Images of life around the campfire, especially those emerging from the shepherds' simple and entertaining stories about village and tribal conflicts, impressed him greatly.

These images, etched in the young poet's memory waited until his power of diction developed sufficiently to release them.

In other words, even though Nima continued to write poetry in the tradition of Saadi and Hafez for quite some time his expression was being affected gradually and steadily.

In other words, Nima realized that while some readers were enthused by the charms of the lover and the coquettish ways of the beloved, the majority preferred heroes with whom they could identify.

Nima actually wrote quite a few poems in the traditional Persian poetry style and as critiqued by Abdolali Dastgheib, showed his ability well.

[6] Furthermore, Nima enhanced his images with personifications that were very different from the "frozen" imagery of the moon, the rose garden, and the tavern.

In this sense, Nima's poetry could be read as a dialogue among two or three symbolic references building up into a cohesive semantic unit.

Symbolism, although the avenue for the resolution of the most enigmatic of his ghazals, plays a secondary role in the structural makeup of the composition.455[5] The venues in which Nima published his works are noteworthy.

In the early years when the press was controlled by the government, Nima's poetry, deemed below the established norm, was not allowed publication.

[5] Ali Azimi in his former band, Radio Tehran used one of Nima's poems titled When Crying Begins in their hit song Tamume Chiza (Everything).