ali asghar ghahramani moghbel

This research examined two semantic and linguistic factors (form) in the stories"Kabab-e Ghaz" and Fi al-Qatar". To what extent did we notice the connection between the narrative text and the concept of meaning (use of proverbs, terms, allusions, etc.) and form (simple or complex words, use of literary matrices, author's dialect, etc.)? Which of these cases is most prominent in the author's pen? By studying these cases, the author's writing style can be understood and considered as a signature of his work. The aim of the current research is not only to express the similarities or differences in the style of the two writers, but also to study the stylistic innovations of the authors, which were present in the prose of their predecessors. This research seeks to answer the following two basic questions: -What are the similarities and differences between the writing style of these two authors in the two mentioned stories? - How were these two authors, as contemporary novelists, able to cross tradition in their writing style and enter modern fiction?

In this research, the researchers studied the writing style of these two authors from the point of view of meaning and form, using a comparative approach based on the American school. 3. Discussion Every writer's writing style constructs different sentences are all related to the author's writing style. "Style is actually the type of author's use of mental images, conscious and unconscious signals, as well as the assumptions that the author puts in his mind immediatelyis unique to them. How an author uses words back and forth and after the reader's perceptions. Similaritys a) The simplicity of the sentence structure in the two stories b) The brevity of the sentences in the two stories c) The emphasis on the Quranic verses in the two stories d) The reference to religious issues in the two stories e) The use of proverbs in the two stories Differences a) The use of colloquial terms in the story of “Kabab-e Ghaz” , by reading Jamalzadeh various books, the author's interest in colloquial terms can be clearly observed. b) The use of humor in the story of “Kabab-e Ghaz” , in the story of “Kabab-e Ghaz” , the issue of people's failure to deal with societal issues is raised, such as: the termination of the contract, fruitless customs, and superstitions prevalent among the researched people c) The author's use of a serious and dry tone in the story of the train There are characters such as Rafay (a depressed character), the Sheikh (a religious character), the student (a polite and serious character). (Character) the Circassian (a violent and ill-tempered character).) It is necessary The mayor (a political figure) should be serious and dry, far from humor and jokes, according to his job, behavior, and mental and psychological characteristics. 

Conclusion :

1- In the comparative study conducted between the writing style of JamalZadeh and Mahmoud Taimur based on the American school, a clear similarity was found, including: simplicity of sentence structure, brevity of sentences, use of proverbs and affirmations, and Quranic and religious allusions appeared in the stories written by the unique authors. Stylistic differences can also be observed between these two authors, such as: the humorous tone and use of colloquial words in the story of “Kabab-e Ghaz” , and the serious tone devoid of humor of Mahmoud Taimur in the story of the train. 2- In the study conducted between the writing style of the authors, Jamalzadeh focused in the story of “Kabab-e Ghaz” on preserving the Persian language, which is evident in the use of expressions, paradoxes and proverbs. However, Mahmoud Taimur in the story of the train, in addition to his interest in preserving the language, can be considered based on his adherence to the official text even in dialogues, as well as the use of proverbs and allusions, and the basic social issues of his time, such as: considering the farmer equal to the master in education and knowledge, were expressed in the serious tone of the text and the spoken language. 3- Traces of tradition can still be seen in the story of Jamalzadeh's roast goose. By concluding his story and using the phrase "from us to us". He made the story closer to the story. As we have seen in stories, a conclusion is reached at the end. However, the passage of tradition can be seen in Jamalzadeh's story. Using humor that contains many words hidden in its layers, and using the element of suspense in the plot of the story to attract the audience and attention to the characters in the story. Therefore, although Jamalzadeh could not completely distance himself from the classical novel, he put himself on the path of the modern novel. There is no trace of the classical Arabic novel in Mahmoud Taimurs story. By using the open ending formula, Taimur completely separated his story from classical fiction. Because the open ending is one of the characteristics of the modern story that considers the audience as a white reader and allows him to take a personal point of view of the story. Such a thing was not common in the style of classical writers. 4- Among Jamalzadeh innovations in the story of Kebab Gas, we can mention the combination of cultural and moral issues with humor. The author has narrated cultural and moral issues with a humorous pen full of similes and allusions. Such as Mustafa’s betrayal of the narrator’s trust and his failure to promise not to eat the geese, which has educational and moral roots. Mahmoud Taymour also in the story of the train, since the topics covered in that story are serious, touching and meaningful. Even in the parts of the story where sarcasm is presented, especially in the dialogues, it seems as if he is escaping from those situations by using routine words or interrupting conversations so that the sentences of his story do not make the audience laugh. From the beginning of the story to the end, the author narrates the stories in a serious, dry and, of course, hopeless tone in some parts.

The link between poetry and music is stable and inseparable. The musical background in poetry reveals the influence of melodious principles and bases of the texts in both Arabic and Persian literatures. In addition to the meaning of the Ghazal, its form and foreign music are the factors that make people compose and read this poem format. In the paper, from the perspective of comparative literature, we are going to investigate the Ghazal's meter in two Arabic and Persian literatures to achieve the real differences and commonality in this field and the harmony between the meaning and form of Ghazal in both literatures.
By examining the meters of the odes and Ghazal pieces in Arabic literature, we have found a similarity with the meters used in Arabic poetry in general so that the Tawil, Wāfer, and Kāmel meters are considered to be the most widely used ones. We also found the most commonly used meters in Persian poetry, similar to those of total Persian poetry. Meter format of Persian Ghazal in different centuries was due to the temporal and local conditions. In the sixth century, in which Ghazal emerged, its meters were more diverse and were of shorter meters. Then, in the next few centuries, Ghazal composers such as Sa'di and Hafez composed lengthy Ghazals that are still common. All these Ghazal meters have features that are consistent and proportional to the poet's mental and inner states of sadness and joy.

Examining the poems of Hussein ibn Zahak from the perspective of innovation in the introduction of the poem, which was at the same time as the beginning of modernization in the intellectual and cultural system of the Arab traditions, was a state of change and awareness of the new reality. Similarly, the influence of conquests and the presence of different ethnic groups with multiple cultures in Islamic society led to innovation in Arabic thought. Hussein ibn Zahak was one of the poets who, under the influence of various cultures, including Iranian culture, used new styles and interpretations to be able to synchronize his poems with the new development, so like Abu Nawas, Informed used his poems, making it the starting point for expressing new intellectual and cultural approaches. This research is a descriptive-analytical method and based on the theories of critics, has studied the innovation in the Khmer of Hussein Ibn Zahak. The results of the research show that Zahak has expressed Wine as a symbol of a new culture, with a new approach that shows his delicacy in expressing poetry, and using new interpretations, and the contrast of Wine and Tal, with Arabic values and Jahli, has opposed and invited to Iranian culture and originality and thus has been able to introduce new forms in a new framework that is consistent with the reality of the age. Therefore, movement, life, and dynamism are also evident in the poet's Wine due to linguistic coherence and the use of live visual images

Yeki Boud Yeki Nabud and Kan Ma Kan are two short story collections written by Mohammad Ali Jamalzadeh and Mikhaeil Noaima that procced to the social issues of Iran and Lebanon. In these two collections, the culmination of literary democracy and the author's clever and critical look of social issues are revealed. The coexistence of two authors in two more or less close societies, the social themes of both collections and the style and look at those themes, as well as the names of the two stories, strengthen the assumption of stylistic and thematic closeness of both collections. Jamalzadeh's life coincided with the Constitutional Revolution and he was considered a supporter of the Constitutional Government, Iran, like Lebanon, was lagging behind in various cultural and economic fields due to the tyranny and oppression of kings. In Lebanon also, national liberation movements, such as the constitutional movement in Iran, flared up, and the cry for freedom and independence from the Ottoman Empire rose. These movements had intensified as a result of cultural and intellectual awareness in some Arab societies. Under these circumstances, the two story collections of Jamalzadeh and Mikhail Naima were written so that they were the two initiatives in a new style in Persian and Arabic short stories on the one hand and provided a basis for criticizing the critical situation of the Iranian and Lebanese societies on the other hand. Based on the foregoing, we seek through the paper to study the manifestations of social realism and the methods of expressing it in a collection Yaki Boud Yaki Naboud`s Muhammad Ali Jamal Zadeh and Kan Ma Kan`s Mikhail Naima in the framework of the American School of Comparative Literature and based on the theory of similarities and differences in this school. Note that the main topic in the American School of Comparative Literature is the study of the similarities and differences between literary genres in order to better understand and examine the common cultural and literary separation through the fictional works of these two great writers in Persian and Arabic as these works are a product of human thought through the ages and times. In other words, the research aims to study these two collections of stories in the field of criticism of social issues and express their similarities and differences in this field, and then create a bridge between contemporary Iranian and Lebanese literature in the short story and finally answer the following questions:  What are the methods used in Yaki Boud Yaki Naboud  by Muhammad Ali Jamalzadeh, and Kan Ya Makan`s Mikhail Naima's criticism of society?  What are the similarities and differences between the authors' methods of critiquing society?  How did Muhammad Ali Jamalzadeh and Mikhail Naima use humor in their criticism of social issues?  According to what was said in the above, The descriptive and analytical method was used in this research, where it compared critical realism between a collection of  Yaki Boud Yaki Naboud  Muhammad Ali Jamal Ghazadeh and a collection`s Kan Ma Kan by Mikhail Naima in the framework of similarity theories in the American School of Comparative Literature. Their anecdotal texts discussed the similarities and differences between them, and finally we brought the results of the research. About the theoretical framework of the research, it can be said that, it is one of the most similar features between what was, Yki Boud Yaki Naboud , by Muhammad Ali Jamalzadeh, and Kan Ma Kan`s Mikhail Naima, their critical view of social and cultural issues, and on this basis they can be considered within the framework of the school of critical realism in literature, because Mikhail Naima clearly depicts this characteristic and we can see its features in his stories Short,  On the other hand, most critics and investigators considered the publication of Yaki Boud Yaki Naboud a literary event and the beginning of realist literature in Iran. As critical realism was a new form in the realist school, in which the writer deals with the issues and problems of society with criticism and analysis, refusing to accept reality and seeks through it to reach the direction in which he expresses his opinion, This critical vision appeared in literature with Maxim Gorky, the Russian writer and activist who founded the school of socialist realism embodied in the Marxist view of literature. Based on the aforementioned, the short stories of Muhammad Ali Jamalzadeh and Mikhail Naima were studied in this research based on the theories of the school of critical realism and its components, which indicate that realism is that which is concerned only with the problems of society, the life of the people, and the issues and problems of society in a critical form.  The results of the research showed that both writers strongly criticized social problems in their stories, and there are great similarities in their criticism of social issues, There are also differences between them in the way they deal with these issues. Both of them criticized the social problems prevalent at the time, such as suicide, betrayal, poverty, social stratification, the miserable status of women and other problems that spread in society, however, her criticism was taken more seriously by Naima than Jamal Ghazadeh's stories, while the ironic side of Jamal Ghazadeh's stories outperformed Na’meh's stories in this matter. One of the authors' main concerns in their two collections of stories was a severe and realistic criticism of the social situation, which came by relying on various expressive styles such as simple and colloquial prose, the use of proverbs and the Grotesque language. The two authors pursue their critical stories in the direction of realism, influenced by European writers to achieve their society-centered goals that can improve the status of society.

One of the controversial issues regarding the similarities and differences in the meter of Arabic and Persian poetry is related to the influence of the meter of Persian poetry on Arabic. In this article, attention has been paid to the metrical nature of these two metrical systems. The frequency of common meters in Arabic and Persian has been investigated in order to determine the importance and position of each meter in the prosody of that system. In this way, the possibility of comparing meters based on their frequency in two metrical systems is also known. The findings of this article, which is based on the comparative method, indicate that among the 10 commonly used meters of Arabic and Persian, there is only one common meter, and that meter is based on the repetition of the foot fa'ulon. Also, none of the 9 commonly used Arabic meters are among the first 32 Persian meters. Another result is that in comparing the meters of Arabic and Persian poetry, referring to the traditional names of meters (such as muzara and mujtath) leads to wrong results. Another achievement of this paper is that for the teaching of Arabic and Persian verse at the elementary and intermediate level, the first 32 meters of Arabic and Persian poetry and the extent of their use have been made available to be used in teaching prosody at the elementary and intermediate level based on the frequency of these meters.

Practical wisdom is one of the highly attracted topics that the Persians cared about a very long time ago. It, comprising three types (correction of dispositions, management of household affairs, and politics), provided a clear picture of its precious experiences long ago which have been continuing for ages. These experiences and doctrine were handed down from one generation to another and have been the representation of a perfect lifestyle and have been trying to dispel the troubles and worrisome of people. One proof for this is the sermons and the stories that are left for next generations. This study tries to clarify the Persians image in other nations' writings and mainly attempts to investigate the impression of the Arabic texts about Persians in the Sasanid era. Furthermore, this study addresses the notion of practical wisdom and its use in everyday life as a visible treasure bequeathed from the history with which we are unable to get along. One of the works that is abundant with Persian stories and sermons is the book ‘Uyūn al-Akhbār of Ibn Qutaybah Al-dinawari in which he reflected the abundant use of practical wisdom among Persians during the Sasanid era. This current descriptive analytical study, therefore, tries to show the three types of practical wisdom in Persians in ‘Uyūn al-Akhbār by investigating the different and probably hidden sides of Persians' morals and their kings' behavior in that period. As the results indicated, the correction of dispositions and politics were more important and more used than the management of household topic. Among the Persian morals that Ibn Qutaybah mentioned is the secret keeping and the extinction of life, generosity, overtopping knowledge on money, etc. with respect to the management household, the friendship of brothers, recommending marriage within relatives, eating rules, and cleanliness as worthy to be mentioned. Additionally, there are many stories and pieces of advice that could impact the ruling and civil politics Also provided, are the suggestions which are referred to as the merits of the ruler and their big regard of choosing workers, controlling the war issues, and the matters in connection with the soldiers.

The culture and art of each nation show its history, originality and ancient civilization which due to the valuable works it has left, has always been considered by different ethnic groups and nations, one of the most important civilizations in history that has been able to play an irreplaceable and effective role on others.Iranian civilization has been ancient since its original culture and art was able to influence different nationalities such as Arabs and Abbasids. Iran has a great and exemplary culture and civilization, and the role of Iranians in culture and art has been well-known to the general public, so it is important to show the original culture and civilization of the people which has many hidden values, because "such studies And research helps nationalities to better understand each other and sometimes leads to better understanding and improvement of relations between them "(Ghanimi Hilal, 1373: 132-133), in fact," Comparative literature looks at discovering the global dimensions of literature from its historical perspective and Its various manifestations show it over the centuries and give nations the opportunity to search for themselves in the literature of others and to become aware of their status and at the same time, to know their character well enough to be able to correct their position or To defend their position against false and untrue images of others and to provide the basis for understanding based on honesty between nations ”(Ibid: 546-547), therefore, considering the existence of manifestations of Iranian culture and art in the poems ofHussein Ibn Zahak, a famous poet of the second and third centuries, research in his poetry is important, the number of verses of Zahak, more than three thousand verse has been lost over time and only about eight hundred verses remain, he has been able to address issues such as: praise, Khmer and lyric, with a simple but clever and accurate expression, an honest but lively and dynamic account of culture and Present Iranian art and originality, and by presenting ethics and art, architectural style, Mehregan celebration, Sufi wine and wine, court aristocracy, good and bad days, portraits of Iranian and Barmakian characters, and the use of Persian words involved has been able to reach Iranian culture and art in the Abbasid era, and its great role and influence on the Arabic-Abbasid culture, so the poet's divan is an important historical document for researchers who study the news and situation of the people of the second and third centuries AH.


The present article, in a descriptive and analytical manner, using library sources, has examined Ibn Zahak's poems, but in order to clarify the subject as much as possible, first generalities of Ibn Zahak's illustrations and place in illustration have been presented. Then, by comparing the poet's poems with the authors' critical theories and historical documents, we came to the fact that Ibn Zahak's poems are a reflection of the culture and civilization of Iran.


   The culture and civilization of any nation shows the originality and historical richness of that nation. Due to the ancient connection of nations and cultural exchanges, and the deep connection of Iranians with Arabs, Abbasids and Christians, the importance of historical documents such as poetry in understanding the culture and civilization of nations becomes clear. But Iranian culture and civilization has a very long history. With the beginning of the Abbasid caliphate and the presence of Iranians in the Abbasid rule, the foundation of a great cultural movement was laid. In the Abbasid era, the Arabs interacted with other civilizations such as Iran and Rome, and many of these cultures were influenced by Iranian culture, including those who played a significant role in the Abbasid caliphate and were able to illustrate the culture and civilization of ancient Iran in various assemblies and circles, were poets, In fact, poetry was the court of honor and glory of the Arabs. Hussein Ibn Zahak, considering that he was an Iranian and had a privileged position among the rulers and caliphs of the time, was able to show the culture and originality of the Iranians by expressing poetry with special delicacy, skill and mastery, according to Shoghi Riyadh. It was a measure that could fill the assemblies with joy and richness, and arouse the admiration of the faithful and the elders, and express the language of its culture and originality in the Abbasid era ”(Shoghi, 1967: 43), the cultural and artistic manifestations of Hussein Ibn Zahak's poems which are signs of culture And Iranian civilization shows the ancient era in the Abbasid era, prominent in the poet's court In fact, the poet's divan expresses the identity and civilization of a nation that has been a pioneer in ethics, art, culture and originality, and thus has been able to influence others. so addressing the poet's poems and focusing on the essence, culture and civilization of the nation, Which has many intrinsic values, is important, but because literature is the broadest cultural horizon of nations, the main components of identities can be identified through its reports. Therefore, this study, by showing the elements of Iranian culture and art, the effects of which have appeared in the poems of Hussein Ibn Zahak, as a historical document, has an important role in identifying Persian and Iranian culture and civilization.


   Hussein Ibn Zahak, an Iranian poet of the first Abbasid era, one of the poets of the second and third centuries, was the language of culture and civilization of ancient Iran which was able to identify many elements of the culture and civilization of the Abbasid era on which manifestations of Iranian culture and art Had influenced, to show. in fact, Ibn Zahak's poetry is the manifestation of Iranian culture, ethics and art, and accordingly, the images presented of ethics and art, architectural style, Mehregan celebration, Sufi wine and Khmer, court aristocracy, days Good and bad, Iranian and Barmakian personalities, and the use of Persian words involved, as well as the cultural interaction between Iran and ancient Christianity, have been a reflection of Iranian culture and civilization in the Abbasid era that Hussein ibn Zahak was able to beautifully and in detail To depict them, and to point out the cultural interaction between Iranians and Arabs, as well as the irreplaceable influence of the Abbasids on Iranian culture and art. Most Iranians have been limited to the sensory and material aspects of life, and abstract images of morality, and the art of music, and Sufi wine has been focused on unique features with the help of which the poet has only described the ancient culture and civilization of the Iranians and thus has been able to point out the privilege and superiority of the Iranians over the Arabs.

According to historical books, "’Āl Sahl" was an original Iranian family who played a prominent role in the first Abbasid government after the Barmakids. Fadl ibn Sahl, known as Dhu al-Ri'āsatayn (The man of two chairmanships), Hasan ibn Sahl, his brother and wazir of al-Ma'mun), and Ibrahim bin Hasan, hajib (chamberlain) of al-Mutawakkil, were the most distinguished characters of this family. Al-Buhturi (d. 284 H.) despite of his Arab origin, praised this family, after familiarity with them, in several of his odes and confessed their merits, and of course received their generous gifts. Al-Buhturi mixed ’Āl Sahl praises with the names of Sassanid kings, which manifests the desire of this Arab poet to Iranian civilization and culture. The method of this research is comparative one relied on imageologic approach from French school. We can conclude that al-Buhturi, due to his abundant interests in ’Āl Sahl, reflects also in his poems numerous dimensions of the Iranian civilization and culture. He manifested clearly through 'Arab I' the transcendental characteristics of the human beings in the portrait of 'Iranian the other'.

Time is a fundamental issue in the formation of narrative discourse because the discourse is considered to be one of the temporal arts and the form of the narrative structure is determined based on its temporal structure. Time is no longer a sequential concept in the modern world novel, in general, and in the modern Arabic novel, in particular. The structure of the narrative no longer depends on the logic of causality, so we see a shift in the time of the novelists’ works. Haidar Haidar, a Syrian novelist, is one of the novelists who uses time structurally and semantically to break the time continuity and create an anachronism between the story time and discourse. Using the descriptive-analytical method and Gerard Genet’s theory, this study examines the narrative time in the novel Al-zaman al-Mouhesh by Haidar Haidar. Its purpose is to examine the structure and function of narrative time and its implications. The results of the present study showed that the structure of time in this novel is circular or rotatory, serving the dialectical notions of the novel. In addition, the mismatch between the structure of the narrative and the story creates analepsis and prolepsis, and this is done by accelerating techniques such as summarizing, deleting, and showing the scene. Therefore, at the structural level, the monotony breaks the rhythm of the novel and diversifies it, and at the semantic level, it manages to convey its psychological and social concepts and implications.

Unregarding of the logic scientists' definition that says that the essence of poetry is imagery, prosody scientists define poetry as a rhythmic and rhymic discourse, which its main characteristic is rhythm. Besides, contrary to the opinion of the polytheists at the Islamic advent that says Quran is poetry and called Prophet Mohammed a poet, Quran totally rejected this perspective and purified the prophet from this claim.The important point here is that among Quranic verses and prophetic narrations we can find parts and phrases, which are rhythmic. Therefore, most of the Arabic prosody scientists tried to define poetry in a way that these qur’anic verses and prophetic words have been considered out of this definition. As a result of that they added intention to the definition of poetry so that if a speech becomes rhythmic without intention it will be unregarded as poetry. So, depending on this definition, we concluded in this descriptive analytical study that Quranic verses and prophetic words which are unintentionally rhythmic cannot be considered as poetry.

After organizing prosodic feet and presenting so-called Najafi’s circle, Abolhasan Najafi managed to classify most of the Persian poetic meters, provide a criterion for their pleasantness or unpleasantness, and divide them into muttafiq al-arkan (i.e., each consisting of a repeated foot) and mutanawib al-arkan (i.e., each consisting of two types of feet alternately repeated) meters. Nevertheless he found some meters adopted by Persian poets since Rudaki which could not be placed in either group of meters, but, towards the end of his life, he found a way of including these meters in his classification. According the rule he called “tafarro‘-e vazni” or “metrical branching”, all meters of both groups which started with a foot of ᴗ - ᴗ, the foot could be changed into - - ᴗ, bringing about a new and distinct meter. Re-explicating this rule in this paper by introducing some of Simin Behbahani’s poems versified in this meter, we rename the rule into “qa’ede-ye Simineh” (“Siminegi”) or “Simin’s rule.” There are three reasons for calling the rule in this way. The first is that no one has taken advantage of this rule as much as Simin, and the second one is that the scansion of the word “Simineh” reveals exactly the same foot appears in the new meter (- - ᴗ). Finally, it is possible that Najafi was partly led to this rule by investigating part of Simin’s poetry written in this meter.

In classic literature translating poetry means that a poet knows Arabic and Persian and starts translating a part or parts from Arabic to Persian or vice versa(classic to classic). And, all this is for revealing the poetry power in literature. Translating poetry as poetry is a part of a series of issues and subjects which are related to it based on the subject and form. What important hear is the study of translations from two bases; translation is a creative process in classic poetry and problems of poetry plagiarism. There should be a coincidence between these bases according to the differences between a translation being a creative work or plagiarized one may degrade the poet. This comparative study is based on historical references and tries to work on poetic translations in a Arabic and Persian till the sixth century trying to apply the concept of creativity or plagiarism. We concluded that translating poetry as a creative work should be accepted by the poet himself. They should not be different parts in a book. But, manipulating the translated part in a poem and never mentioning the writer's name is a distinguishing point between a creative work and a plagiarized one

There have been various studies regarding the concept of intelligentsia in Arabic literature. The present study tries to present the Iranian and Iraqi intelligentsia through the comparative study of two novels; namely: My Dear Uncle Napoleon by the Iranian novelist Iraj Pezeshkzad, and Papa Sartre by the Iraqi novelist Ali Badr. The focus here is on the definition of intelligentsia as a concept different from the thinker, by which we mean the classical intellectualism which some intellectuals claim to possess, but in fact, they don't. Then the study proceeds to determine the common cultural grounds between the two countries to give an image of the Iranian and Iraqi societies in an era ruled by the so-called “Fokolism” in Iran and the “Effendiyya” (wearing customs) in Arabic. The present study applies the American approach to find the common literary grounds between the two novels and tries to focus on different themes respecting the concept of intelligentsia based on each novelist's view about intellectuals. The study also investigates different issues, which, one way or another, are connected with the intelligentsia of the countries. Among these issues are the sense of alienation, both from oneself and one's family; reality versus illusion; the shallow intellectualism and intelligentsia; and Sanchoism, a term coined by the writer to signify characteristics similar to those of Don Quixote's Sancho Panza. Meanwhile, the study will shed lights on the concepts of the intellectuals and the thinker to draw a picture of the intellectualism in Iran and Iraq by suggesting examples from both novels and analyzing them. The examples focus mainly on the alienated intellectuals who live in their ivory tower and claim their superiority over the rest of the society. Finally, the study tries to show that both novelists want to draw a picture of the cultural aura which was in vogue in the 50s and the 60s to better understand the intelligentsia of Iran and Iraq.

In Persian language, there are poems which are merely made of long syllable. These poems are of two types: 1- A verse or line which its scansion meter turned to be a string of long syllables because of its Taskin license; whereas its standard meter should be found out through studying other sections of the poem. These scansion meters are free variant of the other meters. Syllabification in these poems is done based on standard meter. If two different verses of this type, each of them being free variant of another meter, have an equal length, so phonetic characteristic, which distinguishes the meter of these two verses, is foot stress. This stress is placed in the latest, long, non-final syllable of foot; and its nature is non-linguistic. 2- Poems which are originally made of only long syllable. The meter of such poems cannot be considered as free variant of another meter; their being rhythmic is resulted from their syllabification based on the length and boundary of words in such a way that the boundary of foot is usually coincident with the boundary of the word; and by an alteration in the length and syllabification of the words, their meter will also change. Phonetic characteristic, which makes it possible for foots to be identified, is the stress on the first syllable of each foot. Stress unifies some syllables together and differentiates them from other syllables as well as converting them to one foot; and meter is determined according to the number of syllables of foot.

The identification of prosodic feet and their syllable arrangements have an undeniably important role in identifying and categorizing families of poetic meters (buhūr) in Arabic and Persian prosody. Any confusion in the identification of poetic feet can lead to confusion in understanding and teaching prosody, just as proper organization of feet can facilitate the classification of meters and prosodic pedagogy. In this article, we will consider the Arabic pentasyllabic feet and their effect on Persian traditional prosody and evaluate the viewpoints of contemporary prosodists since Parviz Natel Khanlari, Abolhassan Najafi, and Laurence Paul Elwell-Sutton. We will argue that, based on the poetic evidence, the use of pentasyllabic feet significantly helps us teach and categorize Persian meters and remove one of the important shortcomings of Persian prosody. Moreover, the present article will emphasize the necessity of using pentasyllabic feet in the study of prosody and will discuss the relationship between such feet and the circular ones (vazn-e dowrī).

Abstract
One approach to the critical theory of comparative literature based on psychological criticism is the archetypal criticism that comes from Carl Jung's psychological ideas. This kind of literary criticism seeks the relationship between the mind of the writer and archetypal structure. Archetype as a typical form in the human subconscious memory consists of different types. Archetype of the child can  have subdivisions based on  various aspects  of the child in a life time. In this paper the child archetype is analyzed in the stories of two famous writers of Arabic  and Persian literature in order to see the various aspects of the archetype of the child reflected in the works of Kamil Kaylani and Samad Behrangi. The results of this research show that many of the different aspects of the archetype of the child are presented in the stories of two authors, showing the proximity and consistency of their thoughts.

Polyphonic narrative technique (multivocality) appeared remarkably and manifestly in Modernism and Postmodernism, because unlike the classical novel, it is dependent on the diversity and multiplicity of narrative perspectives that eliminates the dominance of the novelist and the omniscient narrator, and allows the views of different characters to be appeared in the way that characters are able to express their intellectual and emotional potentials freely and extensively. The polyphonic narrative technique represents different patterns of consciousness and diverse ideologies that are democratically appropriate to the complexities of the modern age and their effects on the narrative structure of modern novels and other elements. The addition of fictional characters leads to the multiplicity of text levels, the mobility and dynamics of characters, the exchange of roles, and the development of the meanings of narrative discourse, that gives the novelist freedom and ability to hide behind the mask of their characters, thereby removing monotony (Immobility) and static of text. Russian critic, Mikhail Bakhtin, is the first to refer to the "polyphonic narrative" by studying the works of Dostoyevsky, who cares about the complicated and diverse aspects of contemporary man's psychology and social life. In this regard, using a descriptive-analytical method in the light of Bakhtin's theory, the present study tries to analyze this issue and express the most important features of Polyphonic narrative in the novel "The Desolate Time" (al-Zaman al-Mūhish) by Syrian novelist Haidar Haidar. One of the most important results of this study is that this novel reaches the principle of polyphonic technique through dialogue and dialectics of characters with different and heterogeneous voices using techniques and mechanisms including: the multiplicity of ideologies, narrative perspectives and artistic methods can be setting, hybridisation, parody, stylisation, and expressive forms that reflect the internal and external crisis of characters which symbolizes the Arab community.

Conjunctions making up a group of 10 types are of importance in Arabic. One of them -or- which is equivalent to "or" in Persians relates follower and followed in terms of meaning and role. It is said to have many implications in different contexts including Qur’an. This research is focused on the properties of this conjunction in both languages and the most important semantic features of them, and their grammatical structures. Also, it investigates the relationship between context and diexis in determining the meaning of the two conjunctions. The paper is based on an inductive-analytical methodology. It is a comparative study between “or” in Arabic and Persian. The study is aimed at describing grammatical, rhetorical, and semantic differences and similarities between them. For that matter, we selected poetic and prose passages of the holy Qur’an and those of Saadi, Molavi and Hafez. Research results are: “Or” in Arabic is used between the follower and followed while in Persian it is used before follower and between follower and followed. “Or” in Arabic and in Persian has multiple semantic meanings. Some of these semantic meanings are shared between these two languages while they can differ in terms of semantic aspects such as detail and pure differentiation which are commonly used in Arabic but are absent in Persian. ​

The animalsare used widely in Áḥmad Maṭar’s poems. He used the word dog more than other animals in his poems because has the semantic transformation and also different usages in Arabic literature. He introduced the word dog as a flexible word which is compatible with different meanings in poems. The poet has used this word in 50 elegies and repeated it 100 times which indicates he had a great recognition about the behavior and the characteristics of dog in Arabs’ thoughts. The ancient literary works and their cultural heritage have used this word for different and metaphorical meanings too. Since the disorganized political situation of the society in ÁḥmadMaṭar’s time was aligned with different meanings of the dog in Arab literature, he has used it many times. The proverbs which used this word have influenced his poems a lot. They have played an important role in his poems because these literary samples were compatible with his sharp tongue, especially the proverbs which used the word dog. We can see the influence of these proverbs on his poems obviously. He has used this word to criticize the political regime in Iraq and the world arrogance in an imperious way.
 The study sought in the framework of a descriptive-analytical approach and relying on statistics to indicate the functions of proverbs in some of the poems and to indicate the extent of his impression on them. The researchers also tried to reach the semantic evolution of the word of the dog by answering the following questions. What is the reason for the extensive presence of the word "dog" in the poetry of Ahmed Matar? How was the poet's vision of using the word "the dog" in his poetry? What are the semantic poles on which the poet's vision is centered? Is use of the word "the dog" consistent with the themes of his poetry?

Persian Sea and Persian Gulf have a historical and geographical background that Arabic sources approve their originality since long time ago so that the Muslim writers, Arabs and non-Arabs, repeatedly mentioned these names in their works including historical, geographical and interpretative works and literary sources. In this study, we have tried to search and extract the usage of the terms “Persian Sea” and “Persian Gulf” in dictionaries and Arabic literary books from the second century to the twelfth century (10 centuries). Our research method is a descriptive-historical method and the statistics are presented if necessary. Arabic dictionaries and literary books beside the other Arabic sources such as Geographical, historical and interpretative sources approve the originality and antiquity of the terms “Persian Sea” and “Persian Gulf”.

Quantity-based meter of Persian poetry resembling meter in Arabic poetry has led some prosodists to assume that prosodic feet in Persian poetry should be determined and organized according to the rules of cord and peg as it happens in Arabic. This wrong analysis could be due to the existence of many Persian words corresponding to cord and peg rules. This misanalysis has its origin in the fact that Persian prosodists have not realized the prosodic significance of pegs and cords and have treated them as linguistic categories. Given the recent findings about syllable, modern prosody have decided to draw on syllables, rather than pegs and cords to analyze prosodic structure. However, scansion and subdivision into syllables cannot replace pegs and cords as the latter has a significant role in organizing feet in Arabic meter.

Linguists agree that there are no initial consonant clusters in Arabic، i. e. words cannot begin with consecutive consonants. However، Persian is evidenced to have had initial consonant clusters in the Pre-Islamic period. Considering the long term linguistic contact between Arabic and Persian، this paper attempts to investigate the following questions from a comparative linguistics perspective. First، in case of borrowing، what has Arabic done to Persian loanwords beginning with consonant clusters? To answer this، we have studied two Persian words، namely ''klid'' and ''stabrag''، which are borrowed into Arabic in the pre-Islamic period. Secondly، has the prosodic meter of modern Persian played a role in the evolution and disappearance of Old and Middle-Persian initial consonant clusters? An investigation of early modern Persian poetry gives evidence as to how the initial consonant clusters had been broken and points at the possibility of positing the evolution to have been spread from poetry.

In Arabic poetry, the device of repetition functions at two levels: form and meaning. In form, repetition makes for musical richness, and in meaning, it makes for emphasis. The present article is a study of repetition in “An Address from the Market of Idleness” by Palestinian poet Samīh Al-Qāsim. The poem depicts actual and possible Palestinian sufferings inflicted by Israelis and stresses that the poet’s resistance against the enemy will not be affected. In this article, the device of repetition is studied by considering repeated words, phrases and similar verb forms, and the poet’s intention in using repetition.

The word "qarn" was employed in the most old semiotic languages with slightly different pronunciation. Although qarn has been used in the meaning of "horn" in these languages, it has had other figurative meanings which differ from language to language. As an example, we can mention the figurative meanings of qarn in Arabic which are different from the ones in Hebrew. Since the question of Dhul-Qarnayn has been raised by the Jews of Yasrib - that its origin is in the Old Testament- the key point for precise conception of the compound Dhul-Qarnayn lies in the word "qarn" and its denotations and connotations in Hebrew, especially in the Sifrei of the Old Testament. Of course the finding could also help us determine the reference of Dhul-Qarnayn. Referring to the several Sifrei of the Old Testament, we find out that "qarn" (קֶרֶן) as well as "horn", has implied power, strength, glory, child and governorship. On the other hand, in The Daniel’s Sefer, Dhul-Qarnayn describes a two-horned ram which first butted the West, then the North and the South, i. e. it has dominated the West, the North and the South and in the same Sefer, the ram was construed as the kings of Persia and Media. So we must look for the referent of Dhul-Qarnayn, among the kings of Persia and Media. Since this study is in the field of comparative studies between Arabic and Hebrew languages, the method of comparative criticism has been used in the present article.

Metricians (or the Arūz specialists) have rightly considered distich as the metrical unit of Arabic poetry. The metricians of Persian poetry following the Arabic Arūz have also considered it as the metrical unit of Persian poetry as well. This has caused some confusion in Persian Arūz or meterology. The confusion lasted forcenturies till the founders of the new Arūz noticed that distich could not be a proper unit of meter for the Persian poetry. They believe that unlike Arabic poetry hemistich is the correct metrical unit in Persian poetry. Besides, some principal differences exist between the metrical units.