Işık Bağrıaçık, Yeşim

The founder of modern Persian poetry, Nima Yushij has been subjected to criticism during the formation of his poem. However, he did not hesitate to shape his sense of poetry and fought for that for the rest of his life. The negative attitudes towards him caused him to be introvert and in pessimistic mood. Nima Yushij, who found peace in the village life, away from people, nestled in his childhood memories. In his early periods, Nima Yushij was in tendency of romance poetry. During the reign of Reza Shah, when Nima Yushij published his first poems, there seems to have been an interest in the romanticism movement in Iranian literature. The romanticism that is meant here is not exactly a romanticism in the Western sense, but a romantic understanding that begins with Nima Yushij and takes shape in the historical process. Reza Khan, who seized power with a coup in 1921 and silenced all dissident voices, confiscated the administration with the military regime in 1925. During this period, all kinds of criticism and insinuations about the government and the state of the country were restricted, as the publications were under surveillance. After the constitutional revolution, political poetry, the most developed style, became indistinct. Thus, Iranian romantic poetry, which Nima Yushij shaped under the influence of French romantics, became idiocratical. It is possible to see the trends seen in Nima’s romantic poems, such as despair due to social problems, introversion, taking shelter in solitude and nature, as well as in other poets of the period. In particular, these features, which coincide with the spiritual and intellectual dimension of the poet, appeared in his poem “Efsane”. The “Efsane” is almost the manifesto of Romantic poets during this period. Nima Yushij has placed his romantic poetry on one side in 1941 and moved towards social and political poems. He used a symbolic language in these poems. At the stage of transition to symbolic poetry, Nima imitated the poems in classical Iranian poetry, where there was a suggestive narrative that provided sermon, moral and allusive messages. These poems, which he wrote in the 1940s, are often in the fable type. Later, he tried to express the realities of society with an indirect narrative in his symbolic poems. The poet, who did not use direct critical language in his symbolic poems with a story-like dimension, revealed the existing situation by depicting the environments formed as a result of social and political events. In this way, the use of symbolic language in social issues in Iranian literature began with Nima’s poetry. Under the influence of French symbolic poetry, Nima took advantage of thedifferent characteristics of admirers to reflect their different characteristics in his poems, which would express the personality and spiritual state of man. In his poems, Nima, who worries about the troubles of the people, expressed their poverty, deprivation, and injustice they suffered. The poet, who thought that real poetry should reflect the society, wanted to create awareness in the public with his poems.

Bağrıaçık, Yeşim Işık

The movements of the Constitutional Revolution that had started in the Qajar Dynasty were quite influential in changing the classical Iranian poetry. In the new environment formed during the Constitutional Revolution, the topics poetry represented changed. “Edebiyat-i Bazgeşt”, namely “flashback literature”, maybe the last cycle of the classical Iranian poetry was criticized by innovative poets in this period of time because they argued that it did not reflect the truth in the society. Therefore, poets during the Constitutional Revolution period dwelled on the problems of the society by writing poems reflecting the current situation of Iran, a country dominated by other states and where the central government had lost its power. The purpose of the poetry that gained a political aspect was to demonstrate the current situation and to protest against political powers. In this period, influenced by political and ideological developments in Western countries, the poetry was on a new path. Poets, as political fighters rather than being just a poet, often supported the revolution of constitutional monarchy in the newspapers they published. Published newspapers and journals have played an important role in the change of the country. The poets generally continued their literary, intellectual and political activities within the journal or newspaper that they published or the party that they supported. In this way, they became influential on the public by easily reaching them. Poets, who were political figures rather than poets, supported the constitutional reform against the current government. In this period, the poetry underwent a formal transformation as well as gaining a political aspect. The aim of the study is to present a general idea on the aforementioned period by briefly addressing the poems and lives of remarkable poets of the period. The target audience of a study is the researchers which work on poetry and poets of the Constitutional Period in Iran, also readers who are interested in this period.

Bağrıaçık, Yeşim Işık

Iranian literature researchers divide Nima Yushij'spoems into three groups: classical poems, semi-classical poems and free verse poems. Classical Persian poem is based on three main elements, namely pattern, literary language and meaning. According to classical understanding of Iranian literature, a real innovation in poetry requires a complete change in at least one of the foregoing elements. Nima Yoshij kept these elements as they were in his classical poems. One of the most apparent differences in semi-classical poems is that lines replace couplets, primary components of classical poetry. Writing couplets one under the other allowed the production of different poems with this pattern as a novel method in the Persian poetry. Similarly, it allowed rewriting with various modifications of the poems that are produced in the mosammaṭ form in a limited number. Nevertheless, since similar lines with equal number of meters and rhyme repetitions are accepted characteristics of the classical poetry, Nima's poems that are said to be semi-classical cannot be considered different from classical poetry. Majority of the poems produced byNima Yushij between 1937-1958 are free verse poems. It is not possible to talk about a specific formal structure for these works. The poet left aside already accepted poetic rules and found the opportunity to reflect the world based on his personal experiences from his own comprehensionwindow.Nima Yushij learnt to approach the poetic language commonly in use in the classical literature era, the approved poetic patterns and realm of meaning with suspicion and rendered these elements, which poetry is subjected to, subjected to poetry. Departing from the sense of poetry that was considered resembling the poems of the classical poets and thus successful, he introduced a new sense of poetry through which he reflected his world of personal experiences, tastes and thoughts. Nima Yushij managed to establish a new sense of poetry by drifting apart from the cliché poetry and pioneered a fundamental change with regard to the primary components of poetry in the Iranian literature.

Bağrıaçık, Yeşim Işık

The aim of the study is to examine the course of thinking of AbolqassemAref Qazvini,one of the greatest poets of Persian constitutional monarchy period. Aref Qazvini supported constitutional monarchy in Iran since its beginning and he criticized the political and social policies of Dynastie Kadjar that was under the domination of foreign countries in his poems.Qazvinilived with the dream of a free Iran throughout his life and he expressed this desire in his poems.The social and political winds blowing from neighboring countries -from the Ottomans and Russia -arrived Iran by surging and accomplished to influence the Iranian intellectuals of the period, especially Aref Qazvini. The poet, who made his poetic comprehension open to the impact of the political ideas that evolved around him, syncretized his exuberant poetic language with his fragile temperament. His life as a poet, who did not find what he had hoped for from the movements of thought he was enamored of, passed in frustration.Inthisstudywherethequalitativeresearchmethodused,examples reflecting the poet’s world of thoughts will be given and how his life match with his thoughts will be addressed.

Bağrıaçık, Yeşim Işık

Aziz Nesin İran’da en meşhur yabancı mizah yazarlarından biridir. 1965 yılından itibaren Farsçaya çevrilmeye başlayan eserleri bugün hâlâ farklı mütercimler tarafından yeniden çevrilmektedir. İran’da sol kesim yazarların dikkatini çeken Nesin’in kitaplarını; Samed Behrengi, Ahmed-i Şamlu, Semin Bağçeban ve Reza Hemrah gibi ünlü şair, yazar ve mütercimler çevirmiştir. İran’da Pehlevi hanedanının baskı ve zulmü yazarların bu dönemde tercüme eserlere yönelmesine sebep olmuştur. Söz konusu dönemde özellikle Türk yazarları arasından Aziz Nesin’in eserlerine bir ilgi olduğu görülmektedir. Devletin uygulamalarının yarattığı sorunlara karşı halkın tutumunu gözler önüne seren Nesin’in roman ve öyküleri, Pehlevi Hanedanı döneminde Farsçaya çevrilmeye başlamıştır. İran toplumunda gördüğü ilgi onun, üst sınıfın çıkarlarına hizmet eden bozuk düzenin kökten değişmesi gerektiğini savunması ve kişisel ilişkilerde, bürokrasi, sistem ve bazen de kişinin kendi içindeki çatışmayı farklı yönleriyle ele almasıyla ilişkilendirilebilir. Türk toplumundaki çarpık yapıları, siyasetteki yozlaşma ve bozuklukları dile getiren Nesin’in Türkiye’deki siyasi ve toplumsal eleştirilerinin, benzer bir süreçten geçen İran toplumuna da hitap ettiği anlaşılmaktadır. Aziz Nesin toplumun gülmeceye gereksinimi olmadığı dönemlerde gülmece edebiyatının başarılı olamayacağına inanmaktadır. Böyle durumlarda bu ihtiyacı yazarın kişisel yetenekleri ve gülmeceye olan yatkınlığının cevap vereceğine inanan yazar, İran’da siyasal baskının son derece fazla olduğu bir dönemde ilgi görmüştür. 1965 yılından itibaren Farsçaya tercüme edilmeye başlayan Aziz Nesin’in eserleri, İran İslam İnkılâbından önce daha çok Reza Hemrah adlı mütercim tarafından çevrilmiştir. İnkılâp sonrasında ise farklı mütercimlerin de Nesin’in eserlerine yöneldiği görülmektedir.