Mehr News AgencyGroup of Culture and Literature – Javad Sheikh al -Islami: Hamid Reza Maddah is a young poet and born in December. He has just been released by the County Publications of Adab. The importance of the winning leaf is that in recent years the poets have been more attentive to the sonnet, and the quatrains, despite their subtleties and capacities, are not very popular with the poets, and the independent quatrains are less published in the poetry publishing market.
On the pretext of publishing this book, we went to Hamid Reza Maddah to talk about the winning leaf, his entry into the poetry world, a look at his quatrains, and his latest literary activities.
This detailed Dialogue The following;
* Mr. Maddah, what happened to the poetry world? I think this question is a good question for your first media conversation about your poetry.
I used to say poetry from university, but poetry began to be seriously started in year 1 or 2. I had said some quatrains in those years and had not attended the association and literary sessions. Once I saw Mr. Milad Erfanpour at the Book Fair and I read those quatrains. He told me very kindly and you have talent, and then gave me his number. I went to the poetry sessions of the city of Adab city by Mr. Erfanpour and from then on the poem was seriously for me; To this day, poetry is the most serious event of my life.
* What does “poetry became very serious for me”? I would like to talk more about the look at poetry.
Everything must be serious. The seriousness of the poem for me is that it is with me everywhere. Poetry is really everywhere with me. Of course, it does not mean that I read poetry for 4 hours a day, but in the subway, street, house, workplace, and so on. I have said a lot of my poems in the subway; Exactly when people press each other in the subway crowd and are afraid to get too late. Or, maybe you may not believe it, I said the last one of my quatrains under the shower. When I was showering, I suddenly whispered, “We are our own workers.” It came to my mind without an introduction and then sat down.
* Do you also read the full quatrains?
Yes. First to say my work is accounting and in the field of financial matters; So being “self -esteem” is one of our job terms. Quatrains eventually happened; “Understand, we are displaced, we are a desert, we are the sea of the sea / The self -esteem is our work every day / We are our own workers.”
* Good! How good is.
The seriousness of the poem for many means to read books for a few hours a day, but not for me. That is why my life is with poetry that most of my quatrains are my personal experience. I mean my life in my poem; Even the romance I have said.
* What has helped the presence of your poetry experience in poetry, and what has made you a distinction with the poetry of others?
It has influenced my poetry. I think when I read my romantic quatrains to others, they touch the feeling that led to quatrains. You once write quatrains and the audience says, “To! What a discovery, but once it is that when you read a quatrain, you see in the eyes of the side who understood it and realized what I was talking about. When the elements of life enter quatrains, its effect multiplies. The quatrains are effective at all. If we consider quatrains in the classic sense, which means shaking the audience, the presence of its life experience increases. I have experienced this very much. For example, when I read a quatrain poetry and came out, I have seen the one who has heard it really communicated with it.
I have a quatrain that I have said, “Until you talk, hearing, and every mirror is silent, the melee is / You said how much sausage, talk / I said how beautiful your eyes are.” You are a poet yourself, and if you have the slightest emotional experience, you will understand where this quatrain came from. This quatrain has come from life and from the moment. When the poem is inspired by the text of life, its influence is greater; In particular, quatrains have come to be effective.
* The point is that when you pay attention to your life experiences in your poetry, you are really approaching “poetry”. That quatrains or sonnets who are constantly looking for themes, the poem is the content, and no matter how beautiful it is, it still has a state of artificialness and demonstration.
A few days ago, I was talking to a friend, saying that Saadi was in love before he is a poet. Can’t you love and say such poems? It is not possible at all. In my opinion, in the first place, poetry is not a priority; Before that you have to love, live, experience.
* You also have to love poetry. Many of our peer poets entered the atmosphere of festivals and congresses and themes and the night of the thematic poems, and their poetry lost their poetry. When you love poetry, you may be less likely to write poetry and write and not be present in many programs and nights of poetry, but at the same time love poetry and live poetry and write good things while being selective.
When you understand poetry and poetry, even if you write for Imam Hussein (AS), it is romantic and is serious. That is, you do not take poetry.
* Yes. You can’t make a look like the factories and write a ritual quatrain. For quatrains and poetry, you have to discover, experience, reflect, live.
Being able to, but waste both the time and the paper, pen and automatic. He had a quatrain friendship and proudly said I was holding a course so that you could say about the rain in one day. This is not a solution to quatrains. Anything that comes from the context of life and the present is influential.
* Do you only write quatrains or experience in other formats?
Yes. I also have a sonnet. That is, I have ten to twelve sonnets, although not too much, but in my opinion there are sonnets that can be released and published. I have written a lot of sonnets, but those sonnets I can read somewhere are the same. In the meantime, I recently put my focus on the poem after the book is published. I wrote four to five dialogue poems that I think the quatraine format has helped me not write. When you say quatrains and then go to the conversation, you don’t leave any strap to itself.
* Yes. Apart from the fact that your dialogue poetry has a vertical and general axis and the narrator is a sense and an adventure, each strap can also hit the audience.
Now I am not saying that the blow it is shocking is a quatrain blow, not to that concentration, but as you say, it takes a “bite” from the audience. For example, a conversation I said that this is the end of this; “Without you still whistling the world / sadness is in my eyes / Oh … I remember your eyes again / The world still has its beautiful!” In short, … I am writing dialog after quatrains.
* Let’s also talk about the book “Winning Leaf”. What made you decide to collect and publish the book? What is the weather at all?
I was thinking of gathering quatrains, and when I saw the city of literary and literary art, I participated in it and became a selection. From there, the book became more serious. In the meantime, I felt that quatrains had to be printed. Because I’m not very in these phases to get back the book. These days, some say that it is cyberspace and why to print a book? I think printing poems gives poetry and poetry.
* Unless you publish a book, you will not even find a complete knowledge of the poetry.
That’s. When you publish the book, you understand the course of your poetry. Of course, as I said, most of the quatrains that were published were the quatrains that were written in year 2. The book has three sections; The first part of the book is the romance entitled “Thank you that I loved you”, the second part contains self -knowledge and social quatrains and the hadith of the self, which is “tomorrow I was not, I wish”, and the third part, which is a less ritual quatrains, and a smaller part of the book. I have a winner in the 4 -year -old collection.
* I am happy to experience other templates, but the experience tells me it is better for the poet to bring one template to a settlement, then go to another format. Don’t agree?
Of course, I have said quatrain during this time and I still say. But there is one point; In different periods of time, the nature goes to the direction it wants. After the winning leaf book, I couldn’t get my nature approaching. It really can’t. If I don’t want to write dialogue poetry now, I can no longer write poetry.
* Dialogue is also a template that the poet becomes very comfortable and quickly attached to, and because Atefeh is bold, he may hold the poet in himself.
So I try to write a quatrain next to him. Because I feel the same thing you said. In dialogue poetry, your language is not a criterion, it is dialogue and has less difficulties and is more attractive, and so on is more deceptive. That is, it is even more deceptive for nature. You write poetry easily and like to continue.
* You said you live with poetry. Isn’t it really difficult for you to say poetry at this time?
No. In my opinion, the poet’s children are excused. I am in touch with the poet’s friends now and I see that we are going to work and we have a lesson and the poetry has escaped from us, and so on. I go back to the first part of our talk that we have to take the poem seriously. Taking poetry seriously does not mean to empty time to say poetry. Part of the poem is this; Yes, you have to take the time, read the book, whisper, but taking poetry seriously is a mental thing. You can also write poetry in the subway, bus and work. It is full of subjects. The important thing is that you think about poetry anytime. Of course, I don’t want to say “live a poetic” like professors, but you have to live with poetry. Another point is that you have to be motivated to sing. Anyone who looks around will find a thousand subjects. I said to the University of Poetry Science, I said poetry to my father, who is a professor of singing, for many things and other people.
How has the reactions to the first book been?
Thank God those who, like you are from poetry and read the book, were positive. I’m very happy about that. A few days ago, Mohammad Reza Teacher called me and said a few points. Hamed Fallahirad liked the book. Maysam Yousefi liked the book. Feedback has been positive so far.
* I hope to take both yourself and the audience seriously; Especially at a time when no one takes quatrain seriously!
Unfortunately it is. I have seen in poetry sessions, when they want to read poetry, they say I read a quatrain with a sonnet! It is as if it is a dignity to read only quatrains. The quatrains are decorated. Interestingly, the first quatrains are much better than the sonnet they read, and it gets more and better reactions. Also, the professors who are sitting for criticism of the poems do not take the quatrains seriously and only criticize the sonnets. In my opinion, when the poet looks at the quatrains, he should not say quatrain at all. Occasionally, I have spent 6 months to build, write and edit a quatrain.
* Yes, they do not take quatrains seriously in poetry sessions. Why?
Not just in meetings. You see the collection of poems; The quatrain comes to the end of the book. Most of those who have brought in their book alongside the quatrains have no good quatrains. I say this according to my own experience. They are probably just printing that the volume of the book will increase or the quatrains they wrote will not be destroyed. Those who have good quatrains have been a pity for their quatrains; Because it has brought the quatrains to the end of the book and disregarded it. You never hear that such a poet in such a book has brought good quatrains, because everyone is talking about his sonnets. My brother! You don’t take the template yourself, so how do you expect the template to be taken seriously?
* As the last question; Which quatrains do you like most of the winning leaf book?
Perhaps in the winning book, this quatrains are among the three quatrains that I love most of all; “I searched for your heart, I found you / You were poetry, as I lipped / asked the story of my poetry / I smiled, I watched you.” For a variety of reasons, I love this quatrain very much. The third quatrain was formed a few days before I sent the final version to the publisher. “You asked the story of my poetry.” I could complete this quatrain with a thousand to the third, but I waited and waited until it came to this version. Of course, the audience may love other quatrains.
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