The story of Bahram Chubin is an epic embedded in the history of the Sassanids, and to understand it correctly, one must peel away its epic layers. One of the methods of epic construction in Bahram's history has been the representation of mythical-heroic characters. Rostam, Arash, Siyavash, Gushtasp, Esfandiar, and Bahram Gur are some of these represented figures in Bahram's saga. Among them, the roles of Arash and Siyavash and Rostam stand out more than others. It seems that Arash and Siyavash have been represented by Bahram's followers, while Rostam has been portrayed by the followers of Khosrow. Understanding these representations aids in comprehending the periods of Bahram's narrative. Initially, official historiography sought to depict him as another Rostam. Following Bahram's rebellion, his followers portrayed him as another Arash, and official historiography, by accepting this role and the Arashian lineage and reiterating Bahram's Rostam-like qualities, aimed to showcase the hero's obedience to the king. After the failure of the Arashian lineage project and Bahram's death in Turkestan, his followers endeavored to depict him as another Siyavash to create grounds for vengeance against Khosrow, akin to the "vengeance of Siyavash." In this article, based on the representations of Arash, Siyavash, and Rostam, we will discuss three periods of Bahram's saga and demonstrate how Iranian historiography has constructed epic narratives from history.
Keywords: Epic, History, Representation, Arash, Rostam, Siyavash, Bahram
Introduction
In an initial categorization, the narratives of Bahram Chubin's saga can be divided into two categories: official (Sasanian) and unofficial or popular, with the Islamic period narratives considered a continuation of the latter. However, within these two categories, one can also find several sub-narratives. For instance, the official accounts of Bahram's beginnings cannot be consistent with those that depict his character at the end of his life. Similarly, in the narratives of Bahram's followers, one would expect a similar situation where they sought to establish political legitimacy for him at the outset. However, the conclusion of Bahram's story, beginning with his flight to Turkestan, has been narrated in a different manner.
In these multiple narratives, efforts have been made to represent the epic within history and to liken Bahram to ancient figures. Consequently, part of his saga is epic in nature and possesses a semi-historical character. To distinguish Bahram's epic from his historical narrative, it is essential to identify the figures that are represented in Bahram's story. This approach allows for a better understanding of the life of this Iranian general and helps to recognize the various periods of his epic presence in Sasanian history.
This article aims to discuss the role of representations of mythical figures in Iranian historiography and to explore the objectives of the groups involved in the purposeful writing of Bahram's history through an examination of Bahram Chubin's saga.
Materials & Methods
One of the consequences of the multiplicity of narratives surrounding the saga of Bahram is the representation of various ancient mythological-heroic figures within him for diverse purposes. Since the time of Noldeke, references have been made to the epic-fabulous nature of Bahram Chubin's story, and researchers have pointed out similarities between him and figures such as Esfandiyar, Rustam, Siyavash, and even Bahram Gur. However, investigating the most significant characters that have been highlighted in the writing of Bahram's saga can provide us with deeper insights into the hidden objectives and policies behind these representations and the periods of Bahram's narrative. In this article, utilizing the Shahnameh and Iranian and non-Iranian historical sources, an effort has been made to reconstruct and analyze the threefold narratives depicted in the fate of Bahram Chubin, so that the underlying goals behind each narrative may be revealed.
Discussion & Result
1. The Beginning of the Story
From the outset of Bahram's presence in official historiography, his behavior, speech, and name have been portrayed as unworthy. However, two points cannot be overlooked, indicating alternative narratives. First, in the official Sasanian historiography, Bahram is seemingly rendered anonymous with the intent to tarnish his image, suggesting that he was a nameless figure. This portrayal serves to belittle Bahram, so that later it can be said that Hormizd elevated him. Yet, it appears that Bahram's followers also sought to depict him as unknown and nameless in their narratives, aiming to evoke and revive the memory of Arash the Archer within Bahram Chubin. In any case, among the first category of narratives that recount Bahram's tale—which we loosely refer to as Parthian narratives—there has been an effort to represent Arash the Archer within Bahram Chubin.
In the second category of narratives about the beginning of Bahram's story, constructed by the Sasanians, he is portrayed as a loyal servant of the king, and attempts have been made to fashion him into another Rustam. Therefore, the beginning of Bahram's story has been reported in two distinct ways in Sasanian historiography and among Bahram's followers, leaving behind only scattered signs. Based on these signs, Bahram's followers have strived to present him as another Arash who arose from among the people, claiming his lineage traced back to the Parthian kings. Conversely, the Sasanians or official historiography depicted him as another Rustam who is a subordinate of Hormizd.
2. Rebellion Against the King and the Battle of Narratives
This period of Bahram's narrative in official historiography is entirely dark and grim; however, within this history, one can find signs that testify to Bahram's efforts and those of his followers and their propaganda apparatus to legitimize him. Thus, in these narratives, the conflict between the Parthians and Sasanians is clearly evident. Fragmentary tales such as the killing of a cavalryman whose horse grazed in the people's pasture and Bahram's encounter with a fairy have emerged during this period. Particularly, the issue of Bahram's Arash-like lineage has been reiterated and emphasized by both his followers for legitimization and by the Sasanians to remind others of Arash's subservience to Manuchehr.
3. The End of Bahram’s Story and the Representation of Siyavash's Tale in Turkestan
After Bahram is defeated by Khosrow Parviz and flees to Turkestan, a new chapter in his life begins, which has become the basis for various stories. The authors of this section of Bahram’s narrative have sought to present him as another Siyavash. In other words, after the project of Arash-like lineage failed with Bahram's death and the royal throne did not pass to the Parthians, his followers attempted to depict him as a martyr—innocent and wronged—similar to Siyavash, who was killed by the Turks/Turanians in Turkestan. Thus, later on, akin to the tale of "the blood feud of Siyavash," Bahram’s vengeance against Khosrow and the Sasanian dynasty was sought.
Conclusion
In the surviving narratives of the life of Bahram Chubin, three distinct categories of stories can be identified, each representing a different period of his life: the beginning of his career, the rebellion against Hormizd and Khosrow, and his flight to Turkestan. The discrepancies among these narratives are such that one could speak of a "war of narratives" in the account of this rebellious commander. The crafting of these narratives has been the responsibility of the Sasanian apparatus on one side, and on the other, the supporters of Bahram. The narrators have drawn upon the representation of mythical figures in their storytelling, and in writing and processing the tale of Bahram Chubin, they have constructed a history infused with epic elements.