“Ketabe-E-Meher” by :Kamran Mir Hazar

Written by: Mozhgan Amiri

Translated from Persian to English: Soroush Gholami

RAHA/23/September/2003

 Page5 of 8          1    2    3    4    5    6    7    8                     Next    

2. Elements of nature and instrumental application in a work:

The book”Mehr” is not a book with a complete outlook on the nature, in fact we can use a natural word instead of using the word “nature”. in most of poems we face natural elements which exist in our environment -elements taken from the nature that play their role in a different usage-.when this opposite encounter with the natural elements and the nature around the poet takes shape in the construction of the sentences-not only can convey their elementary meanings, but can advance through being several-faced in a movement to the depth of images and the image completely verification.

Here we don’t face a descriptive poet with an arbitrary outlook, for example we) impressionistic or social outlook, but the poet becomes engaged with curving the nature again in the way he tends.

An image that is taken farther from its daily shape for a farther construction, in this kind of construction everything is applied as device in conveying something and that’s the considered conception and the content of the poet. A poet doesn’t act symbolically to express everything in a code, but takes advantage from the outer image. Here we suspect the language and word of being several-layered, that if it is possible to use the whole of a word we will be able to take the abyss of the image and get a dimension from it.

 “And the pen’s reflection on the paper and bitter newspaper

And the sky and the ran-away gazelle of the could

Praise toward the sky and the seas’ reflection

And the whales worshipping the god

Salute to the children of saffron and plant

And the rainy nature of meanings

As a result of a different stimulation we face a voluminous image. in the first case, when The word ”sky” is read below the first line, we find out that it is not the same daily sky we know.        

In fact this sky must be founded on the very pen reflection-where the same text is not what the poet considers, but he wants its reflection. This image is recorded with the special likening of a ran-away gazelle in that sky. We have the unstable movement of the created images. We have to reach the shape of the word in the same sky and in the word itself. This is as a result of the characteristic of a “cloud” and the characteristic of “run-away” that has been selected by the poet in the non-definable -where the reader easily opens his hand to see whatever he wants, that all of these picture come to the end by recording the “run-away”. The effect of the language of these images has formed in the previous word that is bringing a remarkable modifier for the word ”garide”. 

    The “bitter” drags the historical conception of the “newspaper” on his shoulder well and it is a good witness for the modifier “bitter”. in the next line we have the word" sky” again that is the known sky and we can analyze the difference between these two skies in this short distance and can also experience two different points of view –the first one is the taken-shape sky on the reflection of the pen with an internal sight that we have to drop down our head to observe ourselves in it and we should also keep ourselves up and also have to place an extendedly internal sight in our eyes. This sight changing gives the possibility of using being several-spaced to the poet. We are permanently changing the direction of our sight among these big and small or internal and outer places with painting the signs which slightly get farther from their everlasting and outer condition and assist the poet in the other shape of him. The returned images of “seas’ reflection”-when the sky connects this return and that is also brought –not in this image-to where the reflection is brought for those symbolic “whales” from worshipping    and then this image brings its image out and immediately reaches a metaphysical quality and uses the hidden signs in constructing ,and in fact enters the elements that we have to leave the “saffron”, ”plant” and the property of sense and color away in order to know them.

Completely known Natural elements in a completely unknown image which are completed with the rainy nature of the images. We enter the game of the image of language of the poet again. The use of the very acquainted signs with using this image acquaintance. In fact the poet changes the familiar construction of words (that is called “Ashnayee Zodayee” in Farsi literature) well and the mind and language of the reader have to turn to the other conception of this word and the acquainted signs.

It might be “afternoon”

Under the shade of the almond trees

The corn that they were talking about is not here.

The mountains must have clod weather

Take a look

Take a look at the right side of the picture

A man standing with a Kalashnikov

What does it mean?