Extract 4.

1- Introducing the founder of NEW WAVE poetry: Ahmadreza Ahmadi who applied the semantic art of visualization through poetry and established New Wave genre.

Extract 4.3- It illustrates a sample of New Wave poetry kept visualization, free-verse structure, semantic area and remodelled through rendering.

WHITE

Found freedom of the color of white And how flightless, have flown away To the whitness of dove’s wing White… White… Colorless… Now…

Here I have landed
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Extract 4.4- Opposition with the new wave Although Ahmad Reza Ahmadi was considered among well-known poets of the 60s, and his poems and those of other new wave poets were being published in most of the intellectual magazines of that time, but the new wave faced a lot of opposition, and that abrupt and en masse devotion paid by the youth and the poets was replaced by opposition from traditionalists and some modernists. Shams Langroudi writes about the new wave: “later on, the new wave faced with a pathetic decline, and erroneous sentences filling up these publications together with harmonic articles known as political poetry, plagued the modern poetry with a tragic stagnation and humiliation”.

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Reza Baraheni from the opposition front against the new wave wrote the following about Ahmad Reza Ahmadi: “Ahmadi’s poetry is the confrontation of sincerity with misunderstanding. Ahmadi’s objects are not viewed in a contractual form. Ahmadi’s view towards the form of objects and interpretation in words is exactly like someone walking on his hands, watching downwards and thinks as if people and objects sizes are upside down… Ahmadi is not everlasting, since he does not have enough content to prevent perishing among all the messy colors and fragrant and smells of life”. After a while, opposition against the new wave became overestimated; because the complex and visionary language was not understandable for people, and the problem was doubled for the content poetry, because not only its language was not understandable for ordinary people, but also could not satisfy professional and serious audiences of poetry. In addition to language, the harmony of poems was making people desert poetry. As mentioned earlier, Ahmad Reza Ahmadi’s poems completely lacked inner harmonic rhythm, being so called prose, and Rouyayi also, returning to the rhythm – but not in its traditional meaning – used a kind of connecting rhythms called “multi-rhythmic” in his poems. Because people’s taste at that time was not acquainted with these two styles (non-rhythmic in the new wave, and multi-rhythmic in content poetry), and due to their habitual liking of rhythmic poems, “the new wave” and “content poetry” were not welcomed to a high level in 70s. Here, Isma’eel Nouri Ala, who was among the most active poets, interpreters and defendants of the new wave (in 60s and 70s), suggested a sort of revision – of course out of compassion and in order to amend the poetry. It should also be noted that before that, Nouri Ala took proper measures in order to propagate the new wave. Together with a number of poets (Ahmad Reza Ahmadi, Mohammad Ali Sepanloo, Ghaffar Hosseinin and Nader Ebrahimi), he established Torfeh publications in order to defend the new wave and support the poets of this movement, and by publishing a number of scraps and
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poetry series and writing numerous articles helped a great deal to accelerate the movement of the new wave (Ahmadi,2008: 351-353).

Extract 5.1- selected contemporary English poets that they have poems in which distinctive characteristics of New Wave are emerged while there is no actual definition of style in the TL (English). Poets such as Martyn Crucefix and Gerald England. Gerald England

MID-DECEMBER by Gerald England A full moon shines over the morning frost; the lanes are full of late-fallen leaves; walking across the mulch is almost as tricky as treading over ice.

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In town the carol-singers are in crowding the shopping-mall, while a group of muffled musicians play by the outside market.

This year but two robins on the early christmas cards; the squirrel still runs along the fence skirting our newly-erected shed.

OCTOBER FORECAST by Gerald England "Bright with sunny periods some cloud, occasional showers" says the local TV forecast.

It has been persistently precipitating for more than twelve hours.

On the doorstep a soggy mass of pulp is all that is left of my note to the milkman.

The dog wags her tail in a desperate message; I open the back door, she steps out,
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stops, looks round, then dashes for the nearest patch of green, does that she has to do.

Back inside, the hearthrug doubles as a towel.

Only an incoming aircraft breaks the greyness of the birdless sky.

Outside my window, the sodden rosebush drips

Martyn Crucefix

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Extract 6.1- The selected poems of Ahmadreza Ahmadi for translation from the collection All My Poetry/‫.ٌمً ی شعزٌای مه‬ 1. ‫گلذان کاغذی‬ 2. ‫غمی است بً روگ غم‬ 3. ‫کىار دیُار‬ 4. ‫وً روگ داشت‬ 5. ‫کسی‬ 6. ‫آسمان‬

Extract 6.2- The selected poems of Yadollah Royaee for translation from the book On Empty Roads/‫.بز جادي ٌای تٍی‬

1. ‫ظٍز‬ 2. ‫غزَب‬

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Extract 6.3- The poetry selection of Bijan Elahi for translation from the book Some Poems of Three Yester Eras/‫. شعزٌایی اس سً دَري ی دیزَسیه‬

1- ‫اتاقٍا‬ 2- ً‫کتیب‬ 3- ‫بً علی‬ 4- Dupin Detects 5- ‫شبتاب‬ 6- ‫عقل سزخ‬

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Extract 6.4- The selected poems of Bahareh Shirzad for translation from the book Love Poems of Naked Wire/‫.عاشقاوً ای بزای سیم ٌای عُر‬

1- ‫جای افعی سخت خالیست‬ 2- ‫سپیذ‬ 3- ‫بیه خُاب َ بیذاری‬ 4- ‫مقیم‬ 5- ً‫سک‬ 6- ‫ومایش‬

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Extract 7. AUDIOVISUAL INTERVIEW (1) What triggers or inspires a poem? Does it come from within (feelings, emotions, etc.) or from observation of day-to-day life, or both, OR from other sources (e.g. being commissioned to write a poem!)?

(2) Is it possible to distinguish between a 'commissioned/mechanical' poem and one that emanates or springs from the heart - so to speak? If yes, what are the distinguishing factors?

(3) Content (message) or form (code)? Which one takes precedence over the other - if at all? If one had to be sacrificed for the other, which way around would it be? Example: if a 'rhyme' was unavailable for a particular 'message', would you settle for a 'non-rhyme' (and keep the message intact) or would you 'massage' the 'message' to fit the rhyme? (4) What’s your opinion on semantic visualization (i.e. imagination and inspiration formed as a poem on the page)? (5) Does New Wave poetry which its features transferred through these translations correspond the need of liberation for contemporary poets and modernism in poetry? (6) How far modernism in poetry can go? And finally what is your advice to newcomers?

Extract 7.1- Mimi khalvati:

Mimi Khalvati has published seven collections with Carcanet Press, including The Meanest Flower (2007), which was a Poetry Book Society Recommendation and shortlisted for the TS Eliot Prize. Her most recent collection, Child: New and Selected Poems
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1991-2011 is a Poetry Book Society Special Commendation. Mimi is the founder of The Poetry School, where she teaches, and was the Coordinator from1997-2004. She was poet in residence at the Royal Mail and has held fellowships with the Royal Literary Fund at City University, at the International Writing Program in Iowa and the American School in London. Her awards include a Cholmondeley Award from the Society of Authors, a major Arts Council Award and she is a Fellow of the Royal Society of Literature.

Current President, John Mole, is a well-known poet. John is currently Poet in Residence for the City of London, critic and jazz clarinettist.

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