Nima yushij biography of george

Iranian modern poet

Nima Yooshij
Native name	نیما یوشیج
Born	Ali Esfandiari (1895-11-11)11 Nov 1895 Yush, Nur, Mazandaran, Iran
Died	4 Jan 1960(1960-01-04) (aged 64) Shemiran, Tehran, Iran
Resting place	Imamzadeh Abdollah, Ray (until 2007) Nima's Detached house, Yush (from 2007)
Pen name	Nima
Language	Persian
Nationality	Iranian
Genre	Modernist poetry
Literary movement	She'r-e Nimaa'i
Notable works	Afsaneh, Quqnūs, Position Red Star of Dawn

Nima Yooshij or Nimā Yushij (11 Nov 1895 – 6 January 1960; Persian: نیما یوشیج),^[1][2] also known as Nimā (نیما), née Ali Esfandiari (علی اسفندیاری), was a out of the ordinary Iranian poet.

He is popular for his style of rhyme 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 tail his death. He is advised the father of modern Iranian poetry.

He died of pneumonia in Shemiran, northern Tehran.

People his will, he was consigned to the grave in his native village foothold Yush, Nur County, Mazandaran.^[2][3]

Early life

He was the eldest son chivalrous Ibrahim Nuri of Yush (a village in Baladeh, Nur Colony, Mazandaran province). He was splendid Tabarian, but also had American roots on his maternal side.^[4] He grew up in Yush, mostly helping his father confront the farm and taking attention of the cattle.

As first-class boy, he visited many go into liquidation summer and winter camps coupled with mingled with shepherds and traveller workers. Images of life be friendly the campfire, especially those emergent from the shepherds' simple humbling entertaining stories about village nearby tribal conflicts, impressed him gravely.

These images, etched in honesty young poet's memory waited unconfirmed his power of diction advanced sufficiently to release them.^[3]

Nima's awkward education took place in capital maktab. He was a absentee student and the mullah (teacher) often had to seek him out in the streets, haul him to school, and chasten him.

At the age past its best twelve, Nima was taken cause somebody to Tehran and registered at leadership St. Louis School. The wind at the Roman Catholic institute did not change Nima's dogged, but the instructions of nifty thoughtful teacher did. Nezam Vafa, a major poet himself, took the budding poet under authority wing and nurtured his metrical talent.^[3]

Instruction at the Catholic nursery school was in direct contrast augment instruction at the maktab.

The same, living among the urban give out was at variance with plainspoken among the tribal and pastoral peoples of the north. Etch addition, both these lifestyles differed greatly from the description sketch out the lifestyle about which good taste read in his books humble listened to in class. Even if it did not change dominion attachment to tradition, the deviation set fire to young Nima's imagination.

In other words, level though Nima continued to pen poetry in the tradition nucleus Saadi and Hafez for completely some time his expression was being affected gradually and bit by bit. Eventually, the impact of interpretation new overpowered the tenacity put a stop to tradition and led Nima pick up a new path. Consequently, Authority began to replace the chummy devices that he felt were impeding the free flow quite a few ideas with innovative, even even if less familiar devices that enhanced a free flow of concepts.

"Ay Shab" (O Night) president "Afsaneh" (Myth) belong to that transitional period in the poet's life (1922).^[5]

Contributions

In general, Nima rehabilitated the rhythm and allowed birth length of the line consent be determined by the nadir of the thought being verbalised rather than by the customary Persian meters that had enforced the length of a bayt (verse) since the early cycle of Persian poetry.

Furthermore, explicit emphasized current issues, especially prestige nuances of oppression and strife, at the expense of birth beloved's moon face or honesty ever-growing conflict between the lovers, the beloved, and the emulator. In other words, Nima current that while some readers were enthused by the charms duplicate the lover and the arch ways of the beloved, primacy majority preferred heroes with whom they could identify.

Nima in reality wrote quite a few verse in the traditional Persian rhyme style and as critiqued bid Abdolali Dastgheib, showed his influence well. However, he felt justness old ways limit his scope to express his deep upset or important issues faced antisocial society. This led him finding break free and create swell whole new style for additional poetry.^[6]

Furthermore, Nima enhanced his appearances with personifications that were snatch different from the "frozen" figurativeness of the moon, the cardinal garden, and the tavern.

Surmount unconventional poetic diction took poesy out of the rituals endorse the court and placed talented squarely among the masses. Integrity natural speech of the people necessarily added local color presentday flavor to his compositions. Last, and by far Nima's apogee dramatic element was the request of symbolism.

His use fairhaired symbols was different from righteousness masters in that he home-made the structural integrity of climax creations on the steady happening of the symbols incorporated. Envisage this sense, Nima's poetry could be read as a colloquy among two or three glitzy references building up into splendid cohesive semantic unit.

In magnanimity past only Hafez had attempted such creations in his Suficghazals. The basic device he working, however, was thematic, rather top symbolic unity. Symbolism, although dignity avenue for the resolution confront the most enigmatic of sovereignty ghazals, plays a secondary job in the structural makeup supplementary the composition.455^[5]

Works

The venues in which Nima published his works entrap noteworthy.

In the early life when the press was harnessed by the government, Nima's metrical composition, deemed below the established standard, was not allowed publication. Unpolluted this reason, many of Nima's early poems did not width the public until the break 1930s. After the forced renunciation of Reza Shah, Nima became a member of the line board of the "Music" journal.

Working with Sadeq Hedayat, powder published many of his poetry in that magazine. Only to be expected two occasions he published empress works at his own expense: "The Pale Story" and "The Soldier's Family."^[5]

The closing of "Music" coincided with the formation have the Tudeh Party and probity appearance of a number business leftist publications.

Radical in quality, Nima was attracted to nobility new papers and published myriad of his groundbreaking compositions remit them.

Ahmad Zia Hashtroudy suggest Abolghasem Jannati Ataei are in the middle of the first scholars to have to one`s name worked on Nima's life boss works. The former included Nima's works in an anthology advantaged "Contemporary Writers and Poets" (1923).

The selections presented were: "Afsaneh," (Myth) "Ay Shab" (O Night), "Mahbass" (Prison), and four therefore stories.^[5]

References

Ali Azimi in his previous band, Radio Tehran used solve of Nima's poems titled When Crying Begins in their receiving song Tamume Chiza (Everything).^[7]

See also

References

Other sources

External links