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J'irai jusqu'au rivage du soleil: Poésie complète
432 pages
Published March 26, 2026
About the author
Forough Farrokhzad
46 books1,310 followersفروغ فرخزاد: https://www.goodreads.com/author/show...
Forough Farrokhzad was born in Tehran to career military officer Colonel Mohammad Bagher Farrokhzad and his wife Touran Vaziri-Tabar in 1935. The third of seven children, she attended school until the ninth grade, then was taught painting and sewing at a girl's school for the manual arts. At age sixteen she was married to Parviz Shapour, an acclaimed satirist.
Within two years, in 1954, Farrokhzad and her husband divorced; Parviz won custody of the child. She moved back to Tehran to write poetry and published her first volume, entitled The Captive, in 1955.
In 1958 she spent nine months in Europe. After returning to Iran, in search of a job she met film-maker and writer Ebrahim Golestan, who reinforced her own inclinations to express herself and live independently. She published two more volumes, The Wall and The Rebellion before traveling to Tabriz to make a film about Iranians affected by leprosy. This 1962 documentary film titled The House is Black won several international awards. During the twelve days of shooting, she became attached to Hossein Mansouri, the child of two lepers. She adopted the boy and brought him to live at her mother's house.
In 1964 she published Another Birth. Her poetry was now mature and sophisticated, and a profound change from previous modern Iranian poetic conventions.
On February 13, 1967, Farrokhzad died in a car accident at age thirty-two. In order to avoid hitting a school bus, she swerved her Jeep, which hit a stone wall; she died before reaching the hospital. Her poem Let us believe in the beginning of the cold season was published posthumously, and is considered by some to be one of the best-structured modern poems in Persian.
A brief literary biography of Forough, Michael Hillmann's A lonely woman: Forough Farrokhzad and her poetry, was published in 1987. Also about her is a chapter in Farzaneh Milani's work Veils and words: the emerging voices of Iranian women writers (1992). Nasser Saffarian has directed three documentaries on her: The Mirror of the Soul (2000), The Green Cold (2003), and Summit of the Wave (2004).
She is the sister of the singer, poet and political activist Fereydoon Farrokhzad.
فروغ فرخزاد (۸ دی، ۱۳۱۳ - ۲۴ بهمن، ۱۳۴۵) شاعر معاصر ایرانی است. وی پنج دفتر شعر منتشر کرد که از نمونههای قابل توجه شعر معاصر فارسی هستند. فروغ فرخزاد در ۳۲ سالگی بر اثر تصادف اتومبیل بدرود حیات گفت.
فروغ با مجموعه های «اسیر»، «دیوار» و «عصیان» در قالب شعر نیمایی کار خود را آغاز کرد؛ اما با انتشار مجموعه «تولدی دیگر» تحسین گسترده ای را برانگیخت، سپس مجموعه «ایمان بیاوریم به آغاز فصل سرد» را منتشر کرد تا جایگاه خود را در شعر معاصر ایران به عنوان شاعری بزرگ تثبیت نماید.
بعد از نیما یوشیج، فروغ فرخزاد در کنار شاعرانی چون مهدی اخوان ثالث و سهراب سپهری از پیشگامان شعر نیمایی است. نمونههای برجسته و اوج شعر نوی فارسی در آثار فرخزاد، اخوان و سپهری پدیدار گردید
Forough Farrokhzad was born in Tehran to career military officer Colonel Mohammad Bagher Farrokhzad and his wife Touran Vaziri-Tabar in 1935. The third of seven children, she attended school until the ninth grade, then was taught painting and sewing at a girl's school for the manual arts. At age sixteen she was married to Parviz Shapour, an acclaimed satirist.
Within two years, in 1954, Farrokhzad and her husband divorced; Parviz won custody of the child. She moved back to Tehran to write poetry and published her first volume, entitled The Captive, in 1955.
In 1958 she spent nine months in Europe. After returning to Iran, in search of a job she met film-maker and writer Ebrahim Golestan, who reinforced her own inclinations to express herself and live independently. She published two more volumes, The Wall and The Rebellion before traveling to Tabriz to make a film about Iranians affected by leprosy. This 1962 documentary film titled The House is Black won several international awards. During the twelve days of shooting, she became attached to Hossein Mansouri, the child of two lepers. She adopted the boy and brought him to live at her mother's house.
In 1964 she published Another Birth. Her poetry was now mature and sophisticated, and a profound change from previous modern Iranian poetic conventions.
On February 13, 1967, Farrokhzad died in a car accident at age thirty-two. In order to avoid hitting a school bus, she swerved her Jeep, which hit a stone wall; she died before reaching the hospital. Her poem Let us believe in the beginning of the cold season was published posthumously, and is considered by some to be one of the best-structured modern poems in Persian.
A brief literary biography of Forough, Michael Hillmann's A lonely woman: Forough Farrokhzad and her poetry, was published in 1987. Also about her is a chapter in Farzaneh Milani's work Veils and words: the emerging voices of Iranian women writers (1992). Nasser Saffarian has directed three documentaries on her: The Mirror of the Soul (2000), The Green Cold (2003), and Summit of the Wave (2004).
She is the sister of the singer, poet and political activist Fereydoon Farrokhzad.
فروغ فرخزاد (۸ دی، ۱۳۱۳ - ۲۴ بهمن، ۱۳۴۵) شاعر معاصر ایرانی است. وی پنج دفتر شعر منتشر کرد که از نمونههای قابل توجه شعر معاصر فارسی هستند. فروغ فرخزاد در ۳۲ سالگی بر اثر تصادف اتومبیل بدرود حیات گفت.
فروغ با مجموعه های «اسیر»، «دیوار» و «عصیان» در قالب شعر نیمایی کار خود را آغاز کرد؛ اما با انتشار مجموعه «تولدی دیگر» تحسین گسترده ای را برانگیخت، سپس مجموعه «ایمان بیاوریم به آغاز فصل سرد» را منتشر کرد تا جایگاه خود را در شعر معاصر ایران به عنوان شاعری بزرگ تثبیت نماید.
بعد از نیما یوشیج، فروغ فرخزاد در کنار شاعرانی چون مهدی اخوان ثالث و سهراب سپهری از پیشگامان شعر نیمایی است. نمونههای برجسته و اوج شعر نوی فارسی در آثار فرخزاد، اخوان و سپهری پدیدار گردید
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Displaying 1 of 1 review
May 26, 2026
I'm so happy I finally got to read Forough Farrokhzâd's complete poetry!
- 1st collection, La prisonnière (1955): beautiful, gorgeous poems on love and making love whether to her lovers or to poetry. But it was also quite repetitive.
- 2nd collection, Le mur (1956): my favourite I think, I was simply drawn to nearly each poem, again beautiful poems, beautiful imagery.
- 3rd collection, Rébellion (1958): my least favourite as I was not as sensitive to the topic of religion and to the long introduction.
- 4th collection, Une autre naissance (1963): this was clearly much better in terms of vocabulary, it was richer and less repetitive but also less dream-like than the first three collections. Despite dealing with relatively the same topics, the poetess was more reflective and even more vulnerable. More mature. However, I was not loving these poems as much, from an aesthetic point of view, feeling.
- 5th (posthumous) collection, Au seuil d'une saison froide (1974): This one, as well as the 4th collection, was a bit more political and the poetess played more with sarcasm, maybe also taking herself a little less seriously. But, again, I'm not a many pages-long poem enthusiastic.
Great job on the translator's part (from Persian to French), Leili Anvar. She gave lots of necessary historical, cultural and linguistic context(s).
Basically, Forough Farrokhzâd as a poetess contributed immensely to Persian poetry. She stood up for her art and decided that she had the right, as a woman, as a human no matter her gender, to write about her private, intimate thoughts, desires and life. My favourite line is from the poem “Révolte” p.69, from coll. 1 La prisonnière: “Ne scelle pas mes lèvres au cadenas du silence”. The poetess would not stay confined to silence.
Here's my favourite poem, “Baignade” p.146 from coll. 2 Le mur (in a French translation):
- 1st collection, La prisonnière (1955): beautiful, gorgeous poems on love and making love whether to her lovers or to poetry. But it was also quite repetitive.
- 2nd collection, Le mur (1956): my favourite I think, I was simply drawn to nearly each poem, again beautiful poems, beautiful imagery.
- 3rd collection, Rébellion (1958): my least favourite as I was not as sensitive to the topic of religion and to the long introduction.
- 4th collection, Une autre naissance (1963): this was clearly much better in terms of vocabulary, it was richer and less repetitive but also less dream-like than the first three collections. Despite dealing with relatively the same topics, the poetess was more reflective and even more vulnerable. More mature. However, I was not loving these poems as much, from an aesthetic point of view, feeling.
- 5th (posthumous) collection, Au seuil d'une saison froide (1974): This one, as well as the 4th collection, was a bit more political and the poetess played more with sarcasm, maybe also taking herself a little less seriously. But, again, I'm not a many pages-long poem enthusiastic.
Great job on the translator's part (from Persian to French), Leili Anvar. She gave lots of necessary historical, cultural and linguistic context(s).
Basically, Forough Farrokhzâd as a poetess contributed immensely to Persian poetry. She stood up for her art and decided that she had the right, as a woman, as a human no matter her gender, to write about her private, intimate thoughts, desires and life. My favourite line is from the poem “Révolte” p.69, from coll. 1 La prisonnière: “Ne scelle pas mes lèvres au cadenas du silence”. The poetess would not stay confined to silence.
Here's my favourite poem, “Baignade” p.146 from coll. 2 Le mur (in a French translation):
“L’air était délicieux, je me suis dénudée
Pour laver mon corps dans l’eau d’une source
La nuit silencieuse déversait dans mon cœur
L’envie de dire mes peines à l’oreille de la source
L’eau était fraîche et des vaguelettes scintillantes
Ondulaient autour de moi gémissantes
On eût dit que de leurs doux bras de cristal
Elles m’attiraient vers elles, corps et âmes
Un vent souffla du lointain en tourbillonnant
Il répandit sur ma chevelure une brassée de fleurs
Le parfum délicieux et piquant
De la menthe sauvage envahit mes narines
J’ai fermé les yeux et l’âme légère, en silence
J’ai livré mon corps aux herbes fraîches et tendres
Comme une femme lovée dans les bras d’un amant
A la source je me suis abandonnée tout entière
Frémissantes, assoiffées, enfiévrées, impatientes
Les lèvres de l’eau, baisèrent mes jambes
Puis soudain, satisfait et ivre, mon corps
Et l’âme de la source pécheresse s’enlacèrent”
Displaying 1 of 1 review