Passage Analysis/Literary Monster: Who/What is the WakWak and What is Its Purpose?

WakWak, or the talking tree, appears in the manuscript The Shahnameh by Ferdowsi to provide warning of Sekandar’s coming demise, as he begins to explore the world after his encounter with Queen Qayadafeh (Ferdowsi, Shahnameh 211). The tree itself isn’t a traditional monster, but it has many monster-like qualities seen in other traditional monsters. Mainly, the tree draws upon myth and religions of the ancient world not only to provide insight to humans, but to remind them of their place and limitations. The following is an analysis for the passage described above, beginning at the phrase “A guide said to him ‘victorious king, a marvel lives here…’” (p.  211) and ending at the phrase “He was afraid and said to his interpreter ‘You are wise and mean well, tell me what your leaves are saying that makes my heart dissolve within me’” (p. 211).

               Sekandar encounters WakWak along his journey eastward through Asia, where its location and features are described to him by a traveller. The location in which WakWak is located is described as the “is the world’s end. A dark desert lies ahead of you… make the soul weary” (p. 211). Here, the translator uses of a consonance and oxymoron to highlight the location as being unnatural. A desert is usually a hot, scorching place, devoid of all life, due to the sun’s immense heat. Here, the desert is dark, and seemingly devoid of heat. However, it can somehow support the life of this tree. Furthermore, by calling this area a desert, it draws attention to the idea that there’s no escape from this place and there is a potential evil, or doom that is located here.

               This dark desert could also be reminiscent of the underworld, as it is a dark, dreary place that not many wish to be. This parallel of dark desert and underworld creates a paradox in the text, as one can access this plane of death even though they are living. This has interesting implications, as Sekandar is based off the Greek ruler; Alexander the Great. This symbolism of the tree’s location as the underworld is further highlighted by a few pieces in the text. The first is an anaphora, where the guide says, “no place beyond… no man weary of his soul… none of us have ever” (p. 211), implying that there is nothing for the living beyond the tree, implying that this area beyond is possibly the underworld, or the place after death. The second is the use of these pelts of wild animals, that were described to be left by these worshippers of the tree (p. 211), which could mirror demonic worship/ sinners, who honor and worship the tree by bestowing offerings. This could draw attention to Ferdowsi’s idea the Sekandar was Christian, something foreign, strange and possibly mysterious to the people of Iran at the time, who were monotheistic Muslim. This connection of Sekandar and WakWak to ideas of religion could invoke feelings of fear and mysticism, to enhance how Sekandar feels when he also encounters the tree. However, it is worth mentioning that Sekandar was not actually Christian, though most have considered this “one of Ferdowsi’s inconsistencies and ‘outright anachronisms’” (Simpson 2010, 129).

               This idea goes against one described by Soltani, where he considered the tree to be involved in myths and religion, but thought the tree was a representation of the tree as the vibrant living universe. This is due to ideas where some cultures theorized that men and some animals were created from trees, which was embodied by their hanging from the foliage (Soltani 2017). This would create the image of a vibrant universe and highlight the world’s diversity.  

However, WakWak’s location in this dark desert seems to dispute this. Furthermore, WakWak is similar to that of Cerberus, or a gatekeeper, as the tree is said to stand in this in between place and are not align with the natural universe, and it has 2 heads, a man’s head and a woman’s head, also like Cerberus. This personification is reminiscent of the werewolves described in Bisclavret (Marie de France) as they are not human creatures, but speak possess human like qualities, like such as the ability to speak. This further adds to the supernatural element of the trees possess and enhances the fear these creatures cause by being unnatural to the world that is known. This is evident by the hyperbole as he hears the trees speak, where he remarks “which makes my heart dissolve within me” (p. 211).

What the trees say has importance to the manuscript, as the female head also provides supernatural warnings of Sekandar’s own demise, something hinted at heavily by many other supernatural beings during his travels through Asia. This furthers the depiction of trees as supernatural beings, as the ability to see the future is not a natural ability found in most. In Sekandar’s case, this is presented an oxymoron that also has an element of foreshadowing, as “lucky man hears them speak” (p. 211) but Sekandar doesn’t receive a cheerful premonition, but one of darkness, which seems to be very unlucky. But the message is not without meaning for Sekandar and readers of the Shahnameh, who were kings at the time of its creation.

The idea of the hellscape and message given to Sekandar could be used as a message for future kings. A good king must know when to come home and rule or be lost and forgotten. This is exemplified in the line “no man is weary of his soul to go there” (p. 211). It is a king’s job to choose which path he shall take while he rules.

WakWak also personifies this choice in a couple of ways. WakWak is first described, as a “2 separate trunks together, one of which is female and the other is male” (p. 211). The split could be the personification of the king’s own decision of how he must choose how to rule, whether he will continue to explore and conqueror leaving the kingdoms in his care vulnerable, or to become benevolent, wise and kind, much like what Queen Qayadafeh describes how a good ruler gains wisdom and power (p. 210), in her meeting with Sekandar. Tree heads are, therefore, a warning and give warning.

The heads also personify this to a certain degree, particularly the female head. The guide describes the female head, and by extent her warnings, as “sweet smelling…leaves like musk” (p. 211). This sounds very similar to the idea of sirens, as they will lure sailors to their doom by enchanting songs, which mirrors Sekandar’s journey. Sekandar is a conqueror at this point but is drawn by his own curiosity of the world and is at risk of falling prey to its wonders, potentially leaving him forgotten.

Though Sekandar is considered larger than life, it is only his death that transforms him into the semi-mythical, metahistorical figure (Rubanovich, 2016). The manuscript constantly reminds the reader of Sekandar’s own mortality and how he, like everyone else, is at the mercy of God and his whim, whether it be through permissions of his death by these wonders, like the tree, or by lectures given by Queen Qayadafeh. The tree personification of human limits comes in the form it being able to see into the future, as no mortal can do that. Also, because they are powerful beings and should be worshiped and honored as such, which would explain why the wild animal pelts were left around the tree.

There is more of this stark contrast of these limitations in the Darab-nama. In this rendition of the Shahnameh, Sekandar is portrayed as timid, indecisive, almost cowardly (Rubanovich, 2016), which are nether the qualities of a king, or someone of immense powers, which further highlights his human nature and limitations. In the Norton, they also draw attention to this by the fear Sekandar feels, a feeling that is mirrored by the hyperbole of Sekandar’s heart dissolving within him (p. 211) when referring to the tree’s words. These descriptions could be put in to remind future kings of qualities that are beneficial for ruling and those that are not, which is mirrored by the plea echoed in the manuscript that a good king must come back and look after his people to gain wisdom and true strength.

Given the discussion, one might think of WakWak as a being like a Drac, who goes out and actively interferes with humans. However, it is a tree and cannot move or seek out trouble. Instead, trouble comes to it and it reacts. It is also worth mentioning that WakWak isn’t harmless either however, like a Panotius, as they are harmless, but can cause great fear, like the permissions can in Sekandar’s case (p. 211). This idea of monsters not being completely evil but will attack when provoked is like the monsters described in the Beowulf manuscript. However, all those monsters attacked out of selfish reasons and WakWak doesn’t appear to have any resentment towards humans or wish to seek revenge in the Shahnameh manuscript. Furthermore, despite the fear Sekandar feels, WakWak isn’t trying to scare him or kill him, but provide wisdom and insight to promote reflection along his journey. This could be why Sekandar remarks “You are wise and mean well” (p. 211). In a way, this is like a holy being as well. Holy beings do not act seek out trouble, or act out of selfish, petty reasoning because these are mortal reasons, based on feeling, which they are above. They will, however, give its wisdom unless sought out, like in a prayer.

This could also be paralleled by a king, who shouldn’t go out seeking war or trouble with other nations but should aid those who come to him and the ways he can.

This is also similar to the idea the humans are not that special in the eyes of these powerful beings, whether they be a king or present. This is highlighted in Dara’s final words to Sekandar as he reflects on his life and give him advice to live his life in worship of God (Pg. 199-200). Similarly, WakWak it is indifferent to Sekandar’s status, but somewhat sympatric, as WakWak gives him advice. This would strengthen the idea that the that these particular supernatural beings as not caring about status or other things that concern humankind, essentially transcending past human limitations or faults.

It is worth noting, however that they are not perfect. For example, the Dragon in the Manuscript Beowulf is shown to be quite greedy, sleeping on a hoard of treasure and acting quite vengefully when a small piece was taken (Heaney, Il-2294-315). This could imply that there are still some supernatural beings, even despite their power and wisdom, do still have some limitations, but possess abilities that humans cannot comprehend. Though they are not perfect, their abilities still are beyond human comprehension and shouldn’t be treated as a lesser being. Perhaps there’s a lesson here, trying to teach kings and readers of the values and limitations of each person, no matter their background or heritage.   

In conclusion, the tree takes inspiration from other monsters such as werewolves, sirens and Cerberus, holy beings and other mystical locations such as the underworld to portray human limits to kings and tell them they need to make a choice on the type of king they should be. Their abilities and perceived limitations could also be a lesson in learning the value in all, no matter their position, as all can be powerful. Perhaps it was some of these monsters that inspired Ferdowsi during his writing.