A Glass Filled with Music (An Investigation in the Poetics of Bijan Najdi's Story)

The spread of Persian language and literature has been associated with the birth of numerous species since the distant past and with a faster pace in recent years, and of course these emerging species are also associated with the name of a person or persons. Fiction literature has not been far from this transformation and its most prominent feature in the sixties and seventies was the effort to find new ways to the world of fiction. In a brief look at the style and style of poets and writers of the past and present eras, sometimes we come across figures and works that had a completely different style. But the contemporary short story and of course one of the writers of this type of literature; Bijan Najdi, with relatively few works, but full of substance and index, has another story. With a quick look at his works, it can be seen that Najdi is a poet before being a storyteller. His dramatic images scream the unconscious mind of the reader; Images that know no boundaries for poetry and short stories; Because the short story is the closest type of literary prose to poetry. Anyway, if the structure of the short story is such that nothing can be removed or added to it, the poetic image in this construction is considered the most important feature of the text.In this article, we seek to find elements in Bijan Najdi's stories that blur or even destroy the border between poetry and short story, and we want to show why this important thing happens in the works of this author. The method used in this article is a descriptive-documentary method that ends with gathering, discussion, criticism and analysis. In the end, we can say: the theory of Russian formalism provides us with the best suggestions for examining Najdi's stories, but how Najdi and his stories can lead us to the principles and presuppositions of formalism and how this theory It can reveal the surprise better. For us, his stories are one of the important topics of the plot in this topic.In addition, most of Najdi's works are idealistic and committed in terms of content, and in terms of expression, technical and modern, in addition to observing the features of story writing, he has used special elements and components of poetry to present an attractive and enjoyable combination to the reader.In general, it can be said: Najdi stories are among the best stories that show the suggestions of formalists such as Ashkolevsky, Jacobsen and Eichenbaum; Stories whose dominant aspect is benefiting from preparation and industry and defamiliarization method desired by formalists.In this research, after examining the story elements and linguistic, emotional, imaginative and aesthetic features; That is, the main elements of the poetic text in the stories of Bijan Najdi, we come to the conclusion that: the stories of this author, while benefiting from the elements and components of the poetic language, have a new and somewhat unique and special style, which was not found in the works of almost any writer with this scope before him. and distinction is not found; Although limited experiences of this type of approach to the text can be seen in the works of Hoshang Golshiri, Bahram Sadeghi, Nader Ebrahimi, etc. Najdi's ability to revive and dynamize traditional and dead words in a way that has a different effect on the reader's mind and language distinguishes him from others. A skill that Viktor Shklovsky, a Russian formalist, called "resurrection of words" in defining poetry.