Mental and Lingual Techniques in Gheysar’s Sad Poems

In contemporary poetry, Gheysar Aminpour’spoetry is overtly full of sadness. This sadness is apparent both in his mind and his language. This study has attempted to determine what methods and instruments in Gheysar’s poetry have aided his success in inspiring sadness into the audience’s mind. By mental techniques we mean imaginary forms and methods of their incorporating in the poetry structure which also refer directly or indirectly to the poet’s mentalities and thoughts; that is, how the poet has incarnated the suffering into the reader’s mind by employing recitative methods. Lingual methods are mostly supervising instruments and noble arrays as well as various genres of poetry’s rhythm. In a general classification, sadness in Gheysar’s poetry can be examined in three levels: mental, literary, and lingual levels. The sadness and suffering in a mental level of the poet include three types: individual sadness, social sadness, and philosophical or recognition sadness. the war originated difficulties, pressures related to work and family, economic crises, romantic sadness, nostalgia pertinent to war and poet’s childhood are instances of individual grieves in Gheysar’s poetry. Social sadness in his poetry includes difficulties of wartime, poverty, morality decrease, and threats of global peace. Philosophical sadness also consists of subjects such as determinism and indeterminism, thinking about death, and human’s perplexity in contemporary life. In literary level, the question is that Gheysar as a painful poet has appealed to what methods to express his internal pain and sadness in the literary viewpoint, and has incorporated what kinds of images to suggest his covert pain. Since simile, metaphor, personification, symbol, implication, and metonymy are the main methods to make images, scenery, and creating the literariness of text. The poet has concentrated on images which consist of sadness, for instance, most of the topics and vehicles are made of images and concepts such as blood, volcano, pain, etc. In the lingual level, it has been analyzed that the poet has employed what lingual methods and instruments to transfer sadness. The examinations indicate that methods which poet has incorporated are: using weighty and mild rhythms, long vowels, brittle and reflection figure, repetition of certain words at the beginning of bits or poetic lines as well as repetition in the beginning and end of a sonata or new poet as for suggesting sadness. Moreover, Gheysar has widely exerted vocabulary, expressions, and compounds which were directly and indirectly in connection with sadness, as his vocabulary is mostly gloomy and sad. He has also invented certain compounds expressing sadness and pain. In an overall view, the present research shows that sadness is apparent in three layers of Aminpour’s poetry: first, in the conceptual dimension of poetry which are announcing or composing propositions narrating an internal sadness. In the literary dimension, the poet’s mental thoughts in the imagination field and scenery are engaged with sadness. Also, in a lingual view, the poet has made attempt to lead language in the field of rhythm and noble figures, and using vocabulary to an orientation that more sadness and pain are transferred to the audience’s mind. The new and main finding of this study is that sad mind of the poet has been able to even more affect the literary and lingual aspects by the view of meaning and content, and has innovated new methods to suggest inner grief.