In general, Nima manipulated rhythm and rhyme and allowed the length of the line to be determined by the depth of the thought being expressed rather than by the conventional Persian meters that had dictated the length of a bayt (verse) since the early days of Persian poetry. Furthermore, he emphasized current issues, especially nuances of oppression and suffering, at the expense of the beloved's moon face or the ever-growing conflict between the lovers, the beloved, and the rival. 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. Furthermore, Nima enhanced his images with personifications that were very different from the "frozen" imagery of the moon, the rose garden, and the tavern. His unconventional poetic diction took poetry out of the rituals of the court and placed it squarely among the masses. The natural speech of the masses necessarily added local color and flavor to his compositions. Lastly, and by far Nima's most dramatic element was the application of symbolism. His use of symbols was different from the masters in that he based the structural integrity of his creations on the steady development of the symbols incorporated. In this sense, Nima's poetry could be read as a dialog among two or three symbolic references building up into a cohesive semantic unit. In the past only Hafez had attempted such creations in his Sufic ghazals. The basic device he employed, however, was thematic, rather than symbolic unity. Symbolism, although the avenue to the resolution of the most enigmatic of his ghazals, plays a secondary role in the structural makeup of the composition.455