جستجوی مقالات مرتبط با کلیدواژه "طاهره صفارزاده" در نشریات گروه "ادبیات و زبان ها"

The history of language and gender studies goes back the 19th century. When the first currents under the title of "feminism" were formed in the West. Based on the opinions that consider the speaking and writing styles of women and men to be different from each other, language can be the place where gender elements appear. Based on these opinions, the present research, which is provided in a descriptive-analytical way, with a comparative approach, examines the gender indicators of language at both intellectual and linguistic levels in the poems of Tahereh Saffarzadeh  and  Fadwa Tuqan. is to answer these questions that, firstly, how and at what level the gender  indicators are reflected in the poetic language of these poets, and secondly, to what extent  the presence of common metatextual factors in the poetry of these two could have a similar result in the research achievements. The findings of the research show that common factors such as femininity, the influence of both of these poets on the social and political developments of their time, living in a single period of contemporary history, and the influence of their poetry on the literary teachings of romanticism and realism, cause the formation of gender behaviors. It is similar in their poetic language.

Sustainability literature is one of the important branches of literature with emphasis on concepts such as standing, resistance, patriotism, negation of tyranny and arrogance, which are mainly written due to conditions such as war, military occupation, suffocation, tyranny and repression, and things like common pains, standing for freedom, praising the dead and drawing a bright future are its common axes. An important issue is the application of the components of sustainability literature in the literature of different societies. In other words, most of the poets and writers who have experienced events such as war, military occupation, repression, etc. by foreign forces and even internal despotic elements, have used various components in their poetry and prose works. This article is a research on the comparative analysis of the components of sustainable literature in the poetry of Iranian poet Tahereh Saffarzadeh and Jordanian poet and writer Mostafa Wahabi Al-Tal. The hypothesis of the article tells about the fact that the three components of striving for the freedom of the homeland, call to fight and persistence and anti-arrogance are the common components of the sustainability literature of these two poets. The findings of the article using the comparative method showed that both authors have used religious myths to explain the component of patriotism. Regarding the element of invitation to fight, both poets have used three approaches. First; creating hope and unity among the fighters, second; drawing a bright and third future; honoring the martyrs of resistance and standing. Finally, regarding the anti-arrogance component, both poets first compare the occupiers to vicious and predatory animals, and then call the fighters to a revolution.

The Islamic Republic of Iran and Palestine have resisted internal and external oppression and arrogance throughout their history full of jihad and struggle. Intellectuals of these two societies demonstrated their protest against the current political conditions at the time, coinciding with the outbreak of the two world wars, and portrayed the political conditions, poverty, deprivation, the thugs of darkness, and other topics by singing poetry. The literature of resistance had an important role in this field. In order for the poet to portray the painful and distressing conditions of society in the literature of resistance, he tends to a special subject field and aims to stir up the spirit of struggle and resistance among people. Mahmoud Darwish and Tahereh Sfarzadeh sang wonderful verses on resistance, which led to the emergence of poetic commonalities in their poems. The research deals with the emergence of resistance in its various forms, as the two poets chanted, relying on the comparative approach. The result indicates that the chants of the two poets were the scene of the emergence of common contents such as the call for peace, identity, patriotic fervor, martyrdom, and other religious and patriotic contents that make the poets enthusiastic about it.

The analysis of texts based on new theories of literary criticism is one of the ways to be informed about their structural aspects in the present age. One of these theories is the communication model of Jacobsen, a Russian linguist. Jacobsen focuses more on the issues of linguistic structure in poetry and considers poetry as an integral part of linguistics. As he implements, communication is defined through the six functions of emotive, conative, phatic, referential, metalinguistic, and poetic language. This study tries to investigate the structure of language and its basic functions from the perspective of Yakubsen communication model in the poems of contemporary Syrian poet Sanieh Saleh (1935-1985) and contemporary Iranian poet Tahereh Saffarzadeh (1936-2007) in a comparative and descriptive-analytical approach. Having considered the poetic coordinates as well as the themes in Saffarzadeh's "Didar-e Sobh", the findings reveal that the predominant aspect of its linguistic functions is in the order of its functions that is referential, conative, and poetic similar to the emotive, poetic, and referential functions that are among the dominant theological functions in the Divan of “alzaman aldayq” from Sanieh Saleh. The study of the communication process in the Diwan Poetry of both poets has been effective in getting better and more familiar with their attitudes, ideas and thoughts.

Symbolism was initiated by Nima Yushij, a contemporary poet. Symbolism sought to express the social and political problems of its age. Many poets were affected by his movement and Safarzadeh was not an exception. Her poems are a reflection of her age, and as the socio-political circumstances were not right to express one’s ideas openly, she resorted to symbolism. Accordingly, the present research aims at analyzing the function of symbolism in Safarzadeh’s poetic style. The findings indicate that symbols are closely interwoven with her own religious, social, and political experiences. Colors, nature, and national and religious myths connote many other ideas and themes and thereby the audience faces a multilayer of meanings.

Although Quran’s text is obvious and comprehensible, but it has delicate meanings and it is written with an eloquent syntax and unique brevity. According to this description, one should try in Quran translation to transmit its clarity as well as its delicate meanings and syntactical  and rhetorical details. Tahereh Saffarzadeh has translated Quran in Persian by an obvious and understandable language, but in some cases, she has not conveyed the word’s significations and syntax of text with accuracy and brevity. Investigating Safarzadeh’s Persian translation of Quran and comparing it with Arabic lexicons and syntaxical structures, authors of present article has figured out that some parts of translation cannot reflect the Arabic text and is influenced by English translation of Quran. In order to meet the purpose, text of last for parts of Saffarzade translation has been compared with Quran and Abdullah Yosef Ali’s translation and the aspects by which saffarzade has been influenced, has been extracted and investigated. A more in depth analysis, the results show that in safarzade’s translation, changes such as ungrammaticality, linguistic adjuncts, change of implication, inappropriate equivalents and descriptive equivalents have been made under the influence of English translation.

In the period of the Islamic Revolution, committed and committed poets to defend the values of the revolution and promote revolutionary ideas have expressed the facts and criticized the problems and issues of social, political, cultural, religious, moral, economic, etc. of their time, which These poems have been called "protest poems". Protest poetry as a nascent literary movement, a kind of social poetry and originates from the foundations of sustainability poetry. Among the poets; Tahereh Saffarzadeh, Simin Behbahani, Sepideh Kashani and Fatemeh Raka’ei are among the women critical poets; This research tries to study the themes, methods of expression, tone and format of protest in the poems of famous poets after the Islamic Revolution in various fields (political, social, religious, moral, economic, cultural, etc.) and the common denominator and Examine the differences between their poems in this regard.

This research has been done in a descriptive-analytical, statistical manner using library studies.

Poets have a realistic and at the same time cross-border attitude in criticizing the problems of the country or human society; As their protest poems are a reflection of the socio-political conditions of society and time, and such poems in addition to the active presence of women poets in the political and literary arenas of society is a confirmation of the sociological theory of literature that always affects art from social and political contexts. Ultimately, the purpose of protest poetry is to preserve Islamic values, reform society, and combat injustice.

The highest frequency of reflection of protest themes in Tahereh Saffarzadeh's poems and the lowest frequency is related to Sepideh Kashani, which has been composed in the form of Sepid, Nimai, Ghazal, Rubaei, etc. in political and social fields, respectively. These protests are global (foreign) and sometimes domestic, where the first type of protests revolves around protests against the policies of world powers, and domestic protests are related to injustices in society.

Tahereh Saffarzadeh was born in 1936 in Sirjan. She learned to recite and memorize the Qur'an in the local school at the age of six and ended her primary and secondary education in Kerman. She composed her first poem, "Poor and winter", at the age of 13, which was written on the school's wall newspaper. She received a bachelor's degree in English language and literature from Shiraz University. It was during this period that she realized that this field of study is not practical for the present and future of Iranian students. Shortly after her son's death, she went to England and then to the United States of America to continue her education. At the University of Iowa, she was accepted in the International Writers' Group and obtained MFA degree, which is a PhD-independent degree awarded to the undergraduate and graduate writers and artists who volunteer to teach at university in a literary or artistic field of study. Following acquisition of a special poetic language, and as a result of continuous study, she succeeded in new definitions and theories in the field of art, especially poetry. The first examples of such poems made her famous, respected among poets and writers of different countries of the world, and created mutual literary connections between her and poets and artists of other countries. On her return to Iran in 1970, the authorities agreed to hire her at the National University (Shahid Beheshti). Dr. Tahereh Saffarzadeh is the founder of translation education as a science and the organizer of the first workshop of "Practical Critique of Translation" in Iranian universities. After the victory of the Islamic Revolution, her book "Principles and Foundations of Translation" was selected as a lesson book that was useful in understanding the theories and practical critique of translation, especially for students majoring in translation. This book was used in translation workshops and played an effective role in the Iranian translation scene. A few years later, a book on this field was published in England. Tahereh Saffarzadeh also succeeded in introducing a new language and style of poetry due to her literary studies and research in the field of poetry which she named it "Resonance Poetry"; an intellectual whisper that, without worrying about weights and meters, triggers a movement in the reader's mind with clear metaphors. Knowing the cultural gap of the Islamic Movement, at the beginning of this movement, with the help of well-known and committed Muslim writers, she established a center called the "Cultural Center of the Islamic Movement". After the victory of the Islamic Revolution, Dr. Tahereh Saffarzadeh was selected by her colleagues at Shahid Beheshti University as the dean of the university and head of the faculty of literature. At the age of 24, she published her first work, "Rahgozar Mahtab" (The Moonlight Passerby). Her second collection of poems, entitled "The Red Umbrella", was published in English in the United States of America by the International Department of Writers at the University of Iowa, School of Literature. Then, with the publication of the collection of poems of "Resonance in Delta", "Dam and Arms", "Fifth Journey", "Movement and Yesterday", etc., she composed a special songs for the music of the contemporary Iranian poetry. She wrote poems with religious and anti-western plots in the Iranian literature. Her poems seem frozen at the beginning and they are devoid of softness for words, but for the person who contemplates on the words, they can be seen as the blossoms behind the spiritless words. Saffarzadeh wrote weightless poetry. She believes that insensitivity and vapidity of this period is the product of the false civilization of this century. Commitment, conceptualism, thought-oriented and religious beliefs are the main components of her poetry. In addition to being a poet, she is proficient in writing, researching, teaching, and translating, as she has translated the Qur'an into the three living languages of the world. Another fact is that Saffarzadeh is known as the founder of the "Scientific Critique of Translation" and the author of the "Specialized Translation" theory in Iran. Meanwhile, Saffarzadeh's name has been registered as one of the initiators of "religious modern poetry" and also one of the founders of the Islamic Propaganda Organization's artistic field in the history of the literature of the Islamic Revolution of Iran. Possessing literary knowledge and insight, familiarity with the millennial history of Persian literature, writings in the contemporary literature, complete mastery of English and familiarity with world literature have made Saffarzadeh popular in the minds and languages of literary society from the 1960s to the present. She has also gained the attention of the world literary and academic associations. In the two collections of "Allegiance to Awakening" and "Meeting with the Morning", Saffarzadeh achieves an independent and coherent style of language and simplification. In turning the poet away from complexity and tendency to the natural tone of speech in this period, perhaps components such as the Islamic Revolution have been influential. In a general sense, Saffarzadeh's poetry can be divided into three periods. Three periods that, although sometimes close to each other, are fundamentally different from each other. These differences are sometimes so obvious that it is felt that the poet is different.
The first period begins with her introduction as a poet with the book "The moonlight passerby" in 1962, and continues until the publication of the book The Fifth Journey"." The second stage of her poetry often addresses the common people of the society. She wants to say words that are no longer complicated, but they convey a simple meaning. In the third period, she reports on religious and moral concepts. But it should be added that her statement is significantly different from the previous period; he writes many poems with great care and obsession. She does not have any excitement or emotion, and she uses her former techniques in writing the poems. Saffarzadeh becomes somewhat relaxed in the third period of her poetry, she does not have the restlessness of the first period. In the third period, she achieves a kind of calm, neither the restlessness of the first period nor the excitement and sensuality of the second period. During this time, she allows herself to be more rational than anything else. She deals with issues as they exist.

In recent years, women poets, by recognizing their feminine identity, have been able to establish emerging literary developments by creating currents in the field of language and cognition. They have also tried, by using feminine language and creative techniques in making their works, to influence the feelings, thoughts, personal and social concerns of a woman. Moreover, they have tried to work with men in various literary fields such as poetry, prose, novels, etc., free literature from the domination of masculine language and speech, and transform this ancient masculine tradition. There are well-known and famous poets in contemporary Iran and Oman, each of whom has played a significant role in shaping women's literature. Saida bint khater Al-Farsi is the pioneer of Omani women's poetry, who deals with women and her identity in her poems. Tahereh Saffarzadeh is an Iranian woman poet who has played a significant role in the literature of the Islamic Revolution. In this study, using poetic examples and charts, Feminine language in the poetry of two poets in a comparative way, on two lexical levels (Vocabulary - Compositions - Verbs and Phrases) and syntactic (question sentences, surprise sentences, emphatic sentences). Differences and similarities of feminine language were revealed in two different cultures. Al-Farsi, for example, uses feminine words to express sensory-emotional themes to fill the romantic dimension of her poem, while feminine language in Saffarzadeh's poem is a tool to convey message and thought. Both poets use feminine language to express social purposes such as feminism, the defense of women's rights, patriotism, naturalism, and so on

Saffarzadeh is one of the contemporary revolutionary thinkers who wrote his first poem at the age of 13. The following article seeks to explain and illustrate Tahereh Saffarzadeh's poems in terms of developments in his thought and thought. To achieve this goal, a quantitative-qualitative method has been used, first describing the intellectual properties of Saffarzadeh's poems, and then using diagrams and shapes, the transformations of the poet's mind and language have been demonstrated; It shows that the thought and thought of Saffarzadeh in his poetry has undergone many changes over the course of fifty years of poetry and can be divided into different periods and this is due to his long poetry period which has undergone social changes (both family and society), There have been individual (evolution of personalities and beliefs) and various events (away from home, war, etc.)In poetry, Saffarzadeh is sometimes a social peacemaker. A thinker who thinks about community reform and security, is a trainer who fosters proper education, comprehensive education, moral, individual and social.

Contemporary poets have used different types of traditional texts to deepen their poetic views and influence the poetry on the audience; The texts that relate to the religious, literary, mythical, and folkloric tradition, and with an influential function, put the legacy of the past on a modern design. These sources and origins, called "textual heritage", are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of these texts in traditional rhetoric with various names such as" Guarantee", " Allusion"Adaptation" are discussed and nowadays "Intertextuality" is one of the important issues of literary criticism. Safarzadeh is a contemporary poet who has benefited from Persian literature and literature, and in addition to the poet, translator of the Holy Quran and Nahj al-Balaghah, his influence on religious texts, especially the Quran, is further illustrated.The present research has responded to this main question by descriptive-analytic method. How much and how much is the use of Safarzadeh from textural heritage? The findings show that, considering the familiarity with religious and literary texts, he has deepened and enriched his poems, and on this basis his poetry is full of religious and mythological texts.

The literature of every frontier and canvas, in addition to representing the artistic and literary minds of poets and writers, reflects the thoughts, knowledge, teachings and legacies left by the ancestors, and we here refer to them as "textual legacies." Named; the legacy of contemporary poets makes a lot of profits to deepen their poetry and influence the audience; These texts, which depend on the area of literary tradition, religious tradition, mythical and folkloric tradition, can have an influential effect on the development of Persian new poetry, and contemporary poets have been dependent on artistic taste and ability to acquaint themselves with these sources; To deepen and enrich their poems and to make the legacy of the past by the new ones. And "it seems that whatever the poet and writer has a broader cultural backing, his poems and writings will be more productive and more vivid in this view" (rastgoo, 1395: 116) These sources and origins, here called "textual heritage", are the cultural backbone of a poet and a suitable platform for the reproduction of his poems. The use of textual legacy is more or less the same as in the traditional rhetoric with the names of guarantee, adaptation, telemechanism, and so on, with the name of intertextuality, is one of the major issues of literary criticism today. "According to the intertextual rule, the horizons of the reader's interest in the text and the meaning it receives are related to the texts previously read. On the other hand, intertextual relations act as interconnecting rings of components, and every text from the beginning of its creation is in the realm of power of other texts that have been created before and impose a special atmosphere. "( Khalili Jahantegh, 2007: 6) 

The present study, by descriptive-analytic method, examines the extent of influence of Tahereh Safarzadeh on traditional texts in four levels (religious-literary, mythical, and folkloric), and how it determines how much and from which The textural legacy has been used in the fertility and prosperity of its poetry

On the one hand, and the importance that literature has in the literary critique of today, the particular influence that literature has on people's thought and culture, on the other hand, reveals the importance and necessity of examining contemporary literature from an intertextual point of view. Tahere Saffarzadeh is one of contemporary poets who, by carefully reading the traditional texts and using them, transforms his poems into a full mirror of textural heritage; in otherwords, he uses the art of ancient literary heritage and acquaintance with religious texts, especially the Holy Quran He has tried to deepen and enrich his poems and make the legacy of the ancestors build and present fresh things to the present. This research intends to reveal the hidden angles of his literary text by analyzing and analyzing the intertextuality in Saffarzadeh's poems, and to provide the ground for more readers to use his poems. What makes the necessity and importance of examining traditional texts in Safarzadeh's poem more than before Shows that so far there has not been an independent and significant study on this issue; although papers and theses on his influence have been written in the Holy Quran, but since other legacies such as: Nahj al-Balaghah, hadiths, ancient literary texts and ... His poetry has not been analyzed and analyzed The place for such a comprehensive study is still empty.

In this research, the use of Tahereh Safarzadeh as one of the outstanding contemporary female poets of the textural heritage (religious-literary-mythological and folklore texts) was analyzed and the following results were obtained: 1) Safarzadeh poetry is full of religious texts and has been used directly and indirectly by the poet's companionship with the Qur'an and its translation into three other languages of the world of Quranic words, compositions and talmids. Therefore, the Qur'anic text in its poems is more frequent than other religious texts. 2- Saffarzadeh uses the linguistic and linguistic uses of the ancient prose texts in his poetry, such as: Similar compositions with the word "species", which are luminous features of Behaji's history. It also uses the adjectives, words and combinations used in Keelah and Damnah, Marzbanam, Golestan, and others. 3. The language of the poetic political-critical poetry of Safarzadeh when he speaks of a homeland and speaks of a despotic system; the language and tune of Ferdowsi's tune into the mind of the reader, in addition to the mystical poetry of Rumi, Sanai and Hafez also in induction His poetic concepts have helped the reader. 4. Provenance texts in Safarzadeh's poetry are more frequent in comparison to the classical poetic text. 5-Saffarzadeh uses words and compositions learned from ancient poets and writers to invent words that are not used in modern languages, but their synonyms are used in ancient poems, such as the word "listener" 6. The national myth in poetry isfarzade has a wider application than other myths. He has used these national myths to express his political and revolutionary goals. 7. The presence of historical myths in Safarzadeh's poetry is very dim; among these myths, only the positive character, such as Mazdak, and the negative person, such as Alexander, have attracted the poet's point of view. 8- Safarzadeh uses the words, verbs and folk phrases that are sometimes quintessential and incorporates them in artistic coding, and adds to his poetic vocabulary. 9. The words and combinations of folk in his poem are more frequent than other folkloric texts.  

Accurate reading, morphology and analysis of literary works from the point of view of systematic functional linguistics and functional stylistics of Michael Halliday is one of the most prominent and effective approaches to understanding and explaining these texts. Functional stylistics enters into two independent areas of linguistics and literary criticism, and it recognizes, introduces and evaluates the components of these two subjects. In this different view, the social function of the language is often taken into consideration, followed by the Ideational meta-functional, interpersonal, and textual of the language of the texts being explained and interpreted. This research, has been done by collecting, describing and somewhat statistical method, aims to criticize and analyze poetry by Tahereh Saffarzadeh whose style influenced by trivial meta-functional, and explain the ways in which poetic language is used. Finally, by analyzing each of these franchises, the function of language in the form of the poet's expressions is well understood and received. The style of a literary work is how to use the language and the way of expression, the elements and components of aesthetic, and the content approach and the theme as the message of that work. Functional stylistics of Halliday is also a product of social insight into the role of language. One of the prominent features of this method is that, by examining this process, one can become aware of the inside world of the author, and, in addition, try to understand the external factors; The fact that in most of the poems of this poet, and especially in the first travel poem, reveals the true experiences of the poet in her phrases. Saffarzadeh has used the two processes of material and relative in her socio-political poetry, while at the same time she has given a more descriptive and narrative sense to her own text

Forough Farokhzad and Tahereh Saffarzadeh are among the forward thinking and modernist poets and they have got specific methods, and each one brought about reforms in the musing field and Nimai poem style However they both are different in their standpoints and social, theological and political viewpoints. However they both are different in their standpoints and social, theological and political viewpoints. Nonetheless in aspect of passing reform procedures, taking effect from Nimai poem style and from some rhetorical methods and imagination domains, they have got something in common. After stage of composing romantic and shallow poems, like the passing of seasons, Forouq passed fruition and maturity stage and got to the stage of “rebirth” and musing poems Saffarzadeh also passed the evolution procedures of poem and intellect through simple romantic poems under the influence of familial theological upbringing, social and political matters of the time, close reading theological texts, educating in west and acquaintance with European culture and literature; and ultimately attained poem evolution period Hence, in this article by analyzing and studying poems of both poets and reading relevant criticisms and viewpoints, we have tried to discuss about the similar and different aspects of their poems and reflections.

Surrealism is a twentieth century literary movement in France whose main aim is to encapsulate pristine feelings and give rise to the automatic play of imagination. As a safe haven for people, Surrealism emerged following World War I and its concomitant repercussions in a bid to represent war anxieties, social inequalities, and imperialistic power. Now the question is whether or not the Holy Defense poems, written during and after Iran-Iraq war, also reflect surrealistic features. This paper tries to analyze and trace surrealistic tenets in the works of five major Holy Defense poets. The findings of the project demonstrate that these select poems possess some of surrealistic features such as automatic writing, humor and irony, love and madness and intoxication, imagination and hallucination, dream, fear and horror and anxiety, ambiguity, Grotesque images, surrealism objects and sorrow.

Visual or concrete poetry is one of the modern poetic trends in both European and Iranian poetries. This form of poetry which is includes written deviations and linguistic foregrounding is manifested in a combination of poetry, graphics and sometimes calligraphic lines. In this poetic tradition, written structures are chosen in a way that the type of layout and combination of letters, words and sentences of poem create visual images. This paper aims to rely on a combination of approaches including comparative literature in the comparison of American and French and formalistic approach, and the concept of comparing the American and French and formalistic approach, to review and evaluate the impact of conjunction between visual poetry and similar species in Iran's poetry. To do so, examples of visual poetry are compared in a formalistic way with the examples of the type in Iranian literature including Toushij poetry (Moshajjar, Motayyar, Modavvar and Moaqqad), visual poetry, Movassal, Tadbij, letter-oriented poetry, illustration, incarnation. The results showed sundry similarities and differences between the principles of visual poetry and examples of the type in the Iranian tradition. Some of these similarities and differences are deviation, foregrounding, homogeneity of graphics, defamiliarization, and alienation. These similarities do not mean “Plagiarism” because there is a close relationship between Iranian and French literature in various aspects. There is no doubt that Guillaume Apollinaire, in the creation of his “Calligrams”, was strongly influenced by the concrete and visual Persian poetry including "Toushih poetry”.

Accreditation to fact and absorption in objectivity , that start with Nima , had a great impact in the moving of contemporary poem , with all its physical specification and inner and the modern poet realize that can collected the compatible components in the semantic wholeness by the narration , and obtained the possible of regularize to scattered elements , and changed the calendar time to ontological time.
In this Article , the poems of Tahere Saffarzade , be checked According to library method and content analysis and comparison and based on Roland Barthes's theory from the perspective of structuralism and the function narrative analyzed in this poems. The most important results obtained of this survey are as follows: - The statistical analyses of the narrative and non- narrative of Saffarzadeh's poetry , shows the poets tendency to narrative expression.
- the accession of notional logical connection and fluid motion, is rated of the features of Saffarzadeh's poems.
- the movement of Saffarzadeh's poems show us that she tries to make a move in the mind of audience,

Archetypes are the same and common ideas in the mind and the unconscious of human beings that show itself in the form of common beliefs at any age and their recognition may increase our understanding about the deep cultural, moral and religious currents. Jung mentions several archetypes in his works and counts each of them from the most meaningful of manifestations of the collective psyche alone or in the general link together. In this research, we have investigated archetype of numbers between Iranian and Arab poets, Tahereh Saffarzadeh and Mahmoud Darwish, according to the American School of Comparative Literature and descriptive – analytical method. The main question in this research is that each of these two poets, what attitude has to the numbers in thier poetry according to nationality, the position of the time, place and circumstances of their inner thoughts and how is employed them each of two poets. Some of the results include: A) the numbers of one and five in the poetry of Mahmoud Darwish and numbers of four and seven in the poetry Saffarzadeh have high frequency. B) The number of three is used in the poetry Saffarzadeh, but Darwish did not use it. In contrast, Darvish has paid attention to the number of six, but Iranian poet is not used it.

Tahereh Saffarzadeh is one of the Islamist figures in contemporary Persian poetry. The investigation and analysis of dimensions of Islamism in Saffarzaddeh is helpful not only to recognize her status in committed poetry and literature of the Islamic revolution of Iran, but also in recognition of contemporary Persian poetry. Islamism, in fact, is a return to religious sources, idealism (ideological) and newly-thinking intellectual colonization and Imperialism, 6. justice and unity with the oppressed nations of the world.