Search

Nima Yooshij's theories about poetry and poet are in his previously published collections, and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to Western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".Keywords: Nima Yooshij, Navāy-e Kārvān, Sad Sāl-e Degar, Objectivity and Subjectivity, Harmony, Contemporary Poetry. IntroductionThe evolution of Nima's poetry and the transformation of his poetry can be seen and analyzed in the collection edited by Siros Tahbaz. Therefore, Nima's early experiences and some of his other unpublished poems, which can show the transformations of his poetry step by step, are recious works that show the infinite suffering and hardship of the "Father of Modern Persian Poetry".Research question: What features do the two published collections of Nima Yooshij show in his poetry? Literature ReviewAlthough Nima has created significant pieces, there are differences of opinion among critics, researchers, and even his students and followers. Terms such as "subjective" and "objective", "declamation" and "natural expression", "new point of view", "absorption", "transubstantiation" and "harmony" and etc. include most of his theories and it can be admitted that neither Nima was able to express them unambiguously, nor his students and critics have the same opinions about all of them. From this point of view, we see that Akhavan Sales and some other critics consider the "Mādar-e Bedathā-ye Nimā" in "prosodic meter", while Nima himself does not believe in this matter. Nima Yooshij's two newly published collections, entitled "Sad Sāl-e Degar" and "Navāy-e Kārvān", which contain his significant poems, are a great opportunity to examine Nima's ideas and theories more closely. In the present research, the two collections have been investigated by considering Nima Yooshij’s theories. MethodologyThe research method in this article is descriptive-analytical and based on library studies. First, from this point of view, Nima’s most important ideas about poems and poetry have been examined, and then, taking into consideration his two recent collections, some points about Nima's ideas have been examined. In this study, an attempt has been made to discuss the opinions of other critics. ResultsAccording to the last two collections of Nima Yooshij, it was concluded that:He was able to achieve his desired symbolism by paying attention to Western literature, mystical symbols, and allegories. His poem "Vampire" is derived from European literature. Some of his other poems are also derived from native elements.Nima has several poems with a dramatic structure, which shows his special attention to the "dramatic structure of poetry", which is also mentioned in the introduction of the legend.Nima uses the elements of narration and description for the story structure of his poems, and by creating a complete harmony of all linguistic elements, he presents a poem that has a body-like composition. This feature makes his poetry achieve the "form" or "harmony" that he wants.Another artistic feature of Nima's poetry is the absorption and analysis of the environment and objects. This point prevents him from repeating what others have said. In fact, creating a link between the outer and inner world and "being one with the object" creates a new and individual view of the poet in the poetic images that Nima has emphasized many times.Nima’s two collections of classical poems are an unsuccessful imitation of great poets such as Nezami, Sa'di, and Rumi; the evolution of his poetry is in Nimai's free verses. Some of Nima's poems in this collection can be among his most brilliant works among his other successful poems.

Background: since ballads and songs make the art of music eloquent and expressive, they are considered as the connection ring and junction between these two branches of literature and art. The main objective of songs is transferring message and speech to audience, concentrating and penetrating into emotions and thoughts and imagination in the form of concepts to melody that this study has investigated commitment and people-centeredness in two illustrating elements of thought and imagination of the four poetic forms in the songs by Aref and Bahar from Constitutional Era and Rahi Mo’ayyeri and Moeini Kermanshahi. This study aims at understanding the importance of the type of purposeful and people-centered insight and thought of ballads and the poetry power of sing-writers to compose more original and more creative and more literary songs. Method: the descriptive-analytical research method based on comparing ballad works of song-writers with each other and with scientific-poetic standards has been used. Conclusion: according to scientific-literary measurement among the songs of four ballad-writers; poets had mastery over literary and poetic standards and poetic elements and their function, have composed more emotional and more pleasant songs. As far as melody has not been decorated with speech, is free from the element of thought and doesn’t enjoy poetry and literature criteria. The purpose and commitment of poet and song-writer reinforces the cultural and scientific dimensions and literary and emotional soul of ballads. The song of all four song-writers have had commitment and people-centeredness dimensions in the current study.

Background: Iliad and Shahnameh are two transnational works which are precious treasures for studying the customs and culture of two ancient nations of Iran and Greece. In this research some of the ethical specifications of the mythological gods and paladins of Iran in Shahnameh and Olympus gods and paladins of Iliad have been studied and the basic differences between two nations which stem from the differences of their culture and beliefs have been shown. The essay plans to show the Iran ancient cultural highlights and a closer look at the immensity of this ancient land. Method: The method of this research is analytical descriptive and based upon comparison of two ancient culture from the views of beliefs and ceremonies. Conclusion: The studies show that there are some differences between the human and divinely behaviors of Iliad and Shahnameh. In Iliad we see that the unethical conducts, discrimination, inclination to the front of oppression and promise breaking towards the devoted people by the Achaeans on the one hand and on the other corruption, lying and rivalries between the Olympus gods terminated to the vast carnage of Achaeans and Trojan tribes. The paladins and the heroes of Iliad in compare with the Olympus gods are more noble and are more promise leal. The Iranian gods are the symbol of ethics and the punisher of promise breakers and those who violates the others’ right. Such ethical solidarity and stability make the heroes of Shahnameh incline to cavalier. The Iranian gods hatred towards war and violation. But seriously believe in revenge and defense of their lands while the Olympus gods support the violators and they themselves are the main factor of war and massacre.