خوان چهارم: کشتن رستم زنی جادو را
Fourth Trial: Rostam Kills the Sorceress
چو از آفرین گشت پرداخته بیآورد مر رخش را ساخته نشست از بر زین وره بر گرفت چمان منزل جادوان در گرفت همی رفت پویان براه دراز چو خورشید تابان بگشت از فراز درخت وگیا دید وآب روان چنان چون بود جای مرد جوان چو چشم تذروان یکی چشمه دید بجامی چو خون کبوتر نبید همی غرم بریان ونان از برش نمکدان وریچار گرد اندرش فرود آمد از اسپ وزین بر گرفت بفرم وبنان اندر آمد شکفت خور جادوان چو رستم رسید از آواز او دیو شد ناپدید نشست از بر چشمه بر گرد نی یکی جام یاقوت پر کرده می ابا می یکی نغز طنبور بود بیابان چنان خانهٔ ور بود تهمتن مر آن را ببر در گرفت بزد رود وگفتارها برگرفت که آوارهٔ بد نشان رستم است که از روز شادیش بهره کم است همه جای جنگست میدان اوی بیابان وکوهست بستان اوی همه جنگ با دیو ونرّ اژدها زدیو وبیابان نیابد رها می وجام وبویا گل ومرغزار نکردست بخشش مرا روزگار همیشه بجنگ نهنگ اندرم دگر با پلنگان بجنگ اندرم
When his prayer was done, Rostam saddled Rakhsh, mounted, and took the road. He rode onward until the blazing sun began to descend, and he came upon trees and grass and running water — a place fit for a young man's rest. He found a spring bright as the eye of a pheasant, and beside it a goblet of wine red as pigeon's blood, roasted game and bread, a salt-cellar and condiments arranged around it.
He dismounted, unsaddled Rakhsh, and fell upon the food in wonder. The demons who had prepared this feast fled at the sound of his approach. He sat beside the spring amid the reeds, found a ruby goblet full of wine and a fine tambur beside it — the desert had become a lord's banquet hall.
Rostam took up the instrument, plucked the strings, and began to sing: "Rostam is a wanderer of ill fortune, whose share of happy days is small. His arena is always a battlefield; his garden is the desert and the mountain. His wars are with demons and great dragons — from demons and deserts he finds no release. Wine and goblets and fragrant flowers and meadows — fate has never granted these to me. Always I am in the jaws of crocodiles; always at war with leopards."
The song and the sound of the strings reached the ears of a sorceress. She adorned her face like spring — though by nature her looks held no beauty — and came before Rostam full of color and scent, and sat down beside him. Rostam, not knowing what she was, gave thanks to God that in the desert of Mazandaran he had found a feast, wine, music, and a young companion. He did not know she was a foul sorceress — Ahriman hidden beneath a painted surface.
He placed a goblet of wine on his palm and invoked the name of God the Merciful. The moment she heard the name of the Lord, her face transformed — her soul could not endure praise, her tongue could not bear prayer. She turned black when she heard the name of God. Rostam saw it in an instant. He flung the loop of his lasso and caught the sorceress by the head. He demanded: "Show yourself as you truly are." A hideous old crone appeared in the noose — wrinkled, full of trickery and malice. He cut her in half with his dagger, and terror filled the hearts of all the sorcerers.
Notes
The Fourth Trial (Khan-e Chaharom). The enchanted table and wine in the wilderness are a classic fairy-tale trap. The trial tests not strength but perception — Rostam's instinctive invocation of God's name is what unmasks the sorceress.
Rostam's song is a rare moment of self-pity from the Shahnameh's greatest hero. 'His garden is the desert' — the lyric inverts the courtly ideal of the warrior at rest in a rose garden. Ferdowsi gives the superhuman champion a human loneliness.
The sorceress (zan-e jadu) who transforms into a beautiful woman is a recurring motif in Iranian mythology. The test is spiritual: evil cannot endure the name of God. The moment Rostam speaks God's name over the wine, the illusion shatters.
The tambur (طنبور) is a long-necked lute, ancestor of the modern tar and setar. That Rostam plays it reminds us he is not merely a brute warrior — the Shahnameh's heroes are expected to be cultured as well as strong.
