بررسی و تحلیل دو مجموعه جدید اشعار نیما یوشیج («نوای کاروان» و «صدسالِ دگر») بر اساس تئوری های او درباره شعر و شاعری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
«صدسال دگر» و «نوای کاروان» دو مجموعه منتشر شده تازه ای است که به همت فرهنگستان زبان و ادبیات فارسی از میراث نیما یوشیج چاپ شده است. تئوری های نیما یوشیج درباره شعر و شاعری در مجموعه های چاپ شده پیشین او آمده است و سیر تحولات شعری او را می توان ترسیم کرد؛ با این وجود بسیاری از اشعار دیگر نیما یوشیج در این دو دفتر اخیر وجود دارند که در تحلیل روند تحولات شعری او بسیار حائز اهمیت اند. در پژوهش حاضر با در نظر گرفتن مهم ترین نظریات نیما از جمله توجه به سمبلیسم، دکلماسیون و روند طبیعی کلام، الگوی وصفی و روایی، عینیت و ذهنیت، هارمونی و استحاله به بررسی این دو مجموعه پرداخته ایم. نتایج نشان می دهد که نیما برای رسیدن به سمبلیسم علاوه بر ادبیات غرب به ادبیات کلاسیک خصوصاً «تمثیل» و «نمادهای عرفانی» علاقه زیادی نشان می دهد. علاوه بر ساختار نمایشی، نیما از ظرفیت «روایت» و «داستان» برای بیان مطالب خود استفاده می کند و تلاش می کند تا با طبیعت درآمیزد و برخلاف شعر کلاسیک، توصیفی عینی و بیرونی از آن ارائه بدهد. نیما شعر کلاسیک را دارای وحدتی اندام وار نمی بیند و تمام عناصر شعر را در راستای ایجاد یک ترکیب هماهنگ که آن را «هارمونی» و «فرم» می نامد، قرار می دهد.Investigating and Analyzing Nima Yooshij’s Two New Collections “Navāy-e Kārvān" and "Sad Sāl-e Degar" based on His Theories about Poem and Poetry
Nima Yooshij's theories about poetry and poet are in his previously published collections and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".
Keywords: Nima Yooshij, Navāy-e Kārvān, Sad Sāl-e Degar, Objectivity and Subjectivity, Harmony, Contemporary Poetry.
Introduction
The evolution of Nima's poetry and the transformation of his poetry can be seen and analyzed from the collection edited by Siros Tahbaz. Therefore, Nima's early experiences and some of his other unpublished poems, which can show the transformations of his poetry step by step, are very precious and valuable works that show the infinite suffering and hardship of the "The Father of Modern Persian Poetry".
Research question: What features do the two published collections of Nima Yooshij show in his poetry?
Literature Review
Although Nima has created significant pieces, there are differences of opinion among critics, researchers, and even his students and followers. Terms such as "subjective" and "objective", "declamation" and "natural expression", "new point of view", "absorption" and "transubstantiation" and "harmony" and... include most of his theories and it can be admitted that neither Nima was able to express it unambiguously, nor his students and critics have the same opinions about all of them. From this point of view, we see that Akhavan Sales and some other critics consider the "Mādar-e Bedathā-ye Nimā" in "prosodic meter", while Nima himself does not believe in this matter. Nima Yooshij's two newly published collections, entitled "Sad Sāl-e Degar" and "Navāy-e Kārvān", which contain his significant poems, are a great opportunity to examine Nima's ideas and theories more closely. In the present research, the two collections have been investigated by considering Nima Yooshij’s theories.
Methodology
The research method in this article is descriptive-analytical and based on library studies. First, from this point of view, Nima’s most important ideas about poem and poetry have been examined, and then, taking into consideration his two recent collections, some points about Nima's ideas have been examined. In this study, an attempt has been made to discuss the opinions of other critics.
Results
According to the last two collections of Nima Yooshij, it was concluded that:
He was able to achieve his desired symbolism by paying attention to Western literature and mystical symbols and allegories. As his poem "Vampire" is derived from European literature. Some of his other poems are also derived from native elements.
Nima has several poems with a dramatic structure, which shows his special attention to the "dramatic structure of poetry", which is also mentioned in the introduction of the legend.
Nima uses the element of narration and description for the story structure of his poems and by creating a complete harmony of all linguistic elements, he presents a poem that has a body-like composition. This feature makes his poetry achieve the "form" or "harmony" that he wants.
Another artistic feature of Nima's poetry is the absorption and analysis of the environment and objects. This point prevents him from repeating what others have said. In fact, creating a link between the outer and inner world and "being one with the object" creates a new and individual view of the poet in the poetic images that Nima has emphasized many times.
5. Nima’s two collections of classical poems are an unsuccessful imitation of great poets such as Nezami, Sa'di, and Molana; the evolution of his poetry is in Nimai's free verses. Some of Nima's poems in this collection can be among his most brilliant works among his other successful poems.