The following article by Aria Fani was first published in Peyk<\/i> #143 (Jan-Feb 2013). We thought it would be appropriate to reprint it here. PCC and AIAP will jointly have a commemoration for Sayeh on September 17, 2022, at the Qualcomm Building Q.<\/span><\/strong><\/p>\n Aria Fani<\/p>\n A seasoned traveler on the road to love\u2019s door.<\/i><\/p>\n A poem in translation is a linguistic-cultural unit uprooted from its land of origin and replanted in unaccustomed terrain. The most drastic loss consequent to this transfer is perhaps most frequently the poem\u2019s original cadence, its rhyme and meter. The poem\u2019s web of imagery and allusions, various registers, and idiomatic edifice may also all become \u201cdomesticated\u201d in the process, its aesthetic force defanged, its voice dehistoricized, its social power dissipated. To what extent can the translator \u201cforeignize\u201d the target language, perhaps beyond its linguistic comfort zone, to accommodate poetics? How high can the ziggurat of footnotes be erected? (The concepts of \u201cdomesticating\u201d and \u201cforeignizing\u201d in translation have been developed by Lawrence Venuti.) Writers are unsurprisingly more skeptical than translators. Adunis, the distinguished Syrian poet, deems translation a \u201cbetrayal.\u201d The Cuban poet Gustavo P\u00e9rez Firmat addresses the issue in ironic fashion:<\/p>\n The fact that I<\/i><\/p>\n am writing to you<\/i><\/p>\n in English<\/i><\/p>\n already falsifies what I<\/i><\/p>\n wanted to tell you.<\/i><\/p>\n My subject:<\/i><\/p>\n how to explain to you that I<\/i><\/p>\n don\u2019t belong to English<\/i><\/p>\n though I belong nowhere else […]<\/i><\/p>\n The Art of Stepping Through Time<\/i> (Buffalo, N.Y.: White Pine, 2011), a selection of work by the Persian-language poet H. E. Sayeh, is a welcome addition to the slim body of modern Persian literature in translation. Sayeh is the pen name of Houshang Ebtehaj, born in Rasht in 1927. A highly regarded figure on the Iranian literary landscape, a dozen volumes of his poetry were published between 1946 and 1999. A selection edited by M. R. Shafei Kadkani, Ayineh dar Ayineh<\/i> (Tehran: Nashr-e Chashmeh), was first published in 1990 and is now in its tenth edition. The Art of Stepping Through Time,<\/i> the first collection of Sayeh\u2019s verse to appear in English, is the result of a collaboration between native English speaker Chad Sweeney, an author of four books of poetry who lives in Redlands, California, and native Persian speaker Mojdeh Marashi, an artist, writer, and translator based in northern California\u2019s Bay Area.<\/p>\n Youth is a shimmering image<\/i><\/p>\n The heart eventually lets it go<\/i><\/p>\n Startled from sweet morning sleep<\/i><\/p>\n Come, my heart, it\u2019s late<\/i><\/p>\n Sayeh\u2019s verse profoundly engages aspects of Iranian political history without compromising poetic independence. His love poems, recited with Hafezian lyricism, are among the most treasured works of contemporary Persian poetry. The Art of Stepping Through Time <\/i>captures the variety of his verse in bright and engaging English. While the original rhyme and meter schemes of Sayeh\u2019s ghazals<\/i> are lost, the simplicity of these translations, in form and verbiage, create their own music in English. \u201cMusical congruence<\/i> rather than musical equality<\/i>\u201d\u2014this is what Marashi and Sweeney have opted for.<\/p>\n They have collaborated on this project for several years, during which their translations appeared in various peer-reviewed literary journals such as Poetry International, Washington Square Journal,<\/i> and Indiana Review.<\/i> With more than 50 poems from 12 books, the selection spans half a century of Sayeh\u2019s verse and offers a thorough picture of his literary development through various poetic forms (ruba<\/i>\u02bfi, ghazal,<\/i> and she<\/i>\u02bfr-e sepid<\/i>) and modalities (love poems, elegies, politically charged verse).<\/p>\n Love is the heat that multiplies itself<\/i><\/p>\n The birth of a birthing cosmos<\/i><\/p>\n The translators have not shied away from footnoting mythological and intertextual allusions, providing guidance to curious readers who wish to explore the literary tradition to which Sayeh belongs. For instance, in the poem \u201cShabikhoon,\u201d translated as \u201cNight Raid,\u201d the literal meaning of the term (night blood) has been footnoted, which brings the alterity of the source language into English, revealing some of Persian\u2019s semantic peculiarities. Though in the same poem, the translators have opted for a more domesticating translation of saghi,<\/i> rendering it as \u201cwine maid\u201d\u2014close to the conventional translation for the Arabic saqi,<\/i> \u201cwine server\u201d\u2014which flattens the deeper connotations of the term in Persian literary tradition. (The saghi<\/i> pours the wholesome wine of life into the empty bowl of the poet. At times he inspires the poet and at other times he serves as a spiritual teacher, the symbol of the existence of the beloved on earth.) Though this collection is not bilingual, each translation is accompanied by the Persian title, which makes locating the original poems easier.<\/p>\n My bed<\/i><\/p>\n is the empty shell of loneliness.<\/i><\/p>\n You are the pearl<\/i><\/p>\n strung from other men\u2019s necks<\/i><\/p>\n Sayeh, in his verse and life, has been politically engaged. Active in the communist Tudeh Party, he was imprisoned following the Iranian Revolution of 1979. However, viewing his literary life exclusively through the lens of political historicity is a reductionist endeavor. Through his short introduction, Sweeney alludes to Sayeh\u2019s multilayered identity, namely the literary humanism that emerges from his love poems. He references Hafez be Say-e Sayeh<\/i> (Tehran: Chashm-e Cheragh, 1994), a colossal undertaking of a comparative, verse-by-verse study of existing versions of Hafez that took Sayeh around the Persian-speaking world. And he highlights some of the challenging aspects of translating Sayeh and provides useful background information on the aesthetic force and social power of his verse. Marashi and Sweeney must be commended for vigorously and critically engaging with Sayeh\u2019s variegated poetics in translation.\u00a0<\/span><\/p>\n \u00a0<\/span>ARGHAVAAN<\/b><\/p>\n Arghavaan,<\/p>\n my one-blood, my cut branch!<\/p>\n What color is your sky today?<\/p>\n Sunny<\/p>\n or locked in cloud?<\/p>\n \u00a0<\/span><\/p>\n In this corner outside of the world<\/p>\n no sun yellows my forehead,<\/p>\n no news arrives from the spring.<\/p>\n All I know is wall,<\/p>\n the dark so close<\/p>\n when I empty my lungs<\/p>\n the air returns against me,<\/p>\n the flight of the eye<\/p>\n stumbles a single step.<\/p>\n A think flame from a sick lamp<\/p>\n is the only storyteller tonight.<\/p>\n My branch catches,<\/p>\n the air, too, is prisoner.<\/p>\n \u00a0<\/span><\/p>\n Whatever remains of me<\/p>\n has lost the color of its face.<\/p>\n The sun has not dropped one<\/p>\n glance from the rim of its eye<\/p>\n into the amnesia of this vault.<\/p>\n \u00a0<\/span>From quiet oblivion<\/p>\n in whose cold air every candle dies,<\/p>\n a vision of color kindles the mind,<\/p>\n out there, my arghavaan:<\/p>\n my arghavaan is alone,<\/p>\n my arghavaan cries<\/p>\n with this flayed heart<\/p>\n bleeding from the eyes.<\/p>\n \u00a0<\/span>Arghavaan,<\/p>\n what is the secret that spring always<\/p>\n arrives carrying our grief?<\/p>\n That every year the sand stains<\/p>\n with the blood of swallows<\/p>\n and over the branded heart heaps<\/p>\n loss onto loss?<\/p>\n \u00a0<\/span>Arghavaan, earth\u2019s claw,<\/p>\n grab hold the morning\u2019s robes and ask<\/p>\n the galloping messengers of the sun<\/p>\n when they will cross this black valley.<\/p>\n \u00a0<\/span><\/p>\n Arghavaan, hung in clusters of blood-fruit,<\/p>\n at dawn when doves<\/p>\n riot the windowsill of sunrise,<\/p>\n lift my petaled soul<\/p>\n in your fingers,<\/p>\n hoist it to the flight\u2019s watchtowers.<\/p>\n Hurry, the flock is<\/p>\n grieving for captive birds.<\/p>\n \u00a0<\/span><\/p>\n Arghavaan\u2014spring\u2019s banner of flowers,<\/p>\n raise your colors!<\/p>\n Become my bleeding poem.<\/p>\n \u00a0<\/span><\/p>\n Keep the memory of my loved ones<\/p>\n red on your tongue.<\/p>\n \u00a0<\/span><\/p>\n Shout the poem I cannot write!<\/p>\n Arghavaan, my one-blood,<\/p>\n \u00a0\u00a0 \u00a0 \u00a0 <\/span>my cut branch.<\/p>\n \u202d \u202c<\/p>\n \u0627\u0631\u063a\u0648\u0627\u0646<\/p>\n \u0634\u0627\u062e\u0647\u2009\u06cc\u202d \u202c\u0647\u0645\u202d \u202c\u062e\u0648\u0646\u202d \u202c\u062c\u062f\u0627\u202d \u202c\u0645\u0627\u0646\u062f\u0647\u2009\u06cc\u202d \u202c\u0645\u0646<\/p>\n \u0622\u0633\u0645\u0627\u0646\u202d \u202c\u062a\u0648\u202d \u202c\u0686\u0647\u202d \u202c\u0631\u0646\u06af\u2009\u0633\u062a\u202d \u202c\u0627\u0645\u0631\u0648\u0632\u061f<\/p>\n \u0622\u0641\u062a\u0627\u0628\u06cc\u2009\u0633\u062a\u202d \u202c\u0647\u0648\u0627\u066c<\/p>\n \u06cc\u0627\u202d \u202c\u06af\u0631\u0641\u062a\u0647\u202d \u202c\u0633\u062a\u202d \u202c\u0647\u0646\u0648\u0632\u061f<\/p>\n \u0645\u0646\u202d \u202c\u062f\u0631\u06cc\u0646\u202d \u202c\u06af\u0648\u0634\u0647<\/p>\n \u06a9\u0647\u202d \u202c\u0627\u0632\u202d \u202c\u062f\u0646\u06cc\u0627\u202d \u202c\u0628\u06cc\u0631\u0648\u0646\u2009\u0633\u062a\u066c<\/p>\n \u0622\u0633\u0645\u0627\u0646\u06cc\u202d \u202c\u0628\u0647\u202d \u202c\u0633\u0631\u0645\u202d \u202c\u0646\u06cc\u0633\u062a<\/p>\n \u0627\u0632\u202d \u202c\u0628\u0647\u0627\u0631\u0627\u0646\u202d \u202c\u062e\u0628\u0631\u0645\u202d \u202c\u0646\u06cc\u0633\u062a<\/p>\n \u0622\u0646\u0686\u0647\u202d \u202c\u0645\u06cc\u2009\u0628\u06cc\u0646\u0645<\/p>\n \u062f\u06cc\u0648\u0627\u0631\u202d \u202c\u0627\u0633\u062a<\/p>\n \u0622\u0647<\/p>\n \u0627\u06cc\u0646\u202d \u202c\u0633\u062e\u062a\u202d \u202c\u0633\u06cc\u0627\u0647<\/p>\n \u0622\u0646\u0686\u0646\u0627\u0646\u202d \u202c\u0646\u0632\u062f\u06cc\u06a9\u202d \u202c\u0633\u062a<\/p>\n \u06a9\u0647\u202d \u202c\u0686\u0648\u202d \u202c\u0628\u0631\u202d \u202c\u0645\u06cc\u2009\u06a9\u0634\u0645\u202d \u202c\u0627\u0632\u202d \u202c\u0633\u06cc\u0646\u0647\u202d \u202c\u0646\u0641\u0633<\/p>\n \u0646\u0641\u0633\u0645\u202d \u202c\u0631\u0627\u202d \u202c\u0628\u0631\u202d \u202c\u0645\u06cc\u2009\u06af\u0631\u062f\u0627\u0646\u062f<\/p>\n \u0631\u0647\u202d \u202c\u0686\u0646\u0627\u0646\u202d \u202c\u0628\u0633\u062a\u0647<\/p>\n \u06a9\u0647\u202d \u202c\u067e\u0631\u0648\u0627\u0632\u202d \u202c\u0646\u06af\u0647<\/p>\n \u062f\u0631\u202d \u202c\u0647\u0645\u06cc\u0646\u202d \u202c\u06cc\u06a9\u202d \u202c\u0642\u062f\u0645\u06cc\u202d \u202c\u0645\u06cc\u2009\u0645\u0627\u0646\u062f<\/p>\n \u06a9\u0648\u0631\u202d \u202c\u0633\u0648\u06cc\u06cc\u202d \u202c\u0632\u2009\u0686\u0631\u0627\u063a\u06cc\u202d \u202c\u0631\u0646\u062c\u0648\u0631<\/p>\n \u0642\u0635\u0647\u202d \u202c\u067e\u0631\u062f\u0627\u0632\u202d \u202c\u0634\u0628\u202d \u202c\u0638\u0644\u0645\u0627\u0646\u06cc\u202d \u202c\u0633\u062a<\/p>\n \u0646\u0641\u0633\u0645\u202d \u202c\u0645\u06cc\u2009\u06af\u06cc\u0631\u062f<\/p>\n \u06a9\u0647\u202d \u202c\u0647\u0648\u0627\u202d \u202c\u0647\u0645\u202d \u202c\u0627\u06cc\u0646\u062c\u0627\u202d \u202c\u0632\u0646\u062f\u0627\u0646\u06cc\u2009\u0633\u062a<\/p>\n \u0647\u0631\u202d \u202c\u0686\u0647\u202d \u202c\u0628\u0627\u202d \u202c\u0645\u0646\u202d \u202c\u0627\u06cc\u0646\u062c\u0627\u2009\u0633\u062a<\/p>\n \u0631\u0646\u06af\u202d \u202c\u0631\u062e\u202d \u202c\u0628\u0627\u062e\u062a\u0647\u202d \u202c\u0627\u0633\u062a<\/p>\n \u0622\u0641\u062a\u0627\u0628\u06cc\u202d \u202c\u0647\u0631\u06af\u0632<\/p>\n \u06af\u0648\u0634\u0647\u2009\u06cc\u202d \u202c\u0686\u0634\u0645\u06cc\u202d \u202c\u0647\u0645<\/p>\n \u0628\u0631\u202d \u202c\u0641\u0631\u0627\u0645\u0648\u0634\u06cc\u202d \u202c\u0627\u06cc\u0646\u202d \u202c\u062f\u062e\u0645\u0647\u202d \u202c\u0646\u06cc\u0627\u0646\u062f\u0627\u062e\u062a\u0647\u202d \u202c\u0627\u0633\u062a<\/p>\n \u0627\u0646\u062f\u0631\u06cc\u0646\u202d \u202c\u06af\u0648\u0634\u0647\u2009\u06cc\u202d \u202c\u062e\u0627\u0645\u0648\u0634\u202d \u202c\u0641\u0631\u0627\u0645\u0648\u0634\u202d \u202c\u0634\u062f\u0647<\/p>\n \u06a9\u0632\u202d \u202c\u062f\u0645\u202d \u202c\u0633\u0631\u062f\u0634\u202d \u202c\u0647\u0631\u202d \u202c\u0634\u0645\u0639\u06cc\u202d \u202c\u062e\u0627\u0645\u0648\u0634\u202d \u202c\u0634\u062f\u0647<\/p>\n \u06cc\u0627\u062f\u202d \u202c\u0631\u0646\u06af\u06cc\u0646\u06cc\u202d \u202c\u062f\u0631\u202d \u202c\u062e\u0627\u0637\u0631\u202d \u202c\u0645\u0646<\/p>\n \u06af\u0631\u06cc\u0647\u202d \u202c\u0645\u06cc\u2009\u0627\u0646\u06af\u06cc\u0632\u062f<\/p>\n \u0627\u0631\u063a\u0648\u0627\u0646\u0645\u202d \u202c\u0622\u0646\u062c\u0627\u0633\u062a<\/p>\n \u0627\u0631\u063a\u0648\u0627\u0646\u0645\u202d \u202c\u062a\u0646\u0647\u0627\u0633\u062a<\/p>\n \u0627\u0631\u063a\u0648\u0627\u0646\u0645\u202d \u202c\u062f\u0627\u0631\u062f\u202d \u202c\u0645\u06cc\u2009\u06af\u0631\u06cc\u062f<\/p>\n \u0686\u0648\u0646\u202d \u202c\u062f\u0644\u202d \u202c\u0645\u0646\u202d \u202c\u06a9\u0647\u202d \u202c\u0686\u0646\u06cc\u0646\u202d \u202c\u062e\u0648\u0646\u202d \u202c\u0622\u0644\u0648\u062f<\/p>\n \u0647\u0631\u202d \u202c\u062f\u0645\u202d \u202c\u0627\u0632\u202d \u202c\u062f\u06cc\u062f\u0647\u202d \u202c\u0641\u0631\u0648\u202d \u202c\u0645\u06cc\u0631\u06cc\u0632\u062f<\/p>\n Direct your questions and comments to Aria @ af@ariafani.com<\/span>\u00a0<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Amir Hushang Ebtehaj\u2014the renowned poet of Iran also known by his pen name, H. A. Sayeh\u2014passed away on August 10, 2022, in Cologne, Germany. Without a doubt he was one of the pillars of Persian literature and will be greatly missed. His works have been translated in many languages, including English.\u00a0 The following article by<\/p>\n","protected":false},"author":2,"featured_media":3087,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"two_page_speed":[],"footnotes":""},"categories":[61,56,73],"tags":[],"class_list":["post-3121","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aria-fani","category-articles","category-culture"],"yoast_head":"\n![\"\"](\"http:\/\/peykmagazine.com\/en\/wp-content\/uploads\/2022\/09\/Houshang-Ebtehaj-poster.jpg\")
<\/span><\/strong><\/p>\n
\nHistoricity and Romance in the Verse of H. E. Sayeh<\/h2>\n
\u0627\u0631\u063a\u0648\u0627\u0646<\/b><\/h3>\n
\n