120:“The Phoenix, sweet-singing bird, known across the world” with Attar's “The Phoenix is a peerless bird, heart-enrapturing // This bird’s abode is Hindustan” is a hear the sonic relationship between the two lines. While Nima does not engage in a poetic imitation by copying Attar's meter, he does reference his predecessor in his rhyme. The intertextual reference offers us a key to unlock the processes behind Nima's modernist poetry, for the poem betrays its secrets through its intertextuality. The far-off voices that the Phoenix recombines in what is ostensibly new poetry are echoes of the Persian poetic tradition. They are echoes of premodern prosodic, rhythmic forms. In the end the poet-phoenix's immeasurable pain erupts in his own destruction. “drunk from his invisible pains, / he throws himself on the awesome fire. / A violent wind blows, and the bird is burned up.” But in the final two lines, Nima breaks away from Attar's version (and other familiar stories of the Phoenix), for usually only a single new Phoenix rises out of the ashes. Instead, in “Quqnūs” “the ashes of his body are collected up, / his chicks take flight from the heart of his ashes.” The difference with Attar's poem, leaving the reader to draw particular conclusions about Nima's decision to use a plural. Considering that “Quqnūs” comes early in Nima's development of metrical form, the final line represents his hope that other poets might later continue the innovations he was making in Persian poetry.
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the ordinary, it only hints at the metrical experimentation to come. Lines 9 and 10 break with the norm in the jarring string of five long syllables, ending with builds, in which the normally short final syllable of the first foot lengthens, incorporating the first letter of the next theoretical foot, which is not present in the line. The plodding succession of syllables in builds, encapsulates Nima's idea of poetic modernism in a single word. At the same moment the poet creates something new, he also destroys its source, or—at the very least—shakes its foundations. In line 10, metrics and content stand at odds with each other, and their dissonance sounds out the inner workings of Nima's poetry. This single word, builds, displays Nima's modernist poetics within itself by making a claim to building something new while simultaneously breaking away from the premodern metrical foundations of
Persian prosody.
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or poets who live a normal life. Passing birds must be the same people on the street and in the bazaar. This birds's habitat is far from people. The poet is alone and alone. Moreover, the atmosphere of poetry is established at night and in the evening. The Lost
Lamentations is not a poem composed of hundreds of distant voices (the voice of the people or the ancient poems of poets such as
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his wings like fire from his wings, He falls into the wood and burns himself with the wood, but from the ashes of his corpse, his chickens come out." In fact, the poet uses an old myth and introduces himself as a Quqnūs that must burn in order for his thoughts and poems to be spread among the people and for other birds to spread it in the world.
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The first lines of “Quqnūs” show Nima's intervention on premodern
Persian poetic form and give an early example of the style he would later outline in his comments to the Writer's Congress. Lines 3 and 4 stop midway through, but the first two usual poetic feet remain unaffected. While this is out of
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Quqnūs is an allegorical poem, Yoshij wants to convey that
Phoenix does not have a safe place to live. His position is a weak branch that shakes in the wind at every moment. The birds sitting around him (but on other branches) are poets and intellectuals. In contrast, other birds are ordinary people
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both in form (rhyme and paragraph) and in meaning (social symbolism). The poem describes a myth of Quqnūs: "It is said that Quqnūs lives a thousand years, and when a thousand years pass and his life comes to an end, he gathers a lot of firewood and sits on top of it and begins to compose and flutter
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It is a legendary bird whose beak has many holes and makes strange songs. He lives for a thousand years, and when his death comes, he gathers a lot of firewood and sits on top , of it and flutters his wings until the firewood burns and a new phoenix emerges from its
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113:, it should also be noted that in Persian mythology Phoenix is a bird from which music was taken). The imaginary building is his future poetry and style. The fire of a rural man (he also reminds Nima himself) is his wishes and hopes.
96:. His social status at the time of Quqnūs's writing was coincided with the invasion of Iran and the subsequent political repression that greatly affected his morale.
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84:. In Quqnūs, Nima Yoshij transforms his poetry and tends to social symbolism. Before that, his poems included
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Speaking
Laterally: Transnational Poetics and the Rise of Modern Arabic and Persian Poetry in Iraq and Iran
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Speaking
Laterally: Transnational Poetics and the Rise of Modern Arabic and Persian Poetry in Iraq and Iran
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The writing of "Quqnūs" first began in
February 1938, and three years later was first published in the "
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Journal of Prose
Studies of Persian Literature (Former Literature and Language)
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A look at Nima Yoshij's poetry: A discussion on how poetic systems originated
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242:"The myth of Phoenix in the poems of Nima Yoshij and Guillaume Apollinaire"
201:"The historical course of Nima poetry from a sociological point of view"
151:"Analysis Quqnūs by Nima Yooshij with a Look at Gaston Bashlar Thoughts"
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51:. Quqnūs is often referred to as an evolved Afsaneh poem that depicts
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155:Baharestan Sokhan Quarterly (Persian Literature)
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302:Ali Zia al-Dini, Negah Publications, 2011.
80:" had a profound effect on the growth of
47:'The Phoenix') is a 1941 poem by
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78:The Value of Emotions in Artists' Lives
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16:Poem by Nima Yooshij
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199:Zia al-Dini, Ali.
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86:romanticism
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161:: 89–104.
100:Structure
94:symbolism
349:Articles
211:: 54–67.
72:and the
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111:Khayyam
90:realism
60:Context
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139:ashes.
30:Quqnūs
380:Poems
294:books
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107:Attar
38:ققنوس
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