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Showing 1 results for Najjâri
Shakilâ Najjâri, Ali-Rezâ Nikouei, Masoumeh Qayouri,
Volume 33, Issue 98 (5-2025)
Abstract
Gaston Bachelard (1884–1962), the renowned French theorist, explored imagination in literary texts through a psychological interpretation of archetypal elements—fire, water, air, and earth. In Bachelard’s view, the task of the power of thought is to produce concepts, and imagery is the product of the power of imagination. He argues that human beings imagine before they perceive or experience. From this perspective, literature and art originate from pure imagination. Bachelard maintains that conventional or rhetorical imagery has little significance; rather, what matters are those creative images that arise from the four primordial elements. In his view, imagination draws inspiration from the unconscious, determining which element predominates in a writer’s creative vision. Although an author may allude to all four elements within a single work, only one ultimately dominates the author’s imaginative field. The roots of these differences in poetry lie in the poet’s unconscious mind—encompassing inner desires, childhood memories, and the environment in which the poet’s reveries were formed. Hence, the fact that the material imagination of each writer is different from that of another is rooted in their biological, experiential, sensory, and intellectual differences. In this study, after examining Bachelard’s views on the imagination of fire—particularly as discussed in The Psychoanalysis of Fire and The Flame of a Candle—we analyze all of Forough Farrokhzad’s works that address these elements. The findings indicate that among the four elements, fire is the most dominant in Farrokhzad’s early poetry, symbolizing her passionate love, emotional intensity, and the sensual dimension of her amorous experience.
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