A Comparative Study of Religious Symbolism in the Poems of Ahmad Matar and Jafar Gholi Zangali

Ahmad Matar is one of the Iraqi political and committed poets, who has addressed political and social concepts with his own expression. On the other hand, Jafar Qoli Zangli, known as the King of Kermanj poets in Kurdish literature, is considered one of the most prominent Iranian Kurdish poets. It is worth mentioning that both poets have used the symbol element as an integral part of their compositions and there are many religious symbols in their poems. How the use of religious symbols by these two great contemporary Arab and Kurdish poets reveals their inner thoughts and beliefs, and its comparative study can give a more comprehensive view to the audience of world literature. Therefore, the comparative study of religious symbols in their poems is important. The purpose of this research is to investigate the religious symbolism in the poems of Ahmad Matar and Jafargholi Zangali, which has compared the religious symbols of their poems with a descriptive-analytical method and based on Peirce's semiotics and the French school of comparative literature. As the results have indicated, the poets have reflected negative and positive religious characters in their divan, with the difference that Jafar Qoli's poems paid more attention to the reality of history. Also, the frequency of using holy places and times is almost similar to each other and both singers have used nature and symbols to express their purposes. Matar uses religious issues at the level of symbols with his poetic expression, and Zangli, due to its simplicity, uses these concepts in profile limit.
Introduction
Ahmad Matar is a renowned Iraqi poet known among his contemporaries for his sharp and humorous language. He dedicated some of his poems to religious literature. Jafar Qoli Zangali is also one of the most popular poets in Kurmanji, whose poems hold a prominent place in religious themes. A comparative study of the poems of these two poets, along with an exploration of religious symbols at various levels—such as symbols, icons, and indices based on Peirce's theory and the American school—can offer a unique comparison between the two Arab and Kurdish poets. It should be noted that symbols have long been prevalent among nations and are considered essential means of expressing ideas and emotions. In fact, it is impossible to imagine a society without symbols, as symbols and signs are deeply intertwined with the culture of every nation. One method of studying symbols is Charles Sanders Peirce's model, which categorizes them into three types based on their relationship to reality: index, icon, and symbol. Ahmad Matar and Jafar Qoli Zangali, two renowned poets of contemporary Arabic and Kurmanj literature, have, considering the conditions of their time, dedicated part of their poetry to religious themes expressed through symbols and codes. Therefore, the primary focus and challenge of this research is to explore how these concepts manifest in the poetry of these two writers. Although both poets engage with religious themes and symbols, they differ in their treatment of these symbols according to their respective purposes and goals.
Method
This article, using a descriptive-analytical method and utilizing a "comparative study of the concepts of religious symbolism," focuses on examining and analyzing the poems of Ahmad Matar and Jafar Qoli Zangali based on the American school of thought, because these two have not been influenced by each other. The researcher aims to examine religious symbols based on Peirce's semiotics and, relying on context and accompanying words, divides them into three categories: index, icon, and symbol.
Index/indexical aspect: In this aspect, the signifier is not optional but is directly related to the signified. This connection can be inferred or observed, such as natural signs, symptoms of disease, etc. Index, in his view, indicates the cause-and-effect relationship between the signifier and the signified. Peirce gives the example of a wall that is pierced by a bullet but there is no bullet in it, and the presence of a bullet is discovered by considering its effect. The only completely arbitrary and conventional type of symbol is the linguistic sign.
Icon/Iconic aspect: In this aspect, the signified is perceived because of its resemblance to the signifier or because it is an imitation of it. The signified is recognized by looking, listening, touching, etc. The signifier resembles the signified because it possesses some of its qualities such as image, replica, onomatopoeia, etc. Peirce considers the icon to be a kind of conventional-cultural sign and gives the cross as an example of an icon and a sign for Christianity.
Symbol/Symbolic Aspect: In this aspect, the signifier does not resemble the signified but is linked to it based on an arbitrary convention, so the relationship between the signifier and the signified must be learned, like language.
Direct indexical signs address their subject with a blind compulsion, iconic signs usually have some convention in them, and symbolic signs are highly conventional.
Conclusion
A symbol is an inner meaning hidden beneath the surface. A tendency toward ambiguity and layering of speech and an avoidance of directness are characteristics of symbolic literature. Symbolic poetry attempts to convey the grandeur of emotions and imaginations through clear and explicit descriptions. The use of symbols and codes is one of the characteristics of contemporary Arabic poetry and literature that distinguishes it from ancient poetry and literature. Most contemporary Arab poets use a variety of symbols, such as: Sinbad, Adonis (Tammuz), Hallaj, Ayyub and Salahuddin Ayyubi, etc. have used these symbols in their poetry. Some of these symbols have become so widespread in contemporary poetry that they are referred to as "traditional symbolic models." The use of religious symbols in poetry is one of the characteristics of contemporary poetry in many committed poems. Many contemporary poets do not have independent and explicit poetry in the religious field; but they have used religious symbols in their poems, such as: Bayati, Muzaffar al-Nawab, Ahmad Dahbour, Nizar Qabbani, and... Of course, the use of symbols and codes, the use of symbolic expression, is sometimes due to the dominance of the artist's suffocating atmosphere and inevitability; but this is not all. The use of symbols adds to the beauty, conciseness, and power of communication and impact of the text. What helps the critic's understanding of the code and determines the type of its signified is the context of the speech. Another reason for using and benefiting from symbols and codes is the pleasure of discovery after unraveling their understanding. “Common symbols and codes are abundant in the literature of the sustainability of nations; symbols such as water, sun, tree, and mountain (elements of nature) are seen in the description of warriors and martyrs in almost all literary works. Some other symbols have their roots in national, religious, and even ethnic culture. Nations that share a common religious culture also share common symbols. For example, in the literature of Islamic countries such as Iran, Egypt, Palestine, Iraq, Lebanon, and Libya, symbols such as Ashura, Prophet Joseph, Pharaoh, Hallaj, etc. with similar meanings abound. In this article, a comparative study of the poems of Ahmad Matar and Jafar Qoli Zangali is considered in the four axes of personality, symbol, time and place and nature.
Results
Ahmad Matar has indirectly conveyed his political and social goals through the use of symbols and codes in his poems. In this context, religion and the personalities of the prophets are among the primary elements of Ahmad Matar's symbolism. He incorporates many verses alongside pure Quranic concepts. Similarly, Jafargholi Zangali is regarded as one of the Kurmanji poets and mystics whose pure religious concepts form an integral part of his poetry. He is constantly secretive and in need of God, calling his audience toward goodness and commitment. Some negative characters, such as Pharaoh, Abu Lahab, and Abu Jahl, also appear in the poems of these two poets. Following the Holy Quran and employing symbolism, Ahmad Matar seeks to identify contemporary negative figures with these characters and to describe the events of his time.
Due to his poetic and indirect style, he elevates most of the religious themes in his poems to the level of symbols. These symbols function as signifiers, drawing meaning from the reader's prior education and knowledge. Additionally, Zangali focuses on figures such as Pharaoh, Aaron, and Mamun, mentioning them in straightforward terms and emphasizing their representation.
Symbols such as the snake, the beloved who appears as the homeland for Matar and as Melvari for Jafar Qoli, the irreligious sheikh, and the enemy are present in the poems of both poets. For them, the snake symbolizes evil. The enemy also seeks to destroy the religion and culture of their country, and both poets criticize seemingly religious people who are passive and sinful. The beloved of Matar can be considered Iraq, as his lyrical poetry is written solely for his country. In contrast, the beloved in Zangali's poetry represents not only earthly manifestations but also a symbol of divine love. Sacred times and places, such as Mount Sinai and Jerusalem, have been of interest to both poets and appear with nearly the same frequency in their works.