
preserve “Iran’s pre-Islamic heritage” (Lawall 1479). This work, which is commonly referred to as the
epic of Iran, was conceived from the compiled old stories of Iran that had been transcribed from their
oral form in prose, then turned into verse by Ferdowsi around four centuries after Persian Empire
ceased to exist. Many of these stories “can be traced back well before the coming of Islam to at least
the time of Cyrus and Darius some twenty-five hundred years ago” (Lawall 1478). –Cyrus and Darius
lived around 559-330 BC during Aechaemenid Persia, the period just before Alexander the Great
added Persia to his list of conquests circa 330 BC (“Persian…”).

The Shahnameh relates the history of the Persian Empire and its heroes. The story’s timeline
flows from the coming of the first shah in the beginning of time, who “differentiated” the now Iranians
from the rest of the animals, to the destruction of the empire at the hands of the Muslim Arabs ”in the
early seventh century A.D.” (Khosronejad 321). As a result, the 62 stories that constitute this
compilation do not own a single hero, but honor many, including those from the many lands beyond
Iran. This is understandable because by Alexander the Great’s time, Persia covered the “entire region
from Egypt to India, including Asia Minor and Greece” (“Persian…”). The portion of the Shahnameh
available in the Norton Anthology, Vol. B, Ed. 2, tells of the death of Sohrab by his father, the hero
Rastam. It takes during the Kainian dynasty of Persia (c. 1000-559 BC) while Kay Kavus ruled in the
seventh century BC- although, whether Kay Kavus was a real or mythical figure is highly debated, as
two of my sources disagree- (“Middle…”). The sample available in the third edition of the Norton
Anthology discusses Sekandar, otherwise known as Alexander the Great, and his conquest and rule
of Persia. This portion takes place almost 400 years later, as it relates the founding of the Argead
Dynasty (330-256 BC).

Via Encyclopedia Britannica

 Time Line

 1000-559 BC Kainian Dynasty

o Kay Kàvus c. 700 BC,
 559-330 BC Achaemenid Persia (Cyrus) –stories can be traced back to here
 330-circa 256 BC The Selecids
o 330-256 Argead Dynasty: Macedonian Rulers of Persia
o 330-323 BC King Sekandar/Sikandar:This name is a variant of the name Alexander,
hence, Sekandar is Alexander the Great.
 248 BC -224 AD Arsacid (Parthian) Persia Not much is known of this period except their
coins. (“Middle…”)
 224 -642 AD Sassanid Persia –End of Shanameh, as they were conquered by the Muslim-
Arabs
 945-1055 AD The Buwayid Amirs of Iraq, also known as the Muslim Arabs.
 1055-1194 AD Selijuq Dynasty, or the Great Sultans. Unlike the rulers of the previous
empire, who were only interested in Arab culture, this group was indigenous to Iran and
interested in reviving the classics.
 Circa 935-1020 AD Ferdowsi was born and died. As a native to Iran, he had a personal
interest in keeping the written form of the, by this time ancient, oral epic alive.

Zoroastrianism
The period of time over which this epic takes place has frequently been referred to as Pre-
Islamic. The religion that defined the Persians was Zoroastrianism. Although obscure in modern
times, it was once one “of the most powerful religions in the world… [as well as] the official religion of
Persia from 600 BCE to 650 CE” (BBC). Unfortunately, many of the finer points of Zoroastrianism
have been stripped from the stories of the Shahnameh, creating a version of the religion that has
lacks the “fire temples, rituals, and prayers” that define the religion. The people of the Selijuq
Dynasty, including Ferdowsi, were Muslims. Thus, “as a consequence, either he or his sources
passed the stories of the Shahnameh through a filter, eliminating what would have been more
offensive to Muslim beliefs” (Lawall 1477). While prayers are included in the stories, these are
different from those of the Zoroastrians of the period because they are only mentioned in reference to
thanking or requesting something of their god, an action that would be much more agreeable to
Muslim readers than the communes and constant prayers required of actual practitioners. Despite the
heavy-handed editing of the stories by Ferdowsi in order to make them appealing to Muslim readers,
many aspects of the religion remain.
 Zoroastrianism is not just a religion, but a way of life that shapes
the way the characters in the Shahnameh conduct themselves. This
monotheistic system was integral to preserving the order of Persian
society, as it dictated that “only god has the power to choose a monarch,”
creating a form of divine mandate that ensured the people’s submission to
the ruling class (Lawall 1477). Although, as a foil to this, Zoroastrians
believe that all men and women, regardless of status, are created equal,
and can only surpass each other in righteousness (BBC). Hence why the
rulers in the Shahnameh usually consult their contemporaries before
making major decisions, such as going to war, and allow their counselors
to question the wisdom of their choices without punishment. This system Via Looklex Encyclopedia
also stressed the “ongoing battle of good and evil within the universe” as
well as mankind. A belief that is illustrated through the epic’s continuous comparison between life and
death, and focus on pairing joy and great grief as well as truth and deception (BBC) An example of
this would be Sohrab’s entreaties to Human for honesty concerning the identity of Rostam in the
enemy camp, and Humàn’s insistence that Rostam is absent from the field.

Another aspect of this religion that is related faithfully is their death ritual. This rite of passage
consists of the dead being left out for the vultures until the bones are picked clean of flesh and can be
collected by family members. Zoroastrians believe the dead are impure, but can be cleansed by
allowing birds of prey to chow down on the corpse, naturally returning it to the elements. As a result,
the cemeteries within the story are not the graves dug into the ground most people are familiar with,
but are instead the smoldering towers built to hold the dead long enough for the birds to descend.
Thus, despite the deliberate exclusion of the finer points of Zoroastrianism, it remains a shaping
influence in the stories of the Shahnameh.

Works Cited
BBC. "Religions: Zoroastrianism." BBC News. BBC, n.d. Web. 20 Oct. 2014.Khosronejad, Pedram.
"The Shāhnāmeh in Bakhtiāri Nomadic Society: Anthropological Aspects of Hero and Heroism." Iran
44 (2006): 321-26. JSTOR. British Institute of Persian Studies, 2006. Web. 23 Oct. 2014.
<http://www.jstor.org/stable/4300715>.Lawall, Sarah N., and Maynard Mack. The Norton Anthology of
World Literature. 100-1500. 2nd ed. Vol. V. New York: Norton, 2002. Print."Middle East Kingdoms."
Kingdoms of Persia. Kessler Associates, 02 Jan. 1999. Web. 23 Oct. 2014."Persian Empire, 550–330
B.c." Iran's Diverse Peoples: A Reference Sourcebook. N.p.: ABC-CLIO, 2005. Credo Reference. 20
Aug. 2008. Web. 23 Oct. 2014.
http://search.credoreference.com/content/entry/abciran/persian_empire_550_330_b_c/0.
 The Hero's Journey in the Shahnameh

Joseph Campbell, mythologist and author of A Hero with a

Thousand Faces describes the hero’s journey as an archetype that
all heroic stories follow. He writes, “A hero ventures forth from the
world of common day into a region of supernatural wonder: fabulous
forces are there encountered and a decisive victory is won: the hero
comes back from this mysterious adventure with the power to
bestow boons on his fellow man" (Campbell 23). In this summary he
categorizes the hero’s journey into three parts: departure, initiation,
and return.

Departure
In studying Shahnameh one can characterize Sekandar as a
hero using the principles that he follows the path of a heroic journey.
In this “book of the kings” Sekandar’s departure stage
initiates after he listens to Dara’s dying words. In succession, Joseph Campbell's Hero's Journey
Sekandar writes a letter to Foor and leads his army out from
Milad to Qanuj.

Initiation
In the scholarly journal, Ancestral War and the Evolutionary Origins of Heroism, the
collaborating author’s discuss how heroism is a greater trait in war than any other action of life; they
state, “Heroism is well recognized as a potential human behavior, but the existence of heroism is
most commonly treated as a background assumption in examining the nature of war” (927). Thus,
Sekandar engages in war, leading his army against Foor.

He and his soldiers then battle the Indian troops and achieve killing Foor. Sekandar then leads
his army to Egypt and sends a letter to Qaydafeh. After the Greeks capture Qaydafeh’s son,
Sekandar goes as an envoy to Qaydafeh and receives her valuable advice. She suggests to him that
he isn’t the hero he claims to be. That the fate of his enemies had come to an end while his was only
just beginning. She tells him to remember God’s role in his success (Ferdowsi 197). In Campbell’s
analysis of a hero, he claims that the hero comes back with “boons for his fellow man” (Campbell 23).
These boons can be more than just monetary rewards. Often, the heroes are granted an increase in
morality or self-knowledge as their prize of war. Sekandar begins to become affected by war’s price
when he sees a corpse spread out on a throne at the Palace of Topazes. Here, in a beautiful glittering
palace, he is reminded that death has no limits and he has spent many of his years away at war.
Sekandar then meets with the emperor of China and leads his army to Babylon where he enters
communication with Arestalis.

Return
The final stage of the hero’s return is commenced. Sekandar writes to his mother telling her
not to mourn his death as he knew it was near. Sekandar, knowing he had but days, ordered that his
deathbed be transferred to an open plain where he could talk with his troops. Sekandar passed after
ordering his troops to “live humbly, [and] fearfully” (Ferdowsi 205). Sekandar’s death finalizes the
hero’s journey, as his advice becomes the boons rewarded to his men.
 Works Cited
Campbell, Joseph. "The Hero with a Thousand Faces." Barnes & Noble. N.p., n.d. Web. 20 Oct.
2014.
Campbell, Joseph. The Hero’s Journey. Digital image. Wikipedia
Evolutionary Origins of "Heroism"" The Journal of Politics 69.4 (2007): 927-40. Jstor. Web. 20 Sept.
2014.
Ferdowsi, Abolqasem. "Shahnameh." The Norton Anthology World Literature. Vol. B. New York:
W.W. Norton, 2012. 185-207. Print.
Smirnov, Oleg, Holly Arrow, Douglas Kennett, and John Orbell. "Ancestral War and the

Heroic Traits in the Shahnameh

Heroes exist everywhere from fictional stories, family members, friends, historic figures, and
professional athletes. We love our heroes because of the things they’ve done, the difference they’ve
made, and their passion for what they do. Shahnameh is a story about Sekandar, a newborn baby
who grew up to be king and the journey he took to conquer all the lands. Sekandar has a variety of
heroic qualities and few similarities to current heroes of today.

Most heroes have the same general heroic traits from stories and in real life. Typical traits
include strength, bravery, confidence, compassionate, good looks, and super powers. Sekandar went
to a bloody war against Foor for the rule of each other’s kingdom, and both have lost many men.
Sekandar was a compassionate hero who didn’t want anymore of his men to die for this war.
Sekandar proposed, “’Our warriors have been killed, or they have fled: Why should two countries fight
when combat can decide who is the victor, man to man? Prepare to face me, one of us alone will live
to claim these armies and this throne’” (Shahnameh, page 191). He also showed bravery and
strength when he fought Foor who was a bigger and stronger opponent. “When Sekandar saw his
massive opponent, his fearsome sword in hand and mounted on a huge horse, he was astonished
and almost despaired of his life. Nevertheless he went forward, and as he did so Foor was distracted
by a cry that went up from the rear of his army and turned toward it. Like the wind then Sekandar bore
down on him, and struck the lion-like warrior with a mighty sword blow” (Shahnameh, page 191).
Sekandar’s popularity and greed grew as he started to rule other kingdoms across the land.

Sekandar can be compared to the heroes of professional athletes and celebrities of today.
Athletes and celebrities have a lot of fans that loves them for what they do, how they look, and the
way they play the game. However, fame and glory can lead to making poor decisions like drugs,
alcohol, and crimes. According to The Boston Globe, “Aaron Hernandez murder trial to start in
January” (bostonglobe.com). Most of these celebrities who are greedy grew up with nothing, to
having everything. Sekandar rose to kingdom after Dara died, and his popularity grew as he started to
take over other kingdoms.

Sekandar’s people loved him like basketball fans love their team. They love what he
accomplished and they look up to him like a god. However, Sekandar is a tyrant who wanted to take
over the world. He wasn’t contempt, happy, or thankful for his victories; he just wanted more land.
Qaydafeh the Queen of Egypt told Sekandar, “O lion-like king, don’t let yourself be led astray by your
male pride! The Indian king Foor wasn’t killed because of your glory, and neither was Dara and the
heroes of Sind. All good things come from God, and while you live you should be grateful”
(Shahnameh, page 197). The speaking tree also advised Sekandar, “’Do not puff yourself up with
greed; why torment your soul this way? Greed makes you wander the wide world, harass mankind,
and kill kings.’” (Shahnameh, page 199). Even after Sekandar’s death, a few of his people questioned
his way of life. “The philosopher Arestalis said, ‘Where are your intelligence, knowledge, and
foresight, now that a narrow coffin is your resting place? Why in the days of your youth did you
choose the earth as your couch?’ (Shahnameh, page 206).

Sekandar in his own right was a hero who was brave, strong, fearless, and fought for his
people. He did everything he can to help and protect Greece, and wanted the world to have the same
leadership and treatment he gave his people. Unfortunately, Sekandar was filled with greed like the
many past leaders of other countries that led us to war. We will always love our heroes for the things
they’ve done, the difference they’ve made, and their passion for what they do. Sekandar’s heroic trait
has the qualities of a fictional hero and the flaws of a human being.

Works Cited
Ferdowsi, Abolqasem. "Shahnameh." The Norton Anthology World Literature, Volume B. 185-207.
New York 2012
Aaron Hernandez Murder Trial to Start in January by Maria Cramer and John R. Ellement, July 22,
2014;
http://www.bostonglobe.com/metro/2014/07/22/aaron-hernandez-due-court-for-status-
hearing/Ac8XUlwbaalYugNN9o6pjP/story.html