NimaYoushij’s emphasis on employing expansive and multifarious symbols in his poems, especially unique symbols and idiosyncratic ones from his mother tongue grants a special succulence and freshness to the third period of his poetic life which starts with “Khab-e Zemest
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NimaYoushij’s emphasis on employing expansive and multifarious symbols in his poems, especially unique symbols and idiosyncratic ones from his mother tongue grants a special succulence and freshness to the third period of his poetic life which starts with “Khab-e Zemestani” (literally Hibernation) from 1951 on. These types of poems, due to suffocating political conditions, mostly possess social and political messages that Nima has composed them symbolically. To me, it is possible to attain those messages or at least to touch the conceptions at the time of composing these poems through employing Friedrich Schleiermacher’s hermeneutical method. On the other hand, Nima as a symbolist poet insists on composing poems in a misty ambience through giving multifarious meanings to his poems and believes that ambiguity is one of the specifications of any poem; for this very reason, one of an interpreter’s duties is to discern the different meanings of Nima’s symbolic poems. According to different meanings for the word “Kakki” from various glossaries and the viewpoints of natives of Mazandaran, interviewed, as well as some words of this poem like “parivar” (literally fairy like), feminine nature to the poem is induced. In this article, a different interpretation for “Kakki” rather than its first common interpretation is presented.
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