British Institute of Persian Studies

WARLIKE HEROINES IN THE PERSIAN ALEXANDER TRADITION: THE CASES OF ARĀQĪT AND
BURĀNDUKHT
Author(s): Evangelos Venetis
Reviewed work(s):
Source: Iran, Vol. 45 (2007), pp. 227-232
Published by: British Institute of Persian Studies
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 WARLIKE HEROINES IN THE PERSIAN ALEXANDER TRADITION:
THE CASES OF ARAQIT AND BURANDUKHT

By Evangelos Venetis
University of Leiden*

Abstract
The Iskandar-nama and the twelfth-century Darab-nama are discussed as examples of the epic
eleventh-century
romance in classical Persian literature, with in the first, and Burandukht in the second, as of
prose Araqlt examples
warlikewomen. The similaritiesand differencesin therolesof these twoheroines in theirrelationshipstoAlexander
are examined, first, as adversaries, and then, as lovers, of the king.

Keywords
Alexander Romance; Darab-nama; warrior women; Queen of Fairyland; Queen of Iran.

The eleventh-century Persian Iskandar-ndma ("Book skilful fighter, warfare is not her profession. In the
of Alexander") and the twelfth-centuryDdrdb-ndma narrative, the number of warlike women is restricted
("Book of Darius") belong to the genre of epic prose but their role is important.10
romance. In these twoworks, epic and romance are two In the Iskandar-nama, Araqit is a special example of
genres indispensably interwoven into one narrative.1 thewarlike woman. The Alexander-Araqit adventurous
Epic emphasises deeds and reflects the heroic love affair forms the backbone of the narrative and it is
behaviour of the protagonists with a narrative full of closely associated with themodel of the Solomon-Bilqis
war-scenes and chivalrous and magnanimous deeds. It relationship. This results mainly from the influence of
also claims historicitywithout being historically exact.2 Islamic lore and of theQisas al-anbiya3 tradition on the
Romance is based on words through dialogue and on Iskandar-ndma. Yet Islamic lore, as an influential factor
discourse through love affairs3 and the adventure, about the formation of thismotif in the narrative, is only
usually, of two lovers; the romance expresses more one side of the coin. In order tounderstand the role of the

implicitly than in an expository way the eternal quest of Alexander-Araqit love affair, it is necessary to examine a
man for the accomplishment of the desired self similar love story, that ofAlexander and Burandukht, in
awareness and self-perfection.4 Thus love, as a device Tarsusi's Darab-nama.11 A comparison between these

symbolising this quest, plays a central role in romance, two love storieswill reveal their inner connection.
hence in the Iskandar-ndma.5 It is hoped to prove by this analysis thatboth stories
Warfare or single combat is a metaphor of love in (Alexander-Araqit and Alexander-Burandukht) share
Persian prose romances.6 This is reflected in literature common motifs (topoi) which enable the reader to
through the motif of the warlike (or warrior-like) identify them as one basic motif in the Persian
woman which is widely attested in classical Persian Alexander tradition. This has been altered in two
literature.7The motif is also widely attested inArabic different versions of the same narrative about
epic romances (the Siras), such as those of Dhdt al Alexander's life in Persian literature.Accordingly, it is
Himma, Hasan ofBasra and others.8 This motif reflects suggested that the figures of Araqit and Burandukht
a contrast to theMuslim social stereotype of woman's represent the same motif of a heroine who has different
seclusion.9 Concerning its typology, thewarlike woman images and functions within each of these two
has been trained in the arts of combat and fighting. She narratives. Essentially, they represent a particular type
personifies the perfect model of a desirable female: of Persian warlike heroine, acting both as adversary of
beautiful, unchaste, young, deceitful and full of energy. Alexander and his alter ego in these two Persian prose
She belongs to the upper social class and, although a romantic versions of theAlexander romance.
 228 JOURNAL OF PERSIAN STUDIES

As a result, by suggesting that the above two stories behaviour suggest similarity to an Amazon: she is the
are essentially the same motif storyof a queen, queen of a mysterious land inhabited only by female
resisting
Alexander's power and defending her country, this fairies who are all warlike and who fight from the
analysis questions Hanaway's theory about saddle of theirhorses. This similarity becomes obvious
Burandukht. According to his view, Burandukht cannot from the very beginning.18 Araqit on horseback attacks
be considered equivalent to the warlike fairies Alexander, attempting to take him by the belt and
(pariydn) because "the latter are supernatural beings" unhorse him. However, she cannot approach Alexander.
and because she is identified with Anahita. Hanaway Then, he counter-attacks, catches her by her belt and
suggests also that thewarlike heroine Burandukht in the while he is about to tear her from her horse, Araqit
Ddrdb-ndma is a legendary manifestation of the gathers all her strength and tears her belt.19 The fairies
Zoroastrian deity Anahita. His theory is based upon intervene and help Araqit escape from Alexander's
three factors in the narrative: Burandukht's strong hands. This is the first combat between the two lovers
association with water and the city of Istakhr, her and it ends in a draw. This equilibrium of power
profile as the Queen of Iran against the Muslim between the two sides continues in several battles
conqueror Alexander and the fact that she is the holder throughout the rest of the narrative.
of farr.n A second point of Hanway's theory is that Araqlt's example confirms that some warlike
Alexander and Burandukht's story is unique in the women break the general rule of women as
secondary
tradition of Persian romances "with respect to itsmajor actors in this narrative and play the role of the
characters and events".13 Third, he makes a strict protagonist on an equal basis with themain figure of
distinction between thewarlike fairies and thewarlike the plot (Alexander). From the fourwarlike women in
women because the former are "supernatural beings" the Iskandar-nama, only Araqit manages to remain a
while the latter (in this case, Burandukht) "are regarded protagonist. Suhayl, Shahmalik's daughter, and
as actual human beings in the world of the story".14 Yaqutmalik play an important role, each one in their
Marina Gaillard agrees with Hanaway's points in the own story,but nothing beyond it.After the end of the
introduction to her recent French translation of the story they are thrown into oblivion by the narrator.
Ddrdb-ndma.15 In order to discuss the above points, it However, Araqit is the only case of a woman who plays
is necessary first to look at the content of these two a constantly predominant role and becomes
stories and examine their similarities and differences. Alexander's alter ego, a common feature inpre-Safavid
In the Iskandar-ndma, Alexander visits Fairyland prose romances.20 Her active fighting role after her
after his trip to the Land of Darkness.16 Alexander's marriage is in accordance with the profile of warlike
encounter with Araqlt is an endless combat on the women inArabic literaturewho also do not fade from
battlefield. Alexander is the intruder and Araqlt the public life.21
defender. Alexander's persistence in trying to capture Moreover, a strikingmotif in the narrative is the
Araqit's kingdom, Fairyland, while in fact he can femininity of thewarlike woman, a topos also attested
bypass itwithout any further trouble, symbolises the inArabic romances.22 Her beauty is over-emphasised
inevitable attraction of the two lovers. Land, for and she consciously makes use of her feminine
Alexander, symbolises Araqlt herself, and the conquest qualities in battle. This causes Alexander's confusion
of land corresponds to the sexual conquest of itsqueen. when he comes to intimate contact with her. Her
This conquest, however, is not to be achieved in a short dazzling beauty initially makes the hero fail in his
time and easily. Alexander's opponent in battle and his attempt to defeat thewarlike-woman. In the end, it is
heart's desire is an accomplished and courageous mostly her beauty rather than her strength that defeats
him.
fighter.
As has already been mentioned, love grows for As for the story of Alexander and Burandukht (or
Araqlt inAlexander's heart at first sight. Their first Rushanak) in the Darab-nama,23 Burandukht is the
meeting takes place on the battlefield and this is the daughter of Darab III and princess of Iran.When her
place where their symbolic love encounter will happen father is killed by Alexander, she rejects Alexander's
in the rest of the episode. As mentioned Araqlt proposal tomarry him and becomes theQueen of Iran
represents thewell known motif of the valiant warlike and Alexander's fiercest enemy. She is also accom
woman in Persian literature.17Her military skill and plished in military matters, thanks to her father's
 HEROINES IN THE ALEXANDER TRADITION 229

foresight in instructingher in all the arts that theprinces Queen of Iran after her father's assassination.
learnt in their childhood.24 She raises an army and Subsequently, they have a strong sense of superiority
moves against Alexander. After her defeat, she flees the and pride. A fourth similarity is that the two heroines
battlefield and regroups her forces. Then she defeats have supernatural powers. Araqit is a female fairywith
Alexander near Baghdad and moves westwards to huge power on the battlefield: all fairies can fly and
Aleppo. After several actions she is forced to retreat theirmuscular strength is dreadful for the human.33
eastwards to Istakhr in Fars with Alexander constantly Burandukht masters thewater and rainfalls, whilst she
on her heels. From this point on, she is in continuous is invulnerable to fire; she can disappear and become
retreat.After many battles she retires to a cave from invisible.34 Their similarities do not stop there.
which she disappears suddenly, and, with her supernat Although they constitute a real threat to Alexander's
ural powers, she sets off forAleppo. It is there that she advancement and plans forworld domination, both are
decides to go to a nearby mountain and, along with a defeated by Alexander on the battlefield.35 A sixth
female companion, has a bath in the flowing water common element is that both recognise Alexander's
there. It is at thatprecise moment thatAlexander passes superiority in their kingdoms.36 Moreover, they both
and sees them naked. The surprised Burandukht fall in love with Alexander and vice versa.37 This love
decides to surrender toAlexander, since he has seen her nurtures the plot and leads to the advancement of the
naked.25 She recognises Alexander as king of Iran and narrative with an ultimate result: both marry
then they getmarried.26 After theirmarriage, Alexander Alexander38 and as a result, both heroines become the
installs Burandukht on the throne of Iran and he primary female figures inhis life and in thenarrative by
embarks on his quest for the Fountain of Life and his following Alexander in his campaigns and playing the
conquest of the rest of the world. When he reaches predominant role in helping him to defeat his
India, he faces strong resistance and asks for enemies.39
Burandukht's help. With her supernatural powers, The last and most important common motif in the
mastering the power ofwater and being invulnerable to two stories is that of the naked virgin seen by the hero.
the enemy assaults, she ensures the victory for This motif is well known in the Persian literary
Alexander. Then Alexander goes to Mecca and she tradition and is also attested in theKhusraw u Shirin.40
returns to Iran.Alexander looks in vain for the Fountain It is cited in both narratives but is used by the narrator
of Life. He dies in Jerusalem and Burandukht returns to in different stages of the story:When Araqit is tempted
Iranwhere she dies shortly afterwards. by Tafqaj's intentions she says to herself that "he has
"4l The same
Starting from the common features of the two seen me naked [and I cannot
betray him]
heroines, there are several points to analyse. First, both motif is repeated when Burandukht tellsAlexander that,
Araqlt and Burandukht appear in two quite similar since he saw her naked, shewill give up fighting him.42
Persian prose romantic versions of the Alexander As for the differences of the two stories, there are
Romance tradition (eleventh-twelfth centuries A.D.).27 mainly three of these and they can be summarised as
Tarsus!'s account is another Persian version of the follows. First, Burandukht has a historical role in the
Pseudo-Callisthenes' Greek tradition. The author has Darab-nama since she is theQueen of Iran, daughter of
skilfully combined two romances and traditions; in the Darab and bears the historical name of a short-lived
first part, he narrates the story of Darab II and his son Sasanian Queen (A.D. 630-32). Burandukht's historical
Darab III,28 while in the second part of the Ddrdb dimension in the narrative is part of the general
ndma, he places Alexander's story.29 It is the second historical aspect of theDarab-nama. Although Tarsusl's
part inwhich Burandukht has the role of protagonist. account is legendary, the author uses the historical
The second common point is thatboth heroines are element (names, places and political situations) in order
initiallyAlexander's fiercest adversaries.30 They appear to make his story seem more real.
By contrast, the
as Alexander's unbeatable rivals inhis effort to historical element is much more diminished in the
conquer
their kingdoms and the world. They both Iskandar-nama and Araqit is herself a fully legendary
fight
Alexander intensely as warlike heroines in several figure: she is the Queen of the Fairyland. She has a
combats.31Another common theme is that they are both
completely legendary image, since she is semi-human
queens and leaders of their countries. Araqlt is the and semi-fairy (her upper half is human, her lower half
Queen of the Fairyland32 and Burandukht becomes the is beastlike). Nevertheless, this vital difference between
 230 JOURNAL OF PERSIAN STUDIES

the two heroines is counterbalanced, or even eliminated, doubt that Burandukht, as a warlike heroine, is not a
by Araqit's totally human-like behaviour. unique literarydevice in the Persian tradition.
The second difference between the two women is With regard to Hanaway's third point about the
their character regarding Alexander. Burandukht is "historical" dimension of Burandukht, it must be
more disciplined and fully devoted toAlexander. She
emphasised that her historical image does not
has two strictly divided profiles in the love story: the contradict the legendary aspect of Araqit in the
first is that of Alexander's fierce adversary and the Iskandar-nama of the warlike heroine as
topos
second is that of his devoted lover,wife and ally. By
adversary and lover ofAlexander.
contrast,Araqit's character ismore unstable. She is also
devoted toAlexander, but her devotion and stability are
shattered by her vulnerability and sexual preference for Notes
young males. Her love affairwith Tafqaj, however, is
brief and of an ambiguous nature (platonic or * The basis of this article was presented at the Tenth
physical?). Once she realises hermistake, she returns to International Conference for Graeco-Oriental and African
her husband's side and reinstates her devotion to him. Studies, organisedby the InstituteforGraeco-Oriental and
In spite of thisparenthesis, Araqit's profile of a devoted African Studies,Athens, 25-28 August 2005.
wife is similar toBurandukht's. 1 Love is a common feature in Persian prose romances, see

The thirddifference is structural and deals with the W.L. Hanaway, "Formal Elements in the Persian Popular
role of the two women in the development of the Romances", p. 141.
narrative. Burandukht appears helping Alexander ener 2 M.W. in
Bloomfield, "Episodic Motivation andMarvels
getically in his effort to find the Fountain of Life. and Romance", p. 105.
Epic
Araqlt, on the other hand, makes her appearance in the
3 J.C. Biirgel, "The Romance" inPersian 161.
Literature, p.

plot afterAlexander's failure to find the Fountain of 4 J. Scott Meisami, Medieval Persian Court Poetry, p. 132.
Life. However, this difference is only a minor structural 5 For the centrality of love in the romances, see eadem,
detail which does not disagree with themain point of "Kings and Lovers. Ethical Dimensions of Medieval
these lines, which is that Araqlt and Burandukht Persian Romance", pp. 1-27.
constitute the same topos. 6
Hanaway, op.cit, pp. 153-54.
From the preceding discussion, it is evident that the 7 War as a
metaphor for love is also attested in the Vis u
similarities are numerous and convincing enough to Ramin in the case ofMubad and his adversaryViru, who
make one question Hanaway's theory, in that he paid combat for Vis's heart, VRP 20. As Meisami comments,
too much attention to a presumably historical the battle scene conveys a moral judgment on the

framework of the Ddrdb-ndma and that it is conse combatants and a general indictment of the use of violence
a
quently hypothetical to suggest that Burandukht is to achieve personal ends. See Meisami, op.cit, p. 101.

legendary manifestation ofAnahita. Taking into consid 8 R. Kruk, "Warrior Women in Arabic Popular Romance.

eration the similarities above and the fact thatAraqlt Qannasa bint Muzahim and other valiant ladies", pp.
has a similar, supernatural, role in the Iskandar-ndma 214?31; eadem, "The Bold and theBeautiful.Women and
(as Burandukht masters thewater, Araqlt masters the 'Fitna' in the Sirat Dhat al-himma: The Story of Nura", pp.

air), the theory of confrontation between Alexander and 100-3.

does not seem convincing enough. Although 9 About this

Anahita stereotype,see L. Ahmed, Women and Gender
the possibility of Burandukht reflectingAnahita cannot in Islam, p. 103.

be entirely excluded, Burandukht could also be seen 10 M.

Gaillard, "Heroines d'exception: Les femmes cayyar

mainly as a legendary warlike heroine, likeAraqlt, and dans la prose romanesque de l'lran medieval", pp. 164-65.

not as Anahita. 11 W.L.

Hanaway, "Darab-Nameh", pp. 8-9.
12
Second, the argument that Burandukht's story is Royal authority in pre-Islamic Iran depended
on divine
in the
unique is negotiable. It is indeed unique only favour and protection. The possession of the Divine
sense that it is not attested in the same narrative form Charisma (Kwarennax or farr), a luminous magic force or

and details (name, places) elsewhere. But the essential power, by the monarch was a fundamental necessity in

identification of Burandukht with Araqltin themotif of order to reign legitimately. See G. Gnoli, art. "Farr", pp.
the warlike heroine, as suggested above, leaves no 312-19; also W.L. Hanaway, Persian Popular Romances
 HEROINES IN THE ALEXANDER TRADITION 231

27 Both accounts
before theSafavid Period, pp. 39-43; idem,"Anahita and belong to the genre of Persian prose
p. 288; idem, art. "Abandokht", p. 61. romances. share common features such as the
Alexander", They
13
ZW, p.288. repetitionof conventional elements (stereotypeddescrip
14 of events, motif
Hanaway, "Anahita and Alexander", p. 288. tions phrases, battles, single combats),
15 Alexandre en Iran. Le Darab on action and an open-ended linear structure, see
Tarsus!, le Grand Ndmeh emphasis
d'Abu Taher Tarsusi, pp. 42?46. Hanaway, "Anahita and Alexander", p. 286.
16 28
IN, p. 354. DN, I: 26; I: 356.
17 In the encounters 29 1:422.
Shdh-ndma, it is Gurdafrid who Suhrab Ibid.,
in single combat. Gurdafrid defends an independent 30
IN, p. 358: 15;DN, 1:469.
31
fortress on behalf of her father, wears male armour and IN, p. 358; DN, I: 471.
32
clothes,and,without revealingher sex, she challenges the IN, p. 353: 2-3.

to single 33
attacker combat. When Suhrab eventually takes Ibid., p. 356: 18-22.

her captivehe realises thatshe is a woman indisguise and 34

DN, I: 533; I: 545; II: 187.
3s
thus he becomes annoyingly embarrassed. Gurdafrid IN, p. 371: 20; DN, 1:471.
36
argues thatitwould be betterto lether go than torisk the 7tf,p.403:4-5;ZW, II: 92.
37
gibes of his fellowswhen theylearnhe has been fightinga IN, p. 28: 19;DN, 11:92.
38
woman. See J. Clinton, "The Uses of Guile in the /TV,p. 405: 15; ZW, 11:92.
39
Shahnamah", pp. 228-29; The Marchioness ofWinchester, IN, p. 704: 7-9; DN, II: 150-51.
Heroines 40 Ed.
of Ancient Iran, pp. 28-30. In the Ddrdb-ndma, Dastgirdi, p. 80.
41
Burandukht personifies the model of a war-like lady IN, p. 554: 4-5.
42
fightingagainstAlexander, DN, 1467; Nizami, Sharaf DN, 11:92.

nama, p. 288; Hanaway, "Anahita and Alexander", p. 287.

18 As
Perry states,themodel of a warlike woman is another
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19
IN, p. 358: 18-19. Gnoli, G. art. "Farr", inEIr, vol. IX: 312-19.
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Hanaway, "Formal Elements", p. 157. W.L. 1970. Persian Romances the
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21
Kruk, op.cit.,p. 228.
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22
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? 1971. "Formal Elements in the Persian Popular
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