SHER HAMRUZGAR MA/
PERSIAN CONTEMPORARY POETRY
شعر همروزگار ما
; فرامرز سلیمانی
از سبک هندی تا موج سوم
در شعر و ادبیات پس از انقلاب ایران
AZ SABK HENDI TA MOJ SEVOM
SHER VA ADABYAT PAS AZ ENGHELAB IRAN/
FROM HENDI SCHOOL TO THIRD WAVE
POST IRANIAN REVOLUTION POETRY
AND LITERATURE
OVERVIEW
1-7
modified 2.17.2012
I SAID I ROUSED FIRE
SHE SAID I AM HANGING ON YOU LIKE WIND
I SAID IF MY TEARS SETTLED IT
SHE SAID ALAS I MINGLED WITH YOUR EARTH
- NIMA
WORDS HAVE THEIR DECISIONS TO MAKE FHEIR OWN IMAGES...-F.S.
PREFACEBOOK:
5.1. MOJ SEVOM/THIRD WAVE IS THE POETRY OF REVOLUTION,MOVEMENT,LANGUAGE,DIALOGUE & DISCOURSE,MUTATION & METAMORPHOSIS OF GENERATIONS IN POST NIMAI-POSTMODERN PERIOD.
FOR POETRY IS NOT REPEATING,IMMOBILITY,GUARDING TRADITION,MEMORY AND MEMORIZING,AS ALL THESE RETRO ARE LEFT BEHIND IN CLASSICAL AND TRADITIONAL BEHAVIOR OF POETS AND POTERY,IN THE PAST.
MOJ SEVOM/THIRD WAVE AS A RENAISSANCE AND NEW WAYS AND SCHOOLS ,MADE PERSIAN POETRY FIND A NEW SOUL AND FIND THE SOUL OF ITS PACE TO THE NEW ROAD AND LANDSCAPES.
THE REAL DANGER IS NOT IN ENDANGERING AND IN LITERARY AND CULTURAL ADVENTURES.
THE REAL DANGER IS IN REGRESSING,BEING RETROGRADE,RETROACTIVE,CONSERVATIVE ,LAID BACK AND STAYING AWAY FROM DANGEROUS PATHS.
IN the 1360'S/1980's,MOJ SEVOM ,IN AN ERA OF REGRESSIVE ACTS AND OCCUPATION OF PROGRESSIVE MEDIA BY CONSERVATIVES AND RETROACTIVES ,CALLED FOR A NEW LITERARY AND CULTURAL VOICE AND REMINDED THE FOLLOWERS OF FAILED IDEOLOGIES TO JOIN IN THE NEW PACE AND PATH OF MOJ SEVOM. SOME DID AND EVEN GATHERED NAMES IN A LONG LIST AND LOOKED FOR MANIFESTO OR SCROLLS TO SIGN,AND EVEN PUBLISHEHED ARTICLES THROUGH AVAILABLE LITERATURE,DOCTRINE AND DOCUMENTS,NOTES AND NOTEBOOKS,IN IRAN AND ABROAD.
SO MOJ SEVOM/THIRD WAVE ,LIKE NIMA'S AND NIMAI'S LITERARY AND CULTURAL REVOLUTION,AS WELL AS SABK HENDY,WAS CONSIDERED BY SOME LIKE ONE OF HEAD FOUNTAINS AND LANDSCAPES OF CONTEMPORARY PERSIAN POETRY,influencincing all flows of future.
THIS DISCUSSION EXPANDED FURTHERMORE WITH DISCOURSE OF REVOLUTION AND WAR AND RAN A NEW LIFE IN YOUNG BUDDINGS AND SOULS .
MOJ SEVOM/THIRD WAVE INFUSED A NEW LIFE IN SOME OF THE EARLIER MOVEMENTS AND THEIR THEN SILENT PIONEERS OR FOLLOWERS, SUCH AS NEW WAVE/NOUVELLE VAGUE/MOJ NOW,SHER HAJM OR ESPACEMENTALISM,MOJ NAB/PURE WAVE,AND LATER ON IN MOJ MOHAJERAT/EMIGRATION WAVE IN DIASPORA.IT WAS ALSO AN INSPIRATION FOR THOUGHTS AND THEORIES,STILL IN PROCESS.
WE EXTENDED THIS DISCOURSE TO EMIGRATION MEDIA AND IRANIAN COMMUNITIES ABROAD ,IN FORM OF PRINT ,ON THE AIR ,BY RADIO AND TELEVISIONS AND DIGITALLY ,AND TRIED TO SCATTER,PUBLISH AND RE PRINT SOME OF THE EARLIER DISCUSSIONS THROUGH SPEECHES,ESSAYS,ARTICLES AND OR INTERVIEWS,OTHER THAN POETRY READINGS.ALTHOUGH ALL THESE ARE PLANNED TO BE COLLECTED AGAIN IN A BOOK OR TWO,TO COME.
THESE DOCUMENTS THROUGH ARCHIVES OF MOJ SEVOM GRADUALLY WILL APPEAR HERE ON THIS SITE ,IN ENGLISH,FARSI SWEDISH AND OR ANY OTHER LANGUAGES,WHEN AVAILABLE.
*
IN A MULTILATERAL DIALOGUE OF THESE YEARS,IT SEEMS THAT CONTEMPORARY PERSIAN POETRY AND LITERATURE IS LOOKING FOR SACRIFICE,FOR A NEW REVOLUTION IS UNDERWAY.THIS LITERARY REVOLUTION DOES NOT TOTALLY RECOGNIZE THE PREVIOUS LEADERS,AND STILL WON'T KNOW A NEW ONE.AND IT ONLY DOES FUNCTION AS A GROUP EXPERIENCE..BUT IN ANYWAYS IT HAS MADE A NEW LANGUAGE,IMAGERY AND FORM TO HAPPEN.AND AGAINST ODDS,PRO AND CON,IT GREW TO DEVELOP A NEW ERA WITH THIS MOVEMENT.THIS NEW ERA REFLECTS IN POETRY AND FICTION.THE FORMER AS A MORE INDIVIDUAL AND PRIVATE ART,AND THE LATTER AS A GENERAL EXPRESSION AND INVITATION.
TALKING ABOUT THIS ERA,IN 1360'S/1980'S IS MORE A METAPHOR,BECAUSE WHAT WE ARE DRAWING IN THIS DISCOURSE IS CALLED 1370'S-1380'S/1990'S-2000 TOO.WE ARE TALKING OF HERITAGE TO HAND OUT THE PARADIGMS OF FUTURE,WITHOUT TRYING TO BE A FORTUNE TELLER,BECAUSE THESE ARE MORE OF A PRE-KNOWLEGE,RATHER THAN BEING PROPHETIC.IT IS AN EXPRESSION TO BRIDGE TO FUTURE THROUGH CREATION OF NEW REALITIES.THIS IS THE MAIN FUNCTION OF CONTEMPORARY POETRY,AS WELL.
WE ARE DRAWING THE lines on DECADE OF 1360 BUT WE ARE INDEED WRITING ON FUTURE.THE CONTEMPORARY PERSIAN POETRY IN POST REVOLUTION ERA AND PARTICULARLY WITH EIGHT YEAR IRAN-IRAQ WAR HAS COME A LONG WAY,BUT STILL NOT WITH A GOOD EXPOSURE AND REPRESENTATION ON THE INTERNATIONAL SCENE.BUT THE RESUMEE OF THESE YEARS CAN NOT BE OVERLOOKES AND ESPECIALLY THE PART OF IT CREATED IN A FREE WORLD FOLLOWING MASS IMMIGRATION OF IRANIANS to foreign lands.
*
FROM 1357/1958-59 THERE WAS A FEELING OF CHANGE,BOTH IN FORM OF CREATIVITY AND AGITATION,IN PERSIAN POETRY.POETS STARTED AGAIN TO WALK IN THE STREETS,SHOULDER TO SHOULDER WITH PEOPLE.WITH POETRY BOOKS IN EVERYBODY'S HAND AND NAMES OF POETS ON THEIR TONGUES,WITH ANYONE IN ANY ALLEYS,QUARTERS AND BOROUGHS.
UNTIL 1360/1981 THERE WERE 150 BOOKS OF POETRY OR ABOUT POETRY PUBLISHED ALONG WITH ANTHOLOGIES AND WORKS OF LITERARY CRITICISMS,AND BY THIS A NEW TERM WAS COINED AS :POETRY OF REVOLUTION. A KIND OF POETRY TO PIONEER AND INCITE THE WAVE OF REVOLUTION,THE POETRY OF DAYS OF REVOLUTION,AND THE POETRY ON REVOLUTION IN THE DAYS AFTER
...AND FOR THESE THERE WERE NEW DENAMINATIONS AS:
SHER MOTEAHED,POETRY ENGAGE,ENGAGED POETRY
SHER MASUL,RESPONSIBLE POETRY
SHER CENSURE,CENSURED POETRY
SHER EJTEMAI,SOCIAL POETRY
SHER SIASI,POLITICAL POETRY
SHER EKHTENAGH,POETRY OF SUPPRESSION
SHER BARANDAZI,POETRY OF AGITATION
SHER RUYARUI,POETRY OF AGAINST
SHER MOGHAVEMAT,POETRY OF RESISTANCE
SHER PAYDARI,POETRY OF DEFIANCE
SHER ZIRZAMINI,UNDERGROUND POETRY
SHER ZIRAXI,photocopy poetry
sher setiz v chalesh,sher shohadat va govahi
AND ...
THESE POEMS WERE WRITTEN IN DIRECT AND INDIRECT RELATIONSHIP TO IRANIAN REVOLUTION AND STILL ARE WRITTEN AND EXPANDED TO SHER MOHAJERAT,POETRY OF EMIGRATION,AS A NEW ENTITY ,THAT WE STARTED WRITING ABOUT AND REVIEWING IT IN 1360'S/1980'S IRAN ,IN DONYAYE SOKHAN MONTHLY,WITH ESSAYS ON EMIGRATION JOURNALISM IN ARMAN MONTHLY,AND CONTINUED TO WRITE ABOUT THEM IN THE YOUNG MEDIA OF DIASPORA FOUNDED IN 1990'S, LIKE SHAHRVAND,SIMORGH,BARRESI KETAB,ROYA,ARASH AFTAB...,ESPECIALLY IN U.S;CANADA AND EUROPE.AND STIIL CONTINUING IT...
I CALLED YOUR NAME LOUD نامت را بلند خواندم
TO WATCH THE WORDS DREAM ببین که واژه ها به رویایند
YOUR NAME IN THE WORDS DREAM IS TO WATCH نام تو را به رویای واژه ها می بینی
-F.SOLEIMANI
*
THE POETRY OF REVOLUTION OF 57 STARTED FROM THE POETRY OF CONSTITUTIONAL REVOLUTION.FROM POETRY OF POETS WHO REVIEWED NEW SOCIAL AND CULTURAL IDEAS THROUGH A TRADITIONAL FORM AND LANGUAGE.THESE POETS SEEM TO HAVE THE IDEA OF DOCUMENTING EVENTS AND PASSION FOR FREEDOM AND EQUALITY ,THROUGH PEOPLES DISCONTENTS AND CHALLENGES .
THESE COULD BE FOLLOWED IN POEMS OF ADIBOLMAMALEK FARAHANI,BAHAR,AREF GHAZVINI,LAHUTI,ESHGHI,FARROKHI YAZDI,PARVIN,IRAJ,DEHKHODA,NASSIM SHOMAL,SHAMS KASMAI,FAKHR ADEL AND SO ON...SOME OF THESE POETS EVEN USED A NEW FORM FOR EXPRESSING NEW CONCEPTS AND ADDED THESE TO PERSIAN POETRY TREASURES.
THE LITERARY COUP D'ETAT OF PRE CONSTITUTIONAL REVOLUTION
PERIOD,SO CALLED LITERARY REGRESS,FORCED SABK HENDY OR INDI SHOOL TO OBLIVION FOR A WHILE AND INSTEAD BROUGHT REGRESSING TO SILENCE .AT THAT TIME INTELLECTUALS SUCH AS ABDOLRAHIM TALEBOF TABRIZI STEPPED IN FOR IRANIAN AWAKENING,THROUGH ALPHABET OF FREEDOM,THE TITLE GIVEN TO THEIR WORKS.
TALEBOF,b.1250 H.Q.,LIKE MALKAM KHAN AND AKHUNDZADEH KERMANI WAS A THINKER AND CRITIC WHO PUBLISHED KETAB AHMAD OR SAFINEH TALEBI,AND MASSALEKALMOHSENIN.HE WAS REPRESENTING A GENERATION WHO OPENED THEIR EYES AND EARS IN EUROPE AND ITS CULTURAL AND POLITICAL ENVIRONMENT,AS WELL AS SCIENCE AND POLITICS.THESE COULD BE A BACKDROP FOR PERSIAN NEW POETRY.BY A PERIODICAL POETRY OF NEW REALITIES SUCH AS FREEDOM AND DEMOCRACY.
THERE WERE NEWSPAPERS AT THIS TIME PUBLISHED IN IRAN OR AROUND THE WORLD IN FARSI ,WITH THE LANDSCAPES AND IDEAS OF AWAKENING AND INTELLECTUALISM SUCH AS :
KAGHAZ AKHBAR,DURING MOHAMMAD SHAH
VAGHAYE'A ETEFAGHIEH,DURING NASSEREDDIN SHAH
AKHTAR OF CONSTANTINOPOLE
GHANUN OF LONDON
HABLOLMATIN OF CALCUTTA
SORAYA OF CAIRO
SURESRAFIL OF TEHRAN.
ALSO IN 1233 KHORSHIDI,DAROLFONUN = UNIVERSITY FOUNDED BY AMIR KABIR,A POPULAR PRIME MINISTER OF NASSEREDDIN SHAH GHAJAR,AND THEN DEATH OF NASSEREDDIN SHAH HASTENED THE WAVE OF FREEDOM TO START A REVOLUTION.
CONSTITUTIONAL REVOLUTION ,1285 KH/1906 IS CONSIDERED LIKE A RENAISSANCE IN POETRY AND LITERATURE OF IRAN.THE POETRY OF CONSTITUTIONAL PERIOD IS POETRY OF NEW SOCIAL PHENOMENON WITH TRADITIONAL FORM AND LANGUAGE.THERE WERE SIMPLE RHYME AND RHYTHM TAKEN TO REVIVE OLDER FORMS ACCOMPANIED BY MUSIC AND SONGS.THE POETS CAME OUT OF COURT TO STREETS AND ALLEYS WITH SIMPLE LANGUAGE AND FOLKSY FORMS TO EXPRESS THEIR LOVE AND AFFECTIONS TOWARDS PEOPLE AND THEIER FREEDOM,PEASANT AND WORKERS,VEIL AND FREEDOM OF WOMEN WERE TOLD THROUGH POETRY AND IN NEWSPAPERS.THERE WERE SONGS WRITTEN AND SUNG BY AREF,ESHGHI,BAHAR AND ESPECIALLY PERFORMED BY GHAMAR,THE SOUND OF FREEDOM,MEANINGS.NATIONALISM,CONSTITUTION AN DEMOCRACY,
TO BRING THE PEOPLE CLOSE TO THE PEOPLE.
POETRY EXITED FROM COURTS AND ARRIVED TO PEOPLE'S COURT.AND THAT IS WHY IT BECAME MORE OF A REPORT AND NEWSPAPEREE,APHORISMS,MORAL ANECDOTES AND SO ON,AND STILL A WAY TO THINK OF MODERN.
OF THE CONCEPTS WE MENTIONED OR NOT,IT COULD BE SAID:
NATIONALISM,XENOPHOBIA,FIGHT AGAINST DESPOTISM,FREEDOM AND ESPECIALLY FREEDOM OF WOMEN,CHALLENGING SUPERSTITION,HOME GADGETS SUCH AS SEWING MACHINE AND OTHER NEWSPAPERIEES MATERIALS TO ELIMINATE THE OLD CLICHE AND WALKING TO THE LAND OF AWAKENING.THERE WERE NOTES GOING WITH NEW POEMS AND NEW CAPCITIES TO SLIDE TOWARDS REVOLUTION AND PARTICULARLY NIMAI REVOLUTION ON SHER NOW OR MODERN POETRY OF NIMA ,TO DENY THE COUP D'ETAT OF LITERARY REGRESS OF GHAJAR PERIOD .
SEE ALSO: MOJ BOOK,ON THESE INDEX & SUBJECTS.
5.2.
POETS OF REVOLUTION IN THE ERA OF FREEDOM AND AWAKENING,WERE POETS OF REALM OF POLITICS.WE CAN LOOK AT SOME CHARACTERISTICS OF THEIR POETRY.
1.MOST OF THESE POETS WERE JOURNALIST,AS WELL.
FARROKHI YAZDI PUBLISHED: TUFAN/STORM(1300/1921-1307/19280),SETAREH SHARGH/STAR OF THE EAST,GHYAM/REVOLT,PEYKAR/WAR,TALIEH/VANGARD AND AYINEH AFKAR/MIRROR OF THOUGHT.
DEHKHODA: SURESRAFIL/ AND SORUSH
LAHUTI: PARS
SEYED ASHRAF:NASSIM SHOMAL,AND THAT WAS HIS PEN NAME.
BAHAR: DANESHKADEH AND NOWBAHAR
ADIBOLMAMALEK
AFRASHTEH: CHELENGAR
MIRZADEH ESHGHI:
RUZNAMEH GHARB BISTOM/NEWSPAPER OF TWENTIETH CENTURY,WHERE A PART OF NIMA'S AFSANEH PUBLISHED FOR THE FIRST TIME.
2.THE LANGUAGE OF CONSTITUTIONAL AND PRENIMAI POETS WAS MORE OF REPORTING NATURE FORMED THROUGH THE POETS JOURNALISTIC EXPERIENCE.IT EVEN INFLUENCED IRAJ,AS A NON JOURNALIST POET.
3.SOME OF THESE POETS SPENT TIME IN PRISON AND LOST EITHER THEIR LIFE OF THEIR ASSETS.
4.SONG WRITING BY THESE POETS WAS A PART OF POPULISM.AREF AND BAHAR WROTE POPULAR SONGS OF THIS TIME,SOME PERFORMED BY GHAMAROLMOLUK VAZIRI,SIMPLY KNOWN AS GHAMAR,A HUMANIST PIONEER WOMEN SINGER,WHO WAS A SOCIAL ACTIVIST ,ESPECILLY FOR WOMEN CAUSE.
SOME OF THESE POETS WERE IN LOW SOCIO-ECONOMIC AND WORKING CLASS.FARROKHI WORKED IN BAKERY AND TEXTILE FACTORY...
IN THIS INTRODUCTION,WE ARE GOING TO SAY SOME WORDS ABOUT THESE POETS .MORE REVIEW OF THEIR WORKS WILL BE PROVIDED PARTICULRLY UNDER THE TITLE:
PERSIAN MAJOR POETS/FINAL SELECTION.
iraj ایرج
~IRAJ MIRZA (1253/1874-1304/1925)WAS A GHAJAR PRINCE WITH TITLE OF FAKHROSHARA,WHO REFUSED TO LIVE IN ROYAL COURT AND WROTE POEMS ON CORRUPTION,SUPERSTITION,FREEDOM OF WOMEN,.. USING ORAL LITERATURE AND FOLK CULTURE.ALTHOUGH IRAJ CONSIDERED AN INNOVATOR BUT HE DID NOT TAKE LITERARY REVOLUTION SO SEIOUSLYAN FOOLED AROUND WITH HIS CONTEMPORARY.
BUT STILL,IRAJ WROTE SIMPLE AND ELOQUENT FOLKLORIC POETRY IN SATIRIC LANGUAGE AND PAID ATTENTION TO SOCIAL ISSUES.IRAJ FAMILIARIZED HIMSELF WITH EUROPEAN LITERATURE AND HIS LONG POEM,ZOHREH AND MANUCHEHR IS AN ADAPTATION OF SHAKESPEARE'S VENUS AND ADONIS.
1925.
~NASSIM SHOMAL نسیم شمال ,SEYED ASHRAFEDIN GUILANI(1287 H.Q.-1352),
THE POPULAR POET OF CONSTITION ERA PROFITED FROM SATIRE,LIKE DEHKHODA and Iraj,AND PUBLISHED HIS POETRY IN MOLLANASREDIN NEWSPAPER OF AZARBAYEJAN.TAHERZADEH SABER TOO WAS PUBLISHING HIS WORKS ,WRITTEN IN TURKISH,IN THE SAME PAPER FOR AWAKENING OF IRANIAN.SOME CRITICS BELIEVE THAT SOME OF NASSIM SHOMAL'S POEMS COULD BE A TRANSLATION OF SABER'S WORK AND LATER PUBLISHED IN NASSIM SHOMAL PAPER,IN RASHT AND TEHRAN..NIMA IN ONE OF HIS LETTERS MENTIONS THAT:NATIONALIST POEMS OF REVOLUTION TIME WAS AN IMITATION OF SABER BAK,THE FAMOUS POET OF TURK.
~ESHGHI عشقی WAS A BRAVE POET AND JOURNALIST WHO LOST HIS LIFE FOR FREEDOM OF EXPRESSION AT AGE THIRTY.HE PUBLISHED A PORTION OF NIMA;S LONG POEM,AFSANEH,IN HIS NEWSPAPER,GHARN BISTOMAND ADOPTED IT AS AN INFLUENCE IN HIS WORK.
~AREF عارف ,Mirza Abolghasem Aref Ghazvini(1258/1879,Ghazvin,Rudbar- 1 bahman 1312/21 january 1934,hamedan )
Aref was a poet ,lyricist(tasnif and taraneh) and musician.
The popular singer and sog writer,mixed his poetry of jest with music and performed them as symbols of personal and social sorrows
He contributed to constitutional revolution of Iran in his youth at age 23 ,and later fell in love with Princess Tajolsaltaneh (Taj Saltaneh)Ghajar,and wrote his famous poem for her:
SHEKNJ-E TORREH YE ZOLFAT SHEKAN SHEKAN SHODEH AST...
Taj Saltaneh was one of the first persian women who took of her veil,as a symbol of women's freedom.
Later this appeared az a universal move during Reza Shah in 1314/1935
Aref lived in Ghazvin,Rasht,Tehran,Istanbul,Turkey,and finally settled in Hamedan ,where he died at age 54
~ لاهوتی ABOLGHASSEM LAHUTI (1277H.Q.-1336/1957)WAS ONE OF REVOLUTIOARIES WHO FOUGHT ON THE SIDE OF FREEDOM FIGHTERS.HE PROBABLY WAS THE FIRST ONE WHO WROTE FREE POEMSAND TALKED ABOUT WORKERS AAND FARMERS.HE USED THE PRE ISLAMIC SYLLABIC FORM OF PERSIAN POETRY,sher hejai, TO WRITE HIS REVOLUTIONARY POEMS AND WENT TO EXILE IN DOSHANBEH,TAJIKESTAN AFTER FAILURE OF AZARBAYEJAN REVOLT.LAHUTI CONTINUED HIS POLITICAL ACTIVITIES IN TAJIKESTAN AND WAS MINISTER OF CULTURE THERE FOR A WHILE.
SEE HIS POEM: MIHAN EY MIHAN
~ ادیب ا لماملک فراهانی ADIBOLMAMALEK FARAHANI(1277 H.Q.-1335 ALWAYS WROTE POEMS IN FORM OF ODE.HE PUBLISHED THE FIRST SO CALLED"NEWSPAPER POEMS" FOR SOCIAL AND NATIONALIST CAUSE.
~ بهار BAHAR ( -1330/1951)WAS A CLASSICAL POET WHO PUBLISHED HIS IDEAS AND POETRY,AS WELL AS POETRY OF HIS PEERS IN DANESHKADEH MAGAZINE.THAT IS WHERE HE WAS INVOLVED IN A PEN ARGUMENT WITH INNOVTORS LIKE TAGHI RAFAT OF TABRIZ SCHOOL.
HE THEN LEANED TOWARDS A SORT OF CONSERVATIVE INNOVATION WHICH DRAWS KHORASSANI POETRY TO THE FINAL POINT,AL THOUGH LATER FOLLOWED BY AKHAVAN AND HIS STUDENTS.
LIKE LAHUTI,BAHAR INSISTED ON INTEGRATIONG PRE ISLAMIC SYLLABIC OR
IAMBIC(?) FORM WITH CONVENTIONAL PROSODY,PARTICULARLY IN HIS SONGS.THE SONGS THAT WERE SO POPULAR ,ESPECIALLY MORGH SAHAR/BIRD OF DAWN WITH MUSIC COMPOSED BY MORTEZA NEIDAVUD AND PERFORMED FIRST BY BY MOLUK ZARRABI AND THEN BY MAGICAL VOICE OF GHAMAR,AND LATELY BY SHAJARIAN,AS WELL AS GISU SHAKERI and others.
(see: www.mojsevom.blogspot.com/morghsahar ,bird of dawn/farsi&english)
~ دهخدا ALI AKBAR DEHKHODA(1257/1878-1332/1953)WAS ANOTHER BRAVE POET AND JOURNALIST WHO IS ALSO CONSIDERED A SATIRIST WITH A SIMPLE,POPULAR STYLE IN PROSE.DEHKHODA WITH COOPERATION OF JAHANGIR SURESRAFIL FOUNDED SURESRAFIL NEWSPAPER AT THE DAWN OF CONSTITUTIONAL REVOLUTION AND SIGNED DAKHO ANDER HIS CRITICAL and satirical PIECES,CHARAND PARAND/nonsenses.
AFTAR SURESRAFIL WAS KILLED in revolution,DEHKHODA ESTABLISHED SORUSH NEWSPAPER IN ISTANBUL,.HE SPENT HIS FINAL YEARS TO RESEARCH AND EDIT,LOGHATNAMEH, AN ENCYCLOPEDIC PERSIAN DICTIONARY, IN 30 SOME VOLUMES.MOHAMMAD MOIN IN HIS INTRODUCTION TO DEHKHODA'S COLLECTED POEMS BELIEVES "EY MORGH SAHAR" OF DEHKHODA IS THE FIRST MODERN WORK IN CONTEMPORARY PERSIAN POETRY. HE PROBABLY MAKES THIS DECISION ON THE BASIS OF FORM,ALTHOUGH A REVIVAL OF CLASSICAL FORM OF MOSSAMAT,AND IN ANY WAYS ITS LANGUAGE AND CONTENTS DOES NOT SUGGEST AN INNOVATION.
~ پروین PARVIN ETESSAMI(1285/1906-1320/1941)
WROTE HER POEMS ON POVERTY,INEQUALITY AND SUPPRESSION,IN A METAPHORICAL LAFONTAIN TYPE ANIMAL TALES.SHE WAS SHOWING BITTER REALITIES OF THE SOCIETY SHE LIVED AND PRESCRIBED HER MODEL OF MORALITY.
STILL PARVIN DID NOT PAY ATTENTION TO NIMA'S REVOLUTION IN MODERN POETRY.
HER DISTRACTORS BELIEVE THESE WORKS ARE NOT PARVIN'S OWN,EVEN THOUGH THIS COULD BE A PATRIARCHAL OPINION THA PARVIN WAS ALWAYS COMPLAINING OF.
THIS VOICE OF FREEDOM COULD BE HEARD BY OTHER WOMAN POETS OF THAT TIME SUCH AS NIMTAJ SALMASSI,FAKHR ADEL KHALATBARI,JALEH ALAMTAJ GHAEMMAGHAMI,SORUR MAHKAMEH MOHASSESS,SHAMS KASMAI AND... WHO ARE COMPLAINIG OF RESTRICTION,SUPPRESSION AND INEQUALITY IN "WOMEN PRISON" AND COULD BE KNOWN FOREMOTHERS OF CONTEMPORARY WOMEN POETY.THE ONES WHO LIKE PARVIN GAVE WAY TO OTHER POETS SUCH AS FORUGH AND SIMIN,to influence poets to come.
See More:
also: Iranian Women Poets,on our various sites.
*
~ تقی رفعت TAGHI RAFAT(1268/1889-1299/1920), MANAGING EDITOR OF TAJADDOD NEWSPAPER OF TABRIZ,BY CHOSING THIS NAME CAME TO DEFEND MODERNITY IN PERSIAN POETRY AND LITERATURE.THAT IS HOW RAFAT STARTED TO GET INVOLVED IN POLEMIC WITH BAHAR IN HIS PAPER.TAGHI RAFAT LEFT HIS MODERN IDEAS AND POEMS ,AND LEFT THIS WORLD IN A POLITICALLY INSPIRED SUICIDE.
~ جعفر خامنه یی JAFAR KHAMENI(1266/1887-1299/1920)WAS THE OTHER POET WHO STRTED WRITING POEMS SIMILAR TO NIMA'S CONTINUOUS DOBEITI.
TAGHI RAFAT AND JAFAR KHAMENI WITH SHAMS KASMAI(1262/1883-1340/1961) ALL EXPERINCED IN THE NEW POETRY FRONT OF TABRIZ AND PUBLISH THEIR POEMS IN AZADISTAN .SHAMS KASMAI ,AS MENTIONED WAS AN ADVOCATE OF WOMEN's FREEDOM TOO.
~ یحیی دولت آبادی YAHYA DOLATABADI (1281/1902-1318/1939)WAS ANOTHER POET OF THIS TIME WHO STARTED SOME EXPERIENCES WITH RYTHM AND RHME SIMILAR TO WHAT DEHKHODA EXPERIENCED AND this has been MENTIONED BY MOIN IN an introduction to HIS DIVAN.
ON MAKTAB TABRIZ OR TABRIZ SCHOOL ,A SEPARATE RESEARCH SHOULD BE DONE,BUT OVER ALL SOME PRINCIPLE COULD BE GATHERED HERE AS its CHARACHTERISTICS.
1.PASION FOR FREEDOM AND NATIONALISM IN THEIR POETRY WHILE TRADITIONAL POETS STILL WERE INVOLVED WITH REPEATED OLD CLICHE OF LOVE AND LOVERS.
2.A GOOD RELATIONSHIP AND CONTACT WITH EUROPEAN CULTURE AND PARTICULARLY FRENCH LITERATURE,AS WELL AS POLITICAL ideas and THOUGHTS.
3.A TENDENCY TOWARDS LEFTAND DIRECT AND INDIRECT EXPOSURE TO RUSSIAN REVOLUTION.
4.LITERARY GATHERINGS WITH OUTCOME OF PUBLICATIONS SUCH AS TAJADDOD AND AZADISTAN.
5.SOME OF THESE POETS FELL IN LITERARY-SOCIAL-POLITICAL DEADLOCK AND LOST THEIR LIFE EARLY ON.
TAGHI RAFAT KILLED HIMSELF IN GHEZEL DIZAJ VILLAGE AFTER MOHAMMAD KHIABANI WAS DEFEATED.IN THE SAME YEAR JAFAR KHAMENI KILLED HIMSELF IN TABRIZ.AND YEARS LATER HABIB SAHER,A FOLLOWER OF TAGHI RAFAT AND RAFAT SCHOOL,WHO WAS WORKING WITH YAHYA ARIANPUR lost his life IN SUICIDE.
*~ تندر کیا TONDAR KIA AND HIS POEMS,CALLED SHAHIN WAS A RADICAL MODERNIST WHO LACKED THE HUMANIST VIEW OF NIMA AND HIS INNOVATIVE IDEAS DID NOT ATTRACT AUDIENCE,BUT HE CONTINUED TO DISRUPT AND DISTRUSCT THE OLDER COLUNS OF POETRY.
~ ذبیح بهروز ZABIH BEHRUZ(1269/1890-1351/1972)WROTE PLAYS IN POEM.HIS WORKS,SHAH OF IRAN AND LADY OF ARMENIA(1311/1932) AND DAR RAH MEHR,AS WITH TONDAR KIA'S WORKS, WERE INFLUENCED BY EURPEAN AND ANGLO SAXON LITERATURE,HE ALSO WROTE GOOD SATIRIC PIECES.
MAHMAT MOGHDAM OR MOHAMMAD MOGHADDAM(1278/1999- )IN RAZ NIMEH SHAB USED A SORT OF RYTHMIC LINE,CLOSE TO WHAT LATER WAS CONSIDERED SHER NOW/MODERN POETRY.THESE DISCOURSIVE TALK LIKE POEMS WERE INFLUENCED BY AMERICAN POET WALT WITHMANAND A MIXTURE OF IRANIAN HERITAGE INFLUENCED BY HIS TIME SPEND FOR HIGHER EDUCATION IN U.S..
*THERE WERE CLASSICAL AND TRADITIONAL POETS OF LITERARY GATHERING WHO CONTINUED TO WRITE AND PUBLISH THEIR POEMS AND AT TIME INSPIRED BY CHANGES IN MODERN SOCITY AND CULTURAL RELATIONS OF NATIONS AND CULTURE.
OF CLASSICAL POETS,SHAHRIAR WAS FOLLOWING HAFEZ'POETRY,RAHI MOAYERI WAS INFLUENCED BY SA'ADI,AMIRI FIRUZKUHI CONTINUED HENDI SHOOL AND STYLE OF SAEB,BAHAR WAS MASTERING IN ODES,MIRZA HABIB KHORASSANI LIKE ADIB NEISHABURI,ESHGHI,BAHAR ,SHAHRIAR AND OTHERS EXPERINCED THE NEW FORM OF NIMA'S AFSANEH.NEZAM VAFA WHO WAS NIMA'S TEACHER AND A GOOD STARTING POINT FOR NIMA'S INNOVATION.AND THAT IS WHY AFSANEH WAS DEDICATED TO HIM.PARVIN AND BAHAR WERE CLOSE TO NIMA BUT EACH WENT THEI OWN WAY,ALTHOUGH BAHAR WROTE HIS POEM,ONE NIGHT,INSPIRED BY NIMA'S O NIGHT.THEY ALL WERE INFLUENCED BY SOCIAL ISSUES AS WELL,BUT OUT OF THESE THREE ,BAHAR FOLLOWED HIS WAY THROUGH POLITICAL PARTIES TOWARS POWER AND BECAME SECRETARY OF SHAH'S DEPARTMENT OF EDUCATION .
OF ALL THE UPS AND DOWNS IN SOCIAL AND CULTURAL LIFE OF THESE POETS,ALL REMAINED WAS THEIR OEUVRES.
THE OEUVRES SO DEAR FOR FUTURE GENERATIONS AND SYMBOLS OF CHANGE AND INNOVATION.INNOVATION THAT WAS THE EVER LASTING MENTAL TICKLING OF NIMA,FATHER AND FOUNDER OF PERSIAN MODERN POETRY.
5.3.
نیما یوشیج NIMA YUSHIJ (127D/1895 - DAY 1338/1960)IS CONSIDERED THE FATHER AND FOUNDER OF CONTEMPORARY PERSIAN POETRY.
NIMA WAS CONDUCTOR OF AN ORCHESTRA WHO EMPHATICALLY VALUED THE NEW SIGHT,NEW PERCEPTION,NEW IMAGE AND EXPRESSION,AND A NEW PERFORMANCE AND TOOK ALL THESE PARADIGMS TO FULL WORKS AND CONSTANT CREATIVITY.NIMA ALSO INTRODUCED STRUCTURE OF POETRY,AS A NEW ELEMENT AND WITH THAT FOUNDED NIMAISM AS A NEW SCHOOL OF LITERARY AND SOCIAL THOUGHTS.
INSTEAD OF JUST ANOTHER OLD DIVAN,NIMA PRESENTED HIS POEMS FOR A NEW ONE.
HE WROTE HIS AFSANEH WITH THIS CHANGE AND INNOVATION IN MIND."NIMA'S AFSANEH ,1300/1921WAS A REVOLUTIONARY MOVE TO REMOVE TRADITIONAL LOOK AND GLASSES AND REPLACE IT WITH A NEW LOOK AT LIFE AND NATURE.THIS WAS THE FIRST LESSON TO GET REVOLUTIONARY POETRY ON THE MOVE.A MOVE TO BE NEW AND REVOLUTIONARY BY ITS OWN RIGHT."
THE INNOVATIVE NIMA SHOULD APPEAR DURING CONSTITUTIONAL REVOLUTION TO IMPRESS AND INFLUENCE THE POETS OF THAT ERA BY HIS FREE AND NATURAL TYPE OF DIALOGUE AS POETRY,BUT THIS TOOK ABOUT 15 YEARS UNTIL NIMA AND NIMAI POETRY WAS BORN ,AND STILL IT WAS NOT WANTED AND ACCEPTED BY ADDICTED EYES AND EARS.
NIMA BELIEVED IN FREE VERSE AND LANGUAGE TO MAKE HIS "AFSANEH"LIKE A PLAY,WITHSPECIFIC MEANING FOR THINGS AND THEIR NATURE.HE THOUGHT EXPLAINING THE REALITIES OF NATURE IS THE HIGHEST ART FOR POETS.
YEARS LATER,NIMA WROTE TWO OTHER POEMS : GOGHNUS/PHOENIX,1316/1937,AND GHORAB/ RAVEN ,1317/1938 IN THOSE POEMS ,NIMA AGAIN WENT ON REVOLT AGAINST RULES AND REGULATIONS OF A THOUSAND YEARS OLD TO CHANGE THE FORM OF PERSIAN POETRY AND BRING IT TO A NEW CHAPTER.
NIMA CHANGED THE RYTHM,TO PRESENT A NEW ONE FOR NIMAI PROSODY.HE WAS NOT ALWAYS FAITHFUL TO THE RING OF RHYMEAND TOOK IT TO THE END OF STANZA.HIS CONCEPT OF NATURE,AND HIS LOOK TO HUMAN AND BEING ALSO WAS NEW .HIS SOCIAL IDEAS CONCIEVED A LITERARY AND SOCIAL REVOLUTION AND BROUGHT ABOUT NIMAI AND POST NIMAI POETRY WITH AN UNPRECEDENTED VISION.
NIMA'S LOOK AT THE WORLD,BY IMAGES EXPRESSED IN A NEW LANGUAGE WITH ITS JARGON,DIFFERENT THAN THE CONVENTIONAL LANGUAGE AND USING SYMBOLS AND ALLEGORIES.
NIMA AFTER ALL DID NOT BELIEVE IN HIS FOLLOWERS,BUT HIS LITERARY AN SOCIAL REVOLUTION,AS WELL AS HIS POETRY EXPANDED THROUGH THEIR WORKS.
image from: google books
THE FIRST CONGRESS OF IRANIAN WRITERS IN 1325/1946 WITH MORE THAN 100 WRITERS,POETS AND RESEARCHERS SUCH AS NIMA YUSHIJ,FATEMEH SAYYAH,MOHAMMAD ALI JAVAHERI RAVAHICH,JALEH ESFEHANI,SADEGH HEDAYAT,BOZORG ALAVI,DEHKHODA,KHANLARI,NUSHIN,EHSAN TABARI,JALAL ALAHMAD AND...
HE WROTE HIS AFSANEH WITH THIS CHANGE AND INNOVATION IN MIND."NIMA'S AFSANEH ,1300/1921WAS A REVOLUTIONARY MOVE TO REMOVE TRADITIONAL LOOK AND GLASSES AND REPLACE IT WITH A NEW LOOK AT LIFE AND NATURE.THIS WAS THE FIRST LESSON TO GET REVOLUTIONARY POETRY ON THE MOVE.A MOVE TO BE NEW AND REVOLUTIONARY BY ITS OWN RIGHT."
THE INNOVATIVE NIMA SHOULD APPEAR DURING CONSTITUTIONAL REVOLUTION TO IMPRESS AND INFLUENCE THE POETS OF THAT ERA BY HIS FREE AND NATURAL TYPE OF DIALOGUE AS POETRY,BUT THIS TOOK ABOUT 15 YEARS UNTIL NIMA AND NIMAI POETRY WAS BORN ,AND STILL IT WAS NOT WANTED AND ACCEPTED BY ADDICTED EYES AND EARS.
NIMA BELIEVED IN FREE VERSE AND LANGUAGE TO MAKE HIS "AFSANEH"LIKE A PLAY,WITHSPECIFIC MEANING FOR THINGS AND THEIR NATURE.HE THOUGHT EXPLAINING THE REALITIES OF NATURE IS THE HIGHEST ART FOR POETS.
YEARS LATER,NIMA WROTE TWO OTHER POEMS : GOGHNUS/PHOENIX,1316/1937,AND GHORAB/ RAVEN ,1317/1938 IN THOSE POEMS ,NIMA AGAIN WENT ON REVOLT AGAINST RULES AND REGULATIONS OF A THOUSAND YEARS OLD TO CHANGE THE FORM OF PERSIAN POETRY AND BRING IT TO A NEW CHAPTER.
NIMA CHANGED THE RYTHM,TO PRESENT A NEW ONE FOR NIMAI PROSODY.HE WAS NOT ALWAYS FAITHFUL TO THE RING OF RHYMEAND TOOK IT TO THE END OF STANZA.HIS CONCEPT OF NATURE,AND HIS LOOK TO HUMAN AND BEING ALSO WAS NEW .HIS SOCIAL IDEAS CONCIEVED A LITERARY AND SOCIAL REVOLUTION AND BROUGHT ABOUT NIMAI AND POST NIMAI POETRY WITH AN UNPRECEDENTED VISION.
NIMA'S LOOK AT THE WORLD,BY IMAGES EXPRESSED IN A NEW LANGUAGE WITH ITS JARGON,DIFFERENT THAN THE CONVENTIONAL LANGUAGE AND USING SYMBOLS AND ALLEGORIES.
NIMA AFTER ALL DID NOT BELIEVE IN HIS FOLLOWERS,BUT HIS LITERARY AN SOCIAL REVOLUTION,AS WELL AS HIS POETRY EXPANDED THROUGH THEIR WORKS.
image from: google booksTHE FIRST CONGRESS OF IRANIAN WRITERS IN 1325/1946 WITH MORE THAN 100 WRITERS,POETS AND RESEARCHERS SUCH AS NIMA YUSHIJ,FATEMEH SAYYAH,MOHAMMAD ALI JAVAHERI RAVAHICH,JALEH ESFEHANI,SADEGH HEDAYAT,BOZORG ALAVI,DEHKHODA,KHANLARI,NUSHIN,EHSAN TABARI,JALAL ALAHMAD AND...
WAS THE ULTIMATE POINT FOR ANNOUNCING NIMA'S VIEWPOINTS,WHO WAS COMING OUT OF A QUARTER OF CENTURY SECLUSION,DUE TO CENSURE AND SUPPRESSION.NIMA'S POETRY AND CRITICAL THOUGHTS AND IDEAS INFLUENCED POETS SUCH AS ESMAIL SHAHRUDI,MANUCHEHR SHEIBANI,SHIN.PARTOV,SHAMLU,AKHAVAN,SAYEH,KASRAI,ZOHARI,MOSHIRI AND SO ON...AND EXTENDED IN WORKS OF POETS LIKE FEREIDUN TAVALLALI,GOLCHIN GUILANI(DR.MAJDEDIN MIRFAKHRAI),KHANLARI,HASSAN HONARMANDI,MOHAMMAD ESLAMI nodushan AND...THE TRADITIONAL POETS ENJOYED THE NEW LANGUAGE,ALTHOUGH STEADILY CHALLENGING NIMA's"NEW POETRY",AND THEIR FOLLOWERS IN GATHERINGs AND THEIR PAPERS and magazines.
see also: NIMA & OTHER MAJOR PERSIAN POETS
see also: NIMA & OTHER MAJOR PERSIAN POETS
5.4. موج اول
FROM THE FIRST WAVE OF CONTEMPORARY PERSIAN POETRY,
هوشنگ ایرانی HUSHANG IRANI (1304/1925 - 1352/1973 )RETURNED FROM EUROPE IN 1317-1318 AND STARTED KHORUS JANGI LITERARY JOURNAL WITH GHARIB,ZIAPUR...,WHERE HE PUBLISHED HIS FAMOUS POEM:
DARK BLUE CAVE IS RUNNING/IT SQUEAKS PURPLE.THIS COULD BE CONSIDERED ANOTHER START FOR MODERN PERSIAN POETRY,AS IT HAS BEEN WRITTEN MUCH ABOUT AT THAT TIME.THIS WAS AN EXCUSE too FOR DETRACTORS TO ATTACK THE POET AND NEW POETRY.
منوچهر شیبانی MANUCHEHR SHEIBANI(1303-1370)PAID MORE ATTENTION TO PERSIAN ELEMENTS.HE WAS ONE OF THE FIRST NIMAI POETS WHO PUBLISHED BOOKS OF POETRY SUCH AS JERAGHEH(1324),ATESKADEH YE KHAMUSH(1343),SARAB HAYE KAVIRI(1356) AMONG OTHERS.
IN THE FIRST PERIOD OF MOHAMMAD REZA SHAH'S RULE,FROM SHRIVAR 1320/1941 TO 28 MORDAD 1332/1953,FEREIDUN TAVALLALI WAS ONE OF THE LAST POETS WHO PRESENTED THE LATEST HERITAGE OF ROMANTICS AND SYMOLISTS TO CONTEMPORARY PERSIAN POETRY.MOST OF THE POETS OF 1340'S-1350'S STARTED READING POETRY THROUGH TAVALLALI'S WHO PUBLISHED HIS WORKS FROM 1319/1940 IN NEWSPAPERS,AND THEN IN HIS FIRST BOOK: RAHATAVALLALI DID NOT REMAIN FAITHFUL TO HIS OWN WORKS AND RETURNED TO CLASSICAL FORMS WITH SOFT GHAZALS,BUT STILL HIS INFLUENCES COULD BE TRACED IN PRIMARY WORKS OF SHAMLU,AKHAVAN,NADERPUR,KASRAI,EBTEHAJ,ZOHARI,MOSHIRI,FORUGH AND OTHERS.
GRADUALLY POETRY OF THIS TIME PASSED LAMARTINESQUE ROMANTICISM AND ARRIVED AT A SOCIAL STAGE AND MIND,WITH A SIMPLER LANGUAGE AND STRONGER IDENTITY.
WITH SHAMLU AND AKHAVAN,FOLKLORIC LANGUAGED REACHED THE AUDIENCE AND WITH SEPEHRI,FORUGH,ATASHI,AZAD,ROYAI,NEYESTANI,HOGHUGHI,SEPANLU AND OTHERS,POETRY PENETRATED TO THE DEPTH OF THINGSIN A SYMBOLIC LANGUAGE..THIS BRAND OF POETRY ,SO CALLED POETRY OF DEFEAT,SLIDED TOWARDS COMPLEXITY ,ALTHOUGH STILL INFLUENCD BY NIMA AND HIS SYMBOLISM.,ALTHOUGH HE ALWAYS WANTED TO TEAR CURTAINS ,OPEN WINDOWS AND EXPRESS HIM,SELF.
OF PRIMARY STUDENTS OF NIMAI SCHOOL AND NIMAISM,AHMAD SHAMLU DIGGED THROUGH CLASSICAL PERSIAN TEXTS AND READ AND TRANSLATED INTERNATUONAL POETRY,THROUGH FRENCH LANGUAGE,TO WRIGHT POETRY OF JEST WITH SOCIAL ACCENTS.
MANUCHEHR ATASHI AND FORUGH FARROKHZAD TOOK A SINGLE DIMENSIONAL MEANINGS TO POETRY OF PRISM.THEY ENJOYED THE NATIVE CULTURE AND FOLKLORE OF THE SOUTH,AS WELL AS JARGON OF THE STREETS OF TEHRAN,RESPECTIVELY TO GET TO NEW DISCOVERIES IN THEIR WORKS.
AS FOREMENTIONED THE GENERATION OF POETS SUCH AS THESE AND OTHERS ARE IDENTIFIED AS THE FIRST WAVE OF CONTEMPORARY PERSIAN POETRY,OF THESE WE CAN ALSO SEE AKHAVAN.
اخوان AKHAVAN(1307-1369)PUBLISHED HIS FIRST WORKS IN A BOOK CALLED ARGHANUN(1330),BUT ZEMESTAN(1335) IS HIS REAL BEGINNING.THE LITERARY JOURNEY OF AKHAVAN FROM ARGHANUN TO TORA EY KOHAN BUM O BAR DUST DARAM TOOK 40 YEARS.AFTER HIS NIMAI POETRY,AKHAVAN LIKE TAVALLALI RETURNED TO CLASSICAL FORM OF GHAZAL,AND ODES AND ROBAI,AS WELL.
WITH SHAMLU,HIS FIRST BOOK,AHANG HAYE GOMSHODEH(1326)SOUND LIKE ROMANTIC PIECES OF TAVALLALI.HE THEN PUBLISHED GHATNAMEH AND THEN,AHAN HA VA EHSAS.BUT THE REAL SHAMLU COULD BE SEEN THROUGH THE PAGES OF HAVAYE TAZEH,AS CONTINUATION OF NIMA'S EXPERINCES,PACING WITH OTHER POETS LIKE ELUARD,MAYAKOVSKY,LORCA AND NERUDA,WALT WITHMAN,RELIGIOUS AND CLASSICAL TEXTS,AND PERSIAN FOLKLORE.
AT THAT TIME ESMAIL SHAHRUDI PUBLISHED HIS SOCIAL AND POLITICAL POEMS.HIS FIRST BOOK,AKHARIN NABARD(1330) APPEARED WITH NIMA'S INTRODUCTION,AND TO FOLLOW WAS AYANDEH(1346),MO MEY DAR SA (1349),HAR SUYE RAH(1350),AY MIGHAT NESHIN(1351),...
HUSHANG EBTEHAJ IS INFLUENCED BY TAVALLALI AT THE BEGINNING AND WRITES MOSTLY IN FORM OF GHAZAL IN A MYSTICAL BACKGROUND.EBTEHAJ(SAYEH) PUBLISHED HIS FIRST BOOK,NAKHOSTIN NAGHMEH HA IN RASHT(1325).HIS SIAH MASHGH REACHED MULTIPLE VOLUMES AND AZ AYENEH BEH AYENEH AND HAFEZ,EDITED BY SAYEH ARE AMONG HIS OTHER WORKS.
MOHAMMAD ALI ESLAMI PUBLISHED GONAH(1329)AND CHESHMEH(1335).
NOSRAT RAHMANI WROTE BLACK POETRY OF NIGHYMARE AND URBAN EPIC.
NADER NADERPUR'S POETRY WAS INDEBTED TO IMAGES IN ROMANTIC TONES.
FEREIDUN MOSHIRI AND MOHAMMAD ZOHARI,BOTH BORN 1305,CHOSE A MORE SIMPLE LANGUAGE.AND HASSAN HONARMANDI,LIKE MOSHIRI AND ZOHARI STARTED WITH INFLUENCES BY TAVALLALI AND HIS OWN VAST TRANSLATIONS FROM FRENCH LITERATURE.
SIAVOSH KASRAI CAME OUT FOLLOWING THE SAME ROMANTICISM OF OTHER POETS OF THIS ERA,BUT AT TIME WITH MOTTO AND EVEN EPICS LIKE ARASH KAMANGIR.
5.5. موج دوم IN THE SECOND WAVE OF CONTEMPORARY PERSIAN POETRY WE ARE DELING WITH VARIOUS POETS WHO WERE PUBLISHING THEIR WORKS IN 1340'S-1350'S/1960'S-1970'S.THESE POETS ALSO READ THEIR POEMS IN NIGHT OF POETRY SUCH AS:
ROZAN NIGHT OF POETRY OF ROYAI,GOLESTAN,1346/1967
KHUSHEH NIGHT OF POETRY OF SHAMLU,1347/1968
IRANIAN WRITERS ASSOCIATION NIGHT OF POETRY IN GOETHE INSTITUTE,1356/1977
POETS IN NIGHT OF POETRY READ THEIR POETRY OF RESISTANCE AND USED ORAL POETRY AS AN ARM TO FIGHT FOR FREEDOM AND RIGHTS,HUMANS AND BEINGS.
WITH THIS MOVEMENTS IN THEIR WORDS THEY ALSO PUBLISHED SLECTED POETRY BOOKS AND ANTHOLOGIESFOR VARIETY OF MOTIONS AND WAVESTO ALONG WITH SOCIAL AND POLITICAL POETRY.
IN SECOND WAVE OF CONTEMPORARY PERSIAN POETRY ,BETWEEN 1332/1953 AND 1357/1978 POETRY TOOK REFUGE MORE IN ALLEGORY AND SYMBOLS THESE SYMBOLS STARTED TO BE USED FIRST IN NIMA'S POEMS AND THEN EXPANDED IN CONTEMPORARY POETRY.SO AT THIS TIME THERE WERE TWO MAJOR MOVEMENT RECOGNIZED IN OUR POETRY
5.5.1.SOCIAL POETRY OR POLITICAL POETRY WITH CLEAR AND STRAIGHT TONE AND A GOAL OF CHALLENGING THE AUTHORITY.
5.5.2.ABSURD POETRY FOR PURE MOMENTS TO BRING DAILY LIFE EXPERINCES TO A MORE PERENNIAL FORMS.AND THIS MATERIALIZED IN:
5.5.2.1. MOJ NOW OR NEW WAVE,NOUVELLE VAGUE.MOJ NOW FORMED THROUGH POETICAL THEORIES OF ESMAIL NURIALA AND POETRY OF AHMAD REZA AHMADI,BIJAN ELAHI.MOHAMMAD ALI SEPANLU,TO BE CONSIDERED AS REVOLT AGAIST WORDS AND LITERARY PRINCIPLE.AHMADI ALSO USED SATIRE AND IRONY TO LOOK AT THE WORLD ANEW BY BREAKING FROM TRADITIONS.AHMADI 'S POETRY LEANED TOWARDS PROSE POEMS AND FOUND SOME FOLLOWERS IN 1370'S-80'S WHO TRIED A DIFFERNT TERMINOLOGY TO NAME IT ,ALTHOUGH THIS IS NOT A NEW EXPERINCE IN
LITERATURE AND POETRY OF IRAN AND THE WORLD.
5.5.2.2.SHER HAJM OR POETRY OF VOLUME AND ESPACEMENTALISM.SHER HAJM BELIEVED IN PASSAGE OF WORDS THROUGH VOLUME OF IMAGES OR DREAMS.THIS COULD BE READ IN ROYAI AND HIS PEERS' POETRY...
5.5.2.3.MOJ NAB OR PURE WAVE WITH A NEW CONCEPT OF WORDS AND IMAGES AND STILL COULD BE SEEN IN FIRUZEH MIZANI'S WORKS AS WELL AS IN WORKS BY SIRUS RADMANESH,HORMOZ ALIPUR,ROSTAM ALLAHMORADI AND ALI SALEHI BEFORE WRITING PROSE POEMS.
*
THESE ARE DIFFERNT BRANCHES OF CONTEMPORARY PERSIAN POETRY OF THAT TIME,WITHOUT BEING SENSITIVE TO THEIR DENOMINATIONS,BUT OVERALL MOVING AS WAVES AND THRIVING TO SEARCH,DISCOVER,GOING FORWARD AND REACHING THE FUTURE
5.6.MOJ SEVOM OR THE THIRD WAVE OF CONTEMPORARY PERSIAN POETRY...
موج سوم درشعرمعاصرایران
THE SYMBOLISM OF NIMAI POETRY , WHILE STURATED DURING SECOND WAVE ,REACHED THE TIME OF REVOLUTION AND WAR,WHICH IS REFERRED TO AS THE THIRD WAVE OF CONTEMPORARY PERSIAN POETRY.MOJ SEVOM/THIRD WAVE HAS MORE EMPHASYS ON IMAGES AND BREVITY AND ITS TRACES COULD BE FOUND IN A BIG RANGE OF POETS AND THEIR WORKS.A POETRY OF APHORISM AND SHORT EXPRESSION FOR A WIDER IMAGINATION IN A TIME OF DETAILS GOING TOWARDS GENERALIZATION.
POETS OF REVOLUTION AND WAR ARE GENERATION OF NIMAI EXPERIENCES AND AFTERWARD,AND STILL LINK TO CLASSICAL PERSIAN POETRY AND ITS CULTURE,THE CULTURE BEHIND WORLD POETRY,THE IMAGIST POETRY OF MEDITERRANEAN IN SPAIN,ITALY,GREECE,POETRY OF PAIN AND SORROW IN AFRICA AND EASTERN EUROPE,AS WELL AS SURREALISM AND MODERNISMO OF LATIN AMERICA IN CENTRAL AND SOUTH,AS WELL AS MEXICO,SOMTIMES CONSIDERED IN NORTH AMERICA.IT IS ALSO RELATED TO NEIGHBORING CULTURES OF TURKEY,INDIA AND PAKISTAN,AND EASTERN POETRY OF CHINA ,JAPAN,THEIR HAIKU AND ZEN BUDDHISM.FRESSHNESS,EVOLUTION AND CHANGES,AS WELL AS WAVELIKE MOTION IN A FAST PASSING GAZE AND WORDS IN BREVITY ,ARE SOME OF CHARCTERISTICS OF MOJ SEVOM/THIRD WAVE POETRY.
BREVITY IS A STAGE TO REACH VERTICAL STRUCTURES IN IMAGINATIONS AND WORDS,TO GO THROUGH LIVING SPACES.SO THERE IS NO POINT NOT TO MENTION POETRY OF HAFEZ,NEZAMI,TALEB AMOLI,SAEB TABRIZI,KALIM KASHI OR BIDEL DEHLAVI AS POETS OF IMAGES AND BREVITY.IT COULD BE SAID THAT THIS IS A HERITAGE OF THESE POETS WITH THEIR TRADITIONS AND ESPECALLY SABK HINI POETRY,LEFT FOR THE POETS OF THIRD WAVE,ALTHOUGH THEY HAD PRACTICD WITH RHYME AND RYTHM AND NOW THERE IS NO TIME TO FOLLOW THAT CLICHE AND REPEAT THE CLASSICAL CONCEPTS IN MODERN AND AVANT-GARDE POETRY.ON THE OTHER HAND BY USING RHYME AND RYTHM WE WILL BE BEHIND,COMPARING WHERE NIMAI AND POST NIMAI POETRY STANDS .INNOVATION OF THIS POETRY IS IN INNOVATION OF STRUCTURES AND DETAILS TO REACH FRESH IMAGES IN SHORT,FRESH LANGUAGE.
DEFINITION OF MOJ SEVOM/THIRD WAVE IS BY: "EXPRESSION OF IMAGES IN BREVITY"
IMAGES ARE MYSTICAL SHARING OF POET AND AUDIENCE IN A LOOK AT HUMANKIND AND BEINGS AND INTERNALIZES THOUGHTS , IDEAS AND SOCIAL ISSUES ,WITHOUT DIRECT REFERRAL,WHICH MORE OF LITERATURE IN GENERAL TERM,AND NOT TO BE COUNTED AS POETRY.
IMAGE AS A TIE OF AFFECTIONS AND IDEAS IN THE MOMENT,ARE WHAT THE POETS THINK WITH AND SHOW IT,AND BY THAT DRAW THE WORLD AND BEINGS.THIS IS A CONSTANTLY INNOVATED PROCESS WHICH IS MAKING THE POET BEING BORN AND REBORN.
AS AFOREMENTIONED,THE CONTEMPORARY POET OF 1360'S AND THEREAFTER ENJOYS THESE PARADIGMS IN A BRIDGE FROM THE PAST TO SURROUNDING ENVIRONMENT OF PRESET TO REACH FUTURE AND WITH THESE TAKES POST NIMAI MOVEN\MENTS AND THEIR POETRY TO THIS JOURNEY.THE LONG PAST AND THE NEAR PAST ,ALL ARE FOR MOTION IN TIME AND SPACE.THERE IS ONLY POETRY IN ITS PURE FORMS THAT BELONGS TO THIS MOVEMENT AND WAVE OF FUTURE,TO EXTEND IN OTHER GENERATIONS AND MOVEMENTS.
5.7.WHEN WAVE WAS BORN.
WE STARTED THIS DISCOURSE WHILE PERSIAN POETRY WAS ON DEFENSIVE AND POETS AND THEIR WORKS WERE ABUSED BY OFFICIAL MEDIA WHO WERE PLANNING ANOTHER POETRY OF REGRESS.
CONTEMPORARY POETRY WAS DENIED BY MOST OF MEDIA IN PRINT AND ESPECALLY BY STATE RUN RADIO-TELEVISION,WHILE IT WAS A REALITY,EXPANDIND WITH REALITY OF SOCIAL CHANGES.
IT DID NOT TAKE LONG FOR ELDERLY STATESMEN OF REALM OF POETRY TO BREAK THEIR SILENCE AND RETURN TO STAGE,BY PUBLISHING THEIR WORKS,OLD AND NEW.
IT DID NOT TAKE LONG FOR IMMIGRANT POETRY TO BE FAMILIARIZED WITH MOJ SEVOM/THIRD WAVE AND FOLLOW IT,EVEN IF DEYING TO BE FOLLOWER.
IT DID NOT TAKE LONG FOR POST NIMAI POETRY OF MOJ NOW,SHER HAJM AND MOJ NAB TO REVIVE AND FIND THEIR WAY AND THEIR CRETIVITIES ANEW.
IT DI NOT TAKE LONGER THAN A DECADE OR TWO,TO FACE NEW FACES ANS READ THEIR WORKS,FIRST IN MAGAZINES AND BOOKS,AND THEN IN E-MEDIA.
BY THESE,MOJ SEVOM/THIRD WAVE FOUND THE FORGOTTEN PATH AND STARTED THE POST MODERN AVANT-GARDE POETRY OF POST NIMAI,POST REVOLUTIONARY ERA AND OPENED THE DOORS FOR NEW DIALOGUES IN CONTEMPORARY PERSIAN POETRY.
NOTES:
THIS ESSAY IS A CONDENSED VERSION OF MY SPEACHES,ESSAYS,AND INTERVIEWS,PRESENTED IN JOURNALS AND NEWSPAPERS,RADIO-TELEVISIONS AND PERSIAN COMMUNITIES AND SOCIETIES OF U.S AND CANADA,AS WELL AS INTERNATIONAL CULTURAL MEETINGS, BETWEEN SPRING 1369/1990 T0 PRESENT DECADE OF 2000'S.SOME PHRASES ALSO HAVE BEE PUBLISHED IN PERSIAN MEDIA ,1350'S-1380'S
SOME OF THESE REFERENCES ARE:
BONYAD MONTHLY.1357
DOYAYE SOKHAN 1366-69
FASL GORGAN 1368
NEVESHTA INTERNATIONAL,1387-1388
RADIO JOMEH,NEW YORK
IRANIAN SOCIETY OF SEATTLE,WASHINGTON
PITTSBURG IRANIAN CULTURAL SOCIETY
SOCIO CULTURAL KANOON OF VANCOUVER,CANADA
IRANIAN CULTURAL SOCIETY OF WASHINGTON,D.C.
RANGARANG TV
BELL IRANIAN SOCIETY,NEW JERSEY
IRANIAN SOCIETY OF MARYLAND,TOWSEN STAE UNIVERSITY
SAYEBAN CULTURAL SOCIETY,UNIVERSITY OF TORENTO,CANADA
SHAHRVAND NIGHT OF POETRY,KINGS COLLEGE,TORONTO,CANADA
MONTREAL IRANIAN SOCIETY,QUEBEC ,CANADA
INTERNATIONAL STUDIES OF MOUNT CLAIR COLLEDGE,MOUNT CLAIR,NEW JERSEY
IRANIAN HUMANITY SOCIETY OF NEW JERSEY
KANUN SOKHAN,LOS ANGELES
CIRA
INTERNATIONAL NIGHT OF POETRY,WASHINGTON,D.C.
AND PERSIAN LITERARY JOURNALS OF EUROPE,Canada,...
...THIS ROUGH DRAFT OF INTRODUCTION TO CONTEMPORARY PERSIAN POETRY,
WILL CONTNUE THROUGH FURTHER ESSAYS ,REVIEWS AND INTERVIEWS.
Last reviewed 12.22.2011 on Third Wave Day
