Nuclear Poetry

Persian speakers often use poetry as the cornerstone of a philosophical or political argument, generally believing verse to have more weight than prose.  Poetry, especially classic poetry, is only slightly less exalted than divine revelation. So it’s no surprise that those who oppose the Geneva nuclear accord – reached in November following extensive negotiations between Iran and the “P 5+1” group of countries – have resorted to poetry to score points. In recent days, these poems have been making the rounds on Persian websites and blogs.

One of the poems targets the negotiating team, headed by Foreign Minister Zarif, using particularly derogatory terms and referring to the team as unmanly and cowardly:

Get guts to fight the treacherous foe
Get a man, get a different plan...

Have you brought a key to the battleground?
Get honor, get a sword, get a shield...

With devils you sat round a table,
Get a man to keep the faith, not you!

Smiled at Satan and gave him your heart,
Ignorant that he wants you undone.

Lost your heart, for they said “war”?
Keeping your honor needs ifs and buts?

It’s difficult to know why poetry plays such a crucial role in all aspects of debate, whether it’s cultural, political or philosophical. Even if the reasons were clear – and they are not – it would be difficult to analyze them with precision. How it works is perhaps simpler to illustrate.

For example, In Iran, the “poetry exchange” game is a popular pastime. A player begins by reciting poetry, and his or her opponent must come up with another verse that begins with the last letter of the first verse; and so on. The game is won or lost when a player cannot come up with a response. Players are not allowed to repeat verses, and they are not allowed to make them up. If challenged, the participant must prove that the poem exists. The game has been a successful radio program since shortly after radio arrived in Iran, and there are many websites dedicated to it. One twist to make it more exciting is to choose a theme for verses (for example, “spring”) or limit the type of poet or poets whose work can be included.

In any heated exchange, quoting poetry is considered a strong method for argument, especially if the material quoted is from the top four grandees in the pantheon of classical Persian poets: Hafez, Sa’adi, Rumi and Ferdowsi. If an individual wishes to argue against whatever case is being made, he or she must go beyond the ordinary arguments, coming up with something unexpected. The best counter-argument, of course, is to respond with another verse. Of course not all poets or poems are considered equally worthwhile but, word for word, a poem carries more weight than prose.

Those who support the Iran accord, along with others, have criticized the arguments put forth in verse, objecting in a way that they did not when the attacks were delivered in simple prose. “It is an inalienable right to express your view on anything and criticize anything,” protests Iranian website Gofteman-e Rooz, “but the question is how far criticism can go. If criticism becomes destructive or, worse, turns into threats, what atmosphere would become dominant? Is this approach in harmony with religious democracy?”

This verse, translated below, is definitely threatening:

We will seek vengeance, God is our witness...
We will seek vengeance, on Friday when we pray...
Gather round the negotiating table, but
We will seek vengeance...

With an eye on the special place poetry plays in Persian culture, the website Tabnak complains that “such poems leave no room for rational criticism...and prepare the ground for extremism on the other side, those who do support the accord.”

“Emotions set off by poems and slogans” will pit one group of people against another, it continues. Which of these poems, the site asks, “will serve the national interests of Iran? Are threats the same as criticism?”

Who are the authors of these poems? It is not easy to find out. Even the comments cited here have appeared in many places, sometimes as the same exact sentences and sometimes with a slightly different structure.

What is clear is that the fight for and against President Rouhani’s nuclear policy and his foreign minister, Zarif, has found a new tool: poetry. The quality of the three poems that have been making the rounds are not very high but, as we have noted, Persian speakers love to use poetry to give impact to their arguments.