Abstract:
In this article, the author softly and agilely climbs through the thickets of the garden of 'Baqā' poetry, reaching a shameful and hurried halfway point, tasting its sweet and sour fruits, and becoming intoxicated by the scent of the amber tresses of the Ahl al-Bayt (peace be upon them) and the fragrance of Muhammadan flowers. The critic's attempt has been to, while providing a brief description of Baqā's life, present an overview of his poetic style, method, and way of thinking and influence throughout the passing years, and to reveal the criteria and axes of his poetry.
Machine summary:
2 Baqarzadeh has published his poems so far in collections such as: Latifeh-ha (Bastan Publications, Mashhad, first edition: 1342 and Hirmand Publications, Tehran, fourth edition: 1382); Nasimi az Diyar-e Khorasan (Selected Poems, Mashhad Library, 1356); Zolal-e Baqa (Pazh Publications, Mashhad, 1372); Forty Hadiths of Imam Reza (Astan Quds Razavi Printing and Publishing Institute, 1356); Bazm-e Mohabbat (Payam Publications, Mashhad, 1382) and finally, Qit'ah-ha (Islamic Research Foundation, Astan Quds Razavi, Mashhad, 1483).
Although a passionate admirer of his unrestrained pen has said about him: "After Ibn Yamin and Parvin Etesami, the mastery of qit'ah poetry has become possessed by Baqa.
In response to the question, "Please name the excellent and prominent qit'ah poets of Persian literature from the past to the contemporary period," Baqa has said: "From the ancient era, Rudaki, Anvari, Ibn Yamin; and in the contemporary era, Malek al-Sho'ara Bahar, Shahzadeh Afsar, Parvin Etesami, Baqai Nayini, and Basir Isfahani.
"4 Apparently, in addition to the four collections Bazm-e Mohabbat, Zolal-e Baqa, Forty Hadiths of Imam Reza (peace be upon him), and Qit'ah-ha, Baqa also has other unpublished poems.
If we look at the collection of qit'ahs from a moral perspective and based on religious tastes, their themes, which consist of advice, exhortation, and wisdom, are pleasing to the taste of the common people who prefer things that are easy to accept and easy to like; because the audiences of such collections are not specialists or rigorous, discerning critics, and they have no concern with the fantasies and poetic embellishments of verse1.
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