Forough Farrokhzad, the first Persian poet to rebel against the sound of the whip | Mohammed Al-Hamamsi

The experience of the poet Forough Farrokhzad is grounded and its manifestations were based on rebellion and boldness in the expression of the soul’s longing for freedom, love and light. As long as she died after a tragic accident at the age of 32, he saw what was going on. within her and reflected from the outside on her with another boldness that surpassed and contributed to her previous and contemporary poetic experience.

The complete poetic works of the poet Forough, translated and presented to her by Maryam Al-Attar, confirm that what Forough obtained from a wide critical and public follow-up did not come from nothing. Revealed, whether during her life or in the reception of her published works after her death, and this, together with the revolutions of her life such as marriage, childbirth, divorce and confrontation with the patriarchal cultural community, has shaped the course of her experience in poetry. in particular and writing in general.

In her presentation of works, Al-Attar sheds light on important aspects of Forough’s poetic experience, and then monitors the details of her biography. She quotes the introduction to the book “The First Heartbeat of Love for My Heart” by author, translator and painter Imran Slahi, in which he collected Forough’s letters to her husband, Pervez Shapur.

Maryam Attar: Forough presented an experience full of challenges for everything that binds and stands in the way of self-realization and free presence in it

The rebellious poet

Al-Attar recalls, “I hope my presence will be a little outlet that radiates light and happiness into your life.” Forough wrote this sentence in a letter after her official divorce from her husband, and she did not know that her presence was not an outlet, but rather open windows that would open and spread lovers what she wrote in their love letters and letters has. She said: “The hair devil pulled her out of her hand stained with ink, and the hair became a bird’s. Nest in her hands.”

Al-Attar pointed out in the introduction to the Arabic version of the poetic works, issued by Dar Al-Mada, that Forough began writing lyrical poetry with main themes early as a complaint between lovers or the suffering of a Oriental woman pleading with the outgoing, unjust, indifferent man, and in response to what was said about the first type she wrote, she said “The words, though the poet’s tools are not as important as the content, and if the vocabulary is repeated, it is an outburst of love that was influential for me in that era. ”

Forough did not care about the term modern and ancient poetry, but rather considered poetry to be the same in all ages, but it differs from generation to generation, and the difference is only in the material distances between the centuries. falsehood, since you believe that the act of art is a statement to rearrange life, and life has the essence of change, expansion, and growth, as a result, the statement or art in each period has its own spirit, and if it is different is, it is false and imitated.

Forough says: “My world, for example, is completely different from that of Hafez al-Shirazi. The way the poet and reader receive in understanding various concepts such as love, courage and beliefs is different from yesterday, and she cites an example of “Majnoun” in the literature “Majnoun is an icon of love and salvation of the beloved in the poems of past centuries. ” Today, in her opinion, this vision has changed, with the analysis of doctors Psychologists are a sick “crazy” person who must be under control in constant suffering, subject to torture that does not strive for freedom.

Al-Attar believes that Farrokhzad uses the loudest and ugliest vocabulary in poetry and says, “If the presence of shocking vocabulary is necessary, the poet must use it, even if such vocabulary has not been circulated in poetry before.” She also claims that “Rhetoric is not enough, and modern poetry must contain a compassionate and homogeneous tongue of shame. In all the moments in which we live.” She also states that she did not give the vocabulary to the extras. She also states: “The poet must stop writing praise, giving advice and sermons, or taking on the role of a leader and a guide. Modern poetry has come from the sayings of colleges and is close to the human spirit and art itself. touched.” Thus, through her discovery of these secrets, as well as her use of dialogue and discourse in poetry, she created a new pattern in the Persian poetry of the time.

In the poet’s opinion, rhetoric is not enough, and modern poetry must contain a bare tongue and be in harmony with what we experience.

Regarding what Forough was known as a “rebellious poet”, and where this rebellion came from, Al-Attar refers to Forough’s words in one of her letters to her husband, “I do not know how to turn to whom to to kill the past., you are God bless you in my heart. ” The rebellion did not prevent her from submitting To embrace the beloved and tell him that he was her second half was not rebellion or poetry, which she described as a blood-sucking machine. for her as much as love, but the same love in her last diwan then became a cause of destruction.

Betrayal and fighting for her as a poetic woman made her a rebel so she quickly traveled from one city to another and the pen and paper accompanied her to complete as many books as possible in the short period of her life. to buy a plastic mattress to cover the floor of her little house, as if she wanted to cling to life with her hands and taste the taste of happiness like any ordinary woman, and she did not get a bit of that happiness except in the folds of paper.

Al-Attar explains that Forough’s poetry has received many articles and investigations in several languages, and whoever discovers her worlds will immediately recognize an adult woman who has been ignited with love, and driven out of the marriage house again, and her free and rebellious poetry that the talking over and over of intellectuals and readers, and its revealing masks in a society of empty people. Overwhelmed by illusory happiness, and by the shocks that stimulated her powers, she was able to provide another world with her fluent language and her own tools, and the installation of her poetic sentences in a society in which a woman of only a man knows the sound of a whip during the day and hides under a cloak at night. Forough, the poet, chooses to synthesize the vocabulary to be a poem that strips the false before his falsehood and before the public. The one who sums up the title of her first collection of poems with “The Captive” is fully aware of society she lives and what the position of women in it.

individual trait

Important aspects of Forough’s poetic experience

Al-Attar claims that Forough is the first woman in the history of Persian poetry to be able to write freely using the harshest expressions she utters without referring to acquired inherited beliefs. She rather takes it from the echo of pure nature in her heart and her emotional sense, and this internal flowing spring in her has created new ways for the poet’s identity in Persian literature.

In her first volumes of poetry the reader enters the caves of strange loss, lonely waiting, virgin love filled with long torment, and in her first volume of poetry “The Captive” and then the second “The Wall” embodies her suffering in captivity behind the wall. Then she enters a clear turning point away from poetic fantasies, therefore she places “The Disobedience” as a new title for her third poetic group, and lets the sadness of slavery and the fall of thoughts enter the kingdom of poetry here by ‘ an explicit by it is as old as the revolutions that are happening to her and her society.

“The Disobedience” introduced the poet to a new world with a fourth group entitled “Another Birth.” The title is clear which shows a new thought and a depiction of the public identity, of the general feminist presence in front of a traditional society that carries. the poet or rebellious woman, the hammer of infidelity and contempt. But she is not subject to him, and if the beloved breaks her by taking her only child, she fights it by adopting a child and bringing her along to the parental home.

Al-Attar explains that individuality is one of the most important points that the poet possesses in all her poems, human qualities are also her explicit goal. With bigger limits than I addressed before, but the man is still breathing slowly in the joints. of her poems, and carries for him new phrases which this time are not subject to him.

She asks, “How can a man who crosses with weight, patience, silence and loss command him to stand up? And to tell him he never lived! ” This confrontation is real and shocking to the man. It comes after years of frankness and misery to start criticizing him in her famous poem “Let us believe in the vanguard of the cold season,” and tells that he “puts it under the sea and fish eat their meat,” which may ‘ is a sign of greedy people. And she is the one who “hates ragged earrings”, that is, the possessions of those exploited groups. Branches in this poem have realistic openness.In fact, she remembers her mother as she asked Forough to send condolences to the newspapers and tell them of her death.She also remembers her poem, which declares that everything is over and it is late. It is also a prophecy of death, and her poetic soul receives it a few days before her death on the lines with all its spaciousness.

Al-Attar claims that in that era on the front page of the newspaper Forough marked her identity as a poet against the fanatic, the submissive, the oppressor and the contradictory. Perhaps by revealing these facts, her name became loud and clear to be a poet who does not forget the bird “Do not forget to fly”, the flight that brought her voice to us through her group of five, ” “The Captive”, “The Wall”, “Disobedience”, “Another Birth”, “Let us believe in the vanguard of the cold season”.

Leave a Comment