چکیده:
The existential realm of artists and poets is a center of contradiction between hopelessness, optimism, and other psychological variables. From a sociological and phenomenological perspective, hopelessness and pessimism are spiritual and psychological inflammations resulting from crises and failures that primarily arise from the environment and society upon the human mind and conscience. From the perspective of the sociology of literature, within the concept of contemporary Persian poetry, the works and poems of Akhavan III (M. Omid) contain themes of sadness, hopelessness, and pessimism more than the poems of his contemporaries. Besides the personal circumstances of the poet, the sociological backgrounds of this pessimism and despair must be sought in the social transformations of the 1330s in Iranian society. The works of this decade of Akhavan's artistic activity, in addition to reflecting his personal problems, mirror the political, social, and cultural calamities and failures of Iranian society. In the years before and after the coup of August 19, and in his first three poetry collections, Akhavan oscillates like a pendulum between despair and hope, and until the final days of his life, he never escaped the grip of this syndrome. This discourse attempts to examine the sociological backgrounds of despair and hope and their fluctuation in the sphere of Akhavan's poetry based on the cultural and political situation of society, focusing on the three collections: 'Arghanon', 'Winter', and 'The Last Shahnameh'.
خلاصه ماشینی:
This discourse attempts to examine the sociological contexts of despair, hope, and their oscillation in the sphere of Akhavan's poetry based on the cultural and political situation of society, focusing on the three volumes: Arghanon, Zemestan (Winter), and Akhar-e Shahnameh (The End of the Shahnameh).
Akhavan-Sales is one of these disappointed and hopeless young poets of this period, whose collection of poems, especially its first three volumes, is under the influence of the gloomy and hopeless post-coup atmosphere and reflects the ups and downs of cultural transformations and the fruitless movements of Iranian civil society.
"In these ghazal-like poems, no glimmer of hope is felt even at the furthest point of the boundaries of his belief" (ibid: 113), and the element of grief, sorrow, and despair regarding life and society has cast a shadow over the general atmosphere of this collection, making it so lamenting and regretful that it seeks to break the ceiling of the heavens and introduce a new design: صدم غم هست، اما همدمی نیستوگر یک همدمم باشد، غمی نیست هزاران رازم اندر سینه پژمرددریغا و دریغا، مَحرمی نیست خمارآلودم اما ساغری نهسراپا ریشم اما مرهمی نیست گنهناکرده بادافرهکشیدنخدا داند که این درد کمی نیست سیهچالی نصیبم شد چو بیژنچه گویم، با که گویم، رستمی نیست Blessed is the painless and passionate one, for it seems there is no world better than that.
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