Medieval Persianate cultures have been greatly influenced by the genre of poetic verse romance that is seen as a kind of mirror for princes aiming to define the nature of kingship and qualifications making up an ideal sovereign. While scholars have focused on the ways the romance poem Haft Paykar, written by Nizami Ganja, 12th-century medieval poet from the Seljuk Empire functions as a "mirror for princes" and how Bahram Gur’s romantic relationships with the women he meets help him achieve kingship, much less has been focused on the ways Haft Paykar also functions as a "mirror for princesses" that teaches women how to be good rulers from a feminine if not female perspective. I am interested in exploring Nizami’s use of ambiguous characterization embodied by his female characters: a qiyan (singing slave girl) named Fitna, alongside seven princesses coming from India, Byzantine Rome, Tatar, and Slavic regions as well as Maghreb, Persia and China. I argue that these ambiguous female characters not only defy traditional, hegemonic definitions of concepts like fitna and javanmardi for us to reperceive the centrality of queenship and female power vital for empire-building in the medieval Persianate world. Most importantly, these ambiguous female characters, by embodying commensurate concepts to javanmardi such as futuwwa, junzi, and bogatyr from the Arabic, Chinese and Slavic traditions, allow us to rethink how women contributed to the construction of Persianate cosmopolitanism in a medieval context.