Mendeley TY _ JOUR ID - 1403022946758 TI - The Stylistic Aesthetics of the Poem "Qeisar Aminpour" JO - Pazhūhish-i Źabān va Adabiyyāt-i Farsī JA - ES LA - fa SN - 1735-1030 AU - bafekr sardar AD - ادبیات و علوم انسانی Y1 - 2025 PY - 2025 VL - 73 IS - SP - 149 EP - 176 KW - Qeisar Aminpour KW - literary arts KW - theme creation KW - aesthetics KW - and stylistics. DO - N2 -

The Stylistic Aesthetics of the Poem

"Qeisar Aminpour"

 

Sardar Bafekr*

 

Qeisar Aminpour is one of the prominent contemporary poets who has created valuable and significant works in various forms of poetry. He has combined the stylistic and rhetorical features of classical and seminal poetry with his poems and has well understood and fulfilled the expectations of today's audience. In this essay, the literary arts that Qeisar Aminpour used in his poems especially and prominently and that play a role in determining his style have been criticized and analyzed. The research is based on using examples of these literary techniques in Aminpour's works and considering the views of experts and the author's perception of these rhetorical arts. The article concludes that the new and innovative thematization, innovative symbols and paradoxes, diverse and pristine defamiliarizations, and other rhetorical innovations of Qeisar Aminpour play a very effective role in the beauty and impact of his words. it is one of the main features of his unique style that completely distinguishes his poems from the other poets.

 

Keywords: Qeisar Aminpour, literary arts, theme creation, aesthetics, and stylistics.

 

Extended abstract

Qeisar Aminpour, a committed and influential poet after the Islamic revolution, has displayed forms and dimensions of pain, and longing in his poetry. He searches for ideals and lost things such as moral and human values, purity, simplicity, and kindness (Alizadeh and Baghinjad, 1391: 175). At the beginning of the revolution, with the publication of his first works, Aminpour showed abilities that promised the emergence of poetry with new characteristics in the Persian language. With his first works, Qeisar was able to take a step towards perfection and gradually achieve a special poetic mentality and language, to the point where he was considered one of the poets "at the helm of revolutionary poetry" and among the "leaders of his peers". Qeisar Aminpour is one of the few poets who, after the revolution, while tending to classical poetry in the form of sonnets and quatrains, in parallel with the events of the revolution, followed the construction of half-length poetry and wrote poems with new content and simple language. And it is written intimately" (Mohammadzadeh, 1386: 156).

Aminpour tends towards classic and established weights in his Ghazals, but new compositions and original images have made his Ghazals beautiful and pleasant. He is also one of the innovators in the field of quartet. His quatrains have new compositions and themes that have an emotional and romantic mood. Qeisar is one of the poets who is one of the followers of Nimas' style in new poetry. His new poems, often have social themes and mental and emotional images, speak of a sharp and deep artistic view.

In this article, we have reviewed the new and innovative themes, innovative symbols and paradoxes, and diverse and pristine defamiliarizations of Qeisar Aminpour, which affect determining his style. In this research, for the first time, the paradoxes of Aminpour's poetry have been divided in a new way, and the indicators and criteria for identifying contradictory views of aesthetic content have been explained. The present article provides a method to solve the ambiguity of some ambiguous and widely used paradoxes in Caesar's poetry, which helps understanding many of his poems. Since there is ambiguity in every paradox, this article is a report of the difficulties of Aminpour's poems. For example, the ambiguity of two verses of Qeisar in the contradictory expressions of "the truest permissible" and "certainty of doubt" the reader can easily understand the truth behind the contradictory appearance of these expressions by referring to this article. Therefore, all the materials we brought in this section are new and have not been mentioned in previous research, and it is necessary to conduct independent and detailed research on this matter.

 

Fresh and innovative theming

Qeisar Aminpour's vigilance and precision have made him a theme-finding and insightful poet. His thematization and commenting are not in such a way as to distance him from the realities and allow enigmatic subtleties (like the poets of the Indian style) into his mind and language. His language and expression, while being simple and fluent, have remarkable beauty. In his poetry, Aminpour used a lot of literary arts of simile, metaphor, irony, simile, allegory, good interpretation, exaggeration, etc. It is left to the audience to understand the meaning. The following verse is one of the cases of creating romantic and mystical themes with these literary tricks.

It was more colorless than an imaginary point

 This blue circle, if it wasn't for love

(Aminpour, 2010: 308)

In the mentioned verse, the poet has created a theme by using literary techniques, similes, and metaphors.

 

Creativity and personal symbols

Most of the symbols in Qeisar Aminpour's poetry are personal and innovative, which were not seen in Persian poetry before him, and their origin is nature, religious and national beliefs. This has caused the individuality of the poet to appear prominently in his poems. Therefore, Aminpour can be considered an innovator of symbolic constructions. Qeisar considers symbolic play in childhood to be the source of symbolic thinking in adulthood. He believes that "a symbol can be considered as a complex and evolved form of imaginary images that starts from a simple simile and goes to other types of similes, such as compact similes, metaphors, and even mythological allegory until it finally becomes a symbol. Let us conclude that in terms of similarity or interest, it has the most distant relationship with its signifier. If we accept this process of transformation and evolution, we can consider the raw and original material of all these forms of imagination to be the child's play" (Aminpour, 1387: 19). Examples of creative symbols of Qeisar Aminpour:

"The train is leaving/ you are leaving/ the whole station is leaving/ and how stupid I am/ that I have been waiting for you/ for years/ standing next to this departing train/ and still going to the railings of the station / I have leane!" (Aminpour, 1390: 7).

In the poem above, the "train" is a symbol of life, and the "window" is a symbol of communication with the outside world and a part of a human's ambiguous future.

 

defamiliarization

Familiar words and expressions are the things that are used due to repetition and we automatically react to them. Therefore, habit is effective in making the most beautiful and profound words meaningless, and it should be defamiliarized to gain new recognition. That's why great poets and mystics try to break habits in their creativity. This work is done in Qeisar Aminpour's poetry in different ways, the most important of which are contradictory types of representation (Rahimi and Dehghani, 2016: 181-185). The images resulting from these literary arts are new and innovative, and it is clear that new and innovative themes are more tasteful and mind-blowing than old and repetitive themes.

 

Stormy calmness

The ship of love anchored next to your name

Come, your memory is a calm, a storm

(Ibid.: 305)

The storminess of calmness is a paradox based on irony. Stormy is an allusion to a lot, life-giving and vitality. The ship of love anchored and settled next to your name; Come, your memory gives us great and indescribable peace. In the second stanza, the poet tries to defamiliarize himself with a special artist by using contradictory representation giving his words a new freshness and making the reader wonder.

 

Paradox

The paradoxes of Qeisar Aminpour's poetry can be divided into two categories: content and aesthetic.

 

Contradictory content view

Contradictory content is a word that behind its contradictory and
insignificant appearance, a truth opposite to that appearance is hidden. Therefore, the presentation of these facts seems to be contradictory in the first place, as it contradicts normal logic and customary, rational, and legal beliefs (Vahidian Kamiyar, 2016: 271-271). This contradiction and inconsistency are so amazing that they prompt the mind to be curious and try to understand the truth that is beyond the contradictory appearance, and that truth can be reached through interpretation and interpretation (Goli and Bafker, 1395: 102). An example of contradictory content in Aminpour's poem:

 

A lot of trouble

I touched the crook of that messy wig

Because I am in trouble because of myself

 (Aminpour, 1390: 55)

Ever since I was caught in the twist of my lover's troubled hair, I have gained a memory of my distress and confusion, just like my memory; Because everything that is related to the lover is considered to be pleasurable and relaxing for the lover.

 

Contradictory aesthetic view

The aesthetic contrast is just one of the methods of language defamiliarization and beautification and has nothing to do with the content and contradictory concepts; That is, there is no contradiction in the meaning, but there are words in it that contradict each other in one meaning and are not contradictory in another meaning (Vahidian-Kamiar, 1376: 271-284). In Qeisar Aminpour's poetry, this literary technique sometimes comes along with the rhetorical and aesthetic arts of metaphor, simile, allusion, alliteration, double image, ambiguity, and exaggeration. These innovative and expressive ways are beautiful in their natural use, and when they are expressed in a contradictory manner, their beauty and impact are multiplied.

The aesthetic contrasts of Aminpour's poetry are based on seven types: based on metaphor, simile, allusion, permissible, two-faced image (permitted and simile), illusion, and exaggeration.

 

Connected season

A different season, a different season

 At the end of the separation season, the connection season

(same: 410)

Paradox is based on illusion. The chapter has two meanings: in the sense of separation (hijran), it contradicts with connection, and in the sense of time, the contradiction is resolved; A different season, the end of separation, and the time of connection.

Qeisar Aminpour has attributed natural elements and phenomena, characteristics, and human emotions to create a theme in his poetry. That is why his poetic images are alive dynamic and emotional. Most of Aminpour's social and political symbols are characterized by innovation and novelty. The poet's use of virgin symbols by creating a multiplicity of meanings and an aesthetic aspect causes deviation from the norm in the poem and the reader's literary pleasure.

In his poems, Aminpour has defamiliarized and broken habits by using contradictory types of representation. He often used interpretative and aesthetic paradoxes, which have a greater artistic value than composite paradoxes, and composite and content paradoxes do not have a significant frequency in his poems. The most important reason for the existence of conflicting and paradoxical images and topics in Qeisar Aminpour's poems is the expression of high mystical meanings and truths, especially love, annihilation, unity of existence, and union with the beloved, which has formed the contradictory content and mystical views of his poems.

The general conclusion of the article is that Qeisar Aminpour's rhetorical innovations in the field of theme-making, symbolism, defamiliarization, and contrastiveness play a very effective role in the beauty and impact of his words and are one of the main stylistic features. It is he who makes his poems completely different from the poems of other poets.

 

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* Ph.D. in Persian language and literature, Shahid Madani University of Azerbaijan, Iran.

sardar.bafekr@azaruniv.edu.ac.ir

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