Sustainability literature and a comparison of two poets - journal ...
Sustainability literature and a comparison of two poets - journal ...
Sustainability literature and a comparison of two poets - journal ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
<strong>Sustainability</strong> <strong>literature</strong> <strong>and</strong> a <strong>comparison</strong> <strong>of</strong> <strong>two</strong> <strong>poets</strong><br />
(Gheysar Amin Poor & Mahmood Darvish)<br />
Ali Chelongar 14<br />
Dr. Mohammad Reza Nasr Esfahani 15<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
Abstract<br />
The present paper is a brief discussion about resistance <strong>literature</strong> <strong>and</strong> about the great <strong>poets</strong><br />
who have left behind notable literary works <strong>of</strong> this field. This research is about Mahmood<br />
Darvish from palestin <strong>and</strong> Gheisar AminPoor from Iran. In this article, written works <strong>of</strong><br />
these <strong>poets</strong> on sustainability <strong>literature</strong> are to be compared <strong>and</strong> analyzed Especially "the poetic<br />
ode <strong>of</strong> the earth" by Mahmood Darvish <strong>and</strong> a "poem for the war" by Gheysar AminPoor. The<br />
major attention in the works <strong>of</strong> these <strong>two</strong> <strong>poets</strong> is to encourage sustainability, self sacrifice,<br />
martyrdom, <strong>and</strong> to warn the free consciences.<br />
Keywords: <strong>Sustainability</strong> <strong>literature</strong>, <strong>comparison</strong>, self sacrifice, Martyrdom, Palestine, war.<br />
Introduction:<br />
Ponderation <strong>and</strong> investigation in the fields <strong>of</strong> poem <strong>and</strong> resistance <strong>and</strong> explanation <strong>of</strong> its<br />
different dimensions by using <strong>of</strong> the alert art language (especially in <strong>literature</strong>) is one the<br />
undeniable necessities that sorrily up to the present time as much as it is worthly has not been<br />
paid attention to by the artists <strong>and</strong> writers.<br />
The serious strivement in noticing the poem <strong>and</strong> resistance <strong>literature</strong>, the presentation <strong>of</strong> an<br />
exact <strong>and</strong> ascendable definition, the explanation <strong>of</strong> its authorship <strong>and</strong> analysis <strong>and</strong> pathology<br />
<strong>of</strong> this sort <strong>of</strong> <strong>literature</strong>, is one <strong>of</strong> the necessities that without regard it, it can cause un finable<br />
harm to the present generation <strong>of</strong> today <strong>and</strong> that <strong>of</strong> the tomorrow can be accompanied.<br />
If today if we by using <strong>of</strong> art tools <strong>and</strong> the alert art language especially In field <strong>of</strong> poem <strong>and</strong><br />
story) we are not decided to portrait war epics <strong>and</strong> registration <strong>of</strong> the everlasting moment <strong>of</strong><br />
the holy defence, without any doubt, the main part <strong>of</strong> national identification <strong>and</strong> our historical<br />
one will be forgotten. Because <strong>of</strong> this it is necessary for the writers that thence by serious<br />
tries they notice this affair so as the rightness <strong>of</strong> the eight years defence <strong>of</strong> Iranian nation will<br />
not be neglected or denied in the mind <strong>of</strong> future asking fellows. The resistance <strong>literature</strong><br />
always to the weak <strong>of</strong> the world has taught the courage <strong>and</strong> braveness <strong>of</strong> saying no to the<br />
colonial <strong>and</strong> diabolic powers. And we are st<strong>and</strong>ing so as we teach humans the freedom <strong>and</strong><br />
freedom seeking are the rare gems that sometimes they are gotten by sacrificing human’s life<br />
<strong>and</strong> we are st<strong>and</strong>ing <strong>and</strong> we have become story in the ovens <strong>of</strong> war so as our children in<br />
tomorrow <strong>of</strong> history live freely <strong>and</strong> proudly,. And by the night light <strong>of</strong> belief, set fire to the<br />
camps <strong>of</strong> disbelief <strong>and</strong> darkness <strong>and</strong> vice in the world.<br />
Resistant <strong>literature</strong> has root in karbala <strong>and</strong> Ashorao the resistance <strong>literature</strong> in our culture<br />
originates from the gem <strong>and</strong> nature <strong>of</strong> Shie culture. In Islam, imam Hussein (peace <strong>of</strong> god be<br />
upon him) is a symbol <strong>of</strong> resistance against tyranny disbelief, ungodliness <strong>and</strong> wrong. Ashora<br />
<strong>and</strong> Karbala are mysteries for all ages <strong>and</strong> all generations.<br />
Thus, the resistance <strong>literature</strong> must have also root in Karbala <strong>and</strong> Ashora. Because <strong>of</strong> this, if<br />
in the history <strong>of</strong> Islamic revolution didn’t happen, again the <strong>poets</strong> by inspiration <strong>of</strong> epics <strong>of</strong><br />
Karbala <strong>and</strong> self sacrificing <strong>of</strong> Imam Hussein <strong>and</strong> his companions on the day <strong>of</strong> ashore. They<br />
poetized in this way that during eight years <strong>of</strong> the holy war <strong>and</strong> after that time they have done<br />
so because the poet <strong>of</strong> revolution, is an artist who has duty <strong>and</strong> aims. The <strong>literature</strong> <strong>of</strong><br />
1- Ph.d student <strong>of</strong> Persian language <strong>and</strong> <strong>literature</strong> , University <strong>of</strong> Isfahan.<br />
2- Assistant Pr<strong>of</strong>essor <strong>of</strong> Persian language <strong>and</strong> <strong>literature</strong>, University <strong>of</strong> Isfahan.<br />
505
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
revolution is a seedling that it has root in the heavens, the Gnostic fruit <strong>and</strong> loving discovery<br />
<strong>and</strong> observance.<br />
The resistance <strong>literature</strong> is a mirror <strong>of</strong> truth <strong>and</strong> source <strong>of</strong> in sight. The resistance poem is a<br />
poem with <strong>two</strong> wing, justice <strong>and</strong> freedom <strong>and</strong> guard <strong>of</strong> thinking <strong>and</strong> aims with affection <strong>and</strong><br />
fantasy. But necessarily it is not captive <strong>of</strong> mere fantasy. It is beautiful but it is not<br />
philosophy <strong>of</strong> art for art. The resistance poet wants beauty in the service <strong>of</strong> human duty. Due<br />
to this reason, the epics <strong>of</strong> holy defence in acceleration to the currency <strong>of</strong> epics <strong>and</strong> tendency<br />
to aims in our <strong>literature</strong>, has had un deniable role.<br />
Affection <strong>of</strong> resistance <strong>literature</strong> <strong>of</strong> poems <strong>and</strong> <strong>literature</strong>s <strong>of</strong> the world:<br />
One cannot ignore this reality that we in the age <strong>of</strong> information explosion, or in another<br />
wordiness. We live in the age <strong>of</strong> communications, the age <strong>of</strong> satellite, internet,<br />
nanotechnology <strong>and</strong> … a life in such an age, it is necessary that by culturally self knowing we<br />
must be decided to create cultural <strong>and</strong> constructive interrelation with the world. So as while<br />
using <strong>of</strong> cultural findings <strong>of</strong> other nations, we also guard our national Islamic <strong>and</strong> humanly<br />
identifications, <strong>and</strong> if we have transactions with the world, this transaction must be in a<br />
mutual <strong>and</strong> sustaining forms until we are not lost in this cultural transaction. From this<br />
perspective, the affection discussing <strong>of</strong> resistance <strong>literature</strong> <strong>of</strong> Iran by the global <strong>literature</strong>s<br />
we can study in three chapters.<br />
1) Affection <strong>of</strong> <strong>literature</strong>s <strong>of</strong> Islamic for seeking movements in Palestine, Lebanon <strong>and</strong> Egypt<br />
<strong>and</strong> …..<br />
2) Affection by resistant <strong>literature</strong> <strong>of</strong> latin America<br />
3) Affection by translation <strong>literature</strong>, affection <strong>of</strong> our <strong>poets</strong> are worthy <strong>of</strong> ponderation <strong>and</strong><br />
studying from these three currencies from <strong>two</strong> angles.<br />
A) Affection due to nearness <strong>of</strong> belief <strong>and</strong> values.<br />
B) Physical <strong>and</strong> formal affections.<br />
Affection <strong>of</strong> our <strong>poets</strong> from the movement <strong>of</strong> Islamic freedom seeking <strong>and</strong> latin America<br />
<strong>literature</strong>s, at least it is construction <strong>and</strong> positive affection from <strong>two</strong> angles <strong>of</strong> belief <strong>and</strong><br />
values. One cannot enlighten from the physical <strong>and</strong> formal vies, its dimensions completely.<br />
Because it is different direction are not firm upon a clear logics.<br />
In the field <strong>of</strong> value <strong>and</strong> content affection, to give examples <strong>of</strong> world resistance <strong>literature</strong> is<br />
not empty from elegance. The following example is a work from famous chilian poet, “Pablo<br />
Neroda” it has be poetized for admiration <strong>of</strong> a fighting <strong>and</strong> revolutionary human, by this<br />
explanation that his admired revolution person can belong to every country. I have covenant<br />
with truth/ that I bring back lighting to the earth/ I wanted to be like bread/ fighting didn’t<br />
find me a wishful/ now but I am, with whatever I liked/ with loneliness that I lost it in the<br />
shadow <strong>of</strong> that stone I don’t rest the sea is groaning/ groaning in my silence. I know it/ I<br />
passed years with it/ with it, golden <strong>and</strong> stony nature/ it left father <strong>and</strong> mother in piragua/ his<br />
sons, his cousins/ his new grooms/ his house, his hens/ <strong>and</strong> the half open books/ police agents<br />
arrestees him And beat him so much that he omitted blood in the France l<strong>and</strong> in Denmark/ in<br />
Italy/Neruda 13520-1). After mention the above poem, we pay attention to apart <strong>of</strong> the late<br />
Timoor Toranj’s poem. Ponderation in his poem shows how about the amount <strong>of</strong> affection <strong>of</strong><br />
our <strong>poets</strong> by the global resistance poem.<br />
Ilchian/ they polish the blood drop chopping swords/ the Changiz laws book, they repeat/in<br />
the back yards <strong>of</strong> the houses, the girls deny the moonlight <strong>of</strong> their faces/ in terrible<br />
eclipse/Ilchian upraising them at the gates <strong>of</strong> bloody city.(toranj 1372:40-39). The traces <strong>of</strong><br />
formal affections are seen <strong>of</strong> translation <strong>literature</strong> in this poem.<br />
The affection <strong>of</strong> resistance <strong>literature</strong> <strong>of</strong> palestine upon Islamic revolution <strong>literature</strong> <strong>of</strong> Iran:<br />
one can study the above subject from <strong>two</strong> sects the affect <strong>of</strong> war <strong>of</strong> Palestinian fight upon our<br />
revolution <strong>and</strong> secondly the affection <strong>of</strong> Palestinian resistant <strong>literature</strong> upon our revolution<br />
506
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
<strong>literature</strong> which reached victory by the 57 year revolution. Imam Khomeini (peace <strong>of</strong> god)<br />
came to this field, fighting by using <strong>of</strong> people movements the cry <strong>of</strong> Imam was guard <strong>of</strong><br />
religion, human homage <strong>and</strong> social respect <strong>of</strong> people <strong>and</strong> when people saw all the conditions<br />
in Imam, liking they joined to him <strong>and</strong> became his followers. We were acquainted with<br />
palestian people’s fighting at the time <strong>of</strong> tyrannical royalism. And we were affected by it <strong>and</strong><br />
how about we had common step taking <strong>and</strong> accompaniment. Regime <strong>of</strong> Pahlavi was afraid <strong>of</strong><br />
unification <strong>of</strong> these <strong>two</strong> currencies <strong>and</strong> it used to fight against it. The Iranian nation made<br />
America kneel down by Islamic sights <strong>and</strong> leader ship <strong>of</strong> Imam Khomeini leader ship Imam<br />
was a godly <strong>and</strong> fearful <strong>of</strong> god <strong>and</strong> thinker he led the revolution bravely <strong>and</strong> based on<br />
homage <strong>of</strong> the Muslims.<br />
Although one can say were not affected by palest in people’s fighting directly in the course<br />
<strong>of</strong> revolution, but without any doubt one <strong>of</strong> the affective factors in peoples movement <strong>and</strong><br />
fighting against royalistic system, was fighting against royalistic system’s accompaniment<br />
with Zionism. Even one can say we can step back to the fighting <strong>of</strong> ayatollah Modaress <strong>and</strong><br />
even earlier than him, Tabaco currency <strong>and</strong> that famous indult <strong>of</strong> Mirzaeh Shirazi <strong>and</strong><br />
people’s follow ship <strong>of</strong> him, in the year 32, <strong>and</strong> earlier than it the currencies such as<br />
Fadaian’s movement happened but because people were not completely informative <strong>and</strong> they<br />
have social-cultural strategies for victory they did not become successful.<br />
Imam Khomeini led the movement by considering all dimensions, until people became<br />
victorious in the next years people <strong>of</strong> palestin took sample <strong>of</strong> our revolution <strong>and</strong> the same<br />
problem is the factor <strong>of</strong> their success. The dutiful <strong>literature</strong> is effective when it has aims.<br />
When a poet who is dutiful <strong>and</strong> is acquainted with political currencies <strong>and</strong> he knows that<br />
<strong>literature</strong> we upon is more constructive <strong>and</strong> cutting than every weapon, he starts creaking a<br />
work <strong>and</strong> surely he is effective. In this direction we introduce <strong>two</strong> <strong>poets</strong> with their mentioned<br />
traits <strong>and</strong> <strong>comparison</strong> <strong>of</strong> their works, Mahmud Darvish from palestin <strong>and</strong> Qaysar Aminpour<br />
from Iran.<br />
Mahmud Darvish:<br />
He was born in 1941 in the village Barva, near Aka city, in a poor family <strong>and</strong> populated<br />
family with eight children. His childhood is full with bitter memories, escapement from his<br />
father’s village to Lebanon <strong>and</strong> returning to home town, is the most important memory <strong>of</strong> a<br />
years <strong>of</strong> a child it is portraited in the all life years <strong>and</strong> all lines <strong>of</strong> Darvish’s poems. He<br />
narrated in his biography the memory <strong>of</strong> that wonderful night:<br />
I remember my sixth year life, we were living in a small <strong>and</strong> calm village. the village barveh,<br />
on a green hill that Aka desert was spread face to face with it. I was a son from a middle class<br />
family that lived by doing farm <strong>and</strong> agriculture (Darvish 1363: 14).<br />
When I reach the seven year life, the childish games were stopped <strong>and</strong> I remember how this<br />
happened. I remember the whole adventure. At one night <strong>of</strong> the summer when the village<br />
dwellers were used to sleeping on the ro<strong>of</strong>s <strong>of</strong> the house, my mother woke me up suddenly.<br />
I saw myself with hundreds <strong>of</strong> villager, that they were running in the jungle, the bullets<br />
were passing above our heads <strong>and</strong> I didn’t find out that adventure. After a night <strong>of</strong><br />
wonderment <strong>and</strong> running with one <strong>of</strong> my kin's that they were scattered in all directions <strong>and</strong><br />
lost as well, I reached an unknown village which had other children, I asked simplemindedly<br />
where am I? And for the first time I heard Lebanon word! (Ibid,20)<br />
I suppose that night in endless violence finished my childhood era <strong>and</strong> in this way<br />
childhood that it was empty from harshs came to an end, <strong>and</strong> suddenly I felt that I have<br />
grown up, my joys were stopped <strong>and</strong> I was made to suffer from harshs <strong>and</strong> sufferings. Those<br />
days when I was living in Lebanon, I have not forgotten them <strong>and</strong> I will never forget them.<br />
For the first time <strong>and</strong> without any readiness, I was st<strong>and</strong>ing in a long queue so as I took the<br />
507
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
portion that the refugees organization divided. The main portion was yellow cheese, there for<br />
the first time I heard new words.<br />
My acquaintance with new words such as patron, war, news, refugees, soldiers, frontiers<br />
opened a new window to my new world. And by these words I began to study underst<strong>and</strong> <strong>and</strong><br />
recognize the new world <strong>and</strong> new situations which made childhood unlawful for me. This<br />
narration was a small <strong>and</strong> bitter narration that suddenly erupted like a terrible earth quake<br />
with hegeinic a vol can eruption upon the childhood <strong>of</strong> palestin child.<br />
The returning narration is like a touchable migration narration <strong>and</strong> what can say about full<br />
with simplicity <strong>and</strong> twin wonder?!<br />
More than one year after living like are fugee a tone night I was told that next day we will<br />
come back home. I well remember that at that night I didn’t sleep. Due to gladness. Returning<br />
to home forme meant the end <strong>of</strong> yellow ??, the end <strong>of</strong> Lebanon children’s trouble. Somes that<br />
they suonated with the hanchy comment <strong>of</strong> refugee.<br />
… I came out for coming back. Blackness had shadow over all things, we were 3 persons, I,<br />
my paternal uncle <strong>and</strong> a guide who knew the slender ways <strong>of</strong> the desert. I remember that we<br />
crept on the ground so as we were not seen. We passed by a very tiring distance. I saw myself<br />
in a village but the unluckiness <strong>of</strong> the wishes were very harsh? We had reached the Diarol<br />
Asad village <strong>and</strong> it was not my village. My house <strong>and</strong> my alley were not there.<br />
I asked when we would go to our own village <strong>and</strong> to our house? The answers were not<br />
satisfactorily <strong>and</strong> I did not underst<strong>and</strong> any things, I didn’t underst<strong>and</strong> the meaning <strong>of</strong> village<br />
destruction. Why did they destroy my world? And who were these destroyers? Little by little,<br />
I got used to the life <strong>of</strong> the great <strong>and</strong> their adventures <strong>and</strong> in the depth <strong>of</strong> unluckiness it<br />
became clear that I would not come back to that source <strong>of</strong> my dreams. I would not come back<br />
to the alley <strong>of</strong> my childhood any more I was a refugee in Lebanon, now here in my own l<strong>and</strong><br />
I am a refugee! (Ibid:25).<br />
In this was the dream <strong>of</strong> a dreamed l<strong>and</strong>, with occupation bad dream like a twin children, it<br />
influence in the life <strong>and</strong> words <strong>of</strong> the poet, <strong>and</strong> they find un ending presence in the vein <strong>and</strong><br />
all roots <strong>of</strong> the murmurs since childhood to death, Mahmud Darvish start poetizing since the<br />
age 12, the experiment <strong>of</strong> poem publication, it came to his virtues when he is 14 years).<br />
It was interesting that the first experiment in the jail occurs in 14 years oldness. Is there any<br />
relation among words rescue <strong>of</strong> the poet life with his becoming a jailer? Is the poet like that<br />
lover canary that due to its nice singing is worthy <strong>of</strong> becoming a jailed person?<br />
However, this experiment that is cage experiment occurs several times again <strong>and</strong> it is<br />
natural that outcome <strong>of</strong> such experiment for every poet is poetization in the cage <strong>and</strong> some <strong>of</strong><br />
the men that they exist in the book called a lover in palestine are among his poems in the jail<br />
(Darvish, 1994-141).<br />
The first book <strong>of</strong> Mahmud Darvish in the 19 years oldness <strong>of</strong> the poet called the "wingless<br />
sparrows" was published that they are his hurried experiments with being affected vastly by<br />
poems <strong>of</strong> the revolutionary <strong>poets</strong> in the world, <strong>and</strong> naturally by evaluation in limitation <strong>of</strong> the<br />
early black manuscript <strong>of</strong> a young poet are divided but this book was the leaves <strong>of</strong> olive that<br />
Mahmud Darvish was introduced by it as a shining talent in the span <strong>of</strong> Arabic poem. This<br />
book four years after the first collection in 1967 was published that should search some <strong>of</strong> the<br />
most famous poems <strong>of</strong> Mahmud Darvish in this collection such as "identification card"<br />
beings with this phrase: Write/I am Arab/ the number <strong>of</strong> my card is 50000/I have eight<br />
children.<br />
Since that time up to now it is more than four decades that Mahmud Darvish by sad<br />
murmurs but with elegant, modernist, mild <strong>and</strong> moderate ones in the field. Arabic poem <strong>and</strong><br />
by the present global poems has a shining presence <strong>and</strong> with other famous poet <strong>of</strong> palest in<br />
that is Samih Alqasem is considered as the flag bearer <strong>of</strong> palestin resistance poem. Now we<br />
508
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
ponder upon the proportion <strong>of</strong> poem <strong>and</strong> politics <strong>and</strong> aim seeking category <strong>and</strong> political <strong>and</strong><br />
social duties <strong>of</strong> the poet <strong>and</strong> poem so as we speak about important <strong>and</strong> fundamental direction<br />
in poems <strong>of</strong> Darvish. It seems this point is <strong>of</strong> the clear cuts that poem can regard all structures<br />
<strong>and</strong> domains as capitals <strong>and</strong> concepts, <strong>and</strong> due to this problem it is answering only to the poet<br />
himself <strong>and</strong> if inquisition is forbidden in other fields, it will be more forbidden in this area<br />
<strong>and</strong> one cannot annual the freedom <strong>of</strong> <strong>poets</strong> <strong>and</strong> writers in choosing domains <strong>and</strong> concepts<br />
just as one cannot criticize the freedom <strong>of</strong> the spoken persons for accepting or not accepting<br />
the poem <strong>and</strong> the <strong>poets</strong>. But stressing upon this affair is necessary that every text with every<br />
tendency in form, language <strong>and</strong> content if it is loyal upon the gem <strong>of</strong> the poem <strong>and</strong> poetry. It<br />
is poem otherwise it is not so in this way a poem is philosophical sometimes it is social/<br />
psychological/political/epic/lyric/sarcastic <strong>and</strong> sometimes a combination <strong>of</strong> all them <strong>and</strong><br />
when while it is poem <strong>and</strong> every poem is a flower <strong>and</strong> every flower has a special smell. This<br />
simple but deep point must be regarded more seriously by they who stress upon vocal<br />
plurality in spans <strong>of</strong> poem <strong>and</strong> poetical democracy. Now we refer to poems <strong>of</strong> Mahmud<br />
Darvish that it has continuous direction to politics <strong>and</strong> aims. The poetical manifest <strong>of</strong><br />
Mahmud Darvish according to saying <strong>of</strong> Shaker eElena Belsi Are portrait in his earlier poems<br />
in the olive leaves so:<br />
My poet friends/ we are in a modern world/ our poems are colorless, tastless <strong>and</strong> noiseless/<br />
when he doesn’t take a lamprey/ from one house to another house/ <strong>and</strong> in this way these<br />
lines/ (a poet says: if my poem makes the companions glad/ <strong>and</strong> make the enemy angry/ at<br />
that time I am a poet/ <strong>and</strong> I also says… (Ibid: 55-53)<br />
In the perspective <strong>of</strong> such manifest it is that important section <strong>of</strong> Mahmud Darvish’s fame in<br />
the beginning <strong>of</strong> poetry way. It originates from his clear political poems in the field <strong>of</strong><br />
palestin resistance aims. Increasing shining day by in continuation <strong>of</strong> the way, especially<br />
during these <strong>two</strong> recent decades is due to loyalty to poetry nature.<br />
Although human see his political continue to the resistance aims continuously one can see<br />
in the poem <strong>and</strong> life <strong>of</strong> Mahmud Darvish. This godly grace that is loyalty to poem has root in<br />
a sort critical sight to poem function in text <strong>of</strong> fighting. The belief sight in the fighting<br />
process <strong>and</strong> palestin resistance aims <strong>and</strong> Arabian nationalism cause reaching <strong>of</strong> the poet to a<br />
deeper view to poem, life, fighting <strong>and</strong> human. As the testimony <strong>of</strong> more than 20poem<br />
collections Mahmud Darvish has an evolution toward perfection as a dynamic poet, poem by<br />
poem, book by book.<br />
Both in the field <strong>of</strong> inward capital <strong>and</strong> content view it orients to depth <strong>and</strong> it learns growth<br />
<strong>and</strong> more increasing brightness in domains <strong>of</strong> language, <strong>and</strong> poetical explanation. Some <strong>of</strong><br />
the Arabian <strong>poets</strong> <strong>and</strong> critical men have studied this moving toward Climax <strong>and</strong> they have<br />
measured between poem <strong>and</strong> political duty <strong>and</strong> aims seeking spirit <strong>of</strong> Mahmud Darvish.<br />
Nazar Qabbani, the famous Arabian poet he considers Darvish <strong>and</strong> Mozafarol Tavab the <strong>two</strong><br />
outst<strong>and</strong>ing Arabian <strong>poets</strong> that they are modern statuary <strong>of</strong> people. To his comment, Mahmud<br />
Darvish by having <strong>of</strong> unique blessing has been able to pass by all the Arabian l<strong>and</strong>s <strong>and</strong> place<br />
the revolution fellows. Qabbani in discussion about position <strong>of</strong> Mahmud Darvish <strong>and</strong> his<br />
interrelation with palestin resistance aims says so: Palestin resistance is not a case subject …<br />
Mahmud Darvish is not a palestin special case poet. He is palestin totally with its grape,<br />
olive <strong>and</strong> orange garden with its sea … his findings for palestin is more than the portion that<br />
has been reached to him from palestin <strong>and</strong> he has published in all <strong>of</strong> planets. He is a great <strong>and</strong><br />
able poet palestin has become great in his h<strong>and</strong>s it has become lower <strong>and</strong> smaller by the<br />
h<strong>and</strong>s <strong>of</strong> others palestin resistance itself against its holiness <strong>and</strong> homage is not enough so as<br />
set a talent less poet on the top. Mahmud Darvish only <strong>and</strong> only is peti h<strong>and</strong>ed fruit <strong>of</strong> his<br />
own talent <strong>and</strong> nobody has trained him. D.r.Abdol Aziz Almaqaleh the Arabian outst<strong>and</strong>ing<br />
509
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
poet <strong>and</strong> critical man studies the living sensation <strong>and</strong> presence <strong>and</strong> progress <strong>of</strong> Darvish from<br />
other view angle.<br />
The poem <strong>of</strong> resistance in palestin, <strong>and</strong> not in exile <strong>and</strong> always the most outst<strong>and</strong>ing <strong>of</strong><br />
resistance poetical voices are the voices <strong>of</strong> the <strong>poets</strong> that they live in their l<strong>and</strong>s like refugees<br />
<strong>and</strong> they have more alive sentiments to the zealotry which occurs upon them <strong>and</strong> around<br />
them. And their poems originate from unlikeness suffering <strong>and</strong> the resistance ash which is<br />
buried in it.<br />
Mahmud Darvish by having poetical progressive information <strong>and</strong> the firm upon shining <strong>and</strong><br />
fruitful voice in explanation <strong>of</strong> rejecting this strange <strong>and</strong> accompany with experiment <strong>of</strong> the<br />
now days poem have been able a build a bridge among the words, aims <strong>and</strong> so also between<br />
art <strong>and</strong> weaponry resistance, ezodinal monasereh believes that if mere the resistance poem is<br />
set as st<strong>and</strong>ard <strong>of</strong> classification <strong>of</strong> the <strong>poets</strong>, Mahmud Darvish st<strong>and</strong>s in the first rank <strong>of</strong> it in<br />
the world. He as the resistance poet, by neglecting the other aspect <strong>and</strong> at least from the<br />
resistance poem quantity, he is setup in the rank <strong>of</strong> global <strong>poets</strong> such as Lorka, Nazem<br />
Hekmat <strong>and</strong> Neroda. Perhaps now somebody asks why is he considered in Arabian <strong>poets</strong><br />
classification among these second generation <strong>poets</strong>? We must know that Mahmud Darvish is<br />
only setup as a poet in this rank but as resistance poet from the point <strong>of</strong> working he is setup in<br />
the level <strong>of</strong> global resistance poet. Darvish the Palestinian resistance poet who for heart<br />
operation was under medical cars in hospital Huston in America texts after heart operation he<br />
became entangled with heart attack again <strong>and</strong> he died on 22th <strong>of</strong> Mordad in 1387.<br />
He poetized a poem after this heart operation <strong>and</strong> at his end <strong>of</strong> life hours called the death<br />
which I conquered it at the death bed. For funeral ceremony <strong>of</strong> his death in palestin 3 days<br />
were proclaimed as public funeral (www.radio_Alborz.com).<br />
One <strong>of</strong> his poems is called Qasidatolarz (ode <strong>of</strong> earth) that as one <strong>of</strong> the samples <strong>of</strong> this poet<br />
in the book called "Arabian contemporary poem pioneers, <strong>of</strong> poetizing rain to reel noise <strong>of</strong><br />
the Rose", page 650; The one start, in this way:<br />
In March month/ in movement year/ the earth said to us its bloody mysteries (secrets)/ in<br />
March five girls passed before violet <strong>and</strong> rifle/ they stood at threshold <strong>of</strong> an elementary<br />
school/ <strong>and</strong> with Rose <strong>and</strong> dos to (Avishan) they flamed/ they became the starting point soil<br />
song/ <strong>and</strong> they took step to the back ward as well March comes to ward earth from the earth<br />
depth <strong>and</strong> <strong>of</strong> dancing <strong>of</strong> the girls/<br />
The violet bowed a little so as the voices <strong>of</strong> the girls pass by/ the sparrows longed their<br />
beaks toward my song <strong>and</strong> heart. In other part <strong>of</strong> this ode for clarifying the depth <strong>of</strong> his<br />
disliking to Zionist enemy he poetizes in this way:<br />
I call the soil the continuum <strong>of</strong> my soul <strong>and</strong> my h<strong>and</strong>s wounds borders/ the stone pebbles as<br />
the wings/ the sparrows as almond <strong>and</strong> fig/ my ribs as trees/ I pick up <strong>of</strong> the fig <strong>of</strong> chest root/<br />
<strong>and</strong> I throw it like a stone/ <strong>and</strong> I destroy the tanks <strong>of</strong> the victorious men.<br />
In other part/ he poetizes this ode addressing to the eath: <strong>and</strong> in March, the horses wake up/<br />
earth, lord <strong>of</strong> my lady (Dushes).<br />
After me which song will pass upon your hair? And which song will make this dew worthy?<br />
They say now temples ask about palestin prophets at the beginning <strong>of</strong> its continuum, these are<br />
horizon becoming green, <strong>and</strong> stone becoming red, this is my song <strong>and</strong> this is messiah’s out<br />
going from wound <strong>and</strong> wind. Green like a plant, this is my song, <strong>and</strong> this is going up <strong>of</strong><br />
Arabian young fellow till dream <strong>and</strong> holiness.<br />
Among the short <strong>and</strong> beautiful poems <strong>of</strong> Mahamud Darvish, a poem exists in the name <strong>of</strong><br />
father I am yoosef that in it while referring to the story <strong>of</strong> hazrat Yoos<strong>of</strong> <strong>and</strong> his brothers, he<br />
stresses upon his sinlessness, <strong>and</strong> sinlessness <strong>of</strong> every Palestinian follow against Zionists<br />
tyranny that they are stubborn against every law <strong>and</strong> every logical thing. As we regard ,<br />
hazrat Yoos<strong>of</strong>(P.B.U.H) addresses his father honorable Yaqoob (P.B.U.H) <strong>and</strong> by<br />
510
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
complaining language speaks about his brothers, o father I am Yoos<strong>of</strong>, my brothers don’t like<br />
me, they don’t want me, they tyrannize to me, by stone <strong>and</strong> word they reject me they want<br />
that I die so as they praise me, <strong>and</strong> in the final caplets by a rebelling language he says: o<br />
father, you named me Yoos<strong>of</strong> , <strong>and</strong> my brothers threw me in the well, <strong>and</strong> they accused the<br />
wolf while wolf is kinder than my brothers.<br />
Dear father! Did I commit a crime against anybody? When I said: I saw in dream that<br />
eleven stars with moon <strong>and</strong> sun prostrate to me.<br />
Biography <strong>and</strong> introducing works <strong>of</strong> Qaysar Aminpoor:<br />
Qaysar Aminpoor among the revolution pioneer <strong>poets</strong> <strong>and</strong> owner <strong>of</strong> works such as<br />
"morning breathing" sudden mirrors, all the flowers are sun flowers: on the second <strong>of</strong><br />
Ordibehesht in 1338 in Gotv<strong>and</strong> (<strong>of</strong> the subs <strong>of</strong> Dezfool town in Khuzestan country), was<br />
born. He studied in elementary school <strong>of</strong> Gotv<strong>and</strong> <strong>and</strong> in high school <strong>of</strong> the Dezfool town. In<br />
1357 (contemporary with victory <strong>of</strong> Islamic revolution) <strong>and</strong> by passing exam in Tehran<br />
university migrated from his home town for ever. After one year studying in course <strong>of</strong><br />
medical science <strong>and</strong> annulment <strong>of</strong> this course, he arrived in course <strong>of</strong> sociology in 1358. Last<br />
years <strong>of</strong> presence in this course was at the same time with cultural revolution (59<br />
Ordibehesht) <strong>and</strong> university holidays. in 63 He took part in concur once more, <strong>and</strong> he was<br />
accepted in <strong>literature</strong> course <strong>and</strong> till 1376 finished the course <strong>of</strong> Ph.d in this course with<br />
presenting his thesis called "tradition <strong>and</strong> innovation in the contemporary poem by guidance<br />
<strong>of</strong> Dr. Mohammad Rezasharifee Kadkani (this these was published in 1383 by the scientific<br />
<strong>and</strong> cultural publication center). In 69 – 70 he was acquainted with Lady Ziba Eshraqee one<br />
<strong>of</strong> the students <strong>of</strong> <strong>literature</strong> course in Tehran University that this acquaintance led to<br />
marriage, in the divan not wheat <strong>and</strong> not apple.<br />
He points inspirationally to this marriage: your name is light / your name is swear / your<br />
name is salt / your name is smile / smile is necessary in pronunciation <strong>of</strong> your name (sudden<br />
mirror page 46). The fruit <strong>of</strong> this marriage is a girl named Ayeh who was born in 1373, in the<br />
collection called all flowers are sunflowers.<br />
Tow beautiful qazal (lyrics) named:<br />
Smell <strong>of</strong> all flowers (page 111) <strong>and</strong> photo <strong>of</strong> my childhood (page 113)<br />
addressing to his alone child:<br />
Aye, Ayeh <strong>of</strong> me in your book, continue <strong>of</strong> my shadow, your sun,<br />
Your sleeping smiles are my heart cradle my heart becomes impatient <strong>of</strong> the<br />
wave <strong>of</strong> your swing.<br />
Once call me childishly o father, until I say in an swering to you thous<strong>and</strong> answers (the<br />
flowers are all sunflowers pages 114 – 118).<br />
Artistic Activities:<br />
Qaysar AminPoor is <strong>of</strong> the <strong>poets</strong> had a basic role in forming <strong>and</strong> continue <strong>of</strong> poem unit<br />
activities <strong>of</strong> the artistic center. he began his artistic activities in 58 in Islamic thinking <strong>and</strong><br />
artistic center. So also at the same era, he had responsibility <strong>of</strong> the poem page <strong>of</strong> weekly<br />
periodical called Soroosh <strong>of</strong> the teenager. In 76 he became editor <strong>of</strong> Soroosh periodical <strong>of</strong> the<br />
teenager too. But against his tendency he exiled the editorial <strong>of</strong> Sorosh in 82. The<br />
publications "artistic chapters" is considered with congregation <strong>of</strong> the friends <strong>of</strong> his literary<br />
<strong>and</strong> artistic activities.<br />
In 82 he was chosen as a member <strong>of</strong> Persian language <strong>and</strong> <strong>literature</strong> academy. He is only<br />
contemporary poet who became a member <strong>of</strong> the academy. Qaysar started teaching in<br />
university in 67 by going to Alzahra University in 69 <strong>and</strong> he was teaching in Tehran<br />
511
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
University up to the end <strong>of</strong> his life, among the literary prizes that he received during these<br />
years.<br />
Once can point to receive <strong>of</strong> Nima Yoshij prize called cristal bird (1368) <strong>and</strong> the prize <strong>of</strong><br />
chosen poet <strong>of</strong> holly defense.<br />
Aminpoor in 78 after a terrible car accident he always suffered from different illnesses, at<br />
last after several entanglement with illness <strong>and</strong> <strong>two</strong> times <strong>of</strong> heart operation <strong>and</strong> kidney<br />
implantation, about 3 in the morning <strong>of</strong> Tuesday in Aban the 8 th in 86 died in Dey hospital.<br />
The dead body <strong>of</strong> his great poet in his hometown in Gotv<strong>and</strong> <strong>and</strong> side by side with the<br />
unknown martirs <strong>of</strong> this town was buried. (Ahmadian 1381 – 30).<br />
Due to you passing by all were as amazed as though it had been said flight, flight<br />
(Love grammar page 29).<br />
The introduction <strong>of</strong> the works:<br />
Although Qaysar AminPoor was known among the poet more for his poems collection, but<br />
he has works in the field <strong>of</strong> literary investigations , the poem <strong>of</strong> teenager, literary prose <strong>and</strong><br />
poem pieces his works are worthy <strong>of</strong> being classified <strong>and</strong> evaluated in 3 selections:<br />
Literary / investigations: <strong>of</strong> Dr. Qaysar AminPoor <strong>two</strong> investigational.<br />
Works are existing:<br />
1- Tradition <strong>and</strong> innovation in contemporary poem this work that it is more plotted in<br />
literary critics failed, it was published in 83 by scientific <strong>and</strong> cultural publication center.<br />
2- Poem <strong>and</strong> Childhood, Morvarid publication 86 summer. In this work Qaysar AminPoor<br />
considers poem as a kind <strong>of</strong> returning to childhood. he after comparing likeness between a<br />
child’s thinking <strong>and</strong> poet’s fantasy, he explains this retuning by giving poetical numerous<br />
testimonies.<br />
(B) Prose <strong>and</strong> literary pieces (that his spoken fellows are teenagers range):<br />
1- To fly without any wings (1370)<br />
(2).Storm in parenthesis (1365).<br />
(j). poem: the most activities in literary <strong>of</strong> Qaysar AminPoor <strong>and</strong> his most outst<strong>and</strong>ing work,<br />
is collection <strong>of</strong> poems. The simple language, Hoch attitudes, portraits <strong>and</strong> thinking which are<br />
deep caused so as he is considered <strong>of</strong> contemporary <strong>literature</strong> <strong>poets</strong>. His workers collection is<br />
as following<br />
1- in the sun lane (rubiat <strong>and</strong> copulets) (1363)<br />
(2- morning breathing) (modern poem <strong>and</strong> lyrics) (1363).<br />
3- divan <strong>of</strong> the 10 th noon (modern poem) teenager range 1365.<br />
4- like source, like river, according to saying <strong>of</strong> Parastoo(Chahar pareh, Modern poem,<br />
Masnav ,1368).<br />
6- Sudden Mirrors in <strong>two</strong> books (modern poem, witness, lyrics, cuples,masnavi) 1372.<br />
7- Flowers are all sun flowers(modern poem, lyrics, rubaiat, couplet) love grammar<br />
(Ahmadian 29 – 31).<br />
Qaysar AminPoor, poet <strong>of</strong> words <strong>and</strong> etymology.<br />
Melody:<br />
In analyzing <strong>and</strong> studying poems <strong>of</strong> Qaysar Amin Poor, one can count the most important<br />
literary <strong>and</strong> language traits.<br />
The most important style in Amin Poor’s works, “modern poem” <strong>and</strong> it is after that lyrics,<br />
<strong>of</strong> course Qaysar like men in styles such as Rubaiat <strong>and</strong> cuplet tried histalent. One must<br />
consider Qaysar one <strong>of</strong> the most st<strong>and</strong>ing pioneers <strong>of</strong> special using about these <strong>two</strong> styles <strong>and</strong><br />
revivers <strong>of</strong> styles <strong>of</strong> Rubaiat <strong>and</strong> cuplet. As it was mentioned, the <strong>poets</strong> <strong>of</strong> the present time<br />
have paid attention to these styles creativities <strong>and</strong> literary capacities.<br />
512
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
One <strong>of</strong> the most important traits <strong>of</strong> rubaiat <strong>and</strong> cuplet is short, fast explanation <strong>of</strong> thinking<br />
<strong>and</strong> sentiment. Qaysar has used very well in his poem <strong>and</strong> especially in short <strong>and</strong> fast<br />
explanation <strong>of</strong> war <strong>and</strong> martyrdom concepts in these <strong>two</strong> styles.<br />
Symbolism especially in poems with concepts <strong>of</strong> revolution <strong>and</strong> freedom, portrait <strong>of</strong><br />
despotism situation before revolution <strong>and</strong> summary <strong>and</strong> saying the chosen point, one <strong>of</strong> the<br />
most factors <strong>of</strong> summary in Qaysar poem »omission <strong>of</strong> the letters or parts <strong>of</strong> the sentences<br />
such as verb, <strong>and</strong> case <strong>of</strong> nouns. Exactness in choosing words <strong>and</strong> usage <strong>of</strong> the pronunciation<br />
<strong>and</strong> mental arrays is in a form that his poem in replacement axis. Has firmness <strong>and</strong> high<br />
unification.<br />
Paying attention to meanings <strong>and</strong> different etymologies <strong>of</strong> a word or expression.<br />
Usage <strong>of</strong> metaphors <strong>and</strong> assimilation in poetry portrait, in Qaysar’s poem “metaphor” many<br />
assimilations have been used that have caused summary in his poetic portraits. <strong>of</strong> the most<br />
kinds <strong>of</strong> metaphors in Qaysar’s poems one can point to the sub metaphors (metaphors in verb<br />
an dad subjective) <strong>and</strong> arrays.<br />
Wordiness structure <strong>and</strong> new comment such as, nafgarich, salam <strong>of</strong> khis tar skhordeh,<br />
Cheshmvareh (Ahmadian 161-163).<br />
A poem for poem poetize by Qaysar Amin Poor, is one <strong>of</strong> the everlasting poems in the field<br />
<strong>of</strong> war <strong>literature</strong> during the eight inpositive years. This poem perhaps is for a generation<br />
which has not seen war but has only heard a wrong narration <strong>of</strong> it. It is full <strong>of</strong> poems <strong>and</strong><br />
empty from summary. But for the old fellows <strong>of</strong> this domain who are sincere <strong>and</strong> study the<br />
pager <strong>of</strong> war <strong>literature</strong>.<br />
It is a shining work <strong>and</strong> at its own time it is harshly counter stereotype.<br />
War has had <strong>and</strong> has always <strong>two</strong> narrators in every place <strong>of</strong> the world:<br />
One <strong>of</strong> them are people <strong>and</strong> the other are governmental medias.<br />
Qaysar in this work with a hidden sacristy to the wrong medias-here there are always many<br />
news! Of “chest inside”.<br />
People in Dezfool that is he informed about Iranians at the first line <strong>of</strong> war as well with<br />
gross symbols <strong>and</strong> painful cases <strong>of</strong> ugliness <strong>of</strong> enemy’s aggression <strong>and</strong> for waking up the<br />
walls that tried in capital <strong>of</strong> war till they present chanting miniatures! We postpone many<br />
important things in this field to other positions.<br />
Poem for war:<br />
I wanted/to poetize a poem for war/I understood it is impossible/any more the language pen<br />
is not <strong>of</strong> my heart/I said: we must put the pens on the ground/any more speaking weapon is<br />
not effective/ one must take <strong>of</strong>f a sharper weapon/we must for war/ I read <strong>of</strong> tube <strong>and</strong> rifle/<br />
with bullet word/I wanted/to poetize for war a poem/a poem for my own city-Dezfool/I found<br />
out that bad rocket pronunciation must be used/but/rocket used to decrease the beauty <strong>of</strong> my<br />
speaking, I said that in complete house <strong>of</strong> my poem/is not better than city houses/ let my<br />
poem as well/ just as the bricky houses <strong>of</strong> the people/ which is ruin/ <strong>and</strong> bloody/ I must say<br />
angry poem/ resistance poem/ the clear crying poem/ although in complete/ I said/ in our city/<br />
the walls are again full with photos <strong>of</strong> tulips/ here. The position danger doesn’t end/ a girisred<br />
which groans/ alone in silence <strong>of</strong> nights/ one the incomplete sleep <strong>of</strong> dead bodies/ the wild<br />
bats <strong>of</strong> foe/ even they dislike the light <strong>of</strong> crafts/ any more even the stars/ are not trustee/<br />
perhaps the stars/ are the spies <strong>of</strong> our enemy/ here/ even/ they are not in wonder <strong>of</strong> moon<br />
explosion!/ here/ only stars/ see from distance towers/ that how much might is a disliked<br />
time/ but if the star had language/ he would poetize about might badness a lot/ better speaker<br />
than I who am tongwless/ yes/ might is a bad time/ every night well/ see by staring eyes/ the<br />
death eefrit/ the familiar dad dream <strong>of</strong> night in children’s poem/ every night it wear the reality<br />
clothes/ morning/ the ash <strong>of</strong> a darling <strong>of</strong> somebody/ took with itself/ here even for staying<br />
there is a little air/ here there are many news/ the news <strong>of</strong> parts <strong>of</strong> mud <strong>and</strong> stone/ on the<br />
513
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
small hearts/ in tight graves/ <strong>of</strong> bloody houses/ <strong>of</strong> story <strong>of</strong> bloody dolls/ <strong>of</strong> explosion <strong>of</strong> brain<br />
<strong>of</strong> a small head/ with bolster that is full with dreams/ the sweet childish dreams/ <strong>of</strong> that black<br />
night/ that night which in dust/ a man on the brook <strong>of</strong> street/ bowed with red <strong>and</strong> fear ful<br />
eyes. He search to find his other h<strong>and</strong>/ believe/ believe/ I saw by my staring eyes/ that a child<br />
was running due to his fear against danger.<br />
But he had not ahead/ he rolled on the earth a moment later/ <strong>and</strong> at another hour/ a hurry<br />
back bowed man/ on the back <strong>of</strong> his bicycle/ took the head/ toward the grave <strong>of</strong> his child/ a<br />
thing was lost in his chest/ but/ these dusty shoulders/ very simple <strong>and</strong> patient/ it was<br />
trembling at the time <strong>of</strong> ?? happening/ they/ although/ their kneels <strong>and</strong> loins were broken/<br />
they are st<strong>and</strong>ing victorious <strong>and</strong> without any tiredness/ without any house <strong>and</strong> family/ in their<br />
ears is the word <strong>of</strong> Imam/ resistance <strong>and</strong> self sacrifice order/ upon their shoulders there is the<br />
flag <strong>of</strong> movement/ yea/ these speaking <strong>of</strong> my heart deep sadness/ the walls could not hear<br />
them/ can you hear them/ wall?/ the wall <strong>of</strong> the moving cold stone?/ is it worthy that you stay<br />
dead/ in jail <strong>of</strong> being alive/ no!/ we must our mother’s throat/ <strong>of</strong> ode voice, we burn/ until the<br />
time when river has not dried yet/ among other works <strong>of</strong> Qaysar Amin Poor’s work is the<br />
lane <strong>of</strong> sun. this work belongs to the poetize styles. Rubaiat <strong>and</strong> cuplet Amin Poor is <strong>of</strong> the<br />
persons who had a basic role in riving these <strong>two</strong> poetic styles <strong>and</strong> modernization <strong>of</strong> it. Some<br />
<strong>of</strong> the concepts <strong>of</strong> rubaiat <strong>and</strong> cuplets <strong>of</strong> this collection are consisted <strong>of</strong> war, martirs, Imam<br />
(p.b.u.h).<br />
The rite <strong>and</strong> religious concepts such as pray <strong>and</strong> description <strong>of</strong> religious personalities such<br />
as Hazrat Imam Ali (P.B.U.H) (Ahmadian-31)<br />
And now some samples <strong>of</strong> such a poem: the war story:<br />
The bang city music is “rodarud”. Singing is fire, once <strong>and</strong> smoke/ upon the ruined soil,<br />
read the story <strong>of</strong> war/ to rough the eyes <strong>of</strong> a doll which is bloody/ point/ that bird which flies<br />
toward ro<strong>of</strong> <strong>and</strong> friend’s ro<strong>of</strong>/ it will be headed by the dagger <strong>of</strong> friend/ this point has been<br />
written on the love book/ whoever has love for friend, he doesn’t like his head/ in the lane <strong>of</strong><br />
sun/ a tone night I found a meteor/ in dance <strong>of</strong> mirage, I found water/ <strong>and</strong> this book full with<br />
song/ I found in the lane <strong>of</strong> sun (rubaiat <strong>and</strong> duplet book the first edition 1363). The ode <strong>of</strong><br />
the earth <strong>and</strong> a poem for war: the ode <strong>of</strong> the earth <strong>of</strong> Mahmud Darvish.<br />
Stars with entefazeh <strong>and</strong> speaks about blood, <strong>and</strong> rifle.<br />
Amin Poor starts his poem with words such as war, rifle <strong>and</strong> rocket as well.<br />
2) spirit <strong>of</strong> self sacrifice <strong>and</strong> hope in future in poems <strong>of</strong> Mahmud Darvish <strong>and</strong> including this<br />
ode are modulated a lot.<br />
Like these parts: Amin Poor in his poem <strong>and</strong> in a poem <strong>and</strong> firmness <strong>of</strong> the people, in the<br />
way <strong>of</strong> aim by noticing the comm<strong>and</strong>ments <strong>of</strong> their Imam <strong>and</strong> leader he speaks: these persons<br />
although their kneels <strong>and</strong> backs have be broken, they are st<strong>and</strong>ing victorious <strong>and</strong> without<br />
becoming tired, without any house <strong>and</strong> family, the speaking <strong>of</strong> Imam exist in their ears,<br />
resistance <strong>and</strong> self satisfied order. The flag <strong>of</strong> movement is on their shoulders (Hosseini 117).<br />
Qaysar in his poem has described tyranny, unmanliness, <strong>and</strong> ugly deeds <strong>of</strong> enemy by<br />
portraiting the harsh <strong>and</strong> deadly scenes such as: every night silently we said to our selves,<br />
perhaps, this night is our last night, to night in our dusty <strong>and</strong> soily house, the crying <strong>of</strong> which<br />
mother is a waken, that it is shutted in throat without appearing, or the soil <strong>and</strong> stone <strong>of</strong> the<br />
bloody Iron, when we cut by our nail <strong>and</strong> grasp, under the muds we see, the woman on the<br />
sewing machine has become silent for ever (Hosseini 114-115). Both <strong>of</strong> the <strong>poets</strong> in using<br />
wordiness arrays <strong>and</strong> especially similitude metaphors <strong>and</strong> recognition have been striver <strong>and</strong><br />
lucky such as essmi al hassi ajeneha/ esmi alasafir losa vatin/ esmi zoloee shajar (Assvar<br />
652).<br />
The similitude <strong>of</strong> pebbles as wings <strong>and</strong> sparrows to almond fig <strong>and</strong> ribs <strong>of</strong> tree <strong>and</strong> in month<br />
Azar in the year entefazeh, the earth said to us its secrets “recognition” (Assvar 662), upon in<br />
514
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
complete sleepy dead bodies, the wild bats <strong>of</strong> enemy even they dislike the light <strong>of</strong> a craft,<br />
mosrehez metaphor (Hosseini 113).<br />
With staring eyes I see the death carling »similitude« (Ibid: 114).<br />
5) the language <strong>of</strong> both works are predicative but for stressing more. Sometimes it is led to<br />
composition style such as my lord the earth here sometimes I must array the head <strong>of</strong> a man<br />
which is <strong>of</strong>f only on the far away ro<strong>of</strong> till we put it in the grave or the stone, soil <strong>and</strong> bloody<br />
iron, when we cut it by nail <strong>and</strong> grasp, under the mud we see a woman on the sewing<br />
machine has become silent for ever (Hosseini: 115).<br />
6- The main outlook <strong>of</strong> Mahmud Darvish in this ode <strong>and</strong> his other poems stresses upon<br />
guarding Palestinian identity <strong>and</strong> fighting against is real by pen, language <strong>and</strong> inspiration <strong>and</strong><br />
hope in palstin people till freedom <strong>of</strong> plastin. As <strong>of</strong> this outlook we can feel parts <strong>of</strong><br />
sentiments:<br />
O goers on the fire mounts, pass by my dead body, ogoers toward qods rock, pass by my<br />
dead body, passers by my dead body, don’t pass from hear I am earth in dead body, never<br />
pass so… (Assva 674).<br />
Qaysar himself in Dezfool has been a watcher <strong>of</strong> bombardment <strong>and</strong> rocket shooters <strong>and</strong><br />
wild deeds <strong>of</strong> the enemy, he portraits these scenes in his poem for his works readers <strong>and</strong><br />
encourage every free humans for defending against invaders, he shows the sinlessness <strong>of</strong><br />
Iranian Islamic nation to the world dwellers Since that black night that in dust a man on the<br />
brook <strong>of</strong> street bowed down with red <strong>and</strong> fearful eyes, he search to find his other hasnd!<br />
(Hosseini 116).<br />
Conclusion: Islamic revolution <strong>and</strong> after the eight years <strong>of</strong> holy defence, in the<br />
contemporary <strong>literature</strong> caused a worthy <strong>and</strong> outst<strong>and</strong>ing changement. The poetical portraits<br />
<strong>of</strong> these <strong>two</strong> great happening that they are full with events both in content <strong>and</strong> in literary<br />
styles, caused a depend fundamental efficacy. The combination <strong>of</strong> epics <strong>and</strong> lyrics in war<br />
poem, created a special sort <strong>of</strong> lyrics that its appearance in Persian <strong>literature</strong> was a new <strong>and</strong><br />
unique thing. Usage <strong>of</strong> epics word <strong>and</strong> national in poetic portraits, symbolism in revolution<br />
poem, using <strong>of</strong> scenes <strong>and</strong> natural panoramas in combination <strong>of</strong> metaphor <strong>and</strong> similitude,<br />
wonderful <strong>and</strong> new concepts in epic poem <strong>of</strong> war, arrival <strong>of</strong> concepts such as martyrdom, self<br />
sacrifice <strong>and</strong> encouraging the fighters to combat against dictatorship are the main traits <strong>of</strong><br />
resistance <strong>literature</strong>. Without any doubt, resistances <strong>and</strong> guarding the values <strong>and</strong> aims <strong>of</strong><br />
revolution <strong>and</strong> holy defence.<br />
Dem<strong>and</strong> worthy <strong>literature</strong> <strong>and</strong> able <strong>and</strong> strong <strong>poets</strong>. As we have already seen Amin Poor in<br />
Iran <strong>and</strong> Darvish in palestin could do this well <strong>and</strong> by poetizing poem in different styles <strong>and</strong><br />
usage <strong>of</strong> different mental <strong>and</strong> lafzi arrays especially for similitude <strong>and</strong> metaphors <strong>and</strong><br />
recognition <strong>and</strong> inspiration <strong>of</strong> hope, self sazrifice, <strong>and</strong> courage in revolutionary people <strong>and</strong><br />
mentioning martirs, persuasion <strong>and</strong> encouragement to go to the war sects <strong>and</strong> love for<br />
country, explanation <strong>of</strong> war realities <strong>and</strong> protest against the indifferent fellows, they make the<br />
resistance <strong>literature</strong> reach climax.<br />
515
ijcrb.webs.com<br />
INTERDISCIPLINARY JOURNAL OF CONTEMPORARY RESEARCH IN BUSINESS<br />
COPY RIGHT © 2012 Institute <strong>of</strong> Interdisciplinary Business Research<br />
JUNE 2012<br />
VOL 4, NO 2<br />
References<br />
1- Ahmadian, Marzieh (1387) analysis <strong>and</strong> study <strong>of</strong> fantasy forms in poem <strong>of</strong> Qaysar Amin<br />
Poor <strong>and</strong> Nasrolah Mardani (the thesis <strong>of</strong> Doctor ship in Persian language <strong>and</strong> <strong>literature</strong>,<br />
Isfahan university).<br />
2) Ossva, Mossa (1381) <strong>of</strong> poetization <strong>of</strong> rain till Mazamir <strong>of</strong> Rose, the pioneers <strong>of</strong> Arab<br />
contem porary poem, Tehran, edition <strong>of</strong> Sokhan.<br />
3) Amin Poor, Qatsar (1363). Morning breathing, Tehran. Islamic propag<strong>and</strong> center, artistic<br />
organ.<br />
4) (1380) all <strong>of</strong> the flowers are sunflowers, Tehran,Morvarid editions.<br />
5) 1386 love grammer. Tehran, Morvarid Edition.<br />
6) 1387 the chosen poems, Tehran Morvarid editions, the tenth publication.<br />
7) 1388- complete collection <strong>of</strong> poems <strong>of</strong> Qaysar Amin Poor, nima ees, Tehran, book <strong>of</strong><br />
young poems.<br />
8) Toranj-Taymoor 1372, the voice <strong>of</strong> deep people, collection <strong>of</strong> poem,Shiraz, Navid<br />
editions<br />
9) Hosseini, Hassan (1387) the chosen poems <strong>of</strong> war <strong>and</strong> holy defense, Tehran, the edirions<br />
<strong>of</strong> Mehr sura.<br />
10) Darvish, Mahmud, (1994) Divan <strong>of</strong> Mahmud Darvish, J1-Biroot, Daraolodah.<br />
11) 2000, Divan <strong>of</strong> Mahmud Darvish, 2J Biroot, Darolodah.<br />
12) 1363 the daily sad notes, translated by Amireh Zomiri, Tehran. AmirKabir<br />
13) 1370Mazmir, a high Divan <strong>of</strong> Mahmud Darvish, translated by Saber Imami, Tehran,<br />
Islamic propag<strong>and</strong>.<br />
14) Radavani, Mohammad in ? Omar (1362) the translation <strong>of</strong> Albalaqah, by trying <strong>and</strong><br />
striving <strong>of</strong> Pr<strong>of</strong>essor Ahmad Atash, Tehran, Asatir editions the second edition.<br />
15) Shamisa, Siroos (1383) the explanation <strong>and</strong> mentality, Tehran Ferdos editions.<br />
16) Neroda، Pablo (1352) we are too many, Tehran, Toos editions.<br />
17) the especial essays <strong>of</strong> poem <strong>of</strong> Qaysar AminPoor, the poem magasin, the right <strong>of</strong> edition<br />
owner:<br />
The artistic center- the secretary: Mpstafa Mohdessi, number 30, the tenth year winter <strong>of</strong><br />
1381.<br />
516