Nimā Yushij (Persian: نیما یوشیج; 12 November 1895 – 6 January 1960),[1][2] also called Nimā (نیما), born Ali Esfandiāri (علی اسفندیاری), was an Iranian poet. He is famous for his style of poetry which he popularized, called she'r-e now (شعر نو, lit. "new poetry"), also known as She'r-e Nimaa'i (شعر نیمایی, lit "Nima poetry") in his honour after his death. He is considered as the father of modern Persian poetry.
He was the eldest son of Ibrahim Nuri of Yush (a village in Baladeh, Nur County, Mazandaran province of Iran). He was a Tabarian, but also had Georgian roots on his maternal side.[4] He grew up in Yush, mostly helping his father with the farm and taking care of the cattle. As a boy, he visited many local summer and winter camps and mingled with shepherds and itinerant workers. Images of life around the campfire, especially those emerging from the shepherds' simple and entertaining stories about village and tribal conflicts, impressed him greatly. These images, etched in the young poet's memory waited until his power of diction developed sufficiently to release them.[3]
House of Nima
Nima's early education took place in a maktab. He was a truant student and the mullah (teacher) often had to seek him out in the streets, drag him to school, and punish him. At the age of twelve, Nima was taken to Tehran and registered at the St. Louis School. The atmosphere at the Roman Catholic school did not change Nima's ways, but the instructions of a thoughtful teacher did. Nezam Vafa, a major poet himself, took the budding poet under his wing and nurtured his poetic talent.[3]
Instruction at the Catholic school was in direct contrast to instruction at the maktab. Similarly, living among the urban people was at variance with life among the tribal and rural peoples of the north. In addition, both these lifestyles differed greatly from the description of the lifestyle about which he read in his books or listened to in class. Although it did not change his attachment to tradition, the difference set fire to young Nima's imagination. In other words, even though Nima continued to write poetry in the tradition of Saadi and Hafez for quite some time his expression was being affected gradually and steadily. Eventually, the impact of the new overpowered the tenacity of tradition and led Nima down a new path. Consequently, Nima began to replace the familiar devices that he felt were impeding the free flow of ideas with innovative, even though less familiar devices that enhanced a free flow of concepts. "Ay Shab" (O Night) and "Afsaneh" (Myth) belong to this transitional period in the poet's life (1922).[5]
In general, Nima reformed the rhythm and allowed the length of the line to be determined by the depth of the thought being expressed rather than by the conventional Persian meters that had dictated the length of a bayt (verse) since the early days of Persian poetry. Furthermore, he emphasized current issues, especially the nuances of oppression and suffering, at the expense of the beloved's moon face or the ever-growing conflict between the lovers, the beloved, and the rival. In other words, Nima realized that while some readers were enthused by the charms of the lover and the coquettish ways of the beloved, the majority preferred heroes with whom they could identify. Nima actually wrote quite a few poems in the traditional Persian poetry style and as critiqued by Abdolali Dastgheib, showed his ability well. However, he felt the old ways limit his freedom to express his deep feelings or important issues faced by society. This led him to break free and create a whole new style for modern poetry.[6]
Furthermore, Nima enhanced his images with personifications that were very different from the "frozen" imagery of the moon, the rose garden, and the tavern. His unconventional poetic diction took poetry out of the rituals of the court and placed it squarely among the masses. The natural speech of the masses necessarily added local color and flavor to his compositions. Lastly, and by far Nima's most dramatic element was the application of symbolism. His use of symbols was different from the masters in that he based the structural integrity of his creations on the steady development of the symbols incorporated. In this sense, Nima's poetry could be read as a dialogue among two or three symbolic references building up into a cohesive semantic unit. In the past only Hafez had attempted such creations in his Suficghazals. The basic device he employed, however, was thematic, rather than symbolic unity. Symbolism, although the avenue for the resolution of the most enigmatic of his ghazals, plays a secondary role in the structural makeup of the composition.455[5]
Worksedit
The venues in which Nima published his works are noteworthy. In the early years when the presses were controlled by the powers that be, Nima's poetry, deemed below the established norm, was not allowed publication. For this reason, many of Nima's early poems did not reach the public until the late 1930s. After the fall of Reza Shah, Nima became a member of the editorial board of the "Music" magazine. Working with Sadeq Hedayat, he published many of his poems in that magazine. Only on two occasions he published his works at his own expense: "The Pale Story" and "The Soldier's Family."[5]
The closing of "Music" coincided with the formation of the Tudeh Party and the appearance of a number of leftist publications. Radical in nature, Nima was attracted to the new papers and published many of his groundbreaking compositions in them.
Ahmad Zia Hashtroudy and Abul Ghasem Janati Atayi are among the first scholars to have worked on Nima's life and works. The former included Nima's works in an anthology entitled "Contemporary Writers and Poets" (1923). The selections presented were: "Afsaneh," (Myth) "Ay Shab" (O Night), "Mahbass" (Prison), and four short stories.[5]
Referencesedit
Ali Azimi in his former band, Radio Tehran used one of Nima's poems titled When Crying Begins in their hit song Tamume Chiza (Everything).[7]
^Yushij, Nima (2009). The Neighbor Says: Nima Yushij and the Philosophy of Modern Persian Poetry. Translated by Ghanoonparvar, M.R. Ibex Publishers. ISBN9781588140630. LCCN 2008027311. Retrieved 28 January 2020. In autumn of the same year, while he was living in his summer residence, Yush, which was his birthplace, I was born. My maternal ancestry goes back to Georgians who fled their land a long time ago. My early life passed among...
^Dastgheib, Abdolali (2006) The Messenger of Hope and Liberty, Critical Review of poems by Nima Yooshij. 2006. Amitis Publishers, Tehran, Iran. ISBN964-8787-12-3. (Farsi title: پیام آور امید و آزادی)
^"Ali Azimi (Radio Tehran) on BBC PERSIA". YouTube. Archived from the original on 5 December 2021.
Dastgheib, Abdolali. 2006. The Messenger of Hope and Liberty: Critical Review of poems by Nima Yooshij. 2006. Amitis Publishers, Tehran, Iran. ISBN964-8787-12-3. (Farsi title: پیام آور امید و آزادی)
nima, yooshij, this, article, needs, additional, citations, verification, please, help, improve, this, article, adding, citations, reliable, sources, unsourced, material, challenged, removed, find, sources, news, newspapers, books, scholar, jstor, january, 201. This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Nima Yooshij news newspapers books scholar JSTOR January 2013 Learn how and when to remove this template message Nima Yushij Persian نیما یوشیج 12 November 1895 6 January 1960 1 2 also called Nima نیما born Ali Esfandiari علی اسفندیاری was an Iranian poet He is famous for his style of poetry which he popularized called she r e now شعر نو lit new poetry also known as She r e Nimaa i شعر نیمایی lit Nima poetry in his honour after his death He is considered as the father of modern Persian poetry Nima YooshijBornAli Esfandiari 1895 11 11 11 November 1895Yush Nur Mazandaran Qajar Persia present day Iran Died4 January 1960 1960 01 04 aged 64 Shemiran Tehran IranResting placeImamzadeh Abdollah Ray until 2007 Nima s House Yush from 2007 Pen nameNimaLanguagePersianNationalityIranianGenreModernist poetryLiterary movementShe r e Nimaa iNotable worksAfsaneh Quqnus The Red Star of DawnHe died of pneumonia in Shemiran in the northern part of Tehran and was buried in his native village of Yush Nur County Mazandaran as he had willed 2 3 Contents 1 Early life 2 Contributions 3 Works 3 1 References 4 See also 5 References 6 Other sources 7 External linksEarly life editHe was the eldest son of Ibrahim Nuri of Yush a village in Baladeh Nur County Mazandaran province of Iran He was a Tabarian but also had Georgian roots on his maternal side 4 He grew up in Yush mostly helping his father with the farm and taking care of the cattle As a boy he visited many local summer and winter camps and mingled with shepherds and itinerant workers Images of life around the campfire especially those emerging from the shepherds simple and entertaining stories about village and tribal conflicts impressed him greatly These images etched in the young poet s memory waited until his power of diction developed sufficiently to release them 3 nbsp House of NimaNima s early education took place in a maktab He was a truant student and the mullah teacher often had to seek him out in the streets drag him to school and punish him At the age of twelve Nima was taken to Tehran and registered at the St Louis School The atmosphere at the Roman Catholic school did not change Nima s ways but the instructions of a thoughtful teacher did Nezam Vafa a major poet himself took the budding poet under his wing and nurtured his poetic talent 3 Instruction at the Catholic school was in direct contrast to instruction at the maktab Similarly living among the urban people was at variance with life among the tribal and rural peoples of the north In addition both these lifestyles differed greatly from the description of the lifestyle about which he read in his books or listened to in class Although it did not change his attachment to tradition the difference set fire to young Nima s imagination In other words even though Nima continued to write poetry in the tradition of Saadi and Hafez for quite some time his expression was being affected gradually and steadily Eventually the impact of the new overpowered the tenacity of tradition and led Nima down a new path Consequently Nima began to replace the familiar devices that he felt were impeding the free flow of ideas with innovative even though less familiar devices that enhanced a free flow of concepts Ay Shab O Night and Afsaneh Myth belong to this transitional period in the poet s life 1922 5 Contributions edit nbsp Tomb of Nima Yushij in Yush MazandaranIn general Nima reformed the rhythm and allowed the length of the line to be determined by the depth of the thought being expressed rather than by the conventional Persian meters that had dictated the length of a bayt verse since the early days of Persian poetry Furthermore he emphasized current issues especially the nuances of oppression and suffering at the expense of the beloved s moon face or the ever growing conflict between the lovers the beloved and the rival In other words Nima realized that while some readers were enthused by the charms of the lover and the coquettish ways of the beloved the majority preferred heroes with whom they could identify Nima actually wrote quite a few poems in the traditional Persian poetry style and as critiqued by Abdolali Dastgheib showed his ability well However he felt the old ways limit his freedom to express his deep feelings or important issues faced by society This led him to break free and create a whole new style for modern poetry 6 Furthermore Nima enhanced his images with personifications that were very different from the frozen imagery of the moon the rose garden and the tavern His unconventional poetic diction took poetry out of the rituals of the court and placed it squarely among the masses The natural speech of the masses necessarily added local color and flavor to his compositions Lastly and by far Nima s most dramatic element was the application of symbolism His use of symbols was different from the masters in that he based the structural integrity of his creations on the steady development of the symbols incorporated In this sense Nima s poetry could be read as a dialogue among two or three symbolic references building up into a cohesive semantic unit In the past only Hafez had attempted such creations in his Sufic ghazals The basic device he employed however was thematic rather than symbolic unity Symbolism although the avenue for the resolution of the most enigmatic of his ghazals plays a secondary role in the structural makeup of the composition 455 5 Works editThe venues in which Nima published his works are noteworthy In the early years when the presses were controlled by the powers that be Nima s poetry deemed below the established norm was not allowed publication For this reason many of Nima s early poems did not reach the public until the late 1930s After the fall of Reza Shah Nima became a member of the editorial board of the Music magazine Working with Sadeq Hedayat he published many of his poems in that magazine Only on two occasions he published his works at his own expense The Pale Story and The Soldier s Family 5 The closing of Music coincided with the formation of the Tudeh Party and the appearance of a number of leftist publications Radical in nature Nima was attracted to the new papers and published many of his groundbreaking compositions in them Ahmad Zia Hashtroudy and Abul Ghasem Janati Atayi are among the first scholars to have worked on Nima s life and works The former included Nima s works in an anthology entitled Contemporary Writers and Poets 1923 The selections presented were Afsaneh Myth Ay Shab O Night Mahbass Prison and four short stories 5 References edit Ali Azimi in his former band Radio Tehran used one of Nima s poems titled When Crying Begins in their hit song Tamume Chiza Everything 7 See also edit nbsp Poetry portalIntellectual Movements in Iran Khalilollah Khalili Mehdi Akhavan SalesReferences edit ۱۳ دی ۱۳۳۸ خورشیدی درگذشت نیما یوشیج پدر شعر پارسی in Persian 3 January 2018 a b Nima Yooshij Biography Biography of Nima Yooshij Poem Hunter Retrieved 11 April 2023 a b c M Fomeshi Behnam Nima Yushij researchgate net Yushij Nima 2009 The Neighbor Says Nima Yushij and the Philosophy of Modern Persian Poetry Translated by Ghanoonparvar M R Ibex Publishers ISBN 9781588140630 LCCN 2008027311 Retrieved 28 January 2020 In autumn of the same year while he was living in his summer residence Yush which was his birthplace I was born My maternal ancestry goes back to Georgians who fled their land a long time ago My early life passed among a b c d Purnamdarian Taqi Sarshar Houman Borjian Habib Yavari Houra Parsinejad Iraj 17 January 2022 NIMA YUSIJ Encyclopaedia Iranica Online Brill retrieved 11 April 2023 Dastgheib Abdolali 2006 The Messenger of Hope and Liberty Critical Review of poems by Nima Yooshij 2006 Amitis Publishers Tehran Iran ISBN 964 8787 12 3 Farsi title پیام آور امید و آزادی Ali Azimi Radio Tehran on BBC PERSIA YouTube Archived from the original on 5 December 2021 Other sources editEssays on Nima Yushij Animating Modernism in Persian Poetry edited by Ahmad Karimi Hakkak and Kamran Talattof Leiden Brill 2004 Dastgheib Abdolali 2006 The Messenger of Hope and Liberty Critical Review of poems by Nima Yooshij 2006 Amitis Publishers Tehran Iran ISBN 964 8787 12 3 Farsi title پیام آور امید و آزادی External links editNima Yoshij at Wikipedia s sister projects nbsp Definitions from Wiktionary nbsp Media from Commons nbsp News from Wikinews nbsp Quotations from Wikiquote nbsp Texts from Wikisource nbsp Textbooks from Wikibooks nbsp Resources from Wikiversity Biography of Nima Yoshij on Iran Chamber Society Yushij Nima A biography by Professor Iraj Bashiri University of Minnesota Retrieved from https en wikipedia org w index php title Nima Yooshij amp oldid 1181942501, wikipedia, wiki, book, books, library,
