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Sufism

Sufism, desert and poetry in Iran

The Persian mystical tradition assimilates the spiritual search to the crossing of the desert valleys. Sufism lists seven of these valleys: search, love, knowledge, detachment, unity with God, wonder, and annihilation. The road is dangerous. Asceticism in order to purify the soul; the denial of carnal passions; the renunciation of earthly desires: all these thorns await on the path of the mystic.

Gold, the possession of goods that flatter the eyes and the heart and arouse envy and desire – all the vanities in the world – appear like mirages on the path of the thirsty traveler.

All caravans need a guide to cross the desert; no one would be foolish enough to venture out onto the sandy expanses without someone to guide them. Similarly, the Iranian mystical tradition calls on the seekers of truth to seek the help of the “Pirs”, teachers who can show them the way. No disciple would venture on the path of devotion without the help of an initiator to instruct and impart the necessary knowledge. Like a caravan leader, the spiritual master is in charge of the proselyte’s chain of instruction.

Sohrab Sepehri

Sohrab Sepehri (1928-1980), prominent Iranian poet and painter, was born in Kashan on October 7, 1928. The talented Iranian artist made his name and became notable with the publication of “Sound of the Passage of Water”, which marked a milestone in his poetic activity, to which two other volumes were added. In 1969, he participated in the Paris Biennale and shortly after exhibited his paintings in a gallery in New York, where he lived for a brief period.

Having been born into a family known for art and literature, it led him to also fall for art. Sohrab’s father was a post office clerk, craftsman, and builder of a traditional Persian musical instrument, the tar, while his grandmother was also a fairly gifted poet. Kashan and the surrounding villages played a significant role in both his poetry and his paintings. In fact, in his poems his hometown stands out, which, among other things, has a rich and glorious history:

Simorgh

Simorghand Mount Qaf

Attar, the great Iranian poet of the twelfth century, describes in The Language of the Birds the journey that these birds undertake in search of their king. Guided by the hoopoe, a bird rich in mythological associations that was Solomon’s companion and can avoid mirages and spot pools of water from a distance, they set out for Mount Qaf, where Simorgh, the king of birds, lives. Many of them cannot bear the heat, hunger and thirst and, for fear of the unknown, they prefer not to overtake any further. Others show the courage to face dangers. Due to the lack of food, water and shade, many die on the way. Only thirty birds (in Persian, si-morq) reach their goal, flying over Qaf and discovering their “inner self”

Ahmad Shamlou

Shamlou, famous Iranian poet, was born on December 12, 1925 in Tehran. His father was an army officer from Kabul, Afghanistan. Indeed, Ahmad, having to follow his father, spent his early school years in different cities: Zahedan in southeastern Iran, Mashhad in the northeast, and Rasht in the north. In 1938, Shamlou left the institute and enrolled in the Tehran Technical School, one of the best of the time, where he also learned German. In 1942, his father took him to northern Iran, then occupied by the Soviet army. Shamlou began to write his revolutionary ideas, so he was arrested by the Red Army for his political ideas and sent to Rasht. He was released from prison in 1945 and moved with his family to Azerbaijan.

Saadi

Musleh al-Din Abdollah Saadi is one of the most recognized poets in Persian literature. His long life spanned the entire 13th century, considered the classical period of Persian lyric poetry, which historically coincides with the first Mongol invasions, begun in the autumn of 1219, which caused the fall of the Abbasid caliphate.

The new Mongol rulers formed new courts far removed from local populations and showed little interest in the Ghasida (eulogy) literary genre, then in full swing. Rather, they were interested in alluding to his political and territorial conquests in the prose of historical works. In the process of lyrical poetry production, the genre of Ghasida lost its importance in favor of the poetic genre of ghazal (sonnet), which reached its technical perfection with Saadi.