propagation to unworthy mortals. In contrast, the mental images created
by dream and hidden portraits preceding the transgression protect both
Shirin and Khosrau–each reciprocally lover and beloved–from recogniz-
ing the divinity of each in the other. The transgressive climax transforms
into a generative event enabling the rest of the story. Rather than the
functions of recognition and identification enabled through political por-
traits, as in the narratives of Alexander, here the image apotropaically
protects both protagonists from sin.
In contrast, the second romance in the story, Farhad’s passion for Shirin,
punishes the lover for his excess devotion. In the story, having arrived at
each other’s palaces after the lake episode, Shirin and Khosrau eventually
enjoy a pleasant courtship playing polo and drinking wine in the gardens
near Mahin Banu’s palace. [Plate 13] However, the sudden death of both
Mahin Banu and Hormizd force the couple to take adult responsibilities.
Khosrau marries Princess Meryem of Constantinople to form an alliance
and redeem his kingdom from a usurper. Although Shirin rejects his offer
to be his mistress, she installs herself nearby, at a palace she had con-
structed during herfirst visit. But the jealousy of Khosrau’s female compa-
nions had led her to build it in a dreadful location. She complains to
Shapur, who brings Farhad, a fellow artist with whom he studied in
China, to serve her. Upon seeing Shirin, Farhad falls desperately in love.
His subsequent actions materialize this passion.
He immediately sets to hewing the stone hills above the palace to build
a conduit for the milk of mountain goats toflow to her. Jealous rather
than just, Khosrau visits him and demands that he carve a road through
the mountain. Not only does Farhad prove his devotion to Shirin by
fulfilling the task, he also carvesfigures into the mountain: a relief carving
of Shirin compared to theArtangof Mani, and one of Khosrau on
horseback. When Shirin visits to see his work and Shabdiz slips, Farhad
literalizes the strength of his devotion by carrying horse and rider back
down to her palace. Khosrau becomes so jealous that he goes to the
mountain to tell Farhad that Shirin has died, and Farhad jumps offthe
mountain to join her.
Unlike the nearly uniform iconography depicting Khosrau spying Shirin
bathing, paintings of Shirin’s visits to Farhad depict him variously offering
her milk, shouldering her on her horse, or simply talking with her over the
cut channel. Some depict the carvings of Bisutun, transforming antique
sculptures inscribed in the landscape into visualized mythologies. Many
include the depiction of Farhad’s tools, suggesting a metaphor for poetic
tools channeling love from physical passion into art. At least one208 The Transcendent Image