جستجوی مقالات مرتبط با کلیدواژه « فروغ فرخزاد » در نشریات گروه « ادبیات و زبان ها »

sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman's sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d'etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

Sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman"s sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d"etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

A person has the potential to convey a message in different and appropriate ways and can use symbols to intelligently interact with any type of audience. When the poet is not able to speak clearly for any reason, in an upward channel, his thoughts fly from description to simile, then to various metaphors, and finally to symbolization in order to build a way to communicate with the audience and convey his message. The current research aims to study the poetic style and themes of Forough Farrokhzad; to achieve the evolutionary process of his poetry and the degree of use of all kinds of similes, metaphors and symbols in different periods of his life and using the theory of symbolic interaction to show that contemporary and external changes in the poet"s desire for What has been the effect of using the capacity of symbols.

This research has investigated the evolution of Forough"s poetic style by descriptive-analytical method and based on documents and library sources.

Based on the findings of this research, it can be said that in his first three poetry collections, Forough was unaware of the function of symbols and had no desire to create symbols. But in his last two books, he used symbols in an amazing way and started inventing new symbols. In the first three books, Forough has used more simple similes and descriptions than in the last two books. Also, his first three books have limited use of metaphor, and over time in the last two collections, this industry has been used abundantly. Forough"s language becomes symbolic in the last two books. In general, his poems in the last two collections have progressed towards evolution and he has used more and more complex literary tools than the first books. The comparison of Forough"s symbols with Bloomer"s three principles shows that in acting based on nobles, he used more natural nobles and less abstract nobles in his poems. In his social actions, the poet wanted to move towards freedom and liberation as well as suing for the oppressed. He has interpreted the situation of the society with symbols, that is, with the symbolic language of his poetry, he has tried to react against the inactive society, and the language of his poetry has depicted the worthlessness of life in the eyes of the poet and the problems of modern society.

By analyzing the collection of Forough"s works, it became clear that he has consciously expanded the process of using symbols in his works to the point where he himself has become a special symbol. With his fearless behavior in the period when modernity and majesty have been in conflict; Through symbolism, he tries to push the field of direct speech to impossible limits. I am grateful for the guidance of my respected teacher, Dr. Mohammad Qadri Moghadam.

The issue of women"s language, which was raised in the last few decades and with the efforts of many linguistic theorists and based on the issue of gender, is based on the fact that the basis of women"s writing is fundamentally different from men"s language, for this reason, a style called women"s style It was especially noticed with the feminist approach. The purpose of this research is to investigate and analyze the stylistics of feminine language in the poems of Jale Qaim Maggi and Forough Farrokhzad.

The study method in this research is descriptive-analytical, based on library studies and document analysis and reference to reliable scientific databases.

The research findings indicate that according to the theory of linguists such as Likoff and Mills, gender affects women"s language. This effect can be seen in lexical levels, color of words, detailing, simplicity, use of rhetorical arrays such as irony, repetition, etc.

The results of the research show that both Jale Qaim Maggi and Forough Farrokhzad are among the poets who, especially the feminist ideology and their support for women"s rights and the fight against patriarchy and oppression against women in their words by using feminine words, syntax Simplicity, questioning, attention to doubt and repetition, cover-up and detailing have been shown. The use of feminine language in Jaleh and Forough"s poetry is more in line with strengthening the feminist ideas of both poets.

Human life is entwined with metaphors, and language reflects how we understand the world through metaphors. One of the most important and recent theories in the field of metaphor constructing is the theory of conceptual blending, presented by Fauconnier and Turner (1998, 2002) based on which the role of language in the creative construction of meaning, especially new metaphors, received special attention. In this theory, the conceptual domains of source and target of metaphor are presented in the form of mental spaces that are considered as input spaces and, in turn, are created from separate cognitive domains. Nevertheless, these spaces are interconnected through a relative agreement or mapping of similarities in the generic space, and the “blended space” results from the creative combination of the common constructions between the inputs. The aim of the present study is to analyze the metaphors of the poetry collection "Let's believe in the beginning of the cold season" by Forough Farrokhzad based on the conceptual blending theory. In fact, in this research, the authors seek to find the frequently repeated metaphors of this collection and find the semantic connection between them. In this regard, the types of metaphors in this collection have been identified, described and analyzed from this perspective based on the content analysis method. The investigation and analysis of the poems show that all the metaphors of this collection have emerged around the four conceptual domains of object, human, living things and place, and the domains of source and goal are divided into two categories: "abstract-objective" and "objective-objective" in terms of abstractness or objectivity. In fact, in this collection, Forough, with her mature language and the use of metaphors, most of which belong to the "metaphor of time", implicitly emphasizes on the confusion and destruction of contemporary man in the course of time.

Death and life have always been two prominent and significant concepts in the view of thinkers, and many contemporary poets of Persian language and literature have looked at the issue of life and death from different perspectives. Among these, the point of view of three prominent female poets after Nima (Simin Behbahani, Forough Farrokhzad and Tahereh Safarzadeh) is of special importance. The main goal of the upcoming research is to explain the views of these poets on the concept of life and death and the impact and evaluation of the qualitative content of their thoughts and feelings in evaluating this issue.

The research method in this article is descriptive-analytical, based on library studies and document analysis. The statistical community of the research includes a selection of the poems of all three poets, in which the categories of life and death are considered.

The research findings indicate that the individual, social, belief and ontological components and propositions are in complete relation with the viewpoint of each of the poets regarding the issue of life and death.

The research results indicate that the concept of life for Forough Farrokhzad with all its charms and beauties is sometimes absurd and meaningless. After being disappointed in love, being away from his child, being dissatisfied with the patriarchal and discriminatory society, Forough must somehow suffer from life and review its boring images every day. Simin is also pessimistic about life and this pessimism is the destruction of individual and social hopes and ideals in the poet"s mind. Safarzadeh is opposed to life and its sufferings, but he considers life and death with religious viewpoints, and this is the reason why he considers death as a kind of holy transcendence and life as a source of happiness.

In his Anatomy of Criticism, Northrop Frye argues that the mythical mode is the most abstract and stylized of all literary modes. Frye uses the seasons in his archetypal schema, aligning each season with a literary genre. He argues that a hero's life mimics the cycle of the yearly seasons, with comedy aligning with spring, romance with summer, tragedy with autumn, and satire with winter. Critics consider Forough Farrokhzad's "Another Birth" collection to be the manifestation of her intellectual and poetic evolution cycle, endowed with a profound look and thought about the myth of creation. One of the notable poems in this collection is "The Wind Will Take Us Away". Using Northrop Frye's Archetypal criticism, this study aims to investigate the transformation in the vision and thought that the poem presents in the archetypes expressed with the concepts of the seasons. The findings show that the subject of the poem, passing through the love myth and romance of her life and entering the field of the winter myth, achieves understanding, awareness, and new experiences, making a thoughtful expression of the concept of love. This transformation can be found in the transformation of the concept of love, which passes from a physical, transitory concept associated with destruction and coldness, to a heavenly and eternal sphere that is comforting, warm, and life-giving.

The social approach of Eric Landowski's about interactive sign-semantic, which is presented in continuation of Greimas' aesthetic beliefs of guizzo , is a productive approach in literary criticism. The researchers of this study have used this approach in analyzing adaptation of the corporality sign meanings of romantic in Forough Farrokhzad’s poems which are transcendental.The interaction of the discourse partners in the process of the poet's romantic discourse creates infinite meanings by metamorphosis of the corporality signs. the source of meaning creation occurre with union of me and other.Corporeal subject and corporeal object create a dynamic and generative texture in a life experience with eachother and the surrounding world in phenomenological understanding. this is in a collection of dynamic physical signs that create a generative texture in an ecstatic text . the movement of chain of ambiguous combinations leads to a pleasant ecstasy in the union of discourse partners.the authors have investigated three poems named "Vasl". "Fathe bagh" and "Bad ma ra ba khod khahad bord" with a holistic criticism. The result of investigation was that the romantic interaction of discourse partners with physical sign-meanings has been continuous in order to achieve unity and creation of new meanings.

This study is on of Examining the verb modal in Forough Farrokhzad's poetry by considering the verb modal. Based on different theories and from fundamental positions, the verb modal reflects the writer's point of view. So, this tool can be used to examine the inner thoughts and thoughts of the author. This study aims to examine the the verb modalto explain Forough’s attitude and point of view and study his mind and soul deeply, to answer this fundamental question, how dose Forough Farrokhzad's thoughts and ideas reflect in the syntax of words and can Forough's thought be received among the the modal of his poetic actions? The importance of this research is in examining and analyzing the the verb modal, it is possible to achieve the style, knowledge and sense of forough.In this article, we study the the verb modalin Forough Farrokhzad's poems collection, called "Another Birth", while analyzing various theories about the the verb modal. By providing samples, we concluded that in most cases, Forough used obligation aspect to express thoughts, nostalgic feelings, escape to childhood , to express regrets, wishes and failures. The research method is descriptive-analytical, and after collecting poetic evidence it has been studied and analyzed.

Applying scientific-literary theories in criticizing literary texts and reading them is a method that is very popular and used in research recently due to its solid and analyzable method and style. Psychological theories have a special and valuable place among different fields that can be discussed around literary texts.Individualistic psychology was founded by Alfred Adler and one of the theories in this individualistic psychology is the theory of social interest. In this article, which is done in a descriptive-analytical way based on document analysis and the method of library studies, the poemsof Forough Farrokhzad are analyzed and investigated based on the theory of social interest based on Adler's individualistic psychology. The results of the research show that the social interest in Forough Farrokhzad's poems is very strong in paying attention to his fellow men, especially women. The component of despair and loneliness in his poems makes it possible to consider him as an isolated personality type. Forough is a poet whose desired perfection is to reach a world where his fellows, especially the women of the society, are in safety and peace. In general, it can be said that the social interest in the existence of Forough is summarized in the effort to create better conditions for their fellows, especially women.

Environmental crises and their consequences, among which are the growing environmental concerns, have given rise to new theories in environmental ethics, which aims to explore certain rights in ethical considerations, such as Ecofeminism. Ecofeminism investigates gender and environmental concerns to make a meaningful connection between women, environment, and their emancipation from dominance. In all three conceptual, experimental, and epistemological aspects of this theory, women are relatively closer to nature than men; this in turn renders them more sentimental and vulnerable toward the destruction of nature. In her “I Pity the Garden,” Forugh Farraokhzad narrates the sympathetic feelings of women regarding the death of the garden. This analytic-descriptive study is an ecofeminist reading of the poem which investigates the relations between the characters’ indifference toward the death of the garden and the indifference toward the environmental crises on a global scale. This article claims that the masculine discourse of negligence is rooted in anthropocentrism, generation gap, economic interests, arms race, and philosophical despair. Likewise, feminine discourse might suffer from similar apathy due to over-sensitivity toward the destruction of nature, superstitious beliefs, reliance on synthetic life, and distancing from nature. At the same time, the inclusion of feminine ethics of care in relation to nature can be influential in preventing environmental destruction.

Women and nature are among the most recurrent concepts in Forugh’s poetry, even though her conception of nature and women differs from her conception reality. She speaks of a woman who lives and endures her life with all its hardships, desires, and dreams. On the other hand, her descriptions of nature represent her present language; in other words, they reflect her true self. For Forugh, nature is mostly an object, which through her creative mind, signifies its meanings. These meanings are affected by point of view, emotions, excitatement, and cultural and social elements that surround the subject. As a result, Forugh’s nature is not like the kind of nature we understand in ecology or ecosystem. Her “I Pity the Garden,” has the potential to represent her femininity and the way she poetically describes nature; it also functions as an ecofeminist tool, which exposes her father’s and her brother’s different sensitivity toward the garden. 

Ecofeminism is a movement which investigates the complex relations between nature’s dominance and women’s exploitation. The ecofeminists regard most of the Western thought as influenced by the “oppression mentality” which is the dualistic mentality that prefers and values one side of the duality over the other. Ecofeminism categorises the interaction between women and nature as experimental interaction, conceptual interaction, cultural/symbolic interaction, and epistemological interaction. This study is concerned with the second categorisation, according to which, women are closer to nature and more sensitive to ecological changes.

The present analytical-descriptive study aims to investigate Forugh Farrokhzad’s “I Pity the Garden” in light of ecofeminism. Also, the article studies the function of gender in environmental sensitivity represented in reactions shown to the death of the garden.

The central incident in Forugh’s narrative is the death of her father’s garden. The poem probes into the characters’ reactions to this incident. The characters of the poem include Forugh, her father, her mother, her brother, and her sister. The analysis of their reaction shows that women are more sympathetic to the incident. On the other hand, men are indifferent toward the death of the garden due to economic difficulties, personal problems, philosophical despair, and short-sightedness. Although the three women in the narrative are more sensitive than men, they also have different reactions to the incident. Forugh’s reaction is intertwined with maternal emotions, knowledge, awareness, and responsibility. As a result of her insensitivity, inaction, and alienation, she feels vulnerable and lonely.

An ecofeminist reading of Forugh Farrokhzad’s “I Pity the Garden” shows that the poem symbolically portrays the garden as a representation of ecological destruction which endangers the present world and the future of the earth. At the same time, the reaction of the family and their reasoning symbolises - in a broader sense - the passivity and indifference of nations toward the environmental crises. The findings of the research reveal that the main reasons behind these indifferences are generation gap, anthropocentrism, unbridled urbanity, economic interests, superstitious beliefs, introversion, consumerism, and negligence. This study investigates the aforementioned reasons in light of environmental ethics. At the same time, Forugh’s women are more concerned with nature which - according to feminism - is due to their maternal ethics of care in protecting the environment. On the other hand, men’s materialistic, abstract, and philosophical approaches combined with their arms race and belligerence prevent them from understanding the ongoing reality. It should be noted that Forugh regards wise and calculated actions, alongside maternal emotions, as influential factors which can promote the sense of responsibility towards the environment.

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, its semantic layers and analysis. Among women, Leyli's face is an important figure in Persian poetry, both classical and contemporary. One of the most prominent and important symbols of the lover in Persian poetry, Leyli, the reflection of her face in contemporary poetry is examined in this research by focusing on the poems of Hossein Manzavi, Nusrat Rahmani and Forough Farrokhzad. The main question of the research is how Leyli, as the most important mythical female character in Persian literature, is reflected in contemporary poetry and what her relationship with the real face of women is in our times.In so doing, after reading the most important poems in which the character of Leyli is present, the poems will be analyzed from the point of view of myth analysis. Myth analysis is an approach in which the influence of the author's personal life is examined along with contextual-textual research in the sense of historical and social influences in the creation of the work. The findings of the research show that all three poets selected in this research have had a different look at the myth of Leyli and the function of myths in contemporary poetry is different from the function of myth in traditional poetry.

One of the important fields of comparative literature is the interdisciplinary studies such as psychological criticism of literary works. This criticism expresses and compares the states of mind and personality structure of artists of different countries with different cultures. Among the important subjects in this criticism is the archetypal criticism which looks at similarities and differences of literary works of different countries through an introspective and psychological view. In this regard, one of the important archetypes is the shadow archetype. This archetype is the animal and inferior part of human personality which includes all unethical, lustful and forbidden desires and activities. According to Young’s theory, within the evolution and individualation process and in movement from shadow toward oneself, the ego should be able to pass the negative specifications of shadow such as pride, lust, greed, covetousness and etc. in order to reach himself. However, the shadow archetype has also positive aspect. Excitement, creativity, creation and many of natural instincts are positive aspects of shadow which the human needs them for life continuation. Whereas, when the poets sing the poem, they are connected to the unconscious mind and represent its contents to the audiences, investigation of archetypes such as shadow archetype is a way to recognize the hidden dimensions of their personalities.In this article, the poems of two poets, Forough Farokhzad and Sylvia Plath, have been investigated and discussed from this viewpoint. Many similarities and little differences of personality and lifestyle of these two poets led to occurrence of similar manifestations of shadow archetype in their poems.

This research has been formed based on American school of comparative literature. This school believes that the similarities of literary works are raised from the common human spirit. In this research, author has investigated and compared the shadow archetype in the poems of Forough Farokhzad and Sylvia Plath by an analytical and descriptive method. The author, by library method and analysis of motifs such as love, pleasure, disappointment, idealism and thinking about death which are the aspects of shadow archetype, has come to this conclusion that the poems of these two poets, although in the same time period but with far distance and unawareness of each others, have various similarities solely based on the common human spirit.

In this article, the manifestations of shadow archetype are investigated and compared in the poems of Forough Farokhzad and Sylvia Plath. These two poets sang the poems approximately within the same time period but in different geographies.Forough Farokhzad is one of the pioneers of Nimaeian Poetry (modern poetry) and one of the first famous persons of modernism in Iranian poetry. Living in a male-dominated society and experience of weak and unstable emotional relations have given a special courage to Forough so that she, in addition to break the old poetic frames,casts doubt on old laws and traditions of life. Sylvia Plath is an american poet and writer who is one of the leading woman in american literature for singing  the confessional poem. Bitter and hard life style of Sylvia in family and strict and male-dominated society is evident in each line of her writings.These two poets, probably due to the extreme feeling of guilty, have unconsciously followed the shadow archetype in their books. Sometimes, they have used the word of shadow directly and sometimes indirectly as a bird or woman with an ambiguous and fictitious face. Investigation and comparison of these aspects is a way toward the unconscious inside of these two poets and also show the social and cultural similarities and differences in Iranian and American society during living and singing of these two poets.     

  Investigation and comparison of shadow archetype in the poems of Farokhzad and Plath not only show the hidden angles of their personalities but also represent the space of their family and society to some extent. Lack of affection in childhood and, more important, an unsuccessful marriage, caused that the said both poets always wish the love and affection. This point led to plenty use of shadow in their poetries in the concepts of lust and hedonism. Lack of sympathy, experience of violence and also frequent social failures represent another face of shadow archetype namely sadness and sorrow with this difference that the sadness and sorrow of the Forough in her first poetic duration are the sadness and sorrow of a young and emotional girl and it took a while for Forough to express the human deep sorrow. But Sylvia Plath tied her personal sorrow with human sorrow in her first poems with mythological and symbolic language.Shadow in the concept of nullity and disappointment has been used very much in the poems of two poets which rose from their failures and frustrations. Shadow archetype as the symbol of humiliation and disability has different usage in the poems of Farokhzad and Plath. Feeling of humiliation in Forough’s poem is a result of an Iranian literary tradition namely the obeisance of loving poet against the beloved but the feeling of humiliation in the poem and prose of Sylvia is very deep and indicates one personality specification.Other aspects of this archetype such as fear, anger and violence are more obvious in Sylvia’s poems. This issue although indicates her approximate extroversion in comparison with Forough but represents her harsher family and society space.Generally, Sylvia Plath, with using more aspects of shadow archetype, achieves complete cognition of that archetype and reconciles with that better. However, in Forough’s poem, the active aspects of shadow archetype are less used. This point not only shows the approximate stillness and calmness of Forough’s life in comparison with Sylvia but also it can represent the inherent and introverted modesty of the eastern poet. This issue caused that the Forough Farokhzad, in despite of plenty attempts, is not successful in reconciling with shadow and a kind of ambiguity, restlessness and anxiety encompass her life and poem.

One of the most important issues of life is the purpose and meaning of life, which is seriously considered by thinkers and thinkers today. Victor Frankl is a theorist who has answered this question through his difficult experiences.In his school, which is called "meaning therapy", he has tried to remind man that everyone in his life must discover a meaning through which he can overcome hardships and be safe from emptiness and despair. Semantic therapy believes that life has meaning and that each person should seek his own unique meaning and that man has the freedom to choose his approach to life.The purpose of this study is to investigate the components of meaning therapy in Forough Farrokhzad's poetry in order to provide solutions to the meaning of life.  This research is done by descriptive-analytical method; In this way, first the three important components of love, suffering and death are explained and then examined in Forough Farrokhzad's poems. The statistical population in this research is a complete collection of the poet's works. The result of this research shows that Forough is full of life. He considers love, suffering and death as a phenomenon of life and has reached a deep meaning of life by accepting these three components. Forough's view of love is very wide. He goes from discovering love to discovering himself. She seeks refuge in love in search of inner peace. In the period of decline of human emotions and despair, he sees love as an escape to make life meaningful. The suffering and pain that is rippling in Forough's poetry is a sign of his acceptance. He has consciously accepted the suffering and recited the poem, and in the end he holds man responsible for his own destiny. He also considers death as a part of the phenomenon of existence, but this death is a consciousness for Forough accompanied by fear, which passes this horror with a meaning called love. Forough finds the meaning of life very simple. To create the path of life, he creates great meaning from every small and simple issue for a life full of love. In his poems, the poet not only finds human understanding incapable of understanding the secrets of existence and self-knowledge, but also believes that man must take this inability into account, and for this reason, while pointing to man's inability to understand himself and existence, by calling to Happiness and satisfaction give meaning to life. Finally, we must say that the categories that Viktor Frankl introduced about giving meaning to life are not only known to make human life meaningful, but according to his theory, the dark side of these categories has been dominated by their bright and meaningful side. According to Frankel, death is not the end of life. Suffering, despite being unfortunate, may be the joy of human existence. Love is not just a generic and based on known drivers in psychology, but it can be something beyond what was stated.

If today's themes are helped by ancient myths, we have a kind of mythical experience. The sea and its similarities are no exception. The sea represents infinity, life, breadth, depth, saltiness, movement, and the like. Contemporary poetry (especially Nima, Shamlou, Akhavan, Sohrab, and Forough) has referred to this phenomenon and its similarities symbolically. The sea in Persian poetry has a symbolic, mythical, religious, literary, romantic and mystical meaning that its understanding is important to realize the infrastructure of poet's thought. Nima separates the two vulnerable and affluent strata of society by the shoreline of the secrets sea. In Shamlou's Animism, the negative myth of the reincarnation of the evil spirit in human existence is mentioned as the breaking and conquest of the sea. Shamlou mentions the self-knowledge myth of the first human as diving at sea. Akhavan's poetry has been expressed in a magnificent, mythical, traditionalist, symbolic way and with a bitter and negative view on the contemporary society. Sohrab is more involved in the mythical symbolism of water and sea than the other poets mentioned above. Forough's new interpretations of the mythical expression of sea are expressed in a surreal tone