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Abu Bakr defeated the Byzantine army at Damascus in 635 and then began his conquest of Iran. In 637 the Arab forces occupied the Sassanid capital of Ctesiphon (which they renamed Madain), and in 641-42 they defeated the Sassanid army at Nahavand. After that, Iran lay open to the invaders. The Islamic conquest was aided by the material and social bankruptcy of the Sassanids; the native populations had little to lose by cooperating with the conquering power. Moreover, the Muslims offered relative religious tolerance and fair treatment to populations that accepted Islamic rule without resistance. It was not until around 650, however, that resistance in Iran was quelled. Conversion to Islam, which offered certain advantages, was fairly rapid among the urban population but slower among the peasantry and the dihqans [farmers]. The majority of Iranians did not become Muslim until the ninth century. Although the conquerors, especially the Umayyads (the Muslim rulers who succeeded Mohammad from 661-750), tended to stress the primacy of Arabs among Muslims, the Iranians were gradually integrated into the new community. The Muslim conquerors adopted the Sassanid coinage system and many Sassanid administrative practices, including the office of vizier, or minister, and the divan, a bureau or register for controlling state revenue and expenditure that became a characteristic of administration throughout Muslim lands. Later caliphs adopted Iranian court ceremonial practices and the trappings of Sassanid monarchy. Men of Iranian origin served as administrators after the conquest, and Iranians contributed significantly to all branches of Islamic learning, including philology, literature, history, geography, jurisprudence, philosophy, medicine, and the sciences. The Arabs were in control, however. The new state religion, Islam, imposed its own system of beliefs, laws, and social mores. In regions that submitted peacefully to Muslim rule, landowners kept their land. But crown land, land abandoned by fleeing owners, and land taken by conquest passed into the hands of the new state. This included the rich lands of the Sawad, a rich, alluvial plain in central and southern Iraq. Arabic became the official language of the court in 696, although Persian continued to be widely used as the spoken language. The shuubiyya literary controversy of the ninth through the eleventh centuries, in which Arabs and Iranians each lauded their own and denigrated the other's cultural traits, suggests the survival of a certain sense of distinct Iranian identity. In the ninth century, the emergence of more purely Iranian ruling dynasties witnessed the revival of the Persian language, enriched by Arabic loanwords and using the Arabic script, and of Persian literature. Another legacy of the Arab conquest was Shia Islam, which, although it has come to be identified closely with Iran, was not initially an Iranian religious movement. It originated with the Arab Muslims. In the great schism of Islam, one group among the community of believers maintained that leadership of the community following the death of prophet Mohammad rightfully belonged to Mohammad's son-in-law, Ali, and to his descendants. This group came to be known as the Shiat Ali, the partisans of Ali, or the Shias. Another group, supporters of Muawiya (a rival contender for the caliphate following the murder of Uthman), challenged Ali's election to the caliphate in 656. After Ali was assassinated while praying in a mosque at Kufa in 661, Muawiya was declared caliph by the majority of the Islamic community. He became the first caliph of the Umayyad dynasty, which had its capital at Damascus. Ali's youngest son, Hossain, refused to pay the homage commanded by Muawiya's son and successor Yazid I and fled to Mecca, where he was asked to lead the Shias--mostly those living in present-day Iraq--in a revolt. At Karbala, in Iraq, Hossain's band of 200 men and women followers, unwilling to surrender, were finally cut down by about 4,000 Umayyad troops. The Umayyad leader received Hossain's head, and Hossain's death in 680 on the tenth of Moharram continues to be observed as a day of mourning for all Shias.
I believe this passage as a whole discusses the political and cultural transitions that occurred in Iran following the Arab conquest, highlighting the influence of Islamic rule on the region. However, within this historical context, the role of women and the broader implications of gender dynamics are largely absent. This absence itself speaks volumes about the gender politics of the time, where historical narratives were primarily centered on male figures, both as heroes and rulers. The roles of women during the Arab conquest and subsequent rule, while not explicitly mentioned, can be inferred as secondary to the male-dominated political and military spheres. The HERO construct in this context is undeniably male, with figures like Abu Bakr, Ali, and Toghril Beg depicted as the key actors in the historical narrative. This reflects a patriarchal structure where leadership, heroism, and historical significance are exclusively associated with men, reinforcing gender definitions that align heroism with masculinity. Also, the passage’s focus on male figures as the primary agents of change underscores a cultural bias that equates heroism with male attributes such as military prowess, leadership, and political acumen. The exclusion of women from this narrative suggests a cultural definition of heroism that marginalizes female contributions and reaffirms traditional gender roles where men are the active participants in history, and women are relegated to passive roles (if mentioned at all). Within the broader historical context, comparisons can be drawn between the pre-Islamic and Islamic periods in Iran. In pre-Islamic Iran, under the Sassanid rule, women of the royal family, such as Buran, played significant roles in governance. In contrast, the Islamic conquest, as depicted in this passage, emphasizes the erasure of such female agency in favor of male-dominated leadership. This shift indicates a narrowing of the definition of heroism, increasingly centered on male figures and Islamic leaders. When compared to other historical or literary works such as the Shahnameh by Ferdowsi, where women like Rudaba and Gordafarid play crucial roles, this passage starkly contrasts in its exclusion of female figures. The Shahnameh, while still largely patriarchal, offers a more nuanced portrayal of gender roles, allowing women to exhibit qualities associated with heroism. This comparison highlights the variability in gender representation and the construction of the HERO across different cultural and historical narratives. Lastly, the language used in this passage is straightforward and historical, aiming to convey facts rather than explore gender dynamics. The choice of words and the focus on male figures reflect a patriarchal bias, where the language reinforces the association of heroism with masculinity. The lack of mention of women or gendered language suggests an underlying assumption that historical significance is inherently male, thus perpetuating a gendered narrative that excludes female perspectives. Undoubtedly, the passage reflects the patriarchal mindset of both the time it describes and possibly the time it was written or translated. The emphasis on male leaders and the exclusion of female figures indicate a deliberate or unconscious marginalization of women’s roles in history. As such, this marginalization could be a product of the cultural and political contexts in which the text was produced, where patriarchal values dictated the narratives that were preserved and transmitted. CC BY Aarushi Attray (contact)
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Under Toghril Beg's successor, Malik Shah (1072-92), Iran enjoyed a cultural and scientific renaissance, largely attributed to his brilliant Iranian vizier, Nezam al Molk
Malik Shah shows himself to be a good ruler that brough about good changes in his area especially in cuktural and socineitiv understanding. Diction is key in this section as "cultural and scientific renaissance" highlights how people were very scholarly during this time and how key scholars were prominnet during this time. Many advances were made expecially in astronomyshowing how Islam impacted Iran for the greater good and brought lots of good for them. Not to mention, Molk as an influence helped show why good leadership is essential in society and can bring more advances to many fields when figures such as him are leading a large grouo of people. Many leadership poistions are often attributed to men and show how women were uusally not leaders and typically were not as respected as men or did not have the opporunitire needed to showcase their talents. The heroism marked in the text is different from many others texts as it shows how good leaders do not necessarily need to lead their people in war but can be great by bringing poistive changes to fields likle astronomy and culture. This text also shows how important teligion and culuture is as it can affect how someone acts and is able to treat others. Islam brought positive changes in their society because the mindset of their people changed and they were able to provide more and do more for the greaste good of the scoioety because of the new values instilled in them. CC BY Ajey Sasimugunthan (contact)
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Hossain's death in 680 on the tenth of Moharram continues to be observed as a day of mourning for all Shias.
Hossain's martyrdom in Shia is on full display and shows how he is a key figure in fight against injustice and tyranny. The death and commemoration of him shows the impact of his actions and how religion and culture can have major consequences on a society and people. This sacrifice serves as a social message about the moral struggle within Shia Islam and how people are revered when they make tough decisions and sacrifice for the greater good of others. While gender is not a major theme in this text, Hossain as a male figure shows how males are typically the ones to make a sacrifice for the grater good of the people. Another implicit theme is how religion is important in shaping people because the beliefs and customs in them can influence how a person turns out and how they will treat others as it is like an instruction guide on how to treat others and how you should act as a person. For example, Hinduism has the concept of dharma so someone who practices Hinduism and is loyal to the religion will always complete their duties and will be generally a responsible person. CC BY Ajey Sasimugunthan (contact)
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The Islamic conquest was aided by the material and social bankruptcy of the Sassanids; the native populations had little to lose by cooperating with the conquering power.
The Sassanid's weakened state is very obvious because of the Islamic conquest. Their collapse shows how they were very vulnerable to the external forces. It shows how even a little resistence or some opposition was enough to disintegrate their empire. An interesting component of the text is the cooperation from the local population and it shows how people in dire circumstances are willing to do whatever is needed of them. Not to mention, the internal collapse of their empire made it easier for submission for their new rulers. There is not much to discuss about the gender roles but we can see how men still remain dominant in their societ as they are the ones calling the shots and making most decisions. Islamic conquest led to many changes especially in legal and social right as there were new regulations and reforms put in place. It also highlights how culture and religion is important in shaping a society. CC BY Ajey Sasimugunthan (contact)
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Some ladies in the city said, “The governor's wife is trying to seduce her servant. She is deeply in love with him. We see she has gone astray.” 31. And when she heard of their gossip, she invited them, and prepared for them a banquet, and she gave each one of them a knife. She said, “Come out before them.” And when they saw him, they marveled at him, and cut their hands. They said, “Good God, this is not a human, this must be a precious angel.” 32. She said, “Here he is, the one you blamed me for. I did try to seduce him, but he resisted. But if he does not do what I tell him to do, he will be imprisoned, and will be one of the despised.” 33. He said, “My Lord, prison is more desirable to me than what they call me to. Unless You turn their scheming away from me, I may yield to them, and become one of the ignorant.” 34. Thereupon his Lord answered him, and diverted their scheming away from him. He is the Hearer, the Knower. 35. Then it occurred to them, after they had seen the signs, to imprison him for a while. 36. Two youth entered the prison with him. One of them said, “I see myself pressing wine.” The other said, “I see myself carrying bread on my head, from which the birds are eating. Tell us their interpretation—we see that you are one of the righteous.” 37. He said, “No food is served to you, but I have informed you about it before you have received it. That is some of what my Lord has taught me. I have forsaken the tradition of people who do not believe in God; and regarding the Hereafter, they are deniers.” 38. “And I have followed the faith of my forefathers, Abraham, and Isaac, and Jacob. It is not for us to associate anything with God. This is by virtue of God’s grace upon us and upon the people, but most people do not give thanks. 39. “O My fellow inmates, are diverse lords better, or God, the One, the Supreme?” 40. “You do not worship, besides Him, except names you have named, you and your ancestors, for which God has sent down no authority. Judgment belongs to none but God. He has commanded that you worship none but Him. This is the right religion, but most people do not know. 41. “O my fellow inmates! One of you will serve his master wine; while the other will be crucified, and the birds will eat from his head. Thus the matter you are inquiring about is settled.” 42. And he said to the one he thought would be released, “Mention me to your master.” But Satan caused him to forget mentioning him to his master, so he remained in prison for several years. 43. The king said, “I see seven fat cows being eaten by seven lean ones, and seven green spikes, and others dried up. O elders, explain to me my vision, if you are able to interpret visions.” 44. They said, “Jumbles of dreams, and we know nothing of the interpretation of dreams.” 45. The one who was released said, having remembered after a time, “I will inform you of its interpretation, so send me out.” 46. “Joseph, O man of truth, inform us concerning seven fat cows being eaten by seven lean ones, and seven green spikes, and others dried up, so that I may return to the people, so that they may know.” 47. He said, “You will farm for seven consecutive years. But whatever you harvest, leave it in its spikes, except for the little that you eat.” 48. Then after that will come seven difficult ones, which will consume what you have stored for them, except for the little that you have preserved. 49. Then after that will come a year that brings relief to the people, and during which they will press. 50. The king said, “Bring him to me.” And when the envoy came to him, he said, “Go back to your master, and ask him about the intentions of the women who cut their hands; my Lord is well aware of their schemes.” 51. He said, “What was the matter with you, women, when you tried to seduce Joseph?” They said, “God forbid! We knew of no evil committed by him.” The governor’s wife then said, “Now the truth is out. It was I who tried to seduce him, and he is telling the truth.” 52. “This is that he may know that I did not betray him in secret, and that God does not guide the scheming of the betrayers.” 53. “Yet I do not claim to be innocent. The soul commands evil, except those on whom my Lord has mercy. Truly my Lord is Forgiving and Merciful.” 54. The king said, “Bring him to me, and I will reserve him for myself.” And when he spoke to him, he said, “This day you are with us established and secure.”
In this excerpt from the story of Joseph, gender roles are sharply delineated, revealing the power dynamics and societal expectations of men and women within the cultural context. Joseph (as the male protagonist) embodies the traits of the HERO as—virtue, piety, and steadfastness in the face of temptation. His resistance to the advances of the governor's wife is a key moment that defines his heroism. The narrative portrays Joseph's refusal as not just a personal victory but as a demonstration of his commitment to his moral principles, which are attributes traditionally associated with male heroes in many cultures (such as duty or ‘dharma’ in Hinduism). The governor's wife, whose actions are central to the plot, represents the dangers of unchecked female desire. Her attempt to seduce Joseph is depicted as a moral failing, and her eventual confession reinforces the narrative that women’s desires must be controlled. This portrayal aligns with patriarchal views where female sexuality is often portrayed as dangerous or destructive unless it is confined within socially acceptable boundaries. When comparing the different segments of the same text, particularly the lines where the governor’s wife attempts to seduce Joseph (31-33) and later when she confesses her wrongdoing (51-53), we see a shift in the narrative focus from her initial power and agency to a more repentant and submissive role. Initially, she wields considerable power, using her position to try and manipulate Joseph. However, her eventual confession and the exoneration of Joseph highlight the underlying patriarchal values, where the woman’s role is to recognize her transgression and submit to the moral authority of the male hero. This shift reflects the gender dynamics at play—while the woman exercises agency, it is ultimately curtailed by the moral and social expectations of her gender. Joseph’s steadfastness, in contrast, remains unchallenged, further cementing his role as the HERO, whose righteousness is never in doubt. Comparing this story with other narratives of male chastity and female temptation, such as the story of Hippolytus and Phaedra, reveals a similar pattern in the portrayal of gender roles. In both stories, the male figure’s heroism is defined by his resistance to female desire. However, the outcomes for the male characters differ—Hippolytus meets a tragic end despite his virtue, while Joseph is ultimately rewarded with power and security. This difference highlights the cultural variations in the construction of the HERO: in the Greek context, the hero’s virtues do not necessarily shield him from a tragic fate, whereas in the Biblical and Quranic context, the hero’s righteousness leads to his eventual elevation. In terms of gender definitions, both stories depict female desire as a source of chaos and disorder. In both narratives, the women’s roles are largely defined by their relationships to the male protagonists, reinforcing a patriarchal worldview where female agency is limited and often portrayed as dangerous when it transgresses societal norms. From a linguistic perspective, the language used to describe the governor's wife—her scheming, her eventual confession, and her acknowledgment of guilt—emphasizes her role as a transgressor who must be brought back in line with societal expectations. The repeated references to “scheming” and “betrayal” in the context of the women involved in the story further highlight the narrative’s focus on controlling and condemning female agency that steps outside prescribed bounds. I believe the high points of this version lie in its clear moral message and the elevation of Joseph as a paragon of virtue. However, this comes at the cost of a more nuanced portrayal of the female characters, who are largely depicted in a negative light. The story’s manipulation of gender roles to reinforce the HERO’s virtue reflects the broader cultural and political context in which it was written—one where patriarchal values dominated. However, the translation and interpretation of this text over time may have further reinforced these patriarchal elements, as translators and scholars may have emphasized certain aspects of the story to align with their own cultural and moral frameworks. This is evident in the way the text frames the governor's wife’s confession, where her recognition of Joseph’s innocence and her own guilt is portrayed as a necessary and redemptive act, reinforcing the idea that true virtue lies in submission to male authority. CC BY Aarushi Attray (contact)
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classical-inquiries.chs.harvard.edu classical-inquiries.chs.harvard.edu
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§3. When Phaedra sees Hippolytus for the very first time in the narrative of Pausanias 2.32.3, as I noted in the posting for 2018.06.21, she is already falling in love with the youthful hero. In that posting, I was worrying about the translation ‘fall in love’ for erân/erâsthai in the “present” or imperfective aspect of the relevant verb used by Pausanias—and for erasthênai in its aorist aspect, as he uses it elsewhere. In the present posting, 2018.08.03, I still worry about that translation—and I continue to prefer the wording ‘conceive an erotic passion’ as a more accurate way to capture the moment—but now I worry more about the actual moment of erotic passion in Pausanias 2.32.3. As we will see, that moment is really a recurrence of moments. The storytelling of Pausanias points to an untold number of moments for experiencing the erotic passion—as expressed by the “present” or imperfective aspect of the verb, erân, and by the imperfect tense of the verb apo-blepein ‘gaze away, look off into the distance’. Further, there is a divine force that presides over all these moments, embodied in the sacralized role of Aphrodite as the kataskopiā, ‘the one who is looking down from on high’. §4. Here is the relevant passage in Pausanias, where our traveler speaks of the enclosure containing the space that is sacred to both Hippolytus and Phaedra as cult heroes: {2.32.3} In the other part of the enclosure [peribolos] is a racecourse [stadion] named after Hippolytus, and looming over it is a shrine [nāos] of Aphrodite [invoked by way of the epithet] kataskopiā [‘looking down from the heights’]. Here is the reason [for the epithet]: it was at this very spot, whenever Hippolytus was exercising-naked [gumnazesthai], that she, Phaedra, feeling-an-erotic-passion-for [erân] him, used-to-gaze-away [imperfect of apo-blepein] at him from above. A myrtle bush [mursinē] still grows here, and its leaves—as I wrote at an earlier point [= 1.22.2]—have holes pricked into them. Whenever Phaedra was-feeling-there-was-no-way-out [aporeîn] and could find no relief for her erotic-passion [erōs], she would take it out on the leaves of this myrtle bush, wantonly injuring them. {2.32.4} There is also a tomb [taphos] of Phaedra, not far from the tomb [mnēma] of Hippolytus, and it [= the mnēma] is heaped-up-as-a-tumulus [kekhōstai] near the myrtle bush [mursinē]. The statue [agalma] of Asklepios was made by Timotheus, but the people of Troizen say that it is not Asklepios, but a likeness [eikōn] of Hippolytus. Also, when I saw the House [oikiā] of Hippolytus, I knew that it was his abode. In front of it is situated what they call the Fountain [krēnē] of Hēraklēs, since Hēraklēs, as the people of Troizen say, discovered the water. §5. Before further comment on Pausanias 2.32.3, I note a detail in my translation of 2.32.4. I take it that Pausanias here is guardedly indicating that he saw the tomb of Hippolytus himself, situated next to the tomb of Phaedra. Our traveler is guarded because, as he said earlier at 2.32.1 about the hero cult of Hippolytus, the people of Troizen ‘do not show [apophainein] his tomb [taphos], though they know where it is’. In the wording of Pausanias, oikiā ‘house’ can refer to the ‘abode’ of a cult hero, that is, to his tomb. And he ostentatiously uses this word here at 2.32.4. A telling parallel is the wording at Pausanias 2.23.2, where he refers to the tomb of the cult hero Adrastos as an oikiā while he calls the nearby tomb of Amphiaraos simply a hieron ‘sanctuary’—and while, even more simply, he refers to the nearby tomb of Eriphyle, wife of Amphiaraos, as a mnēma, the literal meaning of which is ‘memorial marker’. This same word mnēma is used by Pausanias here at 2.32.4 with reference to the tomb of Hippolytus. Other examples where oikiā refers to tombs of cult heroes include 2.36.8, 5.14.7, 5.20.6, 9.11.1. 9.12.3. 9.16.5. 9.16.7. §6. Returning to Pausanias 2.32.3, I conclude by arguing that the role of the goddess Aphrodite in the visualization of Phaedra’s recurrent erotic passion complements the role of the goddess Artemis in a visualization that we saw being brought to life in the poetry of Euripides. Whereas the role of Aphrodite is to be always available as the agent of erotic desire, the corresponding role of Artemis is to maintain her eternal unavailability as the object of that desire. Always unavailable, Artemis thus becomes the very picture of what is erotically desirable.
In the narratives, Hippolytus is depicted as a paragon of chastity and self-discipline, qualities that define his heroism within the cultural context of ancient Greece. His rejection of Phaedra's advances is rooted in his dedication to the goddess Artemis and his adherence to a code of moral purity. This portrayal aligns with the ideal of the male hero as one who resists temptation and remains steadfast in his principles, even at the cost of his own life. Phaedra, on the other hand, embodies the complexities of female desire within a patriarchal society. In Euripides' Hippolytus, her passion for Hippolytus is portrayed as an uncontrollable force that ultimately leads to her destruction and the downfall of Hippolytus. Her role as a woman who transgresses the boundaries of acceptable female behavior highlights the dangers of unchecked female desire, reinforcing the cultural belief that women’s emotions must be controlled and contained. The tragedy of Phaedra is not just her unfulfilled love but also the societal constraints that define her actions as inherently destructive. Pausanias' reference to the myth of Phaedra and Hippolytus, as discussed in the source, offers a more subdued version of the narrative, focusing less on the psychological torment of Phaedra and more on the broader mythological context. This difference in emphasis reflects varying cultural attitudes towards gender and heroism. While Euripides explores the inner turmoil of his characters, highlighting the destructive power of female desire, Pausanias presents a more neutral account, possibly influenced by the historical and cultural lens through which he viewed the myth. When comparing the versions of the Phaedra and Hippolytus story in Euripides and Pausanias, it is evident that Euripides' version is more focused on the emotional and psychological aspects of the characters, particularly Phaedra. Euripides' portrayal of Phaedra’s inner conflict and her ultimate decision to falsely accuse Hippolytus after he rejects her advances emphasizes the tragic consequences of her unbridled passion. In contrast, Pausanias’ version is less concerned with the emotional depth of the characters and more with the events themselves, reflecting a different approach to the narrative that is more aligned with the recording of history and myth rather than the exploration of character psychology. This difference in focus can be attributed to the cultural and political contexts in which these works were created. Euripides, writing in a period of Athenian democracy, was likely influenced by the social and philosophical debates of his time, including those related to gender and the role of women in society. Pausanias, writing in a later period, may have been more influenced by the desire to preserve and record myths as part of the cultural heritage, leading to a more straightforward recounting of the story. Comparison Between Individual Works: When comparing the story of Phaedra and Hippolytus with other similar narratives, such as the story of Joseph, we see a recurring theme of male chastity and female desire. In both stories, the male hero is depicted as morally superior, resisting the advances of a woman who is driven by passion. This resistance enhances the hero’s status as a figure of virtue and integrity, while the woman’s desire is portrayed as dangerous and destructive. However, there are also significant differences: In the story of Joseph, his refusal leads to his imprisonment, but he is ultimately vindicated and rises to a position of power. In contrast, Hippolytus’ rejection of Phaedra leads to his death, underscoring the tragic nature of Greek heroism, where even the most virtuous are not immune to the whims of fate. Lastly, Euripides' language is rich in emotional intensity, capturing the turmoil and despair that drive the characters to their tragic ends. Phaedra’s monologues, in particular, offer insight into her conflicting emotions, torn between her illicit love for Hippolytus and her sense of duty and shame. I find Pausanias’ account is more straightforward and less emotionally charged. His language is more descriptive and factual, focusing on the sequence of events rather than the inner lives of the characters. This difference in linguistic style reflects the different purposes of the texts: Euripides’ play is a work of drama intended to evoke strong emotions and provoke thought, while Pausanias’ account is more concerned with documenting the myth for posterity. To critique, however, Euripides’ use of emotionally charged language and complex character interactions can be seen as a reflection of the intellectual and cultural climate of classical Athens, where issues of gender, morality, and human nature were hotly debated. Pausanias’ more restrained language, on the other hand, reflects his role as a chronicler of myths, where the emphasis is on preservation rather than interpretation. CC BY Aarushi Attray (contact)
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Whereas the role of Aphrodite is to be always available as the agent of erotic desire, the corresponding role of Artemis is to maintain her eternal unavailability as the object of that desire.
Coming to this point in the passage, the reader can visualize how the gods of Aprhodite and Artemis symbolize the passion of Phaedra. Aprhodite is the one making these dsires pissible to achieve and also allows that erotic desire to be met whoile Artemis idealizes the desires that cannot be enjoyed creating a lot of inner tension inside of her. It becomes even more difficult as she is a woman because she cannot just set out to meet her desire and have it be met. The theme of unattinable desire is really highlighted well in this text and how people suffer from it a cause. It is similar to someone having a crush as there is a lot of fear behind being rejected and facing trouble as a result. People cannot necessarily have the desire met leaving them in a position of longing but never actually being able to enjoy it. The divine figures in the female goddesses help emphasize the societal expectations of women and how it does not align with their own desires leading them to lead a life that may not be as fulfilling as they would like it to be. Phaedra as a tragic hero can be highlighted by the tragic ending as her demise occurs and had to suffer because of the unattainable desire that she had for Hippolytus. Unlike many other stories, the lowest point of the story happens here because Pahedra meets her demise and never got to enjoy the desire that she has always wanted. CC BY Ajey Sasimugunthan (contact)
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it was at this very spot, whenever Hippolytus was exercising-naked [gumnazesthai], that she, Phaedra, feeling-an-erotic-passion-for [erân] him, used-to-gaze-away [imperfect of apo-blepein] at him from above.
The intense and unfulfilled desire for Hippolytus is highlighted in this section and the imagery of Phaedra gazing down while he is exercising naked shows her admiration of his physical presence and the beauty he has. Most texts do not usually have the woman gazing at the men and the social norms in this section are challenged her. It is much more acceptable to see a woman seeing a man exercise but everyone would be in rage if the genders were swapped which says a lot about society. Even having the genders swapped in this text would probably have an outcry as there would be people saying that it would be a bad influence for males. The use of the god Aphrodite suggests that Phaedra's desire for Hippolytus is divine and the influence on human emotions are inevitable because she is suffering knowing that she cannot have the desire that she is longing for. Once again we can see in this section how women are out at a disadvantage in society because they cannot simply choose the lover they want or who they can engage sex with. They must maintain their chastity until they are sure to marry someone in which they can only have their sexual desires met if it is for kids or simply for fulfilling the expectations of the first night. CC BY Ajey Sasimugunthan (contact)
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‘I swear by the gods, I have a passionate desire [erâsthai] to give a hunter’s shout to the hounds, |and, with my blond hair and all (in the background), to throw | a Thessalian javelin, holding (in the foreground) the barbed | dart in my hand’
The idea of Phaedra having a desire and taking on the desire of the role of a hunter and also wanting to throw a javelin reflects her wanting and yearning of wanting power and being able to have independence similar that of Artemis who is the goddess of the hunt as well. This vivid imagery and the desire of being the hunter is compelling as it suggests that there is a deep interla conflict and longing for both physical and emotional freedom. Women have been shown to want physical and emotional connections from guys much more when they do not receive a high level of affection from their parents and it is fascinating how it might connect in this reading. It shows why people must receive a lot of affection and love from their family members or else they might receive it from the wrong people who will end up taking advanateg of them. Theme of identity is highlighted more in this section as her own physical indentity is merged with the qualities of Artemis despite being a symbol of chastity and being sexually restrained as well. The duality shows how women must balance virtue with social expectations and there comes a breaking point in which they serious think about whether they care more about themself or society. CC BY Ajey Sasimugunthan (contact)
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Phaedra sees herself as Artemis the Huntress. The agent of Phaedra’s vision is still the goddess of sexuality, but the object of this vision is the goddess of sexual unavailability
The vision or concept that Pahedra sees in herself is very compelling because there is a contrast between how she views herself and the external circumstances that affect this perception. Phaedra's own desires very much contrasts with the qualities of Artemis as she is sexually unavailable and also represents chastity. The inclusion of godes like Aprhodite and Artemis highlights the tension between sexual desires and being sexually restrained as well. There is an idealized image of Artemis that Phaedus has in mind and it shows the struggle between passion and limited pleasures. The idea of female desires is an interesting concept and goes against the social norms as Pahedra views herself as being someone like Artemis even though that god represents chastitiy. She more so desires Hippolytus and is constrained by the idea of Artemis which shows the inner tension inside of her. Something many readers do not think about is how the erotic desires of women are both wanted but also repressed because of the expectations placed on society. There are many religions and groups of people that discourage women from sex as they should "save" themselves until marriage and that they lose value if they have sex with other people before meeting someone that they can potentially marry. These ideas are challenged in this text. Women in ancient texts are very limited in what they are allowed to do and it shows how religious beliefs played a big role in this. Pahedra is so far introduced as a tragic hero so far because she must resists her own desires for the better of society and it is a constant struggle for her and it would be for anyeone. It is like healthy eating because we would all love to eat junk food but it affects our perception of ourselves and affects our apperance as well for the better or worse. Unlike other heroes, the issue the hero is facing is internal and there is no great resolution and suggests that there will be a tragic end. CC BY Ajey Sasimugunthan (contact)
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www.cais-soas.com www.cais-soas.com
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Now after many days there was born to her a son, and he was of goodly mien, tall and strong, and the name that was given to him was Siawosh. And Kay-Kavous rejoiced in this son of his race, but he was grieved also because of the message of the stars concerning him. For it was written that the heavens were hostile unto this infant; neither would his virtues avail him aught, for these above all would lead him into destruction. In the meantime the news that a son had been born unto the King spread even unto the land of Rostam. And the Pahlewan, when he learned thereof, aroused him from his sorrow for Sohrab, and he came forth out of Zabolestan, and asked for the babe at the hands of its father, that he might rear it unto Iran. And Kay-Kavous suffered it, and Rostam bare the child unto his kingdom, and trained him in the arts of war and of the banquet. And Siawosh increased in might and beauty, and you would have said that the world held not his like. Now when Siawosh was become strong (so that he could ensnare a lion), he came before Rostam, bearing high his head. And he spake, saying- "I desire to go before the King, that my father may behold me, and see what manner of man thou hast made of me." And Rostam deemed that he spake well. So he made great preparations, and marched unto Iran with a mighty host, and Siawosh rode with him at their head. And the land rejoiced when it looked on the face of Siawosh, and there was great joy in the courts of the King, and jewels and gold and precious things past the telling rained upon Rostam and Siawosh his charge. And Kay-Kavous was glad when he beheld the boy, and gave rich rewards unto Rostam; but Siawosh did he place beside him on the throne. And all men spake his praises, and there was a feast given, such as the world hath not seen the like.
In this passage from the Shahnameh, the roles of Siawosh and Soudabeh illustrate deeply entrenched gender norms within the cultural context of ancient Iran. Siawosh is depicted as the ideal male hero: strong, handsome, virtuous, and destined for greatness, as foretold by the stars. His heroism is built upon his physical prowess, his lineage, and his moral integrity, which sets him apart as a figure of reverence and admiration. In contrast, Soudabeh embodies a more complex role—her desires and actions, driven by passion and longing, place her in opposition to the traditional virtues expected of women in this cultural context. I believe Soudabeh’s role in the story is multifaceted. On one hand, she is a queen, a position that grants her power and influence. On the other hand, her actions are driven by her desire for Siawosh, which challenges the expected behavior of a woman in her position. Instead of being the nurturing, supportive figure often expected of women in epic literature, Soudabeh becomes an antagonist, driven by personal desires that ultimately contribute to Siawosh’s downfall. Her actions highlight the peril of female power when it strays from the path of propriety, reinforcing a patriarchal view that aligns women’s virtue with their subservience and modesty. Soudabeh’s desire for Siawosh and her subsequent manipulation of King Kay-Kavous reflect a gendered power dynamic that portrays women’s influence as potentially dangerous when not checked by male authority. Siawosh, in resisting Soudabeh’s advances and ultimately obeying his father’s command, reinforces the idea of the male hero’s integrity and the importance of filial obedience in maintaining social order.
Additionally, when comparing the story of Siawosh to the Ramayana, a similar dynamic is seen between Sita and Ravana, where Sita’s resistance to Ravana’s advances reinforces her purity and devotion to Rama, thus elevating her status as an ideal woman within the epic. Unlike Soudabeh, who is driven by personal desire, Sita’s character is defined by her unwavering commitment to her husband, which aligns with the patriarchal ideals of female virtue. This contrast highlights how different cultural contexts shape the construction of gender roles within their respective epics.
Lastly, The linguistic value of this passage lies in its portrayal of fate and character through a rich narrative style that intertwines descriptive imagery with foreshadowing. The passage uses elevated language to emphasize Siawosh’s virtues, enhancing his stature as a hero in the reader’s eyes. The use of phrases such as “goodly mien,” “tall and strong,” and “the world held not his like” not only conveys Siawosh’s physical and moral attributes but also reinforces the idea of predestination, as his virtues are paradoxically the very traits that lead to his downfall. The translation captures the grandeur of the original text but also reflects the patriarchal mindset of the time, particularly in its portrayal of Soudabeh’s actions as inherently dangerous and subversive. The linguistic choices in describing Soudabeh—her eyes “filled with his beauty” and her soul “burned after him”—depict her desire as both overwhelming and destructive. This portrayal is indicative of the cultural and political context in which the text was translated and compiled, where female desire is often seen as a threat to social order. However, these linguistic elements reinforce traditional gender roles and the construction of the hero. The language used to describe Soudabeh's actions simultaneously suggests a bias that reflects the patriarchal values of the time, where women's power and influence are often depicted negatively when they diverge from the expected norms of female behavior. CC BY Aarushi Attray (contact)
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"If I fall, what mattereth that? my father hath seventy and eight sons like unto me; but thou art alone, and if thy head shall fall, what other is worthy of the crown?"
Giwe's unwavering loyalty and honor for Kay-Khosrow is admirable and shows why he is well respected. He sacrifices his own life for Kay and does his best to convince him on why his survival is important for the better of the kingdom. This shows the importance of leadership and why Giwe is willing to sacrifice himself because he knows that the empire will not be successful without a good leader in place. His selflessness is also inspiring for a lot of readers as people tend to forget that being selfless can be admirable. As humans, we want the attention and credit for achievements so to see someone else give up their pride for a larger cause, it is very admirable and encourages other people to do the same in similar situations. Similar to Giwe, there are people on the frontlines and in war who put themselves out there for a similar reason as they want to protect the people in their country and are fighting for something much bigger than themselves. While not everyone is fighting for something bigger than them, Giwe reminds us to work for something bigger than us and to have a positive impact on other people because that is what we should do as people. Not to mention, Kay-Khosrow is successful in enacting revenge over Afrasiyab showing that good will always triumph over evil and continuing the legacy of his father. CC BY Ajey Sasimugunthan (contact)
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"O thou that bearest high thy head, art thou not ashamed to press unto thee the son of a shepherd? "
Kay-Khosrow coming to find out his true heritage is an interesting moment because there is so much internal conflict as he is young and now is confused about his upbringing. He has come to express his own dissatisfaction with his simple upbringing despite being from loyalty and is now told the truth. The feeling must be bittersweet because he knows the truth on one hand but feels like he must have been lied to for his entire life. He feels a disconnect between his lowly origins in comparison to the elevated treatment he can get now being of royalty. It is similar to the feeling someone must feel if they are told that they were adopted later in life. They feel like they lose a part of themselves as they think they are not true members of the family and face a lot of internal conflict about their upbringing and why they were lied to for such a long time. The reference of "son of a shepherd" is what allows the readers to understand that he had a simple life growing up which is why it must feel out of place for him to be associated with royalty. An interesting theme that this brings up is the idea of social status and how that plays into someone's personal identity. People are judged by the social status they belong in so it must be an interesting transition for him to move up social status where he will be treated more favorably as well. It raises the question as to why people in higher social status gets to be treated better when all people should inherently be treated equally. CC BY Ajey Sasimugunthan (contact)
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Listen, O my horse, and be brave and prudent; neither attach thyself unto any man until the day that Kay-Khosrow, my son, shall arise to avenge me. From him alone receive the saddle and the rein
Siawosh's deep sense of honor, sacrifice, and duty can be highlighted here as he faces death soon but still shows his character as a loyal person. The horse itself symbolizes Siawosh's personal and martial identity in which it captures his own heroism. His loyalty and persistence in his beliefs reflects how noble he is and how selfless he is as he prioritizes the future of his lineage rather than himself. The hope that Siawosh's son can avenge his death ties into the idea of legacy as he wants family to correct the wrongdoing of his death. It is also interesting that he wants his son to continue this natural cycle of revenge because it will keep happening until someone stops or a mutual agreement comes into place. While this may be the case, the big reason he wants to avenge his loss is because of justice. It is a universal theme that everyone mostly believes as we all want what is right. In the case of Siawosh, the taking of his life was unjust and revenge in his mind is the best way to enact justice especially considering the betrayal that he just faced. CC BY Ajey Sasimugunthan (contact)
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"The evil that hath disTurbed the world is quieted, and the lamb and the leopard can feed together, for now is there friendship between our lands."
This quote shows a turning point in the story as the relationship between Afrasiyab and Siawosh has become better. An interesting image from this quote is "the lamb and leopard" because you would never see these two animals feeding each other but this symbolizes harmony that was not seen before and shows how even the most unlikely of enemies can still get along with one another. In a day and age where people are more selfish and want more attention, we forget to sacrifice for others and put our own ego to the side for the sake of others. It is like any relationship as it requires mutual understanding and respect in order for them to get along and enjoy life with one another. Another topic that comes into play is politics since both sides usually do not like each other but this quote instills hope in readers than even the worst enemies with totally different ideas and beliefs can still get along in the most dire circumstances. CC BY Ajey Sasimugunthan (contact)
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"How can I come before Urmazd if I depart from mine oath? Yet, however I shall act, I see around me but perdition."
The quote highlights the internal dilemma that Siawosh faces between his own integrity and the circumstances that he is currently facing. Referencing "Urmazd" serves to undermine the actual gravity of the dilemma he is and also highlights the divine weight of the oath that he has taken. Not to mention, he is torn between whether to honor the promises that he is made up to this point or to make sure further conflict and damages do not occur. Diction is important in this quote as "perdition" puts an emphasis on the inevitable damages that will occur no matter what decision that Siawosh decides to take. People have been in situations where their previous decisions lead them to a point where no decisions can make the situation better. It is like the saying goes that you can only control what is front of you but it is hard to do that when past actions have already inflicted too much damage. Despite the harsh reality that Siawosh is facing, it serves as a lesson that individuals who uphold their values are not always able to carry out good circumstances in a world filled with politics and conflict. CC BY Ajey Sasimugunthan (contact)
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When Afrasiyab heard this message, he took counsel with Garsivaz, and he said- "If I cease from warring against Siawosh surely none of these things can come about. It beseemeth me to seek after peace. I will send therefore silver and jewels and rich gifts unto Siawosh, and will bind up with gold the eye of war."
A pivotal moment is captured by this moment as we see a shift in the mindset of Afrasiyab. He does a smart calculation and realizes that negotiating for peace is much better than continuing to wage war as it will exhaust his people and just delay their defeat. Not to mention, this smart approach can be described as cost-benefit analysis which is taught in economics and business. While he might not emerge victorious from this encounter, the benefit of having peace greatly outweighs the mental distress and outpour of resources needed to continue fighting. Not to mention, the idea of using jewelry and other expensive gifts to negotiate for peace shows that the concept of giving gifts to make people feel better has existed for a very long time. Moreover, this diplomatic gesture underscores the idea that material goods can make up for conflicts and political disagreements. The contrast between Siawosh's approach and Afrasiyab is interesting because one does it for honor while the other does it to prevent further disasters. Analyzing this difference, it highlights how different motivations and values can affect leadership and shows the importance of having a leader with the right qualities. CC BY Ajey Sasimugunthan (contact)
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Now when the people beheld that he was come forth alive, they rent the welkin with their shouting. And the nobles came forth to greet him, and, save only Soudabeh, there was joy in all hearts.
The imagery behind this scene is very compelling as you can imagine the relief that a lot of people must have felt since Siawosh was proven innocent and did not get hurt. In addition, the build up in tension reaches a point where the audience is highly anticipating what would happen to Siawosh which is a compliment to the use of good figurative language. The outcome of the trial is similar to how people might feel when an innocent family member was accused of doing something then proven innocent later on. Because the entire community celebrated his innocence, it shows how Siawosh is well liked in his community and that his well being is important to others. It also shows the importance of not jumping to conclusions immediately as seen here with Siawosh. Not to mention, getting through the fire is a testament to his purity and righteous heart. In hindu culture and other cultures alike, they might tell someone to touch a fire if they think they might be lying because they would not be hurt if they were telling the truth. It is interesting to see that idea play out in this text and shows that it is more common that what I originally thought. CC BY Ajey Sasimugunthan (contact)
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www.sitasingstheblues.com www.sitasingstheblues.com
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Sita Sings the Blues
‘Sita Sings the Blues’ by Nina Paley is an animated film that tells the story of Sita (husband of Rama) from the ancient Indian epic, the Ramayana. The film combines a somewhat autobiographical component in the form of music (the blues), thus providing a unique, engaging, and feminist interpretation of Sita’s story. The animation blends Indian art with contemporary visuals and1920s jazz vocals performed by Annette Hanshaw. While I found ‘Sita Sings the Blues’ much more engaging and easier to understand than Valmiki’s Ramayana, there are key differences in gender roles and the progression of gender roles based on the period of the source. In Valmiki’s Ramayana, Sita embodies the ideal wife and woman, adhering to the expectations of duty, loyalty, and purity, especially through specific moments: following Rama to exile, suffering abduction by Ravana, and undergoing a trial by fire to prove her chastity. In "Sita Sings the Blues," Sita retains these qualities but is given a voice through blues music, which adds emotional depth and modern feminist commentary. This version portrays Sita as more vocal about her emotions and frustrations, highlighting her humanity. Interestingly, Valmiki’s Sita is defined by her relationship to Rama and her adherence to dharma. Her heroism is in the uplifting of her duty (or ‘dharma) by showing devotion to Rama as a woman’s role is often confined to being devoted to her husband. Paley’s Sita challenges this by expressing her inner life, thus redefining heroism to include emotional resilience and the right to question unjust treatment."Sita Sings the Blues" critiques this by juxtaposing traditional scenes with contemporary animation and blues songs, thereby emphasizing the restrictive nature of these roles and advocating for a more nuanced understanding of gender dynamics. In Valmiki’s text, heroism is predominantly male-centered, defined by physical strength and adherence to dharma while Paley’s adaptation redefines heroism to include emotional expression and resilience, allowing Sita to provide a platform for her to voice her pain and strength— a form of expression that woman is culturally told to hide but has been growing into a form of strength in modern times with growing recognition of female rights, the “#MeToo Movement, and more. From a linguistic perspective, Valmiki’s text is rich in poetic language and cultural references, but the patriarchal mindset of the time is evident in the language, which often marginalizes female perspectives. The text’s portrayal of gender roles reflects the socio-political context of ancient India. The linguistic innovation of ‘Sita Sings the Blues’ combining traditional dialogue with modern American English and blues lyrics creates a unique narrative voice. This blend serves to bridge cultural and temporal gaps, making the story accessible and relevant to contemporary audiences. The adaptation strives to promote feminist reinterpretation though can also be seen as an imposition of modern values on an ancient text, potentially overshadowing the original cultural context. CC BY Aarushi Attray (contact)
Valmiki. The Ramayana. Translated by R. K. Narayan, Penguin Classics, 2006.
Paley, Nina. Sita Sings the Blues. Directed by Nina Paley, 2008, http://www.sitasingstheblues.com/watch.html.
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sacred-texts.com sacred-texts.com
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His sweetly-speaking bride, who best Deserved her lord, he thus addressed. Then tender love bade passion wake, And thus the fair Videhan spake: 'What words are these that thou hast said? Contempt of me the thought has bred. O best of heroes, I dismiss With bitter scorn a speech like this: p. 127 Unworthy of a warrior's fame It taints a monarch's son with shame, Ne'er to be heard from those who know The science of the sword and bow. My lord, the mother, sire, and son, Receive their lots by merit won; The brother and the daughter find The portions to their deeds aligned. The wife alone, whate'er await, Must share on earth her husband's fate. So now the king's command which sends Thee to the wild, to me extends. The wife can find no refuge, none, In father, mother, self, or son: Both here, and when they vanish hence, Her husband is her sole defence. If, Raghu's son, thy steps are led Where Dandak's pathless wilds are spread, My foot before thine own shall pass Through tangled thorn and matted grass. Dismiss thine anger and thy doubt: Like refuse water cast them out, And lead me, O my hero, hence-- I know not sin--with confidence. Whate'er his lot,'tis far more sweet To follow still a husband's feet Than in rich palaces to lie, Or roam at pleasure through the sky. My mother and my sire have taught What duty bids, and trained each thought, Nor have I now mine ear to turn The duties of a wife to learn, I'll seek with thee the woodland dell And pathless wild where no men dwell, Where tribes of silvan creatures roam, And many a tiger makes his home. My life shall pass as pleasant there As in my father's palace fair. The worlds shall wake no care in me; My only care be truth to thee. There while thy wish I still obey, True to my vows with thee I'll stray, And there shall blissful hours be spent In woods with honey redolent. In forest shades thy mighty arm Would keep a stranger's life from harm, And how shall Sitá think of fear When thou, O glorious lord, art near? Heir of high bliss, my choice is made, Nor can I from my will be stayed. Doubt not; the earth will yield me roots, These will I eat, and woodland fruits; And as with thee I wander there I will not bring thee grief or care. I long, when thou, wise lord, art nigh, All fearless, with delighted eye To gaze upon the rocky hill, The lake, the fountain, and the hill; To sport with thee, my limbs to cool, In some pure lily-covered pool, While the white swan's and mallard's wings Are plashing in the water-springs. So would a thousand seasons flee Like one sweet day, if spent with thee. Without my lord I would not prize A home with Gods above the skies: Without my lord, my life to bless, Where could be heaven or happiness? Forbid me not: with thee I go The tangled wood to tread. There will I live with thee, as though This roof were o'er my head. My will for thine shall be resigned; Thy feet my steps shall guide. Thou, only thou, art in my mind: I heed not all beside. Thy heart shall ne'er by me be grieved; Do not my prayer deny: Take me, dear lord; of thee bereaved Thy Sitá swears to die.' These words the duteous lady spake, Nor would he yet consent His faithful wife with him to take To share his banishment. He soothed her with his gentle speech; To change her will he strove: And much he said the woes to teach Of those in wilds who rove.
This passage highlights Sita’s duty as a wife to share her husband’s fate and accompany him in exile. She argues that a wife must share with her husband. Rama’s fate, as she cannot find refuge or protection from anyone else but him. Throughout the Book, Rama tries to dissuade by describing the difficulties and horrors of the wilderness; however, Sita emphasizes that her love and commitment transcend fear and discomfort while emphasizing that her happiness stems from being benign with him rather than living in luxury. Sita’s speech simultaneously highlights the traditional gender roles and stereotypical expectations placed on both men and women. The idea of a ‘hero’ is identified with masculinity and being warrior-like (physical toughness). Sita refers to Rama as the ‘best of heroes’ and dismisses the idea of leaving the hand as suggesting that it would be "unworthy of a warrior's fame" and bring "shame" to a "monarch's son." This emphasizes the societal expectation that a hero must uphold his honor and strength, particularly in the context of his relationships and duties. Additionally, Sita's declaration that "the wife alone, whate'er await, must share on earth her husband's fate" underscores the patriarchal norm that a woman's place is with her husband, highlighting her role as a devoted and submissive partner. This builds on the cultural- and somewhat universal- stereotype that a woman’s role, as a wife, heavily resides in her being a devoted and submissive partner to her husband. When comparing different translations and adaptations of the Ramayana, variations in the portrayal of gender roles can be observed. For instance, in some modern adaptations, there may be a subtle shift towards portraying Sita with more agency and independence, reflecting contemporary views on gender equality. However, in traditional versions, such as those by Valmiki and other ancient translators, the patriarchal mindset is more pronounced. Yet, Sita's role is predominantly defined by her loyalty and subservience to Rama. The language used to describe Rama and Sita's roles reflects the societal norms and expectations of the time. Phrases such as "unworthy of a warrior's fame" and "the wife alone, whate'er await, must share on earth her husband's fate" reveal the deeply ingrained gender roles and the emphasis on male heroism and female subservience. However, the linguistic value of the work also lies in its expressive qualities as Sita’s heart-touching lines: "through tangled thorn and matted grass," illustrate the depth of her love for Rama. Ultimately, the translations differ based on the politics of the time and culture. CC BY Aarushi Attray (contact)
Valmiki. The Ramayana. Translated by Ralph T.H. Griffith, Project Gutenberg, 2009, Book II: Canto XXVII.: Sítá’s Speech, https://sacred-texts.com/hin/rama/ry105.htm. Accessed 4 Aug. 2024.
Valmiki. The Ramayana of Valmiki. Translated by Hari Prasad Shastri, Shanti Sadan, 1952.
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www.myjewishlearning.com www.myjewishlearning.com
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Tradition notably refers to Joseph as a tzadik (righteous person), and several commentators point to Joseph’s naming of his sons in Hebrew as a premiere example of his dedication
Reflecting on this text as a whole, the main question is whether Joseph is a right person or not in which everyone's opinion on the matter differs. On the negative side, Joseph can be viewed as not being caring enough or not sympathetic because he could have realized much earlier on that his early success and the words that Jacob said about him can be hurtful for his brothers and could have spoken about that matter. Even though that is the case, he managed to become a very successful leader for Egypt despite being betrayed by his brothers and being sold off as a slave and that accomplishment on its own is very telling of the character that Joseph is and shows that all his success is deserved and should be recognized. He led his people during a famine and was very wise as well. With that being said, Joseph shall be remembered as a righteous person because he had qualities of bravery, courage, wisdom, smart, and many more in a total package unlike many leaders out there. CC BY Ajey Sasimugunthan (contact)
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Only upon seeing Benjamin does Joseph reveal himself to his brothers, grant them forgiveness, and bring the entire family down to Egypt
Joseph reveals his identity to his family after many years and his forgiveness shows an important theme of the text which is to be forgiving and kind which is an important theme of the text as well. The reader reaches the emotional climax of the story as the story comes to the resolve as the brothers ask for forgiveness and Joseph is also able to forgive them for their betrayal. The idea of destiny and fate comes into play during this section as it was supposed to be him testing his brothers before finally revealing his identity. Divine intervention comes into play here and shows the realization of the dream and how all these events were supposed to play out did happen happen because of the divine beings. Joseph as a male figure having to manage the famine and find solutions to problems once again shows the dominant role that men are placed in and how they must protect others and serve others. Not to mention, the female characters play a more passive role showing how women are cared for but not respected in the same manner as men. All of the qualities of Joseph mentioned early on comes into play as it shows why he was ultimately successful in the end and why being virtuous is important along with being brave and wise as that total package helps create a great leader. This is another high point in the story as the narrative is reaching a resolve and also shows how Joseph was able to bring his family together and was able to forgive them. CC BY Ajey Sasimugunthan (contact)
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The brothers then tear up Joseph’s special coat, dip it in goat’s blood, and present it to Jacob as proof of his son’s death.
The reader once again notices how significant the symbol of the coat is and also is important for imagery as well. Before being a symbol showing the power that Joseph will have soon, it now becomes a symbol that shows how deceit and betryal will affect his life especially after the act of tearing and staining rhe coat. He is no longer in a poistion of power and is now in a postion of loss. This shift in symbolist is a reflection of the brothers being jealous and how their familky ties and own jealousy led to the betrayal of their own brother. Using the coat as evidence of his death shows the deception of the brothers and how they were willing to go to any measure because of how jealous they were and could not accept their brother's success. The coat used to show love and affection but now symbolizes deceit and illustrates how manipulation can have huge impacts and change lives for the worse. CC BY Ajey Sasimugunthan (contact)
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“Seven years are coming, a great abundance through the land. Then seven years of famine will arise”
Joseph's role as a prophetic figures is highlighted really well here and shows how his abaility to interpret dreams is important for the future events of the story. The seven years is also a testament to being prepared and also opens doors for Joseph as he can manage the famine with his own leadership and wisdom. Because he was able to predict these events correctly and gain the trust of authorities, he gains a significant bump up in poistion of power and gets immense power which points to how it was desinty anfd fate for him to be in a poistion of leadership that has great power and influence. Fate is a theme in this text as it proves that Jopseh was meant to be a prominent figure even after his brothers betrayed him. Potiphar's wife trying to wrongly accsuse Joseph of rape shows the dangers that Joseph has faced throughout the day and how sticking to your values will always work out. It also shows that even though women did not hold much power in thier society, men greatly cared about their wellbeing and immediately took action after the accusation showing how women are taken of but not as respected as one might think. Even thugh being in prison was not supposed to happen and not deserved, it helped him show his special ability to the higher ups allowing him to gain a position of power showing how not all negatuve events will lead to negative consequences as it worked out very well for Josewph. IT also speaks volumes about the heroism of Joseph as it shows that he is not supposed to suffer and was meant to rise as a leader and showcase his abiliites as one. This is a very high point in the story as Joseph has rebounded from the betryal of his brothers and managed to get a pistyion of power and influence unlike most people. The low point in the story would be when his brothers betrayed him and sent him off as a slave. CC BY Ajey Sasimugunthan (contact)
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Joseph also tells his family about two dreams he had, the first in which 11 sheaves of wheat bow down to his, and a second where the sun, moon, and 11 stars all bow to him as well.
These dreams can be seen as being prophetic and also a sign of foreshadowing because it will show how Joseph rises to power in Egypt and will have much more power and influences compared to the rest of his family. It is also destiny that Joseph becomes this prominent figure and also highlights the theme of divine intervention because it is meant to be for Joseph. While life might have other plans, it shows that higher beings have other things in mind and that certain people are meant to do special things and this is the case for Joseph. It also alludes to the fact that people are not entirely in control over their destiny and that some luck is required to be successful. An interesting image of the sheaves of wheat and celestial bodies bowing down shows that Joseph will eventually be a ruling bodies and that will have power over a large group of people. It also contrasts the shift in power for him as he goes from being a little brother who receives commands to being someone who will be giving out commands. CC BY Ajey Sasimugunthan (contact)
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“Israel (another name for Jacob) loved Joseph more than all his sons since he was a child of his old age”
This is a significant quote as it highlights the favored status of Joseph and is central to the story as a whole. It can be attributed to the "coat of many colors" which symbolizes the affection and also jealousy that his brothers are feeling. Foreshadowing can be seen here as it sets the stage for the family conflict and shows that the family issues will drive the story as a whole. His brothers being jealous and resenting Joseph will lead him to being sold as a slave which which will greatly impact the life of Joseph. The coat is a very special symbol as the various colors can also point to the special position that Joseph is in being in the family and does a good job talking about the theme of of favoritism and how it can have serious effects. Especially being in a society ruled by men and where males are the alphas in the household, the things that Jacob does to reinforce the power and position of Joseph is a slap in the face for his brothers. The resent being compounded by the coat reveals deeper issues of inequality leading to this sibling rivalry and dispute. CC BY Ajey Sasimugunthan (contact)
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It is also one of the best known, alluded to frequently in Western literature and adapted by Andrew Lloyd Weber and Tim Rice into the operetta Joseph and the Amazing Technicolor Dreamcoat.
Looking at the Genesis as a text, it shows Joseph as being someone who is skilled in many things that a hero requires and also is brave and wise and much more. The story mainly goes into his rise as a prominent figure in Egypt. Another interesting key thing about the text is how it depicts the men as being the hero and the women needing the saving which will be a theme we see throughout the text. Joseph's masculinity is virtuous and attributed to success which is interesting because it contrasted with the positions that women are in being challenging and requiring the protection of men and needing their heroism. Potiphar's wife's decisions are highlighted in the text and does a good job showing how perceived gender roles can affect the story and can make female characters either feel superior to other characters or make them feel inferior in the original text which also shows the power that the author has. Comparing the Hebrew and English versions of the text, there may be more focus on the female characters in the modern texts because of a a cultural shift over the years and because women's views were not viewed in the same regard in the past. The way that gender roles are presented and interpreted are very essential as they can affect one's perception of the text and understanding of the whole story. CC BY Ajey Sasimugunthan (contact)
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- Aug 2024
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www.sitasingstheblues.com www.sitasingstheblues.com
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Sita Sings the Blues
Sita Sings the Blues was a vibrant tale about love lost. I found that even though the main character was held captive and was awaiting her 'knight in shining armor', she was the real hero.
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johnstoniatexts.x10host.com johnstoniatexts.x10host.com
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That is why I have left my gold-decked homeand the royal bed I shared with Darius [160]and have come here. For worries rend my heart. 140My friends, I will confide in you—I am afraidthat our vast wealth will quickly stir up dustand with its foot cast down the great successwhich—thanks to the assistance of some god—king Darius achieved. And that is whymy mind is burdened with a double care,which I find difficult to speak about.The common folk do not respect great wealthunless backed up with men, and though the poormay have great strength, the light of their success 150will never shine. Now, we have wealth enough,but still I fear for what I hold to beour finest treasure, true riches in the home,the lord and master’s eye. Since that is so, [170]Persians, you old trustworthy counsellors,advise me what to do, since all my hopesfor level-headed guidance rest on you.
Atossa recounts a dream where she saw her son, Xerxes, yoked to two women, one dressed in Persian attire and the other in Greek. The Greek woman breaks free and Xerxes falls. This dream symbolizes the conflict between Persia and Greece and foreshadows Xerxes' defeat.
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We are here as trustworthy delegatesfor all those Persians who have marched awayto the land of Greece. Thanks to our old age,we are the guardians of the royal home,so rich in gold, the men Xerxes himself,our king, son of Darius, has chosento supervise his realm. But here inside,my heart has for a long time been troubledabout our golden army’s journey homeand the king’s return. It senses trouble. 10 [10]For all the power born out of Asiahas gone, responding to our young king’s call,and yet here in the Persians’ capitalno horseman has come back, no courier.Streaming out of Susa and Agbatanaand the ancient parapets of Kissa,our forces moved away, some on horseback,some by ship, some on foot—a close-packed mass [20]prepared for war—men like Artaphrenes,Amistres, Pastas, and Megabates, 20commanders of Persia’s warrior host,all kings and yet all ruled by our Great King,leaders of a vast army on the march,experts in archery and horsemanship,fearful to look at and terrible in war,their spirits steeled for battle. With them thereis Artembares the charioteer, [30]as well as Masistes, noble Imaeus
The Chorus laments the absence of the Persian army and expresses anxiety over their fate. This introduces the audience to the primary concern of the play and sets a tone of foreboding and sorrow.
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www.repository.govardhanacademy.com www.repository.govardhanacademy.com
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YOU,THE FIVEPANPAVAS, A 6E THEFIVE HUSBANDSPRAUPAPI IS DESTINEDTO HAVE.
And here we can see the consequence of the action that happened before.
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SHIVA'S W ORDS O N C EU TTER ED COULD N O T BEREV O K ED . B U T
This is a good example and a good morale too. Every thing has a consequence and even if we can redeem it a little bit, we can not escape it. It is up to us if we want them to be good or bad.
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A R JU N A .T H EVALIANT PANPAVA WOULDHAVE BEEN AN IDEALH U SB A N D FO R MY DAUGHT E R . IF ONLY H E , H ISM O T H E R ,A N P BR O TH ER SH A P SURVIVEPTHAT FATEFULFIRE ATV/ARANA
Her father genuinly planned everything for her, from the very strt. Which related quite a lot to the traditions.
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wom an typical ofher times, her fiery personality lent a g lo w to everything that she did
I like this. Girls reading this type of text are encouraged to do something else in life and that we all have choices and different dreams as well. Draupadi lived just as every other women lives, but she had passions and other activities that she liked, therefore she did them. That should be for everyone too.
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which was less than kind towom en.
The text is clear to the reader from the very introduction. All the reader can come to a conclusion after reading the first pharagraph is "this is an important character and she is very strong" and at the end, with this line, the text makes it clear with its own words.
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Her steely will, which often gleams throughher hapless married life, was shaped by the powerand plenty that she knew as the beloved daughterof the wealthy king of Panchala.
Draupadi is a very strong and changing character compared to others. Married life is mentiones here but it specifically shows that the thing that shaped her life was her knowlodge. Which at the time, was not common for a female character to be described like that.
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Draupadi sprang full grow n from the fire but noother heroine in Hindu m ythology was as earthy asshe
It is common to relate the heroines, moslty the females, to fire. This resembles the beauty, grace and delicacy. But when it comes to Draupadi, she is described as earthy. Which is something new but that I personally like very much.
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DUHSHA 5 / )NA TRIED TO D R A 6 DRAUPADIAWAY B U T SHE. R E SIST E D ,
From birth I could tell Draupadi was going to be a force to be reckoned with. Born of fire with the same attitude, I found her to be her own savior at times. She is very strong willed and outspoken. She wanted a husband but would be no mans slave. She would not allow herself to be given away in that dice game by her chosen husband YUDHIsHTHIRA. Draupada is a powerful woman in a time where women had no voice.
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en.wikisource.org en.wikisource.org
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While o'er the fields of Greece the embattled troops Of Persia march with delegated sway, We o'er their rich and gold-abounding seats Hold faithful our firm guard; to this high charge
This shows the richness in the world and the lifestyle for this type of people too, which is something i always find very interesting. While they are enjoying, others go to war, even the youbg ones, the a whole life ahead of them.
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Hath Asia sent, and for her youth I sigh.
As I mentioned before, we are not only talking about a cruel and berbaric war, but moslty, and the horrible thing about everything is that young men are going. Kids, even. Countries in those days use to send every single men possible. No matter if they were experienced or not. It was against their will sometimes too. And here, the narrator sighs not only for the pain of the situation but also for the young souls too.
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Leading their martial thousands; their proud steeds Prance under them; steel bows and shafts their arms, Dreadful to see, and terrible in fight, Deliberate valour breathing in their souls.
Others go only for the feeling that they are fighting for their country and its here were we can see the manipulation of the higher into the population. To make them think that they will do a glourious thing with no training or further explanation whatsoever.
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Our towns exposed to wild affright An easy prey to the invader lie:
A town without walls is a town free to be conquered by others.
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Taught to behold with fearless eyes
They are terrified from whats happening but were taught to be brave and show that they are strong.
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For when misfortune's fraudful hand Prepares to pour the vengeance of the sky, What mortal shall her force withstand? What rapid speed the impending fury fly?
I like to think that this is a reference of a physical object being those the arrows that were used in battles at the time.
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Soft sons of luxury; and those that dwell Amid the inland forests, from the sea Far distant; these Metragathes commands, And virtuous Arceus, royal chiefs, that shine In burnish'd gold, and many a whirling car Drawn by six generous steeds from Sardis lead, A glorious and a dreadful spectacle.
This caught my attention. It talks about the type of people going to fight. The types of men. We are talking about every single kind. When it says "Soft sons of luxury" clearly refers to the young boys of higher society who didn't do a labor work every day like the others, therefore their appareance and even experience was soft not only physical but emotional. "Those that dwell" refers to the ones who are the opposite and might have more experience. But still, he is sorry for everyone. And its amusing to see that they are togheter for the same thing only becuase of that circumstance.
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Her ancient towers forsaken, while her youth, Some on the bounding steed, the tall bark some Ascending, some with painful march on foot, Haste on, to arrange the deep'ning files of war.
This passage evokes a sense of urgency and transition. It describes a scene where an ancient city or fortress is abandoned, and its youthful inhabitants are mobilizing for war. Some are riding horses, some are boarding ships, and others are marching on foot, all hastening to join and organize the ranks of the army. The imagery emphasizes both the decline of the old and the dynamic, decisive action of the new generation as they prepare for battle.
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www.aina.org www.aina.orgeog.pdf1
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Gilgamesh said to him, 'Why should not my cheeks be starved and my face drawn? Despair isin my heart, and my face is the face of one who has made a long journey. I was burned withheat and with cold. Why should I not wander over the pastures? My friend, my youngerbrother who seized and killed the Bull of Heaven, and overthrew Humbaba in the cedar forest,my friend who was very dear to me, and who endured dangers beside me, Enkidu my brotherwhom I loved, the end of mortality has overtaken him.
In this poignant passage, Gilgamesh articulates profound grief and a sense of existential despair following the death of his friend Enkidu, illustrating the deep bonds of brotherhood and loss inherent in human experience. This moment reflects the universal struggle with mortality, evoking a timeless connection to our own journeys of love and suffering, much like the themes explored in contemporary literature such as Mariam Petrosian's "The Persephone Collective." The raw emotion depicted calls into question the true meaning of strength and vulnerability, challenging readers to reflect on their relationships and the inevitability of loss.
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- Jul 2024
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www.repository.govardhanacademy.com www.repository.govardhanacademy.comDraupadi.pdf10
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THEN THE VICTORIOUS PANDAVAS VUDHISHTHIRA BECAME THE EMPEROR. ANDBLEW THEIR CONCHES. BHEEMPt'SOATHS HAD BEEN CARRIED OUT.KRISHNA'S PROMISE TODRAUPADI WAS FULFILLED
The final scene showing Draupadi as the rightful queen shows that good has beat evil in which justice has been restored. Even after many long years, the story shows that justice will always be reached and that cruel acts will face consequences. Draupadi's adversity is highlighted her as it is a personal victory for her and shows how her resilience and strength was able to prevail. The difference between "us" and "them" can be seen through the Pandavas and Kauravas. In which the Pandavas are seen as the good forces while the Kauravas are the embodiment of evil creating a good framework for the narrative as a result. This is undoubtedly the highest point in the narrative as the Pandavas are able to live out their former glory and are once again all-powerful and live in their kingdom. Not only does the ending of the story give closure, but readers gain a better understanding of morality and how human conflict is such a big factor in all of this. Because of the rivalry between the Pandavas and Kauravas, it led to lots of pain and suffering for the Pandavas until they finally waged war and were victorious. It serves as a lesson for readers to not be afraid of facing conflict as it might be the only and best way of handling it altogether. Draupadi as a person shows why resilience and strength are important qualities to have as they can help put conflicts to an end and not accept defeat. CC BY Ajey Sasimugunthan (contact)
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THIS FOR DRA66IN6DRAUPADI BY THE HAIRAND ATTEMPTING TODISROBE HER
This is turning point in the story because her husband is finally taking some action to enact revenge on the Kauravas for their cruel acts over the years. The image of her husband holding the weapon with so much anger can be felt by the reader and shows how much of the anger he has held over the years and is finally able to take it on the same guy who disrespected and humiliated her wife many years ago. Bhima's vow to break Duryodhana's thigh as a response to the disrobing of Draupadi is admirable and shows his determination and motivation behind the war that the Pandavas agreed to do. Not only does it show his honor, but serves as a huge sign of his loyalty to Draupadi and commitment to protecting her which propels the narrative forward. The collective effort of the Pandavas marks the unity of the group and how an attack on one individual is an attack on all of them and this is highlighted in the manner in which they fight the Kauravas with so much anger and anguish. CC BY Ajey Sasimugunthan (contact)
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OF WHATUSE IS THE ] |PROWESS OF ^MY HUSBANDSWHEN THEYCANNOT-PROTECTME FROM SUCH 1IN SU LTS
A key moment happens here where Draupadi once again questions the purpose of her husbands if they offer her no sense of security. In a day and age where people are much safer, women still expect security from men through money and even protection which shows that it is innate. Even with this being the case, her husbands have not shown the same loyalty to her showing that in their time period, husbands can do the bare minimum and can still expect the most amount of love and loyalty from their wife representing an unfair balance. Keechaka's attempts to force Draupadi into being his wife represents a systematic oppression towards women as there is no sense of decency and manners. By refusing to let Keechaka get what he wants, it shows the strength that she has and how she will not let men take away her dignity and respect. This moment not only shows how men in a patriarchal society failed to be protectors, but also highlights the strong spirit of Draupadi which makes her an admirable character. CC BY Ajey Sasimugunthan (contact)
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PL E A 5E G O WITH YOUR1 0 , 0 0 0 D ISCIPLES A N DSEEK THE HOSPITALITYOF YUDHISHTHIRA,WHEN DRAUPADIHAS FIN ISH EDEATING H ERM EA L
Driven by envy and hate towards the Pandavas, Duryodhana devises a plan to make them suffer by utilizing the short temper of Durvasa who is also known for his curses. Because the Pandavas have a reputation for being hospitable, the plan was to ruin their reputation and have a curse placed on them as a result which results in more suffering and pain inflicted upon them. Even though the Pandavas had their backs against the wall, Krishna came to their aid and made Durvasa and his people feel full so that they would no longer need food from them. This marks another divine intervention in the story coming to the rescue of the Pandavas. The concept of dharma is on full display as the Pandavas' reputation for being hospitable and righteous still remain. Not only does their reputation remain intact, Krishna's loyalty to the Pandavas can be highlighted and shows that he protected the right people and that divine figures will intervene in human affairs to uphold righteousness in certain scenarios. CC BY Ajey Sasimugunthan (contact)
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D EAR D R A U P A D I, BEC O N S O L E D . Y O U RH U M IL IA T IO N SWILL B E AVENF O U R T E E NY E A R S FR O MN O W .
Filled with anger and anguish, the Pandavas are forced to live away from the comforts that they are used to and must face the harsh realities of existence. Krishna's presence after they have been exiled and gives a sense of assurance for them and makes them feel secure as they are in new territory that they are not accustomed to. He is a symbol of hope for their people. In a way, the exile helps bring the Pandavas closer as they have a common enemy that they all hate and want to avenge creating an even strong unity among them. While the exile does not compare to the moment when Draupadi was gambled away, this marks another low point in the story as the moral is still low for the Pandavas and they know it will be many years before they can inflict any type of pain or suffering onto the Kauravas. CC BY Ajey Sasimugunthan (contact)
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T H E V E R Y C L O T H E SS H E IS W E A R IN GB E L O N G T O U S ! AS H E IS O U RS L A V E .KRISHNA,SAVE ME!
This moment marks a pivotal moment in the story where the narrative is set to change significantly from this point and the fate of the characters are bound to change. For one thing, the husband using his wife as a wager shows how women were viewed at the time. The status of women at the time was merely property and eye candy to some extent. Because of her husband's actions, Draupadi is humiliated in front of a large group of people and has a lot of anger and resent towards the Pandavas for letting this moment occur. The gambling done by Yudhishtra puts his dharma into question especially as a king because he did not consider how his actions would affect his wife and showed his lack of compassion. Not to mention, this scene highlights the cruelty of the Kauravas to inflict the most amount of humiliation upon Draupadi and the Pandavas. There must be a lot of anger within them that will eventually lead to a war for revenge. Even though Draupadi as an individual being is receiving the worst amount of embarassment, the Pandavas see it as an attack on them as well showing the bond between their group and how they always stand up for one another. The vivid imagery through the art and diction creates empathy for Draupadi as she is helpless and her cries for help cannot do anything. This is the lowest point in the narrative and reader can tell without even reading the rest of the text because of the emotional intensity of the moment. Moreover, the moral implication of this incident will be massive and is very disturbing for the audience. CC BY Ajey Sasimugunthan (contact)
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ALAS ! TH E PANPAVAS HAVEE S C A P E D . A N D THEY HAVE THEMIGHTY P R U P A P A A N P H IS^ S O N A S A L L IE S
An interesting point has been reached in the story where they learn that Draupadi cannot marry them and belongs to the Pandava brothers. Arjuna's victory in using the bow and arrow symbolizes the difficulty in a challenge in which completion rewarded him with Draupadi as a wife. The garland symbolizes this victory and her acceptance of Arjuna as a husband. In their culture, garlands symbolize winners in a contest to show triumph and honor which is why Draupadi offered a garland to Arjuna after he won. It also shows the exceptional skill and courage and becomes a medal of honor while Arjuna is wearing it. In addition, Draupadi's willingness to be in a relationship with Arjuna is shown here and carries a sense of commitment and dedication. Arjuna's victory does not only help him win over Draupadi, but is also elevates his status within the Pandavas showing that they are a unified unit in which people can raise the ranks through accomplishments and skill. Individual goals in the Pandava group are aligned with their group's goal so it is a win-win situation for everyone. CC BY Ajey Sasimugunthan (contact)
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LORD! I...I...IT WASONLY ONE HUSBANDTHAT I WANTED.
The phrase "be careful for what you wish for" perfectly applies in this situation and becomes the first challenge and humiliation that she faces in this story. Because Shiva intervened as a higher power in her affairs, it continues to show that their society believed gods ultimately affected the daily lives of mere mortals and the best thing that they can do is to remain good people that remained faithful. Despite being innocent and pure, Draupadi's wishes were misinterpreted and shows why wishing for something is not always the best thing. It is all too common in shows, movies, and books to see a character wish for something but not receive what they want because of the wording behind that wish. This situation relates to Draupadi and will now affect the way everyone will view her and will be humiliating. Not to mention, the standards and views relating to love and marriage will be challenged when Draupadi has five husbands because the common belief is that people commit to only one person. Even though this is the case, the concept of arranged marriage comes into play as Draupadi must respect the decision made by Shiva putting into perspective why arranged marriages are still acceptable in India as parents and divine beings alike know what is best for their children. The idea of marrying five men challenges the western notion of monogamy and shows what practices were acceptable during that time period. CC BY Ajey Sasimugunthan (contact)
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COME, LET METELL YOU O F ANEARLIER BIRTHO F PR A U PA PIWHEN S H E WASTH E PAUGHTERO F A RISHI.i t u
Draupadi's birth is nothing short of a miracle suggesting that a higher power had some influence on this event. It also alludes to the fact that their society believes that their gods effect their daily lives and can affect whether certain events happen or not at a moment's notice. The audience up to this point learns about the rivalry between the Kauravas and Pandavas which is foreshadowing. In addition, the Pandavas being disguised as Brahmins show the spot they are in and how they have been exiled up to this point. They are seeking a powerful son for that reason to help them be in a better situation. This highlights how important leadership is in society and can be the difference between whether a society lives in harmony or constant suffering. CC BY Ajey Sasimugunthan (contact)
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But fo r this, hertale w ou ld have been as passive as that of any otherw om an of that era
Draupadi is immediately introduced as a character of importance especially in Hinduism and shows that she carried a unique position as a woman during her time. Despite having some privileges that made life easier for her, the contrast to the challenges she faced being in a patriarchal society balances it out and highlights how Draupadi was resilient during those times. The passage as a whole allows the reader to understand that she carries many characteristics such as wisdom and strength that women of her time are not accustomed to which will make this story more compelling as a result. Compared to other women of her time, she was embarrassed much more and was put in an interesting situation being married to multiple men but still remained strong for her people and was determined. Draupadi as a character also breaks a lot of social norms of India at the time and proves that women are much more capable than what their society believes. CC BY Ajey Sasimugunthan (contact)
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www.aina.org www.aina.orgeog.pdf14
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The king has laid himself down and will not rise again,The Lord of Kullab will not rise again;He overcame evil, he will not come again;Though he was strong of arm he will not rise again;He had wisdom and a comely face, he will not come again;He is gone into the mountain, he will not come again;On the bed of fate he lies, he will not rise again,Front the couch of many colours he will not come again
This passage in particular highlights the finality of death and how Gilgamesh ultimately faces the same ending as other ordinary people. Despite the wisdom and courage that he had, it was not enough to overcome the fragility of human life. The imagery behind Gilgamesh "[going] into the mountain" suggests that he might be going to the underworld and shows that there is an afterlife after death. Another theme that a reader would think about is the meaning of life as Gilgamesh was unable to complete his main goal despite his accolades and characteristics. It does raise questions about the purpose of human existence and how people should view life and death. With this being the case, the ending and epic in general does a good job highlighting the fact that our time and existence is very limited which is why it is important to cherish every moment and make the most of it. Moreover, the ending of the epic does a good relaying the main message of the epic which is that human connection and contributions to society can provide a sense of purpose and fulfillment which makes life worth living despite everyone knowing that their time will eventually come to an end. CC BY Ajey Sasimugunthan (contact)
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For myself I have gained nothing; not I, but the beast of the earth hasjoy of it now. Already the stream has carried it twenty leagues back to the channels where Ifound it.
This quote really highlights how Gilgamesh's effort and quest in general for immortality ended up being a failure as he was not able to achieve this goal. It shows how people can put their best effort into accomplishing a goal and still not be able to achieve it which is seen through Gilgamesh. Many people that have succeeded talk about how hard work is not enough to actually reach success. There is some luck involved in being successful especially with ambitious goals and we can see that luck was missing in the case for Gilgamesh which led him to falling short of his goal. He is now at a position where he must reconsider his goals and priorities since the goal was the main focus in his life for a long stretch of time so it will be interesting to see how that perspective shapes as the story goes on. Not only must he reconsider his priorities, but he must evaluate his life since immortality is no longer a guarantee for him so that anxiousness exists once again and he must learn to accept that his time alive will be limited. The epic seems to suggest that our time being alive is better to be limited since the quality of life is more important the quantity or else life itself would no longer be enjoyable. CC BY Ajey Sasimugunthan (contact)
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A stupor of despairwent up to heaven when the god of the storm turned daylight to darkness, when he smashedthe land like a cup
The catastrophic flood symbolizes a punishment for the people as they have committed a lot of sins and this is their way of making it up to the gods. With the phrase "smashed the land like a cup", it truly encapsulates the destructive nature of the flood and how the humans were so helplessness in that moment. We also learn that the gods are in fear of the flood because of how powerful it is highlighting the vulnerability that exists between both humans and divine beings. Water is always known to have significant meanings in many cultures which means that the flood is supposed to be a punishment for humans for their wrongdoings. There is a story in the Bible where God punished humans as he sees a lot of corruption and does this through a flood. It is interesting to see that parallel between both texts and shows that floods are universally seen as punishments for humans. CC BY Ajey Sasimugunthan (contact)
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Urshanabi said to him, 'Gilgamesh, your own hands have prevented you from crossing theOcean; when you destroyed the tackle of the boat you destroyed its safety
Gilgamesh's impulse and actions have made it much more challenging for him to be able to reach immortality. It shows how there are limitations in humans that leads to mistakes which is seen through Gilgamesh. He has been creating his own challenges up to this point and becomes even more apparent in this moment. This is also another important or even turning point in this epic as Gilgamesh is forces to realize that he depends a lot on others and this has been one of the biggest reasons for the consequences he has been facing. While this may be the case, it also highlights his resilience and persistence in achieving immortality as he remains strong willed despite the challenges he faced so far. This is similar to how bad habits tend to ruin some of the goals people have because it distracts them and makes them lose focus on what they want to achieve. CC BY Ajey Sasimugunthan (contact)
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I have wept for him day and night, I would not give up his body for burial, Ithought my friend would come back because of my weeping. Since he went, my life is nothing
Gilgamesh's journey to the underworld highlights a common experience people face when loved ones die and shows a common archetype that can be seen in a lot of heroes between movies and books. He will set out to become a better person that lives up to his potential after a loved one dies which is seen throughout many movies, shows, books, epics, and other pieces of writing. As a result, he seeks to become immortal since he has a new fear of death. He has come to the realization that his life can perish at anytime and wants to have a lasting legacy and he believes this can be done through immortality. In addition, this desire allows him to not be forgotten and allows him to not worry about his legacy being forgotten. It is interesting that he feels this way as a lot of people usually face the idea of disbelief when someone dies and have a hard time coming to accept that. On the other hand, Gilgamesh has a hard time accepting death itself which is now causing him a lot of pain and suffering. CC BY Ajey Sasimugunthan (contact)
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I weep for my brother.O Enkidu, my brother
Gilgamesh's words for Enkidu shows his love for Enkidu and the deep bond between the two of them and how he was devastated by his loss. The repetition of "weep" highlights how deeply Gilgamesh is mourning for him and creates a haunting yet melancholic tone at the same time to enhance the meaning behind his message. Vivid imagery plays a role in enhancing the emotions that are felt and showing the impact of Enkidu's death. His death also seems to suggest that there is a interconnectedness between humans, animals, and the environment as it is common between all three groups and something that haunts all of us. Something interesting to think about is how people show a lot of appreciation for another person after they have died. It is similar to the phrase that people will not be fully appreciated until they have died. While Gilgamesh appreciated having Enkidu as a companion and said nice things to him, it was not on this level and shows an inherent human flaw which is the inability to fully appreciate and recognize someone's efforts and qualities until they are gone. CC BY Ajey Sasimugunthan (contact)
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Ah, if only some future king had brought you here,or some god had fashioned you. Let him obliterate my name and write his own, and the cursefall on him instead of on Enkidu
Enkidu's death carries a lot of significance and shows the consequences of the decisions that both Gilgamesh and Enkidu made. For one thing, the death shows how fragile human life is and how it can easily be taken away at a moment's notice. The grief and sadness that Gilgamesh holds as a result of the death shows the effect that death can have on humans and relationships alike. We lost a part of ourselves when close ones die and the emotional toll is highlighted through Gilgamesh. It is similar to how people wonder why they are okay with putting so much time, resources, and love for pets when you know that they will die before you and that will cause a lot of pain and emotional suffering. The text itself seems to teach us that it more about the quality spent rather than the amount of time spent between loved ones. Not to mention, the power of words can be highlighted in this section as Enkidu's curses show the destruction that words hold and the reasons behind the current consequences up to this point. CC BY Ajey Sasimugunthan (contact)
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And if you and I should be lovers, should not I be served inthe same fashion as all these others whom you loved once?
The relationship between Gilgamesh and Ishtar is very compelling and challenges many ideas that we have seen before in other pieces. Gilgamesh was the one to reject Ishtar after she proposed her love for him especially being a powerful goddess which may have come as a big surprise and slap in the face for her. It challenges the gender norm that men are usually the ones to propose their love and the women are able to reject the man if they choose to. This is a very interesting take on that idea and shows that men should also be respected if they choose to reject a woman and that women can also step up and propose their love if that is how they feel. Not to mention, the idea of love is viewed differently between both people as Gilgamesh seeks more of an equal and Ishtar views it as possession over the other person. This is why the recounting of the previous lovers she has can tell a lot about Ishtar and why she is not a suitable partner for Gilgamesh. In a day and age where people are constantly looking for something better especially with dating apps, the epic reminds the audience to reject someone because of who they are as a person and if the qualities suggest that they might be a bad partner. CC BY Ajey Sasimugunthan (contact)
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Gilgamesh listened to the word of his companion, he took the axe in his hand, he drew thesword from his belt, and he struck Humbaba with a thrust of the sword to the neck, and Enkiduhis comrade struck the second blow. At the third blow Humbaba fell. Then there followedconfusion for this was the guardian of the forest whom they had felled to the ground.
At this point in the story, Enkidu and Gilgamesh come across their first challenge together and it was facing off against Humbaba. Their teamwork and trust in each other is fully evident and shows how much they rely on one another leading to their eventual victory. An interesting symbol is the cedar in this moment. The falling of the cedars can be seen as a symbolic victory over nature and Humbaba who is protecting the forest. This can be seen that way because they gain resources but also disturb the natural order that existed before them. Enil's anger is another interesting point to mention because it shows that the victory should not have happened and that possibly the gods had other plans in mind. People talk about the idea of destiny and whether their lives have already been planned out or if people have full control over their destiny. The take here appears to argue that humans can control their destiny but the gods typically have a plan in place that is usually followed in most circumstances. CC BY Ajey Sasimugunthan (contact)
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Do not trust too much in your own strength, be watchful, restrain your blows at first. The onewho goes in front protects his companion; the good guide who knows the way guards his.friend. Let Enkidu lead the way, he knows the road to the forest, he has seen Humbaba andis experienced in battles; let him press first into the passes, let him be watchful and look tohimself.
Gilgamesh and Enkidu learn more about the Cedar Forest and the use of imagery helps the reader understand that is a sacred place and has lots of reverence. We can see some of the fear in the fact that they are in an unknown place and learning as they go along their journey. The mix of courage and fear from both characters show the bond that the two of them has created. Gilgamesh, the person who was complained about frequently has become better and has respect for Enkidu as he trusts him and relies on him throughout this journye and also listens to what he has to say when navigating through the forest. This shows why it is important for people to have friends or mentors that they respect because those are the people who can sway their opinion or change them for the better. Respect is crucial in any relationship and it can be seen here between Enkidu and Gilgamesh. CC BY Ajey Sasimugunthan (contact)
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Indeed I know it is so, forwhoever is tallest among men cannot reach the heavens, and the greatest cannot encompassthe earth. Therefore I would enter that country; because I have not established my namestamped on brick as my destiny decreed, I will go to the country where the cedar is cut
Gilgamesh is undergoing an interesting point in the story where he is starting to figure out whether he wants to have a legacy that will be remembered or just die altogether. It shows the theme of human mortality because people at some point eventually think about whether their life had a positive impact on others leading them to feel panicked. While Gilgamesh is contemplating and thinking about this, Enkidu serves as a good friend by his side offering support and advice for him. He serves as a good example as to why it is important to have the right people close to us as they can make challenging times feel a lot better and provide crucial support when it is needed the most. CC BY Ajey Sasimugunthan (contact)
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And now she said to Enkidu, 'When I look at you, you have become like a god. Why do youyearn to run wild again with the beasts in the hills? Get up from the ground, the bed of ashepherd.' He listened to her words with care.
Before Enkidu can face Gilgamesh and present himself as an equal, the reader can see how Enkidu must transform and changes himself in order to meet certain criteria in order to accomplish this goal. The harlot is responsible for changing Enkidu from being a wild being to someone who can be civilized and proper in their society. In a similar way, children grow up learning societal expectations and what is normal so that they can easily adapt and be accepted by others. It shows the importance of having a teacher or someone like our parents to guide us so that young children can be good members of society and we can see this through Enkidu. CC BY Ajey Sasimugunthan (contact)
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No son is left with hisfather, for Gilgamesh takes them all, even the children; yet the king should be a shepherd tohis people. His lust leaves no virgin to her lover, neither the warrior's daughter nor the wifeof the noble
The reader immediately figures out that Gilgamesh is an oppressive leader and tends to abuse his power. There are many rumors and people often talk about his poor leadership and how he takes advantage of others. As a result, people call for the gods to create a change in hopes of changing his behavior. Enkidu is created as a result to be an equal to Gilgamesh and keep his power in check. It reminds me of why checks and balances exist within the US government. If each of the three branches of government were not able to keep each other in check, then the President might be able to get away with some things that may result in bad consequences as a result. In a similar fashion, Gilgamesh does not have any checks and balances in which someone keeps him in check resulting in the people suffering as a result and why Enkidu is also created as a result. CC BY Ajey Sasimugunthan (contact)
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When the gods created Gilgamesh they gave him a perfect body.
The tone of this prologue suggests that Gilgamesh is a very powerful and important figure and places him at a high stature. Using a word like "perfect" to describe Gilgamesh further asserts the fact that Gilgamesh is highly respected and the rest of the story will highlight these strong qualities and present him favorably. It shows the divine nature of the hero of this epic and serves as a testament to Gilgamesh as a figure. In addition, the reader learns a lot about the storyteller and understands the weight that their tone carries. CC BY Ajey Sasimugunthan (contact)
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