Hidden Narration in Qeysar Aminpour's Poetry

Qeysar Aminpour, born on Apr. 23 1959, in Gotvand, which is a town of Shushtar, Khuzestan province. He spent his high school years in Khuzestan and then went to the University of Tehran in 1978 to study veterinary medicine, but he did not find the field suitable for him and dropped out. He studied Persian language and literature since 1984 and finally graduated with a doctorate in 1997 and began teaching at the university. He combined and upgraded the Nimai style with the advantages of the traditional style. Aminpour died in 2007 (in Tehran). Valuable works have been left in his memory (Eghtesadnia, 2007: 138-149). Among Aminpour's extra-textual remarks, there is no mention of the narrative nature of (many) of his poems, but many of his poems, like those of his master Nimayoshij, rely on narration. Paying attention to the characteristics of Aminpour's style (Fotouhi Rudmajani, 1387: 104-105) and comparing them with the prominent features of Nima style which also appeared in his own analysis (Nosrati, 1397: 212-228), confirms many similarities in the form and content areas of this There are two. Aminpour inherited narrative functions in poetry from Nima and then personalized it with additional arrangements. Studying the structural components of the narrative in Aminpour's poetry will make it clear that the narrative is not very obvious in his poetry, so this can be considered as one of the characteristics of this poet's personal style in using the narrative. In the present study, researchers try to show how QeysarAminpour uses narration, especially hidden narration, and its functions and elements in order to increase the impact of poetry on the audience, based on narrative theories that pay more attention to the structure of narration and introduce its elements. . In other words, the main question is how the "hidden narrative" is formed in QeysarAminpour's poetry and what are its characteristics? The present study seeks to discover the characteristics that poets, as a kind of stylistic feature, introduce into the function of narrative in poetry. On the one hand, this reveals the evolution of literary arrays and expressive techniques in poetry, and on the other hand, it explains the process of merging literary genres and their techniques. Trying to discover more details of these matters, in addition to helping literary scholars, including students of Persian language and literature, to carefully expand the field of literary criticism in such components, also helps those interested in literature, especially ordinary readers of contemporary poetry. In order to better understand the background of QeysarAminpour's success in the field of poetry, to know more about the factors that make him enjoy poetry and to provide a basis for a more complete understanding of the texts he reads.

In general, library studies provide the essential data of this paper. These data are then analyzed, described, and sometimes compared. The process of the research is such that after reviewing some basic concepts, the main discussion about the "aesthetics of hidden narration" and how it forms by the help of elements such as plot, subject, theme, setting, scene, atmosphere, point of view, character, dialogue, and tone. Then, how the element of time is involved in the formation of a hidden narration in Aminpour's poetry will be studied. This element is examined by analyzing "order", "continuity" and "frequency", which are the favorite components of Gerard Genet.

From a narratological point of view, Aminpour's poetry can be classified into three general categories. Some of them (despite maintaining vertical axis communication) do not contain narration at all. For example, the poem "Ney-Nameh" (Fife-Story), from the beginning to the end, is a description of a fife from some poetic view (Aminpour, 1998: 162-165); In a way that reminds the reader of "Rumi's Ney-Nameh" (Rumi, 2009: 11-12). The second category of Aminpour's poems contains an obvious narration; That is, the poet tells a story with his poem that has its beginning, middle and ending, and the structural elements of the narrative are clearly in it. The narrations in these poems are sometimes so structured that they can be rewritten as a short prose story, and even the usual critical papers of the story can also be written about them: Last night, again, I dreamt of myself. I flew in the sky. And I passed through the clouds. And in the morning, when I woke up, I saw a handful of feathers in my bed, a handful of feathers, warm and outspread. Below of my pillow, was something breathing. And then with an unbelievable gape, I coddled my tired shoulders. On my shoulders, as I felt something lost away, something like wings (Aminpour, 1998: 130-131).The third category of poems contains what the present research cares about. These are narrations that examples of which can be seen in Aminpour's Haikus. In these poems, the stories that are narrated and the elements of the narration, to varying degrees, are hidden behind the poetic components, such as "I was invited to a birthday party/ why did I end up to a lamentation?" (Aminpour, 2008: 22). In the following, we will analyze such poems.

Narration in Qeysar Aminpour's poetry has found much more advanced functions than in the period before him. In ancient Persian poetry, the narrations used in epic, lyrical, and didactic-mystical works was very close to the same prose stories. This general characteristic continued until Nimayoshij's poetry. In Aminpour's poetry, the most specialized functions that are expected from the narration and its elements have emerged. Out of these are characterization by direct description or through the dialogue of characters or describing the events by them or by the narrator, change the perspective of the narration, changing the point of view, changing the importance of the elements in order to maintain and increase the impact. Examination of the element of time-based on Genet's theories shows that Aminpour has considerable mastery over the possibilities provided by the components of the order, duration, and frequency. The narration is solved in the context of Aminpour's poetry and the poetic features of his text. In other words, the clarity of the narrative elements in prose stories is not observed in Aminpour's narrated poetry, so that the title "Story-Telling through Verses" which we mostly mean by narrative poetry does not seem appropriate for many of his works, but the reader is confronted with "poetry containing narration". The plot and structural components of the plot, along with other elements of the narration, including the subject, theme, context, scene, atmosphere, setting, point of view, character, dialogue, tone, and time, are all used by him in such a way that the original narration can be called a "hidden narration"; Because the structure of the narrative and its elements are so hidden or semi-obvious that their presence can only be revealed through careful analysis of the text. This feature serves to increase the impact of poetry on the readers; because the readers of the poem, just as they discover the meaning and conceptual relations themselves and enjoy these successive discoveries, realize the presence of a kind of narration in Aminpour's poetry.