Analysis

Dragons have been depicted in cultures around the world in a variety of different ways. The Indiana University Press published a journal article titled Snake to Monster: Conrad Gessner's Schlangenbuch and the Evolution of the Dragon in the Literature of Natural History, which explores the developments in the evolution of what constitutes a dragon and the connections between serpents / snakes and dragons in various cultures. We find that the word dragon is actually derived from the drakon in Greek and draco in Latin, both of which are used to refer to “large, constricting snakes” (Senter Phil, Uta Mattox, and Eid. E Haddad, p. 60). Another key detail that the journal states is that “authors of ancient and medieval works on natural history typically listed the dragon among the various types of snakes” (Senter Phil, Uta Mattox, and Eid. E Haddad, p. 68). The article also goes above and beyond by providing a diagram summarizing the evolution of a dragon as a consequence of popular conceptions people had throughout the centuries. The key changes in evolution that can be observed from this diagram is that the dragon started off as a venomous snake, then became a creature capable of breathing fire, then became a creature capable of flight, then became a creature capable of walking on two legs instead of four. (Senter Phil, Uta Mattox, and Eid. E Haddad, p. 69).

The painting artifact 'Isfandiyar's Third Course: He Slays a Dragon' from the Shahnameh of Shah Tahmasp offers an interesting perspective on the passage from the Shahnameh in the chapter titled 'Sekandar Reaches a Land Where the Men Have Soft Feet and Kills a Dragon.' At first glance, the painting and text appear to be talking about two different stories. However, upon closer examination, it is clear that they are both expressing the same theme: the heroic slaying of a monstrous dragon. 

Holding both the passage and painting in consideration provides a deeper understanding of what makes a dragon. The artifact highlights the dragon’s evil nature by depicting it in a menacing pose, with its mouth open in a fierce roar. This is consistent with the given passage describing the dragon as “foul”, giving the feeling that it is a malevolent and wicked creature. Both the text and the painting convey the idea that the dragon is a powerful and dangerous creature, and that it is not to be underestimated. In addition, the passage conveys the idea that physical strength alone is not enough to kill the dragon. This is supported by the fact that Sekandar had to use poison decoy cows to weaken the dragon in order to succeed in killing it. Furthermore, we are able to gain insight as to how medieval societies viewed dragons. That is, dragons were seen as powerful enemies that could only be defeated by a hero who possessed formidable courage and strength. This conversation between text and artifact also highlights the importance of bravery and courage in facing challenges, and the power of teamwork in overcoming them.