The history of science and culture testifies that the great men of various sciences and techniques have benefited from literary taste and knowledge related to their expertise. This is the case with the successful thinkers and politicians of the past and present in Iran, who by showing special interest, as well as using literary sciences and techniques in their works, have become men of high status. For example, the considerable expertise of Imam Khomeini (ra) and Ayatollah Khamenei in literature, is evident to all experts, and only by studying their speeches and books, one would recognize the role of literature in their works.
Special Stylistic Elements of the Literature of the Revolution
After the Islamic Revolution, our nation, in all aspects of life, turned to the pure source of Islamic culture by returning to their divine instinct, the poem whose personality has been shaped in the same society, changed his poems in accordance with the requirements of the Revolution. With the emergence of original Islamic values, the past values and standards were either abandoned altogether or took on new meanings. With the beginning of the imposed war and the emergence of new motives, a great move occurred in Persian literature. The influence of Islamic teachings and culture on the poets and the manifestation of Islamic and religious aspects and effects in the elements and words used in poetry are such that one can argue that the time of the Revolution is one of the most fertile and richest periods of poetry. The most prominent features of the style of the poetry of the Islamic Revolution in terms of tune and conveying the message are as follows:
- All the poetic forms of the past are considered by the poets of the Islamic Revolution, who seek to create a work that encompasses all the beauties, both in terms of form and content, by using the more than one thousand years of experience of Persian literature.
- There are two types of old and new poetry, and no one attacks old or new poetry unreasonably, out of prejudice or merely because he prefers a certain style.
- The poet recites eulogies, if necessary, but not for the sake of the praised personality, but rather because of the spirit of Islam and the transcendent beliefs and personality of the person who is praised.
- The poet, like most people, is a Basiji who feels that he is doing jihad by the means of words and phrases. Although he occasionally takes up arms to defend the sanctity of religion alongside other fighters, his most powerful weapon is his pen and tongue by which he attacks the enemy of religion and Revolution.
- The firmness of words and phrases is another good quality of the poetry of the Revolution. Therefore, the poets are very strict about using rhymes and do not like repeating them, yet, their speech is fluent and smooth.
- The language of the poet and the terms he uses are familiar to the people and at the same time encompass the most transcendental concepts of Islamic culture.
- The poet strongly avoids using words and expressions that are abandoned, old-fashioned, reflect the Western fecklessness or cause difficulties. He tries to write something better than his previous poems both in terms of rhetoric and content.
- The poetry of this period is extremely rich and fruitful in terms of figures of speech and thought. It employs the styles used by Ferdowsi, Farrokhi and Ansari, as well as Sa’adi, Rumi and Hafez. In addition, it reflects the elegance, eloquence and high-mindedness of Saeb, is overflowed with various kinds of equivocalness, resemblance, contradiction, and symmetry, and lacks exaggeration or complexity.
The Vocabulary of the Literature of the Revolution
One of the prominent features of the literature of the Revolution is the emergence of new meanings and novel words through old forms and new languages respectively. That is, using the ancient tradition of literature creatively, as well as creating new meanings in the same formats. The reason for the success of such a language and the traditional effectiveness of literature in new compositions lies for the most part with the liveliness of literary themes and their active and practical presence in the works. In other words, today’s poets and writers do not need the myth and historical narrative of their works, rather they observe and witnesses even the most sublime themes of their literary works as though they are happening in the present time.
Accordingly, instead of using metaphor, allusion and figurative way of speech to link his feelings with the theme and main character of the work, the poet depicts the same reality, as if he has embodied the symbols, themes and meanings in his poetry. For example, sometimes in Imam Khomeini’s rhetoric and oratorical styles, we encounter words and expressions that have not existed before or were rarely used. Such words were created and used simply and clearly. Introducing Arabic words to the Persian language is one of the features of the Iraqi style, and undoubtedly this is the case with Imam Khomeini’s poems in which we can see compositions such as Dar al-Jonoun or Rabb al-Arbab as well as Jaysh, Tayr, Namlah, etc. Furthermore, Qur’anic words and themes along with Hadiths are frequently employed by Imam Khomeini (ra).
Mysticism in the Post-Revolution Poetry
Mysticism (Islamic mysticism) is one of the poetical ideas of the Islamic Revolution of Iran. The works of great scholars and poets such as Imam Khomeini (ra), Allamah Tabatabai, Amiri-Firouzkouhi, Shahriyar, Mehrdad Avesta, Ayatollah Hasanzadeh-Amoli, and the like are featured in encompassing mysticism.
Also, in the works of other poets, the same feature can be seen more or less. In his youth, Imam Khomeini (ra) used to write interesting and beautiful poems about literature, morality, and social and political affair, which were praised and admired by those who read or heard them. Employing the highest levels of literature and the art of composing poetry, Imam Khomeini (ra) has written a stanzaic poem overflowed with delight and mysticism, in praise of Imam al-Mahdi (a). This poetry has been published in the second volume of the book “Athar al-Hujjah.”
There are mystical expressions in the sonnets Imam Khomeini (ra) composed, such as a monastery, dervish, cloak, abode, Sufi, mysticism, tavern, the spiritual master of the monastery, adytum, sheikh, witness, etc. In his mystical poems, the philosopher and mystic, Allamah Tabatabai, has repeatedly referred to mystical issues and terms, including drunkenness, cup, love, sweetheart and the like. An example of his mystical poems is the long sonnet “Honar-e Eshq (The Art of Love).” The late poet Mohammad-Hoseyn Shahriyar paid special attention to mysticism in his poems before and after the victory of the Islamic Revolution and has addressed the profound Islamic mystical points in his sonnets, rhymed couplets, etc.
The Impact of the Culture of Ashura on the Post-Revolution Poetry
The free humans felt and expressed grief over the bloody incident of Ashura, and since its occurrence, tears have been shed for the martyrdom of Imam al-Husayn (a) and his companions. Also, awakened and thoughtful speakers and poets wrote and composed valuable works morning Imam al-Husayn (a) and his oppressed companions thereby making the whole world aware of the message such noble personalities were trying to convey. In the same vein, today, by using poetry, songs and literal writings eloquently, the wise and conscious poets and writers seek to make all the people of the world aware of the cruelty and injustice committed by the tyrannical rulers of Iran against whom the Islamic ummah under the unique leadership of Imam Khomeini (ra) fought and resisted. There are many similarities between the two great events of Ashura and the Islamic Revolution of Iran, and poets and speakers, have used such similarities to illustrate how Ashura influenced the truth-seeking people of Iran. The culture of self-sacrifice and martyrdom is another transcendent theme that originated from the school of Ashura literature. It is the culture of self-sacrifice and martyrdom that has inspired the noble and gentle thoughts of poets and writers in the literature of the Islamic Revolution thereby strengthening the determination of the followers of the school of struggle. Of course, martyrdom is not a new concept in our literature.
However, its presence and prevalence during the Revolution and especially during the war created a new spirit and became closely linked to the emotions of the lovers; as it was the most renowned poem of life and became a form of thought which covers the sublime themes and notions better than any other format. Some of the poets who have written poetry in this field include:
Ali Moallem-Damaghani: A leading stylistic poet of the Islamic Revolution, who is well-known for writing well-structured, glorious and attractive rhymed couplets. Using a sophisticated prosodic meter is one of the prominent features of such poems. For example, one of the most famous couplet poems is about the sunset of the Day of Ashura. This beautiful and epical poetry with its pleasant rhymes was praised by many contemporary poets who sought to follow Moallem-Damaghani in composing such poetry. This rhymed couplet features depicting the tragedy of Karbala and the sunset of Ashura epically and gloriously, a strong emotional context, eloquent language and pure Shi’ah thought, an inspiring meter and rhyme, a universal message and expression of sorrow that is accompanied by sacred wrath.
Sayyed Hasan Hoseyni: A prominent researcher, translator and poet of the Islamic Revolution, who is famous for his new poetry and sonnets, especially quatrains. Perhaps it can be said that he is one of the founders of the new style of the quatrain. One of the special aspects of his poems, especially the quatrains, is that they have an epical spirit that is accompanied by emotion and passion. Take for example two quatrains he wrote about the thirst and martyrdom of Imam al-Husayn (a). In his quatrains, Hasan Hoseyni has adopted a new and epical attitude towards the injustice and oppression subjected to Imam al-Husayn (a), his loneliness, physical and mental wounds and thirst. In another quatrain, while taking into account the motto and epical speeches of Imam al-Husayn (a) such as “never to humiliation; I do not see death but as success,” Hoseyni has asserted that Imam (a) and his companions belittled the agony and grandeur of death by welcoming it with eager and seeking martyrdom and sacrifice in the path of Truth.
The late Salman Herati: Used to contribute to the literature of the Islamic Revolution by writing beautiful poetry. In a quatrain, this poet likens Lady Zaynab to the sun rising from her deep spiritual wound and after the martyrdom of Imam al-Husayn (a), appears with firmness and brightness like a lightning in the black sky and among the clouds of sedition. In another quatrain, he refers to the martyrdom and amputation of the hands of Hadhrat Abbas (a), the flag bearer of Karbala, and likens the amputation of his hands to the fall of a restless bird. Probably he was inspired by this hadith that “God will give him two wings with which he will fly with the angels in Paradise.”
Mahmoud Shahrokhi: In his well-structured and meaningful quatrain about the bearer of the flag of love and passion, he illustrates how loyal, kind, brave, and generous Abbas ibn Ali (a) was while implying that he is entitled to “The Gate to Fulfilling People’s Needs” in this world and the intercessor in the Hereafter.
Sa’id Biabanki: One of the young poets of the Revolution who, in a beautiful sonnet, has mixed sorrow, anger, lamentation and epic through an intimate language style and pure depiction. Although “Khorshid,” the identical rhyme used in one of his pleasant sonnets, is a repetitive metaphor denoting Imam al-Husayn (a), in general, using this metaphor in some of the verses of the sonnet has created original and glorious discerptions. Each verse of this sonnet refers to an incident that occurred at the sunset of the Day of Ashura, and in general, it is reminiscent of this part of Ziyarat Ashura “O Aba Abdillah, unbearable is the sorrow and excruciating and unbearable is the misfortune of you for us and all the people of Islam. Excruciating and unbearable has been your misfortune in the heavens for all the inhabitants of the heavens.”
Ali Mousavi-Garmaroudi: One of the pioneers of the poetry of the Islamic Revolution who writes poetry in old and new styles. Some of his poems are in praise of the family of the Prophet Muhammad (s) and the tragedy of Ashura. His poem “The Blood Line,” which is in praise of Imam al-Husayn (a), is truly unique in terms of thought, message, content, style, strength, feeling, emotion and epic. It can be said that one of the most prominent features of this poem is that it shows his poetic style and describes the event of Ashura freshly and innovatively.
Currently, the phenomenon of “the literature of the Islamic Revolution” has been proposed with its own characteristics and quality and has been established for the most part. Regardless of the intellectual fields and political currents which have emerged many years ago, the literature of the Islamic Revolution takes a role during the Revolution with a “motto” that was inspired by religion and divine teachings. At that time, it proposed the idea of the connection between Islam, social manifestations and political issues. The motto was indicative of the orientations and originated from the sincere and pure soul and feelings of the people.
It had no artificial or imposed elements, and hence it made a tremendous impact on the people. The “literature of the Islamic Revolution” serves people and seeks to show their concerns and problems. This type of literature requires fulfilling a duty and mission and is neither purposeless and intellectualism-based nor does it aim to express the carnal desires and needs such that the writer and poet try to please others; rather, it is the expression of anger and spiritual power of poets and writers who were inspired and motivated by people and purified by engaging in the acts of epic and sacrifice. That is why such literature, while presenting a new message and using a different language, aims to convey the sublime human values of Islam. In other words, the literature of the Islamic Revolution is like a double-edged sword with one side of which one would fight against infidelity, hypocrisy and apostasy, and the other side, seeks to defeat the egos and carnal desires.
The storm of the Revolution and the roaring wave of dynamic, vocal, resistance, Shi’ah, and Ashura-inspired literature, put aside ideas such as art for the sake of art thereby leading literature toward serving the transcendence of humanity. Furthermore, the literature of the Revolution does not consider poetry as merely a means of expressing mere romantic feelings and erotic descriptions, rather it elevated poetry by giving it purity and sacredness.
Reference: Proceedings of the International Conference on Literature and Linguistics. July 2016.
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