Research Article Special Issue

THE STUDY OF THE SOURCES OF MODERNITY IN IRANIAN CONTEMPORARY POETRY

N. D. M. Karasfi

Associate professor, Department of Persian literature, Azad Islamic University, Khodabandeh Branch, Khodabandeh, Iran

Published online: 15 February 2016 ABSTRACT The historical background of the emergence of the sources of new Persian poetry currents, as a nascent phenomenon goes back to the time of the constitutional revolution .the age of relationship with the western governments and awareness of evolved and advanced European civilization, Of course, returns to tens and even hundreds of years before the constitutional revolution. But none of those martial and political relationships have influenced the modernization of literature and poetry in Iran and its little influence on a few poets does not make the real beginning of modernization history. It was Abbas Mirza who officially as the first person founded the basic political and thinking currents of poetry modernization in its European form. Since then, literary critics and social theorists with their insightful criticism and comments paved the way for the realization of different emerging currents during the constitutional era. Of course, the sources of globalization of poetry are beyond this. The fundamental question in this regard is: What are the most important factors in the emergence of modern Iranian poetry and which historical era does the globalization of Iranian poetry goes back to? In this paper, we briefly discuss the most important of these factors. Keywords: poetic currents, globalization of poetry, constitutional revolution, modern poetry, European literary schools

Author Correspondence, e-mail: [email protected] doi: http://dx.doi.org/10.4314/jfas.v8i2s.431

Journal of Fundamental and Applied Sciences is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. Libraries Resource Directory. We are listed under Research Associations category. N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1733

1. INTRODUCTION It is clear that the "globalism" has not taken place overnight, but it is the result of years of effort , struggle, and sacrifice of such men who "love of Iran", was woven in their thought , spirit and soul and key words such as: "emancipation", "Revolution", "country", "law", " civility", "modernity", " constitution", "justice",etc. formed their sacred ideals . This sacred ideal was realized with achievement of the revolution in 1906. At that time, liberal pioneers in the field of literature and poetry took some strategies to globalize the Iranian poetry currents and following some leading European literary schools specially imitating the French poets, the new flow of Persian poetry took a step forward. Poetry currents and movements after Nima are as follow: blank verse, Moj-e-Nou, Hajm, pure poetry, concrete, Tougraf poetry, the guerrilla poetry, the female poetry, the mathematic poetry, the color poetry, the black poetry, the Eshraq poetry, the lyric poetry, the conceptual poetry, the lingual poetry, the postmodern poetry (Post Nima), etc. Regarding the related literature one can put that there are a lot of various and valuable studies as well as different books, but all of these works are general and have studied literature or contemporary poetry from the beginning up to now. They just looked through hurriedly to the subject of this article. The only person who independently investigated this issue is Mohammad Reza Shafiee kadkani”. He speaks about the roots of the evolution of Iranian contemporary poetry in his valuable book named “with lights and mirrors". Although there are some criticism regarding the book, including non- classified content, lack of scientific discipline, turbulent topics, paying no attention to reliable sources such as "Analytical History of Poetry" by Shams Langrood in four volumes, etc. this book is one of the most reliable and comprehensive references in this issue and contains some useful information in the field of contemporary Persian poetry from tradition to modernity. Other sources in the field are: 1.Book "from Saba to Nima, written by Yahiya Arian pour. 2. from Nima to our time by Yahiya Arian pour3.Blank Verse from the beginning up to now 4.Iranian literary career achievement, Fouad Farooqi 5.A review to the present history of literature by Muhammad Huquqi and... In general, the basic question is that what are the factors involved in the process of "globalization of Iranian poetry"? And consequently what are the requirements of emergence of "emerging currents of contemporary poetry”? The answer is crystal clear; the all factors contributing to the realization of the constitutional revolution are also involved in the occurrence of Iran's nascent poetry movements. Therefore, because of the above mentioned reasons and also the lack of concentration on this subject matter, there is not enough comprehensive information regarding “the globalization of Iranian poetry and effective N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1734 contributions to its emergence", so, the necessity was felt to compile this paper. The author had tried to take brief look at the most common reasons of globalization of Iranian poetry and consequently its contribution to the emergence of new contemporary poetic currents using the historical, analytical and librarian ways.

2. METHOD The method of collecting this paper is based on three methods “analytical",” librarian “and "historical". Certainly the literature of no country is separable from its history and society. Thus, Iran's literature- especially poetry -is no exception from the "mutual interaction between poetry and society as well as history “.Hence, the emphatic method of this paper is to the study and to analyze the available resources about the literary history of last century and evolution of modern Persian poetry movements. In this regard, we studied large librarian resources and numerous articles, but the most important of them interred in two parts: external and internal affecting actors.

3. RESULTS In general the results of the studies regarding the diagnosis of the resources of modernity in Iranian poetry can be divided into two main factors in which these two factors also divide into other sub factors.(a) External factors: (1) the influence of Iranian poets from European literary schools. 2. The effect of the development of Western science and technology on globalization of literature and poetry. 3. Impact of European languages, especially French. 4. The Impacts of Western and Eastern liberation revolutions (France, England, Russia, China, etc.) 5. The defeat of Iran from Russia. (B) Internal factors: 1. the effect of the constitutional revolution. 2. Struggles and efforts of compassionate, political state men along with local and foreign intellectuals and poets, etc. (3) the impact of Iranian social and political events on the eve of the First World War and afterwards. 4. Inefficiency of traditional poetry. 5. Hot market of criticism and theorizing. 6. NimaYoushij’s literary revolution. 7-impact of journalism and translations 4. The study of sources of modernity in contemporary Iranian poetry 4.1 External factors: 4-1-1- The influence of European literary schools on Iranian poets Most poets of the constitutional era or later had a fleshy eye to the poetry and European art and were influenced by various European schools such as: romanticism, symbolism, realism, naturalism, surrealism and others. For example: "Romantic poet by Iraj Mirza (Zohreh and N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1735

Manouchehr) and progressive love romanticism like" perfect love "along with the realism of Jamalzadeh in" Once Upon a time "and workers lyrics by Lahooti, all originate from this era"(Azhand, 2004). In the constitutional period, the first step was taken toward the globalization of Persian poetry and poetry of this period with influential input from the European poetry in respect of content and themes of poetry, experiences the stage of "transition from tradition to modernity". The second and final step in the globalization of the Persian poetry was taken by Nima, because by literary revolution of Nima, Iranian poetry in all its dimensions, whether in the internal form of or external form, music, imagination, emotion and other features, of course with maintenance of some native features of Iran, coordinated with European poetry, in other words, Iranian poetry, in all its features and characteristics, came to the world of poetry. NimaYoushij in this regard says: “foreign tastes and European preferences started to enter our literature and other art works in the second half of the nineteenth century... (NimaYoushij, 1972) Jalal Al-e Ahmad also points to the influence of European poetry on Nima’s poetry and puts: "what is certain is that, Nima, after familiarity with Europeans free verse and blank verse, the weightless and rhyme less poetry, began to compose prosody and weightless poems (Tahbaz, 1989). Among European countries, French literary schools, have the highest impact on Iranian literature and poetic modernism. the following are some of those factors: The appropriate political relationships between Iran and France during the reign of the Qajar, pioneering background of French literary schools in the world revolutions and the great literary schools, activity of various French schools in Iran, including: saint Louis School, Franco Persan, St. Joseph, etc. for this reason, most of our graduates were fluent in French. Obviously, the result is the influence of French literature on Persian literature. As Shafiee Kadkani puts, we can confidently say that it was French as the first language which with its literary translation works, transformed the Iranian poetic atmosphere to a considerable extent" (Shafiee Kadkani, 2011). as examples ,we mention some of those French literary works which had a significant impact on Iranian poetry: Jean de La Fontaine fables (the representatives of classicism school), Alphonse de Lamartine, Victor Marie Hugo (from Romantics), Jean-Nicolas Arthur Rimbaud, Charles Pierre Baudelaire, Paul Valery (representatives of symbolism), Alex Leger June press with the nickname of (Saint-John Perse) of symbolism and surrealism schools, Paul Eluard(the school of surrealism ),etc. Of the most influential poets of England are: William Shakespeare (classical school representative), Shelley Percy Bysshe, the Romantic poets, Oscar Wilde, William Butler Yates Butler, Thomas Stearns Eliot (TS Eliot) and famous poets of literary schools in other N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1736

European countries such as: Russia, Germany, Italy, Spain ,etc., have had different degrees of impact on our literature and poetry. About the Impact of foreign literature on Iranian Literature and Poetry, it is worth to note another source of influence on poets of that era to achieve a new style of poetry, and it is nothing but rich sources of, revolutionized Turkish poetry. Most Turkish writers and poets, before the Constitutional Revolution in Iran, had experienced modern European poetry. Although during the constitutional period, Azerbaijan and Turkey, were not among the developed European countries, but these countries, both in terms of geography and as the right environment for accepting European opinion, were considered as the open cultural customs gate to Iranian literature. New poets, writers and intellectuals of this country, less or more had some direct or indirect effects on the spread of modernity in literature and poetry before and after the constitutional period. Among them are the poets below: Mirza Fath Ali Akhund-zadeh, Mirza AbdulrahimTalibov, Mirza Ali Akbar Taherzadeh Saber, Ibrahim Shinasi, Abdul Zia Pasha, Abdul Hamid, Namik Kemal, Toufiq Fikret, and Nazim Hikmetm ,etc. That’s why Nasim-e-Shomal got enthusiastic when he heard about Turkish poetry, and then he turned to translate all poetry of Saber into Persian because he knew that it will raise a great pleasure."(Langroodi, 2002) 4-1-2- The impact of Western scientific and industrial developments on the globalization of its literature and poetry Iranian at early ages strongly astonished by the European developments in all areas, especially in science and industry and hastily imitated their scientific and industrial patterns. Due to the close relationship between literature and society and their mutual influences, it’s natural that familiarity with the technical names of European scientific and industrial developments would have an influence on the emergence of a type of poem with technical and scientific terms. As a result, the language, thought and the content of literary works, especially poetry, automatically experiences a sort of natural evolution based on the "rule of scientific and literary mutual effects". In this way, one can justify the new manifestations of western industrialization, one of the major themes of the poetry of the constitutional period. The poets of this era were trying to put new subjects in the shed of traditional poetic form. For example, in the sonnets, they talked about "Motherland "instead of the traditional lover and in the ode instead of the description of the horse and mule, spoke about planes and trains" (Yahaghi, 2003). It is worth noting that the history of relationships between Iran and Europe, goes back to three hundred years before the Constitutional Revolution, i.e.to the reign of Shah Abbas I at the end of the tenth century AD. "While Shah Abbas I was preparing for a new war against Turkey, N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1737 he tried to establish diplomatic relations with European governments that were hostile to Turkey. In 1602 AD (1011 AH) the Ambassador of German emperor, Rudolf II, andthe3rd Ambassadors of Spain and Portugal emperor s entered Iran “(N. V. Pygvlvskaya, 1974: 517). On the other hand the history of the inspiration of Iranian poets and writers from the Europeans development, returns back to two hundred years before the Constitutional Revolution (late eleventh century SSI).Maybe The idea of European tendency and effectiveness from European developments and criticizing the deteriorating situation of the society in Persian, for the first time was proposed by Sheikh Ali Hazin Lahiji (1181- 1103H.q). In his book named doleful history, he says: “The country is ruined and civil jurisprudence has devastated us in this era... There is no qualified governor ... except some commanders of European countries, which are firm in their rules and regulations" (HazinLahiji, 1953: 92). others who have pointed to European civilization are: Latif Shushtar (1793 -1841 AH) and Mirza Abu Talib Esfahani (1787 -1842 AD). 4-1-3-Effect of liberating revolutions in Western and Eastern Europe (France, UK, Russia, China, etc.) French great Revolution (1799-1789AD) and the Industrial Revolution in England (after 1760 AD) was a starting point for other global revolutions in other countries around the world. Later, in emulation of these revolutions, other countries such as Russia, China, Japan, Turkey, Egypt, and India with more or less similar situations make fundamental changes in their political, social, cultural, scientific and literary constructs. Most Iranian literary and poetic developments can be attributed to great world revelations specially French and Russian literature. For instance, the 1905 Russian Revolution had an undisputed impact on the realization of the Constitutional Revolution of Iran and the world's globalizations well as Persian literature and poetry. Russian Bolshevik revolution was the outcome of the bourgeois revolution in 1905 and had a noticeable effect on Iran. The new wave of national liberation entered Iran from 1918 to 1921 and reached its peak in Gilan and Azerbaijan in 1920.The trade literature in Iran was formed based on the ideas of the ruling Workers of Russian Bolshevik literature along with emphasizing the contrast between the rich and the poor took the flavor of supporting poor or so-called hard working workers. The inspiring revolutionary poetry of MirzaAbu'lqasem (known as Lahooti), Mirza Mohammad FarrokhiYazdi (Crown of poets) and other poets of this era, following the Russian revolutionary poets, manifested the fighting spirit of this time. In the poems of A. Lahooti, following a Soviet socialist realism, samples of social realism in Persian poetry appeared for the first time. The Russian political currents, particularly the 1917 revolution, from the beginning to its realization by Lenin and N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1738 his followers constantly had a direct impact on the emergence of revolutionary and pioneering ideas in Iran. One of those effects is the emergence of the Democratic Party of Azerbaijan (15 December 1945) that shortly was formed under the leadership of Sheikh Mohammed Kheyabani after the Russian riots in February in 1917.So, one of the sources of the formation modern poetry, globalization of Iranian poetry and emerging movements, is the revolutionary ideas and dreams of liberating in other countries, including European countries. According to Shafie Kadkani: "Freedom - meaning western democracy - begins with the Constitution and this thought is the result of the French Revolution and the Industrial Revolution in England and other European countries as well as Asian liberation revolution" (Shafiee Kadkani,2001). 4-1-4-The defeat of Iran from Russia Until the beginning of Qajar, Iran had no relationships with the outside world. At the beginning of Qajar government particularly Fath Ali Shah era, by defeating the Iranian army by the Soviet fire arms (1813-1803AM), the Iranian was provided the chance of acquaintance with the western science, technology and military arms. Although the Iranian -Russian war cost Iran a lot, it opened the eye of authorities and people and awoke them from a long sleep. After the great historical defeats and mistakes in shameful imposed contracts like ”Golestan” and “Torkamanchay” it is strongly needed for Iranian to synchronize and modernize themselves in all dimensions including army in particular which caused the similar measures from the side of Abbas Mirza and Amir Kabirlater: Dispatching Iranian students to European countries such as England , France , etc. .establishment of Gunpowder factory, the foundation of journalism, foundation of Academy, translation of Western works into Persian, etc .thus, civilization and western culture appeared in Iranian social and intellectual life one after another. All of these scientific, social and economic developments directly and indirectly took place, in order to provide bases and backgrounds for the developments and formation of the new contemporary poetry and consequently the emergence of new currents and schools. So it is normal for a writer of the era (constitution) to seek a form to distribute and preach its cultural and literary facts (Ebadian, 2008). 4.2. Internal factors 4-2-1- The impact of Constitutional Revolution Constitutional Revolution (1906 AD) is an important milestone in the history of Iran. This national movement which was formed with input from major European revolutions such as the French Revolution, affected all aspects of society, and is considered as a nexus of tradition and modernity in almost every realm: politics, economics, civics, religion, ideology, art and literature. "Constitutional Revolution was like a flood with a great number of ugly and N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1739 beautiful facts which entered the world of art and literature. (Akhavan, 1990) If the poetry of that era like Mamalek, IrajMirza, Heydar Ali Kamali, Malekoshoaraye Bahar, Nasime Shomal, Aref Qazvini, FarrokhiYazdi, Mirzadeh Eshqi, etc, was different from the old poem, it was not in terms of the framework, but the contents and specific language of constitution which unlike previous eras stemmed from a social “I". At that time, new cultural institutions such as new schools, the press and political parties were established and poets as representative of different groups of people brought political messages via poetry. In particular some folk poets like Qazvini, Seyyed Ashraf Abu al-Qasim Gilani and Lahooti, wrote rhymed poems with common and popular trends as a mean to promote their liberal ideas. Thus the majority of poets 'audiences was average people and not particular social group. In general it can be said that-under the shadow of the Constitutional Revolution- in addition to fundamental changes in the contents of the poetry of this period, the first signs of transformation in the outer form of poetry was also appeared. As a result, constitutional poets rejected the old theme and imaginations of the poetry and turned to the objectives and concepts of human society as decisive factors in social reform. In respect of the external form of the poetry we can see the changes like "using forms such as Mostazad and Mosammat, considering Tasnif as a form of poetry, the new experience of forms such as interlocking quatrains or couplets, dramatic poem, labor poetry, folklore, humorous and critical poetry, new developments in the elements of poetry such as language, subject, imagery, music, media, purpose, mission, role and function of the poetry." (Aminpour, 2005) So, the "constitutional revolution" is one of the best ways of introduction of Iranian poetry to the global poetry and therefore opening the new horizons to the emergence of new currents. 4.2.2. The struggle of sympathetic government dignitaries, local and foreign intellectuals, poets, etc. Iranian intellectuals inside and outside ,due to the direct observation of the developments of other countries, including Europeans, regretted on its(Iran’s) rotten system of government and sought to make a full reform in Iran. The idea of innovation for the first time was lit in the mind of government men like Mirza Abolqasem Farahani and Abbas Mirza. With the sudden death of Abbas Mirza many of his great expectations regarding the acquisition of Euopean science and technology came to an end. Later, many of their thoughts took practical aspects by a great politician, MirzaTaqi Khan Farahani known as Amir Kabir. Among the dignitaries were also men like Yousef Khan Mostashroldoleh and Mohammad Hassan Khan Sanioddoleh who believed in Amir Kabir’s political reforms, the government and his ideology. Among the other political intellectuals who tried their best in respect of reforms are Mirza Malkom Khan N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1740

Nazemoddoleh, Mirza Jaefar Khan Moshiroldoleh ,Hassan Ali Khan Nezam Garousi, Haj Sheikh Hadi Najm Abadi ,Mirza Hassan Ashtiani ,Mirza Mohammad Ali Khan Tarbiat,S.Ali Taqi Zadeh, Mirza Jahan Gir Khan Soresrafil, Ahmad Kasravi, etc .In addition, the awakening role of some Iranian intellectuals living abroad in countries such as Turkey, Azerbaijan, Egypt, Russia, England ,etc. should not be ignored. The People such as Mirza Fath Ali Akhund-zadeh, Mirza Abdulrahim Talbov, Zine El Abidin Maraghei, MirzaAqa Khan Kermani, Shaykh Ahmad Ruhi, Mirza Jafar Gharachedaghi, Seyyed Jamaledin Asadabadi, Mirza Malkum Khan who put the flame of awareness and freedom in Iranian society with their simple but fiery words in social and critical articles, books and newspapers .and In addition, leading intellectuals in Central Asia with the leading thoughts of Ahmed Danish, began to develop new ideas. "Democratic Tajik authors allied with their Uzbek counterparts such as Moqimi, Furkat and Hakim Zade has well as with other thought leaders of neighboring countries like Mirza Fatali Akhundov Azerbaijani and Abai Konbayov Kazakh" (Ripka, 1991). Some others also had political responsibilities such as taking charge of a ministry or being a senate representative, thus we can say that these are protectors and fighters who used poetry as a tool to reform or social struggles. That’s why there are similarities between the constitutional revolution and poetry" (Aminpour, 2005). 4-2-3- Inefficiency of Iranian traditional poetry The path that Iranian literature (poetry or prose) took after the Safavid era, did not keep up with the world of that day. In the era that the European countries went towards the simplicity of language and imagination in poetry, Iranian poetry reached its summit of complexity especially in imagination, thus ended up in the crisis, vulgarity and lack of efficiency. In the deadlock situation in which no progress could be made , a group of poets, especially Isfahan poets includingAzarBigdeli,MajmarEsfahani,NeshatEsfahani,SabaKashani,SoroushEsfahani,Yaqma Jandaghi,Gha’aniShirazi,are forced to review the structures and deviant forms of the poetry. Hence, they came together and the result was the emergence of the literary style returning, i.e. they had regress instead of progress. The selection of the wrong way did not open up the knots of the Persian poetry, but led to stagnation and lack of efficiency. It was not possible to represent the foreign attack, political and financial dependency and devastation of the national industry via the traditional poetry of Khaleqi, Onsori, Farrokhi, TarikhVassaf and Dorre Nader and then expect ‘it to be effective and sit in the heart and soul of the society" (Ajoodani, 2008). On the other hand the recess of poetry in literary returning period and the lack of harmony in the form, content and the needs was another reason which enforced poets N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1741 to make new changes in Persian poetry. Finding remedies also paved the way for acceptance and emergence of the new movements and currents in the awakening era .Taghi Raf’at in this regard say: “Our ancient literature is away from its own main sources and has developed in a wide realm and stopped on it, we have a firm barrier which we call it conservation dam...when we say that we are responsible to make changes in this area, it is obvious that our purpose is to pierce the body and essence of this recession" (Shams Langroodi, 2002, vol. 1). 4-2-4- Widespread criticism and theorization The critics in constitutional era and afterwards, with their criticism and theorization in variety of realms, put the pros and cons of this era in the direct sense and of literary and poetry specialists. They opened the eyes with their required knowledge about the literary and artistic developments in various European countries. In this way, they also determined the direction of future poets, On the other hand, they paved the psychological and social way for the acceptance of their literary developments among the public as their literature audience and poetry in particular. As a result, the new poetical trends emerged via the appropriate contexts provided by commentators and critics. For example Mirza Agha Khan Kermani criticizes and rejects the public assumption about the inevitability of rhyme in poetry and says: The public people mean that poetry has rhyme and rhythm, but rhyme and rhythm are the surface structures of the poetry not the nature of poetry. The irregular form of poetry has no problem too... in aesthetic realm there is no absolute criteria, except taste and preference, and the base of taste and preference is habit."(Adamiyat, 1978). He also says: "the mission of poetry and literature hides in its social influence and evaluates all the science and technology from the perspective of their relationships with the community and believes that purpose of the writers and poets should be Enlightenment, anti-superstition, opening the thoughts, awaking the neglected people and focusing on simplicity and proximity to public perception"(Adamiyat, 1978). One of the other bold theorists is Mirza Fatali Akhundzadeh (Akhundov). He did the same thing is promoting realism as “Googol “conducted in Russian literature and "Moliere" in French literature. Akhundzade was the teacher and the leader of Azerbaijani comedy writers. He addresses the foolish people and says: “It is enough to look at the world through the curtain of tear or remorse, let’s put away the thoughts and jobs that has killed our enthusiasm and hope and hold on tight and grab divine blessings from the wolves and dogs” (Aryanpour, 257: 2003). Muhammad Iqbal later in India reached this flow of enlightenment to its peak. Ahmad Kasrawī about poetry misinterpretation says;”Poetry is an utterance and it should be for meaning and needs, not rhyming ,reputation , petition and begging (Kasrawī, N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1742

1946) Haj Zeinolabedin Marragheei in introduction of the third volume of “Siyahat Nameh by Ibrahim Beg “says :In our dear homeland, we have never had poems about the love of country...whatever is written is about the love on butterfly , flower and candle... It is worth to note that apart from the love of Majnoun and Leili ,Farhad and Shirin,Mahmoud and Ayaz,which are well known among Iranian there is another love that is the love of country. Our time requires us to write simply and literary experts have to include the love of homeland in their poetry and prose and appreciate specific and public to write simply. Maragheei also proposes the necessity of updating the traditional rules and orders and says the principles of every period belong to its contemporary people, it should be left behind and its meaning should be delivered to date. 4-2-5- Literary revolution of NimaYoushij Nima as the father of modern Iranian Poetry could localize the European poetry in Iran, to put it another way, Nima get fertilized by the soul of European literary schools and delivered a new child with Iranian blood type. Jalal Al Ahmad regarding the effect of European poetry on Iranian poetry says:”It is obvious that Nima began to create prosody and weightless poetry after he got familiar with European Blank verse.” (Tahbaz, 1989: 56) Of course, Nima also has opponents. For example Houshang Irani rejects the Nima’s theories and says: “Passing time destructs every silence ”Nima comprehended his own time decades ago and opened most of the knots....but these days his works are permanent .even though his followers have not comprehended his aged art yet, in her have not even aged art, but Nima did not understand the time." (Azam, 2002) Leon Sarkisian about NimaYoushij said: "Can we say that NimaYoushij is Mallarme's disciple? This comparison is because of this reason that Nima matched the French lyrics formatting in Iranian poetry. NimaYoushij like Mallarme surfs the world of thoughts (Tahbaz, 1989). Mohammad Zia Hashtroudi compares Nima with the French poet “Sully-Prudhomme”. Sully-Prudhomme is well known for his masterpiece named " Broken pots, that’s why he is called “broken pots poet”, so It is appropriate If we call Nima "the poet of myth”, "myth" is a unique masterpiece (Hashtroudi,1924). 4-2-6- The impact of journalism and translation Certainly one of the factors in development of every society is journalism as a media which spreads the news and information everywhere in the shortest possible time. After the Constitutional Revolution in Iran with the imitation of European developments in the field of publications and translations, the culture of journalism and translations became common. The publication of newspapers and magazines and the translation of works which initiated by the time of Abbas Mirza and was motivated in the time of Naseraldin Shah influenced the N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1743 emergence of the Iranian Modern poetry and its schools. Familiarity with "Western culture, translating novels, stories, plays and poems, translating books and numerous articles on social political, philosophical and artistic issues, opened new horizons for the Iranian writers and literati and changed their opinions about the social use of the poetry (Ajoudani,1387).The consequence of abundant newspapers and translations was the raise of knowledge and perception of Iranian poets about the developments of world’s literary movements and issues which later affected the globalization of poetry in Iran.

5. CONCLUSION The globalization of poetry in Iran returns back to a hundred years ago i.e. to the threshold of victory of "Constitutional Revolution" (1906 AD). Before that, Persian literature and poetry were enclosed within the borders of our country. But the constitutional revolution opened a new window to the Iranian poetry so that they could understand the real position of Iranian poetry with some less or more evaluation. At the threshold of constitutional revolution Iranian poetry developed in regard of content. The second step in the development of Iranian poetry was taken after the constitutional revolution and Ali Esfandiari known as Nima Youshij conformed Iranian poetry with French poetry in all dimensions, whether in the from and appearance or content, language, expression, imagination, emotion, image, inner and outer form. The reasons of Globalization of Iranian Poetry are almost the same reasons that affected the globalization of our society. Because poetry is the result of social contemporary developments and there are mutual interactions between them. Some of the reasons for the globalization of contemporary poetry include: (a) external factors: 1. The pattern of Iranian poets, literary and scientific advances and industrial schools of Western Europe (2) estern scientific advances and industrial impact on the trend of globalization Literature and Poetry 3.The impact of the liberation revolution in the East and West (France, Britain, Russia, China, etc.) 4. Iran's defeat from Russia (b) internal factors: 1. the effect of the constitutional revolution 2.The struggle of sympathetic government dignitaries, local, foreign intellectuals, poets, and so on. 3- Inefficiency of Iranian traditional poetry 4.Widespread criticism and theorization 5. Literary revolution of NimaYoushij 6.The impact of journalism and translations

6. REFERENCES 1. Ajoodani, Mashallah. death or modernity, Fourth Edition, Tehran: Akhtar publication, 2008. N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1744

2. Azam, Mohammad. a magnificent burst upon you, Tehran: Hamshahri News, 2002, Oct 1st, p. 16. 3. Akhavan, M. bedat’ha and badayee’ (Innovations and aesthetics) by NimaYoushij, Second Edition, Tehran: bozorgmehr publication, 1990. 4. Adamiyyat. Fereydoun. the ideas of MirzaAqa Khan Kermani, the second print, 1978, Tehran: payam. 5. Aryan pour, Yahya. from Nima to our time, Tehran: Zovvar publication, 2003, Volume III, Fourth Edition. 6. Azhand, Y, Iran's modern literature (the Constitutional Movement and the Islamic Revolution), First Edition, Tehran: 1984, Amir Kabir Publications. 7. Azhand, Jacob. The genres in Iran today, First Edition, 2004, Tehran: Qatreh. 8. Amin, S.Hassan. Iranian literature, first edition, Tehran: 2005 Iranian encyclopedia. 9. Aminpour. Qeisar. tradition and innovation in contemporary poetry, Tehran: first published in scholarly publications, 2005. 10. N. B. Pigulevskaya, . Yakubsky, A.U, and others. (1973).The Iranian history (from ancient times until the 18th century AD), the translation by karim keshavarz, Tehran: Payam. 11. Taslimi, Ali. (2008). statements in contemporary Iranian literature (poetry), Tehran: Akhtar Publications. 12. Jahanbegloo, Ramin. (2007). fifteen dialogues with the intellectuals of the world, Fourth Edition, Tehran: Markaz Publications. 13. HazineLahiji, MA., (1963). Hazin Lahiji, his life and the most beautiful sonnets, Sereshk, Mashhad: Toos. 14. Langroodi, Shams. (2002). Analytical History of Poetry, Volume 1, Fourth Edition, Tehran: publishing center. 15 Ripka YAn, ezheri bershka bechka. (1991). Literary History of Persia, translation by Kaykhosrou Keshavarzi, Tehran: Gothenburg and Javidan Kherad publication. 16. Zarrinkub, Abdulhosein. (1999). Literary Criticism, vol. I, Sixth Edition, Tehran: Amir Kabir Publications. 17. Shafiee Kadkani, Mohammad Reza. (2001). fourth edition, periods of Persian poetry, Tehran, Shokan. 18. ShafieeKadkani, Reza. (2011). with lights and mirrors (in search of the roots of the evolution of Iranian poetry), Tehran: Sokhan publications. 19. Shams Langroodi. (Mohammad Taqi Javaheri Gilani). (2002). Analytical History of Poetry, Volume II, Third Edition, Tehran: publishing center. N. D. M. Karasfi et al. J Fundam Appl Sci. 2016, 8(2S), 1732-1745 1745

20. Tahbaz, Cirus. (1989). about art and poetry of Nima, Tehran: DaftarhayeZamaneh Press. 21. Talbaouf, Abdul Rahim. (Undated). Masalekolmohsenyn (Righteous ways), the efforts of Mohammed Ramadan, Tehran: Eastern publication. 22. Ebadian, Mahmoud. (1999). an Introduction to the Literature of Iran, Tehran: Morvarid publication, Second Edition. 23. Kasrawī, Ahmad. (1946). about the literature, Azadegan, second issue. 24. Maragheei. ZinAl Abedin. (Undated). tours by-Abrahymbeyk, Sadaf books, Tehran: Andishe Publication. 25.N.V PIguloskaya and others. the history of Iran up to the end of the eighteenth century, the translation by Karim Keshavarz, Third Edition, Tehran, Payam Publication, 1974. 26. NimaYoushij. the value of emotions and five essays on poetry and the drama, Tehran: Toos, 1972. 27. Yahaghi, Mohammad Jafar. the brook of moments, Fifth Edition, Tehran: Jami publication, 2003.

How to cite this article: Karasfi N D M. The study of the sources of modernity in Iranian contemporary poetry J. Fundam. Appl. Sci., 2016, 8(2S), 1732-1745.