Sepid Persian Poetry
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Sepid Persian Poetry
''Sepid'' poetry (''sepid'', "white") or "White Poetry" is a free verse movement of Modern Persian poetry that departs from Classical Persian Persian ( ), also known by its endonym Farsi (, Fārsī ), is a Western Iranian language belonging to the Iranian branch of the Indo-Iranian subdivision of the Indo-European languages. Persian is a pluricentric language predominantly spoke ... prosody and adopts "new content, viewpoint, and diction". Ahmad Shamloo is considered the founder of the White Poetry movement,Anthony Appiah and Diana Ayton-Shenker, "On the Death of a Prominent Contemporary Poet", ''The Poetry of Central California'' which came to its mature form and general acceptance after Bijan Jalali. For the last two decades of his life, Manouchehr Atashi was also involved in ''Sepid'' poetry. Notes {{poetry-stub Persian literature Poetry movements ...
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Free Verse
Free verse is an open form of poetry which does not use a prescribed or regular meter or rhyme and tends to follow the rhythm of natural or irregular speech. Free verse encompasses a large range of poetic form, and the distinction between free verse and other forms (such as prose) is often ambiguous. History Though individual examples of English free verse poetry surfaced before the 20th-century (parts of John Milton's '' Samson Agonistes'' or the majority of Walt Whitman's poetry, for example), free verse is generally considered an early 20th century innovation of the late 19th-century French ''vers libre''. T. E. Hulme and F. S. Flint first introduced the form to the London-based Poets' Club in 1909. This later became the heart of the Imagist movement through Flint's advocacy of the genre. Imagism, in the wake of French Symbolism (i.e. vers libre of French Symbolist poets) was the wellspring out of which the main current of Modernism in English flowed. T. S. Eliot later ...
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Modern Persian Poetry
Persian literature comprises oral compositions and written texts in the Persian language and is one of the world's oldest literatures. It spans over two-and-a-half millennia. Its sources have been within Greater Iran including present-day Iran, Iraq, Afghanistan, Pakistan, the Caucasus, and Turkey, regions of Central Asia (such as Tajikistan), South Asia and the Balkans where the Persian language has historically been either the native or official language. For example, Rumi, one of the best-loved Persian poets, born in Balkh (in modern-day Afghanistan) or Sangtuda, Wakhsh (in modern-day Tajikistan), wrote in Persian and lived in Konya (in modern-day Turkey), at that time the capital of the Seljuk dynasty, Seljuks in Anatolia. The Ghaznavids conquered large territories in Central and South Asia and adopted Persian as their court language. There is thus Persian literature from Iran, Mesopotamia, Azerbaijan, the wider Caucasus, Turkey, Pakistan, Bangladesh, India, Tajikistan ...
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Metre (poetry)
In poetry, metre ( Commonwealth spelling) or meter ( American spelling; see spelling differences) is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody. (Within linguistics, " prosody" is used in a more general sense that includes not only poetic metre but also the rhythmic aspects of prose, whether formal or informal, that vary from language to language, and sometimes between poetic traditions.) Characteristics An assortment of features can be identified when classifying poetry and its metre. Qualitative versus quantitative metre The metre of most poetry of the Western world and elsewhere is based on patterns of syllables of particular types. The familiar type of metre in English-language poetry is called qualitative metre, with stressed syllables comin ...
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Ahmad Shamloo
Ahmad Shamlou (, ''Ahmad Šāmlū'' , also known under his pen name A. Bamdad ()) (December 12, 1925 – July 23, 2000) was an Iranian poet, writer, and journalist. Shamlou was arguably the most influential poet of modern Iran. His initial poetry was influenced by and in the tradition of Nima Youshij. In fact, Abdolali Dastgheib, Iranian literary critic, argues that Shamlou is one of the pioneers of modern Persian poetry and has had the greatest influence, after Nima, on Iranian poets of his era. Shamlou's poetry is complex, yet his imagery, which contributes significantly to the intensity of his poems, is accessible. As the base, he uses the traditional imagery familiar to his Iranian audience through the works of Persian masters like Hafez and Omar Khayyám. For infrastructure and impact, he uses a kind of everyday imagery in which personified oxymoronic elements are spiked with an unreal combination of the abstract and the concrete thus far unprecedented in Persian poetry, whic ...
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Bijan Jalali
Bijan Jalali (; 1927 – January 2000) was a modern Persian poet. Jalali was born in Tehran, Iran. His works include: The Color of Water, Days, Dailies, Our Heart and the World, Play of Light, and The Water and the Sun. See also * Nima Yooshij * Persian literature Persian literature comprises oral compositions and written texts in the Persian language and is one of the world's oldest literatures. It spans over two-and-a-half millennia. Its sources have been within Greater Iran including present-day ... References نگاهی به جهان شاعرانه‌ی بیژن جلالی Persian-language poets 20th-century Iranian poets 1927 births 2000 deaths {{iran-bio-stub ...
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Manouchehr Atashi
Manouchehr Atashi (September 25, 1931 – November 20, 2005; ) was a Persian poet, writer, and journalist of Kurdish descent. He was born in 1931 in Dashtestan, Bushehr province Bushehr Province () is one of the 31 Provinces of Iran, provinces of Iran. It is in the south of the country, with a long coastline on the Persian Gulf. Its capital is the city of Bushehr. The province was made a part of Regions of Iran, Re .... His poetry is the poetry of the revolting warrior of the humiliated southern tribesman. He takes his work seriously and although attached to his native birthplace his poems are universal scope. In his later works Atashi has relaxed his rhythm and has moved toward direct expression of emotion. Works * ''Poetry Collections by Atashi'': * ''Āhang-e digar (Another melody), Tehran, 1959'' * ''Āvāz-e ḵāk (The song of the earth), Tehran, 1967'' * ''Bar entehā-ye aḡāz (At the end of the beginning), Tehran, 1972'' * ''Bārān-e barg-e ḏowq: daf ...
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