This passage vividly illustrates the deeply patriarchal and misogynistic attitudes embedded in ancient Greek literature, as conveyed through the language and rhetoric of the speaker. The tone is bitter and condemning, using harsh metaphors such as “woman, evil counterfeit” and “noxious weed” to depict women as a destructive force. Linguistically, the archaic English phrasing (“didst thou,” “’tis,” “wight”) preserves the classical grandeur while emphasizing the timelessness of these views.

The speaker’s arguments reflect a worldview where women are seen as inherently problematic, requiring control and exclusion from male social and religious spheres. The idea that men should “put to live with them beasts, which bite, not talk” underscores a desire to silence and subjugate women linguistically and socially, illustrating the use of language as a tool of patriarchal power.

Historically, this passage reveals how the translator/editor’s cultural milieu may influence the text: Victorian and early 20th-century translators often preserved or even amplified such misogynistic elements, sometimes reflecting their own era’s gender biases. The passage also shows how patriarchal ideology manipulates religious concepts, invoking “religious scruple” and “heaven” to justify male dominance and female exclusion.

Overall, the language both reflects and reinforces the patriarchal power structures of the ancient Greek world and the translator’s time, showing how literary texts serve as vehicles for political and cultural ideology related to gender.

Annotation by Astrid Blanco

Works Cited: Euripides. Hippolytus. Translated by E.P. Coleridge, Internet Classics Archive, 1912.

The use of elevated language in this line eg "awful queen," "peerless mid the virgin choir," "golden house of Zeus" elevates the goddess Artemis to the status of a national symbol. Euripides' deliberate choice of language reinforces the implicit connection between the divine and the state. The language and tone links individual piety to national identity. The language itself becomes a tool of nation-building, shaping and reinforcing Greek cultural narratives.

In this passage the goddess makes her case for the eventual penalty leveled against Hippolytus by the wrathful goddess. The audience is presented with the transgression as well as the intended punishment. Just as Greek society had a strict code of laws regarding civil responsibilities they also had a moral code from the Gods. The reiteration of these standards in this form promotes general acceptance among the masses.

This seems to be a standard message of foreboding and the promise of consequence for defying the gods. The opening line sets the tone and prepares any audience who will hear the message to receive the message from the gods. The cultural saturation promotes shared cultural values.

This passage from the Qur'an emphasizes divine intervention and spiritual protection in Joseph’s resistance to temptation. The phrase “had he not seen a sign from his Lord” highlights a key linguistic feature of Quranic Arabic: the direct and intimate relationship between the individual and God, underscoring the importance of divine guidance over human will alone. The text’s rhythm and repetition serve to reinforce God’s active role in preserving moral purity.

Culturally, this translation reflects the 20th-century English rendering of classical Arabic scripture, aiming to maintain both reverence and accessibility. The phrase “truly one of Our chosen servants” elevates Joseph’s status within Islamic theology, portraying him not merely as a moral actor but as divinely selected, which reflects the Qur’an’s emphasis on predestination and spiritual election.

Linguistically, the formal and solemn tone aligns with the sacred nature of the text, contrasting with more secular or narrative-driven translations. This version’s focus on “evil and indecency” situates Joseph’s virtue within a religious framework that intertwines ethics with divine will, highlighting how language here functions to legitimize religious authority and identity. The passage’s careful choice of words reflects the historical and theological context in which the Qur’an positions Joseph’s story as an exemplar of divine protection against sin. Annotation by Astrid Blanco, CC BY-NC-SA 4.0,

This line from Genesis 39 highlights Joseph’s moral conviction and religious devotion within the patriarchal framework of ancient Hebrew culture. Linguistically, the phrase “There is none greater in this house than I” asserts Joseph’s authority and elevated status, setting up a contrast between his position and his refusal to betray his master’s trust. The language is formal and emphatic, reflecting the gravity of the situation and Joseph’s inner resolve.

The rhetorical question “how then can I do this great wickedness, and sin against God?” serves as a pivotal moment, revealing how Joseph’s ethical decisions are inseparable from his religious identity. The use of “wickedness” and “sin” carries strong moral weight, signaling not just a personal choice but a violation of divine law. This reflects the ancient Hebrew worldview where ethical behavior is deeply linked to obedience to God’s commandments.

From a cultural and linguistic perspective, this translation (King James Version) mirrors the 17th-century Protestant English context in which it was produced, emphasizing clear-cut moral binaries and personal piety. The elevated diction and solemn tone reflect the period’s didactic intent to promote religious virtue. Thus, the text functions both as a religious narrative and as a moral exemplar for its audience, illustrating how language and theology intertwine to reinforce patriarchal and divine authority.

Annotation by Astrid Blanco, CC BY-NC-SA 4.0,

Paley's adaptation reinterprets the religious values of the Ramayana through feminist critique. By framing Sita's suffering with American blues, the film calls out the injustice of religiously justified gender roles. The divine love between Sita and Rama is not honored but overshadowed by religious duty and male ego. This version critiques the moral inflexibility of traditional dharma, exposing the suffering it can cause. Annotation by [Your Full Name], CC BY-NC-SA 4.0

This passage from the Ramayana encapsulates critical aspects of religious politics and moral authority in ancient epic literature. Sítá’s lament emphasizes the violation of dharma—cosmic and social order—by Rávan, who embodies political tyranny and moral corruption as “cruel, fierce and base.” His abduction of Sítá symbolizes a disruption of rightful power and divine justice, challenging the established order upheld by Ráma and Lakshman, who represent dharma and righteous leadership. The vulture’s role as a messenger underscores the importance of communication and divine intervention in restoring order and justice. Through Sítá’s appeal, the text reinforces the interconnectedness of religious duty, political legitimacy, and cosmic morality, demonstrating how ancient epics used narrative to comment on and legitimize the authority of rulers and social order. Annotation by Astrid Blanco, CC BY-NC-SA 4.0

This prayer to Shamash reveals the profound entanglement of divine power with political and physical success in ancient Mesopotamian thought. The gods are invoked not only for protection but to facilitate a hero’s quest—both literally (leveling paths) and spiritually (making prophecy visible). In Clay and Jastrow’s early 20th-century translation, the formal and majestic tone reinforces the belief that divine favor was essential to royal or heroic endeavor. This framing of divine intervention as logistical and moral support suggests a world where religion and governance are inseparable. Annotation by Astrid Blanco, CC BY-NC-SA 4.0

This passage from The Epic of Gilgamesh highlights the critical theme of leadership and reliance on community rather than individual strength alone. Linguistically, the Elders’ speech employs direct and practical language, emphasizing tactical wisdom and camaraderie over raw power. The repeated imperatives ("do not put your trust," "keep a sharp eye," "let Enkidu go ahead") reinforce a collective mindset vital for survival in the ancient Mesopotamian warrior culture.

The reference to “the one who goes on ahead saves the comrade” and “the one who knows the route protects his friend” uses metaphorical language that elevates strategic knowledge and experience as paramount virtues. This illustrates the cultural value placed on collaboration and mutual protection within the hero’s journey, contrasting with the common heroic trope of solitary strength.

From a political and historical perspective, this passage reflects how power and kingship were perceived as communal responsibilities in early Mesopotamian society. The Assembly’s role in entrusting the king to Enkidu and expecting his safe return embodies the checks and balances between the ruler and the people or elders, suggesting an early form of social contract.

Finally, this translation (from Maureen Gallery Kovacs) modernizes the tone with a conversational clarity that makes ancient values accessible to contemporary readers. Kovacs’ word choices avoid archaic stiffness, emphasizing the universality of trust and partnership, while still preserving the original’s formal authority.

Annotation by Astrid Blanco, CC BY-NC-SA 4.0

In this passage, Athena (Pallas) reveals the divine origin of the protagonist, emphasizing that Apollo’s silence and protection are designed to preserve noble lineage and prevent familial destruction. The language underscores themes of secrecy, divine will, and fate, highlighting how myth serves to legitimize social and political structures in ancient Athens. The translator’s choices in tone and diction can shape our perception of the gods’ intervention as either merciful or manipulative, reflecting the translator’s cultural and historical context. This passage thus illustrates the complex relationship between identity, religion, and power in classical literature.

Annotation by Astrid Blanco

Works Cited: Euripides. Hippolytus. Translated by Robert Potter, perseus.tufts.edu.

Joseph was tested by Yahweh through the pharoah’s wife to see if he would sin, and while Joseph stayed true to his beliefs, he was later on accused of advancing on her. Joseph was tested and put through suffering and almost faced exile and death but justice prevailed in the end. Joseph ended up rising up to a high position of power in Egypt, and saved many people from famine. From a theological perspective, Yahweh in the Old Testament is hard, but fair. This teaches that Yahweh isn't a cruel God, but one that allows tests of faith and if you're like Joseph, you will be redeemed for having that faith. Yahweh teaches a just world, where justice is always served, even if it’s delayed sometimes.

Annotation by: Samuel Godinho CC License: CC- BY-NC Tag: #SP2025-LIT211

I find the religious tension within the poem to be very interesting. The narrator and Beowulf frequently reference God and divine justice, but the poem still upholds Paganism and pagan ideals like fate and blood vengeance. This also shows the transitional period in which it was written, showing a cultural tug of war with the merging of old beliefs and emerging Christian values. The original poem shows many pagan values but once it was transcribed and translated it took on more Christian characteristics. This is an example of how religious values influenced this text.

Annotation about Phaedra and Hippolytus Author: David Sanchez CC License: CC BY-NC

Euripides' Hippolytus offers us different perspectives for the study of gender politics and the construction of the hero in ancient Greek culture. In the narrative, we can see how Phaedra visualizes herself fantasizing about being like Hippolytus and Artemis, and her desire to represent a manly hunter. Still, at the same time, she wishes to be seen as a feminine figure who would highlight the qualities of the goddess Artemis. Phaedra's fantasies generate gender tension as she attempts to perform purely masculine acts, in keeping with the context of the situation and the culture of ancient Greece. Gender politics generate a cultural conflict that Phaedra was willing to ignore by setting aside her femininity by idealizing herself as a hunter, and relegating her femininity by following the masculine and heroic tendencies culturally contextualized in ancient Greece and its gender politics that predominated its culture and social beliefs. At this point, Phaedra was having an internal conflict in trying to ignore what she was, because she fantasized about being something different from femininity and feeling desired as a woman, which was a somewhat complex and tragic situation for her.

References: “More on The Love Story of Phaedra and Hippolytus: Comparing the References in Pausanias and Euripides.” Classical Inquiries, 5 Feb. 2022, classical-inquiries.chs.harvard.edu/more-on-the-love-story-of-phaedra-and-hippolytus-comparing-the-references-in-pausanias-and-euripides/.

Annotation about Phaedra and Hippolytus Author: David Sanchez CC License: CC BY-NC

Pausiana and Erupides illustrate Phaedra's unbridled obsession with Hippolytus, clarifying and shaping the narrative based on Hippolytus's divine beliefs and worship. The divine presence is present through the goddesses Aphrodite and Artemis, who represent opposite values. On one hand, we have Aphrodite, known as the goddess of love and beauty, on the other hand, Artemis was the goddess of hunting and chastity. Apollytus believed in and admired Artemis. However, Aphrodite was not to his liking. Something that irritated the goddess Aphrodite's soul, so she decided to awaken Phaedra's unbridled passion for Hippolytus. This unleashed Phaedra's suffering when she saw that she was rejected by Hippolytus, thus highlighting Hippolytus's values and beliefs in chastity. Phaedra's suffering is portrayed in a complex and frustrating way, reinforcing the moral perspectives of ancient Greece and its cultural and religious beliefs.

References: “More on The Love Story of Phaedra and Hippolytus: Comparing the References in Pausanias and Euripides.” Classical Inquiries, 5 Feb. 2022, classical-inquiries.chs.harvard.edu/more-on-the-love-story-of-phaedra-and-hippolytus-comparing-the-references-in-pausanias-and-euripides/.

In this segment, Hippolytus exemplifies a nuanced heroism characterized by self-restraint and purity, as opposed to conquest or fervor. He reflects an ideal of self-control and moral integrity by rejecting the sexual advances made around him. Despite being the object of Phaedra’s passion, Hippolytus remains detached, embodying an almost divine aloofness. His resilience is rooted in this reluctance to be persuaded, essentially allowing him to stay beyond the tumult of erotic connection. Hippolytus' qualities help Pausanias investigate a model of heroism based on discipline and the preservation of personal boundaries.

This line underscores the paradox of Hippolytus, he is desired not for heroic deeds but for his embodiment of refusal he is the “object” of Phaedra’s projection, representing Artemis’s inaccessibility. As such, he inverts traditional heroic masculinity: his power lies in what he denies (sex, Aphrodite, emotional intimacy), not in conquest or prowess.

Annotations on the divine virtues of Joseph. Author: David Sanchez CC License: CC BY-NC

Joseph was always remembered as a virtuous person who possessed great qualities granted by his divine faith in God. Joseph had to forge his character as he grew, both physically and spiritually. Joseph always showed a great ability to face adverse situations, such as having been separated from his family for 20 years, a situation that forced him to mature quickly despite his young age. This great mental strength led him to develop unique instincts and enrich his character. Joseph even went so far as to name his children in Hebrew, as a thank you to God for having intervened in his life. This was a whirlwind that battered his personal and spiritual integrity. Joseph's first son was Manasseh, whose name meant "God has made me forget my difficulties." His second son was Ephraim, which meant "God has made me fruitful." In this way, Joseph showed his gratitude, devotion, and reaffirmed his faith and loyalty to God.

References

References: The Holy Bible: New Revised Standard Version. The Book of Génesis

Roth, Elana. “The Story of Joseph.” My Jewish Learning, 20 June 2023, www.myjewishlearning.com/article/the-story-of-joseph/.

Annotation about josey's favoritism towards him by his father. Author: David Sanchez CC License: CC BY-NC Tag: #SP2025-Lit211

The story of Joseph in the book of Genesis shows us some of the aspects that marked the present and future of his life. The book of Genesis tells us about the favoritism and devotion that his father Jacob always had towards him, being the favorite son of 12 brothers. “Israel (another name for Jacob) loved Joseph more than all his sons since he was a child of his old age” (Genesis 37:3). This favoritism towards Joseph on the part of Jacob was because Joseph was the firstborn of the woman that Jacob had loved the most, who was Rachel. As a sign of his love and affection, Jacob gave him a colorful tonic (ketones passim), which symbolized a gesture of favoritism towards Joseph and aroused the anger and fury of his brothers. These texts show us how favoritism towards certain members of a family is something bad and unnecessary, even for the beneficiary who in this case was Joseph, because this blatant favoritism on the part of Jacob was what somehow caused Joseph to be sold by his brothers to the Ishmaelites, thus causing a very tragic situation for Jacob's family.

References: The Holy Bible: New Revised Standard Version. Genesis 37:3.

Roth, Elana. “The Story of Joseph.” My Jewish Learning, 20 June 2023, www.myjewishlearning.com/article/the-story-of-joseph/.

Annotation about Joseph and his unwavering faith in God. Author: David Sanchez CC License: CC BY-NC

In the book of Génesis, we can observe Joseph's religious virtues and strenuous faith in God. Joseph's beginnings, it could be said, were filled with many adversities. Joseph went from being Jacob's favorite son to being sold as a slave by his brothers in exchange for a few coins. In this situation, Joseph had to develop survival instincts and cling to his divine faith in God. Due to his great virtues granted by God, Joseph became an important figure in Egypt, only a short time after having been a slave. Joseph became master of the house of Potiphar, the man who had bought him as a slave, but when he realized the divine virtues that God had granted him, he gave him an important position and named him master of his house. This irruption of Joseph caught the attention of Potiphar's wife, who was attracted to Joseph and attempted to seduce him. However, Joseph clung to his values and integrity and rejected her. This led to the woman's fury and her making false accusations, thus causing Joseph's imprisonment. However, despite all this, Joseph continued to display faith and an unbreakable connection with God, "But the Lord was with Joseph" (Genesis 39:21). These verses speak to us of Joseph's faithfulness to God, even in times of tribulation and adversity. This was rewarded with divine intervention on the part of God, which freed him from his most complex situations.

References: The Holy Bible: New Revised Standard Version. The Book of Génesis

Roth, Elana. “The Story of Joseph.” My Jewish Learning, 20 June 2023, www.myjewishlearning.com/article/the-story-of-joseph/.

Joseph’s Fate<br /> The story of Joseph in the Hebrew Bible, especially in Genesis 41:25–30, depicts how, through God’s help, Joseph ascended from being imprisoned to attaining power. Joseph explains Pharaoh’s dreams of having seven years of plenty and hunger to come, “… God has revealed to Pharaoh what he is about to do” (Genesis 41:25, ESV). https://www.biblegateway.com/passage/?search=Genesis+41&version=ESV&utm_source=chatgpt.com

With insight, Pharaoh can prepare Egypt for the oncoming famine giving Joseph the post of second in command at 30. Joseph’s life journey calls for the appreciation of faith, wisdom, and discipline while reproaching capriciousness and dishonest conduct. The story emphasizes the rational conviction of the guidance from divinity as authentic fathers’ leaders must possess.

Ethics and Integrity Lessons from The Life of Siavash

Disregarding Siavash of Shahnameh, Ferdowsi puts him in a position of self-virtue of morals grappling with ethics. Siavash as a character chooses to ward off Sudabeh affections known as his step-mum proving to be of austere moral high ground. He does not kill her. He is put in a trial where tested by fire comes out unscathed yet unproven right. Instead of being praised for his virtue, Siavash has to put up with wrong against him, so much that he must choose neither way, and send himself away from conflict. His tale critiques the fragile nature of moral goodness in his story within the framework of a self-serving political system and accentuates the strength of personal goodness in the absence of God. https://en.wikipedia.org/wiki/Siyâvash

Hippolytus:

Divine retribution and the character tragedy of Hippolytus is centered on the themes of chastity and honor and the retaliation of God. A devotee of Artemis, Hippolytus spurns Aphrodite and Phaedra, his stepmother, who makes not-so-discreet attempts at seducing him. Offended by such blasphemy, Aphrodite engineers the tragic event which results in Phaedra’s lying accusation Hippo- lytius’ death. The play deals with and reconciles the dilemma of free will as opposed to divine control. This tale is from ancient Greece as reflected in the Wiki link above.

Linguistic Perspectives

The words used and the translation of these texts have everything to do with how these ideas are interpreted. Through the lens of the King James Bible, the account of Joseph is told through a formal authoritative tone. This reinforces the subjugation of women under men, and the idea of wisdom in men, being favored by God.

Through an Orientalist perspective, Josephus depicts the earlier European account of the Shahnama’s Syavash as sans eye and imbued with innocence, while Rav Sudabeh was depicted as a flawed temptress. Unlike modern renditions like Dick Davis’s, which are more context-centered and nuanced, portraying the ethics instead of the ‘innocence/seduction’ dichotomy.

As time went on, people found ways to translate Hippolytus.

These different stories demonstrate the relationship between virtue, political consequences, and gender. Each tale, whether or not through some form of divine intervention or personal morals, encapsulates the culture and religion of the time. These stories are molded by the language and translation that evolve them through time.

Works Cited

The Holy Bible: English Standard Version. Crossway, 2001.

Davis, Dick, translator. Shahnameh: The Persian Book of Kings by Abolqasem Ferdowsi. Penguin Classics, 2006.

Euripides. Hippolytus. Translated by James Morwood, Oxford University Press, 2001.

“Joseph Interpreting Pharaoh’s Dreams.” Columbia Museum of Art, www.columbiamuseum.org/collection-highlights/joseph-interpreting-pharaohs-dream. Accessed 10 May 2025.

“Women in the Shahnameh: A Paragon of Strength.” Medium, sbehrouz.medium.com/women-in-the-shahnameh-a-paragon-of-strength-12634ab43da5. Accessed 10 May 2025.

“Phaedra and Hippolytus.” GreekMythology.com, www.greekmythology.com/Myths/The_Myths/Phaedra_and_Hippolytus/phaedra_and_hippolytus.html. Accessed 10 May 2025.

CC BY-NC-ND

The fate of Joseph, in the Hebrew text the Book of Genesis, chapters 37 to 50, is that of rising from slavery and imprisonment to power, a journey shaped by constant divine intervention from God. Joseph's life is somewhat governed by divine agency. While serving prison time, Joseph accurately interprets the dreams of Pharaoh's former cupbearer and his baker, predicting that the former cupbearer would be restored to his old position and that the baker would die. This is explained by God's presence with him (Genesis 39:21). To his phenomenal guidance to power in the court of Pharaoh, ‘his divine gift’ enables this rise. (https://www.myjewishlearning.com/article/the-story-of-joseph/, accessed 5/10/25). On the other hand, Ferdowsi shapes the Persian hero’s destiny as entirely a product of ethical struggle and human choices in Shahnameh with no gods. CC BY-NC-ND

Joseph’s Fate. The story of Joseph in the Hebrew Bible, especially in Genesis 41:25–30, depicts how, through God’s help, Joseph ascended from being imprisoned to attaining power. Joseph explains Pharaoh’s dreams of having seven years of plenty and hunger to come, “… God has revealed to Pharaoh what he is about to do” (Genesis 41:25, ESV). https://www.biblegateway.com/passage/?search=Genesis+41&version=ESV&utm_source=chatgpt.com

With insight, Pharaoh can prepare Egypt for the oncoming famine giving Joseph the post of second in command at 30. Joseph’s life journey calls for the appreciation of faith, wisdom, and discipline while reproaching capriciousness and dishonest conduct. The story emphasizes the rational conviction of the guidance from divinity as authentic fathers’ leaders must possess. The Holy Bible: English Standard Version. Crossway, 2001.

Davis, Dick, translator. Shahnameh: The Persian Book of Kings by Abolqasem Ferdowsi. Penguin Classics, 2006.

Euripides. Hippolytus. Translated by James Morwood, Oxford University Press, 2001.

“Joseph Interpreting Pharaoh’s Dreams.” Columbia Museum of Art, www.columbiamuseum.org/collection-highlights/joseph-interpreting-pharaohs-dream. Accessed 10 May 2025. CC BY-NC-ND

May 5- 2025

While the Arabs exercised political power and Islamized the state, the Persians held on to their culture and molded the emerging society. Though Arabic was adopted at court, Persian remained widely used and eventually became revived as a language of literature and administration. Conversely, the Arabs whose dominance rested on political might, Persians built a strong literary and cultural tradition which survived and developed under new rule. This contrast shows how the Persians, rather than the victors, inherited a strong legacy, blending their own and those of new ones. Their ability to maintain and revive their language and culture allowed them to shape the identity of the area in ways that endured even political conquest. Therefore, the Persians served as cultural heroes, holding and developing the civilization under the cover of Arab rule.

Heroic Aspect: The Iranian integration into the Muslim world represents the resilience of a people. Much like a hero, Iranians adapted to the new system while maintaining their cultural essence. Over time, their influence in administration and scholarship mirrored that of heroes who survive adversity, adapting their knowledge and traditions to thrive in a new world order. This can be likened to the persistence of heroes like Joseph in Hebrew tradition, who rises to power despite exile and foreign domination, preserving his heritage while contributing to the greater good.

Instead of asking the lady herself, Tous and Giwe insisted on asking Kay-Kavous about who she belongs to. And Kay-Kavous was attracted to her beauty and ended up having her all by himself. In conclusion, nobody thought that it was appropriate to ask it to her itself. It shows that they did not regard her opinion or whom she wanted to partner up with, since she was a woman. Her voice was not even heard. She was barely an object, an eternal source of beauty and entertainment for them. It can be said that females were not given any leading roles neither their decisions mattered at that time. It was a full on patriarchal society where it was the gender role of the men to decide the fate of women whom they had never even had any interactions before.

Ultimately, these characters from Turan turn on Siawosh. This could be a way of othering them, and differentiating them from the Iranians. The epic may have been set up so that the friendship between Siawosh and the Turanians was always fated to fall apart, because they were from different groups, and could not reconcile that fact. Thus, the notion of the “Other” is cemented. CC BY-NC-SA

Siawosh marrying Afrasiyab’s daughter further demonstrates the blurring of lines separating the “Us” of the story from the “Them”. It’s a union in all senses. With Siawosh residing in Turan for much of his story, he makes connections with people from Turan. These connections are key to humanizing the characters. CC BY-NC-SA

The foreign group is relatively humanized and developed, to a greater extent than in stories such as the Ramayana or Josephs. While divisions are still drawn, the people of Turan are written as near equals, capable of the same complexity as the Iranians. CC BY-NC-SA

There is generally a lot of sympathy shown to the people of Turan, as shown in this line. The foreigners are not too othered, which is reminiscent of The Persians by Aeschylus. CC BY-NC-SA

By having the hero of the story be destined to destroy Turan, Iran is clearly shown as the "Us" and Turan as the "Them". If it's what Siawosh must do, then it must be correct, and Turan must deserve that fate. Unlike Iran, which may also have a corrupt king, but doesn’t deserve the same as Turan, by virtue of not being the “Other”. CC BY-NC-SA

This incident serves as evidence of valiant bravery, as well as the unavoidable tragic outcome. Kay-Kavous's order for Siyavash to endure such a cruel test exposes the harsh and frequently nonsensical nature of the Shahnameh's legal system. Rather than resorting to dialogue or a fair trial, Siyavash is made to prove his innocence through a life-threatening trial by fire. In doing so, he displays an unshakable belief in his own virtue and submits to his father’s command without resisting. As he seeks purity before his father, his prayer to God prior to going into the flames demonstrates his strong belief in divine justice. Even though he is innocent, his entry into the fire represents the extent he will go to in order to protect his honor. This moment in specific reveals the inherent absurdity of the test, as Siyavash’s need to prove his virtue through such a drastic and senseless act speaks to a broader societal issue in which virtue is judged by unrealistic, and impractical measures. The irony is obvious that even though Siyavash lives unharmed, his good deeds and pure heart will not ultimately spare him from the fate that awaits him. His role as a tragic hero, virtuous and innocent yet still chained by a system which demands complex proof of his worth, is preserved as a testimony by this trial. Additionally, as a piece of the general story, the passage reflects traditional gender roles, and in this case it is the way masculinity is defined and/ tested in the context of heroism and honor.

If Siawosh is the hero then Soudabeh can be considered the villain since her lies led him to go through a lot of pain. She is illustrated as a woman who harbors intimate feeling for her step son and spreads ill things about him when he did not comply with her feelings. Since Kay-Kavous liked her dearly, he could not go against her. However, he never made an effort to ask his son and clear all the misunderstandings there and then. Or it could be that men were supposed to prove their innocence through illogical tests and strengths rather than simply answering the questions honestly. Likewise, had he failed and died during the process, would an innocent person be branded as a criminal? And why was Soudabeh not questioned? How can words enough to prove that she was innocent yet his son was not?

This translation uses more emotional language than the Helen Zimmern translation. This simultaneously lessens and widens the gap between the depiction of Iranians and Turanians, depending on the context. Ferangís, for instance, is a more sympathetic character, whereas Afrásiyáb is condemned more harshly. CC BY-NC-SA

This version of the epic leans into the celebration that Saiáwush received when arriving in Túrán. It generally seems to emphasize how beloved he was. Through this, differences between the Iranians and the Turanians are marked. As soon as Saiáwush arrives, the people essentially beg him to rule over them. This suggests that he is equipped to do what the locals cannot, therefore he should have power, putting Iranians in a favorable position and building a sense of national pride. At the same time, a distinction between them and the foreign group is established. CC BY-NC-SA

Joseph, being monotheistic, is uniquely special. His abilities are something that the Egyptians cannot emulate, which implies that the Egyptians are generally less capable. The narrative shows how the Canaanites are distinct from the Egyptians through their skills, allowing monotheists to form a separate identity. CC BY-NC-SA

Similarly to the Quranic version, Joseph also emphasizes his religion in the Biblical interpretation. This makes sense, since both are religious texts used to spread their respective faiths. It shows that the differing beliefs of the Egyptians and Canaanites are at the heart of their division. They can never be the same as long as that core difference remains. CC BY-NC-SA

The contrast of beliefs is an important way of emphasizing the otherness of the Egyptians, who may be a stand-in for polytheists in general. The condemnation of other religions successfully creates a divide between groups. Religion is one of the greatest tools to forge a sense of identity with, seeing as how it builds community. It follows, then, that it would also be one of the greatest tools to other a foreign nation. CC BY-NC-SA

While not directly stated, his beauty may be mentioned in order to contrast him with the Egyptians. This could be a way of portraying the Canaanites as more desirable than other groups, which would contribute towards building a sense of national identity. In the context of the Quran, it could also be something more similar to a religious identity. Either way, having more attractive physical traits places the Canaanites above foreign groups. CC BY-NC-SA

Joseph's brothers plot against him out of jealousy. He is innocent and suffers unjustly common in tragic and epic narratives. His endurance parallels heroes like Jesus or Sita from the Ramayana, who suffer betrayal by their own. I would say the hero trait would be its Innocent sufferer

When compared to E. D. A. Morshead’s translation, Robert Potter’s translation clearly identifies the context of this statement. The Athenians are not slaves to any monarch, specifically. Aeschylus’s belief that monarchies were comparable to slavery is still present, this time more accurately, drawing a clean division between the Persians and Athenians. Both translators named were English, albeit from different centuries, so the change in phrasing may reflect their political beliefs. Therefore, praise for the Athenian form of government would have been framed according to each man’s support for the monarchy. At the time of Potter’s 1777 translation, Enlightenment ideals were popular; a blatant anti-monarchy stance may have reflected that. CC BY-NC-SA

Xerxes praising the Athenians for standing against him could be a subtle way of showing the Persians as the "Other". This is because he's depicted as praising the enemy, in a somewhat unrealistic way. It reads as an attempt of portraying the Athenians as righteous and just, whereas the Persians are left no choice but to accept that as fact. They're not "Us", so their suffering cannot be unfair; they're "Them", so the suffering is deserved. CC BY-NC-SA

The Greeks are being painted as inherently more deserving of respect and reverence. The narrative feeds into the Athenian nations' superiority by claiming the Persians can only prosper by leaving them alone, because Greece is simply more successful. Thus, the Persians and the Athenians are not equal parties in the story. Still, they are much more equal than, for instance, the opposing parties of the Ramayana. The Persians stands out for the general sympathetic portrayal of the people from the Achaemenid Empire. CC BY-NC-SA

Aeschylus is emphasizing Athenian democracy, as their unique form of government was a point of pride. It would be very easy to foster a national identity around this concept, which is what he was leaning into. However, his bias in the writing is evident, seeing as how the Persians very famously freed slaves. The use of the word "slave" here, then, is interesting. Athens did actually have slaves, but the point here is to compare other forms of government to slavery, not to talk about real slavery in society. Aeschylus took the opportunity to highlight the democratic values of Athens, in contrast to the values of the Achaemenid Empire, regardless of how accurate the assessment may or may not have been. CC BY-NC-SA

Here, the differences in weaponry highlight the overall differences between the groups. It's not just about using particular tools, it's about what those tools say about a culture. From an Athenian perspective, a bow may seem like a more cowardly weapon. Calling attention to this perception could be a way of disparaging the foreign Persians while also building a sense of national pride around the Athenians’ own choice of weapon. CC BY-NC-SA

Be it through caricatures or descriptions, differences in physical features have always been an incredibly common way of othering groups. Surphanaka, Ravana's sister, having a so-called “ugly nose” exemplifies this phenomenon. A similar sentiment about Ravana is also expressed: “Your ugly yellow eyes should fall out of your head as you stare at me so lustfully, Ravana.” (Paley, 00:27:16 - 00:27:21). In his case, Ravana’s yellow eyes serve to dehumanize him. Where distinct features emphasize a difference, inhuman features—like yellow eyes—only widen that gap. CC BY-NC-SA

As a modern retelling of the Ramayana, Sita Sings the Blues is not afraid to critique the original story, often using a lighthearted tone to do so. In this part, the narrative acknowledges how Ravana is portrayed as evil, despite his accomplishments. If it weren’t for his foreignness, he may have been a more nuanced character. Since that wasn’t the case, he was unambiguously villainous. One step out of line proved him to be in the wrong. The group that controls the narrative is waiting for the outsider to fail, in order to justify their preconceived ideas about their nature. Sita Sings the Blues uses humor to comment on this narrative of nation, because it was intentionally made as commentary on the Ramayana. CC BY-NC-SA

Sita cries due to being captured by the evil "Other". It's made clear that it’s not just the king that's evil, but also the subjects that are called "wild she-demons". This is a very direct example of othering a foreign people by perceiving them as uncivilized. This lays the groundwork for the judgment of others’ unique customs, which in turn, builds an identity around one’s own customs. CC BY-NC-SA

The king—and by extension his people—eat food that regular people wouldn't, which is another way of othering them. This portrayal likely stems from them not being written as human in the first place. Rather, they're giants. Thus, their race feeds into the narrative of foreigners being a distinct type of person. The idea is taken to the extreme, as they’re not even human. CC BY-NC-SA

By having goblin-headed creatures pull Rávan's chariot, the people of Lanká are painted as strange and abnormal. Rather than use regular donkeys, Rávan uses monstrous donkeys, a reflection of the perceived culture in Sri Lanka. Modifications such as these exotify and mystify the foreign group. CC BY-NC-SA

This line suggests that there is an inherent difference between Ráma and Rávan. Rávan’s character is shown to be naturally inferior and sinful when compared to Ráma, which is part of a broader narrative about the Sri Lankans. This inequality is acknowledged directly by Akampan, one of the giants himself. So, regardless of which group one belongs to, the imbalance between the sides is made apparent. In a sense, the giants seemingly accept and give in to Ráma’s superiority. CC BY-NC-SA

Here, the Sri Lankans are described both as giants and demons. Overall, there is a preference for the term "giant" over "demon" in this translation. The decision suggests that this version of the Ramayana was trying to portray the giants more neutrally. The translator, an Englishman from the 19th century, would have less of a need to highlight distinctions between Indians (particularly from Ayodhya) and Sri Lankans. For one, both territories were British colonial possessions at the time of translation (1870-1874). Furthermore, the translator and his anglophone audience would not feel a strong connection to either group. Thus, one of the original goals—nation-building—would be diminished. CC BY-NC-SA

This disparaging description paints Rávan as unreasonable and deeply evil. The lack of consideration for his perspective fuels the reading of him and his people as inferior beings. Vocabulary choices such as “savage fury uncontrolled” don’t describe just any angry man. They describe a ruthless, dangerous person that cannot be trusted. He is a villain by all means, and his belonging to a separate people furthers that narrative. CC BY-NC-SA

Rávan, the king of Ceylon (present-day Sri Lanka) would be an example of the "Other" in the Ramayana. Describing him as "senseless" is one way of othering him and his people, making them seem incomprehensible and fundamentally different. This feeds into the narrative of nation, wherein the Indian people are rational and sympathetic, and the Sri Lankans are not. Instead, they are their own separate, lesser people. CC BY-NC-SA

In this passage, Gilgamesh is introduced not only as someone with physical power but also as a wise man with deep understanding. In Kovacs’s translation, the phrase “the Deep” emphasizes that he is more than a warrior — he is a sage who has insight into the foundations of life. This challenges the traditional notion of heroism being solely tied to masculinity and strength, instead presenting wisdom as a core heroic trait. CC BY-NC-SA 4.0

This passage captures the divine nature of Sita’s devotion, as she follows Rama—her husband—into the heavens, symbolizing her loyalty and the spiritual journey she undertakes with him. The phrase “most noble name and race” refers to Rama’s royal and divine heritage, positioning him as the ultimate hero, while Sita’s role as his devoted companion further emphasizes her sacrificial and idealized feminine qualities. The image of “pure celestial stream” descending from the Himalayas invokes a sense of divine purity and transcendence, reinforcing her role not just as a wife but as a goddess-like figure.

Divine retribution and the character tragedy of Hippolytus is centered on the themes of chastity and honor and the retaliation of God. A devotee of Artemis, Hippolytus spurns Aphrodite and Phaedra, his stepmother, who makes not-so-discreet attempts at seducing him. Offended by such blasphemy, Aphrodite engineers the tragic event which results in Phaedra’s lying accusation Hippo- lytius’ death. The play deals with and reconciles the dilemma of free will as opposed to divinity control.

“Phaedra and Hippolytus.” GreekMythology.com, www.greekmythology.com/Myths/The_Myths/Phaedra_and_Hippolytus/phaedra_and_hippolytus.html. Accessed 10 May 2025.<br /> CC BY-NC-ND

Ethics and Integrity Lessons from The Life of Siavash

Disregarding Siavash of Shahnameh, Ferdowsi puts him in a position of self-virtue of morals grappling with ethics. Siavash as a character chooses to ward off Sudabeh affections known as his step-mum proving to be of austere moral high ground. He does not kill her. He is put in a trial were tested by fire comes out unscathed yet unproven right. Instead of being praised for his virtue, Siavash has to put up with wrong against him, so much that he must choose neither way, send himself away from conflict. His tale critiques the fragile nature of moral goodness in his story within the framework of a self-serving political system and accentuates the strength of personal goodness in the absence of God. https://en.wikipedia.org/wiki/Siyâvash

Divine retribution and the character tragedy of Hippolytus is centered on the themes of chastity and honor and the retaliation of God. A devotee of Artemis, Hippolytus spurns Aphrodite and Phaedra, his stepmother, who makes not-so-discreet attempts at seducing him. Offended by such blasphemy, Aphrodite engineers the tragic event which results in Phaedra’s lying accusation Hippo- lytius’ death. The play deals with and reconciles the dilemma of free will as opposed to divinity control. This tale is from ancient Greece as reflected in the Wiki link above.

“Women in the Shahnameh: A Paragon of Strength.” Medium, sbehrouz.medium.com/women-in-the-shahnameh-a-paragon-of-strength-12634ab43da5. Accessed 10 May 2025.<br /> CC BY-NC-ND

Heroic Aspect: Siavash's transition from god to earthly figure demonstrates his deep connection to the community and the natural world. As a hero, he embodies the ideal of sacrifice for the greater good, where his divine origin is linked to a human role fighting injustice, enduring suffering, and protecting the land. This dual nature grants Siavash the status of a classic hero who must suffer for the renewal of his world.

In the story of Siyavash in Ferdowsi Epic Shahnameh, the thematic consistency of another male hero who is defined by chastity and patience, like Joseph and Yusuf. The gender roles in this Persian epic mirror the similar ancient patriarchal ideas. Siavash's rejects the advances of the queen; in embarrassment she accuses him of rape; this scene locks in that Siyavash is the superior righteous man and Sudabeh is the lustful and temptress woman. What is different from Savayah's story to the others is the tragic turn that occurs to him despite his virtue and righteousness. Siyavash is a victim of political corruption, not just female deceit. Linguistically, the Shahnameh paints Siyavash as a noble man with a voice that is almost otherworldly in that of honor, through his select speech and manners. It is important to also know that the timing that this Epic was written emphasizes the theme that although we deem traits such as loyalty and riotousness as something to live by, in the face of political corruption it is easy to lose them. The portrayal of gender as well with the idea of masculine virtue being the superior to the chaos that ensues in woman is prevalent in the story.

In the tragedy of Euripides, Hippolytus is our hero in the story who rejects the concept of woman entirely, he devotes himself entirely to the goddess Artemis and is chastised. Phaedra, his stepmother, is manipulated by Aphrodite and is made to fatally fall in love with Hippolytus. She accuses him after he refuses sheer. The gender roles in this Greek tragedy, while following a similar theme of the heroic and virtues man rejecting the tempting woman, there is a much heavier and thought-provoking concept of Hippolytus and his masculinity being defined negatively due to his anti-woman and sheer arrogance towards them entirely.

Linguistically, the dialogue shows the fragility of humans and the unyielding power of impulsive gods, Greek langue is full of tragic diction and figurative langue that shows the male virtue and one female's guilt and shame that on both ends of the spectrum can either be heroic or destructive. The tragedy critiques patriarchal norms with Hippolytus’ downfall being his hubris and rejection in something such as feminine human nature, and in comparison, to all four stories, Hippolytus has the most critical views of gender among them all.

Enough is enough. Draupadi had to go through a lot because of the cowardice of her husband, Yudhishthira in particular. Thanks to Bheema, the problem of Keechaka had been resolved. Had it not been for him, Yudhishthira might have just watched her being disrobed again and again without even trying to help her.

It was very wrong of her to try and set Draupadi with her brother even though he had forced her to do so. She should have denied the request and alarmed Draupadi instead of this. It is really sad to see a woman not understanding other woman's sorrow. Looks like a woman is a woman's true enemy.

Friends in need are friends indeed.

If she wanted, she would have chosen the life full of riches but she chose not to do so. If not for her love, and responsibilities as a wife, I do not know what else it is for.

This kind of shows Draupadi's love and loyalty towards her husbands even though they literally were about to destroy her life.

I would say that she was the bravest among the braves present in the room. Nobody thought that it was the best to interrupt the game when a woman was objectified and nobody questioned Duryodhana and Shakuni's play. They were all there for their petite entertainment. And when Dhritrarastra realized that it was wrong, it was too late and wanted to cover up the incident by fulfilling three of her wishes.

What he said eventually came true. However, I believe that he had the power to stop all this from happening by just advising his brother that it was enough when he bet Draupadi in the game. Where did his conscience and bravery go when Draupadi needed it the most?

Words of elders were taken as absolute.

Even though the deal was to get Draupadi married off to anyone who won the contest, king Panchala and his family still should have conducted some kind of background check of every contestants present. The life of his daughter depended on it. I do not know if it is a good thing that the Pandavas were fated to get married to her however, being a father, he could have at least shown interest to this matter for the safety and security of his daughter. Whatever the leading male figure in the family says have to be followed by the women in the family and this tradition is still prominent in my society even though it is a misogynistic point of view.

Looks like Draupadi was interested in Arjuna at this time, even though she did not know who he was just because he came in there as a Brahmin. Had Karna been there instead of him, would she still be interested on him?

Nobody till now knows that Karna is in fact lord Surya and Kunti's son, thus he is of a noble birth. However, it can be seen that Draupadi humiliated him based on his caste/last name. Even though she was a woman of great knowledge, she should have still not discriminated others based on their caste. The whole caste system was formed to assign people work based on their family name. However, there is no rule that one must stick to the profession that he/she does not like. And even today, we can often see racism based on the surname. If you are born in a Suta family does not mean that you are a lesser being. Had she be born in Suta family instead of the noble family, would she say the same to the guy from the noble family? Nevertheless, she should have been mindful about Karna's feelings and he even a noble at that time since Duryodhana made him a king.

Draupadi was far more intelligent than her husbands. When Yudhishthira messed up in the dice game, she had to take matters on her hands. She questioned her husbands, their cousins, uncles and everybody who witnessed the game about their morality and humanity. She vowed not to tend to her hair so that her husbands would be reminded of the injustice that she had to go through just because of them. In a sense, it was her way of getting justice herself that her husbands ignored.

Draupadi was born from the fire along with her brother. She was far more than a capable and knowledgeable woman, more than what all the five Pandava brothers deserved. It could be said that her character had been less mentioned so that she would not outshine her husbands or other male characters. Saying that the story more shifted towards the masculinity and shadowing the importance of feminism in the society.

If I got humiliated because of my husbands does not mean that others/ my enemies' wives deserve the same. It is their husbands who need to be punished and suffered, not their wives. It kind of feels unfair to me.

If he knew what was going to come, then why did he even do it? If playing the game of dice was his karma to gain dharma, then it does not make any sense at all. Personally, I do not wish to have a husband who's going to put me and his brothers through a lot of suffering just because he wanted to take a risk. And him advising Bheema to be patient is very hypocritical at this moment. I would like to comment that he failed as a husband and also as a brother, the moment he agreed to Shakuni's game knowing that he would be dishonest.

Draupadi's revenge was finally addressed in the epic battle of the Mahabharata. The Pandavas won the war and got their rightful kingdom back from the Kauravas. And Draupadi once again became the queen. Draupadi's sufferings motivated the brothers to be unified and fight against them. Draupadi always made sure that they were reminded of their wrongdoings towards her and fight for her, fight against those who did wrong to her. At the end, good won against evil. It makes me happy to know that even though it was late, she as able to see the demise of those who attempted to sexually harm her, she got justice at the end. It can be understood that they expected Draupadi to go through all that but not raise voice against it at all. She was supposed to be a voiceless girl who dared not speak against unjust done to her. Likewise, her husbands and their cousins were right to abuse her physically, mentally and even sexually. Nevertheless, they were neither accused of the wrongdoings nor prosecuted for that. It seems that what ever they did was absolutely fine. And her voice was not even heard when she did so, meaning that, powerless Draupadi's words were not even considered worthy to be listened.