SAEDNEWS: In an extraordinary address to Iranian radio and television dramatists, Iran's Supreme Leader sharply criticized the celebrated Shahnameh tale of Rostam and Sohrab, calling it entirely devoid of merit and warning against its broadcast.
According to Saed News, during a private meeting with a group of theatrical artists from Iranian national radio and television, the Supreme Leader of the Islamic Republic delivered a wide-ranging critique of Iran’s cultural production, praising the country’s acting talent while denouncing what he viewed as deep deficiencies in storytelling and scriptwriting. Notably, he issued a stark directive regarding one of Persian literature’s most iconic narratives: the tragic tale of Rostam and Sohrab from Ferdowsi’s Shahnameh.
"I say, in Ferdowsi’s stories, beware—do not broadcast the story of Rostam and Sohrab," the Supreme Leader declared. "Rostam and Sohrab has nothing good in it."
He opened by warmly welcoming the group of actors and directors, expressing his pleasure at meeting the contributors behind radio and TV drama. “Perhaps I can be considered among your audience. I’ve listened to some of your work—like ‘Ghesseye Shab’—not regularly, but from time to time. I’ve also seen your presence in TV dramas.”
Acknowledging the talent of Iranian actors and directors, he remarked: “In terms of acting and directing—whether for radio or television—we lack nothing. Fortunately, we have good actors who perform very well. One feels that there is commendable artistic talent among our fellow citizens.”
However, he sharply criticized the lack of quality content. “But the second part of the issue—screenplays and dramatic material—is where we truly have shortcomings and deficiencies,” he noted, aligning his view with previous reports by media professionals.
He compared the state of Iranian drama unfavorably with that of the West, particularly the Greeks, Romans, and Europeans, praising their centuries-old traditions and storytelling strength. “They have had live, vibrant theatre for over 2,300 years… We have no great novel comparable to the masterpieces written in the 19th century.”
Lamenting the quality of modern Iranian literature, especially novels, he said many recent works are “like plastic trying to imitate polished nickel—mostly imitative, clumsy, false.” He added that these narratives do not reflect the true history or lived experiences of Iranian society, especially during the revolutionary period. “The village, the city, the people, the government—what they describe doesn’t exist in Iran.”
He praised the novel Savushun as a rare exception but maintained that Iranian narrative output pales in comparison to European or Russian literature. Nonetheless, he insisted that Iran possesses rich narrative sources—such as Nezami’s Khamsa, Shahnameh, Masnavi, Mantiq al-Tayr, and One Thousand and One Nights—that can fuel powerful storytelling, if properly adapted.
Returning to Shahnameh, he emphasized the importance of choosing meaningful stories: “For instance, the story of Rostam and Esfandiar is very important. Esfandiar is a beautiful character, even more so than Rostam. He is devout, religious, and active in spreading monotheism. Rostam, in contrast, engages in deception in this tale.”
The Supreme Leader drew parallels to Shakespearean drama, noting how Shakespeare elevated historical stories into powerful plays imbued with Western values. He criticized these values, especially in depictions of gender dynamics, arguing that Western literature idealizes male dominance and female submission—a perspective he contrasted sharply with Islamic teachings.
“In Othello, a noble woman becomes the wife of a dark-skinned warrior. The moment she does, she must call him ‘my lord,’ and he has the right to strangle her based on mere suspicion. In Islam, this is not acceptable.”
He emphasized that Islam rejects absolute male dominance: “No man has coercive superiority over a woman—not husband, not father, not brother. At the same time, boundaries in male-female interaction must be observed.”
He concluded by stressing the Iranian mind’s natural inclination toward storytelling and urged artists to harness Iran’s deep literary heritage. “We must put our country’s storytelling capacity—thankfully today in our hands—at the service of narrative creation and drama. This takes effort. Gather capable, creative individuals and make use of them.”
On the second point, he linked cultural storytelling to revolutionary values: “Our revolution was against oppression, corruption, and evil—not against individuals. It stood against things that led this nation to misery and dependence.”
He condemned Western influence—particularly from the U.S.—accusing it of exploiting other nations. While acknowledging that leaders like Churchill may be heroes in their own countries, he insisted: “We are not the people of Britain. I must see Iran from the eyes of an Iranian.”
Finally, he emphasized absolute moral values: “Any act of oppression is wrong—even if it leads to the development of a country. These values are not relative; they are absolute. From the beginning of time to now, oppression has been evil.”
Note: Quotes attributed to the Supreme Leader are direct translations and reflect the full, unaltered content of the original Persian text, as requested.
