CEU eTD Collection A ComparativeAnalysis ofMedieval Persian andFrenchChivalric Different LoveStories inDifferent Cultures. MA ThesisinMedievalStudies Central EuropeanUniversity Sara KazemiManesh Romances May 2011 Budapest CEU eTD Collection eta uoenUiest,Bdps,i ata uflmn fterequirements Central EuropeanUniversity,Budapest,inpartialfulfillmentofthe A ComparativeAnalysis ofMedievalPersian andFrench Thesis submittedtotheDepartmentofMedievalStudies, Accepted in withthestandardsof Accepted conformance CEU of theMasterArtsdegreeinMedievalStudies Different Love StoriesinDifferent Cultures. ______Chair, ExaminationCommittee Chivalric Romances Thesis Supervisor Sara KazemiManesh Examiner Examiner May 2011 Budapest (Iran) by ii CEU eTD Collection Central EuropeanUniversity,Budapest,inpartialfulfillmentoftherequirements A ComparativeAnalysis ofMedievalPersian andFrench Thesis submittedtotheDepartmentofMedievalStudies, Accepted in withthestandardsof Accepted conformance CEU of theMasterArtsdegreeinMedievalStudies Different Love StoriesinDifferent Cultures. ______Chivalric Romances External Examiner Sara KazemiManesh Budapest May 2011 (Iran) iii by CEU eTD Collection Central EuropeanUniversity,Budapest,inpartialfulfillmentoftherequirements A Comparative Analysis ofMedievalPersian andFrench Thesis submittedtotheDepartmentofMedievalStudies, Accepted inconformancewiththestandardsofCEU of theMasterArtsdegreeinMedievalStudies Different Love StoriesinDifferent Cultures. ______Chivalric Romances ______External Supervisor External Sara KazemiManesh Supervisor Budapest May 2011 (Iran) iv by CEU eTD Collection academic degree. an for education higher of institution other any to form this in submitted been has thesis the of part no that declare also I copyright. institution’s or person’s any on infringes thesis the of part no and others, of work the of made was use illegitimate and unidentified no that declare I bibliography. and notes in credited properly as information external such only and research my on based work, own my exclusively is thesis present the that herewith declare Studies I, the undersigned, the I, uaet 5My2011 May Budapest, 25 Sara Kazemi Manesh Kazemi Sara v , candidate for the MA degree in Medieval in degree MA the for candidate , ______Signature CEU eTD Collection thanks go to my dear friend and colleague Ms colleague and friend dear my to go thanks rfso Gög Szönyi György Professor to theoneswhosehelpinanyrespectcontributedcompletionofmythesis at my most difficult moments difficult most my at thesis take shape take thesis opportunity to develop my work and have a better understanding of my subject my of understanding better a have and work my develop to opportunity from my dear parents my dear from Hereby I would like to express my sincere gratitude to all the ones who helped my helped who ones the all to gratitude sincere my express to like would I Hereby . I am genuinely thankful to my supervisors my to thankful genuinely am I , my brother and my little sister little and my brother my , hs giac, aine n spot rvdd e ih the with me provided support and patience guidance, whose . I am also grateful for all the love and support I have received have I support and love the all for grateful also am I ACKNOWLEDGEMENTS vi . Ljupka Ivanova who was always there for me for there always was who Ivanova Ljupka . Lastly I would like to offer my regards my to offer like would Lastly I , Professor Gerhard Jaritz and Jaritz Gerhard Professor . . My special My CEU eTD Collection DEDICATED TO:Dr.BehzadGhaderi vii CEU eTD Collection 4.5 ASENSEOFCLOSURE 4.4 STRENGTHOFWOMEN,WEAKNESSMEN? 4.3 GENDERANDPOWER 4.2 JOYSANDSUFFERINGSOFLOVE 4.1 MEETINGANDPARTINGOFTHELOVERS ...... DIFFERENCE 4. CHAPTERFOUR:VARIETIESOFSAMENESS, 3.5. CLIGES 3.4. ERECANDENIDE 3.3. SOHRABANDGORDAFARID 3.2. BIJANANDMANIJEH 3.1. ZALANDROODABEH CHAPTERTHREE:ADISCUSSIONLOVEINPROGRESS OFROMANCES, 3. 2. CHAPTERTWO:ROMANCE,AGENRE? 1.1 AbouttheAuthors 1. CHAPTERONE:BACKGROUND Prologue BIBLIOGRAPHY EPILOGUE ...... 1 ...... 53 ...... 30 ...... 55 ...... 5 ...... 24 ...... 19 ...... 49 ...... 40 ...... 17 ...... 22 ...... 5 ...... 37 ...... viii ...... 11 ...... 33 ...... 46 ...... 16 ... 33 CEU eTD Collection French and Arabic Literature Arabic Literature French and otiuetothiscauseagreatdeal contribute two between gaps years recent the in out carried studies comparative and Cross-cultural covering works. different seemingly view, eye bird’s a gives also possible dialogue an cultural provide can I that so a makes that cultures space overlapping The meet. can other themes distanced which in of space overlapping contexts new the in it putting and culture own my in fascinating find I what taking in interested been always have I translator, literary resemblance ofideas. accidental an of possibility the out rule cannot one since end dead a to lead eventually may research extensive this time same the At them. connects that commonality a finds least at or other each to two works these links that a way in seven centuries literature of the on research thorough requires it since confusing and difficult evidence finding of process the makes that works the of comparison a in void a is there them, between gap time the of because also and differences their of Because apart. centuries seven were who authors by world the of parts different in written were they though even Roodabeh and Zal of romance Persian the and exist may Rapunzel of tale fairy the that between similarities striking are there gap the instance, For them. between is process) this in challenging indeed is what (or works literary two compare to difficult it makes what But differences. and similarities the noticing language) without another to Persian from (or Persian into it translate and work literary a at look to impossible almost seems it works; literary of aspects comparative the with subconsciously (Bern: Peter Lang Publishing Inc., 2011); Sahar Amer, Amer, Sahar 2011); Inc., Publishing Lang Peter (Bern: 1 e fr xml: . a Juan, San E. example: for See aig tde Prin ieaue oh lsi ad oen n wrig s a as working and – modern and classic both – literature Persian studied Having dealt always have I translator, a as and literature English of student a As (Philadelphia: University of Pennsylvania Press,2008). ofPennsylvania University (Philadelphia: edn Ws/rtn Es: tde i Cmaaie ieaue n Culture and Literature Comparative in Studies East: West/Writing Reading 1 . PROLOGUE 1 Crossing Borders: Love between Women in Medieval Medieval in Women between Love Borders: Crossing CEU eTD Collection his nineteenth century translation of the of translation century nineteenth his to introduction Mohl’s Jules of parts reading by triggered was literature romance French and (Boston: Adamant Media Corporation, 2003). Media (Boston: Adamant ievraua htcudbereadandunderstoodby themassesviarecitation. fine vernacularthatcould a produce to tried Ferdowsi while audience, elite an for wrote who Chrétien, with case the is respective their as and their works, the displayof in mindfor paradoxical contexts canevenhave audiences. They them for motivations contrasting absolutely have they while works similar typologically produce authors two that show can angle, different a from considered if study, this However, category. same the in them classify and authors, two these of works the in ideas corresponding find romance, of definition standard a take can One and others. many Ferdowsi and Troyes de Chrétien of works the covering term umbrella an into turned romance case, this In appearance. and form in similar yet and causes their in different quite include notions to up indeed open works, can of literary number large a to features applicable of Ferdowsi’swork. my base could I which on patterns the reflect to needed I mirror the like seemed Troyes de grounds parallel Chrétien work. comparative found had I that felt I romances; on work to suggestion a received I proposal, thesis M.A my redefining was I as Later, Ages. Middle the of literature French of context the in positioned be could work Ferdowsi’s how seeing the in interested of myself found I introduction Mohl’s with encounter short my Through language. editions newer in printed in still are introduction his of translations Persian Shahnameh Shahnameh 2 Abul Ghasem Ferdowsi, “ Ferdowsi, Ghasem Abul n ftefrttig htldm oteie fdigacmaaiesuyo Persian of study comparative a doing of idea the to me led things that first the of One h mi cnen f hs td i t so hw gnrc em wt tee and themes with term, generic a how show to is study this of concern main The I ws lo n o te is tasain o Fros’ bo it a European a into book Ferdowsi’s of translations first the of one also was It . that significant and reliable so considered is himself, German was he although , Le livre des rois: des livre Le Traduit et commenté par Jules Mohl. Tome II Tome Mohl. Jules par commenté et Traduit Shahnameh 2 into French. into 2 Mohl’s translation of the of translation Mohl’s ,” ed. Julius Mohl, Julius ed. ,” CEU eTD Collection plausible. more becomes closure revealed, is subject this of identity the when an and of subject image unknown vague a introduces Ages Middle high the after romance that say to on goes ed fit; of need h crepnig hms n h ohr ok (the work other the in themes corresponding the highlighting in useful be can – romances French the namely, – one of points known the how edwi n aodte elsuid ra of areas well-studied the avoid and Ferdowsi about presuppositions from work my free to me helps Chrétien I fact, In far. so overlooked Press, 1979). Press, story but lingers in the readers’ mind and involves them in a stream ofinterpretations. inastream mindandinvolvesthem story butlingersinthereaders’ the of end the by achieved not is which evolution ongoing an with universal more be might convey authors that message the while conclusion, or end its at interpreted be may romance connecting the uncanny meeting points of distant of points uncanny meeting the connecting missed in the previous studies. As Frye suggests, Frye As studies. previous the in missed Ferdowsi’s of global highlights only the seen has reader who the familiarize tries to that eye naked is a It discovered. been already have that literature romance French known well the of layers the in flow that romance Persian of features of potential the to attention drawing at but conclusion, hni occurs. when it 7 6 5 4 3 Northrope Frye, Northrope Frye, Ibid, 4-5. cultures. backgroundsand withcontrasting differentplaces andin differentcenturies Authors bornin Patricia A. Parker, A. Patricia si h n satplgclypoie on,btrmne igr o t trsodntteeat moment exact the not threshold its on lingers romance but point, promised typologically a is end the if As Patricia Parker redefines romance as a form that does need an end but is not in urgent in not is but end an need does that form a as redefines romance Parker Patricia A significant aim in comparing the romances of Chrétien with those of Ferdowsi is Ferdowsi of those with Chrétien of romances the comparing in aim significant A 6 3 Shahnameh hrfr ti cmaaie td i nt ie a pitn ot n absolute an out pointing at aimed not is study comparative this Therefore the nature of a comparative work on romances can be defined as a process of process a as defined be can romances on work comparative a of nature the The Anatomy of Criticism: Four Essays, ofCriticism:Four The Anatomy Inescapable Romance: Studies in the Poetics of a Mode a of Poetics the in Studies Romance: Inescapable ihdee set fi omakeroomforfurtherstudy. with deeperaspects ofitto 3 Shahnameh (Princeton: Princeton University Press, 1957),243. Press, University (Princeton: Princeton 4 7 uhr.A eut es fcouei a in of closure asense result, As a authors. things start with the idea of introducing a introducing of idea the with start things Shahnameh n re t fn wa hsbeen has what find to order in ta se t hv been have to seem that ) (Princeton: Princeton University University Princeton (Princeton: 5 Parker CEU eTD Collection rys œuvrescomplètes Troyes: concrete aspects. and abstract the connecting intermediary an into grow later and point view or theme certain 8 For French editions of the romances of Chrétien de Troyes see specifically: Chrétien de Troyes, de Chrétien specifically: see Troyes de Chrétien of romances the of editions French For The analyses of the French Romances are based on English translations of them to which references are given. are references which to of them translations on English based are Romances French of the The analyses 8 (Paris: Gallimard, 1994). Gallimard, (Paris: 4 Chrétien de Chrétien CEU eTD Collection aeoie a a ei wt ntoa mtf. oee, t osss fsalr at, ah of each parts, smaller of consists it However, motifs. national with epic an as categorized Persian Book of Kings, Persian Book etr esetv o hw hi lvs a hv ifune te n cneunl their consequently and subjects andstyles,ashortaccountoftheirlivescanbehelpful. them influenced have may lives their how on perspective better a have to order In noteworthy. are – authors of generations later influence works their made eventually and – motivations and causes their influenced events these how and lives their surrounded that events The offer. to have writings their that all not are they but Ferdowsi, and Chrétien of works the in strongpoints both are technique matter and Subject world). the in and countries home their in (both literature of part undeniable an became later that work of type a produced both they differences, their despite that is worthwhile two authors these specific about study comparative a makes that thing One life. upon reflected they way the was that and similar something theyshared but life, on perspective own his had each and events different life experienced had they them, between century a almost With apart. worlds be to appear Ferdowsi and Troyes de Chrétien authors romance the Persia, East, the from other the and France, West, the from being One lived. authors their where societies the from nain olwd y saiain n te rgesv ue f h Aai lnug - n ohr major other and -- characters. language ofstories the Arabic the of andlife different love by accompanied use thatare historical narratives heroicand ofmythological, is acombination progressive the the and reached book ofthe Islamization Thecontent have thelanguage. into material ofnon-Persian theinsertion ledto conflictsthat international by time, followed of course – the invasion through Arab the after facing was scholars, it deterioration gradual the Persian from language Persian the Persia. saved book this that consensus Greater in century eleventh early 10 9 it. on working life his of most spent and couplets rhyming in For an English translation of the Shahnameh, see particularly: Abul Ghasem Ferdowsi, Ferdowsi, Ghasem Abul particularly: see Shahnameh, the of translation English an For Shahnameh or The Book of Kings of Book The or Shahnameh h cret td,a oprtv wr o eivl oacs cno b isolated be cannot romances, medieval on work comparative a study, current The Hakim Abul-Qasim Ferdowsi Tusi (940 C.E. - 1020 C.E.) composed the composed C.E.) 1020 - C.E. (940 Tusi Ferdowsi Abul-Qasim Hakim 1.1 AbouttheAuthors tr. Dick Davis (New York: Penguin Publishers, 2006). Publishers, Penguin (NewYork: DickDavis tr. CHAPTER ONE:BACKGROUND (in Persian: Persian: (in ﺷﺎھﻨﺎﻣﮫ 5 ) is an epic poetic book that Ferdowsi completed in the in completed Ferdowsi that book poetic epic an is ) 10 h wr i generally is work The hhae: The Shahnameh: Shahnameh 9 CEU eTD Collection could become a valuable work of pure Persian literature. The composition of the of composition The literature. Persian pure of work valuable a become could it that so it to beauty literary adding meantime the in and poetry into it turning in interested eae otehr fghe is stories related totheheroof these of each grandchildren; his of one and son, his parents, Rostam’s of stories eng yas ecp te at ht s yug a h suh h poe eso o the of version prose the sought he man young a as that fact the except years, teenage prominent stories of the of stories prominent the with threeof This studydeals journeys. downsduringhis kindsofupsand experiences all he and twists of full is life Rostam’s quest. a pursuing while adventures magnificent had and years hundred five than more lived who Rostam, hero, certain a about epic an as work the of allcontributetothetotality – ownindependentidentities havetheir whilethey These stories– themes. and characters major some share collectively stories the all while story a tells which National Monuments, 1968), 13. Monuments, 1968), National Davidson, Islamic Persia. Islamic Publishers, 1981). Publishers, does. Shahnameh 13 12 11 the suffered Ferdowsi much. as culture the about care not did and origin Turkish of was which of one second the and culture Persian reviving in engaged deeply was which of first the Ghaznavids, the and Samanids the other, the one after Persia rule dynasties two saw then he decades), for several government oneunified not have the countrydid because was mostly (which Persia post-Islamic in wars He as well as extent. confrontations and conflicts internal witnessed great a to life his influenced which events important of number a experienced poet the which during years, thirty over took – prologue the in states himself Ferdowsi as – [S. Reza Zadeh Shafaq] Shafaq] RezaZadeh [S. Ferdowsi acknowledges the slight and partial incorporation of Daqiqi’s work in the Shahnameh. See: Olga M. See: Olga Shahnameh. inthe work of Daqiqi’s incorporation partial and the slight Ferdowsi acknowledges s Sadiq, Isa 12 edwiws ont a elof aiyi a ilg. o uh s nw bu his about known is much Not village. a in family well-off a to born was Ferdowsi This book was the main source of Ferdowsi’s work and from a young age young a from and work Ferdowsi’s of source main the was book This Poet and Hero in the Persian Book ofKings PersianBook andHerointhe Poet , which was written by Abu Mansur Abd Al-Razaq as a historical account of pre- of account historical a as Al-Razaq Abd Mansur Abu by written which was , edwi Hs ie hs esnlt, n hs Work his and Personality, his Life, His Ferdowsi: 11 The book itself no longer exists; however, the prologue (around 15 pages) 15 (around prologue the however, exists; longer no itself book The ﺷﻔﻖ ﺻﺎدقرﺿﺎزاده ﺷﻔﻖ Shahnameh Shahnameh , . اﯾﺮان ادﺑﯿﺎت ﺗﺎرﯾﺦ ادﺑﯿﺎت اﯾﺮان in onewayoranother. h oacsta hs td oue o r h love the are on focuses study this that romances The (Ithaca?New York: Cornell University Press, 1994). Press, York:CornellUniversity (Ithaca?New 6 TeHsoyo rna ieaue,(Tehran:Danesh Iranian Literature], of History [The Tha: h Scey o te rtcin of Protection the for Society The (Tehran: Shahnameh 13 he was he CEU eTD Collection 2001), 13-16. his work. in places different at reflected definitely other are events and These problems years. later financial his in issues with personal struggled also he and son young his of death sudden a satd o eln fe te rss olwd yte n o te asnd yat’ reign dynasty’s Sassanid the (651). of end the by followed crisis the after decline to started had that issue an was culture that This the tryingtorevive they wereconstantly since reflected. (819-999) the Samanids concerned be would dignity Persian which to asked in was poems He compose postings. courtly any without poet a merely was he that agree scholars on n/r asd hr o oiial fo tee, hc i lctd nte Champagne the in located is which there), from originally or there raised and/or born in hisworkisconsideredamilestoneonthepathleading tothemodernnovel. work established he whose that structure of type The poet century. medieval twelfth the of half French second the in flourished renowned a was Chrétien life. his about known are 487. come so that they can realize the truth and to improve what they could change and improve. andtoimprovewhattheycouldchange and come sothattheycanrealizethetruth from tongue mother his save to has to generations he for the behind treasure cultural magnificent a leave to has that he and deterioration shoulders his on burden the feels he that financial serious fact being the to directly refers he (one poems his In cause. personal faced more a from he originated problems) hardships the with and conditions difficult the all of spite in working keep to eagerness His mending. of need in and devastated Persia left had that invasions previous the from recovering was – nation the with along – he time same 15 14 Arthur E. Christensen, Arthur E.Christensen, S. M Dabir Siaghi, Dabir M S. 15 hr i dbt aot hte edwi a cnetos o h cut r o,but not, or court the to connections had Ferdowsi whether about debate is There He lived in the twelfth century, and, as his name suggests, he was from Troyes (either from Troyes he was suggests, his name as and, twelfth century, the in He lived facts few as biography sketchy a has Ferdowsi, like (1135–1190), Troyes de Chrétien edwi a afce b he dfeet uig ytm i hs ieie n a the at and lifetime his in systems ruling different three by affected was Ferdowsi 14 Bargardane (revayat gune) Shahnameh Ferdowsi be nasr be Ferdowsi Shahnameh gune) (revayat Bargardane L’Iran souslesSassanides L’Iran , tr. Rashid Yassemi (Tehran: Negah Publishing, 2005), 477- 2005), Negah Publishing, (Tehran: Yassemi , tr.Rashid 7 (Tehran: Ghatre Publication, Ghatre (Tehran: 17 16 CEU eTD Collection day. knightofhis most famous becomes the Welshman who crude,naïveyoung story ofa tells the and Flanders, of Count Philip, of request the written at was It unfinished. left was it although to decided Holy Grail the of legend of the and extant narrative earliest is the romance The further. d’Alsace develop it Philippe by him to given manuscript a in Grail the of story the ﻏﺰﻧﻮی Norris J. Lacy, Joan Tasker Grimbert (Cambridge: D.S.Brewer, 2005),52-53. D.S.Brewer, Grimbert (Cambridge: Lacy, JoanTasker Norris J. out of despair for an external need (e.g., financial). Chrétien is most famous for the romance the for famous most is Chrétien financial). (e.g., need external an for despair of out writing not was he that show to seems which style, his in confident indeed is he and own his are narratives the of freshness and lightness the but poet, earlier an by French into translated already perhaps Brittany, in prevalent material Celtic traditional for used circles apparently He literary years. classical in analyses and discussions of subject the been has work his in Chrétien’sworkatall. themes biblical indirect or direct find not does one fact, In chastity. not of requirement Church’s is work the by approved his not was love of of concept content chivalric the moreover, the although and, religious cleric, particularly a as educated was he that theory a is Grimbert (Cambridge: D. S. Brewer, 2005),26-42. Brewer, S. D. Grimbert (Cambridge: nehne feto h rsortcadec,woddntko o oread. to how know not did who audience, aristocratic the on effect enhanced an have would poems his of recitation the that so in innovations rhymes rich and his breaking couplet like for reasons writing the of one be might This communities. elite educated the languageof which wasthe great Latineducation, He hada France. of today’s Ardenne region Ghaznavid], (Tehran: Asaatir Publishers, 1998). Publishers, (Tehran:Asaatir Ghaznavid], Perceval, or the Story of the Grail the of Story the or Perceval, 19 18 17 16 ieay akrud”in Background,” Literary For more information on Chrétien’s literary background see particularly: Laurence Harf-Lancner, “Chrétien’s “Chrétien’s Harf-Lancner, Laurence particularly: see background literary Chrétien’s on information more For Estelle Doudet, Estelle Doudet, [R. Homayounfarrokh] Homayounfarrokh] [R. oga Kly “artv otc, rlt ad efrac, in Performance,” and Orality Poetics, “Narrative Kelly, Douglas 19 Sanmh n Fros: Nw uvy n ai Au-ai Fros ad utn Mahmud Sultan and Ferdowsi Abul-Qasim Hakim on Survey New A Ferdowsi: and [Shahnameh ti o nw xcl hr n o héinsltrr aerto ig although wing. took career literary Chrétien’s how and where exactly known not is It Chrétien deTroyes Chrétien رﮐﻦ اﻟﺪّﯾﻦ ھﻤﺎﯾﻮﻧﻔﺮّخ Cmain o héinhéin e Troyes de ChrétienChrétien to Companion A (Paris: Tallandier, 2009). (Paris: Tallandier, , of which 9,234 lines have survived have lines 9,234 which of , . ﻣﺤﻤﻮد ﺳﻠﻄﺎن و ﻓﺮدوﺳﯽ اﺑﻮاﻟﻘﺎﺳﻢ ﺣﮕﯿﻢ ﭘﯿﺮاﻣﻮن ﻧﻮ ﭘﮋوھﺸﯽ ﻧﻮ ﭘﯿﺮاﻣﻮن ﺣﮕﯿﻢ اﺑﻮاﻟﻘﺎﺳﻢ ﻓﺮدوﺳﯽ و ﺳﻠﻄﺎن ﻣﺤﻤﻮد 8 A Companion to Chrétien de Troyes, Troyes, de Chrétien to Companion A d ors . ay Ja Tasker Joan Lacy, J. Norris ed. , . emyhv found have may He : 18 ﻓﺮدوﺳﯽ و ﺷﺎھﻨﺎﻣﮫ و ﻓﺮدوﺳﯽ Also there Also ed. CEU eTD Collection a esae hth bevdcoeyteAtuinsbet eltrwoeabout. theArthuriansubjectshelaterwrote closely can bestatedthatheobserved It (1141-1191). of Flanders count Philippe d’Alsace, of the patronage France under eastern in He alsoworked ofEngland. the courtlyaffairs wellas court lifeas knowledgeof hehad Thus II. Henry England’s to queen became later who Aquitaine, of Eleanor of daughter 1198), 52-63. written. were sources his that prove to evidence no is there as tellers story orally such of and accounts vernacular recited the from stories his for idea initial the obtained he that and matter and cycle, Arthurian subject his with Troyes de the provided indirectly ttory Tellers Celtic that love, believed is It chivalry. courtly of notions on focused and Ferdowski than his of stories matter subject the to approach factual more a took Troyes de Chrétien perspective, this From rank. this of work literary classical a from expects one that beauty the to added functionality of touches with documentation of aspect an has work His there. already was what of narration realistic mere a not in-depth, and vibrant was it of reflection his and him surrounded what absorbing and observing indeed was he that shows work Chrétien’s today. the case be might themes as characters and multi-dimensional traces of find one would which in structure complex a have not did literature medieval early since significant especially is This granted. for matter subject his take not does Chrétien qualities. unique its of use makes subjectmatterand way hetreatsthe fromthe others arose the onhimamongall study focuses 21 20 n omdhsondsorebsdo h eprlyr ftesois i prahue a used approach His stories. the of layers deeper the on based discourse own his formed and that altered later Chrétien However, audience. general the for fascinating stories their made that elements and supernatural hyperbole of were touches which there in mystical discourse a Jean Frappier, Jean Frappier, oga el,“artv otc, in Poetics,” “Narrative Kelly, Douglas During his literary career Chrétien was present at the court of Countess Marie (1145- Marie Countess of court the at present was Chrétien career literary his During h Crte tns u aog te sgiiat rhra atos n wy this why and authors Arthurian significant other among out stands Chrétien Why 21 What is common among most of the authors of romances is that they basically used thattheybasically romances is authorsof ofthe commonamongmost What is Chrétien de Troyes: The Man and His Work ManandHis The Chrétien deTroyes: A Companion to Chrétien de Troyes Chrétien to Companion A 9 (City: Ohio State?University Press, 1982). Press, State?University (City: Ohio (Cambridge: D. S. Brewer, 2005), 2005), Brewer, S. D. (Cambridge: 20 CEU eTD Collection hnetertogt n od u ofutaigcircumstances. duetofluctuating thoughtsandmoods change their to them led that process the especially characters, his of psychology the about cared he that shows soliloquies) cognitive long of form the in (shown processes making decision their of detailed account his thoughts and his characters’ to attention special Ages, Chrétien’s Middle the of totheauthors as such) (oridentified known wasnot consciousness stream of While the – he that noted writing. of techniques newer of world be the explored – subconsciously intentionally or also whether should It time. the of stories vernacular in seen of usually form exaggerated the narration avoided Chrétien way a in that stated be of can it representation realistic therefore, events; a to closer was which discourse pragmatic and rational more 10 CEU eTD Collection myth, and romance hero, and of myth, concepts the to referring by mode of issue the to approach his justify to on goes oe f l fcin n a oe uaie fr o mt. Te rbe i big be to able image. its damaging being and value literary its is reducing without is problem it as romance The represent myth.” of form humanized more a and fiction all of core etrs hymgt ae wihmk the other make is hierarchy fwhich a in them have, places might and other each they from features works these distinguishes what However, fiction. romance is Frye’s approach to the issue as an archetypal form: archetypal an as issue the to approach Frye’s is romance fail to explain exactly how mode might differ from genre differ might mode how exactly explain to fail application such an in whobelieve mostscholars However, define. hard tofully and in nature confusing it is: as romance introducing the opportunityof gives them term because this mode a romance as to scholars refer that believes Fowler words, In other genre. of a complete form hte rfr t Aati Fowler, Alastair to refers Whetter Kevin confusing. somewhat be can itself mode of concept very the Still, it. describes better that term a to apply order in genre a than rather mode romance a to call experts literary some Harvard University Press, 1982). Press, Harvard University with human attributes and faults – in nature and identity. Frye explains that in a romance the romance a in that explains Frye identity. and nature in – faults and attributes human with oe pcfcly eivl oac –a er sne t cagal ad baffling and changeable its since genre a define. to impossible almost it make characteristics – romance medieval specifically, more – romance consider can they whether argued long have critics fact, In done. job the consider ned Te ae a apy o oac. oac my e oehn mr ta a ee er wt definite with genre mere a than more something be place. may genre inthefirst butitisstill a frameworks Romance romance. to apply can fiction of same works The are these indeed. all after that remember to has one But story. children’s melodramatic yet humorous 25 24 23 22 enhl,Rl Dahl’s Rold meanwhile, Understanding Genre Understanding Whetter, S. K. sot tr itne fr hlrn s lcdwti te onais f h gne f ito,fr instance; for Fiction, of genre the of boundaries the within placed is children for intended story short A lsar Fowler, Alastair It is difficult to define romance simply as a genre and attribute some features to it and it features to some attribute genre and a simply as define romance to is difficult It CHAPTER TWO: ROMANCE, AGENRE? Understanding Genre and Medieval Romance Genre andMedieval Understanding id o Ltrtr: n nrdcin o h Ter o Gne ad Modes and Genres of Theory the to Introduction An Literature: of Kinds . (Ashgate: Aldershot, 2008), 38. Aldershot,2008), (Ashgate: The hero of a romance is one who does marvels but is still a human – human a still is but marvels does who one is romance a of hero The hri ad h Cooae Factory Chocolate the and Charlie 23 h blee ta a oei a oe lxbe n less and flexible more a is mode a that believes who Odyssey 11 get yhlgcl pc ok n Dh’ wr a work Dahl’s and work epic mythological great a 22 as well as Homer’s Homer’s as well as (Ashgate: Aldershot, 2008), 35. 2008), (Ashgate: Aldershot, As a result, there is a tendency among tendency a is there result, a As . Perhaps the best way to describe a describe way to best the Perhaps 24 “Romance is the structural the is “Romance Odyssey r as wrs of works also are (Cambridge: 25 Frye CEU eTD Collection ironical questions in the mind. the in questions ironical raise to enough unique yet reader the to tangible and understandable shape a into hero the beloved. his with reunited or being united of aim the with adventures through different goes and quest its a on goes or who character main a love about of life courtly story the with concerned likely most a consequences, documentation, as identified of generally approach is romance literary A narration. and prestigious fabrication, the to matter vernacular subject connects that and means discourse a as to referred its be when can century, romance seventeenth A declined. the popularity until Ages Middle high the it in and flourish – France to in especially continued – century twelfth the in age chivalric the of peak the at epics and definitions bordered rigidly to down matters predetermined notions,thisstudyshallrefertoromanceasaliteraryform. reducing not of intention the with study.Thus, focusofthis has awiderangeandresolvingitisoutsidethe as agenreormode romance of definition the in vagueness The elements. different with accordance in stagnated and fragmented is but ends never which environment the with correspondence in humans nvriyPes 99,8. 1979), University Press, scholars believe that the power given to a character in a work of romance – and also an epic – andalsoan work ofromance– character ina to a that thepowergiven scholars believe Inc.,2006). norms and laws of nature exist but they are slightly suspended in application in suspended slightly are they but exist nature of laws and norms of belonging that Eugene O’Neill introduces in introduces O’Neill Eugene that belonging of and thereaderisonefeelingsympathyorempathy. storm the of eye the is hero the as with deal to required are and face audience romance the 28 27 26 For a more detailed elaboration on this see: Patricia A. Parker, A. Patricia see: this on elaboration detailed more a For Eugene O’Neill, Eugene O’Neill, Frye, Northrop As one of the literary forms that developed early, the romance came to displace heroic todisplace developedearly,theromancecame that of theliteraryforms As one nfc oac samd rgnehsamlidmninliett utlk h sense multi-dimensionalidentityjustlikethe amodeorgenre hasa In factromanceas 29 One of the significant benchmarks for defining a romance is the characters. Many characters. the is romance a defining for benchmarks significant the of One The Anatomy ofCriticism The Anatomy The Hairy Ape: A Comedy of Ancient and Modern Life andModern Comedy ofAncient Ape:A The Hairy 27 This is the challenge that both the romance characters and characters romance the both that challenge the is This , 186-188. 12 The Hairy Ape Hairy The Inescapable Romance Inescapable (LaVergne: Lighting Source Source Lighting (LaVergne: . 28 It is the ongoing quest of quest ongoing the is It (Princeton: Princeton (Princeton: 26 and this trims this and CEU eTD Collection it of themes several of one only is love but love, with associated immediately be may romance Press, 2000),115-167. Press, hrces o hog i odr o ae h opruiy ofn solace. find to opportunity the have to order the in that through adventures go the characters but love, in falling of accident the not is story the of focus main the romance, chivalric a In like). the and death separation, by (marked failure or reunion) success(markedbyunionor involvementwithlove,lovers’quesst,adventure, include: some to extent romances most in found be of can presence that the elements common by The marked elements. is prominent that romance a in order of sense a be can there however, accordingly; flow or progress and might story other any as start can romance A plot. the of fairy tale account of a chivalric romance, this involvement may not be much highlighted as highlighted much be not may involvement this romance, chivalric a of account tale fairy a typical involved. In get other betterand knoweach cometo grow,theygradually each other for feelings parties’ two the as and story the of course the through romance, a In impossible. the narration. others,whoarenotdirectlyinvolvedinthecourseof certain needsandinterests;contrastedto with individuals as themselves represent characters with Such issues. and matters entwined socio-political leading concerns and the interests especially private of characters, combination Romance ablurry display definition. characters, its in factor determining a is 31 30 2006). &Company, W. Norton (New York: 29 Understanding Genre Understanding Abrams, Howard Meyer and Greenblatt Stephen 32 Roberta L. Krueger, Krueger, L. Roberta n hr r ayisacsta eosrt hti isnot themaintheme. instancesthatdemonstrateit and therearemany There is no linear development in romances that will not intersect the turning points turning the intersect not will that romances in development linear no is There reasons. romances, Arthurian the of Certainly feature lives. standard socio-political he at leastpartially a hero’s undertakingadventuresfor in the results which is which in court, society the the to and challenge lord his both serves and benefits knights and dragons giants, hostile with encounters hero’s Romance oac i a ok f ito ta icroae ad obnste el n the and real the combines and incorporates that fiction of work a is Romance 30 As Whetterputsit, The Cambridge Companion to Medieval Romance Medieval to Companion Cambridge The 61. Aldershot,2008), (Ashgate: Norton Anthology of English Literature: the Major Authors Major the Literature: English of Anthology Norton 13 (Cambridge: Cambridge University Cambridge (Cambridge: 31 n te wrs a words, other In 33 CEU eTD Collection University Press, 2008),79-83. University Press, responsibility. and commitment patriotic of sense knight’s the of pattern another be and king the address may lady– regardingthe knight’s sentiments granted asthe takenfor whileitmightbe love – oacsteeaesbbace ftomjrcnlcs(.. nenlandexternal): internal each In romances therearesub-branchesoftwomajorconflicts(i.e., nature. same the the of that are with conflicts struggling are The romances. – female old or male in whether traced – be characters also can – century nineteenth the in full display of honor, respect, royalty, and courtly love. courtly and royalty, respect, honor, of display full a of combination a is behaves hero/knight the typical way the a ideally romance, in chivalric medieval instance, For characters. the of demeanor the through displayed usually are issues These written. was work particular a which in period time the to related that are issues in instances chivalric romances. such in beloved the and lover the between interaction direct or face-to-face much not is there that say can One reward. a promised been has he if as is It love. his find to manage will he – over are adventures his when – point some at that knows he and forces dangerous other and beasts and elements supernatural defeating on concentrating is hero the 35 34 33 materia 32 Roberta L. Krueger, Krueger, Roberta L. Daiches, David In her introduction to introduction her In Simon Gaunt, Sarah Kay, Kay, Sarah Gaunt, Simon (i.e., the notion of love here) and pay more attention to form and design ofthe work. toform anddesign attention more here)andpay oflove the notion (i.e., What is today considered the principle idea of the aesthetic movement – which arose which – movement aesthetic the of idea principle the considered today is What      Aside from the main concern of the story, a romance also deals with socio-political with deals also romance a story, the of concern main the from Aside 35 Character vs.Human-madeObstacles Character vs.Nature Character vs.Society Character vs. Character vs.Self Critical Approaches toLiterature Critical The Cambridge Companion to Medieval Romance toMedieval Companion The Cambridge Inescapable Romance Inescapable The Cambridge Companion to French Literature Literature French to Companion Cambridge The , Patricia Parker suggests that one should focus less on content or content on less focus should one that suggests Parker Patricia , (New York: Longman., 1981), 97-110. Longman., (New York: 14 34 It should be noted here that courtly that here noted be should It , 81-85. Cmrde Cambridge (Cambridge: CEU eTD Collection in anidealisticperspective. of reality the embed to be to expected was society how trying simply suggest or fiction the of body the either in society medieval was romance a of creator The so. do to expected was he/she how least at or life of events the prioritize to needed human medieval the how show symbolically romances that say can One them. for known be and qualities true their show can characters that encounters and confrontations in is It lives. their in role a play that andothercharacters enemies,superiors, best intheirrelationshipswithkinsmen,friends, blossoms of characters The essence real life. of variousfeatures reflects medium which into a 36 It is also possible for the author to use a combination of these inhiswork. of these use a combination for the authorto Itisalsopossible osdrn hs ofit ssgiiatpit narmne hsltrr omturns form literary this romance, a in points significant as conflicts these Considering  Character vs.Destiny 36 15 CEU eTD Collection iems n te ee hv t fc ohr hrces ht c a osals As,fr a for about clear be to significance Also, obstacles. great of as is it work comparative act that characters and other doubts face to internal have their even they with and deal dilemmas, they way, their come that obstacles with struggle characters The conflicts. of types different are there separation) or union it (be fate eventual their and lovers the of meeting the Between not. or happy-ever-after romances in all end they in whether present less or more is This together. be to struggle and love in fall that it in characters are There flow. orderly an has – story love mere a to down toned mistakenly being without even – Any romance work. analytical map for mind on a points as used be can andhighlights that features theyshare thembutstill in allof linear pattern a not find one may As forromances, analysis. approaching aliteraryworkfor perspectivea systematic in to have important is it Thus, work. the of structure the on focusing study technical a not is it if even r ragds st representthecommonflowof story. are arrangedsoasto and romances five in all extent some to traced be can themes These process. analytical the of betterview witha the reader listedbelowtoprovide are fiveromances ofthe general analysis the in discussed be to themes important most the Therefore, approached. is comparison the CHAPTER THREE: A DISCUSSION OF ROMANCES, LOVE IN PROGRESSCHAPTER THREE:ADISCUSSIONOFROMANCES,LOVE tdigay ok f ieaue eurs netn oe ie n t fr ad order and form its in time some investing requires literature of work any Studying 4. 3. 2. 1. Outcomes Discourses andReactions Characters’ socialstatus A beginning 16 what is being studied and studied being is how CEU eTD Collection character and his other merits and Roodabeh might never have become interested in him. It him. in interested become have never might Roodabeh and merits other his and character charming Zal’s about wife his told have not would king the well, along gotten not they had and pleasant less been king the and Zal between encounter the Had party. other the of he/she hears descriptions perfect the with love in falls them of each words, other In other. each with love in fall they meeting actual their before however, other; each about heard they have their before benefits personal interests. national and political their put well-settled they the and jeopardize countries to their willing of way relations no in are two The it. accepts and matter the understands – upset and –offended king the and invitation king’s the rejects Zal conflict. old seems an from palace originate which countries, king’s two the their of relations the at in strains the to due impossible meeting their invitation, his accept and to palace intends the to Zal Zal although invites king The story. this of beginning the at point important an is relations formal and peace of issue The him. by well-received and respected also and king the by praised greatly is who merits, good with man young a is romance, this to according Zal, fellinlovewithhimaswell. fromherfather,Mehrab,andshe Zal’s courageandmerits about heard Roodabeh her. with love in fell he Roodabeh of beauty magnificent the about When heheard of Persia. protector great warriorand Sam,a the sonof Zalwas and Sindokht. Mehrab parents, her with palace the in hero, lived and Kabul of princess main Ferdowsi’s a was Roodabeh Rostam. of birth the to led eventually that marriage the describes it since The story of Zal and Roodabeh is one of the significant romances of the of romances significant the of one is Roodabeh and Zal of story The Later, Zal hears about the king’s daughter. Zal and Roodabeh have not met yet, nor yet, met not have Roodabeh and Zal daughter. king’s the about hears Zal Later, ..ZLANDROODABEH 3.1. ZAL 17 Shahnameh 37 CEU eTD Collection paety us e fo dw ad ss o smtig ht h dsrs n de nt fear punishment. not does possible and desires she that something for asks and down foot her puts apparently she plansasecretmeetingwithhim.ThroughthestorythereareinstancesinwhichRoodabeh and yet approval without herfather’s meet withZal to by makingadecision is taking risk she the realizes She hands. own her into matters takes much pretty she and forbidden the with concerned much not is She best. her look to tries and nicely dresses she him, meet to going is she that knows she when or Zal about hears she when sexuality; her even and life personal heroes responsible as protectors of Persian lands. He is famous for his white hair (due to albinism) and great and albinism) to (due hair white Simorgh). bird, of the legendary thesupervision under his grew upinthemountains (sincehe courage andwisdom for famous is He lands. Persian of protectors as responsible heroes n hc Snoh ciiie hr agtr n ak hr o c mr wsl. idkt is Sindokht wisely. more act to her asks and daughter her criticizes Sindokht which in scenes There are anger. husband’s her daughter from her save to would act mother protective the of is notmerelyhowan overly WhatSindokht does tries tomakethebestdecision. situation and gravity the weighs She husband. her or daughter her of behalf on subjectively act does not she especially significantsince Sindokht is the MiddleAges. forwomenin not usual was authority of type althoughthis has, she authority the regarding Guinevere to compared be can she way, a In him. influence actually can and husband her by trusted is who woman smartand discreet asa is shown she of theevents course Throughthe events. of the progress code of the role of women in the medieval society. in the role ofwomen of the code oldtimes. on theirunionhadtheybeeninformedsinceenemiesfrom agreed have not would families their since parents Roodabeh’s of presence the without other each meet to arrange two The triggered. are love of feelings mutual the how are father her prince from about thiscourageous how Roodabehhears to Zaland Roodabeh’simage present is theconceptofimagepresentationthatleadstoincidentloveinthisstory.Howothers 38 37 It is in contrast with the concept of maiden as well. ofmaidenas withtheconcept It isincontrast Zal ( Zal زال Sindokht The character of Roodabeh, as a young woman, is the exact opposite of the standard the of opposite exact the is woman, young a as Roodabeh, of character The ), also written as Zaal, was the son of Sam and the grandchild of Nariman. His forefathers were all were forefathers His Nariman. of grandchild the and Sam of son the was Zaal, as written also ), 39 s nte fml caatr n h soy wopasa e rl i the in role key a plays who story, the in character female another is 18 38 Roodabeh is openly ready to explore her to explore is openlyready Roodabeh CEU eTD Collection faithfulness as he is quite relaxed and does not seem to be much concerned about his duty. his about concerned much be to seem not does and relaxed quite is he as and faithfulness courage of codes Bijan’s to opposition in character a be to shown is Gorgin knight). a (or warrior a for attentiveness and faithfulness of importance the reveals here displayed is responsibility that duty and sense of quest. The difficult in his him assist company and him keep to him with Gorgin named hero the sends king the prince, boars, the young away chase braveto volunteers a Bijan, After feast. a of middle the in is he while them receives he how and help for him to go Armenians way the through shown are authority and power His wise. and forthcoming is who generous, and just as character king’s the on emphasis much and Turan in territory enrageKaiKhosrow. Afrasiab’s theresothatBijan’sdelayinreturninghomewill into celebrate go to him tricks him, assisting in duty his do not did who Gorgin, guide, and companion His does. he this and away them chase to volunteers Rostam, of grandson the and warrior Persian a Bijan, boars. wild of attacks the from gardens oes r ntd n arae Te hv sn Rsa te rmnn hr o the of hero prominent (the Rostam son, a have They marriage. in united are lovers thetwo agree and protect Persiaforyears,theyeventually bebornwhowill great warriorwill a marriage this from that Sam informed have fortunetellers the after and Sam, and Sindokht andalsobetween Sam, andhisfather, parents, Zal, Roodabeh’s of period negotiations among crisis and a after Eventually, himself. champion and ruler powerful a is who – father Zal’s by also but family immediate her by only not discretion, her for respected and recognized Shahnameh 39 Roodabeh’s mother. Roodabeh’s h soy pn ta es a te igs aae fe a iprat itr. hr is There victory. important an after palace king’s the at feast a at opens story The and lands fertile their save them help to Khosrow Kai ask Armenians of group A ,adaduhe,Zohra. andadaughter, ), ..BJNANDMANIJEH 3.2. BIJAN 40 19 CEU eTD Collection that environment – life events and what they are followed or surrounded by – bring out the essence of character of essence the out bring – by or surrounded followed are sense they what the and events in life be can they – as human that environment real the to close as fact in are they perspective this From characters. in evil can move freely in the outside world nor even see what is going on around him, may be a be may him, around on going is what see even nor world outside the in freely move can neither he where well, a inside imprisoned is Bijan way The harshly. daughter his and Bijan both punishes Afrasiab trouble. in is he and control Bijan’s of out are things where deadlock a reached has events of chain the story the in point this At place. take his and him overthrow becomesenragedbythesightofBijanandbelievesthatheisthereto King AfrasiabofTuran, father, Manijeh’s treason. for daughter his disowns also He it. on placed rock heavy a has and well a of bottom the at Bijan imprisons and this hears he when angry becomes Afrasiab princess. the with time more spends and there senses his to comes Bijan palace. her to him takes and him kidnaps and him drugs him, lose to wanting not Manijeh, leave, to intends he When camp. her in her with time spends and Manijeh, daughter, Afrasiab’s with love in falls wastobeinchargeof.Alltheseeventsleadmorechaos.InTuran,Bijan serious mattershe the and world real the from away drifts and Manijeh, princess, a with unions leisurely and in festive involved is instead and court the to return to Bijan fails which in incidents of series a to leads This one. negligent only the be not will he that so failure of kind a to Bijan lead him completelyasevilorrighteous. rule to possible not is it because also and back) (and other the to end one from transition in both he is since here character Gorgin’s of righteous aspects and the evil between line draw a to difficult is It events. the reports Bijan case in negligence his to reaction possible king’s the about becomes concerned and senses his to comes He relaxed. longer no Gorgin is again, secure area the makes and job the finishes successfully Bijan when later, However, active. be to supposed not is he where formality a of more be to job his consider to to seems Gorgin ﻧﺜﺮ ﺑﮫ ﻧﺜﺮ 41 40 This is a notion present in other stories in the in stories other in present notion a This is S. M. Dabir Siaghi, Dabir M. S.

ﻓﺮدوﺳﯽ Gorgin starts to become bolder in protecting his position and dignity; he even dares to dares heeven dignity; and position in protectinghis become bolder to Gorgin starts ], (Tehran: Ghatre Publication, 2001), 41-51. Publication, (Tehran:Ghatre ], Bargardane (revayat gune) Shahnameh Ferdowsi be nasr be Ferdowsi Shahnameh gune) (revayat Bargardane 41 Shahnameh 20 . There is no absolute presentation of natural good or natural of presentation no absolute is There . [ ی ﺷﺎھﻨﺎﻣﮫ ی رواﯾﺘﮕﻮﻧﮫ ﺑﺮﮔﺮدان رواﯾﺘﮕﻮﻧﮫ ی ﺷﺎھﻨﺎﻣﮫ ی CEU eTD Collection maue rnes h os o tiktie bu srighr w neet ad hn she then and interests own her serving about twice think not does who princess immature loving fun the is she First, here. ways different two in and represented is Manijeh guilt responsibility. of feeling a other the and Bijan for love her one things, two of result the be can circumstances under any Bijan with stay to chooses and forgiveness, father’s her ask to court or monologues many not the to go back not does she are that fact the there behavior, selfless story. Manijeh’s this in soliloquies fact, In place. first the in irresponsibly act to caused Bijan guilty that desire feels selfish her she was it if since mentioned situation unfortunate never this is into him It fordragging lover. her to faithful and strong, supportive, to the court and reporting Bijan missing. He is trying to fix things before they get worse, get they before things fix to trying is He missing. Bijan reporting and court the to going back choiceof makes the owndignity.He protect his to almost doanything who would character self-centered the longer no is Gorgin on, point this From and senses. Gorgin his to him for brings bell a rings absence prolonged Bijan’s worried. becomes Gorging return the timeandtakescareofhim. all him with stays Manijeh and him; for way out no is warrior there However, wrong track. the a as following freedom his misusing for paying is he how of representation symbolic n ae h opet esa,wherethey marry. and takesthecoupletoPersian, Bijan saves he and meet Manijeh and Rostam Bijan. save to merchants, as disguised army, an with Rostam sends then He globe. crystal a into looking by this does Khosrow Kai and son his find him help Khosrow to Kai asks father, Bijan’s Giv, meantime the In there. weeps which meansthatsubconsciouslyheisreadytofacetheconsequencesofwhathasdone. 43 more stories such makes evil or 42 good absolute no is believable. there that tangible and fact The do. they way the act them make and S. M. Dabir Siaghi, Dabir M. S. real essence. and disposition Gorgin’s onecanponder This iswhere hogot ia’ oda wt te iey f en cpie Mnjh appears Manijeh captive, being of misery the with ordeal Bijan’s Throughout Gorgin spends a while alone, waiting for Bijan to come back, but when he does not does he when but back, come to Bijan for waiting alone, while a spends Gorgin aie sed ya o o o ia’ udrrud el ae odfrhm and him, for food takes cell, underground Bijan’s of top on year a spends Manijeh Bargardane (revayat gune) Shahnameh Ferdowsi be nasr Ferdowsibe gune) Shahnameh (revayat Bargardane 21 43 , 172-179. , 172-179. 42 CEU eTD Collection tr ad s opeey ifrn fo ohr oacs n the in romances other from different completely is and story esnl hie n Graai i nt eey bie t tk u te oe f soldier. a of it charming, and beautiful role the as mentioned is Gordafarid story up the of beginning the at take Although to obliged merely not is Gordafarid of matter and a choice been personal have to appears it for training and craft war learning Thus, beforehand. warrior a indeed was she that mentions clearly Ferdowsi since circumstances urgent under warrior a as act not did Gordafarid that noted be should It dignity. father’s her and castle the protect to She wishes desires. personal beyond cause serving a is she girl; tough the of image the Gordafarid reflects is victory. on thing theyfocus the only battle, where harsh serious and a in but mode sentimental a in not other each face they and other the to leads incident One woman. a is opponent strong his that know not does Sohrab and power, after is who outsider an him considers thus Rostam, of son the is Sohrab that know not does Gordafarid other. the of identity true the of unaware is them of each Sohrab and Gordafarid between encounter and her courage. It is important to know that the concept of concept the that know to important is It courage. her and skills combat for her famous is warrior and a skillful also who is woman beautiful young and a as is described Gordafarid this story the beginning of her.From with in love fell beauty and her and hair her saw Sohrab and head her off fell helmet her until castle the outside Sohrab with fought and knight male a as dressed She herself. action took and captivity father’s her (Gojdaham) tolerate not could Gordafarid Persia, on march to about was – Army the of commander Turanian and son Rostam’s – Sohrab When Turan. and Iran between border the one shelovesmost. aboutwhatshehaslosttobewiththe loverwhodoesnotcare becomes aselflessanddevoted Gordafarid is the daughter of Gojdaham, an old hero in charge of a castle located on located castle a of charge in hero old an Gojdaham, of daughter the is Gordafarid ..SHA ANDGORDAFARID 3.3. SOHRAB 22 love Shahnameh is a pure accident in this in accident pure a is Drn te first the During . CEU eTD Collection esn pae o hr esnl oe ie hl hr ad s en traee ad h feslt she and threatened being herfatherproud. is responsible fordefendinghernationaldignityandmaking land her while life love personal her for place no sees she as proposal marriage Sohrab’s down turns Gordafarid and matter the discuss to castle insidethe They go resist hisemotions. herandcannot in lovewith her eyeshefalls looks into he butthemoment trap Gordafarid, hervictory. Sohrabdoes leadingtoher as afactor beauty acts her, adore to starts subconsciously and secret her about out finds when accidentally Sohrab Later, pity. or mercy seek not does who opponent equal an like Sohrab faces rather eas o te a i peet a ol usd dw i wih h ld lv i a warrior emotions a sentimental is love lady without the which in down upside world a presents it way the of because romances ofthe eosadsrgl ln ihterlvr ob ntdwt hm nti oac,however, this romance, In with them. be united to lovers their along with struggle and heroes of Sohrab and Gordafarid is one of the shortest stories of the of stories shortest the of one is Gordafarid and Sohrab of romance The behavior. his and only circumstances the considering Gordafarid by feelings Sohrab’s and realizes here proposal marriage or romance any of mention no is there that Note impossible. them wouldbe marriagebetween Sohrab thata tells – detached emotionally hne opeey hc uoaial hls odfrd uce. n te words, other In Sohrab, deceive to beauty succeed. her using of way Gordafarid easy the choose helps not does Gordafarid automatically which completely, her toward disposition changes Sohrab’s how show to features charming Gordafarid’s uses later and – romance literature women in descriptions of of thecenter usually whichare – her looks of regardless woman bold a as Gordafarid present to wishes first he that is so do to chooses Ferdowsi why reason The reader. the for described fully is beauty her that later until not is 46 45 44 emotions, who never reflects uponthem. neverreflects emotions, who oe n hs oac i nt uul t l ad t ee bcms uul Graai i te ny eevr of receiver only the is Gordafarid mutual. becomes never it and all at mutual not is romance this in Love AoqsmFerdowsi] [Abolqasem do. amanwould to dowhat by hidingitandtrying opposite doesthe She actually The romances mentionedinthe The romances odfrds idm n rtoa attd i rvae hr aan we se – she when again, here revealed is attitude rational and wisdom Gordafarid’s Shahnameh ﻓﺮدوﺳﯽ . اﺑﻮاﻟﻘﺎﺳﻢ . 46

n bcue f mjr ifrne t a fo te other the from has it difference major a of because and . ﺷﺎھﻨﺎﻣﮫ Shahnameh [Shahnameh], (Tehran, Elham Co., 2008). (Tehran,ElhamCo., [Shahnameh], 23 portray women who fall in lovewiththeir fall womenwho portray Shahnameh , but it is significant is it but , 45 44 but she but CEU eTD Collection t h cut were court the at Review Honore Chapion, 2006). Honore Chapion, not. However, Chrétien uses a discourse usesa Chrétien However, not. or is beautiful she or if not or is wise a character if see to reader the up to is now It character. neutral a of create a of nature the about use themselves to for decide can try the readers the that so works their in authors literature atmosphere as modern limited In quite time. become has the adjectives at predetermined behave to expected were or behaved women how reflects also it but choice, word author’s the or diction of matter a merely not is thedescriptionofwomen Chrétien, romancesby butalsoinother Not onlyinErecandEnide, and pleasantinautopianway. order in seems everything Arthur, King of court the about stories the with case the usually is As court. the at knights courageous and ladies fair of abundance the and surroundings the of meets he that quest himselfasanexceptionallypowerful knighttothecourtofArthur. this Enide andshows during is It starts. quest first Erec’s Thus, insult. the avenge and them to chase Erec Guinevere asks Guinevere’s maid. insult wayand come their servant rude his and knight a bodyguard, her as Guinevere with walking is Erec While king. the of court tugei hnh re oltg fhradpthisemotionsasideinforgetfulness. letgoofherandput struggle iswhenhetriesto the and her by rejected be only to lady with the love in madly who falls man the is actually it 1990) 49 48 47

For an analysis of Erec and Enide see Z. P. Zaddy, “The Structure of Chrétien’s Erec,” Erec,” of Chrétien’s “The Structure Zaddy, P. Z. see of andEnide Erec For ananalysis See: h cmlt rmne o Crte d Troyes de Chrétien of romances complete The Chrétien de Troyes, de Chrétien 2 o4(97:608-619. (1967): 62, No.4 One of the first things that catches the reader’s eye is how the women are described. are women the how is eye reader’s the catches that things first the of One beauty isthe few scenes the first in description from Chrétien’s might get that one All h soy f rc n Enide and Erec of story The prudent Cligès - Edition bilingue français-ancien français français-ancien bilingue Edition - Cligès s f h rae ln wt Crte neste or and court the enters – Chrétien with along – reader the if as ..EE ANDENIDE 3.4. EREC 48 pn a srn tm i Cria a te magnificent the at Cardigan in time spring at opens 49 which quite obviously points out that out obviously points quite which t. ai San (loigo: nin Uiest Press, University Indiana (Bloomington: Staine David tr. , 24 47 , tr. Laurence Harf Lancer (Paris: Lancer Harf Laurence tr. , The Modern Language ModernLanguage The all the ladies the CEU eTD Collection discreet and open-hearted, which leads the reader back to the notion of maidenhood and prudence. See Lisa M. Lisa Bitel, See prudence. and maidenhood of notion the to back reader the leads which open-hearted, and discreet as described also is She naturally. her in exist features these all that fact the on emphasis constant there is while lips and red cheeks, blushing golden tresses, with girl as a isdescribed where she of Enide, thecase expressed in apparently Thisis femininity. ofher the peak at and mature sexually girl tobe young virgin a for it isimpossible that thefact these society. all considers How one only evenif femininity. her of medieval peak questioned be itself the at and of mature can young woman sexually in a co-exist actually qualities can constructs male time of same center the the at virgin, religious a yet – and beautiful be to supposed is – and and attention child a socio-political longer no the is who lady young a is into woman maidenly a or maiden well a definition, the to According woman. medieval of a blended life the in stage significant a was Maidenhood that ideology an of representative the fact in is it lady; young a to given title mere a not is Maiden granted. for taken be not should her husband’s life and that no matter how tolerant and understanding she might be, she still she be, might she understanding and tolerant how matter no that and life husband’s her of focus sole not the is she that the fact with terms to to come has she as woman the involves also it but him involves only not life man’s a of aspect This single? was he when had once an as career his with life he balanced so-called liberated live the still a marriedman can words, person. Inother independent and harmonized be can story) the of (a hero man the a or of life knight personal the how is with concerned is Chrétien What concern. main his as to referred be can it that sense a in it about much care not does actually he theme, general unless itisakindoferoticlovetriggeredbyEnide’sbeauty. love, of mention no is there and arrangement formal absolutely an is marriage the that Note knight. the defeating after her marry will he that father Enide’s with arrangement an makes he Therefore beauty. her by impressed is and father Enide’s with meets he where town, new more focused ratherthanattackingtherudeknightimmediatelywithoutponderingissue. and armed is he when time better a to revenge postpone to decides he as rationality and wisdom shows he story the of beginning the At old). years twenty-five even not is he is asifthisthedefaultsettingofstory. it the norms; are These and well-behaved. wise women are these that immediately recognizes 51 50 ee .Noble, S. Peter The use of the word of the The use Women in Early Medieval Europe, 400-1100 Europe, Women inEarlyMedieval t per ta atog Crte s itkny osdrd o ae oac a his as romance have to considered mistakenly is Chrétien although that appears It a in arrives and – ordered has queen the as – knight strange the follows Erec Later surprisingly, (while, Table Round the of knights best the of one as described is Erec oeadMrig nCrte deTroyes inChrétien Love andMarriage dame/pucelle – dame/pucelle nteoiia et i.e., original text, in the (Cambridge: Cambridge University Press, 2002), 154-198. Press,2002), University Cambridge (Cambridge: 50 25 (Cardiff: University of Wales Press, 1982). Wales Press, of University (Cardiff: maiden , is also abundant, which is something that something that which is isalso abundant, , 51 CEU eTD Collection make hersufferforaudacity. and her punish to has he that believes he and him) of out it forced never she course, of and, devotion intense such for asked not have may she (while her given has he attention the all for grateful not is Enide that feels he since more even intensified is rage of feeling His wife. his forgive cannot simply and enraged is he right; indeed was she audacious, were him about her tospeakandtakesonajourneywithhim. her. Heforbids hegives the attention grateful for Enide isnot hethinks enragedbecause he is thisand tells himabout Enide his previousstate, to Erec back life hopingtopush Later, anymore. newlywed her enjoy cannot she that so happiness her destroys guilt of feeling the and negligence husband’s her for cause the feels and reason the is she also that She thinks she since ashamed confused. is she and shaken is knight excellent an to married woman elite an to girl peasant poor a from transformed life, her of perfection the because also but unfair the gossip of because only not disturbed is husband, her about having comments bitter Enide, the and ruined almost heard is reputation his instead, her his with ignore time to spend starts and Erec duties when marriage, After her. with home stay but nothing does who lover domestic a to knight mighty and brave a from shift character his tolerate not does still she Erec, from receives she attention the enjoys Enide Although way. same the in to him others wants see She her. married he before was he as Erec see to wishes – women of many is distracted from his previous life by the event of marriage. of event the by life previous his from distracted is who man a with life her cannot enjoy woman a Enide, Erec and romance of the from derived be can As possessiveness. and jealousy of feelings by marked confusion in trapped be can 52 bd,17. Ibid., rc id i dfiut o di ta atog Eies od rfrig o h gossip the to referring words Enide’s although that admit to difficult it finds Erec 26 52 Enide – as the case is with is case the as – Enide CEU eTD Collection n dfnees perne Crte em t hv crfly vie cetn an creating avoided carefully have to seems Chrétien appearance. defenseless and harmless, quiet, her beneath lies that duality the and identity real her show to is chance a given Enide story the of course the in later since approach misogynistic fully a of indication hrce, hc hpes o nd bt ee t Guinevere. to never but Enide to happens which character, shall destroyit. he desires, he what get not does he If statement. a makes knight the how is feature best her hisangerat toEnidethepositionofpowerandaiming from the knight’sangerback.Reacting hold cannot part, most the for face her in lies which beauty, magnificent her quality, best her even so, do not does she make When surrender. or and agree converse is do to to expected is expected Enide All choices. not is and beauty her of sake the for loved is which doll mere a of role the to down her bringing and Enide objectifying of indication the is behavior Such time. second a her hits he change, to refuses Enide When face. the in her hits he eat, or so He do to refuses she him. when and to belongs mourning, stop would she it that so her threatens believes her, marries and precious something found has he if as is It castle. his to Enide take to entitled is he that feels he her by rejected is he Although grief. by overtaken is Enide that well knows who stranger complete a to wishes is knight who new The immediately. her marry knight new a by away taken is she dead, is lord her that believe to comes the Enide are where story, the Enide of middle the in and example, For Erec tradition. literary this of of manifestation story the of Parts completely. excluded not if marginal quite is women or woman the of role the and men other with interaction and relation in is man return while in the meantime she does not talk or proclaim anything at all as if she is merely the object of an of object the merely is she if as all exchange. at anything proclaim or talk not does she meantime the in while return 1995), 22-68. 54 53 Simon Gaunt, Simon Gaunt, It can also be seen vividly in the part where Enide is Enide where part the in vividly seen be also can It Erec’s behavior is a follow-through of the of follow-through a is behavior Erec’s As mentioned above, at some points Chrétien seems as if he is objectifying his female hisfemale is objectifying he seemsasif Chrétien points atsome above, As mentioned Gender and Genre in Medieval French Literature FrenchLiterature andGenreinMedieval Gender 27 given given chanson de geste de chanson to Erec to (Cambridge: Cambridge University Press, Press, CambridgeUniversity (Cambridge: by the hand the by 54 oee; hs s o an not is this However; 53 . In chansons de geste a geste de chansons In . and is received is by him in him by CEU eTD Collection treats his wife poorly and if Enide did anything wrong or not. It would be an injustice to the to injustice an be would It not. or wrong anything did Enide if and poorly wife his treats Erec why to as speculation been long has There issue. confusing a is journey their talk during to wife his forbidding for reason Erec’s hurt. get him see to bear cannot and him for was deprivedofherrighttohavealavishlife. who origins, noble of lady young a for sympathy of out just him with Enide take to offered Erec that say to unfair be would It way. different a in Enide for interest his show to needed have hemight ladybyhis side, been obligedtohavea Erecnot hislady.Had having Enideas about conversation a initiate to Erec for excuse an is contest a in part take to able be to order in side his by lady a have to need the fact, In love. or fondness of sign no is there Yet, her. in interested more becomes he father, her to speaking through background her about more learns Erec and on goes time as and Erec by noticed being her trigger to thing first the was beauty Enide’s that seems It them. between communication of indication no is there request father’s her at night the for place resting his to him leads and hand the by him takes Enide when Even directly. her with interact to try not does he is, Enide beautiful incredibly how understand does Erec While atmosphere. neutral a in other each see Enide and Erec sight. Arthur doesso,addingthatitwastherightthingtotakeadvicefromhiswife. King and right was she that fact the to confess to Arthur asks Guinevere return, successful Erec’s after when, story the of character female the for support of kind a Chrétien shows return. explicitly Erec’s until kiss to lady which regarding decision the postpone Guinevere’s to advice to listen Arthur King let have not would he approach androcentric an taken had Chrétien if example, For characters. female his in alterity gender of favor in completely nrcnrc lt vn huhh de so bt apcs f h issue. the of aspects both show does he though even plot androcentric 55 fair lady and the other is the strong and self-confident woman. andself-confident otheristhestrong the fair lady and This is especially seen in the way he presents two different images of women in his stories: one is the quiet the is one stories: his in women of images different two presents he way the in seen especially is This When Erec forbids his wife to talk on their journey, she cannot obey him as she cares she as obey him cannot she their journey, on talk to wife his Erec forbids When first loveat of nonotion isalmost Erec andEnidethere that in toknow It issurprising 28 55 e per t be to appears He CEU eTD Collection Enide’s mistake as mistake Enide’s famous the in to Burgessrefers emotions raw the otherhand, less hardship.On experienced shemayhave bedroom scene, her from spoken not had Enide if believes he for her, upon comes what for herself Enide blames partly story, the of account critical his in Mussetter, S. innocent. completely Enide consider to Erec of character the to and story the for reason shows that Erec had not lost hope and wished to give Enide (and himself) another chance. another himself) (and Enide give to wished and hope lost not had Erec that shows marriage their in trouble finding after right Enide with journey undefined an on going of act The knight withhim. oranother have takenasquire hewould longer not trustherany and did her wisdom about mind changed his had he If journey? on his him with only her her and take he did why wife, his in disappointed completely was Erec If opposite. the show can which therightpath. back to asdtruhteravnue,oc gi hycnso ntdfc sacouple. passed throughtheiradventures,onceagaintheycan showaunitedfaceas having when, return, victorious eventual their to key the be to proves This before. than more qualities their understand they and mature They internally. balance of point a reaching are they while journey this complete Enide and Erec chance. the has he though even help seek to refuses he yet deal, great both. a suffers and them troubles few a for quite faces Erec catharsis journey the During of form a is it but them, for punishment a merely not this is if as journey is It her. forgives he time each yet word; another speaks she if her forgive never to threatens time Erec each timesand several husband disobeys her Enide journey During the 56 G. J. Brogyanyi, “Motivation in ErecetEnide,” Brogyanyi, “Motivation G. J. While some may consider Erec’s behavior poor and harsh, there are still some points some still are there harsh, and poor behavior Erec’s consider may some While Felix Culpa Felix because it eventually functions as a shock that brings Erec brings that shock a as functions eventually it because Kentucky Romance Quarterly Kentucky Romance 29 19 (1972), 417. 19 (1972), 56 CEU eTD Collection loves. 1990) Cutler, 1982) Cligès matures enough to take over take to enough matures Cligès until king is Alis, uncle, his meantime the in and knighted be to land Arthur’s to back goes lovers areinpainandhelpsthemgettherecognitiontheyneed. the that notices who queen, the is it eventually story, this in seen is As couple. the than other of people marriagethebusiness Agesthatmade of theMiddle of thesocialnorms a reflection be also may manners ofcourtly priorities.Thiscode mostsignificant as the of dignity andhonor matters consider always to and selfless be to means which manner, courtly best the in that he will cherish. The arrow from here on is love itself, it is a woman, or to be more precise more be to or woman, a is it itself, love is on here from arrow The valuable cherish. something will into he arrow that of image this transforms then He them. through in get love of arrow the letting 59 58 57 other, so this can be an introduction of the notion of gender ambiguity to this romance. Yet his lingering lingering his Yet romance. this to ambiguity gender of inadvertently. notion each otherforward the of tobe pushing storiesseem thetwo by war.However, isinterrupted introduction – forSoredamors he feels thelove an pleasure – each from be distinguished can being this from genders so two the kept other, code dress the centuries thirteenth and twelfth the In with desire for each other, each for desire with lovers burn the the way to refer romance the of part this oin descriptions the of Most display. both they manners courtly the on emphasis much puts which parents, Cligès’ Soredamors, isolatesitfromtheotherone. althoughtheyareintermingled– narrative styleofeachstory – the romance, this In The back. the detail. and recollections war the to realistic accounts lovers’ the from travel in to tends narrative discussed is war which in Chrétien by only the romance also is It adultery. and behavior courtly is romance this of theme dominant The

lxne dsrbs n htrcl eal o h hs aln n oe eas hs ys ae eryd i by him betrayed have eyes his because love in fallen has he how detail rhetorical in describes Alexander o n nlss f lgs e priual: ui Polak, Lucie particularly: see Cligès of analysis an For The Complete Romances of Chrétien de Troyes de Chrétien of Romances Complete The The clothes that Alexander describes his love in are not simply representative of the beloved as a woman. a beloved as the of representative simply not are in his love describes that Alexander The clothes Cligès ae n h soy lgs wo a br n rhrsram u ge u i Greece, in up grew but realm Arthur’s in born was who Cligès, story, the in Later h soy pn wt adtie dsrpin f h lv soy f lxne and Alexander of story love the of description detailed a with opens story The 58 is the second of Chrétien’s romances, which he wrote after Erec and Enide. and Erec after wrote he which romances, Chrétien’s of second the is 59 yet they know they have to hold their emotions back and behave and back emotions their hold to have they know they yet . Cligès falls in love with Alis’ soon-to-be wife, Fenice. wife, soon-to-be Alis’ with love in falls Cligès 3.5. CLIGES , tr. David Staine (Bloomington: Indiana University Press, University Indiana (Bloomington: Staine David tr. , 30 héind Toe: Cligès Troyes: de Chrétien 57 Lno: rn and Grant (London: the woman he woman the CEU eTD Collection marital relationship. marital their in intervene to able be will one no feel, may she however and on them of two the goes between whatever Alis, marries she if that knows Fenice her. upon bestow will marriage arranged an that troubles the with struggling is Fenice as tangible more is theme This love. andconsummatetheir canrunaway sothatthey Fenice isdead that believe to makeeveryone circumstances, she wishes to try and find a way to do what she desires most. She loves Cligès she desiresmost.She do what a wayto and find wishestotry circumstances, she the accepted fully has she when moments the at Even fully. them to conform her make not does this however, her; for made has society that rules the obey does Fenice way. legitimate most the in end an such achieve to wants she yet respect, and love mutual of full marriage a to entitled is she that know does She Cligès. with away run simply and honor her jeopardize them aloneandcausestosuffer. especially leaves never obsession the that prove self-inquiries or questions redundant – their and characters – Fenice the of soliloquies long The risk. a take than rather nothing do to preferred is it and lost is time that long so for on goes pondering The all. at action no to lead thoughts obsessive these instances several in yet and occur can it before action plausible a of paranoid a with struggling detail single obsessed withthoughtsthatanalyzeevery their affairs.Theyare constantly consideration of are romance the of characters main The love. of husband. her than stranger a of more is who man a with country different a to going maiden young a is Fenice where perspective, larger the in highlighted more even is this mind; her troubles interacted never has she whom with man a by restricted be will she that fact The marriage. Because of the adulterous nature of this love this of nature adulterous the of Because 61 60 bd,,36. Ibid., deTroyes inChrétien Love andMarriage eie nesad h rsrcin se ae s wmn n se s eutn to reluctant is she and woman a as faces she restrictions the understands Fenice part inseparable the is uncertainty, and confusion constant with mixed fear, Cligès, In 61 Fenice fears the loneliness that she will suffer from after an arranged an after from suffer will she that loneliness the fears Fenice (Wales: Cardiff University Press, 1982), 34. 1982), UniversityPress, (Wales: Cardiff 60 31 and the danger that it brings with it they have they it with brings it that danger the and CEU eTD Collection is a woman of strong will and courage and she is ready to endure the severest of pains, of severest the endure to ready is she and courage and will strong of woman the a is about carefully thinks she Fenice Furthermore, appropriate. rather, most is what do to wishes and passion; actions her of consequences to surrender not does She claim. this of demonstration is it with her help to nurse her gets she way the and away passed have to to pretend plot Her clever her life. of the personalaffairs to herapproach in witty woman and discreet a be considered can Fenice a result As anyprice. but notat him, be with longs to and bed. lands. his rule and Fenice marry to free is Cligès and away passes Alis meantime the in but help Arthur’s seeks Cligès affair. this about out finds Alis but friend, Cligès by them for made been had that tower a in hide they union Eventually their chaos. and make trouble causing can without possible they how to as ideas present and solutions possible discuss They dialogues. sentimental than negotiations more are Brittany from return his after have Fenice and Cligès that conversations The reasonable. and bright also is he but actions risky take to willing more is hand, other the on Cligès, right cause. the for fights she that knows she when 62 A clear example of which is the torture she endures by the three physicians, who come to her supposed death supposed her to come who physicians, three the by endures she torture the is of which example clear A 32 62 CEU eTD Collection none of them has a way of approaching the other in person. On one hand, Cligès (although he hand,Cligès Onone inperson. theother ofapproaching away themhas none of as sorrow and anxiety having todealwithfeelingsof findingeachotherand with accidentally starts relationship Their Alis. uncle, Cligès’ get to promised personally is she while to him with chance acquainted a having without Cligès sees Fenice Cligès. with relationship difficult a started she which under circumstances the of the complexity the with with and ordeal emotions Fenice’s to closest the come growing might gradually This this together. and them Bijan keeps mutuality in love of feelings vibrant more induces she time of span short a in efforts, her of result a As do. to her tells heart her as does she afterwards and havereturned tohishomelandafterashortvisither. might Bijan audacity, persistence and authoritative her for not were it If bond. this of formation the in Manijeh of role active the ignore cannot One later. bond strong a developing them to led butthis adventure. with Manijeh, histime andenjoying painful and Bijan celebrating with Everything simplystarted tumultuous a start later would he whom with princess a meeting imagined never he but him, to listen did and words Gorgin’s by tempted was Bijan Turan. of border the on feasts spring the at girls beautiful are there that Gorgin, companion, his by told is he when quest different completely a on is he and himself for wife a find to intending means by no Bijanis Manijeh. Bijan and is with the case as – interactions and personal direct to leads which love-at-first-sight, well-known the necessarily not is accident the However, relationships. and events unconventional and conventional of combination a to leads meeting their of outcome the and circumstances unexpected in manner accidental an in meet parties CHAPTER FOUR: VARIETIES OF SAMENESS,CHAPTER FOUR:VARIETIESOF VARIETIESOFDIFFERENCE ned aie ossmtigsotnosoto e e-on feto o Bijan Manijehdoessomethingspontaneousoutofhernew-foundaffectionfor Indeed, two the that is here discussed romances the of implication general most the Perhaps 4.1 THEMEETINGANDPARTINGOFLOVERS 33 CEU eTD Collection rsn tee n uh tre;oe ut lo ep n id ht oeie unexpected sometimes that mind in keep also must one stories; such in theme present have done,Alisdiesandwithhimthecauseof the couple’sfear. they what of because war a starting of verge the on are countries their and wrong go things when since mentioned) one five the all (of couple luckiest the perhaps are however, Fenice, and Cligès unrest. and war entailed that court the of members royal the a amongst uproar devise an to but choice no have been have would there Cligès eloped, simply they Had secrecy. in and together be and plot complicated Fenice so adultery, and scandal, treason, to equal – countries bynature two – is lovers’ union the the where Cligès, in seen is issue same The left estranged. that past of memories unpleasant the account into taking without marriage their allow and accept to courts) respective their as well (as parents their persuade to separately struggle Roodabeh and Zal decisions. making while issues other consider to need they since relationship personal completely a having from lovers the prevents romance of scene the in comes that court the to loyal remaining of notion This . having Persians massacred ancestor Roodabeh’s to due countries? their between animosity bitter of history a love thatentailswaranddisasterjeopardizesinternationalpeace.ZalRoodabehshare Hellenic the to nature in close are romances may two These union disaster. national lovers’ to lead potentially the as love forbidden of kind a represent both they that in Roodabeh meet inpersonandexpresstheirfeelingstoeachotherplanfuture. to manage they rumors. and grow feelings mutual scandalous lovers’ the that efforts of her through is it subject the Therefore, being without desires she what get her help can that solution a find to wants and situation her analyzing and thinking constantly is She trouble. causing without him with be to way a find to struggles desperately Fenice hand, other the On uncle. his regarding responsibilities and duties his on focused is Fenice) with love in is h apc o hw oac caatr me ec ohr nxetdy s n ever- an is unexpectedly other each meet characters romance how of aspect The and Zal of romance the with feature spectacular a shares also romance Cligès’ 34 CEU eTD Collection also influenced by personal decisions, as Sohrab does not use force or too much persistence much too or force use not does Sohrab as decisions, personal by influenced also two-way a in involved formally is romance inthis and passion be love The notionof reactions. interactions and relationship with to chance a have never they since child stillborn a a initiating like is Gordafarid and Sohrab of on romance the in Love Gordafarid. with energy relationship romantic and time spending and harder trying from him prevents stranded is he where situation strategic the but love, in one only the is Sohrab mutual. not is romance relationship. a in interested no means is by Gordafarid her, with get involved and their ordeal to resolution peaceful a seek to ready be to seems beauty and by Gordafarid’s bewitched stereotypically is Sohrab’s Sohrab Although to interaction. sentimental possible a imagination reaction to them forbids amazement cold explicitly Gordafarid’s scene, get to the starts with – involved Sohrab with emotionally along – reader the moment The armor. full in dressed is she Gordafarid’s since but here peak womanhood, and beauty its maidenly of notions at preconceived the is to conforms irony appearance The love. of face the sees he and woman a face the sees he that time the is This was. he as battle the on focused remain to Sohrab for possible not is it on moment this From revealed. are face and hair beautiful her and head her off falls Gordafarid’s helmet until battle one-on-one a object of the her as sees he simply and Sohrab of eyes the through seen not is identity her of aspect this but that woman, know a is Gordafarid reader the let already may story the of narration The them. to lovers romance features of the common attribute to reader the difficult for it this makes and fight for to cause own their has them Each of battlefield. in the opponents merely are knights who two as other each meet Gordafarid and Sohrab unorthodox. and vague is ladylove the of image very the as meeting lovers’ the of example complicated and ironic most the is Gordafarid and Sohrab of romance exceptional but short The irony. of deal great a by accompanied are meetings orbad odfrdme ad at u h eln frge fr n unachievable an for regret of feeling the but part, and meet Gordafarid and Sohrab 35 CEU eTD Collection rdtoa mtioy ae srne truh hi imtrt ad ifrne,ad are and differences, and immaturity in their united through are estranged Enide are and Erec matrimony, words, traditional other In wife. and husband as inhibitions their of surrender complete a of threshold the to closer them push and estrangement their to lead that mistakes unintentional and misunderstandings of series a in involved get They another. one to close physically are they although other each from isolated become to lovers the causes mutual understanding. on based is which union, their of essence true the embrace to ready are they adventures their After formalities respect. and the nobility of terms from rigid in them free defined formerly that them upon imposed differently, other each see to them causes This qualities. true thushavingrealizedeachother’s been throughastormofadventuresanddifficultiestogether, have who maiden), a merely (not woman a and man characters, a mature two as romance the of end the at more once meet Enide and Erec However, affection. mutual requiring without emotions of empty and traditional typically are things here to Up decisions. final make and negotiations formal open merely characters male the and other each see They interact. and meet not do Erec and Enide perspective, this From marriage. in hand her for father her asks and maiden beautiful a spots nobility the of member male a when way, common a in meet they Once twice. meet Enide and Erec that romance this from derive can One emotionally. and intellectually involved get actually they before arrangement) marriage patriarchal a with love eachother? and know to chance a themselves given have they would peace, of time a in circumstances different under met they Had is: question The them. keep to tried she way the things keep but secret in absence everlasting her suffer to chooses rather He love. his with united be to ewe te w meig o Ee ad nd tee s pro o sprto that separation of period a is there Enide and Erec of meetings two the Between relationship medieval typical a start (and other each meet to happen Enide and Erec 36 CEU eTD Collection character’s satisfaction with being in a position of power of position a in being with satisfaction character’s eventually. aware ofherdecisionanditcausesCligèsFenice toelope takes It them. to not are parents while her the castle forbidden roof of the on Zal meets where she point the to been Roodabeh has what possible make act to to boldly characters the and leads independently that force driving the is romances two these in Love public. affections their make cannot they and Alis to promised is Fenice when phase, hidden-love same through the also go and Fenice them. Cligès to exclusive not secret loveis notion of the bond beforebeingunited. a develop two the correspondence, secret a through Therefore, him. to message a send and secret in action take to her causes and restless her makes excitement The feelings. true her know about Zal let to eager and is image the embraces this She him. presents of her father with image love in falls and father her from Zal of magnificence the about meet. hears they Roodabeh before other each with love in fall they where Roodabeh, and Zal of romance ofthem. oracouple experiencesthatareuniquetoone in theirandhavesomesentimental emotions these of some share thesis this discussed in romances five them. The between come that emotions other are there love, of pains and joys the of levels extreme two are that kind) dresses as a knight and goes to the battlefield to protect her father’s dignity implies her confidence as a strong a as confidence her implies dignity father’s her protect to battlefield the to goes and knight a as dresses ti hi e mtoa e oia bondthatkeepsthemtogether. yetlogical– it istheirnewemotional– the end In other. forgiving each and realities with terms to coming understanding, in reunited 63 oe cn e eeie hr a afeig f ofdne n atoiy Fr ntne te a Gordafarid way the instance, For authority. and confidence of feeling a as here redefined be can Power nte yeo o ersne nteermne stejyo itr,wehri a in whether victory, of joy the is romances these in represented joy of type Another meeting, before love in fall that characters only the are Roodabeh and Zal Although the in as lovers the all of meetings the at appear necessarily not do love of joys The any of (separation parting and reunited) or united (becoming meeting of Regardless 4.2 JOYSANDSUFFERINGSOFLOVE 37 63 or in merely winning the heart of heart the winning merely in or CEU eTD Collection secret is disclosed and they are escaping punishment by seeking assistance from KingArthur, from byseekingassistance escaping punishment and theyare disclosed secret is their when Cligès, in Later men. Alis’ by discovered be cannot she where tower secure a to in happily live is taken bedeadand alsopresent,whenFenice pretendsto can thesamethemeis safety. InCligès they where court, the to both them take and free him set to manages and rescue their to comes grandfather Bijan’s desperate, are lovers both and clothes in shabby around wandering Manijeh with well empty an in imprisoned is pleasant Bijan entails When feelings. and romances these of some in characters different to and ways various along withBijanandManijeharethemostexplicitexamplesofthisnotion. and Enide Erec love, of aspect erotic to the references bold slight or might be there romances and three other the Bijan in Although him. with time of more spend to palace go her to him takes let deceitfully cannot Manijeh that strong so is relationship budding their of drive erotic The Ferdowsi. by described is mood festive their and time first the for Manijeh with whenBijangoes tospendtime and arereunited.InBijanManijehthesamenotionisused issues their solve Enide and Erec when again them to refers and marriage) their (after story n hi mrig chamber. marriage their in other each of company the enjoy do they but dialogue through communicating really not are they when level, erotic and traditional a on relationship their start Enide and Erec romances. Erec’s victoryisatypeofthatbeneficialforothersaswell. Thus, beauty. her suits that position a to Enide elevating and queen the of seeking behalf on revenge both in succeeding and Yder defeating by joy this experiences also Erec palace. her in her with stay to Bijan persuades she when Manijeh in seen be can as beloved, one’s 64 her. for avictory hero isby itself powerful a confront to being able but she does, what happy with is that she explicitly show may not She person. Love and Marriage in Chrétien de Troyes deTroyes inChrétien Love andMarriage The other recurrent theme of joy is being rescued and feeling safe feeling and rescued being is joy of theme recurrent other The Physical joy and satisfaction or erotic love are highlighted more vividly in two of the of two in vividly more highlighted are love erotic or satisfaction and joy Physical 64 héindsrbs hi eoi bn i te is see o the of scenes first the in bond erotic their describes Chrétien (Wales: Cardiff University Press, 1982), 17. 1982), UniversityPress, (Wales: Cardiff 38 . This happens in happens This CEU eTD Collection seily ic se a js satd o eoe oe xrsiead aktv a i the in as talkative and expressive more become to her, started just for has hard she since is especially This freely. herself express and mind her speak to right her of is deprived she as bear to hard is which silence, forced namely, pain, of type another through goes Enidealso Erec. is by toforgetherlovefor endure moretorturebecauseshe nomeanswilling to ready even is She death. apparent his by grief-stricken is and Erec with love in still is she because demands his to conform to refuses she when husband second her by beaten is Enide beloved. her with be to desires she because only it tolerates and torture physical harsh and enormous suffers woman, beautiful and young a Fenice, times. at endure to have lovers the is thedirectreasonforlovesicknessintheseromances. (e.g.,political) because ofexternalforces tobeunited forbeingunable Patience andsuffering cannot have. she a man love with in notloveand she does man a herselfengagedto she finds when oflovesickness, thesamefeeling disaster.Feniceexperiences inwarand would notend marriage their that countries their of courts the and parents their persuade to process difficult gothrougha and Zalalso is notpossible.Roodabeh tells himthattheirunion after Gordafarid rejection of suffering the endure to has Sohrab wish. forbidden a having in or beloved one’s Press, 2003),chapters1-4. Press, span of their own. span of her rescueandtooktosafety. was and – dead to came sake) her be for just dead to the from rising if presumed (as Erec when was land, foreign a in Erec miserable when – remarry to forced being after safety of feeling the enjoys also Enide court. his at accepted are and support his of assured are they 65 Sylvia Huot, Huot, Sylvia Another aspect of suffering for love is the physical and psychological pain (torture) pain psychological and physical the is love for suffering of aspect Another On the other hand, the pains and sufferings that these romances present cover a wide a cover present romances these that sufferings and pains the hand, other the On Madness in Medieval French Literature: Identities Found and Lost and Found Identities Literature: French Medieval in Madness 65 The first kind of love-related pain is lovesickness, as in being rejected bybeing rejected asin lovesickness, is love-related pain kindof The first 39 (Oxford: Oxford University University Oxford (Oxford: CEU eTD Collection h oeo h umsiewf rcmn u fhrsela maturewoman. the roleofsubmissivewifeorcomingouthershellasa challenging andpainfulforhertodecidewhatdowhilefacingthedilemmaofremainingin Studies 331. patient untiltheyresolvetheissuesontheirownorbygettingassistancefromoutside. be either and actions their of consequences the face to have lovers the Then foreshadows problems. future something but possible way own best the his in disowns start things and cases, treason such In of daughter. them accuses and behavior careless their is his by father for enraged Manijeh’s until blamed relationship joyful is a Erec start also after Manijeh and problems Bijan marital carelessness. experience to start they but pleasure and joy marriage with their start Enide Erec and turns. different to take events the causes that fluctuation of a kind is therealso perspective From this Manijeh). Bijanand (as with distance imposed an or Cligès) with case the is (as issue political or formal a be can This suffering. the restrictions women have faced through the course of time – before, during and after the after and during before, – time of course the through faced have women restrictions the however, androcentric; or feminist as labels such using without literature related the analyze and issues gender discussing while stance objective an maintain to try may One it. of aspect yet controversial basic definition a gender isby social status, associatedwith are immediately that regulations and norms such hierarchical of Regardless like. any the and by law, created norms religion, as the such regulator among force driving the is status Social define. to and hard isachallengingissue of their socialstatus,which isanabsolute function female – einn o te tr se a mrl a on gr ad opeey immature. completely and girl young a merely was she story the of beginning 67 66 Penny Sullivan, “The Education of the Heroine in Chrietien’s Erec et Enide,” Enide,” et Erec Chrietien’s in Heroine the of Education “The Sullivan, Penny Maura Coghlan, “The Flaw in Enide’s Character: A Study of Chrétien de Troyes’ Erec,” Erec,” Troyes’ de Chrétien of Study A Character: Enide’s in Flaw “The Coghlan, Maura 5 (1979): 21-27. 5 (1979): ht ep te oes wy r ocs hm o eaae s nte rao fr their for reason another is separate to them forces or away lovers the keeps What The way characters behave and their interactions with each other – whether male or male whether – other each with interactions their and behave characters way The 4.3 GENDERANDPOWER 40 Neophilologus 67 Reading Medieval Reading 69 (1985): 321- (1985): 69 66 t is It CEU eTD Collection realization of the contexts in which she is required to remain silent (unless spoken to). spoken (unless silent remain to the required is is she which it in contexts the of realization rather, interaction; in correctness merely not is woman medieval the of attitude cet ihu ojcin I i a i se s nenlzn ht a stldi hr mentality her in settled through expressingherselfandembracingtheconsequences. has what internalizing is she if as is It objection. without accept to ready longer no is she and identity and role her realize to seems Enide however, on, point certain a From her. for decided is what and her upon comes what to conform but nothing does point certain a to up who woman, behaved properly a as up brought been has Enide practicality. their and norms social between imbalance of sign a is other the to character one from transformation its and practice power in shift apparent This him. warn to out speak and word husband’s her against act to authority the have to entitled feels Enide progresses, story the as Later, her. addresses he unless silent remaining by sin this for pay to has and husband her in trust of lack her for punished is Enide trust. and faith of symbol a is silence contrast, a sign of the boundaries they face, which stem from social expectations. social from stem which face, they boundaries the of sign a knight) is the (e.g., character another with converse or emotions their show to deciding while have stories these of characters female the that conflicts internal ongoing The Cligès. in and Enide and Erec both in credited are they which for a attitudes, is women’s in Politeness all. behavior common at themselves express to are they if expression of means passive use and margins the on often are women while freely themselves expressing through and deeds physical performing via the status social in seek to allowed specifically suggests, are men Aue world Arthurian Von Hartmann As issues. gender regarding area discussed highly of menandwomeninliterature. roles energytothegender-related to devoteequaltimeand makeitimpossible – Middle Ages 1978), 56-289. Questions and Politeness: Strategies in Social Interaction Social in Strategies Politeness: and Questions 68 eeoeBon n Sehn eisn “nvras n agae sg: oiees hnmn, In Phenomena,” Politeness Usage: Language in “Universals Levinson. Stephen and Brown Penelope Coming down to the issue of romances and their characters, the Arthurian context is a context the Arthurian their characters, romances and issue of the to Coming down 41 , ed. Esther N. Goody. (Cambridge: Cambridge UP, Cambridge (Cambridge: Goody. N. Esther ed. , 68 Politeness in the in Politeness 69 In CEU eTD Collection h peec o mn te ae ifrn i pae i salr n mr piae circles. private more and smaller in placed if different are they men, of presence the Association oe i pbi pae aog ih hi ml prnr ad ubns I ohr od,the words, other In husbands. and partners male their with along places public in women of theactive role since itrestricted andpartlynegative from somerestrictions) Jewish women and Zoroastrian liberated it (since positive partly was nature dichotomous a of was transition This roles. its general and status of social their conversion in gradual transition a the through went subsequently women population, and Iran to Islam of introduction official bythe which wasaccompanied Arabinvasion, centuries followingthe during the first era and s osdrd rfeto o ra lf eprecs n oit –i cn e ttd htthe that stated be can it – society in experiences life real of reflection a considered is Chrétien’s with contrasts that work Ferdowsi’s ofwomenrequirescloserinvestigation. descriptions in seen women Persian of audacity This apparent byherfather. sheisdisowned pointthat the Bijan to staying with on she insists them, confronts father her when and him with time spends leisurely and palace her to Bijan boldly brings Manijeh Roodabeh Also, father. her of presence in the daughter Zal for desire her her expresses openly and camp their to in Persians – the husband with her issues informing significant without negotiate – goes Sindokht and knight boundaries. a as such out beyond is go Gordafarid to seems character female leading the discussed Persian romances three the in since Ferdowsi and Chrétien between contrast major a considered be can practice power women’s and silence of aspect this However, Enide. with conversations private her in talkative more seems and a speech her of with cautious example also is an woman, powerful Guinevere, is others. of she presence while the Thessala in speechless with and conversations quiet Fenice’s completely in found be can this of Examples 69 Shahnameh Patrick M. McConeghy, “Women’s Speech and Silence in Hartmann Von Aue’s Erec,” Erec,” Aue’s Von Hartmann in Silence and Speech “Women’s McConeghy, M. Patrick On a different level, while women are not expected to act freely and authoritatively in and act freely to not expected are while women different level, On a By comparing the status of women in Ferdowsi’s society and in his book – if his work if – inhisbook women inFerdowsi’ssocietyand statusof By comparingthe 0 (1987):772-783. 102 creates a different image of the female role than the actual one. In thepre-Islamic actual one. thanthe of thefemalerole image adifferent creates 42 Modern Language Language Modern 70 CEU eTD Collection rn rm e ie f sa t 1800, to Islam of Rise he from Iran ae f hi ml companion. male their of sake the for hardships endure who women intelligent and strong of – features Roodabeh the and share basically Sindokht Gordafarid, Manijeh, namely – with dealing is study this that characters The facts. the beyond go to liberty the himself gave also he but environment the by inspired was he words other In life. real in restrictions seen usual the without features and cannot getawaywith. one that something is name any by and form any in adultery that realize to – noble mostlyand elite – audience his wants he if as is It brides. their trust itto kings did other Fenice for what hard after became that reader the tell to seems he Cligès of part last For the in work. his of instance, parts in intention moral a of more have to appears Chrétien contrast, In he so doing inequality. promote that by society of rules and rigid the bypassing of ways communicate to intends readers his for example an setting be to appears He society. of form female authoritative highly different a of simulate to trying events, is their life approaches to have pragmatic that characters descriptions and images presenting through Ferdowsi, 2003), 48-61. ttmsChrétien’s discourseseemsmoreironicthanFerdowsi’s. At times unique display to norms. disturbing theaccepted intend them without show wishes to buthe hischaracters, does features of He it. to approach conservative more a has he although otoldter rsne n ulc n atv life. active and public in presence their run long the controlled in and lives private their of spaces closed the within freedom more women gave life his during continuing and birth Ferdowsi’s before starting roles female of transition companionship of his own wife through creating supportive female rolesinhisstories. supportive female creating own wifethrough of his companionship remembers and appreciates this several times in the in times several this appreciates and remembers 72 71 70 Patrick M. McConeghy, “Women’s Speech and Silence in Hartmann Von Aue’s Erec,” 774. VonAue’sErec,” inHartmann and Silence Speech M.McConeghy, “Women’s Patrick This is partly a reflection of Ferdowsi’s real life experience in which his wife played a supportive role and he and role supportive a played his wife which in experience life real Ferdowsi’s of reflection a partly is This Jamsheed K. Choksy, “Women during the Transition from Sasanian to Early Islamic Times,” in Times,” Islamic Early to Sasanian from Transition the during “Women Choksy, K. Jamsheed The female characters that Ferdowsi creates seem to have a variety of characteristics of variety a have to seem creates Ferdowsi that characters female The ed. Guity Nashat and Lois Beck (Chicago: University of Illinois Press, Press, Illinois of University (Chicago: Beck Lois and Nashat Guity ed. 72 héinas ses o ae olwd smlr pattern, similar a followed have to seems also Chrétien Shahnameh 43 71 . He respects and reflects upon the presence and presence the upon reflects and respects He . hrfr,tee s hg cac that chance high a is there Therefore, Women in Women CEU eTD Collection Clarissa Botsford (Cambridge: Belknap Press, 1992),105-135. Belknap Press, (Cambridge: Clarissa Botsford t l times. all at irreproachably behave to supposed are and dominance, and supervision full their under – all at if – haveauthority husbands, and fathers their honor to try constantly to characters women expects one framework a such In dominant. is wife good the of image iconic the which in nlec bcm psil practically. possible became male influence reduce or remove not and interference female of manifestation the did which through way a marriage rather was It dominance. that remember to important is It time. that at women empower could it how and recognition post-marriage of examples are Guinevere e ihs o il her, kill to wishes he that much so Mehrab wants enrage she what achieve to struggles while her time, same At the rules. the breaking of afraid be to seem not does who own, her of mind a with woman young a is instance, for Roodabeh, well. as characters these in traced be can achieve could Ages Middle the in woman married typical a that recognition and identity The married. are they if more still highlighted are powers authoritative their independence, and power will strong and becomesindependent. shell this of out comes later she and – husband her with agree to but herself express to not a as shown is tends who Enide character, mother’s her of copy case, a explicit – woman medieval the of example most stereotypical the In permanent. not are they but discussed, 1992), 250-252. gets angry and wishes she had killed his daughter at birth in order to prevent such scandalous treason. scandalous such orderto prevent birthin killedhisdaughterat she had wishes gets angry and remains that way until Bijan’s grandfather saves them both and takes them to a land where land a to them takes and both them saves grandfather Bijan’s until way that remains Bijan and herlovefor reveals nomad aftershe becomes a Manijeh literally inwhich Manijeh, 75 74 73 ere uy TeCutyMdl”in Model,” Courtly “The Duby, Georges The same happens with Manijeh. When Afrasiab realizes how Manijeh has spent time with Bijan in secret, he secret, Bijan in with time has spent Manijeh how realizes Afrasiab When Manijeh. with happens same The ivn eci,“h odWf, in Wife,” Good “The Vecchio, Silvana In either case, both authors are more or less moving outside the traditional framework traditional the moving outside or less more are both authors case, In either While the leading females of the five romances discussed here all have elements of elements have all here discussed romances five the of females leading the While 73 hs faue ae rsn i te edn fml caatr o te romances the of characters female leading the in present are features These 74 e mte,Snoh, a mr patcl oe. idkt and Sindokht power. practical more has Sindokht, mother, her A History of Women in the MiddleAges, inthe Women History of A Ages, Middle the of Silences II West the in Women of History A 75 hs s lo eni te oac o Bjn and Bijan of romance the in seen also is This 44 (Cambridge: Belknap Press, Belknap Press, (Cambridge: tr. CEU eTD Collection fathers’ wills. their against acting for harshly treated are Roodabeh and Manijeh only romances Ferdowsi’s concernandcriticizesherhusband.Incomparison,into keepsilentthemomentsheexpresses forced Enide is beloved knightand her be with to shewants adventurous if to be has Alis and old the to her marry to decision father’s her their with disagree express to dare not does Fenice thoughts. they if suppression possible face Enide) and (Fenice characters female two other the the – suggestions With and comments makes and queen the is Ferdowsi’s. who than – Guinevere of exception authority female to open less is society of model Chrétien’s perspective, this From do. companions female their what to characters male of reactions the for him. cared who one the and companion his as Bijan’s recognized only is she and possible which becomes rescue through means a is Manijeh couple. a as respected be and marry can they epne fr e anra bhvo. hs ulo sos oe lxblt i te male the in flexibility theideaofhimtryingtomodifyandimprovehissociety. more characters ofFerdowsiandsupports shows outlook This behavior. abnormal her for responses negative receive not does and is she who for recognized is Gordafarid situation. the settling in help her for Mehrab by thanked even is and issue the solve help to manages eventually 76 physically) for a short while until they were united with their lovers. their were unitedwith whileuntilthey forashort physically) n ulk Fnc, h bcm a a eape o te et ues o oe te ol sfee (not suffered only they come, to queens next the for example bad a became who Fenice, unlike And Another aspect of gender-related power manifestation can be studied by considering by studied be can manifestation power gender-related of aspect Another 76 Roodabeh objects to her father’s word and gets support from her mother, who wordandgetssupportfromher objects toherfather’s Roodabeh 45 CEU eTD Collection hl te edr omlyepcs tpcl as rato fo hm h tkste ie to time the takes he him, from reaction harsh typical a expects normally reader the while Zal, for love her of expression explicit and audacity daughter’s her by enraged is Mehrab when points at story, the Throughout perceptiveness. exceptional Mehrab’s to recognition this owes also she But dialogue. face-to-face of worthy as position her recognize all they and authority her question party opposing the of characters male and other the of none bright that charming so is She communication. for talent great a with personage reasonable and witty a of foundation the has itself character Sindokht’s decisions. and negotiations of world often-masculine the explore to opportunity the given is who Sindokht, mother, Roodabeh’s this doesnotmeanthatitistheonlycause. but – it to contribute ormay other – the of weakness to the lead them may one of of boldness interact, genders the way the and relationship their of nature relative the of Because men. among weakness to close anything means women of highlighting and boldness this whether state absolutely to possible not is it still suggests, section this of title the As norms. of skin traditional old the shed they way the and achieve characters female that growth of level the by portrayed is part, most the for world, down upside This principle. in wrong considered or avoid, to taught either were they that incidents face would they since confused and surprised be would society medieval a of citizen typical a which in world a down, upside world a of image an presenting both are they points some at that doubt be no is can there authors the however, discussed; of part the on intentional was deed a such which to extent The facts. these surpassed that features with characters introducing in role subjective and active their deny cannot one facts, the from isolated or separated be cannot lifetime their during realized n h rmne f a ad odbh tee s n xml o a eae character, female a of example an is there Roodabeh, and Zal of romance the In and witnessed Ferdowsi and Chrétien issues social the of representation the Although . STRENGTHOFWOMEN,WEAKNESSMEN? 4.4 46 CEU eTD Collection n ide h i ut nra snee ad Hwvr wie gi te oiat male dominant the again while However, maid. sincere normal a just is she indeed different and a has Roodabeh and Zal gifts any have not does She of unrecognized. and nameless is Thessala, unlike She, romance experience. the in character similar a hand, other the On granted. for Thessala take to – men of weakness the – Alis of weakness the is it that sense makes It ladies. their serve and court the at live that women other of hundreds the like maid another just considered is she that appears it lady. her of sake the for it uses and magic of art the knows Thessala invisibility. her in dangerous and powerful quite is she time same the at while noticed being without do to ordered is she what do and around move freely can she that invisible so is She does. Thessala what of suspicious become ever – Alis or father Fenice’s like – characters male authoritative the of none however, feasible; romance this of two plot are the make actions their there and story Cligès the of In parts significant are which characters characters. female supporting and male between shift role a to leads that and styles life parallel for possibility a exercising one’swillregardlessofgender-relatedrestrictionsorprivileges. society, medieval structured strictly the in had have could issue an such that possibility of sense the out rule not do they since appreciated be to is women authoritative and free of images presenting avoid completely not do authors the that fact very the However, ironic. quite as interpreted be may convey romances these that message the because view of point – semi-equal or – equal an from characters male and how sheaskedeveryonetowaitforErec). and hunt stage white the (e.g., consultations and comments her regarding Guinevere Arthur accords King that appreciation and recognition of kind the to close is This disaster. to led havestory heeventhankshiswifefortakingactionpersonallyandsettlinganissuethatcould the of end the At authority. her suppress not does and Sindokht trusts He wife. his to listen Another thing to be mentioned here is the notion of ignorance and underestimation and ignorance of notion the is here mentioned be to thing Another female inapproaching moralrightorwrong matter ofso-called not a hereis The issue 47 CEU eTD Collection not notice the passage of time. When he does remember that he needs to leave and return to return and leave to needs he that remember does he When time. of passage the notice not hedoes much that companyso is enjoying Manijeh’s and to hisdesires surrendered Bijan has Manijeh. and Bijan of romance the in seen be can This forward. move a make and strength may show return one in other set-back, the experiences a or weakness shows one character as experimental this through is loneliness thatEnideisrebornasastrongwoman. It consequences. the face and decision, her of outcome the observe decide, situation, the of gravity the weight and differently think to her pushes accordingly. This act and codes behavioral Erec’s predict cannot Enide therefore, life, new her in outsider an Erec makes marry they before husband her with relationship a have not does she fact that The the world. to explore her own is on she her) to known that are environments other and hometown, family, is she (i.e., role moment a such to the her binds but that context the from role, separated that with comfortable is she and these woman medieval typical hand, other the On participation. the active as raised is Enide time. appropriate an at her on effect her different a have can circumstances without way certain a in it shape and character a define environment an and society a of circumstances the how of goodexample a is who Enide, in vividly seen be can This abilities. hidden their highlight or strength them give gradually that incidents trace to able is one evolution, subsequent their and take characters romance these journey the at Looking not. or nature weak a of was romances five smarter ormorepowerfulattimes. turnleadstothefemalecharactersappearing of women,whichin lies intheirunderestimation men of weakness the of notion the that appears it note, this On disclosed. being love secret toRoodabeh’s leads This actually her actions. about andinquires becomes suspicious her and notices Sindokht her, notice to around even not is father) (Roodabeh’s story the of character It should be noted that the relative nature of male-female interaction in these stories; these in interaction male-female of nature relative the that noted be should It these in reflected is image whose woman medieval the if clearly state to difficult is It 48 CEU eTD Collection a b te trig on a ato cig o t,bt h wy eeaig enn is meaning generating way the but to, on clings author an point starting the be can n cno epc i t ed s f fe te at aarp al h psiiiis o further for book, Meisami’s possibilitiesof review her the in suggests Sharlet Jocelyn all As fade. development paragraph last the after if as end to it expect cannot one objectives, more or one has and framework partial a needs romance a While end. the is that event a single to come point a certain to up were described that the actions which all in scene for somereason(asthecaseiswithSindokht). through whether happens with it them orbyproviding This – rebellious phase subsequent leadingto a power. – of it depriving them of position the to them leads that environment the it is is that characters the male to power compared of regardingtheirlevel these romances side andprotectherowncause. lenient his use to planning is she while battle the win and her with castle the inside go shall he that believe him lets and beauty magnificent her of because weakness character’s male the of another opportunity uses her also go outside.Gordafarid her to let persuades him with lover and moment romantic a of opportunity the uses – world outside the from away been having Fenice – andtheirhidingplaceunknowntoothers, keep theirrelationshipundersecret to measures necessary all taken has Cligès While episode. similar a has Fenice also her. with time spend and stay to him persuade to easy it finds she chamber, Manijeh’s in himself finds and senses his to Bijan comes when later, Even him. abduct literally and him drug to enough bold feels and opportunity the uses Manijeh thus action, immediate take not does he court, 77 Patricia A.Parker, Patricia As Patricia Parker suggests, As Patricia Perhaps the most general statement that can be made about the female characters of characters female the about made be can that statement general most the Perhaps Inescapable Romance Inescapable 4.5 ASENSEOFCLOSURE 77 , 4. romance does not necessarily entail a traditional closing entaila not necessarily romance does 49 78 structure CEU eTD Collection ht r mnind n hs td cn e rcd ute i te prs f h bo. o n a in So book. than more characters same the the definitely encounter will one Shahnameh, of of reading thorough parts other in further traced be can study this in mentioned are that Shahnameh the romances of The them. re-appear in that certain characters around formed are Curzon, 2003); Anthony C. Yu, Yu, C. Anthony 2003); Curzon, York: Columbia University Press, 2009). University Press, York: Columbia nldn i oacs–aepr fawdrprpcie(.. the (i.e., wider perspective of a part are – romances his including – works Ferdowsi’s of all that is reason The romances. Ferdowsi’s in grounds concrete more on based is issue this However, entailed. actions Fenice’s adventures the after like looked – life courtly especially – life what wonder to starts reader the Here their closely. more guard queens to kings of generations later for reason the as mentioned is Fenice when this about hint slight a is there Cligès In mind. one’s in induce they sympathy the and motifs the of the universality according to stories further develop those think and reader to to the is up it that meaning another, one to relate not did that stories independent were they and separately attribute afull-stoptoromance. cannot one why reason the is latter The reader. the of mind the in place takes and text the of theotherisindependent while depends onthetext more literaryand oneofwhichis levels, two has reading of way This story. the with interacting is reader the becomes point this and At involved. behind witness mere a of role that leaves reader the challenges, its display and climax to starts story the as but story, the of themes dominant the and motifs, possible their characters, the with herself familiarizes reader the which in meeting a it like more first seems romances, these of any read to starts reader the As story. the of progress the from independent become to bound is that process comprehensive a in minds readers’ the engage to nature human and love of elements ornamental using is literature romance that is truth The well. as significant is genres of combination a or genre certain a through approached 78 ui Sot Meisami, Scott Julie lsr i mr asrc tee n héinsrmne sne e rt them wrote he since romances Chrétien’s in theme abstract more a is Closure tutr ad enn i Mdea Aai ad esa Poetry Persian and Arabic Medieval in Meaning and Structure Comparative Journeys: Essays on Literature and Religion East and West and East and Religion Literature on Essays Journeys: Comparative 50 Shahnameh Lno: Routledge (London: ) and the stories the and ) (New (New CEU eTD Collection emnn;teei lasapsiiiyta oen h uhro h edr–willfeelthe – the reader considered theauthoror be someone– to not possibilitythat thereisalwaysa is permanent; which closure of touch a with ends romance a that say to better is it Perhaps them. for expression relative a is end that stated be can it issues, other embrace and grow to capacity the has and them to limited not is but characters and incidents certain or failtodosoandremaininastateofimbalanceasthecaseiswithSohrab. for, striving been have they life orderly the to it make either They events. life through tested are and glass magnifying a under lives their live characters Romance everlasting. becomes it before time in it of out get to manage they and journey, chaotic a into thrown are order, with start Enide and Erec ways. certain in act them makes that life intense an have can characters moments sothat disorder atcritical orderand quality ofcreating of romanceisthis influences powerful the of one Perhaps versa. vice and chaos to order from transformation a frequent causing constantly are Gordafarid and Sohrab to. them expects reader romance typical way a the end not do things But while. a for argument intense an in involved get two the and since happen to love is shown, lady the beautiful is there, knight of young brave order. The be in to everything seems accident an expect they point certain a to up which on a journey on readers the takes it since example good a is Gordafarid and Sohrab of romance The tooffer. it has other themes examining the better and comprehendingit story the of the reader deprives of content the on only Focusing story. the behind thought the approach to way best the not is achievement) an (like end an expecting even or end certain a expecting that fw ie i dfeet otxs n cniin ad aete potnt t se their see to opportunity the have evolution andevengrowwiththem. and conditions and contexts different in times few a 79 Roodabeh and the events they go through together, etc. go throughtogether, eventsthey Roodabeh andthe For example, the reader has the opportunity to read about Zal’s childhood, growing up, his later life with laterlifewith up,his Zal’s childhood, growing about toread has theopportunity the reader For example, okn a rmne a tps f cgiie rcs wih s arwd on to down narrowed is which process cognitive a of types as romances at Looking remember to one needs romances dealing with point, when view general more From a 79 51 CEU eTD Collection real lifethereisnoabsoluteandfinalendsinceaftereachend,anewbeginning. in as life, reflects romance how is This quest. new a of think or quest the continue to need 52 CEU eTD Collection sec fhmnntr.Ti sweeFros n héinmeetandsharetheoutcomeof essence ofhumannature.ThisiswhereFerdowsiand Chrétien universalthe they share be might motivations cultural and national their different how matter still have may – skipped apointthatcanbediscoveredanddeveloped. look might it complete how matter no – research previous one that realizes – if only and – if research further for ideas novel find and things explore to way new a always is There scholars. different by before surveyed been has it if even granted for taken be should literature of work no that noted a be outside also elements should It framework. the established seeing rigidly of way different a have reader the helping of goal the with literature romance of aspects multi-dimensional to dedicated been has attention special work of Iliinois Press, 2003), 170-171. 2003), of IliinoisPress, h matm tuhste edr’ ai pyhlgcl tutrs n idcsratos in them. reactions induces and structures psychological basic readers’ the touches meantime the in and it in passion embedded representation has of this way him, to According audience. the on influence pleasant a have can it that so plausible practically but understandable generally Shahnama 81 80 merely descriptive, as the case is with most of the studies on the subject. the on studies the of most with is case the as descriptive, merely being without represented are romances Persian of pictures detailed/focused more which in romance of image scale large a presenting been has concern main the and has romance stagnant remains forever atsomepointintimeandplace.Romancereflectslifelikealiquidmirror. that image life still a into it turn to as much so it manipulating without amu Oislr “ Omidsalar, Mahmoud ai Daiches, David 80 The general point that keeps the romances of Ferdowsi and Chrétien related is that no that relatedis Chrétien and Ferdowsi of romances the keeps that point general The s ai Dihs us t te ersnain fhmn aue n ieaue ut be must literature in nature human of representation the it, puts Daiches David As The discussions and analyses in this study were aimed to follow the same pattern a pattern same the follow to aimed were study this in analyses and discussions The hs ae sne n oac ltrtr a a ol ht elcs ua life/nature human reflects that tool a as literature romance in sense makes This ,” in ,” Women in Iran from the Rise of Islam to 1800 to Islam of Rise the from Iran Women in Critical Approaches toLiterature Critical aes n Wmn Mies n Mgt Te asg o Ryl uhrt i the in Authority Royal of Passage The Might: and Maidens Women, and Waters EPILOGUE NwYr:Lnmn 91,91. 1981), Longman, (New York: 53 , ed. Guity Nashat, Lois Beck (Urbana: University University (Urbana: Beck Lois Nashat, Guity ed. , 81 Throughout this Throughout CEU eTD Collection s detr te uhr a g o wiig ni h estrd n dcdst ed things. end to decides and tired gets However, thequestwillcontinueandsoresearch. he until writing on go can author the adventure is Entesharat e Elmi Farhangi, 2009), 560. Farhangi, Entesharat eElmi cngah,smoim sconlss andthelike. of iconography, symbolism,psychoanalysis, matters to regard with works such of aspects literal and technical the are them Among analysis. comparative a of levels other the regarding solved be be to problems to and questions answered still are there However, themes. significant its of some upon reflect and merely creatingdilemmasbutalsopavingthewayforresolutionofcontroversies. not are – bothFerdowsi’sandChrétien’s work – of aromancesincetheauthors’ in thecourse evolution born an are that resolutions through goes relative the is and here missed be to reader supposed not is the What accordingly. of mind the in lingers it Rather, point. some withthemysteriesoflife. as figuresrepresentingtheeverlastinginvolvementofhumans together stand and place and time of borders cross that themes and characters in meeting this 83 82 Northrop Frye, Northrop Kadam AliSarrami, As Frye would say, As Fryewould literature romance of part unexplored relatively a show to designed was study This As was discussed above, a romance is not expected to end abruptly and absolutely at absolutely and abruptly end to expected not is romance a above, discussed was As Anatomy ofCriticism Anatomy From the Color of Flower to the Sting of Thorn[ tothe Sting ofFlower From theColor 83 what keeps a romance coherent is adventure and as long as there and aslongthere romance coherentisadventure what keepsa , 186. 54 ﺧﺎر رﻧﺞ ﺗﺎ ﮔﻞ رﻧﮓ از رﻧﮓ ﮔﻞ ﺗﺎ رﻧﺞ ﺧﺎر ] ] (Tehran: Sherkate (Tehran: Sherkate 82 CEU eTD Collection e rys Chrétien. Troyes, de hitne, rhr E. Arthur Christensen, rw,Pnlp.“nvrasi agaeUae oieesPeoea”In Phenomena.” Politeness Language Usage: in “Universals Penelope. Brown, oha, ar.“h Fa i Eies hrce: Suy f héind Toe’ Erec.” Troyes’ de Chrétien of Study A Character: Enide’s in Flaw “The Maura. Coghlan, de Troyes, Chrétien. Troyes, de [Ferdowsi, Abolqasem] Choksy, Jamsheed K. “Women during the Transition from Sasanian to Early Islamic Times.” Early Islamic to Sasanian Transition from duringthe “Women K. Jamsheed Choksy, [S.Reza Zadeh, Shafaq] [S.Reza Hmyufroh R.] [Homayounfarrokh, rgay, . . Mtvto i Ee e Enide.” et Erec in “Motivation J. G. Brogyanyi, Secondary Literature de Troyes,Chrétien. mr Sahar, Amer, oiees Srtge i Sca Interaction Social in Strategies Politeness: ace.Paris:HonoreChapion,2006. Lancner. Chicago: UniversityofIllinoisPress,2003. (1972): give inclusive pages. give inclusive (1972): Publishing, 2005. ﻏﺰﻧﻮی Bloomington: IndianaUniversityPress,1990. In Cambridge UP,1978. Tehran: DaneshPublishers,1981. 1998. Publishers, Asaatir Tehran: Ghaznavid]. Mahmud Sultan and Ferdowsi Abul-Qasim Primary Sources Reading MedievalStudies Literature. Women in Iran from the Rise of Islam to 1800 to Islam of Rise the from Iran in Women

ﻣﺤﻤﻮد ﺳﻠﻄﺎن و ﻓﺮدوﺳﯽ ﺳﻄن ﺤﻮ rsig odr: oe ewe Wmn n eivl rnh n Arabic and French Medieval in Women between Love Borders: Crossing Philadelphia: UniversityofPennsylvaniaPress,2008. héind rys eve Complétes. Oeuvres deTroyes: Chrétien Cligès - Edition bilingue français-ancien français français-ancien bilingue Edition - Cligès h Cmlt Rmne o Crte d Troyes de Chrétien of Romances Complete The ﻓﺮدوﺳﯽ رﺿﺎزاده ﺷﻔﻖ ﺻﺎدق رﺿﺎزاده ﺷﻔﻖ رﮐﻦ اﻟﺪّﯾﻦ ھﻤﺎﯾﻮﻧﻔﺮّخ ’rn os e Sassanides les sous L’Iran . اﺑﻮاﻟﻘﺎﺳﻢ 5 (1979):21-27. Sanmh n Fros: Nw uvy n Hakim on Survey New A Ferdowsi: and [Shahnameh

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