Remarks
Here are the various remarks about Naderpour and his poetry as cited by some Iranian scholars and researchers:
“In my opinion, Naderpour’s poems are lasting poems. Undoubtedly, his works will be counted among the classics in the Persian language. In the last twenty years we owe thanks to Naderpour for many expressions that have now become popular and universal, such as the sadness of exile, being cut from our own roots, disheartened by the homeland that is being traumatized. In addition, he has given life to his poems through his beautiful descriptions, and through new, effective explanations he has made apparent to us the ambiguous, complex conditions of our own hidden conscience. His poem is the poem of our sadness, our worries, our hopes, and our disappointments”: Ehsan Yarshater (2001).
“Naderpour supported the three principles established by Nima. First, he believed that like natural or conversational speech, poetry must convey the meaning; the number of words as well as the simplicity or complexity of the phraseology must be dictated by the requirement of the expression of the thought being expressed. In other words, he believed that the phrases expressing single thoughts do not have to be of the same length. Secondly rhythm, Naderpour believed, need not follow an established, monotonous form. Rather, like natural speech, it should be allowed to vary depending on the requirements of the thought structure being expressed. Thirdly, rhyme must appear at the end of each completed thought pattern. Rather than forced on thought segments, Naderpour believed, rhyme must serve as a unifier; it must join complete thought segments and present them as a cohesive expression of the poet's sentiments”: Iraj Bashiri (2008).
“Naderpour loved to talk about what was going on in Iran as long as you could talk on the same level": Farhad Mafie (2000).
"Naderpour made it very easy and approachable for younger people who've been away from their culture. His death was the perfect definition of a tragedy": Parastoo Izad Seta (2000)
Read more about this topic: Nader Naderpour
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