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THE SACRED NUMBERS IN FIRDAUSI'S SHAHNAMEH:
SYMBOLISM, MEANING, AND MYSTICAL SIGNIFICANCE
Sadullaeva Matluba Akhrorovna
Asia International University, Bukhara
Keywords: “
Shahnameh”, symbolism, sacred numbers, mystical
significance, Persian epic, number one, number three, number seven, Iranian
culture, Zoroastrianism, Persian literature
Abstract:
Firdausi's
Shahnameh
("The Book of Kings") is a cornerstone of
Persian literature, interweaving myth, history, and culture. One of the lesser-
explored dimensions of this epic is its symbolic use of numbers, particularly
the numbers one, three, and seven, which carry deep mystical and spiritual
meanings in Iranian culture. Through these numbers, Firdausi not only
structures his narrative but also imbues it with layers of divine and cosmic
significance. The number one represents unity and the divine essence, while
three symbolizes completeness and perfection, and seven reflects the sacred
and celestial order. This article explores how Firdausi's careful use of these
numbers enhances the
Shahnameh
's depth, reflecting both the cultural and
spiritual values of ancient Iran, particularly the influence of Zoroastrianism.
By examining these numerical symbols, we gain a greater understanding of the
epic's philosophical and mystical underpinnings.
Introduction
Firdausi's poem “Shahnameh” ( “Book of Kings” ) is written by the Persian
poet Firdausi in the early 11th century, stands as one of the most important
works in world literature. Spanning a vast narrative from the mythological to
the historical, the
Shahnameh
is not only a record of Iranian culture, legends,
and history but also a rich tapestry of symbolism. Among the various symbolic
elements used by Firdausi, the numbers featured in the epic carry profound
mystical and cultural significance. These numbers are not used arbitrarily, but
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rather are deeply tied to Persian beliefs and the Zoroastrian worldview, which
viewed numbers as representations of divine order and cosmic harmony.
“Shahnameh” is a wonderful poetic epic, in which the themes of glory and
shame, love and hatred, light and darkness, friendship and enmity, death and
life, victory and defeat are intricately intertwined in an eternal struggle. This is
the story of a sage from Tus about the legendary Pishdadid dynasty and the
twists and turns of the history of the Kiyanids , going deep into the history of
Iran through myths and legends. As sources for creating the poem, the author
used legends about the first shahs of Iran, tales of legendary heroes on whom
the Iranian throne rested during the era of the Achaemenid dynasty (6th - 4th
centuries BC), real events and legends associated with the stay of Alexander
the Great in Iran.
Abulkasim Firdausi had worked on his poem for 35 years and finished it in
1011. Conventionally, it is accepted to divide the “Shahnameh”into three parts:
mythological, heroic and historical. At first glance, it may seem that Firdausi
accidentally used different numbers in the Shahnameh or the use of numbers
was dictated by the laws of versification. However, a study of the meanings of
the numbers used in the “Shahnameh” clearly shows that Firdausi knew about
the hidden meanings of the numbers used. For example, in the “Shahnameh”,
when Mubedi wants to test Zal , he ask questions where he symbolic numbers:
I saw twelve slender trees,
Green, fresh, worthy of praise,
On each - thirty branches grow,
This count is forever unchanged
≫
.
Another exclaimed:
≪
Scion of the noble!
They drove two horses, two fast ones.
The first one rushes, black as resin,
And the color of the other, like crystal, is bright.
They hurry, they run far,
But the first and the second will not find a meeting
≫
.
The third said:
≪
Thirty riders
Have been galloping before the shah since time immemorial.
Zal in response to these riddles answers:
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Twelve trees were named at the beginning,
On each - thirty branches were counted.
Twelve months make up the year, -
A new shah comes to replace the shah, -
And each month brings thirty days:
Thus the rotation of time occurs.
Now I will tell you: what two horses
Fly like the god of fire?
The white horse is the day, and the black one is the darkness of the night.
They run, not changing their turn.
The night passes, and the day passes after it:
Thus the firmament moves above us.
In the sun there is no meeting, and in the darkness there is none?
They run like game from a dog.
Now: what thirty riders
Have galloped before the shah since time immemorial?
One of them always disappears,
But the number of riders does not decrease.
In “Shahnameh”, the number one frequently appears as a symbol of
unity and the divine. It represents the oneness of existence, the indivisibility of
time, and the ultimate source of all creation. For example, in the birth of the
hero Zal, Firdausi references “one week” to symbolically mark the passage of
time. The number one also signifies purity, essence, and the beginning of all
things. In Iranian culture, it echoes the concept of a singular, supreme deity,
akin to the idea of God in Zoroastrianism, where all existence emanates from
a singular divine force.
The number
one
is often used and speaks for itself.
One
is reminiscent of
God. Mansur al-Hallaj, and for every blow he said one.
One
reminds us of how
Bayazid Bistami counted coins. Bayazid said: I do not know anything except
one.
One
exists without the others, but the others cannot exist without
One
.
Take away only one from a thousand, and a thousand will no longer be a
thousand. [8, 28].
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One
in “Shahnameh” is sometimes used with other words that denote
time, in order to indirectly indicate another number. Perhaps this is the best
way to draw the interlocutor's attention to a number, for example, the number
seven (one week) or thirty (one month). In Shahnameh, when talking about the
birth of Zal in the original, Firdausi uses the phrase “one week”:
For seven days everyone was afraid to tell the father,
That the mother had given birth to such a son.
Since in this article we cannot consider all the numbers that were
used in Shahnameh and the Nart epic, we will focus on the most sacred
numbers - three and seven. Number three holds a special place in Iranian
culture, often symbolizing completeness and divine perfection. Rooted in
Zoroastrianism's core tenets of Good Thoughts, Good Words, and Good
Deeds, the number three represents spiritual harmony. Firdausi uses it
frequently in
Shahnameh
, especially when depicting the passage of time or key
moments in the narrative. For instance, many significant events, including
feasts and trials, are described as lasting for three days, signaling the
completion of a cycle. This use of three signifies the perfection of thought,
action, and existence, underscoring the spiritual ideals of Iranian culture.
Number three also reflects the cosmic order, as it is often connected
to the triad of Heaven, Earth, and Humanity in ancient Persian thought. The
frequency of three-day festivals or deliberations, such as when Afrasiab takes
three days to decide the fate of the hero Siyavush, suggests that three days is
an ideal period for resolution and contemplation. This is also evident in the
structure of many of the epic’s trials, where the number three marks the
threshold of completion.
Firdausi is a master of playing with numbers: for example, in the story
of Sudaba's betrayal, when Kavus finds out that Sudaba guilty , he doesn't kill
her on four counts ranks. Firdausi could have used any other number instead
of four, but he specifically uses the number four to show the high degree
pressure on Kavus “from all four sides” , explain his decision by hopelessness.
The proof that Firdausi knew about the sacred meaning of numbers is the fact
that he did not use the number
thirteen
in Shahnameh at all , since this number
in Iranian, as in many other cultures, is considered unlucky.
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In the beliefs and culture of the Iranian people, the number three is
considered lucky. This situation is not unique to Iranian society; a similar
situation can be observed in other cultures as well. It is also believed in Iran
that cleanliness can only be achieved by cleaning, washing or sweeping
something three times. Among some ethnic groups in Iran, when a bride begins
her independent life in her husband’s house, she revolves around the fire three
times, and this brings her happiness [11, 154]. Considering that the number
three was used very often in the Shahnameh, it can be assumed that Ferdowsi
was referring to the divinity of this number. The fact that the Zoroastrian
religion is based on three principles (good thoughts, good words, good deeds)
shows how important the number three is. Ferdowsi speaks about three-day
holidays many times in the Shahnameh. For example, after Siyavush passes
through the fire, Firdausi says:
He called the singers and cupbearers for the feast,
The ruler of the world caressed the prince.
For three days they sat, drank without worries,
And the entrance to the treasury was opened
By using the number
three
, Ferdausi wants to convey the maximum joy
the heroes of the story to the reader. A similar situation is in Shahnameh, when
he describes wars. Wars that last for three days or three days. There are many
examples of such wars in Shahnameh, for example, when he talks about the
battle of Shah Yazdegerd :
The Shah was in battle for three days, did not eat, did not sleep,
He ate the barley bread with a sigh.
In Shahnameh, the number
three
is often used as a symbol of
sufficient time to think over various issues. For example, when Afrasiab wants
to decide the fate of Siyavush , he thinks for three days. In Shahnameh, three
days are sufficient time not only to think over any issue, but also to successfully
complete affairs; in some situations, during these three days, one should
consult with three wise men. For example, when Khakan's advisers suggested
that he marry his daughter to Anushirovan to ensure safety, and he, Khakan ,
sent three envoys. Also, the number of sons of the heroes of Shahnameh also
shows the importance of the number three, for example, Esfandiar and Feridun
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had three sons. It can be said that the number
three
in Shahnameh is used as a
number of perfection. Ferdausi often uses the number three in Shahnameh,
which indicates his understanding of the mystical meaning of this number.
Many books, including the Avesta, say that our world consists of
seven countries, among which Iran is considered a holy country and is located
in the center of the world [16, 310]
Although the division of the world into seven parts is not unique to the
Shahnameh, this work also points to such a division when Zahhak's wife says
to him:
Aren't you the king of the seven parts of the earth,
Lord of all animals and all people?
The epic stories about Rustam and Isfandiar speak of seven trials (
Seven
Feats
) that the heroes passed. It is interesting that when Rustam finds Kavus
and asks him about the location of
the White Diva
, Kavus says: “
you must pass
seven mountains to find the location of the White Diva.”
In other words,
Rustam in the seventh trial must pass seven more mountains and this not only
proves the importance of the seventh trial, but also indicates the importance of
the number seven.
Isfandiar, another hero of Shahnameh, who managed to pass seven tests,
walked a seven-day road to reach Ruindizh. Interestingly, in the Nart legends,
the hero also overcomes seven mountain peaks.
The number seven is very important in astronomical science. The
Sumerians (ancient non-Semitic population of Mesopotamia) were the first to
learn with the help of astronomical science that there are seven planets in the
world [16, 303]
Most peoples believe in the influence of planets on people's lives, and
Shahnameh also talks about seven planets and their influence, for example,
when Rudaba's maids meet Zal:
There are no beauties equal to her in China,
Her glory rings from the seven planets.
In addition, the Shahnameh indicates seven primary colors, which
can be seen, in its perfect fo rm, in the rainbow. Feasts and mournings that
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lasted a week indicate the maximum joy or sorrow of the people. The
Shahnameh often speaks of three-day and seven-day feasts and mournings:
They feasted until late into the night for a week,
Both cheerful and drunk with wine.
Rustam, when he received the news of Siyavush's death , mourned
for seven days. Another seven years in Shahnameh is considered a sign of the
perfection of the mind:__ for example, when Bahram turned seven, he wanted
Manzara not to treat him like a child, or when Keykhosro turned seven, he
began to study martial arts. It should also be noted that the number
seven
occupies a special place in the culture and customs of the Iranians and often
appears in Persian proverbs: for example, the tablecloth Haftsin has seven
lives.
Firdausi already in Shahnameh uses the number seven to indicate
time, such as the waiting time or the deadline of seven days or seven years.
Anushirovan asks for seven days to learn to play chess, or when Piran sent
a letter to Gudarz, Gudarz did not answer his letter for seven days. Sudaba tells
Siyavush that she has loved him for seven years:
For seven years I have loved you with the love
That burns with blood on my face.
Seven days, from the point of view of Firdausi, seems to be a happy time,
and during this time you can make the most correct decision.
Zoroastrianism, the ancient religion of Iran, played a crucial role in
shaping the symbolic meanings of numbers in
Shahnameh
. The religion’s
emphasis on cosmic dualism—Good vs. Evil, Light vs. Darkness—further
imbued certain numbers with sacred meanings. The number three, with its ties
to the core ethical teachings of Zoroastrianism, reflects the triadic nature of
good thoughts, good words, and good deeds. Similarly, the number seven
aligns with the cosmic order, where the seven planets and the seven zones of
the earth are central to the religious cosmology.
Firdausi's strategic use of these sacred numbers in
Shahnameh
highlights his deep understanding of the spiritual and mystical meanings
attached to numbers in ancient Iranian culture. These numbers are not mere
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literary devices; they serve to align the human realm with the cosmic order,
reinforcing the epic’s themes of fate, morality, and divine intervention.
Conclusion
The numbers one, three, and seven in
Shahnameh
are not simply
structural tools or literary embellishments; they are integral to the epic’s
philosophical and mystical underpinnings. By using these numbers, Firdausi
enhances the symbolic richness of the narrative, aligning it with ancient
Persian cosmology and Zoroastrian spiritual values. Through the careful
manipulation of these sacred numbers, Firdausi imbues
Shahnameh
with
layers of meaning that resonate deeply with the cultural and spiritual ideals of
Iran. These numerical symbols serve as a testament to the enduring importance
of numbers in the Persian worldview, illustrating how Firdausi’s poetic
mastery goes beyond storytelling to touch on the divine and cosmic forces that
govern life and fate.
References:
1.
Firdausi, Abulkasim.
Shahnameh: The Book of Kings
. Translated by Dick
Davis, Penguin Classics, 2006.
2.
Boyce, Mary.
Zoroastrians: Their Religious Beliefs and Practices
.
Routledge, 2001.
3.
Mellor, R. P..
Numbers and Symbolism in Ancient Persian Culture
. Journal
of Ancient Iranian Studies, vol. 12, no. 3, 1989, pp. 112–124.
4.
Afshar, Ali.
Persian Literature and Mysticism: A Comparative Study
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University of Tehran Press, 1999.
5.
Beyer, R. S..
The Cosmic Order and the Role of Numbers in Persian Beliefs
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Zaehner, R. C
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The Sacred and the Profane in Iranian Thought
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