“Ketabe-E-Meher” by :Kamran Mir Hazar

Written by: Mozhgan Amiri

Translated from Persian to English: Soroush Gholami

RAHA/23/September/2003

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3. Symbolizing (placing signs in the texture of a sentence):

Before analyzing this matter it is necessary to say that my struggle was based on avoiding turning to the other forms of the discussion when the discussion is rotating around a special subject, but this affair is not that possible and this is as a result of the complicated and several-dimensioned characteristic in a poem, so alternatively I have let the language go on in order to reach what it wants to say itself.

What is the “sign”?

All the grammarians and languets define the” sign” professionally (propositions –the connective – signs –prefix & suffix -…),the old and new signs of a language ,signs containing grammatical roles like complement-makers . . . But of course all these opinions can be different from each other according to the grammarians’ opinions. Therefore it seems to be in vain if we want to open and find the signs of a language. But if we use the signs –not in their known shape but in a different shape and identity- Then we can easily let a word enter another space.  

Ultimately although we know them all, we find that we have entered a language game with the same known puppets and that we are able to open the discussion well and finalize it soon. This changing of the shape of a sign can even appear in a new form of a verb or a noun in this new process. In fact we benefit from the sight sign form of the word in another form.

“Till they want to show us a man who is sitting at a desk …..”

Using the sing “till” instead of using “till the time”

“In this time that I’m waking around with my Mir Hazar

Beside this stream

Beside this oasis that has pass by the ankle-bracelets of women……”   

A different use of the verb” am" which means “exists” that maintains the position of “I am” because of the “am” in the grammatical role of the subject.

 “And the flood has removed the mountains “

The verb “remove” for saving the position and expressing the other sentences which convey the meaning of the” has brought”

And other samples that are abundant in poems, but if we take a greater look at the signs we must be more precise, it means that we mustn’t only rely on the construction and grammar because the poet may want to utilize everything to connect his poem. Like what I have just written ,I have put a collection of words between “want” and “utilize” that can take the grammatical role farther and involve the mind for finding the place of words, if not the more suitable  form of this sentence can be this one” want everything to be utilized in connecting his poem.”

This rule is in fact the definition of the signs of the construction of a language in a greater form so that we can work with more possibilities for creating spaces, and of course the sign is not the only current language tone. The suitable signs of a work must be found in a space where the reference of language or an image or a word creation occurs in the poem, where the word is not written, but it exists:

“Perhaps it was wrapped-up in silk

Maybe in the dreams of sailors

Or the neat tone of the soul

Or hung on the hung of the clock of consciousness

Or may be in the unexpected heaven of the wandered ….”

A known presence which will be completed, but not with its own image which comes between a collection of images -images which are to somehow opposite and enter the poem from different corners -where a word returns to its primitive form and puts the whole of the language reference and self-understanding in a hidden process. a poet uses a collection of poems and images that are the very language of the tense in their special way with the same internal needs in giving images for an emotional action and stability in the reader’s mind, but of course before the on participation (which is used on-time) in exchanging the internal energy with other words and their images and correct conception of being “at the present time” of itself.

“Wrapped-up in an overcoat in a light color,

And a woolen turban  

With the long wine-colored hairs that are being flattered by the bitter wind of the mountains …….

A hidden flag painted with a horn and piousness

And a heart full of the waves of a gramophone

The order and the book and the emperors of the age of catapult and the ages before…”

“You think

From the shawl of the rainbow

You come from another way

You vibrate the frang and the purple

You sit

You say hello

And you say good bye…”

Word usage –in its farther shape and according to its outer construction –takes the sentence’s texture farther gradually and we enter the poem from a distance away.

This far tense is occasionally the same “timelessness”. It means that the tense, in the identity of its cosmogony and its indefinite presence," overcoat, turban, woolen, the long wine-colored hairs, flattering, flag, painted, the Horn (an old tale), the emperor of the catapult age, gramophone”.  these all can easily connect to a modern image and in the three lines “you sit, say hello, say goodbye) and records being up-dated and the present tense for themselves.

In fact a poet is not a difference between the old and the new and takes the most up-dated images from the most primitive shape of the word. This is the reference and internal sign of a poem that must be kept under control and we must ban the invasion of the invader “the word” for communicating and slightly moving them.

It is possible to point the presence of other signs for indicating that they exist in the book”Mehr”; symbolic signs, things that make sings, behaving signs or in fact the  sign-maker behavior.