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Pantea Bahrami
Simin Behbahani, a protesting poet who was able to not only bring about changes in classical forms of poetry, but also make her ghazals a reflection of the social issues of her time, passed away on August 19th of this year.
“Peace Line Magazine on the occasion of Simin Behbahani’s visit, sitting in conversation with the radiant light of Ala, poet and literary critic. She is a member of the Writers’ Association of Iran and also a member of the Writers’ Association in exile. She is one of the founders and the editor-in-chief of the website “Peyvand Sera”.”
The first poems of Simin Behbahani were published in 1329 with the title “Broken Arrow” when she was only 24 years old. This collection includes poems that Behbahani wrote between the ages of fifteen and twenty. Simin’s poems before the revolution were mostly romantic and humanistic with classical forms. How do you see this period of her poetry?
Simin Behbahani, from her youth, imitated her mother, Mrs. Arghoon, who was an educated woman, artist, and poet. Mrs. Arghoon had recited Simin’s early poems for Parvin Etesami, and Parvin had admired them. According to Simin herself, these encouragements were one of the factors that strengthened her passion for writing. As you mentioned, Simin’s first poems were published in the book “Broken Three Strings”. After this book, she published “Footprints”. These poems are in four parts, with a social theme and a focus on women’s issues. In her later books, such as “Chelcheragh” and “Marble”, she composed ghazals and most of her love and personal poems were written in this form. Simin’s early poems not only have strong social, personal, and emotional themes, but also have a new feature, which is the poet’s femininity.
Although Sim
You said that Simin has completed her education in the field of law, but has never worked in this field. Is the reason for this clear to you?
No, I really don’t know the reason, but I guess because she had learned literature from her mother and had become proficient in it, she didn’t feel the need to choose this field in university. Also, maybe because of her sense of justice, she thought she could help the underprivileged and the marginalized by becoming a lawyer, but the bureaucratic systems and relationships showed her otherwise, or perhaps legal work was not compatible with her spirit. In my opinion, a teacher, especially in teaching and educating young people, is always exposed to intellectual, mental, emotional, and cultural exchanges. Her mind always remained young…
After the 1957 revolution, Simin Behbahani’s work underwent a transformation in terms of form and content. Her work shifted from mostly romantic themes to more social issues. However, she also had social poems before the revolution. Due to restrictions on freedom of expression in Iran, the work of artists became limited and people were under more pressure from social problems. She is remembered as a rebellious and unique poet. What is your evaluation of these changes in Simin’s work?
In terms of form and structure, yes, the changes in Simin’s poetry are related to the era of the revolution and after. However, I do not accept that Simin’s poetic thoughts were transformed by the 1957 revolution and turned towards expressing social poetry. Before the revolution, Simin’s fifth book, titled “Resurrection,” was published. It was full of social issues, but in the same form of ghazal and traditional meters. Although before the revolution, Simin’s poetry was considered remarkable and prominent in Persian literature in terms of poetic values, eloquence, beautiful imagery, and expression of the poet’s inner and outer states, it did not reflect in the intellectual circles, especially among the disillusioned youth. Simin’s detachment from the ranks of Nimaic poets, ghazal writers, and her absence in intellectual circles was a question. A generation that was familiar with new poetry and sometimes recognized poetry in its most slogan-like form did not know what to
You talked about changing the content of poetry, but you also mention about the form itself that I have brought new styles in my current ghazal and give an example, saying that incorporating a story in a ghazal, or the flow of the mind, drama and psychoanalysis, also adds that my ghazal does not have the traditional meter and is in fact against ghazal. What is your opinion on this matter?
Yes, that’s completely correct. Although Simin still addresses themes of poverty, suffering, and pain in her poems, she does not speak in general and abstract terms. She is not just an observer and narrator of poetry, but she becomes a part of it. She has actually immersed herself in the social context, which is why the pulse of her poetry beats with the pulse of society and its people. Now, new social, political, and human themes are emerging that the classic form of ghazal cannot contain. The limited use of the classic form and meters is not sufficient for this new content, and Simin is forced to innovate or, as she says, discover new meters that have not been used before or have rarely been used by some classic poets. Of course, Simin still maintains the meter and rhyme in her poetry, but she invents completely new meters and unexpected rhymes. Just like Nima, who, although has a great role in innovation in classic poetry, also
Can you list the features of a ghazal for our readers to become more familiar with it?
Yes, Ghazal is one of the forms of classical poetry in Iran; like Masnavi, Qasida, Tarji’band, Tarkibband, Chaharpareh, Masmat, etc. Ghazal is also one of the forms of Persian prosody that, like other forms of poetry, has a meter and rhyme.
The most notable poems of Simin that show the harmony of meter and content are poems such as “Look at the Camel”, “Hit One – Hit Two”, or the poem “He Has One Leg”, and so on.
Simin Behbahani said in interviews that the secret to Hafez’s immortality is his being in the present and in sync with his time. Hafez is always flowing towards eternity. His poetry is timeless. To what extent do you think this being in the present and in sync with his time is present in Simin Behbahani’s ghazals, and to what extent are her works timeless and universal?
Usually, poems that do not have the stamp of a particular event, or that the reader can interpret and interpret according to their own needs, become timeless, of course, if the poet has the beautiful, intelligent, simple and powerful language of Hafez. But poems that refer to specific issues are less likely to be interpreted and interpreted at all times. I do not value them. For example, some consider the timeless poems of Hafez, while others value poems that are based on a specific event or incident. For example, patriotic and national poems of Simin, anti-war poems, poems that expose the ignorance of the powerful, from both sides of the war, destruction, homelessness, killings, disabilities, etc., all bear witness to specific periods of our homeland. Undoubtedly, Simin’s poetry will remain eternal in the history of contemporary literature and the future of Iran and the region, but I cannot say today that these poems will have the quality of being timeless. Without saying whether
“کپشن: عکس شماره ۲۶۴۳، چپ چین، عرض ۲۶۲”
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Parvaneh Noori Ala – Writer, poet, and literary critic.
Simin Behbahani played a prominent role in advocating for women’s rights as an artist. She actively collaborated with younger generations of women to fight for these rights, from participating in protests at the age of 80 to writing statements, poetry, and attending parliament sessions. She also received numerous human rights awards. Many artists try to distance themselves from social and political activities, but she consciously entered the field as a committed artist. What do you think this approach meant and what impact did it have on her life and work?
Yes, Simin Behbahani was by the side of women during the first women’s protests on Women’s Day in 1979, which took place in major cities of Iran and were met with suppression by the regime’s thugs. Unfortunately, many of our men, not only non-political men, but also men from some leftist parties, and even their women, did not support the women’s protests against the hijab, claiming that it was not an urgent and important
Can you share memories of Simin with our readers?
One of the stories that Ms. Behbahani used to tell from her student days was that the university president would hit her on the head for her political statements. Simeen, who had no role in broadcasting these statements, bravely stood up against the situation and struck back at the university president in front of the students, which apparently led to her temporary expulsion from the university.
Mahmoud Dolatabadi, a contemporary Iranian writer, said in an interview that he has reminded Simeen multiple times to not be so harsh, as the young people are with her. This shows how much she was in tune with the times and the younger generation, despite her advanced age.
Yes, she maintained her courage and alertness until the very end. I read a note from one of Simeen’s friends, describing her visit with Simeen in the hospital when it seemed like she couldn’t understand anything anymore. She takes Simeen’s hand and, even though she doesn’t
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Simin Behbani
Simin Daneshvar’s two books, “The Line of Speed and Fire” (1361) and “The Plain of Arg” (1362), are in search of the identity of Iranian women and have been able to explore many dimensions of women’s existence. What is your opinion about these works?
As I mentioned before, Simin, as a female poet, a brave woman, always had a presence in her poems. Whether in quatrains, ghazals, or her “anti-ghazals.” The limited number of poems that have been left by women in the history of Iranian literature have a strong identity as a woman. Of course, this is a detailed discussion that is not the place for it now. Simin’s poetry had this quality from the very beginning of her writing and it was always increasing. As I mentioned, she spoke of the deprived and suffering woman, the courageous and fearless woman, the educated woman, the mother, and the beloved. As she progressed, she became more explicit about the emotional and physical needs of human beings. It is interesting to note that the more the regime drew red lines, the more Simin’s poems became fearless and explicit. The more the regime tried to suppress women, Simin, along with young women, tore off her
A poem by Parvaneh Noori Ala for Simin Behbahani.
You were, you are, you will remain.
For Simin Behbahani.
Your words strike like lightning, illuminating the dark night and the ashen sky of Iran. Your words are a healing balm for the scorched earth, for you are the “poetic composition” and the “teardrop” that falls. Darkness accuses you, causing chaos; your pen draws on the curtain of night, and the world turns green in the cascade of your words, for you are the “poetic composition” and the “teardrop” that falls.
Your poetry rests on the Nile, while the slanderers whisper in the darkness. How dull is the language of ignorance compared to your colorful rainbow. The bird of love sings from your throat; your words are the light and dew that fall on the stars and lilies, for you are the “poetic composition” and the “teardrop” that falls.
The darkness of fear turns into dawn at the tips of your fingers, and autumn gives birth to spring in your words, for you are a
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