Muhammad Zuhari

Zuhari, Muhammad (1926-1994), son of Zaygham al-Mamalik, a modernist poet, researcher, librarian, bibliographer, and university professor, born in the village of ‘Abbasabad, Tunikabun, to a family from Mazandaran. His father was a constitutionalist who was awarded the title of Zaygham of Mamalik (Lion of the Lands) for his brave participation in the conquest of Tehran. Accompanying his father, Zuhari departed his hometown at the age of four and traveled to Tehran, Malayir, and Shiraz. He completed his secondary education in Malayir and Shiraz and settled in Tehran in September 1941 and lived there all his life. He studied Persian literature at the University of Tehran with distinguished professors, like Ibrahim Purdawud, Badi’ al-Zaman Furuzanfar, Lutf’ali Suratgar, Jalal al-Din Huma’i, Zabih Allah Safa, and Muhammad Mu’in and graduated in 1953. He obtained his doctorate in Persian literature in 1965. From 1956 to his retirement, he served as a teacher of Persian literature, cultural advisor of the Education Ministry, contributor to the Iran-i Abad Journal, published by the Planning Organization, librarian and deputy at the National Library, and researcher at the Persian Academy of Literature and Art. He simultaneously taught BA and MA courses at the Iran Zamin Higher School and the Institute for Social Sciences. He embarked upon his journalist career by contributing satirical material to the Tawfiq Newspaper in 1945. Then, he turned toward fiction and articles, and finally composed poetry. He served as the editor of the poetry pages of the Firdawsi Journal directed by Nusrat Rahmani, the distinguished poet of the 1950s and 1960s. He was the editor of the poetry pages of the Sipid u Siyah Journal for a while. He was a distinguished and prolific poet from 1956 to 1974 and his poetical compositions were critiqued by writers and poets of the time, e.g. Mahdi Akhawan Salith, Nadir Nadirpur, ‘Aliasghar Hajjsayyidjawadi, Shams Al-i Ahmad, Manuchihr Atashi, Hushang Waziri, Mahmud Tehrani (M. Azad), Isma’il Shahrudi, ‘Abdul’ali Dastghiyb, Mahmud Kiyanush, and Firiydun Mushiri. He was one of the modernist poets who created one of the most splendid eras of Persian poetry from 1950s to 1970. In his delicate poetical compositions, he followed Nima. Bih Farda (To Tomorrow) is one of his most famous poems. Composed in about 1952, he urges the youth to cherish the names and memories of sacrificing avant-gardes. His first collection of poetry, Jazirih (Island), appeared in 1955, to be followed by six collections in the next 22 years (1956-1977). He was also a distinguished, erudite bibliographer and librarian. He served as a librarian at the National library in September 1962, under the directorate of Iraj Afshar, and worked there as a librarian and deputy until January 1975. It was his initiative that the first national bibliography of Iran was prepared in 1963. His activities at the National Library of Iran include holding exhibitions; collecting published books from publishers and book sellers to prepare a bibliography; publication of the Bibliography series of the National Library (Kitabshinasi-yi Kitabkhanih-yi Milli); publication of eight volumes of National Bibliographies from 1962 to 1972. He did not write any work nor did he compose any poetry from 1983 on, when he was forced to settle in France, though he returned to Iran after a few years. He died of cardiac arrest on 5 March 1994 and was buried in Bihisht-i Sakinih Cemetery, located at a few kilometers from Karaj. Muhammad Zuhari may be regarded as the avant-garde of modern poetry in Tunikabun, as he succeeded in creating an audience for the poets of the region in the 1950s and 1960s by publishing his collections of poetry, like Jazirih; Gilayih; Musht dar Jib. However, most of the poetical forms used by him were influenced by Nima, and the modern poetical styles of his predecessors, a kind of social symbolism, and to some extent, oriental mysticism. Leading a secluded life, he failed to find an opportunity to represent his poetry and his poetry was in time consigned to oblivion. Similar to other regions in the country, Tunikabun experienced a remarkable growth in the classical, poetical forms in post-revolutionary poetry, paralleled modern poetry, particularly by the poets composing during the war years. These few poets, a minimum of six or seven collections of poetry have been published by them, having mastery of classical poetry, composed modern poetry. Classical poetry is reflected in their compositions, though the sentiments and concepts are all indicative of modern social and universal issues. Nonetheless, the world which Zuhari depicts and expresses his nostalgia for it is far remote from the modern perplexing and ailing world. He tolerates the agony patiently and serenely and provides serene depictions of such agony, probably reflecting a character trait of his. Thus, cries and furies are less reflected in his poetry. His contentment and submissiveness strengthen the nostalgia in his character and thereby he may bear the burden. His sentiments and views are intertwined with his fully developed and refined views. His poetry is intermingled with such clarity and purity that any reader, unacquainted with his poetry, immediately familiarizes himself with it. His encounters with social issues are quite interesting. Although he appeared silent and patient in everyday life and forbore to voice his fury, he most assertively treated issues and bravely and solemnly published his poetry.

Farhang-i Sha’iran-i Zaban-i Parsi az Aghaz ta Imruz (1/ 257); Shabi az Shabha: bih Yad-i Muhammad-i Zuhari; Kilk, no. 60 (March-April 1994), pp. 380-383.