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Sustainability literature and a comparison of two poets
(Gheysar Amin Poor & Mahmood Darvish)
Ali Chelongar14
Dr. Mohammad Reza Nasr Esfahani15
Abstract
The present paper is a brief discussion about resistance literature and about the great poets
who have left behind notable literary works of this field. This research is about Mahmood
Darvish from palestin and Gheisar AminPoor from Iran. In this article, written works of
these poets on sustainability literature are to be compared and analyzed Especially "the poetic
ode of the earth" by Mahmood Darvish and a "poem for the war" by Gheysar AminPoor. The
major attention in the works of these two poets is to encourage sustainability, self sacrifice,
martyrdom, and to warn the free consciences.
Keywords: Sustainability literature, comparison, self sacrifice, Martyrdom, Palestine, war.
Introduction:
Ponderation and investigation in the fields of poem and resistance and explanation of its
different dimensions by using of the alert art language (especially in literature) is one the
undeniable necessities that sorrily up to the present time as much as it is worthly has not been
paid attention to by the artists and writers.
The serious strivement in noticing the poem and resistance literature, the presentation of an
exact and ascendable definition, the explanation of its authorship and analysis and pathology
of this sort of literature, is one of the necessities that without regard it, it can cause un finable
harm to the present generation of today and that of the tomorrow can be accompanied.
If today if we by using of art tools and the alert art language especially In field of poem and
story) we are not decided to portrait war epics and registration of the everlasting moment of
the holy defence, without any doubt, the main part of national identification and our historical
one will be forgotten. Because of this it is necessary for the writers that thence by serious
tries they notice this affair so as the rightness of the eight years defence of Iranian nation will
not be neglected or denied in the mind of future asking fellows. The resistance literature
always to the weak of the world has taught the courage and braveness of saying no to the
colonial and diabolic powers. And we are standing so as we teach humans the freedom and
freedom seeking are the rare gems that sometimes they are gotten by sacrificing human’s life
and we are standing and we have become story in the ovens of war so as our children in
tomorrow of history live freely and proudly,. And by the night light of belief, set fire to the
camps of disbelief and darkness and vice in the world.
Resistant literature has root in karbala and Ashorao the resistance literature in our culture
originates from the gem and nature of Shie culture. In Islam, imam Hussein (peace of god be
upon him) is a symbol of resistance against tyranny disbelief, ungodliness and wrong. Ashora
and Karbala are mysteries for all ages and all generations.
Thus, the resistance literature must have also root in Karbala and Ashora. Because of this, if
in the history of Islamic revolution didn’t happen, again the poets by inspiration of epics of
Karbala and self sacrificing of Imam Hussein and his companions on the day of ashore. They
poetized in this way that during eight years of the holy war and after that time they have done
so because the poet of revolution, is an artist who has duty and aims. The literature of
1- Ph.d student of Persian language and literature , University of Isfahan.
2- Assistant Professor of Persian language and literature, University of Isfahan.
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revolution is a seedling that it has root in the heavens, the Gnostic fruit and loving discovery
and observance.
The resistance literature is a mirror of truth and source of in sight. The resistance poem is a
poem with two wing, justice and freedom and guard of thinking and aims with affection and
fantasy. But necessarily it is not captive of mere fantasy. It is beautiful but it is not
philosophy of art for art. The resistance poet wants beauty in the service of human duty. Due
to this reason, the epics of holy defence in acceleration to the currency of epics and tendency
to aims in our literature, has had un deniable role.
Affection of resistance literature of poems and literatures of the world:
One cannot ignore this reality that we in the age of information explosion, or in another
wordiness. We live in the age of communications, the age of satellite, internet,
nanotechnology and … a life in such an age, it is necessary that by culturally self knowing we
must be decided to create cultural and constructive interrelation with the world. So as while
using of cultural findings of other nations, we also guard our national Islamic and humanly
identifications, and if we have transactions with the world, this transaction must be in a
mutual and sustaining forms until we are not lost in this cultural transaction. From this
perspective, the affection discussing of resistance literature of Iran by the global literatures
we can study in three chapters.
1) Affection of literatures of Islamic for seeking movements in Palestine, Lebanon and Egypt
and …..
2) Affection by resistant literature of latin America
3) Affection by translation literature, affection of our poets are worthy of ponderation and
studying from these three currencies from two angles.
A) Affection due to nearness of belief and values.
B) Physical and formal affections.
Affection of our poets from the movement of Islamic freedom seeking and latin America
literatures, at least it is construction and positive affection from two angles of belief and
values. One cannot enlighten from the physical and formal vies, its dimensions completely.
Because it is different direction are not firm upon a clear logics.
In the field of value and content affection, to give examples of world resistance literature is
not empty from elegance. The following example is a work from famous chilian poet, “Pablo
Neroda” it has be poetized for admiration of a fighting and revolutionary human, by this
explanation that his admired revolution person can belong to every country. I have covenant
with truth/ that I bring back lighting to the earth/ I wanted to be like bread/ fighting didn’t
find me a wishful/ now but I am, with whatever I liked/ with loneliness that I lost it in the
shadow of that stone I don’t rest the sea is groaning/ groaning in my silence. I know it/ I
passed years with it/ with it, golden and stony nature/ it left father and mother in piragua/ his
sons, his cousins/ his new grooms/ his house, his hens/ and the half open books/ police agents
arrestees him And beat him so much that he omitted blood in the France land in Denmark/ in
Italy/Neruda 13520-1). After mention the above poem, we pay attention to apart of the late
Timoor Toranj’s poem. Ponderation in his poem shows how about the amount of affection of
our poets by the global resistance poem.
Ilchian/ they polish the blood drop chopping swords/ the Changiz laws book, they repeat/in
the back yards of the houses, the girls deny the moonlight of their faces/ in terrible
eclipse/Ilchian upraising them at the gates of bloody city.(toranj 1372:40-39). The traces of
formal affections are seen of translation literature in this poem.
The affection of resistance literature of palestine upon Islamic revolution literature of Iran:
one can study the above subject from two sects the affect of war of Palestinian fight upon our
revolution and secondly the affection of Palestinian resistant literature upon our revolution
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literature which reached victory by the 57 year revolution. Imam Khomeini (peace of god)
came to this field, fighting by using of people movements the cry of Imam was guard of
religion, human homage and social respect of people and when people saw all the conditions
in Imam, liking they joined to him and became his followers. We were acquainted with
palestian people’s fighting at the time of tyrannical royalism. And we were affected by it and
how about we had common step taking and accompaniment. Regime of Pahlavi was afraid of
unification of these two currencies and it used to fight against it. The Iranian nation made
America kneel down by Islamic sights and leader ship of Imam Khomeini leader ship Imam
was a godly and fearful of god and thinker he led the revolution bravely and based on
homage of the Muslims.
Although one can say were not affected by palest in people’s fighting directly in the course
of revolution, but without any doubt one of the affective factors in peoples movement and
fighting against royalistic system, was fighting against royalistic system’s accompaniment
with Zionism. Even one can say we can step back to the fighting of ayatollah Modaress and
even earlier than him, Tabaco currency and that famous indult of Mirzaeh Shirazi and
people’s follow ship of him, in the year 32, and earlier than it the currencies such as
Fadaian’s movement happened but because people were not completely informative and they
have social-cultural strategies for victory they did not become successful.
Imam Khomeini led the movement by considering all dimensions, until people became
victorious in the next years people of palestin took sample of our revolution and the same
problem is the factor of their success. The dutiful literature is effective when it has aims.
When a poet who is dutiful and is acquainted with political currencies and he knows that
literature we upon is more constructive and cutting than every weapon, he starts creaking a
work and surely he is effective. In this direction we introduce two poets with their mentioned
traits and comparison of their works, Mahmud Darvish from palestin and Qaysar Aminpour
from Iran.
Mahmud Darvish:
He was born in 1941 in the village Barva, near Aka city, in a poor family and populated
family with eight children. His childhood is full with bitter memories, escapement from his
father’s village to Lebanon and returning to home town, is the most important memory of a
years of a child it is portraited in the all life years and all lines of Darvish’s poems. He
narrated in his biography the memory of that wonderful night:
I remember my sixth year life, we were living in a small and calm village. the village barveh,
on a green hill that Aka desert was spread face to face with it. I was a son from a middle class
family that lived by doing farm and agriculture (Darvish 1363: 14).
When I reach the seven year life, the childish games were stopped and I remember how this
happened. I remember the whole adventure. At one night of the summer when the village
dwellers were used to sleeping on the roofs of the house, my mother woke me up suddenly.
I saw myself with hundreds of villager, that they were running in the jungle, the bullets
were passing above our heads and I didn’t find out that adventure. After a night of
wonderment and running with one of my kin's that they were scattered in all directions and
lost as well, I reached an unknown village which had other children, I asked simplemindedly
where am I? And for the first time I heard Lebanon word! (Ibid,20)
I suppose that night in endless violence finished my childhood era and in this way
childhood that it was empty from harshs came to an end, and suddenly I felt that I have
grown up, my joys were stopped and I was made to suffer from harshs and sufferings. Those
days when I was living in Lebanon, I have not forgotten them and I will never forget them.
For the first time and without any readiness, I was standing in a long queue so as I took the
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portion that the refugees organization divided. The main portion was yellow cheese, there for
the first time I heard new words.
My acquaintance with new words such as patron, war, news, refugees, soldiers, frontiers
opened a new window to my new world. And by these words I began to study understand and
recognize the new world and new situations which made childhood unlawful for me. This
narration was a small and bitter narration that suddenly erupted like a terrible earth quake
with hegeinic a vol can eruption upon the childhood of palestin child.
The returning narration is like a touchable migration narration and what can say about full
with simplicity and twin wonder?!
More than one year after living like are fugee a tone night I was told that next day we will
come back home. I well remember that at that night I didn’t sleep. Due to gladness. Returning
to home forme meant the end of yellow ??, the end of Lebanon children’s trouble. Somes that
they suonated with the hanchy comment of refugee.
… I came out for coming back. Blackness had shadow over all things, we were 3 persons, I,
my paternal uncle and a guide who knew the slender ways of the desert. I remember that we
crept on the ground so as we were not seen. We passed by a very tiring distance. I saw myself
in a village but the unluckiness of the wishes were very harsh? We had reached the Diarol
Asad village and it was not my village. My house and my alley were not there.
I asked when we would go to our own village and to our house? The answers were not
satisfactorily and I did not understand any things, I didn’t understand the meaning of village
destruction. Why did they destroy my world? And who were these destroyers? Little by little,
I got used to the life of the great and their adventures and in the depth of unluckiness it
became clear that I would not come back to that source of my dreams. I would not come back
to the alley of my childhood any more I was a refugee in Lebanon, now here in my own land
I am a refugee! (Ibid:25).
In this was the dream of a dreamed land, with occupation bad dream like a twin children, it
influence in the life and words of the poet, and they find un ending presence in the vein and
all roots of the murmurs since childhood to death, Mahmud Darvish start poetizing since the
age 12, the experiment of poem publication, it came to his virtues when he is 14 years).
It was interesting that the first experiment in the jail occurs in 14 years oldness. Is there any
relation among words rescue of the poet life with his becoming a jailer? Is the poet like that
lover canary that due to its nice singing is worthy of becoming a jailed person?
However, this experiment that is cage experiment occurs several times again and it is
natural that outcome of such experiment for every poet is poetization in the cage and some of
the men that they exist in the book called a lover in palestine are among his poems in the jail
(Darvish, 1994-141).
The first book of Mahmud Darvish in the 19 years oldness of the poet called the "wingless
sparrows" was published that they are his hurried experiments with being affected vastly by
poems of the revolutionary poets in the world, and naturally by evaluation in limitation of the
early black manuscript of a young poet are divided but this book was the leaves of olive that
Mahmud Darvish was introduced by it as a shining talent in the span of Arabic poem. This
book four years after the first collection in 1967 was published that should search some of the
most famous poems of Mahmud Darvish in this collection such as "identification card"
beings with this phrase: Write/I am Arab/ the number of my card is 50000/I have eight
children.
Since that time up to now it is more than four decades that Mahmud Darvish by sad
murmurs but with elegant, modernist, mild and moderate ones in the field. Arabic poem and
by the present global poems has a shining presence and with other famous poet of palest in
that is Samih Alqasem is considered as the flag bearer of palestin resistance poem. Now we
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ponder upon the proportion of poem and politics and aim seeking category and political and
social duties of the poet and poem so as we speak about important and fundamental direction
in poems of Darvish. It seems this point is of the clear cuts that poem can regard all structures
and domains as capitals and concepts, and due to this problem it is answering only to the poet
himself and if inquisition is forbidden in other fields, it will be more forbidden in this area
and one cannot annual the freedom of poets and writers in choosing domains and concepts
just as one cannot criticize the freedom of the spoken persons for accepting or not accepting
the poem and the poets. But stressing upon this affair is necessary that every text with every
tendency in form, language and content if it is loyal upon the gem of the poem and poetry. It
is poem otherwise it is not so in this way a poem is philosophical sometimes it is social/
psychological/political/epic/lyric/sarcastic and sometimes a combination of all them and
when while it is poem and every poem is a flower and every flower has a special smell. This
simple but deep point must be regarded more seriously by they who stress upon vocal
plurality in spans of poem and poetical democracy. Now we refer to poems of Mahmud
Darvish that it has continuous direction to politics and aims. The poetical manifest of
Mahmud Darvish according to saying of Shaker eElena Belsi Are portrait in his earlier poems
in the olive leaves so:
My poet friends/ we are in a modern world/ our poems are colorless, tastless and noiseless/
when he doesn’t take a lamprey/ from one house to another house/ and in this way these
lines/ (a poet says: if my poem makes the companions glad/ and make the enemy angry/ at
that time I am a poet/ and I also says… (Ibid: 55-53)
In the perspective of such manifest it is that important section of Mahmud Darvish’s fame in
the beginning of poetry way. It originates from his clear political poems in the field of
palestin resistance aims. Increasing shining day by in continuation of the way, especially
during these two recent decades is due to loyalty to poetry nature.
Although human see his political continue to the resistance aims continuously one can see
in the poem and life of Mahmud Darvish. This godly grace that is loyalty to poem has root in
a sort critical sight to poem function in text of fighting. The belief sight in the fighting
process and palestin resistance aims and Arabian nationalism cause reaching of the poet to a
deeper view to poem, life, fighting and human. As the testimony of more than 20poem
collections Mahmud Darvish has an evolution toward perfection as a dynamic poet, poem by
poem, book by book.
Both in the field of inward capital and content view it orients to depth and it learns growth
and more increasing brightness in domains of language, and poetical explanation. Some of
the Arabian poets and critical men have studied this moving toward Climax and they have
measured between poem and political duty and aims seeking spirit of Mahmud Darvish.
Nazar Qabbani, the famous Arabian poet he considers Darvish and Mozafarol Tavab the two
outstanding Arabian poets that they are modern statuary of people. To his comment, Mahmud
Darvish by having of unique blessing has been able to pass by all the Arabian lands and place
the revolution fellows. Qabbani in discussion about position of Mahmud Darvish and his
interrelation with palestin resistance aims says so: Palestin resistance is not a case subject …
Mahmud Darvish is not a palestin special case poet. He is palestin totally with its grape,
olive and orange garden with its sea … his findings for palestin is more than the portion that
has been reached to him from palestin and he has published in all of planets. He is a great and
able poet palestin has become great in his hands it has become lower and smaller by the
hands of others palestin resistance itself against its holiness and homage is not enough so as
set a talent less poet on the top. Mahmud Darvish only and only is peti handed fruit of his
own talent and nobody has trained him. D.r.Abdol Aziz Almaqaleh the Arabian outstanding
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poet and critical man studies the living sensation and presence and progress of Darvish from
other view angle.
The poem of resistance in palestin, and not in exile and always the most outstanding of
resistance poetical voices are the voices of the poets that they live in their lands like refugees
and they have more alive sentiments to the zealotry which occurs upon them and around
them. And their poems originate from unlikeness suffering and the resistance ash which is
buried in it.
Mahmud Darvish by having poetical progressive information and the firm upon shining and
fruitful voice in explanation of rejecting this strange and accompany with experiment of the
now days poem have been able a build a bridge among the words, aims and so also between
art and weaponry resistance, ezodinal monasereh believes that if mere the resistance poem is
set as standard of classification of the poets, Mahmud Darvish stands in the first rank of it in
the world. He as the resistance poet, by neglecting the other aspect and at least from the
resistance poem quantity, he is setup in the rank of global poets such as Lorka, Nazem
Hekmat and Neroda. Perhaps now somebody asks why is he considered in Arabian poets
classification among these second generation poets? We must know that Mahmud Darvish is
only setup as a poet in this rank but as resistance poet from the point of working he is setup in
the level of global resistance poet. Darvish the Palestinian resistance poet who for heart
operation was under medical cars in hospital Huston in America texts after heart operation he
became entangled with heart attack again and he died on 22th of Mordad in 1387.
He poetized a poem after this heart operation and at his end of life hours called the death
which I conquered it at the death bed. For funeral ceremony of his death in palestin 3 days
were proclaimed as public funeral (www.radio_Alborz.com).
One of his poems is called Qasidatolarz (ode of earth) that as one of the samples of this poet
in the book called "Arabian contemporary poem pioneers, of poetizing rain to reel noise of
the Rose", page 650; The one start, in this way:
In March month/ in movement year/ the earth said to us its bloody mysteries (secrets)/ in
March five girls passed before violet and rifle/ they stood at threshold of an elementary
school/ and with Rose and dos to (Avishan) they flamed/ they became the starting point soil
song/ and they took step to the back ward as well March comes to ward earth from the earth
depth and of dancing of the girls/
The violet bowed a little so as the voices of the girls pass by/ the sparrows longed their
beaks toward my song and heart. In other part of this ode for clarifying the depth of his
disliking to Zionist enemy he poetizes in this way:
I call the soil the continuum of my soul and my hands wounds borders/ the stone pebbles as
the wings/ the sparrows as almond and fig/ my ribs as trees/ I pick up of the fig of chest root/
and I throw it like a stone/ and I destroy the tanks of the victorious men.
In other part/ he poetizes this ode addressing to the eath: and in March, the horses wake up/
earth, lord of my lady (Dushes).
After me which song will pass upon your hair? And which song will make this dew worthy?
They say now temples ask about palestin prophets at the beginning of its continuum, these are
horizon becoming green, and stone becoming red, this is my song and this is messiah’s out
going from wound and wind. Green like a plant, this is my song, and this is going up of
Arabian young fellow till dream and holiness.
Among the short and beautiful poems of Mahamud Darvish, a poem exists in the name of
father I am yoosef that in it while referring to the story of hazrat Yoosof and his brothers, he
stresses upon his sinlessness, and sinlessness of every Palestinian follow against Zionists
tyranny that they are stubborn against every law and every logical thing. As we regard ,
hazrat Yoosof(P.B.U.H) addresses his father honorable Yaqoob (P.B.U.H) and by
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complaining language speaks about his brothers, o father I am Yoosof, my brothers don’t like
me, they don’t want me, they tyrannize to me, by stone and word they reject me they want
that I die so as they praise me, and in the final caplets by a rebelling language he says: o
father, you named me Yoosof , and my brothers threw me in the well, and they accused the
wolf while wolf is kinder than my brothers.
Dear father! Did I commit a crime against anybody? When I said: I saw in dream that
eleven stars with moon and sun prostrate to me.
Biography and introducing works of Qaysar Aminpoor:
Qaysar Aminpoor among the revolution pioneer poets and owner of works such as
"morning breathing" sudden mirrors, all the flowers are sun flowers: on the second of
Ordibehesht in 1338 in Gotvand (of the subs of Dezfool town in Khuzestan country), was
born. He studied in elementary school of Gotvand and in high school of the Dezfool town. In
1357 (contemporary with victory of Islamic revolution) and by passing exam in Tehran
university migrated from his home town for ever. After one year studying in course of
medical science and annulment of this course, he arrived in course of sociology in 1358. Last
years of presence in this course was at the same time with cultural revolution (59
Ordibehesht) and university holidays. in 63 He took part in concur once more, and he was
accepted in literature course and till 1376 finished the course of Ph.d in this course with
presenting his thesis called "tradition and innovation in the contemporary poem by guidance
of Dr. Mohammad Rezasharifee Kadkani (this these was published in 1383 by the scientific
and cultural publication center). In 69 – 70 he was acquainted with Lady Ziba Eshraqee one
of the students of literature course in Tehran University that this acquaintance led to
marriage, in the divan not wheat and not apple.
He points inspirationally to this marriage: your name is light / your name is swear / your
name is salt / your name is smile / smile is necessary in pronunciation of your name (sudden
mirror page 46). The fruit of this marriage is a girl named Ayeh who was born in 1373, in the
collection called all flowers are sunflowers.
Tow beautiful qazal (lyrics) named:

Smell of all flowers (page 111) and photo of my childhood (page 113)
addressing to his alone child:

Aye, Ayeh of me in your book, continue of my shadow, your sun,

Your sleeping smiles are my heart cradle my heart becomes impatient of the
wave of your swing.
Once call me childishly o father, until I say in an swering to you thousand answers (the
flowers are all sunflowers pages 114 – 118).
Artistic Activities:
Qaysar AminPoor is of the poets had a basic role in forming and continue of poem unit
activities of the artistic center. he began his artistic activities in 58 in Islamic thinking and
artistic center. So also at the same era, he had responsibility of the poem page of weekly
periodical called Soroosh of the teenager. In 76 he became editor of Soroosh periodical of the
teenager too. But against his tendency he exiled the editorial of Sorosh in 82. The
publications "artistic chapters" is considered with congregation of the friends of his literary
and artistic activities.
In 82 he was chosen as a member of Persian language and literature academy. He is only
contemporary poet who became a member of the academy. Qaysar started teaching in
university in 67 by going to Alzahra University in 69 and he was teaching in Tehran
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University up to the end of his life, among the literary prizes that he received during these
years.
Once can point to receive of Nima Yoshij prize called cristal bird (1368) and the prize of
chosen poet of holly defense.
Aminpoor in 78 after a terrible car accident he always suffered from different illnesses, at
last after several entanglement with illness and two times of heart operation and kidney
implantation, about 3 in the morning of Tuesday in Aban the 8th in 86 died in Dey hospital.
The dead body of his great poet in his hometown in Gotvand and side by side with the
unknown martirs of this town was buried. (Ahmadian 1381 – 30).
Due to you passing by all were as amazed as though it had been said flight, flight
(Love grammar page 29).
The introduction of the works:
Although Qaysar AminPoor was known among the poet more for his poems collection, but
he has works in the field of literary investigations , the poem of teenager, literary prose and
poem pieces his works are worthy of being classified and evaluated in 3 selections:
Literary / investigations: of Dr. Qaysar AminPoor two investigational.
Works are existing:
1- Tradition and innovation in contemporary poem this work that it is more plotted in
literary critics failed, it was published in 83 by scientific and cultural publication center.
2- Poem and Childhood, Morvarid publication 86 summer. In this work Qaysar AminPoor
considers poem as a kind of returning to childhood. he after comparing likeness between a
child’s thinking and poet’s fantasy, he explains this retuning by giving poetical numerous
testimonies.
(B) Prose and literary pieces (that his spoken fellows are teenagers range):
1- To fly without any wings (1370)
(2).Storm in parenthesis (1365).
(j). poem: the most activities in literary of Qaysar AminPoor and his most outstanding work,
is collection of poems. The simple language, Hoch attitudes, portraits and thinking which are
deep caused so as he is considered of contemporary literature poets. His workers collection is
as following
1- in the sun lane (rubiat and copulets) (1363)
(2- morning breathing) (modern poem and lyrics) (1363).
3- divan of the 10th noon (modern poem) teenager range 1365.
4- like source, like river, according to saying of Parastoo(Chahar pareh, Modern poem,
Masnav ,1368).
6- Sudden Mirrors in two books (modern poem, witness, lyrics, cuples,masnavi) 1372.
7- Flowers are all sun flowers(modern poem, lyrics, rubaiat, couplet) love grammar
(Ahmadian 29 – 31).
Qaysar AminPoor, poet of words and etymology.
Melody:
In analyzing and studying poems of Qaysar Amin Poor, one can count the most important
literary and language traits.
The most important style in Amin Poor’s works, “modern poem” and it is after that lyrics,
of course Qaysar like men in styles such as Rubaiat and cuplet tried histalent. One must
consider Qaysar one of the most standing pioneers of special using about these two styles and
revivers of styles of Rubaiat and cuplet. As it was mentioned, the poets of the present time
have paid attention to these styles creativities and literary capacities.
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One of the most important traits of rubaiat and cuplet is short, fast explanation of thinking
and sentiment. Qaysar has used very well in his poem and especially in short and fast
explanation of war and martyrdom concepts in these two styles.
Symbolism especially in poems with concepts of revolution and freedom, portrait of
despotism situation before revolution and summary and saying the chosen point, one of the
most factors of summary in Qaysar poem »omission of the letters or parts of the sentences
such as verb, and case of nouns. Exactness in choosing words and usage of the pronunciation
and mental arrays is in a form that his poem in replacement axis. Has firmness and high
unification.
Paying attention to meanings and different etymologies of a word or expression.
Usage of metaphors and assimilation in poetry portrait, in Qaysar’s poem “metaphor” many
assimilations have been used that have caused summary in his poetic portraits. of the most
kinds of metaphors in Qaysar’s poems one can point to the sub metaphors (metaphors in verb
an dad subjective) and arrays.
Wordiness structure and new comment such as, nafgarich, salam of khis tar skhordeh,
Cheshmvareh (Ahmadian 161-163).
A poem for poem poetize by Qaysar Amin Poor, is one of the everlasting poems in the field
of war literature during the eight inpositive years. This poem perhaps is for a generation
which has not seen war but has only heard a wrong narration of it. It is full of poems and
empty from summary. But for the old fellows of this domain who are sincere and study the
pager of war literature.
It is a shining work and at its own time it is harshly counter stereotype.
War has had and has always two narrators in every place of the world:
One of them are people and the other are governmental medias.
Qaysar in this work with a hidden sacristy to the wrong medias-here there are always many
news! Of “chest inside”.
People in Dezfool that is he informed about Iranians at the first line of war as well with
gross symbols and painful cases of ugliness of enemy’s aggression and for waking up the
walls that tried in capital of war till they present chanting miniatures! We postpone many
important things in this field to other positions.
Poem for war:
I wanted/to poetize a poem for war/I understood it is impossible/any more the language pen
is not of my heart/I said: we must put the pens on the ground/any more speaking weapon is
not effective/ one must take off a sharper weapon/we must for war/ I read of tube and rifle/
with bullet word/I wanted/to poetize for war a poem/a poem for my own city-Dezfool/I found
out that bad rocket pronunciation must be used/but/rocket used to decrease the beauty of my
speaking, I said that in complete house of my poem/is not better than city houses/ let my
poem as well/ just as the bricky houses of the people/ which is ruin/ and bloody/ I must say
angry poem/ resistance poem/ the clear crying poem/ although in complete/ I said/ in our city/
the walls are again full with photos of tulips/ here. The position danger doesn’t end/ a girisred
which groans/ alone in silence of nights/ one the incomplete sleep of dead bodies/ the wild
bats of foe/ even they dislike the light of crafts/ any more even the stars/ are not trustee/
perhaps the stars/ are the spies of our enemy/ here/ even/ they are not in wonder of moon
explosion!/ here/ only stars/ see from distance towers/ that how much might is a disliked
time/ but if the star had language/ he would poetize about might badness a lot/ better speaker
than I who am tongwless/ yes/ might is a bad time/ every night well/ see by staring eyes/ the
death eefrit/ the familiar dad dream of night in children’s poem/ every night it wear the reality
clothes/ morning/ the ash of a darling of somebody/ took with itself/ here even for staying
there is a little air/ here there are many news/ the news of parts of mud and stone/ on the
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small hearts/ in tight graves/ of bloody houses/ of story of bloody dolls/ of explosion of brain
of a small head/ with bolster that is full with dreams/ the sweet childish dreams/ of that black
night/ that night which in dust/ a man on the brook of street/ bowed with red and fear ful
eyes. He search to find his other hand/ believe/ believe/ I saw by my staring eyes/ that a child
was running due to his fear against danger.
But he had not ahead/ he rolled on the earth a moment later/ and at another hour/ a hurry
back bowed man/ on the back of his bicycle/ took the head/ toward the grave of his child/ a
thing was lost in his chest/ but/ these dusty shoulders/ very simple and patient/ it was
trembling at the time of ?? happening/ they/ although/ their kneels and loins were broken/
they are standing victorious and without any tiredness/ without any house and family/ in their
ears is the word of Imam/ resistance and self sacrifice order/ upon their shoulders there is the
flag of movement/ yea/ these speaking of my heart deep sadness/ the walls could not hear
them/ can you hear them/ wall?/ the wall of the moving cold stone?/ is it worthy that you stay
dead/ in jail of being alive/ no!/ we must our mother’s throat/ of ode voice, we burn/ until the
time when river has not dried yet/ among other works of Qaysar Amin Poor’s work is the
lane of sun. this work belongs to the poetize styles. Rubaiat and cuplet Amin Poor is of the
persons who had a basic role in riving these two poetic styles and modernization of it. Some
of the concepts of rubaiat and cuplets of this collection are consisted of war, martirs, Imam
(p.b.u.h).
The rite and religious concepts such as pray and description of religious personalities such
as Hazrat Imam Ali (P.B.U.H) (Ahmadian-31)
And now some samples of such a poem: the war story:
The bang city music is “rodarud”. Singing is fire, once and smoke/ upon the ruined soil,
read the story of war/ to rough the eyes of a doll which is bloody/ point/ that bird which flies
toward roof and friend’s roof/ it will be headed by the dagger of friend/ this point has been
written on the love book/ whoever has love for friend, he doesn’t like his head/ in the lane of
sun/ a tone night I found a meteor/ in dance of mirage, I found water/ and this book full with
song/ I found in the lane of sun (rubaiat and duplet book the first edition 1363). The ode of
the earth and a poem for war: the ode of the earth of Mahmud Darvish.
Stars with entefazeh and speaks about blood, and rifle.
Amin Poor starts his poem with words such as war, rifle and rocket as well.
2) spirit of self sacrifice and hope in future in poems of Mahmud Darvish and including this
ode are modulated a lot.
Like these parts: Amin Poor in his poem and in a poem and firmness of the people, in the
way of aim by noticing the commandments of their Imam and leader he speaks: these persons
although their kneels and backs have be broken, they are standing victorious and without
becoming tired, without any house and family, the speaking of Imam exist in their ears,
resistance and self satisfied order. The flag of movement is on their shoulders (Hosseini 117).
Qaysar in his poem has described tyranny, unmanliness, and ugly deeds of enemy by
portraiting the harsh and deadly scenes such as: every night silently we said to our selves,
perhaps, this night is our last night, to night in our dusty and soily house, the crying of which
mother is a waken, that it is shutted in throat without appearing, or the soil and stone of the
bloody Iron, when we cut by our nail and grasp, under the muds we see, the woman on the
sewing machine has become silent for ever (Hosseini 114-115). Both of the poets in using
wordiness arrays and especially similitude metaphors and recognition have been striver and
lucky such as essmi al hassi ajeneha/ esmi alasafir losa vatin/ esmi zoloee shajar (Assvar
652).
The similitude of pebbles as wings and sparrows to almond fig and ribs of tree and in month
Azar in the year entefazeh, the earth said to us its secrets “recognition” (Assvar 662), upon in
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complete sleepy dead bodies, the wild bats of enemy even they dislike the light of a craft,
mosrehez metaphor (Hosseini 113).
With staring eyes I see the death carling »similitude« (Ibid: 114).
5) the language of both works are predicative but for stressing more. Sometimes it is led to
composition style such as my lord the earth here sometimes I must array the head of a man
which is off only on the far away roof till we put it in the grave or the stone, soil and bloody
iron, when we cut it by nail and grasp, under the mud we see a woman on the sewing
machine has become silent for ever (Hosseini: 115).
6- The main outlook of Mahmud Darvish in this ode and his other poems stresses upon
guarding Palestinian identity and fighting against is real by pen, language and inspiration and
hope in palstin people till freedom of plastin. As of this outlook we can feel parts of
sentiments:
O goers on the fire mounts, pass by my dead body, ogoers toward qods rock, pass by my
dead body, passers by my dead body, don’t pass from hear I am earth in dead body, never
pass so… (Assva 674).
Qaysar himself in Dezfool has been a watcher of bombardment and rocket shooters and
wild deeds of the enemy, he portraits these scenes in his poem for his works readers and
encourage every free humans for defending against invaders, he shows the sinlessness of
Iranian Islamic nation to the world dwellers Since that black night that in dust a man on the
brook of street bowed down with red and fearful eyes, he search to find his other hasnd!
(Hosseini 116).
Conclusion: Islamic revolution and after the eight years of holy defence, in the
contemporary literature caused a worthy and outstanding changement. The poetical portraits
of these two great happening that they are full with events both in content and in literary
styles, caused a depend fundamental efficacy. The combination of epics and lyrics in war
poem, created a special sort of lyrics that its appearance in Persian literature was a new and
unique thing. Usage of epics word and national in poetic portraits, symbolism in revolution
poem, using of scenes and natural panoramas in combination of metaphor and similitude,
wonderful and new concepts in epic poem of war, arrival of concepts such as martyrdom, self
sacrifice and encouraging the fighters to combat against dictatorship are the main traits of
resistance literature. Without any doubt, resistances and guarding the values and aims of
revolution and holy defence.
Demand worthy literature and able and strong poets. As we have already seen Amin Poor in
Iran and Darvish in palestin could do this well and by poetizing poem in different styles and
usage of different mental and lafzi arrays especially for similitude and metaphors and
recognition and inspiration of hope, self sazrifice, and courage in revolutionary people and
mentioning martirs, persuasion and encouragement to go to the war sects and love for
country, explanation of war realities and protest against the indifferent fellows, they make the
resistance literature reach climax.
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References
1- Ahmadian, Marzieh (1387) analysis and study of fantasy forms in poem of Qaysar Amin
Poor and Nasrolah Mardani (the thesis of Doctor ship in Persian language and literature,
Isfahan university).
2) Ossva, Mossa (1381) of poetization of rain till Mazamir of Rose, the pioneers of Arab
contem porary poem, Tehran, edition of Sokhan.
3) Amin Poor, Qatsar (1363). Morning breathing, Tehran. Islamic propagand center, artistic
organ.
4) (1380) all of the flowers are sunflowers, Tehran,Morvarid editions.
5) 1386 love grammer. Tehran, Morvarid Edition.
6) 1387 the chosen poems, Tehran Morvarid editions, the tenth publication.
7) 1388- complete collection of poems of Qaysar Amin Poor, nima ees, Tehran, book of
young poems.
8) Toranj-Taymoor 1372, the voice of deep people, collection of poem,Shiraz, Navid
editions
9) Hosseini, Hassan (1387) the chosen poems of war and holy defense, Tehran, the edirions
of Mehr sura.
10) Darvish, Mahmud, (1994) Divan of Mahmud Darvish, J1-Biroot, Daraolodah.
11) 2000, Divan of Mahmud Darvish, 2J Biroot, Darolodah.
12) 1363 the daily sad notes, translated by Amireh Zomiri, Tehran. AmirKabir
13) 1370Mazmir, a high Divan of Mahmud Darvish, translated by Saber Imami, Tehran,
Islamic propagand.
14) Radavani, Mohammad in ? Omar (1362) the translation of Albalaqah, by trying and
striving of Professor Ahmad Atash, Tehran, Asatir editions the second edition.
15) Shamisa, Siroos (1383) the explanation and mentality, Tehran Ferdos editions.
16) Neroda، Pablo (1352) we are too many, Tehran, Toos editions.
17) the especial essays of poem of Qaysar AminPoor, the poem magasin, the right of edition
owner:
The artistic center- the secretary: Mpstafa Mohdessi, number 30, the tenth year winter of
1381.
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