NIMALOGY:ON POETRY OF NIMA-3نیماشناسی:ویژه نامه انگلیسی
مجله موج , پاییز و زمستان ١٣٩٢/٢٠١٣-٢٠١٤
4.NIMALOGY
Dr.Faramarz Soleimani
Neveshta,No 10,Feb-March2009
pp.24-49
modified:January 2014
PART 3/15 .
With all that, Nima had a feeling that traditional poetics were impeding hispen and the pens of his peers in writing freely. So he developed a way to express the free flow of feelings,thoughts and imaginations to depict an era. Like the poets of the constitutional revolution in Iran, around turn of 19th century,he took poetry to the streets. He brought poetry to the people and challenged the power of traditional, cliche- type expressionism, and built up his personal new diction to express the pain and sorrow that he shared with the people.Years later , remembering this experience, Nima wrote " The main part of my poetry is my suffering." No real writing could be devoid of this for his suffering as a discourse...Nima uses formal, informal as well as native and colloquial ,so called "non poetical" words in his diction as part revolutionary innovation in Modern Persian Poetry. By then it had been years passed the date of publication of his long poem AFSANEH,1301/1922.This was the beginning of an era in Persian Poetry,the one which some critics, including myself,would reverberate: THE PERSIAN POETRY.
Nima in his school, form and historical mission revolutionized Persian poetry,and literature,not to mention contemporary culture and modern behavior. In an era he lived and continue to live , even after his death and long horrific love and life. He changed the dynamism of images and imagination, and evolved the vision of contemporary men and women .By that I am trying to convey that Nima's poetry and theory of poetry not only changed the landscape of our poetry and writings, but also other principles of our culture and society. He taught us how to see things through own eyes and to take in effect all of our capacities, and the capacity of Persian language by his claim.
He himself wrote his poems anew. In the First Congress of Writers in Tehran in 1325/1946 between all those "bearded and mustachioed men of letters" who were ruling the cultural scenes ,Nima ,an unknown poet at that time announced: This and other sufferings are modifying tools,form,diction,rhythm and rhymes. His innovations were in diction,syntax and terms of objects and things, and the nature that he was so in love with.He was what we might now consider a Green Poet.In his structure , he reinvented Beit as a unique unit of Persian poetry, enjoying independence for a millennium,and turned it to stanza, a free verse with or without occasional rhyme, free wheeling to an end wherever it ends naturally.
He was instrumental in presenting new images, symbols and metaphors. He looked for innovative images and personification of conventional non-persons. He extended the unit of thoughts , and the unit of poems from line, or Beit to where it ends. He redefined the unit of poetry,period.
"In my free verse, rhythm and rhyme are taken in different ways. Shortening or lengthening of hemistetches or Mesra'a is not used in whim...even in disordering,I believe in orders. For me it is harder to write free verses than other forms of poems..."
Nima believed the one who does make works anew has a new fate. He found this with a new fate of Persian poetry, prose, and culture. This is not to be seen in Nima's early works, although AFSANEH shows innovations in vision and diction. However almost two decades later ,the poem, Ghoghnus,Phoenix displaying stronger symbolic influences, appeared in the Music Magazine, an intellectual publication of art and literature at the final years of Reza Shah. He then had Sadegh Hedayat, the Persian short story innovator, as well as others on his side.
It is gusty wind and the bird is burnt
She has saved ashes of her flesh
So her chicks are born
Out of them
from GHOGHNUS
TBC...
4.NIMALOGY
Dr.Faramarz Soleimani
Neveshta,No 10,Feb-March2009
pp.24-49
modified:January 2014
PART 3/15 .
With all that, Nima had a feeling that traditional poetics were impeding hispen and the pens of his peers in writing freely. So he developed a way to express the free flow of feelings,thoughts and imaginations to depict an era. Like the poets of the constitutional revolution in Iran, around turn of 19th century,he took poetry to the streets. He brought poetry to the people and challenged the power of traditional, cliche- type expressionism, and built up his personal new diction to express the pain and sorrow that he shared with the people.Years later , remembering this experience, Nima wrote " The main part of my poetry is my suffering." No real writing could be devoid of this for his suffering as a discourse...Nima uses formal, informal as well as native and colloquial ,so called "non poetical" words in his diction as part revolutionary innovation in Modern Persian Poetry. By then it had been years passed the date of publication of his long poem AFSANEH,1301/1922.This was the beginning of an era in Persian Poetry,the one which some critics, including myself,would reverberate: THE PERSIAN POETRY.
Nima in his school, form and historical mission revolutionized Persian poetry,and literature,not to mention contemporary culture and modern behavior. In an era he lived and continue to live , even after his death and long horrific love and life. He changed the dynamism of images and imagination, and evolved the vision of contemporary men and women .By that I am trying to convey that Nima's poetry and theory of poetry not only changed the landscape of our poetry and writings, but also other principles of our culture and society. He taught us how to see things through own eyes and to take in effect all of our capacities, and the capacity of Persian language by his claim.
He himself wrote his poems anew. In the First Congress of Writers in Tehran in 1325/1946 between all those "bearded and mustachioed men of letters" who were ruling the cultural scenes ,Nima ,an unknown poet at that time announced: This and other sufferings are modifying tools,form,diction,rhythm and rhymes. His innovations were in diction,syntax and terms of objects and things, and the nature that he was so in love with.He was what we might now consider a Green Poet.In his structure , he reinvented Beit as a unique unit of Persian poetry, enjoying independence for a millennium,and turned it to stanza, a free verse with or without occasional rhyme, free wheeling to an end wherever it ends naturally.
He was instrumental in presenting new images, symbols and metaphors. He looked for innovative images and personification of conventional non-persons. He extended the unit of thoughts , and the unit of poems from line, or Beit to where it ends. He redefined the unit of poetry,period.
"In my free verse, rhythm and rhyme are taken in different ways. Shortening or lengthening of hemistetches or Mesra'a is not used in whim...even in disordering,I believe in orders. For me it is harder to write free verses than other forms of poems..."
Nima believed the one who does make works anew has a new fate. He found this with a new fate of Persian poetry, prose, and culture. This is not to be seen in Nima's early works, although AFSANEH shows innovations in vision and diction. However almost two decades later ,the poem, Ghoghnus,Phoenix displaying stronger symbolic influences, appeared in the Music Magazine, an intellectual publication of art and literature at the final years of Reza Shah. He then had Sadegh Hedayat, the Persian short story innovator, as well as others on his side.
It is gusty wind and the bird is burnt
She has saved ashes of her flesh
So her chicks are born
Out of them
from GHOGHNUS
TBC...
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