Forugh Farrukhzad was born in 1935, in Tehran, to a middle class family. She received an incomplete early education; she abandoned formal learning after she finished the first 3 years of high school and never received a high school diploma. Later on, for a brief period, she attended the Banovan Technical School to study painting and sewing. That, too, apparently, did not amount to much. Forugh's forte was writing poetry, something that she began in her mid-teens. By the time she was sixteen, she was composing ghazals in the tradition of the old masters.
Several factors shape the social life of Forugh Farrukhzad. The first is her marriage to a government employee called Parviz Shapur, later on a critic and caricaturist. After their first child, a boy named Kamyar, was born in 1954, the family moved to Ahwaz. A daring, petite, and attractive young woman--the first to wear tight-fitting clothes in Ahwaz--Forugh could not endure long as a wife in a provincial town. The marriage ended in a divorce in the same year. Kamyar's custody went to his father.
Another factor is the scandal that centered on Forugh's close friendships with her male companions. For a while (1955 to mid-1967) she befriended the famed poet Nadir Naderpur who, later on, recognized the relationship as a love relationship. In 1958, the novelist Sadeq Chubak, introduced Farrukhzad whom he knew well to Ibrahim Gulistan, a cinematographer. Later on Farrukhzad became a close associate of Gulistan. She attended parties with the cinematographer and his wife as Gulistan's assistant. Otherwise, she lived in an apartment in northern Tehran which was paid for by Gulistan. This relationship lasted until the death of the poetess in 1967 in a car crash.
Still a third, and perhaps the most important factor, was Forugh's open discussion of her emotions in her verses, discussions that for centuries had been suppressed by religious authorities, community watchdogs, and conservative literati. The fact that Iranian audiences of the time identified the voice of the character in a piece with that of the poet did not help matters much. The efforts of benevolent critics who tried to sort out Forugh's personal views of morality from the freshness of her ideas, images, and approach to versification also fell by the way side.
Had Forugh lived longer, we would have a better understanding of her reasons for the outrage at Iranian society of her time. If her latter poems are an indication, she foresaw much that happened to Iran during the decade that followed her death, much that was beyond any one person's ability to set right. Nevertheless, she voiced her opinion. A brief chronology of Forugh's main activities between 1955 and 1967 follows:
The Wedding Band
Forough Farrukhzad
translated
Astounded, the man replied:
In unison, all those present said:
One night, years later,
An unhappy woman viewed the golden band and
Distressed, the woman lamented
translated
Seal not my lips, nor silence me,
O man, you self-centered creature
I am the bird that has
Seal not my lips, nor silence me
Come forth and release me
I readily give my lip and its sweet kiss,
To you, O self-centered creature
Rather than telling me my poem is sinful throughout
Allow me a book of poetry, some respite, some silence
At night, when the moon dances
The zephyr kisses me a thousand times
Away with good name and fame,
Come forth and release me
translated
Full of desire,
A neglectful moment can occur
This thought runs through my head
From behind the bars each morn
O Heaven! were I to desire to
Like a candle, my self-consuming being
translated
The yard of our house is lonely
Father says:
All her life
And my sister who used to be the flowers' best friend
The yard of our house is lonely
I am afraid of the times
Like a little student who loves madly
A Brief Note on Forugh Farrukhzad's Life
by
Iraj Bashiri
Copyright, Bashiri, 2000
by
Iraj Bashiri
Copyright, Bashiri, 2000
1935
Born in Tehran, one of five children of a middle class family
1948
Finished elementary school; began writing ghazals
1951
Finished high school; married Parviz Shapur
1953
Her son, Kamyar, was born; the family moved to Ahwaz
1954
Her marriage to Shapur is dissolved; Kamyar is placed in Shapur 's custody; Forugh is devastated
1955
Asir (the captive), her first collection of poems is published in Tehran
1956
Divar (the wall), is published. The volume is dedicated to her ex-husband, Shapur; travels to Europe for the first time and gains a new view of the world and of herself
1957
'Esiyan (Rebellion) is published; becomes an assistant to filmmaker Ebrahim Gulistan, although their association and friendship becomes controversial, they work together until the end of Forugh's life.
1959
Travels to England to study the art of the film. Tavallodi Digar (Another Birth) is completed. The volume, published posthumously, is dedicated to Ebrahim Gulistan who had helped the poetess enormously during their nine years of association. In this same year, Forugh begins editing the film A Fire
1960
Played a role and assisted in the production of the film Courtship dealing with Iranian courtship customs
1961
Co-Produced the film Water and Heat as well as made a commercial for the Kayhan newspaper
1962
Played a role in and assisted with the production of an unfinished film to be calledThe Sea. The theme of the film is based on Sadeq Chubak's short story entitled, "Why Did the Sea Become Stormy?" Also worked on a film about a leper colony in Tabriz. The film was called The House of Black
1963
Received grand prize for "The House of Black " at Uberhausen Film festival in Germany.
1964
First anthology of her verse is published.
1965
Her life is subject of a 15-minute film documentary produced by the UNESCO
1967
Visits Italy. Plans to play in the stage production of Bernard Shaw's St. Joan in Tehran; is killed in a car accident (February), at the age of 32.
1974
A posthumous collection of her poems was published.
(1935-1967)
by
Iraj Bashiri
Giggling, the little girl said,
Talk to me about this band,
about the secret of this band which
embraces my finger so tightly.
Tell me the secret of this brilliant, this bright band.
This ring. This is the ring of happiness, the ring of life
"May it be auspicious!"
The girl sighed:
"Only if I did not have my doubts."
in its brilliant design,
she saw the death of her own days
days she had waited for her husband's loyalty.
This band, still so bright, so brilliant
is really a collar
a collar of bondage, of slavery.
Rebellion
Forough Farrukhzad
(1935-1967)
by
Iraj Bashiri
let me relate my untold tale
take this chain, which weighs
so heavily on my heart,
off my feet.
come forth
open the door of this cage
wherein you hold me prisoner for life
allow me a breath of freedom.
for an eternity thought
of soaring to the heights
but whose songs have turned into laments
and whose life has turned into a shell of desires.
I have to relate my tale
I must relate to the entire world
my burning tale, my fiery echo.
to the clear, pristine heights of poetry
should you allow me this flight
my rose will adorn the garden of poetry.
my body and its sweet fragrance,
my look and its hidden flames, even
my heart and its blood-filled laments.
not to malign my poetry, not to call it infamy
do you know how confining this cage is
for the liberal at heart? It is confining, it is.
pass me a gobletful of sin and infamy
keep your paradise, your houris, and the Kawthar
but grant me a hut in the depths of hell.
Allow me my drunkenness and stupor
keep me out of your paradise, I don't care
I have an eternal paradise within me.
amid the foreboding sky
when I am drunk with desire and you with asleep
I embrace the moonlight.
and a thousand times I kiss the sun
one night, in the very prison you keep me
a kiss shakes my entire existence.
welcome astonishingly delicious infamy
God who endowed poets with desirous hearts
forgives my sins, I am sure.
to the clear, pristine heights of poetry
should you allow me this flight
my rose will adorn the garden of poetry.
Captive
by
Forough Farrukhzad
(1935-1967)
by
Iraj Bashiri
I shall never embrace you
You embody the bright blue sky
I remain a mere caged bird.
from behind cold bars, I look at you,
and hope one day a hand would
set me free to fly to you.
when I fly out of this silent cell
laugh at the watchful eyes of the guard
and begin a new life beside you.
even though I lack the will to leave this cage
besides, even if the guard allows it
I don't have the stamina to fly.
a child greets me with a smile
and when I begin my happy song
her puckered lips reach for a kiss.
abandon this silent cell and fly to you
what could I say to that tearful child?
caged birds belong to cages.
illumines a nest
If I shine no more,
that nest will surely be destroyed.
I Feel Sad for the Garden
by
Forough Farrukhzad
(1935-1967)
by
Anita Spertus
Nobody is thinking about flowers
Nobody is thinking about the goldfish
Nobody wants
to believe that the flower garden is dying
that the garden's heart has swollen under the sun
that the garden's mind is being emptied
of the memory of green
that the garden's feeling is huddling
in a corner, slowly rotting.
our yard is yawning in anticipation
of a rain from some unknown cloud
and the pond in our yard is empty.
The small inexperienced stars
are falling off the treetops
and from the house of the goldfish, through their faded windows
there come, at night, the sound of coughing.
Our yard is lonely.
"It is too late for me
I did my work
I carried my load."
He sits in his room
from morning till sundown
reading native epics and histories.
Father says to mother:
"To hell with any birds or fish
what difference does it make after my death
whether there is a garden
or not
my retirement pension will suffice."
Mother has been standing
before her prayer-spread
at the threshold of the fear of hell.
At the bottom of everything
Mother looks for the footsteps of sin
and thinks that it is the consequence of a plant's sin
that has spread over the garden.
Everyday she says prayers
and breathes them to all the flowers
to all the goldfish
to herself
Mother is waiting for a second coming
and the blessing which is to descend.
My brother calls the garden a cemetery
my brother laughs at the confusion of plants
and takes statistics of the fish
perishing under the sick skin of the water
my brother is hooked on philosophy
he thinks the garden will be saved
by the destruction of the garden
he gets drunk
and punches the walls and windows
and tries so hard to say
that he is much pained, and talks of his ennui
he takes his despair with himself wherever he goes
along with his ID card, pocket calendar, lighter and ball-point pen.
His despair is so little that it gets
lost in the comings and goings
of the beer joint.
and whenever Mother beat her
She shared the secret of her heart
with the quiet gathering of geraniums
and sometimes she even invited the family of the goldfish
for a party of the sun and candies-
now she lives on the other side of town
and in her artificial house
along with her artificial goldfish
beside her artificial husband
she sings artificial songs
and makes natural babies
whenever she comes to see us
and the hems of her dress touch
the poverty of the garden
she takes a cologne bath
every times she comes to see us
she is pregnant
the yard of our house is lonely
everyday, behind the door, there comes the sound of
people being killed
and the sound of explosions
our neighbors are planting in place of flowers
shells and grenades. . . .
the little children have filled
their briefcase with little bombs.
The yard of our house is lost.
* * * *
when I have lost my heart
I am afraid of thinking
about the futility of so many hands
the alienness of so many faces.
his geometry assignment
I am alone
thinking that it is possible to take the garden
to the hospital
thinking
thinking
and the garden's heart has swollen under the sun
and slowly, slowly, the garden's mind is emptied
of the memory of green.
(1935-1967)
My whole being is a dark chant
Life is perhaps
In a room as big as loneliness
Ah
I will plant my hands in the garden
The journey of a form along the line of time
I know a sad little fairy
|
In my small night, alas
the wind has a rendezvous with the leaves of trees
In my small night rests the fear of ruin
Listen...
Do you hear the blowing of the darkness?
I look at this good luck like a stranger
I am accustomed to my hopelessness
Listen...
Do you hear the blowing of the darkness?
In the night now something is happening:
the moon is red and disturbed
and above this roof, which at any moment might fall,
the clouds like the crowds of mourners
seem to await the moment of rain
A moment
and after that-nothing.
Behind this window the night is trembling,
and the earth
stands still in its course
Vague things lie behind this window,
you and I, uneasy
O you are green all over,
put your hands like a burning memory in my loving hands
and entrust your lips like a warm sense of life
to the caresses of loving lips
The wind will carry us away with it
The wind will carry us away.