Conclusion: Women Reveal the Cultural Changes Throughout the Shahnameh

I have spent this whole semester analyzing scholar’s different points of view on the role of women in the Shahnameh. I started with addressing Gabbay’s argument that women and men are not equals in the Shahnameh and then contrasted her argument with Loveimi’s argument that women play important narrative aspects in the play and are seen as equal to male characters.(1) (2) Unsure how to proceed, I came upon an article by Dick Davis that revealed that the Shahnameh is divided up into a legendary and historic section and the roles in which women played within those parts of the poem revealed the role of women in that specific time period. (3) I, then, looked at the art and religious aspects of the Shahnameh, which displayed to me that Ferdowsi intended to capture the essence of Iranian society before the Arab takeover. Hence, I can conclude from all my research that the role of women in the Shahnameh is one in which is decided by the point in which the reader is within the narrative. The women characters show the progression of time by the way in which they change from being important to the narrative to being background characters. The Shahnameh does not capture women in a specific way–indicating that the culture of Iran is never fixed.

  1. Gabbay, Alyssa. “Love Gone Wrong, Then Right Again: Male/Female Dynamics in the Bahrām Gūr–Slave Girl Story.” Iranian Studies 42, no. 5 (2009): 677-692.
  2. Loveimi, Soheila. “Fateful Women in Ferdowsi Shahnameh.” English Language Teaching 9, no. 5 (2016) 46-56.
  3. Davis, Dick. “Women in the Shahnameh: Exotics and Natives, Rebellious Legends, and Dutiful Histories.” In Women and Medieval Epic, pp. 67-90. Palgrave Macmillan US, 2007.
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