Features of female images in the "Shahnameh" by the Persian poet Firdowsi and in the Nart epic

Radandish Parvane ORCID: 0000-0002-8152-2059 PhD in Philology Senior Lecturer; Faculty of Foreign Languages and Literature; University of TehranSenior Lecturer; University of Tehran Kargar Shomali str., Faculty of Foreign Languages and Literature, Tehran University, Office 229, Tehran, 1439813164, Iran radandish@ut.ac.ir Other publications by this author     Moradi Maryam ORCID: 0000-0002-6652-227X PhD in Philology Teacher; Department of Russian Language and Literature; University named after Allame Tabataba'i 19979-67556, Iran, Tehran, the Capital, Hag-Talab Gharbi street, Allame Tabataba'i Jonubi, Pol-e Modiriat m.moradi@atu.ac.ir

Beigi Mohsen ORCID: 0009-0002-0296-7170 PhD in Philology Independent researcher 1439813164, Iran, Tehran, Pardis blvd. Khalij Fars, Safir, sq. B2 mohsenbeigisat@yahoo.com

The issue of female images in the epics of various peoples remains an urgent topic in philological and cultural studies. The images of women in the epics not only reflect artistic traditions, but also serve as important indicators of the social structure, ethical norms and gender representations of a particular era. This paper examines the specifics of female characters in Firdowsi's Shahnameh and the Nart epic, which allows us to identify common patterns and differences in the cultural models of the two peoples.

Female images in epic works often reflect not only artistic traditions, but also the social, philosophical, and ethical norms of their time. In the comparative study of the epic, it is important to take into account not only the plot features, but also the role of the characters in the transmission of cultural values. Both of the considered works belong to peoples having common historical and cultural ties, but at the same time demonstrate a difference in the representation of female images.

The study of female characters in the epics reveals how the role of women was perceived in different societies, both in the family and in society. It is important to understand which traits were considered virtuous and which were condemned, and how this is reflected in the plot. The analysis of the Shahnameh and the Nart epic reveals not only the ideals of femininity in these cultures, but also shows how traditions and historical conditions shaped ideas about the role of women.

The purpose of this work is to identify the features of female images in the Shahnameh and the Nart epic, characterize them, determine their functions, symbolic significance and influence on the development of the plot, analyze their functions in the narrative structure of the epics, compare the social status and role of women in both works and identify the main similarities and differences in the depiction of female characters. The work is based on the comparative historical method, structural and semantic analysis, as well as the interpretation of texts from the standpoint of cultural and gender approaches. For the first time, a comprehensive comparison of female images in the Persian and Nart epics is carried out. The analysis shows how the historical and cultural context influenced the creation of images of women, their functions and status in society.

Literature review

Literary critics and orientalists from Russia, Iran, and Tajikistan, such as E. Bertels, I. Braginsky, Y. Borshchevsky, N. Kondyreva, M. Makhjub, Z. Safa, and others, studied female images in the Shahnameh. E. Bertels considered the Shahnameh in the context of the Persian cultural tradition, noting the influence of Zoroastrianism on the dualism of female images. I. Braginsky emphasized the political function of female characters, their dependence on social norms and patriarchal structures. J. Khaleghi-Motlag in his book "Women in the Shahnameh" (2012) considers female characters as a reflection of the Persian tradition of idealized femininity. He emphasizes that in the epic, the image of a woman is based on two models: the guardian of family values (Farangis, Takhmine) and the troublemaker (Sudabe). Researchers such as D. Lutai and V. Minina focus on the lyrical side of female images, while R. Shofakirova focuses on the role of the mother woman in the epic. However, the relationship between gender models in the epic and the social realities of that time has not yet been sufficiently studied, which makes this study particularly relevant.

The problem of female images in the Nart epic also attracted the attention of scientists. E. M. Meletinsky and B. A. Kaloeva studied the mythological roots of female archetypes, noting their sacred function in the heroic epic. K. Bekulova and I. Dzhanaeva considered female characters through the prism of matriarchal traditions, noting their active participation in the socio-political life of society. Of particular interest are the works of A. Tsallagova and B. Kaloeva, which emphasize that in the Nart epic, a woman is not only the keeper of the hearth, but also the possessor of magical knowledge and wisdom, which distinguishes this epic from the Shahnameh.

Summarizing previous studies, we can say that female images in both epics perform an important function, but the difference between them lies in the degree of their autonomy and ability to influence events.

The love lines in the Shahnameh develop depending on the social and historical context. For example, the story of Rostam and Tahmine demonstrates a romantic motive in which a woman takes the initiative, but her future fate is determined by the will of a man. On the other hand, Sudabe, being the wife of Kei-Kawusua, becomes a key figure in a love conflict, where her passion leads to tragic consequences. Thus, Firdowsi shows that female images in the epic can be both symbols of virtue and sources of chaos, and their influence on events is determined by their position in the social hierarchy.

In ancient Persian literature, writers paid attention not only to the femininity and elegance of women, but also to their qualities such as courage and boldness. The heroines of such works are usually characterized by loyalty, virtue, beauty, power, independence, and at the same time selfless devotion to her husband and Fatherland ^{[7, 2017, p. 12]}.

Women in the Nart epic are traditionally considered the keepers of the hearth. They not only run the house, but also have deep knowledge passed down from generation to generation. As K. Bekulova notes, Sataney is not just a mother, but also a mentor with wisdom and authority among narts. She takes part in conflict resolution, and her advice plays a crucial role in the fate of the heroes: "Sataney embodies the features of an ideal heroine in her image. In the legends, Sataney appears as a wise counselor of the narts, able to resolve men's disputes, giving the right advice in conducting business, resolving contradictions and difficult situations in the life of society. Due to her intelligence, Sataney was surrounded by great honor and respect" ^{[3, 2016, p.1038]}.

The epic also contains archetypes in which the feminine nature appears to be dual; on the one hand, these are images of caring mothers and faithful wives, on the other, heroines who can influence the course of events through knowledge, magic or cunning. S. Sanjari considered two different sides of a woman — the divine and the diabolical — in her work: "One can observe in the image of the heroines of the ancient myths of Jahi and Bushiyasb, on the one hand, love and affection for married life, and on the other hand, diabolical immorality" ^{[12, 2011, p. 35]}.

1. Images of women in "Shahnameh": ideal heroines: beauty, wisdom, devotion and love

1.1. The ideal of female beauty in the "Shahnameh"

In the Shahnameh, female characters are endowed with features that correspond to the traditional ideas of female beauty in Persian culture. The physical attractiveness of the heroines is described through such details as long hair, graceful facial features, tall stature, black eyes and red lips. These characteristics not only create images of ideal women, but also serve a symbolic function in the narrative. For example, Rudabe, one of the central female figures, the daughter of King Mehrab of Kabul, is presented as the embodiment of femininity and perfection. Her long hair symbolizes her connection to heaven, which highlights her exalted status. Her slimness is associated with aristocratic sophistication.

Rudabe is portrayed as a woman of extraordinary beauty. A description of her appearance appears in the episode when the Audience first hears about her and when they first meet.:

«Dar-o ṣadaf-i čehrə-yi čun qamar

Be bālā čun sarv-o be rox čun šakar

Do čašm-aš be-bāq andarun narges ast

Məže tirəgi bordə az par-e zāq

Ze mošk ast gisu va az qir tar

Ze anbar ‘abir-o ze zar por-gohar».

در و صدفی چهره‌ای چون قمر

به بالا چون سرو و به رخ چون شکر

دو چشمش بسان دو نرگس به باغ

مژه تیرگی برده از پر زاغ

ز مشک است گیسو و از قیر تر

ز عنبر عبیر و ز زر پرگهر

Literal translation:

"Her face is like a pearl and the moon,

Slender as a cypress tree, and her skin is like sugar.

Her eyes are two daffodils in a garden.,

And the eyelashes stole the raven's black color.

Her hair is as black as musk and resin.,

And the fragrance is like amber, and the threads are like gold." ^{[14, 2010, p.121]}.

1.2. A woman as a symbol of love and devotion

In addition to the fact that the images of women in the Shahnameh correspond to aesthetic ideals, the heroines themselves play an important role in the development of love stories. They are not limited to the passive role of the object of admiration, but often become the initiators of romantic relationships. For example, Tahmina, showing courage, is the first to declare her love for Rostam, openly expressing her feelings and desires. Manige, contrary to public prohibitions, saves Bijan, demonstrating loyalty and independence. Arezo, being a musician, attracts Bahramjet's attention with her art. Firdowsi shows that in the Persian tradition, a woman can be the first to express love, but the development of a relationship depends on social norms and the consent of a man.

Firdowsi praises a woman who is devoted to her husband and respects and loves her husband and conquers his heart ^{[11, 1990, p. 170]}:

«Behin-e zanān-e jahān ān bovad/ kazu šuy hamvāreh xandān bovad».

بهین زنان جهان آن بود کزو شوی همواره خندان بود

Translation: "The best woman in the world to all,

The one that makes her husband always cheerful" ^{[14, 2010, p. 433]}.

Some women in the Shahnameh are excellent examples of fidelity, especially in difficult times. They even get into confrontations with their fathers, protecting their husbands. In this regard, the researchers note that "in the Shahnameh, fidelity is one of the highest virtues of a woman. Female loyalty was the greatest incentive of a person's social life, and the greatest manifestation of female loyalty is her devotion to her partner" ^{[16, 1990, p. 83]}. The images of such women as Sudabe, Farangis, Sipiwand, Manijah and Shirin can serve as an excellent example of such fidelity. Sudabe, despite all her negative actions, is a truly devoted woman, as she remains faithful to her husband, even while being held captive by King Hamawaran.

In "Shahnameh" we find, for example, such plots as the story of Gordy. Gordy is Bahram Chubin's sister, a fearless and agile heroine who fled to China with her brother and was offered to marry Hakan after Bahram's death. After refusing to marry him, she prepared an army to oppose the Khaqan corps. She is a woman who holds the post of general. She is a brave woman who acts as an experienced commander, organizing an army, encouraging courage and inspiring warriors. She wears men's armor, and she has to hide her femininity behind this armor, because her femininity would convince the opponent that the fight would be easy, and would also give him good spirits. Therefore, a woman should wear men's clothes so that enemies can be scared ^{[10, 2009, p. 108]}.

However, love in Shahnameh is not only a sublime feeling, but also a test that shapes the fate of the characters. This category includes Rudabe, Tahmine, Farangis, Manijah, and Shirin. They are depicted as devoted wives, caring mothers, and wise counselors. Rudabe is one of the most famous heroines of the Shahnameh. She falls in love with Zala and, despite the prohibitions, helps him. This image embodies the romantic ideal of a woman capable of decisive actions for the sake of love. Tahmine is Rostam's lover, who is the first to confess her feelings to him. Her behavior demonstrates extraordinary courage for a woman of that time. She acts consciously and strategically, wanting to give birth to a son from a great warrior. Farangis is Siyavush's wife and Kay-Khosrow's mother. She is shown as a caring mother, following the fate of her son. In a moment of danger, she shows determination and bravery, saving Kay-Khosrow and leading him to a future reign. Manijah is another woman challenging traditional society. She saves Bijan by rejecting her parents' will. Shirin— the heroine of the romantic story with Khosrow, symbolizes pure and sublime love. Thus, Firdowsi creates different images of women, showing that their role in the epic goes beyond the standard concepts of a woman's subordinate position.

1.3. The woman and her social role

The female characters of the Shahnameh perform various functions in society. They can be:

- The rulers who make political decisions (Kidafe, Homai).

Homai is one of the most influential women in the Shahnameh who has achieved power. Bachman marries his daughter Homai. But during her pregnancy, he falls ill, and instead of his son, Sasan, Homai becomes his heir. Homai began another ritual in the traditions of the kingdom. Homai's behavior on the throne can confirm the claim that the arrival of women in politics forces the world of politics to obey mercy, which is usually a feminine trait, rather than violence and rivalry, which are usually the result of the dominance of male traits ^{[10, 2009, p. 94]}. At the very beginning of her reign, she calls on people all over the world to seek justice. During her thirty-year reign, she manages to restore justice in her kingdom. She sends a huge army to Rome, defeats the Romans and rules the neighboring tribes. Homai ruled for a long time, undoubtedly due to his special management abilities.

The women in the Shahnameh have an independent character. They are able to do their job on their own. Among these women, Kidafe, the Queen of Andalusia, is a happy family and educated woman who has always ruled independently. When Alexander demanded tribute from her, she not only wisely abandoned Alexander's plans, but also enlisted his support by concluding an agreement with him ^{[21, 1991, pp. 46-67 and pp. 668-1050]}.

- Guardians of family values, whose wisdom and loyalty influence the fate of men (Farangis, Sindokht). Firdowsi admires the intelligence of women, describing them as:

«Agar pārsā bāšad-o rāy-zan/ yeki ganj bāšad parākandeh zan».

اگر پارسا باشد و رایزن یکی گنج باشد پراکنده زن

Literal translation: "If a woman is pious and a counselor.",

she is like a treasure" ^{[14, 2010, p.112]}.

- Femme fatales who change the course of events with their actions and intrigues (Sudabe, Golnar).

In Shahnameh, female characters are often in a subordinate position, but their role in the narrative is significant. "Shahnameh" tells about an aristocratic secular society where the position of women and men exceeds the social level of the common people ^{[9, 2006, p. 116]}.

Interestingly, some female characters have artistic talents. For example: Arezo, being a musician, becomes famous at court. In the story of Bijan and Manige, music playing plays a key role in plotting. Unlike what was traditional in the historical culture of other nations, especially in ancient Roman, the daughters of Ahura belonged not only to a certain socio-economic class, such as royal families; in addition, they could interact with the general public from all social strata, and their modesty was one of their main qualities^{[16, 1990, p. 148]}.

Firdowsi stresses that women's social behavior is also important.:

- Hospitality is a valuable quality demonstrated by Palizban's wife, who cordially welcomes the king.

- Loyalty is considered the highest virtue, which is especially vividly reflected in the images of Shirin and Farangis.

However, negative female characters are opposed to these ideals. They are self-centered, rebellious, and cunning. For example, Sudabe uses love as a tool of manipulation and power. Firdowsi shows that a woman in the Shahnameh is not superior to a man. And if it departs from accepted norms, it is condemned.

1.4. The role of women in the family and society

The women in the Shahnameh embody loyalty, caring for their husband, and family values. Palizban's wife symbolizes hospitality. Sindokht, Rudabe's mother, demonstrates diplomatic talent by resolving the conflict between the families. However, Firdowsi emphasizes that a woman should not be superior to a man.

The female characters in Firdowsi's Shahnameh occupy a significant place in the narrative. They are presented as wise, noble, devoted wives and mothers, but sometimes also as treacherous and destructive figures. Their role in the plot varies from passive observers to active participants in events that affect the fate of the characters. In ancient Persian literature, writers paid attention not only to the femininity and elegance of women, but also to their qualities such as courage and boldness. The heroines of such works are usually characterized by loyalty, virtue, beauty, power, independence, and at the same time selfless devotion to her husband and fatherland ^{[7, 2017, p. 12]}.

1.5. Belligerent and negative characters: treachery and betrayal

Although most of the women in the Shahnameh are depicted as wives and mothers, some have warlike features.

Gordy, Bahram Chubin's sister, is one of the few women who are directly involved in military events. After her brother's death, she leads the army and opposes the Chinese Khaqan. "She is a woman holding the position of general" ^{[10, 2009, p. 108]}.

Some women are depicted as carriers of vice, deception and betrayal. Sudabe is one of the most insidious heroines. She tries to seduce Siyavush, and then accuses him of a crime. Her image is associated with destructive female power.

"Siyavush was destroyed because of the woman's words. The woman who was not born of her mother is happy" ^{[14, 2010, p. 171]}.

Karakaka is a sorceress who uses magic to deceive men. There are women in the Shahnameh who have knowledge about the future and influence the course of events. Sinddokht, Rudabe's mother, is shown to be a wise and far-sighted woman. Despite the danger, she helps her daughter connect with her lover. Golnar is a mysterious woman with magical abilities who uses witchcraft to achieve her goals.

The female images in the Shahnameh are diverse and multifaceted. They can be virtuous and wise, passionate and devoted, but also treacherous and destructive. The epic emphasizes the dual nature of women: on the one hand, she is the guardian of family and traditions, on the other, she can cause a catastrophe.

Firdowsi creates a gallery of female characters, each of whom plays a unique role in the epic. Some of them help the heroes, inspire them to feats, others cause tragedies. However, regardless of their role, women in the Shahnameh have a significant impact on the development of events. In general, there are several key categories of female images in the Shahnameh:

1. The ideal heroines are virtuous, loyal and wise women.

2. Militant and active women, capable of independent action.

3. Negative characters whose actions are condemned by the author.

4. Women associated with magic, fate, and prophecy.

5. Women are lovers and seductresses, often acting as a source of conflict.

2. Images of a woman in the Nart epic

Female characters in the Nart epic play a significant role in the life of the Narts. They are depicted as educators, guardians of the family, wise counselors and even warriors. Unlike the Shahnameh, where women are more often subordinated to the male world, in the Nart epic many of them have an active position and even magical powers.

In general, there are several key categories of female images in the Nart epic.:

1. Wise counsellors and mentors of heroes.

2. Warriors and heroines who participate in battles.

3. Women associated with magic and fate.

4. Wives and mothers who preserve the family.

5. Negative characters who are characterized by treachery, destructive passion and jealousy.

2.1. Wise counsellors and mentors of heroes

In the Nart epic, women play a special role, guiding the sleds, helping them make the right decisions, educating them, and protecting family traditions. Sataney-Gouasha is one of the central figures of the epic, the Great Mother of the Narts. She is wise, able to predict the future and helps the heroes avoid mistakes. Her knowledge is comparable to men's, and her advice is valued on a par with the opinion of warriors. "Sataney appears to be a wise counselor of the narts, able to resolve men's disputes" ^{[3, 2016, p.1038]}.

Shatana is another woman with a sharp mind and great respect among the Narts. Her wisdom is emphasized in the epic.

Female warriors and heroines participating in battles

Although men are more often warriors in the Nart epic, there are also women who take up arms and fight alongside men. Nashiran is a warrior maiden who participates in campaigns with Atsamaz. She fights giants, proving that women can be no less brave than men. Dargavsar's daughter is a warrior leading her own squad into battle.

2.2. Women associated with magic and destiny

Magic plays an important role in the Nart epic, and women are often its bearers. They can predict the future, control the elements, and even change the course of events. Bedokha is the wife of Soslan, who has knowledge about the Land of the Dead. She guides her husband and helps him get out of difficult situations. "After Uastyrdzhi appeared with a horse and a dog in the crypt, Shatana, the wisest woman in the world, was born" ^{[8, 2010, p. 160]}.

2.3. Wives and mothers who preserve the family

Women in the Nart epic not only educate and teach heroes, but also perform important social functions — they manage the household, help their husbands and preserve the family. The wife of a Hamyts takes care of the needs of the family, and also sews clothes for sleds, showing generosity and generosity.

Dzerassa is the mother of Uryzmag and Khamyts, presented as a respected and revered woman, accepted by the narts with honor. "The venerable narts rejoiced and said, 'Take her to the rooms of honor'" ^{[8, 2010, p. 18]}.

2.4. Negative characters: treachery, destructive passion and jealousy

In the Nart epic, there are also women whose actions lead to tragic consequences. The story of Dzerassa is connected with the deaths of the brothers Akhsara and Akhsartaga. She causes a conflict between them, which leads to their deaths. "Oh, woe, what a black sorrow has befallen me. Both brothers died because of me!" ^{[8, 2010, p. 13]}.

Some witches and wizards can use magic not only for good, but also for harm, for example, bringing curses or creating chaos. Female images in the Nart epic are diverse. Unlike the Shahnameh, where women are more often subordinate to men, here they can be equal to men or even surpass them in wisdom, power or magic. While the Shahnameh focuses on romantic and family relationships, in the Nart epic, women are more often advisers, warriors, or possessors of supernatural abilities.

3. Images of women in the epics "Shahnameh" by Firdousi and the Nart epic

1.3. Differences in the representation of female images

The images of women in Firdowsi's Shahnameh and the Nart epic reflect the differences in cultural and social concepts characteristic of these epic traditions. Both works emphasize the importance of women, but her role in society and the family is interpreted in different ways. In Shahnameh, a woman is presented in a romanticized and tragic way, her fate is subordinated to patriarchal norms, but at the same time she has emotional depth. In the Nart epic, women are more independent, they are associated with magic, wisdom and social laws.

Thus, in the Persian tradition, a woman is the bearer of moral values, whereas in the Caucasian epic tradition she is endowed with independence and an active role in society.

1.3.1. The woman in the Shahnameh: between the ideal and the tragedy

In Shahnameh, the female image is based on a combination of loyalty, beauty, and moral dilemmas. Women often find themselves in a subordinate position, but at the same time they influence the fate of the characters. Tahmine shows courage by being the first to confess her love to Rostam, but her future life is not determined by herself. Farangis embodies the ideal of a wife and mother, whose fate depends on the decisions of men. Sudabe combines love and destruction, demonstrating the duality of the female character. Firdowsi shows that women can be smart, brave, but at the same time limited by social boundaries.

An important aspect of female images is their connection with moral norms and religious ideas. Firdowsi claims:

«Ze pāki-o azp ārsāi-ye zan/ke ham qamgosār ast-o ham rāy-zan».

ز پاکی و از پارسایی زن که هم غمگسار است و هم رایزن

Literal translation: "On the piety and moral purity of a woman, both a comforter and a counselor" ^{[14, 2010, p. 121]}.

Thus, a woman in the Shahnameh is not only an object of love, but also a philosophical category reflecting ideas about morality.

1.3.2. A woman in the Nart Epic: wisdom and an active role

Unlike the Shahnameh, women in the Nart epic are not passive, but perform important social and ritual functions. Sataney is the keeper of ancient knowledge, the mentor of the sleds, influencing the fate of the heroes. Nasiran is a warrior maiden who participates in battles on an equal basis with men. Shatana is a wise woman whose words "were straighter than the sun's rays and sharper than a sword" ^{[8, 2010, p. 363]}.

Women in the Nart epic are not only companions of the heroes, but also independent decision-makers. As the researchers emphasize, the Ossetian Nart epic has preserved legends about warrior maidens: "Together with Atsamaz, the warrior maiden Nashiran took part in the Nart campaigns. The giants are fighting not only with the sleds, but also with the detachment of Dargavsar's daughter" ^{[13, 2013, p. 94]}.

There is an episode in Ossetian nart legends when the wise wife of a Khamytsa quickly and skillfully sews clothes for two hundred men in two days from silk, linen and precious fabrics accumulated in the chest of a Khamytsa, so that her husband distributes it to the sleds. And she doesn't worry that she and her husband will become impoverished: "When she had prepared clothes and shoes to clothe two hundred men, she said to the Boor: "Now do this: take all these clothes and distribute them to the sleds. Whoever is poorer, give him the best. And do not be afraid that we will become impoverished from this" ^{[8, 2010, p. 235]}.

The woman in the Nart epic not only supports the man, but also determines the course of events, which distinguishes this tradition from the Persian one. In the Caucasian tradition, a woman could not only be the keeper of the hearth, but also play an important social role. "Among the Narts, the role of women in the education of young people is exceptionally great. ... the educators are, in a way, epic beautiful brides who choose their husbands and encourage the sled heroes to commit heroic deeds" ^{[4, 2012, pp. 3-4]}.

In the ancient part of the legends, there is one of the most widespread images in world folklore (and not only in folklore) of a woman who represents a source of danger that deprives a man of strength" ^{[5, 2010, p. 141]}.

The female mind in Ossetian Nart legends is represented in the form of Shatana and Bedokha. Shatana's wisdom is repeatedly approved in the Nart legend: "A girl was named Shatana. And she was so wise and beautiful that the light of her face turned the dark night into day, and the words she spoke were straighter than the sun's rays and sharper than a sword." In the fairy tale "Atsamaz and the Beautiful Agunda," Shatana's mind is praised through the mouths of sleds singing a song: "They brought Agunda, the beautiful woman, to the village of Nart and brought her into the House of Sleds. Agunda the beautiful bowed low to the glorious Nart mistress, the wise Shatana. And the friends sang a friendly song on the threshold: oh, our beloved hostess, our glorious Shatana!" ^{[8, 2010, p. 363]}.

According to Dzerassa, after Uastyrdzhi appeared with a horse and a dog in the crypt, not only the wisest woman in the world, Shatana, was born, but also Arfan, the first fleet-footed wonderfully heavenly indefatigable horse of the oldest sleds, the Uryzmag horse, as well as Silam, the first dog on earth.

The fairy tale "How Batradz avenged his father's death" says: "The seven sons of Burafarnig chased after him and they spread out one after another along the road. Then Batradz turned his horse back and killed all seven of them in turn, one by one. After that, Batradz returned home and told the wise Shatana about everything." The insight of Bedokha, Soslan's wife, who understands the intricacies of all events in the Land of the Dead, is also obvious when she guides Soslan so that he can find a way out of the Land of the Dead.

1.3.3. The social roles of women in epics

The female characters in Shahnameh belong to the upper stratum of society, their fate is determined by their ancestry and political position. However, Firdowsi shows that women can be smart rulers and warriors. Kidafe is a queen who conducts political negotiations on an equal basis with men. Gordy is a female warrior who gathers an army against the invaders. According to Ferdowsi, women have such a value that they can hold important positions in the government and run the country along with men. For example, when Iskander's song is sung and he is preparing to leave this world, he sends a messenger to his mother asking her to take over the country. And he also asks the rulers of the entire empire, united under his leadership, to help his mother manage the affairs and improve the social situation of the people and consider only her as their ruler.:

«Dabir-e jahān-dideh rā piš xānd/ har ānčaš be del bud bā u berānd/

Be mādar yeki nāme farmud-o goft/ ke āgāhi-ye marg natvān nahoft».

دبیر جهاندیده را پیش خواند هر آنچش به دل بود با او براند

به مادر یکی نامه فرمود و گفت که آگاهی مرگ نتوان نهفت

Translation: "I called the clerk, who had seen a lot,

And he told him everything that was in his heart.

He ordered me to write a letter to my mother and said:

It is impossible to hide the news of death" ^{[14, 2010, p. 103]}.

And he says:

«Beguyam konun bā bozorgān-e Rum/ ke čon bāz-gardand zin marz-o bum/

Najuyand joz rāy-o farmān-e to/ kas-i bar-nagardad ze peymān-e to».

بگویم کنون با بزرگان روم که چون بازگردند زین مرز و بوم

نجویند جز رای و فرمان تو کسی برنگردد ز پیمان تو

Translation: "I will tell the Roman rulers now,

When they return from this country,

Don't look for anyone but your solution,

Do not turn your back on your agreement" ^{[14, 2010, p.104]}.

A. Shoghi writes: "Firdowsi is the first wise and far—sighted author who considers a woman to be equal to a man in any field of activity in this territory. In the Shahnameh, a man and a woman are equal to each other. Men consult with women on important issues, and it is very likely that they overcome difficulties together with intelligence, skill and patience" ^{[18, 1971, p. 211]}.

In the Nart epic, a woman is represented not only as a mother, but also as a mentor, judge and warrior. She has magical knowledge, political influence, and wisdom. There is such a fragment in the epic: "Either the headscarf will overcome the papakha, or the papakha will prevail over the headscarf. They struggled for a long time, and suddenly, together, they stood in a row in front of me. ... — and he foretells a time when a woman and a man will be equal in everything" ^{[8, 2010, p. 160]}. This confirms that in the Caucasian tradition, a woman has equal rights with a man.

1.3.4. The importance of female images for the development of the plot

Siyavush's death, according to Firdousi, is the result of a woman hiding the truth.:

سیاوش به گفتار زن شد به باد خجسته زنی کاو ز مادر نزاد

«Siyāvoš begoftār-e zan šod be bād/ xojasteh zani ku ze mādar nazād».

Translation: "Siyavosh was destroyed because of the woman's words.

The woman who was not born of her mother is happy" ^{[14, 2010, p. 171]}.

The murder of two glorious brothers, the Nart heroes Akhsara and Akhsartaga, occurs as a result of a misunderstanding between the brothers because of a woman, Dzerassa, Akhsartaga's wife: "Oh, woe, what a black sorrow has befallen me. Both brothers died because of me!" ^{[8, 2010, p. 13]}.

The reason for the war in the Shahnameh is deeper contradictions, not disagreements over a woman. Only once did a woman cause a war — when several heroes in the hunting grounds saw a confused girl, and everyone wanted to appropriate her for themselves. In the end, they came to an agreement: to bring her to Kay-Kavus, and subsequently this girl became Siyavush's mother ^{[19, 1970, p. 118]}.

Firdowsi emphasizes that love in the Shahnameh is a force that motivates a man to feats.

«Bedu goft rāy-e to ey šir-zan/ derafšān konad dude-vo anjoman».

بدو گفت رای تو ای شیرزن درفشان کند دوده و انجمن

Literal translation: "I said to her: O brave woman, your opinion

It illuminates soot, everywhere and everything" ^{[14, 2010, p. 40]}.

Women who are privy to the secrets of men, who have become their advisers, consider ways out of difficult situations, and actively participate in the search for common solutions for the warring parties ^{[1, 2016, p. 55]}. In the Shahnameh, Gordiya sends his wife with a letter and Khosrow-Parviz's seal as an ambassador to Gordi, his sister, and Bahram-Chubin's sister, in order to convince her to commit the murder of her husband, Gostakhm, and then marry Khosrow-Parviz. This case is described by Hakim Firdowsi in the last chapter about the thirst for revenge on Parviz-Khalan.:

به خواهر فرستم زن خویش را کنم دور از این در بداندیش را

که چونین سخن نیست جز کار زن به ویژه زنی کاو بود رایزن

«Be xāhar ferestam zan-e xiš rā/konam dur az in dar bad-andiš rā/

Ke čunin soxan nist joz kār-e zan/ be viže zan-i ku bovad rāy-zan»

Translation: "I will send my wife to my sister,

I won't let the enemy near this door.

These words are nobody's except a woman,

Especially that female advisor" ^{[14, 2010, p.130]}.

In the Nart epic, women not only inspire heroes, but also directly participate in making fateful decisions. For example, in the legend "Akhsartaggata and Borata are blood relatives", the heroes turn to Shatana for advice, knowing that only she can help them. When the heroes turn to Kaftisar-Hiandon-aldar for help in order to prevail over their blood enemies, he promises to give them his army in response to this request if Akhsartaggata can guess exactly how many soldiers he has: "At first they were discouraged by Akhsartaggata, and then they thought and decided: — Let's ask-We're going to Shatan. If she doesn't help us, then no one will" ^{[8, 2010, p. 387]}.

1.3.5. Love and matrimony: parallels in the epics

The issue of love and matrimony is central not only in the Shahnameh, but also in the Nart epic. According to Firdowsi, marriage is one of the necessary and inevitable events in the life of a woman who must raise good and righteous children who serve society ^{[11, 1990, p. 175]}:

مرا خود به ایران شدن روی نیست زن پاک را بهتر از شوی نیست

«Marā xod be Irān šodan ruy nist/zan-e pāk rā behtar az šuy nist»

Translation: "I am ashamed to go to Iran,

There is nothing better for an honest woman than a husband" ^{[14, 2010, p. 121]}.

If in the Shahnameh a woman can take the initiative in love, then the Nart epic emphasizes the moral side of marriage.

Ancient Persian girls felt confident in communicating with men, and some of them were the first to confess their love and even offered men to marry themselves ^{[16, 2006, p. 260]}. They are pioneers in love, when the expression of love comes first from a woman, followed by a response from a man ^{[2, 2011, p. 61]}. For example, when Rostam comes to the city of Samangan in search of his missing horse, he becomes a guest of the king of Samangan. At night, with a candle in her hand, Tahmina goes to Rostam's bed and tells him about her love and the reason for the birth of her son from Rostam.

The scene of Tahmina and Rostam meeting is very passionate and embodies the spirit of freedom and pride of women, expressing a natural and legitimate demand that is also accepted by the culture of society. Thus, the social norms of that time provided for granting a woman the right to choose her spouse ^{[6, 1995, p. 58]}. In the case of Tahmina and Rostam, Rostam eventually proposes to Tahmina to marry him through the Mobad (Zoroastrian clergy), and she marries him in accordance with the Zoroastrian religion. A similar approach is observed in the romantic relationships of Sudabe and Siavasha, Golnar and Ardeshir, Arezo and Bahramgur ^{[20, 1977, pp. 1-15]}.

In Nart legends, a young woman has no right to talk to the elders of her husband's family, nor to address them, nor to turn her back on the elders. A woman also had to call her husband as "my of my head", "our man", and her sister-in-law as "his (i.e. husband's) sister", that is, "spouse's sister", "their girlfriend", etc. In turn, the husband was obliged to call his wife "our mistress", "the old one", "the old woman", etc. As an example, we can cite the episode in the section "How Shatana became the wife of Uryzmag", when Elda, the wife of Uryzmag, after a long journey of Uryzmag, prepares to receive guests, resorts to Shatana and addresses her "from their kind of girl": "Girl, girl, there's a girl from their family... Is it really time for me to embarrass myself? My rong is not wandering. After all, if I don't prepare a treat, your brother will be very displeased with me when he returns — it's worse than death for me" ^{[8, 2010, p. 29]}.

In the section "The birth of Uryzmag and Khamytsa", when Dzerassa passes by the village of Narts for the first time and walks along the street near Nihasa, where the venerable sleds gather, she, according to the customs of the sleds and as a sled bride, lowers her head and does not turn her back to the old people, and the venerable sleds are surprised by this: "Who is she Like this? She's as respectful to us as if she were our daughter-in-law." In the story "How Soslan married Koser," when Soslan asked the bride "Where have all our people gone?", she did not answer, since, according to custom, she had no right to speak with her elders: "Where have all our people gone? Soslan asked her. But the woman did not answer him, she had recently married and, according to custom, had no right to talk to her elders." Giving up reproaches and learning to express love is an essential condition for maintaining friendly relations in married life: "I drove on and saw a husband and wife lying next to each other. A large cowhide is spread out under them, and they are covered with another similar hide. Each of them pulls the skin in his own direction, but there is not enough for both of them. "Why is this so?" asked Soslan. "That's why it's so," replied the Poor Woman, "because these husband and wife did not love each other during their lifetime, they reproached each other all their lives..." And nearby," said Soslan, "I saw other spouses. A rabbit skin is spread under them, they are covered with another rabbit skin, but it is clear that they are warm and spacious. ... — They loved each other dearly on earth, and here, in the Land of the Dead, their earthly love warms them" ^{[8, 2010, p. 155]}.

In the Caucasian tradition, love is not only a passion, but also a moral duty that ensures family happiness. The Nart story "Exiled to the Land of the Dead" describes the fate of different married couples; those who have reproached each other all their lives cannot keep warm in the afterlife. And those who loved each other remain happy even after death. These tales speak several times about the condemnation of infidelity and betrayal and about the praise of a woman's devotion and love for her husband. One section talks about a woman who stitches cracks in a mountain with a thick needle: "I also saw a woman. With a thick needle she sewed up the cracks of the mountains. It's obvious that she can't do this kind of work, poor thing, but she can't even leave it for a while to rest. — During her lifetime, this woman deceived her husband ..." ^{[8, 2010, p. 156]}.

1.3.6. The role of women in the family and society

Sometimes in epics, a woman simply performs the function of giving birth to children, mighty boys, as it was in the age of ignorance.

Firdowsi says:

به زن هیچگونه نپیوندمی که گرنه بر امید فرزندمی

«Be zan hič-guneh napeyvandami / Ke garna bar omid-e farzandami»

Translation: "I will never get married,

If there is no hope of having children" ^{[14, 2010, p. 253]}.

In the story "The Birth of a Batradz," the wife of a Hamyts considers it her duty to give birth to a daring son for her husband. This, along with three other good deeds, is the most important thing she can accomplish: "I should have given birth to your son, and if he had been suckled by me, there would be no one like him in the whole world. The sword would not have taken him and the arrow would not have pierced his body" ^{[8, 2010, p. 237]}.

The duty of a woman to "give birth to a baby boy" is also vividly felt in the story "The Birth of Uryzmag and Hamyts." At the same time, we observe the respect of the sleds for the bride, who is supposed to give birth to a son: "The venerable sleds rejoiced and said: "Not to the lower tier of the Akhsartaga tower, but to the very top of the tower, escort her to the rooms of honor." And then Dzerassa said, “It's not appropriate for me to be there now. The time will come soon when I will show you the new offspring of your family. In the meantime, I won't feel better on a high tower, but in a dark stable.” The women took her to a stable, and there she gave birth to two twin sons. Uryzmag and Khamyts were the boys' names" ^{[8, 2010, p. 18]}.

In the story "Shatana's Nameless Son", having a newborn boy, according to Shatana, is having a "secret treasure", a son who could take care of them in old age: "I kept a secret treasure in my parents' house in the Donbass — our owner was on a camping trip at that time when my son was born. I sent our son to be raised in my parents' home. But Uryzmag found him there, too, and, having not yet seen life, he sent our son to the Land of the Dead. How are we going to live now? Who will take care of us in our old age?" ^{[8, 2010, p. 40]}.

The epics also describe cases when a woman is humiliated to such an extent that, along with property and things at home, she is considered part of it, and it is even allowed to give her away.

In confirmation, we will give an example from the Shahnameh, when Firdowsi says:

زن و خانه و چیز بخشیدنی است تهیدست کس با توانگر یکی است

«Zan-o xāne o čiz baxšidani-st/ tohidast kas bā tavāngar yeki-st».

Full translation:

"A woman, a home, and a thing deserve to be given.

The poor are equal to the rich" ^{[14, 2010, p.45]}.

Nart warriors are ready to bet on a woman, as they do when hunting for prey; they also give women as gifts or steal them: "Chelakhsartag, the son of Khiz, began to argue with Soslan about which of them is better. "By my father,— said Chelakhsartag, "I am ready to compete with you in everything, and I am sure that I will surpass you in everything." Come on, let's have a bet. "Let's dance,– Soslan replied. "What do you want to bet?" —If you can dance better than me," said the son of Khiz, "then I will marry my daughter to you, a beautiful Poor Woman." In the section "How Soslan married Koser," the lord of the devils wants to give all his three daughters to Soslan as wives. And in the story "How Batradz took the fortress of Khiza," Aldar likes Soslan's wife, Khiza, the beautiful daughter of the Sun, and he plans to kidnap her, and when he was Exiled on a long hike, he carries out his intention.: "The Khizi aldar tracked her down, mounted his horse, rode straight to Soslan's house, seized the daughter of the Sun and abducted her" ^{[8, 2010, p. 288]}.

The women in the Shahnameh embody loyalty, caring for their husband and family values. The Shahnameh repeatedly suggests that a woman can be an adviser, but not the main figure in government.

Unlike the Shahnameh, in the Nart epic a woman is represented as a wise mentor, warrior and keeper of traditions.

The woman in the Nart epic not only protects the house, but also actively participates in public life, which distinguishes her from the heroines of the Shahnameh. Sataney possesses magical knowledge and the gift of foresight. Nashiran participates in military campaigns on an equal basis with men. Shatana has a strong influence on the Narts, her words have a special power.

1.3.7. Criticism of female images

Firdowsi shows not only the positive sides of women, but also their shortcomings; Sudabe symbolizes jealousy and the destructive influence of passion. Rukhsara suffers because of her emotionality and dependent position.

In Firdowsi's opinion, shyness and modesty are valuable qualities of a woman. A shameless woman should be hated ^{[11, 1990, p. 169]}:

«Beporsid kāhu kodāmast zešt/ ke az arj durast-o dur az behešt/

Čonin dād pāsox ke zan rā ke šarm/ nabāšad be giti, na āvāz-e narm».

بپرسید کآهو کدام است زشت که از ارج دور است و دور از بهشت

چنین داد پاسخ که زن را که شرم نباشد به گیتی، نه آواز نرم

Translation: "And I asked what was the ugly flaw,

Without value and far from paradise?

He answered like this: if a woman is not shy,

and there is no soft speech in the world" ^{[14, 2010, p. 287]}.

In the Nart epic, female characters are also not always perfect. Their excessive independence is sometimes perceived as a threat to the traditional order. Women can be manipulative, use magical abilities for personal gain. Thus, despite their strength and wisdom, the female characters of both epics face criticism for their emotionality, desire for power, and violation of social norms.

The images of women in the Shahnameh and the Nart epic represent different cultural models. In the Persian tradition, a woman is the guardian of morality, her fate is determined by patriarchal norms. In the Caucasian tradition, a woman is a wise mentor and warrior who influences public life. Despite the differences, both epics emphasize the importance of female characters, their influence on the fate of the characters and on the epic narrative itself.

Conclusion

Summing up, it should be said that most of the women in both the Shahnameh and the Ossetian Nart legends are endowed with vivid features of wisdom, generosity, nobility, modesty and are worthy of deep respect and love. In general, women in these works are characterized by high position, nobility, authority and prestige. Even if they do not have the same rights as men from a gender and social point of view, or, as it is commonly called now, feminist rights, even if the non-participation and passivity of women in important events, as well as their forced presence in the revelry and pleasures of men, are condemned, the reasons for this lie only in similar traditional worldviews of past times. in Iranian and Ossetian societies, and therefore one should not criticize the poet or the people for any views regarding women. What is common to the female images in these works is that the wives, sisters, and mothers of heroes and shakhs, because of their aristocratic position or their role as educators, protectors, and supports for the heroes, do not look humiliated and insulted, and in this regard their position differs from that of women from lower social strata. It is possible to come to a number of significant conclusions that in "Shahnameh" the image of a woman is more romanticized and tragic, the author's attention is focused on emotions and on the fate of women in the framework of patriarchal relationships. In the Nart epic, female characters often possess magical abilities, reflecting the influence of ancient Caucasian mythological representations. For example, Sataney-Gouasha not only educates sleds, but also uses magical knowledge to predict the future. Unlike her, the heroines of the Shahnameh (for example, Tahmine or Farangis) are devoid of supernatural abilities and are perceived more as guardians of family values.

In the Shahnameh, the image of a woman often symbolizes an idealized and tragic figure who is confronted with the rigid framework of patriarchal relationships. Women in this work are usually depicted as wives, mothers and daughters, whose fates are closely intertwined with the fates of men ^{[17, 2006, p. 314]}. Women in the Shahnameh are figures whose actions and emotions are tinged with tragic tones, they often sacrifice themselves for the sake of their family or for the sake of a man, and they suffer because of their helplessness before the cruel laws of society. These images emphasize the contradiction between their inner strength, courage, and external subordination; they are symbols of resilience and tragedy, where emotions such as love, loyalty, grief, and suffering often become defining features of their personalities.

On the other hand, in the Nart epic, which is typical of Caucasian mythology, the image of women is much more independent and powerful. Here, women often possess magical powers, knowledge, as well as the ability to control the natural elements or predict the future.

Unlike the more limited roles of women in the Shahnameh, in the Nart epic, women are often independent and active participants in events, and their role in society is not limited only to household chores or family responsibilities. They can be warriors, chieftains, or magicians, and their wisdom and power are associated with a deep knowledge of natural and social laws. In the Nart epic, a woman, as a rule, does not act as a victim of circumstances, but as an active character who acts according to her own beliefs and wisdom. This highlights a more liberal and independent view of a woman, where her importance is determined not by her connection to a man or family, but by her own contribution to social and natural harmony.

Thus, both epics emphasize the importance of women, but in different contexts: in Shahnameh, the female role is often tragic and limited by patriarchal boundaries, where women, despite their inner strength and emotional depth, face suffering. Whereas in the Nart epic, women are portrayed as independent and powerful individuals with wisdom and the ability to influence the world around them. These differences reflect different cultural and social attitudes, ideas about the female role in different societies and eras, where in one case the female fate is subordinated to traditions and laws, and in the other — the woman creates her own destiny, is the owner of power and wisdom. Women in the Nart epic often have power, manifesting it in various forms. For example, Sataney-Gouasha is not just a mother, but also a wise counselor who influences the fate of the characters. She is not afraid to come into conflict with men, her decisions are respected. In addition, there are female warriors in the epic, such as Nasiran, who fight alongside men. These images contrast with the female characters of the Shahnameh, who, as a rule, do not participate in battles and are more limited in their choice of fate.