Document Type : Original Article
Authors
1 Persian Language and Literature, Faculty of Literature, Institute of Humanities and Cultural Studies, Tehran, Iran
2 Persian Language and Literature, Literature Research Institute, Institute of Humanities and Cultural Studies, Tehran, Iran.
Abstract
Introduction
Ahmad Shamloo is one of the creators of modern Persian poetry and the founder of white poetry in Iran. They consider one of their reasons to be his widespread influence among Farangi poets; "Due to the length of his period as a poet and his various changes in the poetic and political fields, Shamloo is the best person whose art shows the influence of Persian poetry more clearly than others" (Shafi'i Kodkani, 2010: 526). As a result of the opponents, Shamloo is considered to be an example completely influenced by Persian poetry, thus raising the suspicion that Shamloo's poetry is not related to ancient Persian poetry. Based on this analysis and taking into account that every text is influenced by past texts, the question arises for the researcher: Does Shaer Shamloo have a relationship with ancient Persian poetry? If there is a connection, how is it manifested? This manifestation and reflection was more influenced by the poetic images of which style of Persian poetry or which ancient poet or poets? Since one of the ways to identify the degree of influence or lack of influence of the poet from the past or contemporaries is to identify the poetic images, in this article, the reflection of the poetic images of the ancient Persian poets in the poetic images of Ahmad Shamloo: simile, metaphor, irony, recognition and artistic attribute, is examined and is studied.
Methods
To conduct the present research, first, by studying Shamloo's poems, extracting and classifying his poetic images (about 4700 items) was attempted. After that, the search for classified poetic images including Shamloo in the works and divans of ancient Persian poets from the third century to the thirteenth century was done; The obtained images were matched with ancient texts, and at the end, the analysis of the obtained images (research data) was undertaken with a view to the theory of intertextuality and the analysis of literary traditionalism.
Discussion
So far, no research has been done with this research approach, with this issue and with this hypothesis and questions in Shamloo's poetic images. Of course, many researches have been conducted in the field of Shamloo's poetry, and most of these researches either criticize Shamloo's poetry in general. and have examined or analyzed Shamloo's poetry from other perspectives. One of the works that has dealt with the image in Shamloo's poetry in recent years is "Examination of the image and its introduction in Shamloo's poetry" an article written by Farhad Tahmasabi. It is Vozhera Sarmi, which was published in "Literary Research" magazine, number 44, in 2013. In the analysis of the image process, the mentioned article relies on the role of imagination in the formation of the image and while maintaining the theoretical identity of the image, it has examined a structure with the titles of central image, image tool, image tone and image function (Tahmasabi and Sarmi, (1393: 107) and The issue of reflecting the images of ancient poets in Shamloo's poetry has not been paid attention to. Basically, the research problem of the mentioned article and its result is the connection of images with their situational context in Shamloo's poetry (ibid: 134), while the article proceeds with an intertextual approach and with various evidences. The investigation and analysis of various dimensions reflect the poetic images of ancient Persian poets on the poetic images of Ahmad Shamloo.
Conclusion
In the examination and comparison of Shamloo's poetic images with ancient Persian poetic images, it was revealed that Shamloo's poetry is not unrelated to Persian poetry, despite the opposition's claim that it is a complete reflection of Persian poetry. These studies show that the most images used in Shamloo's poetry are recognition, simile, artistic attribute, metaphor and irony, respectively, and the highest level of reflection of the poetic images of ancient Persian poets in Shamloo's poetry is respectively irony, simile, metaphor, recognition and adjective. Art can be seen. Also, the greatest influence of Shamloo among Iraqi style poets, followed by Indian and Khorasani poets respectively. Khorasani's style has been most influenced by Ferdowsi. Therefore, considering Shamloo's possession of the ancient Persian literature treasure; His way of using old images in a new context and the poet's creative power in benefiting from these images can be considered as a successful example for future poets.
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