Illusory images in new poetry in the works of Nima Yoshij, Sohrab Sepehri, Mehdi Akhan Al-Talihi and Ahmed Shamlou.

Dissertation for the degree of Master of Persian Language and Literature "M.A"

Abstract

Imagination in the new poetry in the works of Nima Yoshij, Sohrab Sepehri, Mehdi Akhwan Tahir and Ahmed Shamlou

Sahr Saeed

Persian poetry and literature have long been mixed and familiar with images of fantasy. Imaginary images of similes, metaphors, metaphors, and irony have made Persian poets familiar in their poetry for more than a thousand years. In all styles of ancient poetry, a high frequency of the use of imaginary images can be observed. In the new poetry, the poet is not bound to observe the prosody, but the use of imaginary images in the new poetry has continued and continues, however, the new poets use new "similes" in similes and metaphors, and therefore their similes and metaphors are new, surprising and fresh. All contemporary poets have benefited from similes and metaphors in processing poetry, and all types of similes and metaphors can be recovered in the works of innovators with patience and research. In addition to these types of irony and permission can be carefully researched and found in the books of contemporary poetry. What is important is the texture and type of processing and narration of the contemporary poet from the form of fantasy. Nimai poets have a new attitude towards the world, nature, and cultural and social issues, and they use rhetorical elements in their poetry in a special way, and each of them has a special style. This research is dedicated to the use of imaginary images in contemporary poetry, and in this regard, the author has studied the poetry notebooks of most modernists and Nimai poets and has recovered beautiful and charming examples of similes, metaphors, irony, and permission. Metaphor, majaz, irony, crafts.

Chapter One

Research generalities

1-1 Introduction:

One ??of the literary sciences is the science of expression, which talks about the four forms of imagination, namely: simile, metaphor, irony and majaz. Expressing the problem of a single meaning in different ways is provided that the differences in those ways (different ways of speaking) are based on imagination, that is, the words and expressions are imaginatively different from each other (have clarity and subtlety). For example, instead of her face, we can say: her face is beautiful, we can say: her face is like the moon or it is a flower. Ward in Arabic is the same as flower, and from the point of view of imagination (image and painting), there is no difference between them. Also, if we say instead of "He is generous", we have not entered the field of expression, because we have substituted words with the same meaning instead of each other. However, if we say in the same sense: He is open-handed, or his house is open, or he is like a cloud, or (as the Arabs say in traditional books) "Katheer al-Rammad", we are considered an expression, because these expressions are different from each other in terms of clarity and secrecy in meaning, or more or less in the amount of imagination and diversity in image creation and painting. The science of expression is realized in the field of the implication of guarantee and obligation, and it usually has nothing to do with the implication of using the word in its conventional meaning. (Shamisa, 1381: 12)

In the world of literature, the same meanings are expressed in different directions and in different meanings, of course, with the condition of imagination. That is, the writer expresses a meaning or concept in different and imaginative ways. And the basis of expressing this meaning is in different and imaginative ways.

For example, we quote a verse from Ferdowsi that Ferdowsi wrote in complaining about old age at the beginning of one of the stories:

The black mountain was filled with snow. rtl;">that white hair and black hair are meant by snow and mountains, and "army" is meant by body parts, and "head" is meant by the king.

The science of expression teaches how to recover and understand the meaning of poets from words, combinations and phrases that are not used in the original meaning.In fact, the science of expression is the main way to enter the world of literature and benefit from literary works. Because this thesis is about images of fantasy in new poetry. It is appropriate to present one or two examples of poets in advance to enter into the topics of expression.

Farough says:

I go to the porch

and draw my fingers /    on the stretched skin of the night (Farough, 1372: 25)

that the poet compares the night to an animal or living thing that has skin in his mind and imagination, and he pulls his fingers full of skin at night, which is likened to a living thing. In another sense, Forgh used "animism" which means "animate imagination" and basically considered the night to be a living being.

Or Shamlou says:

A ripe twisting cloud / a lightning bolt and a mix of rain / passed through the thirsty plain quickly (Shamlou, 1380: 40)

that the poet has likened the rain to "a group riding a horse" in the fantasy world, and in the next stanza he has mentioned the galloping and galloping nature of this horse.

And also:

No! / This snow / is no longer a soldier to stand (Shamlo, 2010: 32)

The snow sits on our eyebrows and hair. who has likened the snow to a human being, whose "head" is allowed to think, and the snow has decided to rain all night or day, and it cannot stand or stop.

The poet in this part of his poem, with the help of his imagination, showed the snow and gave it a human character, and gave it the strength and will to do or not do something, and used a metaphor. In addition, instead of thoughts and imaginations, he used the word "head", which literally means "head".

The scope of poets in new poetry is much wider than in old poetry. In contemporary poetry, poets can more easily use the elements of imagination and create pure poems by taking advantage of simile, metaphor, and irony.

Note Remarkable and accurate in contemporary poetry is the use of new and fresh "similes" which is very important. And this has caused the contemporary poetry to have a new and special effect, and the poet, with better expression and more beautiful and surprising interpretations, solves his pronoun in the workshop of imagination with beautiful words, combinations and sentences and presents it as a new poem.

Another point is to pay attention to the existence of "kinship". Usually, when poets use a word or a combination or a phrase or sentence in another meaning and concept, they give a sign so that the poet's intention is understood and the reader understands what the poet means by a certain word or sentence. That is, the poet conveys with "Karina" that the meaning is not the real concept. This sign is called "kinship". For example, in a poem, Bahar said eagle instead of airplane.

But as a reference, he brought the word "iron" so that the reader can understand that the word is not used in its original meaning. (And on the other hand, help him to find out the meaning of the poet)

The iron eagle spreads his feathers, his city and his village are his prey (Shamisa, 1381: 16)

Since in the science of expression, the four forms of imagination, i.e. simile, metaphor, permission and irony, are discussed. In this thesis, contemporary poetry, that is Nimai's poetry, is examined from the point of view of the science of expression. A chapter is determined for each of the four forms of imagination, and in that chapter, that topic will be discussed in detail. As a rule, the first discussion will be about simile and the next topic will be about metaphor, and the next chapter will be about permission and finally about irony and we will present many examples of contemporary poetry for each of the four types of imaginary forms.