Document Type : scientific-research
Authors
1 Corresponding Author, Ph.D. Candidate of Persian Language and Literature, University of Kharazmi,
2 Associate Professor, Depatment of Persian Language and Literature, Faculty of Letters and Humanities, University of Kharazmi, Iran.
3 Assistant Professor, Depatment of Persian Language and Literature, Faculty of Letters and Humanities, University of Kharazmi, Iran.
Abstract
Nima Yushij brought the thousand-year-old Persian poetry into a new arena. Nima himself could not recognize the theoretical foundations of his poetry, and the first steps in introducing the theoretical and aesthetic foundations of free poetry to the literary community were taken by his students. Mahdi Akhavan-Sales is one of Nima's followers who, according to many researchers, has a prominent position in the field of introducing Nima's poetry and its characteristics. This article tries to find out what Akhavan found out about the basics of Nima's poetry and introduced it to the society by researching his opinions. For this purpose, it has been study the book of Bedātha vā Bādaye Nima Yushij (Iconoclasm and innovations of Nima Yushij) with "critical analysis" method. Critical analysis is a detailed examination and evaluation of the ideas or findings of a text, which is done by analyzing and validating its different parts. The correctness or incorrectness of the scientific ideas that the researchers put forward can only be determined by their critical evaluation. In the "Turning Point" chapter, Akhavan's insistence on giving Nima a pioneering position causes him to ignore Nima's previous efforts. In the chapter "Nima was a great man", he mentions reasons for Nima's many years of silence before the publication of "Phoenix", which are not correct and accurate. In the next article, Akhavan shows himself in the group that considers Nima's traditional poems to be weak. In the most famous article of his book, "A Kind of Meter in Today's Persian Poetry", despite his defense of Nima's suggested form, Akhavan made some mistakes and did not address the issue of the relationship between Meter and harmony. The chapter "harmony and composition" shows that Akhavan had a wrong understanding of Nima's "harmony" and "composition"; Moreover, the concepts of "objectivity" and "subjectivity" in Nima's theories have also been misunderstood. In his poetry, Nima did not seek to convey concepts through imagery, but wanted to bring life into the process of creating poetry. This is the reason why nature has a tangible presence in Nima's poetry, and this is another feature of Nima's poetry, which can be seen in Nima study of the Akhavan. As he states in the chapter "Step by step a poem by Nima", the main reason for the complexity of Nima's poetry is his special language, and thus he does not pay attention to the ambiguity in Nima's ideas and symbols in his poetry, which is one of the reasons for finding meaning in Nima's poems. In the end, turns out that in each chapter of this book, Akhavan introduced a characteristic of Nima's poetry, which is considered one of the basic characteristics and innovations of his poetry, however, Akhavan sometimes had a wrong perception of Nima's intended characteristic. Also, some aspects of Nima's poetry and theory have remained unexplored by him or he has not addressed them as much as he should. However, his articles, as one of the pioneers of Nima's introduction, have been a very important step in introducing Nima's poetry and its subtleties.
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