6.TWO DECADES OF IDEA AND THOUGHT:FORUGH/NIMA&NIMAISM

NIMA&NIMAISM
I am sorrowful and I say of sorrow
As in those ruins
People are sorowful too
Sorrows are aplenty at sea
NIMA
درد مندم من و از دردم گویاست زبان
همچنان که در ان خاک اندود
درد ها مردم راست
درد ها نیز در آب دریاست

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FORUGH FAROKHZADفروغ فرخزاد
Forugh 1934-1967 Is a symbol of women idea and thought for poetry and freedom
از سیاهی من چرا هراسیدن
شب پر از قطره های الماس است

literary criticisms on forugh farokhzad ,her poems and movie carrier

Poetry of Forugh is the open world of body and eroticism ,
as well as the hidden world of curtains and fantasies ...
Forugh learns the dialectics of seeing from Nima and Nimaism,but she learns the art of seeing by herself and translates it to poetry,to draw her own social face
from:DIALECTICS OF SEEING

FORUGH was a pioneer to look at Iranian woman in modern times.

*KHOSRO GOLSORKHI ON FORUGH:

SHE SEARCHED THE BEAUTY IN ROUGH CONTEXT OF LIFE.
FORUGH'S SOCIAL POEMS ARE THE MOST POPULAR IN OUR CONTEMPORARY POETRY
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NIMA

nima yushij and esmail shahrudi,poet of "the last battle"آخرین نبرد ,publisher?,tehran 1330/1951,with an introduction by nima,now a classical in persian poetry and literary criticism.

faramarzsoleimani.com

NIMALOGY 23

give me a hand

offer me a road

and rise with the sun!

I want to see the night

in your eyes

more miserable than ever.

-ESMAIL SHAHRUDI(b.DAMGHAN10 BAHMAN 1304/1925-d.NOV.25,1360/1981,TEHRAN):

SELECTED POEMS,BAMDAD 1348/1969

*NIMA'S INTRODUCTION TO THE LAST BATTLE,POEMS OF ESMAIL SHAHRUDI

*

With the arrival of Nima's students such as Esmail Shahrudi,Manuchehr Sheibani, and later on Ahmad Shamlu among others ,an individual revolt turned to collective revolt with social consequences.Like Nima both Shahrudi and Shamlu spend times in prison due to expressions of their thoughts and ideas.

Nima in his introduction to Shahrudi's first book of poetry,The Last Battle, writes:

Your collection of poetry reminds me of people.People thinks their view could be totally free and independent ,while it is not so .View of everyone , like life , is their truth.then it is related to others'.The good and evil that people search in others ideas,the others also seek in their thoughts...p351

If everything is truth,this is truth too,which is going to let us find ourselves to be in what condition.As music deals with man's feeling,Literature also is dealing with good and bad life...p352

Nima believes in living language and living life to dig reality or build reality.For this he advices to start from his own life : If someone does not understand his own life,will not be able to understand the others'...p 362, as Shahrudi himself expresses in the poem:Ayande/Future:

من اما در شتاب خودبجا خاموش 

دچار مستی جام تلاش خویش بودم 

چنان بودم که در هر رهگذر ,هر جا گذشتم 

دل بیگانگان را سوخت رنج من -تلاش من - شتاب من 

But me in rush and still silent 

Drunken by goblet of my struggle

I was so miserable that wherever I passed

The passer-by felt pity on me ,my sorrows- my struggle- my rush...p 364

...If your art won't narrate a reality,the time and distance will not be able to pull art out of desert....p360...As art created by people and deals with people...p364...The thoughts that the way of life is effective in it...So your thoughts are important in your feelings...p 358

Some of noble might consider the words you used as petite...these noble men are all trying to speak with the language of the past.They are familiar with all styles except style of living...p 360

If there is no life in a thing,there is nothing...p360 

Nima in a note on Manuchehr Sheibani's poems put emphasys on nationalism and"Method of saying natural words"...Anyone who likes Iran,supports the people who work for her.Like Yusef Etesam,Talebof.Mirza Hasan Roshdieh and others who were willing.And the one who does not like Iran is not trying to be our friend.P370,On the other hand Nima does not believe everything should have social values ...Some comrades are expecting if a poet coughs or sneezes that cough or sneeze should be social.P371.

On this social aspect of poetry and his view.Nima in a letter to Shamlu writes:

Our talk is not only on picking expressions and similes on the basis of the characters of our time and our tastes.Letters,p174

Rhythm of life is closely related to rhythm of poetry.Nima says :this is not Tazieh for heroes to talk together with rhythm...The purpose of rhythm is a better structure...p174...The rhythm is the voice of our feelings and thoughts...p175...the rhythm free of Aruz bonds...as in an example of Shamlu's poem:The Night Batخفاش شب"

کشتی به شن نشسته به دریای شب مرا 

وز بندر نجات چراغ امید صبح 

سوسو نمی زند 

My ship is sunken on the sand in the sea of the night 

From the savior port there is no light of morning hope

Winking

p175

Nima considers all these as elements and still looking for paradigm of life in poetry:

A good poem should contain life.

...And that is the basis of his thoughts and ideas,as Nimaism,also a tradition and heritage left for 

Nimai poets and younger new generations to come

*

Nima's AFSANEH, a poem of love and life, was created and published by 1301/1922 during the movement of symbolism in the world. It has been considered by critics as a realistic and romantic Masnavi-like long poem to start the modern era of Persian Poetry , and influencing contemporary poets. On the other hand, this was the year of the publication of James Joyce's Ulyces, the most important novel of twentieth century in the world.It was also a year after the publication of Yeki Bud Yeki Nabud, or Once Upon a Time of Mohamad Ali jamalzadeh , a hallmark in Persian literature and a pioneer of short story writings. Although Afsaneh,meaning legend, and used as a girl's name .was inspired by Nima's love to Safura, a peasant girl, it was dedicated to Nezam Vafa, the poet and teacher. Still Nima,the father of modern Persian poetry makes his new poetical status out of his ideas, real stories, time, people and places, painting pains and sorrows and suffering that he himself calls " social- personal experiences."

Poetry is the reflection of images and dreams even if it refers to other applicable paradigms of realities, or as we call them now:signifiers. Poetry believes in no real realities and that is why it creates its own reality out of everything in our surrounding world seen and sensed, or in the wide world of dreams and fantasies.

In his introduction to Afsaneh , to describe structure as a play with dialogue within the dialogue,Nima writes:

O young poet !

" This structure that has placed in my AFSANEH  to show a natural and free dialogue may not please you at once, and you may not appreciate it as much as I do. So you may ask why a light lenghty Ghazal compares to classical Ghazals containing so many words? But my only point here has been freedom of language in a long subject.

And so I choose a way to fit a dialogue as previously has been approached by Molana Mohtasham Kashani and others. And finally I wanted to take more advantage of all these.

I believe this is the best structure for plays , to be expressive . So for this, as for different types of poetry, I will call my Afsaneh a play, and no other names fit into it. This is a proper structure to make play and let the people talk freely. If some structure like Masnavi (Mathnavi or Couplets) can tell a narrative or express a subject with little freedom and deliverance in its extends and make your heart and mind move.

In comparison, this structure has plenty of advantages. This structure has a capacity to take more subjects.: description, novel, tragedy, Irony, and what you will .

This structure is receptive of characters in your narratives as you wish. As it lets them talk naturally or decisive in a word or two , or in a Mesraa (Hemistitch) to lay their own questions and answers without adding your words and placing them in their mouth just to utter a word or two. In fact , in this structure people do not partake in all of those troublesome poetical obligations of classicists and do not include much of " He said.He answered" to lengthen their poems. 

What has made me believe in this new structure is to observe meanings and the nature of things as nothing is more important for poets than explaining nature and simplifying meanings.

When I finish my play and set the stage , I will tell you how and what I want to say . But now with some little thoughts you may not understand what I was after and what the differences of these structures with the old ones are. You will find my thoughts again on the introduction of the next play. This Afsaneh is only a sample.

NIMA YUSHIJ
In a letter to his neighbor dated farvardin 1324/april 1945,Nima writes:
شاعر جوهر هستی و هستی هر جوهری است.
"The poet is essence of being and being of the essence"
Nima:on poet and poetry,Ed;Sirus Tahbaz,Daftarhaye Zamaneh,1368/1989,p.252
He wants to remind us that it is not enough to to be his own essence in life.If you are being of the essence ,then you will come with the idea for human being and the whole society ,as Emile Zola was in his letter J'ACCUSE 0f 13 january 1898 to bring thoughts and ideas as the essence of being,that is to say , for being intellectual.