Iran International
At an official ceremony in Supreme Leader Ali Khamenei's compound on Thursday, a religious official chanted to congregants that US President Donald Trump's death was nigh and that Iran would vanquish Israel.
Mehdi Rasouli, a well-known maddah or religious eulogist and chant leader, performed at the Imam Khomeini Hussainiyah in Tehran. It is the main auditorium within Khamenei's office complex known as Beyt-e Rahbari or the Leader's house.
“From now on, we have one goal — and that is the heart of Tel Aviv,” he said. "Your accursed name will no longer remain in this world. Tell that yellow-haired murderer he will be no more," he said in reference to Donald Trump to loud assent from attendees.
The event held earlier this week formed part of ceremonies marking Basij Day, when Iran’s volunteer paramilitary force is feted.
Eulogists in Iran's Shi'ite Muslim tradition deploy chants and poetry to encourage enthusiasm in religious gatherings. Since the 1979 Islamic Revolution which ushered in a theocracy, the content of their presentations reflect state political ideology.
"Bullies stronger than you lie buried under piles of earth," Rasouli continued. "You will not see Iran’s surrender even in your dreams ... Are you too, like Pharaoh, thinking you will not die?"
"Death does not hesitate even a moment to take your soul. It wouldn’t hurt to visit the graves of Carter and Reagan once in a while," he said.
Crowd reactions followed the familiar arc of such performances – chants at crescendos, brief laughter at lines like “If you mention the name of Iran, be polite,” and tears as Rasouli invoked recent war dead, including Revolutionary Guard commanders killed in clashes with Israel.
He delivered the poem in epic, martial cadences, and the audience periodically answered with slogans.
The recital ended with pledges of allegiance to the Supreme Leader, prompting the hall to respond “Labbayk, labbayk” – an Arabic formula of assent meaning “at your service” in a show of allegiance to Khamenei.
A poem of menace and myth
A maddah is a lay performer, not a cleric. Over three decades, their role has expanded from mourning rites to emotionally charged performances that can carry political overtones.
Their verses, set to strong rhythms, aim to stir grief for the martyrs of Karbala, devotion to the Prophet’s family, and, increasingly, political zeal.
When delivered at the leader’s own venue, the rhetoric carries extra weight for loyalists – even as officials can argue that maddahs speak for themselves, not for the state.
Rasouli’s text stitched together recurring motifs. He opened by hailing Iranian resilience and vowing ultimate triumph – “In the end, Iran will be the victor of the battle” – before pivoting to taunts of US and Israeli leaders.
At another point he warned: “Ajal does not delay in taking your soul,” using the Persian term ajal – the appointed time of death – to suggest that fate, or the Angel of Death, does not pause, a standard rhetorical device in Persian oratory.
The poem drew on classical Persian epic and Shi'ite sacred history.
Rasouli invoked Rostam, the pre-Islamic epic hero of Ferdowsi’s Shahnameh, likening Israel to a div (demon) and rhyming “div” with “Aviv” to fix the poem’s “final aim on the heart of Tel Aviv.”
He also reached for Shi'ite iconography, saying Ali, the first Shi'ite Imam, would come for Israel with his bifurcated sword Zolfaghar, a symbol widely recognized in Iran.
The barbs sat alongside appeals to faith and fidelity: victory, he said, hinges on obedience to the Supreme Leader – a cue for synchronized chants of “Labayk.”
Modern military references appeared in the poem too. In a couplet that played on rhyme and Iranian missiles, Rasouli said: “If you have bunker-busters, we have Kheibar-Shekan,” pairing the Persian for “bunker-breaker” (sangar-shekan) with Kheibar-Shekan (Khaybar-Breaker), the name of an Iranian solid-fuel medium-range ballistic missile unveiled in 2022.
Khaybar also refers to a 7th-century Jewish oasis near Medina and, in Shi'ite lore, to Imam Ali’s breaching of its fort – a religious touchstone repurposed in modern rhetoric.
Why eulogists matter
Under Ali Khamenei, maddahs regularly perform at his residence on major religious occasions and enjoy networks of patronage that can extend through state and quasi-state institutions.
Analysts say eulogists act as emotional amplifiers: knitting mourning, nationalism and loyalty into a single ritual package.
Within pro-government circles, however, the venue and proximity to power matter; when a poem is staged at the leader’s inner sanctum, supporters treat it as consonant with the leadership’s mood, if not a formal policy.
The eulogist scene is diverse, spanning apolitical performers, staunch loyalists to the leadership, and figures tied to rival conservative factions.
Celebrity maddahs have campaigned for candidates, criticized senior officials, and at times helped mobilize crowds.
Their hey’ats (religious associations) fund and stage mass ceremonies during Muharram and Arbaeen, and some maintain close ties with the Revolutionary Guards’ Basij militia.
There are at least 150,000 maddahs in Iran now some of whom receive “astronomical” sums as “gifts” for their much-advertised performances.
In a genre long fused with piety and politics, Rasouli leaned into a newer twist: Persian epic motifs spliced onto Shi'ite heroism – a form once anchored almost entirely in Shi'ite themes.
Shahnameh references now sit alongside invocations of Ali and the “martyrs,” recasting loss and defiance in a national-myth frame.
Inside the hall, the result is part sermon, part rally, part catharsis.
Tehran’s unveiling of a towering statue depicting the Roman Emperor Valerian kneeling before pre-Islamic Persian King Shapur I has renewed criticism of the Islamic Republic’s appeal to nationalist sentiment following the June war with Israel.
For over forty years, the theocracy purged ancient Persian history from schoolbooks, replacing it with post-Islamic narratives. But after the 12-day conflict with Israel, officials have turned to the distant pre-Islamic past to rally a divided society.
From murals of ancient kings and soldiers to patriotic songs added to Shi’ite mourning ceremonies performed before Supreme Leader Ali Khamenei, Tehran now embraces imagery once deemed heretical by its own revolutionary ethos.
'Kneel before Iran' campaign
Tehran’s Revolution (Enghelab) Square was the scene of an unusual spectacle on Friday as officials unveiled a massive bronze statue depicting Roman Emperor Valerian kneeling in submission before Sassanid King Shapur I, commemorating Iran’s victory at the Battle of Edessa (260 AD).
The event was held under the slogan “Kneel before Iran,” part of what authorities describe as a campaign to project “national unity and historical pride” following the June war with Israel.
Tehran Mayor Alireza Zakani, a staunch ultraconservative, said on X: “Enmity with Great Iran can only end in kneeling before this historic nation.”
Municipal official Davood Goodarzi said the installation would be accompanied by visual displays depicting “other victories of Iranians over foreign aggressors,” including the defeat of British forces by local commander Rais-Ali Delvari, Mirza Kuchak Khan’s resistance against Russian troops, and Surena’s triumph over Rome at the Battle of Carrhae in 53 BCE.
The goal, Goodarzi said, is “strengthening concepts such as national dignity, social unity, and Iranian identity.”
The statue, he said, would remain temporarily at Revolution Square before being moved to a city gateway “where it will stand as the first emblem of Iran before diplomats and foreign visitors.”
Unveiled women were allowed to attend the unveiling ceremony—an uncommon scene at events organized by Tehran’s ultra-hardline municipality.
The turn to the pre-Islamic past
The sharp reversal also recalls remarks once made by Khamenei. In a 2011 speech, he asserted that “all the great military victories of this nation came after Islam,” dismissing pre-Islamic accounts as “things that are not documented.”
In 1987, he had said that prophets triumphed over kings such as Cyrus and that “nothing remains of these monarchs in history but names remembered with derision.”
Nevertheless, pro-government social media accounts have now gone so far as to circulate posters equating Khamenei himself with Shapur, showing him standing with a staff as Benjamin Netanyahu and Donald Trump kneel before him. The caption reads: “You will kneel before Iran.”
'Hypocrisy'
Pro-government figures have hailed the move as a patriotic success. Conservative political reporter Hossein Saremi posted: “Today’s grand Iranian gathering showed that people and the state share one essence: Iran itself. Nothing can take our homeland away.”
Others, however, called the spectacle “hypocrisy.” Journalist Gholamhossein Pashaei wrote on X: “Every year you close Pasargadae to stop people from celebrating Cyrus Day, yet you unveil Shapur’s statue in Enghelab Square with drums and fireworks during Fatimiyya (mourning period)!”
Dissident commentator Hamid Asafi called the ceremony “a perfect snapshot of the Islamic Republic’s contradictions.”
On Telegram he wrote: “A week ago they closed Cyrus’s tomb out of fear of the crowds, and now they glorify Shapur in the same breath. The Islamic Republic fears living history but poses for selfies with its corpse.”
He added: “They know people no longer respond to rosaries and sermons. That’s why they’ve brought history back to the stage—in a controlled costume. If they can’t erase the past, they’ll try to own it.”
The irony deepened as UNESCO formally recognized Cyrus’s Charter as one of the earliest human-rights documents.
President Masoud Pezeshkian wrote on X: “Iran, the cradle of dialogue, justice, and coexistence, can still inspire peace today.”
Users swiftly replied, questioning how such pride could coexist with a government that blocks access to Cyrus’s tomb each year to those wishing to visit it on his birthday.
