A Study of Resistance Symbolism in Two Poetry Collections Gonjeshk va Jibrail (The Bird and Gabriel) and Al-Hussein Loghah Saniah

Today, meaning and imagery in Arabic and Persian resistance Ashoura poetry are more powerful than the past and are going to be richer and more prosperous so that this poetry could pass ordinary boundaries and be more beautiful, symbolic, and imaginative than poetries of the past decades. Paying attention to these symbols makes us familiar with lessons and ideals of Ashoura and the Ashoura poets. “The Bird and Gabriel” composed by Seyyed Hassan Husseini and “Al-Hussein Loghah Sanieh” composed by Javad Jamil are two important symbolic works of Ashoura poetry. In the present study, these symbols are studied comparatively using analytic-descriptive method. From Hussein's view, Ashoura is not an elegy and dolefulevent; rather it relies on justice and defiance in Ashoura uprising by high frequency of symbols of larynx, pharynx, throat and red color. The thought and philosophy governing all poems of this collection is the statement “I see nothing except beauty”. Regarding national and mythical symbols, he composed his poems relying on Iranian and Islamic culture and believing in illuminationism philosophy.
Jamil regards Ashoura beyond time and place. In his poetry, lips, ash, and gray color visualize autarchy that rules in Iraq. Imam Hussein's wounds and injuries are an interpretation of the Prophet’s words and the revelation.