Rereading Nima's comments about the language of new poetry and their relationship with the show

Abstract

This research rereads Nima's opinions about the language of new poetry and their relationship with drama, and then analyzes and examines Nima's practical works with these characteristics.

After the general statement in the first chapter, in the second chapter, to explain the contexts of the new poetry, a short history of the beginning of the formation of Persian poetry and its continuation until Nima's period is given. Then, with the description of Nima Yoshij's life and works and the process of her work during her career, we try to understand what Nima's position is in Persian poetry and what she is looking for. In the third and fourth chapters, we discuss Nima's own opinions and show to what extent she had an effective linguistic concern in her poetry and even enumerated and prescribed the characteristics of this language. He welcomes the approach of poetry to drama and story and sees different media as very aligned and close. Examining Nima's theoretical works helps us to analyze the characteristics of dramatic poetry that the poet intended. In the end, Nima's three works: Afsana, Shabpa's work and Serivili's house have been examined as examples from the perspective of dramatic language.

Keywords: Nima Yoshij, Iran's contemporary poetry, dramatic language, structure of Nimai's poetry, Fasana, Shabpa's work, Serivili's house, Manly's play, Persian verse play

Chapter 1: Generalities

1. Introduction

Persian prose poetry emerged from the third century of Hijri. And in a short distance, the very lofty and unrepeatable peaks of Iranian literature were created in epic, lyrical and mystical works. But after passing this glorious heyday, Persian prose poetry, like any other stream, reached its perigee period. Little by little, the language of this poem turned into a language alien to the nature of the world, people and society, which was only occupied with imagination and mental imagery, with its own rules; The rules that now after a thousand years had falsely found an eternal and eternal status. With the beginning of the constitutional period, poets and writers started a revival in the language with the help of the awakened people. They admitted the estrangement of this old language from the people and the times, and then they made efforts to save it, but they saw the change and innovation mostly in the appearance, and that's why their achievement was not so deep and effective for Iranian literature.

When it was Nima's turn, he came to the conclusion that making changes in the appearance rules alone is not enough. In the path he followed, he paved the way to break the rules by changing the way of looking. Nima returned to the simplicity of language and nature. In his poetry, he carefully looked at the world and made his vivid and dramatic language with description, objectivity and full attention to nature. In this language, new objects, words and interpretations are allowed to enter.

This language also helped the rest of the media to become simple, real, narrative and long. This language itself benefited from the rest of the media and continues to benefit them.  The most important element of this language is construction. which gives unity and form to a literary work, something that is not present in the language of ancient poetry. In ancient poetry, each stanza has a meaning on its own, and its connection with the stanza before and after it is formal and very loose in the vast majority of poems. But in the works presented by Nima, each component helps to draw a single whole and makes the work in its true sense. In this way, all possibilities are used to make the language more effective. The language reaches a stage where it is alive, like the language used by the actors on the theater stage. It gets long, continues, sometimes even silent and creates the atmosphere. Nima, along the way, passing through many important houses, finally founded the dramatic language with all its established features. In its most complete form, this language uses all the representational possibilities such as dialogue, scene change, description with the five senses, symbolism, realism by paying attention to the exact details of nature, objects and persons, but it requires an alert and very aware artist to use each of these new possibilities correctly and appropriately based on his overall theme.

2. Statement of the problem

Nima founded the new poetry of Iran, but he started this foundation through the old poetry. He was well versed in classical poetry and in the beginning, he searched for his youthful experiences in this poem. But his serious and dominant presence in ancient poetry led him to believe in a dead end in classical literature.

On the other hand, Nima also participated in artistic and theater activities of the country. Having mastered the French language, he studied the works of Westerners, and claimed dramatic language in his poetry. Dramatic language means a language that is useful for recitation, is simple and has a natural connection. In the same way, it is related to both the outside world and human moods, and it is not indifferent to any of them. Dramatic language is a language that is rich and does not lack for the creation of a great literary work because it uses the potentials in nature, the world, and the human soul. In the structure of this language, the existence of these potentials is assumed and it is based on them.

Nima Yoshij created a group of powerful and unrepeatable works in Iranian literature with this method. The secret of the prominence of his works was that they were armed with a powerful and new language and could respond to the needs of their time. It was the new language with its new conventions and rules that gave these works lasting power, purity and depth and gave them a high artistic essence. It is safe to say that before Nima Yoshij or without Nima Yoshij and his amazing opinions and influences, Iranians did not have any significant thought or work not only in poetry but even in other literary media such as stories and plays. Because both in the play and in their stories, they were still captive to the old useless arrangements that no one knew what they needed, but they couldn't find a replacement for it either. Iran's plays and stories were both cold and tasteless containers for the same material of old poetry, subjectivisms and word games that were no longer useful in this age and time. Poetry has always been the vital artery of Iranian literature throughout history, so the literary revolution began with poetry and Nima's poems. The same person who was aware of all non-poetry literary media and was aware of the leading role of poetry in all cultural products of Iran. The correct and principled playwriting movements of the likes of Akhundzadeh and Mirza Agha Tabrizi, which started before Nima, were consolidated and approved during Nima's era. Because before the emergence of new poetry, despite their strength, these works were still not taken seriously in the field of official Iranian literature, and the atmosphere was still dominated by plays and theaters that tended to bring old Iranian works such as Shahnameh and Khamse on the stage with the same order and rhyme. Nima targeted the old language in the main cultural source of Iran, i.e. in poetry, and transformed it.

The new language that Nima created, according to him, can be used in plays, stories and recitations. According to him, the possibilities of this language are unlimited. The same language that has been emptied of cool and redundant modifications and has found true values ??for its prominence. In Nima's works, we find very diverse and brilliant products of this language. Dramatic poetry, fictional poetry, social poetry, and even symbolic poetry are the result of changes in this language.

Important features such as structure, movement, polyphony, simplicity and symphony of description and feeling in language are far beyond being limited to the scope of poetry. And for this reason, Nima's great and outstanding works during his career escape from being limited to the scope of poetry and are drawn to other fields as well. Especially, after all these years, some of the diseases of the ancient literary language are still plaguing our plays, in the same way as it is plaguing our poetry and stories. 3. Background of the research

1. Dramatic verses in the poem "Nima", investigation of dramatic aspects in Nima Yoshij's poems

Author: Behrouz Farji Qarkhoni, supervisor: Farhad Nazerzadeh Kermani, Master of Dramatic Literature, Faculty of Fine Arts 1382

The purpose of the above research is to investigate dramatic aspects in Nima Yoshij's poems, especially his narrative poems. The writer has divided Nima Yoshij's works into three periods in terms of time and has examined the examples of poems and their dramatic aspects in each period. In this research, there is a reference to Nima's opinions about the language of poetry and unrepresented language, and the meaning of dramatic aspects is the elements of the play (plot, character, dialogue, etc.).

2.