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This is the girl Shapur fell in love with in my AU.
●A girl in Ecbatana, who lives with her mother and younger siblings. Her father died when they were all little. They are common people, neither nobles, nor slaves(Āzāt).
● From a young age, Āhu helped her mother with the children and tried to fill her father's place, and she really worked as hard as a man. Her mother would grieve and say that she wished her first child had been a boy and that he would do all of these works now. This also affects Ahu's attitude.
●"A gazelle in the barracks"
From time to time, a group of people, many of whom were women, would go to the barracks and bring bread and such to the soldiers. It was a kind of way of thanking those who had worked hard to serve their homeland. Ahu was among them, going with her younger brother and sister. There were other girls there, sometimes very beautiful. Ahu was more innocent than beautiful.
●Āhu means gazelle. (sometimes deer).
●Ahu has long, light brown hair, like Māhruy(Isfan's mother), which makes her look like her when she is standing from behind. This partly fuels Shapur's trauma.
●She has completely normal brown eyes with long eyelashes. She has innocent look and when she runs it looks like she is flying. She is also very delicate.
●She has a very calm nature. You almost never see her angry.
●She is a very good supporter.
●She does not keep anything to herself and expresses her feelings openly. Even if she tries to hide it, the truth shows on her face.
●Her weakness is excessive naivety and a bit gullible and sometimes superstitious.
●She is very will-powered and could have made a lot of progress if there wasn't a class system.
●Shapur fell in love with her from the bottom of his heart and she was exactly the same person who, after seeing what his father did and the events that later happened between him and his mother, told himself that he would never get close to any woman, it could lead to such tragedies. But Ahu unknowingly showed him the reality. He understood what love meant. He was completely his true self in front of her and his sensitive spirit was revealed. Ahu could make Shapur show his romantic side.
●Ahu is really a gazelle, (but about Shapur, I think, although I want to say wolf but the cat family comes to mind I don't know why! He's such a cat to me, something like leopard or a cheetah).
●Kubad is going to tell him that this girl is very kind and well-mannered, she is out of your league.
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Chapters: 1/1
Fandom: Arslan Senki | Heroic Legend of Arslan
Rating: Explicit
Warnings: No Archive Warnings Apply
Relationships: Kubard/Shapur (Heroic Legend of Arslan)
Characters: Kubard (Heroic Legend of Arslan), Shapur (Heroic Legend of Arslan)
Additional Tags: Canon - Manga, Pre-Canon, Angst, Explicit Sexual Content, Rimming, Anal Sex, Developing Relationship, Internal Conflict, Introspection, Self-Denial, Self-Sacrifice, Past Shapur/Original Male Character(s)
Series: Part 2 of Private Sentiment
Summary:
The campaign in Maryam is drawing to a close; soon the Parsian army will return to Ecbatana. After the decisive battle has been won, Kubard invites Shapur to his tent. If the Parsian victory had been a certainty, Shapur’s response is less so. For two men still more accustomed to meeting on opposite sides of an argument, one night is perhaps enough to unsettle the balance between them.
A little Arslan Senki language rabbit hole: Azat, Azatan, and what exactly does “free” mean in Pars?
@innerchorus: I just couldn't stop thinking about our discussion, so here we go!
I went down a bit of a rabbit hole over the Parsian social classes in Yoshiki Tanaka's Arslan Senki, because there is something rather fascinating hiding in the words Azat and Azatan.
And potentially something very Tanaka.
In Pars, the basic social hierarchy is roughly:
Wispuhran — royal family
Wuzurgan — high nobility
Azatan — knightly / lesser aristocratic class
Azat — free commoners
Ghulam — slaves
So, to get one important thing out of the way first:
Azat does NOT mean slave in Arslan Senki.
The slaves are Ghulam. Tanaka explicitly distinguishes Azatan cavalry officers, Azat free soldiers, and Ghulam slave soldiers.
Which makes what follows considerably more interesting.
First things first:
Why do we sometimes see Azat/Azatan and sometimes Azad/Azadan?
This isn't simply people misspelling the words.
The older Iranian form is āzāt, while āzād is the later Persian form.
So the final consonant genuinely shifts between t and d depending on period, language and transliteration.
Encyclopaedia Iranica actually heads its article:
ĀZĀD (older ĀZĀT)
and records Middle Persian and Parthian forms including āzātān.
That is why fandom and historical sources can give us combinations such as:
Azat, Azatan, Azad, Azadan
Tanaka's Japanese spellings are アーザート (Āzāto) and アーザーターン (Āzātān), so Azat/Azatan is particularly close to the terminology he chose for Pars.
The historical form more commonly encountered in English scholarship today is often Azad/Azadan.
Same linguistic family; different historical/transliteration conventions.
So what are “Azat” and “Azatan”?
They are not actually two unrelated Persian words.
The historical Iranian word āzād, in its older form āzāt, literally means “free” and came by extension to mean “noble” or “freeborn.”
And historical Middle Persian and Parthian sources also give forms such as āzātān — essentially a plural/collective form referring to the āzāts, “the free/noble ones.”
So very loosely:
āzāt → a free/noble person
āzātān → the free/noble ones
And historically these āzāds really were a lesser noble warrior class, associated particularly with cavalry.
Which should immediately make Tanaka's terminology look a little suspicious.
Because in Pars he has taken:
Azat
and
Azatan
…and made them two separate social classes.
The Azat are ordinary free people.
The Azatan are the privileged knightly caste above them.
In other words, Tanaka appears to have taken two meanings contained within the same historical word—
FREE and NOBLE
—and separated them.
Azat = free
Azatan = the noble/knightly “Free Ones”
Whether he consciously intended this as wordplay is something I cannot prove. I have not found a statement from Tanaka explaining his choice.
But it is an awfully interesting choice, because:
Maybe the real trick is not the plural — but the semantic split
This is the part I find most intriguing.
Historically, āzāt/āzād does not only mean “free.”
It also develops the meaning “noble.”
And those meanings are not unrelated.
A very simplified semantic development would be:
FREE → FREEBORN → NOBLE
Being “free” first distinguishes someone from an enslaved person.
Then “freeborn” can become a marker of respectable birth.
And eventually that status can harden into a recognised social rank.
So what if Tanaka has pulled that semantic development apart?
Azat keeps the basic meaning:
free
while Azatan keeps the historically developed social meaning:
noble / knightly “Free Ones”
If that is what he was doing, then Tanaka has not merely taken a singular and its plural and mistakenly treated them as separate words.
He has taken two historically connected meanings of the same word and institutionalised them as neighbouring social classes.
That would make the distinction much more deliberate than it first appears.
And if we now...
Add Yoshiki Tanaka himself to the equation
This is where I become reluctant to dismiss the whole thing as Tanaka accidentally stumbling over a Persian plural.
Tanaka wasn't approaching historical vocabulary with no academic background whatsoever.
He studied at Gakushūin University and completed a doctorate in Japanese language and literature.
That does not make him a specialist in Iranian linguistics, and I don't want to turn “Tanaka has a doctorate” into “therefore every Persian word must contain a secret linguistic code.”
But it does mean we're talking about an author with substantial academic training in literature and language, who is also demonstrably interested in history and who filled Arslan Senki with deliberately adapted Iranian names, institutions and terminology.
Hiromu Arakawa has even spoken about the considerable amount of Persian historical reference material Tanaka supplied when she began adapting the novels. (@innerchorus: Another question answered! Yes, Tanaka has provided Arakawa with a vast amount of documentation in advance. They've been joking in an interview about it).
So I think it's at least reasonable to ask:
What if the Azat/Azatan distinction is deliberate?
Not necessarily as an elaborate hidden joke.
But perhaps as a very precise piece of historical wordplay.
Because if it is, it is wonderfully ironic.
Imagine translating the distinction conceptually rather than literally.
An Azat is:
a free person.
An Azatan belongs to:
“the Free Ones.”
The first is a legal condition.
The second has become the name of a privileged social estate.
Something rather similar happens in real languages all the time: an ordinary word develops into an institutional title, and eventually speakers stop treating the institutional meaning as identical to the everyday one.
Think less:
one Azat / several Azatan
and more:
someone who is free / someone belonging to the Freemen
And Pars has turned those two ideas into ranks.
Which means Pars has managed to stratify freedom itself.
Look at the hierarchy again:
The Azatan — privileged knightly “the Free Ones”
↓
The Azat — free people
↓
The Ghulam — people who are literally not free at all
That is fascinating.
Because it means that in Pars, freedom is not simply a binary condition.
The Azat possess freedom as a legal status.
The Azatan possess a socially elevated form of “freedom” bound up with ancestry, military privilege and rank.
The Ghulam possess neither.
So you can effectively be:
unfree
free
or
one of “the Free Ones.”
Freedom itself has become hierarchical.
And suddenly the terminology starts looking less like decorative Persian vocabulary and more like a miniature version of the political structure of Pars.
And that makes Pars's social hypocrisy rather beautifully visible in its language.
The Azatan do not merely enjoy freedom. They belong to a class whose historical name derives from the language of freedom and noble status. They possess a privileged version of “freedom” bound up with ancestry, military status and social rank.
The Azat are free too — but they are commoners.
And beneath both exists a vast population whom Pars permits other human beings to own.
So a society whose aristocratic vocabulary effectively contains “the Free Ones” simultaneously maintains institutional slavery.
That is where I think the potential linguistic irony becomes particularly interesting, and arguably Tanaka-esque.
Not because he turned the Persian word azat into “slave” — he didn't.
Something subtler is happening.
Pars has taken a word whose historical semantic field encompasses both freedom and nobility and turned those meanings into different degrees of social privilege — while maintaining an entire class beneath them that is genuinely unfree.
The language itself almost asks:
How free is “free” in a society built on people who are not?
Or perhaps even:
Who gets to define what “freedom” means?
The king?
The aristocracy?
The people whose wealth depends on other people not being free?
And this is where Arslan becomes particularly interesting.
(we're at it already, what's one more additional paragraph, ... right?)
Arslan's abolition of slavery does not abolish the Azatan.
It does not abolish nobility.
It does not make everyone socially equal.
What he attacks is the category beneath the Azat:
Ghulam.
So the movement is essentially:
Ghulam → free person
not:
commoner → noble
And I think that makes his reform more interesting, not less radical.
Arslan is not saying:
Everyone shall now have the same social rank.
He is saying something much more fundamental:
No human being should occupy a social rank defined by being somebody else's property.
The hierarchy can continue above that line.
There can still be kings, nobles, Azatan and commoners.
But freedom itself must cease to be something only some people possess.
Arslan changes the floor of society, not the entire hierarchy.
This may actually be one of the best ways to understand how radical — and how limited — his reform is.
The Azatan can remain knights.
The Wuzurgan can remain nobles.
The Wispuhran can remain royal.
The Azat can remain commoners.
What Arslan changes is the minimum condition under which a human being is permitted to exist within Parsian society.
Before abolition:
royalty
nobility
knightly “Free Ones”
ordinary free people
human property
After abolition, at least in principle:
royalty
nobility
knightly “Free Ones”
ordinary free people
no legitimate category of human property
Arslan is therefore not flattening the hierarchy.
He is moving its moral boundary.
There can still be differences of wealth, status, rank and birth.
But there should be a point beneath which no human being can legally fall.
And that is a very different kind of revolution from simply declaring everyone equal.
And here's where the possible Azat/Azatan wordplay becomes delicious.
Historically:
āzāt = free / noble
āzātān = the free/noble ones
Tanaka's Pars:
Azat = ordinary free people
Azatan = privileged knights
Ghulam = slaves
Arslan's reform therefore doesn't make everybody equal.
It changes where the bottom of society is allowed to be.
Before:
noble “Free Ones”
ordinary free people
human property
After abolition, at least in principle:
noble “Free Ones”
ordinary free people
no legitimate category of human property
And if Tanaka deliberately chose Azat and its historically related collective/plural form Azatan for two neighbouring classes, there is an almost vicious little irony embedded in the vocabulary:
the people who have made “the Free Ones” into a title of privilege live in a kingdom sustained by people who are not free at all.
Arslan doesn't need to destroy the word.
He needs to make its most basic meaning universal.
And that may be where the critique of power really lies.
There is a long history of states, aristocracies and institutions taking morally positive concepts and turning them into language that protects privilege.
These words can describe genuine ideals while simultaneously being restricted to only certain people.
A ruling class does not always need to redefine a word into its literal opposite.
Sometimes it is enough to decide who is permitted to be included in the word at all.
And that is why I think the Azat/Azatan distinction is potentially more interesting than the idea that Tanaka simply inverted the meaning of Azat.
Pars does not call slavery freedom.
It does something more historically recognisable:
it distributes freedom unequally and then builds that inequality into its social vocabulary.
The Azatan possess privileged freedom.
The Azat possess ordinary freedom.
The Ghulam are excluded from freedom altogether.
In that sense, language does not merely describe the hierarchy.
It helps make the hierarchy seem natural.
Which also changes how I read Arslan’s proclamation.
Arslan’s abolition of slavery can therefore be read not only as an economic and political reform, but as a challenge to the vocabulary through which Pars understands itself.
He is effectively saying:
Freedom cannot remain a status granted to some people and denied to others.
That does not make everyone equal.
But it destroys the most extreme version of the hierarchy:
the idea that some people may exist entirely outside freedom.
And if Tanaka intentionally built Azat and Azatan from two forms of the same historical word, then the irony is almost perfect.
Pars has spent centuries turning different kinds of “freedom” into social rank.
Arslan’s answer is not:
everyone shall have the same rank.
It is:
basic freedom shall no longer be a rank at all.
One important caveat
I want to stress this because fandom meta has an unfortunate tendency to turn “this interpretation makes sense” into “the author confirmed this in an interview in 1989, trust me.”
I have found no statement from Yoshiki Tanaka confirming that the Azat/Azatan distinction is deliberate linguistic irony.
So we can establish:
Azat/āzāt historically means “free” and also developed the meaning “noble.”
Āzātān is a historically attested related plural/collective form.
The historical Azads/Azadan were associated with lesser nobility and cavalry.
Tanaka separates Azat and Azatan into free commoners and knights.
Ghulam, not Azat, are the slaves of Pars.
Tanaka had doctoral-level literary training and made extensive use of historical material.
But:
Did he deliberately split “free” and “noble” into Azat and Azatan as a linguistic comment on Pars's class system?
We don't know.
I just think it's a very compelling possibility.
And if that was the joke—
“free” for the common people, “the Free Ones” for the privileged caste, while slaves aren't permitted freedom at all—
then it may be one of the neatest bits of worldbuilding hidden in Arslan Senki's terminology.
What an utterly fascinating and comprehensively researched post! I agree that, although we cannot know Tanaka's intention here (what I wouldn't give for you to be able to interview that man, lol) this does sound plausible.
I also found this video discussing the etymology of the term 'azad', which indicates that the 'noble' meaning came first and because the nobility were the only ones who were free, it then became associated with freedom.
(It also set my mind wondering, aside from the real life etymological background to these terms, how did they come to be in the rather more fictional/fantasy setting of Pars? Did these terms, these social classes, exist in the time of Kaykhusraw? Did he free people from the tyranny of the Snake King only to establish a society in which freedom is hierarchical and an entire class were not free at all? Or was the freedom he established after defeating Zahhak later overturned?
In the novels, Tahamenay says 'the wispuhran, wuzurgan, azadan, azat, and ghulam form the cornerstones of Parsian society'. Was it always so?
We also have the ironic equality of Zahhak's reign, in which 'two subjects were killed each day, whether noble wuzurgan or lowly ghulam, and their brains were fed to the serpents.' Arakawa's Zahhak referenced this form of equality in the manga recently and it felt horrifying.
So perhaps under Zahhak's rule, nobody is free (or everybody is equally un-free). Under existing Parsian society, only some people are free. And under Arslan's reforms, as you say, no person shall be denied freedom. So yes, both radical and limited and, I think, believable. To simply abolish all social classes would... not be realistic or achievable during Arslan's reign, I think.)
Hello @innerchorus Good morning Have you ever looked at the last page of chapter 154 of the Japanese manga Arsalan Senki??? I mean that sentence at the bottom of the page... I went to translate and saw Ms. Arakawa write this :( "Follow the disappointing October issue😰!" Please tell me the manga is not going to end badly😱😱😱 @innerchorus Not THAT kind of spice ... Please answer me, I'm getting stressed. I can't wait for another two months. I'm dying instead of Daryun🤦🏻♀️😰😰😰
Hello!
I have looked at the magazine raws on occasion and they usually have teaser blurbs like this to build anticipation for the next chapter. Here, the automatic translation is giving 'desperate' not 'disappointing,' as in, the situation Daryun and Team Arslan are in is a desperate one, where he is forced to do battle with the Snake King.
I can't tell you how the manga is going to end as none of us know, but what we have seen is that Arakawa is not afraid to make changes and do her own thing while still utilising elements of the very end of the novel series as she sees fit. So yes, right now it looks like we are going to see a Daryun vs Zahhak duel, but that doesn't mean everything will go down exactly as it does in the novels. It's clear Team Arslan have a plan of some sort beyond 'try to defeat the Snake King in single combat'. We don't know yet what the Zot's special powder is for, whether Hilmes and co might prove to be of some use, how Rukhnabad might come into play, or what role Arslan's other followers might still have.
I did see an interview where Arakawa mentioned that she likes to imagine hopeful endings for her characters. Arslan Senki isn't her story originally, but it's clear she has been afforded a great deal of creative leeway. Right now, it feels like there's scope for her to deliver an ending of a different feel to that of the novels. (That's not to say that I'm not worried about further character deaths — I am! But that I will be going into the next chapter hoping that Daryun will survive, rather than expecting him to die.)
One thing I can reassure you on, though, is that we don't have to wait two months for the next chapter! The magazine issue that just came out was the September issue. Next month's is the October one (the one mentioned in the end of chapter blurb). So we will get a new chapter next month as usual.
An Isfan/Jimsa ficlet series — Arslan Senki canon-divergence AU
Well, WIP Wednesday became WIP Thursday... and now it's Saturday.
Just letting you know that Chapter 1 of Instalment 2 of our AU is now officially published! The other three chapters will follow either today or tomorrow, once I've managed the final editorial pass (AO3 has decided not to play nice today, unfortunately).
Links below!
Series: Wolves, Ears and Tails AU
Instalment 1: What Happens When Isfān Is Left Unsupervised
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Taking @innerchorus advice to share the panels I enjoyed instead of fearing for what's to come!
Please excuse the quality, I needed to take photos off screen as I'm still at work after all, sigh. But who cares.
Spoilers ahead!
I like how we're getting Elam and Alfarid together, both having found appreciation for the other this chapter with Alfarid proving she can push her sorrow aside and Elam taking over command.
And an honourable mention, as Gieve is seldom surprised by others, even Gieve is impressed with the happenings, sweat-dropping in two panels.
But obviously, well, skipping Isfan this time as you've gotten him from innerchorus already, the stage has opened for Daryun and Shabrang:
Reblogging because the comment section did not suffice in terms of space:
As far as light novel canon goes, Tanaka never gives an explicit canonical explanation for Jaswant’s lack of armour. In fact, the novels do not firmly establish that he never wears armour; the consistent unarmoured appearance largely comes from the illustrations and visual adaptations.
The most convincing explanation is his military function and fighting style:
Jaswant was trained as Mahendra’s agent and is introduced operating as a spy, rather than as an ordinary battlefield soldier or heavy cavalryman.
He depends upon speed, stealth and freedom of movement. His fighting is repeatedly compared to that of a black panther: rapid, agile and conducted at close quarters.
Armour—particularly the conspicuous armour worn by Parsian cavalrymen—would hinder infiltration, climbing, silent movement and blending into unfamiliar surroundings.
Even after joining Arslan, Jaswant principally serves as a personal attendant, scout and bodyguard. He therefore retains the equipment and habits of a Sindhuran agent instead of adopting the appearance of a Parsian mounted officer.
It is probably not simply because Sindhura is hot. The climate may favour lighter equipment, but Sindhuran soldiers and commanders do possess armour. Nor is poverty a convincing explanation: Mahendra could have equipped his trusted agent, and Jaswant later had access to Parsian military resources.
Realistically, he might also wear some unobtrusive protection beneath his clothing — padded fabric, hardened leather or light mail — but Tanaka never specifies this. Consequently, it would be entirely canon-compatible to give him discreet light armour when a situation particularly requires it.
Arakawa’s version gives us stronger visual evidence, but still no explicit explanation from Arakawa herself, as far as I'm aware.
But what we can possibly assume:
The lightly dressed Jaswant is deliberately Arakawa’s own design. She created his character sheet for the anime before he had appeared in her manga, and subsequently used essentially the same design in the manga.
His lack of armour is not merely part of his disguise while spying on Rajendra. He continues wearing the same basic Sindhuran clothing after joining Arslan and during conventional battles.
Arakawa consistently depicts him fighting through speed, balance, evasive movement and rapid close-quarters swordsmanship. His confrontation with Gieve especially presents the two as unusually fast fighters rather than armoured shock combatants.
He has some limited protection — substantial wrist/forearm guards, boots and several layers around his torso and waist — but nothing identifiable as a proper cuirass, mail shirt or helmet.
This makes three explanations particularly plausible.
First, mobility. Arakawa visually contrasts Jaswant with men such as Daryun, Shapur and the Parsian cavalrymen. They are armoured mounted warriors who survive blows partly through protection; Jaswant avoids being struck in the first place. His “black panther” imagery is built into his silhouette and movement.
Second, his original occupation. Arakawa emphasises his function as Mahendra’s covert agent. Armour would make infiltration, observation, climbing and unobtrusive travel considerably more difficult. Even after becoming Arslan’s retainer, he retains the methods in which he was trained.
Third, visual and cultural distinction. Arakawa gives the different peoples of the story recognisably different clothing and military silhouettes. Jaswant must remain immediately identifiable as Sindhuran among Arslan’s mostly Parsian followers. Putting him into Parsian cavalry armour would weaken that distinction.
Arakawa has explained more generally that she researched historical clothing and armour, while also balancing historical plausibility against visual presentation; she even discussed how much uncertainty surrounded period clothing and horse armour. She has not, however, publicly connected those comments specifically to Jaswant.
The manga’s visual storytelling, however strongly supports the above, but it remains an interpretation rather than an explicitly stated canonical fact. It also does not mean he would refuse all armour on principle; giving him concealed padding, light leather protection or situational armour would not contradict anything Arakawa has established.
Lil Shapur after a very busy day(being naughty and driving all the castle folks crazy) :
I really don't know with what confidence I'm posting this, but please accept this from me.
More details:
●That tiny horse later became Isfān's. Of course, not as being "in one piece" as here.
(Shapur's toys had a very exciting life.)
Shapur had to sit down and sew it.
He didn't even know how to do that.
As usual, Mihandokht saved him.
(He later tore one of his expensive clothes so that Mihandokht could sew clothes for Isfan from that fabric, and that thing both brothers had tied their hair with and was the same color[I guess it was blue] was made of the same fabric. Although Shapur's doesn't look like fabric and looks more like beads?? But imagine it's fabric.)
●Here he is 6 years old.
●Mihandokht(his nurse), who later took care of Isfān, admits that taking care of Shapur was harder.
●Lord Behzād (his father) could spend less time with him.
●He loves his parents, but is emotionally very dependent on his mother.
●He is a polite child, but he listens to nobody when he wants to play.
●He's always been good with books and all that stuff.
●He wants to become a warrior.
●He has been training since he was 5 years old.
●He currently have a young mare to practice riding. Shapur later named her Sepidāyīn, and she is the same horse he went to rescue Māhruy and Isfān with.
●Sohrāb(his coach) believes that he is smart.
●He can also read, and write a little now.
●Delārām(His mother) gets gutted when he runs around like he doesn't care about danger at all. She is definitlely sensetive to him.
●Māhruy(Isfān's mother) is 10 years old here.
She wants to be like his older sister.
She loves him, gives him sweets, and if he hurt his leg, she bandages it.
●Everything was pretty much fine then, at least apparently.
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