Tricks and themes of humor in poetry Afghan poet Mohammad Kazem Kazemi and Iraqi poet Ahmad Matar

Introduction

The contemporary history of West Asia, the anti-human policies of the colonialists, and the discourse of fighting have been important parts of contemporary literary products. Protest can be considered one of the common ways to fight, and humor can be considered as a method to stand against explosions, intellectual and cultural monopolies, and the destruction of the principles and values of society. Examining the works of poets and writers in different periods reveals the dimensions of these strategies and how tthey are applied objectively and tangibly.
The interconnected geography of Islamic civilization, common history, interaction and mutual exchange in various fields, influence over and influence from political, social and cultural events have caused the literature of the Persian and Arabic fields in many cases to represent the same theme in different languages.
In considerable parts of the literary works of these two languages, the methods and techniques also have an overlap. This research can be considered as a kind of cultural study based on the American school of comparative literature. Although Kazemi and Matar were not satirists, they would have benefited a lot from the unique capacities of humor. Their poetry is a bitter laugh at the strong discrepancy between what there is and what should have been there.
 

Method

This research was conducted using library resources and taking notes from books, articles and dissertations related to the research topic in order to define keywords and terms. Then, with analysis of information and discussion about humor and its functions in poetry of resistance has tried to enumerate the satirical tricks of Mohammad Kazem Kazemi and Ahmad Matar and investigate the common elements of their thought in a descriptive-analytical method. The samples used in this research are taken from Ahmad Matar’s Poetry Collection and  the two books Sword and Geography and Infidelity by Mohammad Kazem Kazemi.
 

Discussion

Methods of humor “are either based on verbal or on dramatic techniques.” (Soleimani, 2012, p. 266). Verbal techniques can be divided into two types of lexical and conceptual. Humor is a situation-oriented or character-oriented concept and of course, the combination of “situation and  character” create the essence of humor and laughter (Abdul Hamid, 2003, p. 14). In Kazemi’s and Matar’s poetry, in relation to the personal style of satire, common methods can also be seen. There are contradictions and ugliness, self-abasement, use of the structure or meaning of Quranic verses in the meanings of humor, exaggeration in ridicule and ignorance are the most important of these methods.
Incompatibility is a kind of euphemism. It is a secret relationship between the writer and the reader that occurs in times of panic and suffocation and is based on denying the difference between the existing and the desired situation (See: Waqefzadeh, Jahanvand, 2018, p. 107). In this method, the poet keeps himself away from the stage and creates a safe margin to escape from the consequences of his sayings.
Self-mockery is a method in which the poet mocks himself or the people and the government.
The poet intends to awaken and has inevitably chosen this method. The intercourse of man and animal in many cases is the basis of his mockery.
Exaggeration in ridicule is accompanied by a kind of visual association. This kind of humor-tragedy besides being  refreshing, due to the damage and further transmission of the message, it causes a decline in public opinion, which leads to a struggle against the transformation of the law or the occurrence of a revolution (See: Kanfani, 1971, p. 5).
Linguistic and mental usage of Qur''anic allegories, interpretations, allusions, the use of the form and atmosphere  of surahs, and the influence of the music of Qur''anic verses are some of the practical methods used in satire.
In most other cases, humor transcends the mere words and even the meanings of the verses of the Qur''an and focuses on the meaning of the verses and even religious discourses. Feigning ignorance is a Socratic method aimed at pointing out the bad qualities.
A satirist considers himself simple and quick-witted in this trick, and of course, "cleverly speaks of what he is criticizing or denying in a brief manner" (Bagherian, 2008, p. 138).
 
Content in Matar’s and Kazemi’s Humor
Beside similarity in satirical methods, Matar’s and Kazemi''s poetry are very similar in content. The common manifestations of the discourse of resistance can be examined in the works of these two poets in the four subject areas, i.e., protest against disorder, delegitimization of political rule, protest against the creation and passivity of the masses, and protest against the indifference of poets.
The kingdoms of Arab countries are generally based on oppression, and the era of Saddam is one of the most bitter experiences of the Iraqi people.Traces of the Ba''athist security elements can be seen in most aspects of people''s lives. They also follow Ahmad Matar''s dreams and refine his unspoken words (See: Matar, 2011, p. 94).
In these circumstances, the poet, with a taste of ignorance, calls the people to wake up. Kazemi''s satire has portrayed the result of this atmosphere of long-standing and deep fear of the people, rather than depicting oppression and its causes.
Matar’s poetry constantly removes masks and shows the reality. The ruler is one of these masks.
 The incompetence of Arab rulers, betrayal of nations, creation of anti-people coalitions, plunder of national wealth, hereditary tyrannies, etc. are the subject of the bitter laughter of these poets.
 Kazemi does not go to the ruler, but reveals the nature of politicians and hypocritical leaders.
Worldly religious people are the most important target of Evin bitter humor. Kazemi also considers foreign actors in Afghanistan and internationally illegitimate and targets the democratization of the colonialists. His persuasive trick is to wake up, visual humor, and use slang language and proverbs.
Fear, welfare, sanity, and passivity, as serious obstacles to the right-wing struggle, are the subject of many of Kazemi’s and Matar’s satires. Kazemi does not tolerate the principle of fear discourse and underestimates the arguments arising from fear. Matar considers negligence and passivity of the people as the cause of the domination of tyrannical rulers, and as a result, the poverty of the people in her land.
When comparing the poetry of Matar and Kazemi with works of some other poets, the difference in worldview is quite obvious. These two poets composed about idealism and epic in the days of colonialism and tyranny, but others have either withdrawn from the struggle by composing repetitive romances, or by reversing the enemy''s discourse in a justifiable manner. Kazemi’s and Matar''s satire are both for the poet of the discourse of struggle and against the poet who justifies.
 
4.Conclusion

The deep relationship between humor and awakening is quite meaningful for Kazemi and Matar, and the use of humor has made their voices of protest louder and more effective.
Ahmad Matar has used explicit and biting humor as a unique strategy and perhaps the only means to awaken and announce his positions, but Kazemi has used humor to attract the audience by modifying his biting humor and using wider lexical tricks.
Position and character in Matar satire are made with multiple images, but in Kazemi''s poetry, generally single images, accompanied by narration and allusion, create the visual aspects of the poem.
The strength of meaning, courage, linguistic and literary skills, simple and clear phrases and combinations, accurate knowledge of people''s tastes, critical view and language in general that is close to people''s minds are the common features of the humor of these two poets.