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

In terms of tone, structure and application, Ashurai poems are presented in various forms with the theme of mourning, with a mystical, epic, moral and social approach and sometimes with a combination of these approaches. In this essay, with the descriptive-analytical and testimonial method, the aspects of beauty and blending of Ashurai poet's emotions and imagination with historical event are expressed in the types of Ashura poetry. The results indicate that the types of Ashurai poems are mixed with frankness, simplicity of language, truth, intimate message and thematization, and due to the nature, taste and success of the poet as well as the support of the Ahl al-Bayt, the intended form of Ashurai poetry is sometimes a work of art. Classical and sometimes with a combination of singing and eloquent music, poetry is drawn in the circle of Seyyed al-Shahada (PBUH), and this initiative leads to the creation of a special type of this type of poetry. The elements of language, music, imagination and emotion in all types of Ashura poetry of Yazd have an explanatory function in the philosophy of Ashura, and the images are based on sensory knowledge and the principle of association.

Mohammad ibn-e Soleiman Tonekaboni, a jurist of the Qajar era and the author of the famous book Qesas al-Olama had read Ferdowsi's Shahnameh rigorously and paid special attention to it. Shavahed-e Farsi, a book he wrote on rhetorical figures derived from the Shahnameh and his own poems. Furthermore, he composed at least one religious epic poem on the subject of the events of Karbala, which is called Hamle-ye Hoseinieh. It can be said that all Persian epic poems written after the Shahnameh were influenced by this noble work of Ferdowsi and Tonekaboni's work is no exception in this regard. Hamle-ye Hoseinieh has not been published so far and a lot is unsaid about it. After a complete review of the only known manuscript of Hamle-ye Hoseinieh, this article tries to investigate its various aspects and determine its strengths and weaknesses and its merit. In addition to a brief biography of Tonekaboni, the obscurities in introducing his works are discussed. It can be implied that the manuscript of Hamle-ye Hoseinieh was a draft. One of the significant aspects of this manuscript is the recording of the pronunciation of some words, which provides interesting information about their different pronunciations. Among the issues discussed in this article are determining the time when this poem was composed and its sources, the method of Tonekaboni in narrating the events of Ashura and the distortions involved, evaluating the work from the perspective of epic features, the influence of the Shahnameh on it, and the way the figures of speech are used.

In the present study, with the aim of investigating the personality of Ashurai poems, the character traits in this type of poetry have been investigated using a descriptive-analytical method. The ritual poet describes the character of this incident with the help of components such as praise of great men, the revival of Ashura culture, and identification. The behavior and morals of the characters are based on Ashurai poems and they perform appropriate actions in different situations, as they have a convincing reason for any change in their behavior and show a logical reaction when dealing with incidents. In this type of poem, the characters of the story are not created by the poet, but what is depicted is considered in the fictional world of the poem and the outside world of the poem and in the context of the events. The expression of Ashurai characters, sometimes with interpretation and sometimes without interpretation, makes the reader familiar with the nature of the character. This is where the reflection of the inner characteristics of the Ashurai character draws the fluid flow of the mind to Ashura culture.

The Islamic Revolution of Iran has a profound impact on all social, political, economic and cultural domains, especially literature. The literature of the Islamic Revolution was more than ever influenced by Islamic teachings, especially by Shiite religious models. The epic dimension of the great event of Ashura, which is considered to be the most important and fundamental dimension, is unfortunately rarely reflected in the history of ritual and Ashura poetry and the epic approach, which was considered a missing link in the history of Ashura poetry in Persian literature, was revived suddenly after the Islamic Revolution, and the messages of Ashura in the Ashura poetry of the Revolution fell in the focus of attention of poets and became a basic and widely used approach. Most of the poets of the Revolution use epic themes extensively and with high frequency in their poems. The epic approach in the ritual and Ashurapoetry of the Revolution has unique features and characteristics such as the victory of blood over the sword, non-peacefulness against the oppressors, the continuation of Ashura, the epic view of death and the preference of honorable death over living with humiliation and welcoming the Red Death and so on. This article has been written in a descriptive-analytical manner with references to the famous poets of the Islamic Revolution. Due to the wide reflection of Ashura and ritual poetry in Persian language and literature, the literary community extremely needs more serious.

Verisimilitude is a significant element of stories and plays, and it depends on the degree of conformity of the work with external objectivity. This correspondence does not represent complete objectivity, which separates literary works from belletristic and historical texts. Verisimilitude means reflecting reality and bringing it back to life in a credible way for the audience. Extra-textual objectivity is a structure that each writer uses in their work based on their approach and literary style. Ashura's drama literature seeks to revive the Karbala incident in the form of a play. Determining the border between objectivity, belletristic, and imagination in these works has been the focus of this research. Many Arabic plays can be found, each dealing with the events of Karbala from a specific angle. Three prominent plays were selected: "Al-Har al-Riyahi" by Iraqi poet and writer Abd al-Razzaq Abd al-Wahed, "Al-Hussein Tha'era" by Egyptian author Abdul Rahman Sharqawi, and "Al-Hussein" by Syrian writer Walid Fazel. This study investigates the conformity of these three works of art with the objectivity of the history of Karbala using analytical-descriptive methods. Based on some findings from this research, authors have used various tools such as factual and historical characters, narration of historical events, use of logical and natural plots to strengthen the truthfulness of their works. However, Abdul Wahed's work has more tools than others. Shargawi's work is closer to narrating the history of Karbala than other two works. The aspect of religious realism can be found in special events in "Al-Hossein's" play.

Ashura, as a great and unique event, has always been in the center of attention of Persian literature poets. All poets, ranging from Kisai Marvazi to the poets of our time, have addressed this event from an angle. Aside from the individual characteristics, the poet's view of Ashura is subject to his life era in terms of cultural, political, and social conditions. Ashura and its teachings are among the most important issues manifested widely in the contemporary poetry of Afghanistan. The current paper aims at investigating how Ashura events are reflected in contemporary Afghan poetry; it also deals with the case study of the impact of Ashura concepts on the poetry of Qahar Asi, an Afghan Sunni poet. The research is a theoretical study whose data was obtained in a library method and was done in a descriptive-analytical way. Studying the contemporary poetry of Afghanistan with the aim of investigating the effect of Ashura on it, one can find that apart from the lyrical aspect and the emotional layer of the events of Ashura, reflected in the elegies and love towards Imam Hussein (A.S.) and his companions, the epic and didactic layer of the Ashura uprising and concepts such as courage, freedom-seeking and not giving in to abjection are prominent components of resistance poetry of Afghanistan. Also, analyzing Qahar Asi's poetry, it can be concluded that Asi used Ashura concepts to counter despotism in his time and presented the Ashura uprising as a role model to save Afghanistan. ‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌‌The political, social and cultural situation in a society is undoubtedly the most important factor in the formation of literary genres in that society. Contemporary Afghanistan has always been affected by civil wars and foreign invasion; and fear and threat have always dominated people's lives. Such a situation naturally leads to the formation of literature of resistance. The poetry movement in such a time moves towards freedom-seeking and anti-tyranny role models; and relying on the people’s religious and pure belief, the poets address the redemptive role models and their goals in an effective way. Therefore, the presence and influence of Ashura in the poems of contemporary Afghan poets is very conspicuous. The impact of the Ashura uprising on the contemporary poetry of Afghanistan is not limited to Shia poets; Sunni poets consider Imam Hussain (A.S.) as a role model for seeking freedom and fighting against oppression and have addressed this event from different viewpoints. In the meantime, Qahar Asi, one of the great Sunni poets of Afghanistan with a trans-religious perspective, introduces the uprising of Imam Hussein (A.S.) and the Yazidis war against him as two continuing paths. He believes that these two paths have their followers at any place and time and that the same division, depicts the chaotic and critical situation of contemporary Afghanistan. Asi is a dissident and critical figure in the contemporary poetry of Afghanistan. As a committed poet, he is always dissatisfied with the conditions of his time and many of his concerns are expressed in the form of poems of resistance. The spirit of such poems of Asi poems is interwoven with the aims and teachings of Ashura. He suffers from the problems of people all over the world, especially in Afghanistan, and introduces Ashura as the savior version of mankind. Thus, it is very important to study the reflection of the aims, teachings, and concepts of the Ashura uprising in his poetry. Therefore, the perspective of Ashura in the contemporary poetry of Afghanistan is quite different from that of poets such as: Kisai Marvazi, Sanai, Nasir Khusraw, Abdul-Qādir Bedil and Mohtasham. This viewpoint may even be different than the perspective of contemporary non-Afghan poets. Contemporary Afghanistan has always been involved in devastating civil wars and foreign invasions, which has pushed poets to focus on the epic aspect of the Ashura uprising and the concepts of anti-suppression, freedom seeking, and avoiding abjection more than the tragic aspects of it. Among contemporary poets, Asi – who is known as the Poet of Freedom – wishes to see his people and land free and to achieve this dream, he chooses Imam Hussain (A.S.) a role model. Towards the end of his life, Afghanistan’s civil wars started, which also brought about religious tensions. Despite being a Sunni, Asi introduces the messages and goals of Ashura as the way to freedom and getting out of the existing situation of his time. In other words, Asi has used Ashura for to awaken his society. In this article, first, the impact of Ashura on contemporary Afghan poetry has been studied and numerous examples have been provided, and then, Asi's poetry has been analyzed with regards to Ashura uprising (goals, messages, role models, etc.)

Ashura style is a kind of historical monograph in which the martyrdom of Imam Hussein (AS) and his companions from the beginning to the end is discussed. Ibn Jurayr Tabari is one of the Sunni historians in the fourth century AH who has quoted the event of Ashura in his book "History of Nations and Kings" without any judgment. The purpose of this study is to analyze the narrative of Ashura in the history of Tabari based on the theory of fictional intelligence "Randall".

The research method is descriptive-analytical.

In Ashura narration, the analysis of the narration and the order governing the report of the Ashura event by formatting and following the events has been considered. From Randall"s point of view, fictional intelligence depends on the application of a set of narrative strategies, including plot, characterization, narrative, and theme.

Tabari plotting has played a role in the main course of the story and causal circles, and the internal and physical conflicts in the narrations have strengthened the plot. His direct and indirect descriptions of the characters of the event and the narration of a special chain of epics and doctrinal and moral themes indicate Tabari"s narrative ability in selecting and narrating the events of Ashura.

Al-Futuh by Abu Muhammad Ahmad ibn Ali, known as Ibn A'tham Kufi, was probably written in Arabic in the late third and early fourth centuries. Muhammad ibn Ahmad Mostofi Heravi translated a part of this book into Persian in 596 AH by the order of one of the rulers of Kharazm. Gerard Genette proposed the theory of Hypertextuality around the relationship between texts. In the present study, an attempt has been made to compare and compare the narration of Ashura in the book of Al-Futuh Ibn A'tham with the Persian translation of Al-Futuh. For this comparison, Gerard Genet's theory of redundancy was used. According to this theory, text B (Hypertext) is created under the influence of text A (Hypotext). The contextual relationship of the texts can be examined in two forms of imitation and otherness and three modes of humor, satire and seriousness. Changes made in the subtext compared to the rough text is called torque, which can be divided into quantitative, applied and qualitative torque. According to this theory, Ibn A'tham's narration was considered a rough text for Al-Futuh Persian translation.

Tragedy Show (Ta'zieh) is a ritual that has its origin in religious traditions. This show is of an Islamic appearance but its origin is Iranian and represents a mythical and ritual heritage of Persia. The feature of this show is that it combines clarity and flexibility with universal truths and by singularization of Folk Art lifts off the border between the viewer and the actor and in this way the viewer becomes part of the show. In the cultures of Iran and India and in mythological literature, mourning ceremonies are held for commemoration of the elites and heroes and the description of some of them has been offered in poetry and prose. The current essay aims at studying the methods of holding the tragedy shows in Iran and India and its influence on the revival of Ashura themes and rituals. The research question: Which practice methods have been used for holding tragedy shows in Iran and India? The expansion of Shiism in India owes to the ceremonies of commemoration of the tragic martyrdom of Imam Hossein. Upon the arrival of Islam to India through the Newly Converted Persia (Muslim Iran), part of the rituals and ceremonies of mourning particularly the tragedy show (Taziah) and Ashura screen shows made their ways to this land.

This study has been conducted using descriptive method and in some cases the method of analysis has also been used. The data have been collected through library studies and based on the books and authentic websites.

Mourning for the tragedies of Imam Hossein and his household and companions in the event of Ashura has led to the creation of a tragedy show called Taziah. This tragedy show has its roots in various thematic fields: religion, history, literature, anthropology, psychology, sociology. However, what is reflected more in this tragedy show is its religious notion, literary method and poems, musical aspects and songs in the form of a show. In this type of popular performance, the viewer is himself an actor and persuades others to show their emotional reactions. The performance of Taziah tragedy show in every place including city or village is easily possible in a special site in every season be it winter or summer and with any number of performers. This show has its own specific tools, apparatus and methods and for its performance, time, space, nearness and distance lose their meaning. Ta'zieh as a term has a different meaning in India and it does not refer to a theatre or drama performed on the scene rather it represents a real theme, i.e. limited recreation of the tomb of Imam Hossein. This symbolic tomb is carried on the shoulders of mourners in the mourning gatherings in Moharram with various arrangements that remind the events of Karbala. Tragedy show of Ta'zieh was first arranged by Timur the Lame in India. In India, city of Lanco is the main center of mourning for Imam Hossein. This ceremony emerged during the reign of Oudh Kings. In India the performers of the mourning rituals are called “Mourner” and the performance itself is referred to as “pilgrimage”. Pilgrimage, on the one hand, is a combination of the performance of the event of the martyrdom of Imam Hossein and on the other hand, narration of the historical events, majorly religious historical events by a narrator. Today, after several years, Ta'zieh has turned to a fine art in India. These tragedy shows vary in view of their design and size and every city has its own narrative. Two types of tragedy show are used in Indian Subcontinent. One is the temporal and the other is permanent. Permanent tragedy shows are usually called “Shrine”. These shows are held in places called “Imam Bareh”, “Ta'zieh House” or “Ashura House” and people pay visit to these places. Every old great “Imam Bareh” has its own specific Shrine or Ta'zieh. Recitation of the events of Karbala is one of those ceremonies that are related to Ta'zieh and include part of its performative texts and is recited in commemoration of the Imams and their progeny. This expressive method (recitation of the tragic events of Karbala) has a close relationship with the tragic mourning of the mythological culture that has gradually made its way into the Shia mourning culture. The most important book concerning the tragedies and passions of Imam Hossein has been authored by Hossein Waez Kashefi in 1051 H. entitled “Rawzah Al Shuhada” [Commemoration of Martyrs] or “Paradise of Martyrs”. This work is a tragic description of the martyrdom of Imam Hossein in Karbala and also the passions of other Shia martyrs. This book led to the emergence of a new type of recitation of the events of Karbala. Two and half centuries later, thanks to this work, lyric poems and the texts of Ta'zieh shows were combined. Indian Shia Muslims under the influence of the method of the mourning in Iran and particularly due to their familiarity with Persian wrote beautiful poems. The ceremony of recitation of the tragedies of Imam Hossein made its way from Iran into India. These rituals were first held in Persian language. The religious scholars (clerics), merchants, artists and poets sometimes migrated from Iran to India and chose the latter as their hometown. This caused the Muslim Indians to be influenced by the culture and method of mourning of Iranians.

 Taziah as one of the greatest performative ceremonies has served as an expression of the religious emotions and rituals in Iran and India. The origin of these popular mourning ceremonies in commemoration of Imam Hossein and his Household is to be traced back to the passions of the events of Ashura. Ta'zieh as a tragedy show in Iran has been held in the form of a mourning show which is a combination of artistic and literary elements including Imam Hossein show, mourning ceremony, music, song, painting and etc. this form of Ta'zieh through cultural and commercial relations and communications of the Iranian Shia immigrants in past centuries has influenced Indian Muslims and Shia in particular. The Indian Muslims have also modified these rituals and ceremonial shows and indigenized them and perform them every year. Ta'zieh in India is not just limited to ritual performance rather it also refers to small shrines carried like coffins by the mourners and its reason can be sought for in the distance of the Indians from Karbala and the Holy Shrine of Imam Hossein. These shrines along with other sacred items are kept within buildings called “Imam Bareh” which are similar to Imamzadeh in Iran. This can also be considered as a type of simulation of the shrines and holy tombs of the Imams and their progeny.     

Ritual poetry is one of the most common types of poetry in the period of Sacred Defense. Committed poets of this period have described the religious events and praise of the Ahl al-Bayt (AS) in various forms. By examining the stylistic features of these poems in three levels of language (musical, lexical), literary and intellectual, it can be seen that which of the epic, emotional, and mystical readings did the poets of the period choose in describing religious events?This study was conducted using library tools and content analysis. First, the prominent ritual poets of Sacred Defense were identified. Then, the stylistic characteristics of their poetry was extracted. Finally, these characteristics were analyzed.Examining the linguistic features of the ritual poems of this period, it can be said that many of these poems were composed in special meters. Poets have also used the repetition of harsh, abrasive and obstructive phonemes to increase the strength of the tone. The use of ancient and war-related words has also added to the epic connotation of the word. In the field of literature, poets have also made use of figures of speech, such as compound simile, metaphorical addition and recognition, which has caused the dynamism of poetry and eloquence. In the intellectual field, we also see a proud and epic look at the concept of Ashura and waiting. Thus, it can be seen that many ritual poems in the period of sacred defense have an epic tone and style. This issue shows the influence of Sacred Defense on the thoughts and words of the poets of this period.This research leads to more attention to religious poems in contemporary poetry, and emphasizes the two-way relationship between the conditions of society and the literary atmosphere of the country.

The fame and greatness of the Ashura event, with its wide and unique dimensions, caused it not to be far from the taste and intuition of mysticism. Among all different historical periods, the Qajar period has received less attention from scholars of mysticism and Sufism in Shiite ritual poetry (Ashura poetry). In this historical period, with the arrival of the manifestations of modernity in Iran, we face many changes in all dimensions and aspects of politics, economics, etc. but it was not easy to accept modern Western culture and civilization with its secularist characteristics in a society whose foundation was based on religious beliefs. Hence, Ashura poetry struggled with the manifestations of modernity in the contemporary world with a mystical approach. The reflection of this opposition can be well seen in Ganjinat Al-Asrar of Amman Samani. The present study has been done using a descriptive-analytical approach based on library data. It answers the question of how the confrontation between the tradition and the manifestations of Western modernity in the Qajar period and in the Ashura mystical poetry of this period has emerged. The results of the study indicate that in these poems, unity, love, and attention to the collective spirit in the uprising of Imam Hussein (AS) as the manifestation of the perfect man are in opposition to the manifestations of Western modernity.

Mullah Hussein Kashefi's Martyrs Elegies book (910 A.H) which depicts Ashura's Events is one of the first books about the killings of Ashura which enjoy a literary language attraction of great influence. Since its writing, this book has been criticized its wrong narration of the history of this event. It is considered one of the first books giving wrong historical accounts with poor historical supports about event happening on Ashura. In this article, after a brief  account about the late Timurids era and Kashefi's biography, different ideas about this book and its author have been discussed along with the reasons for distortions mentioned in the book and public interest in it. Also resources used and his narration style have been studied.  The findings show that the main reasons for such distortions are Kashefi's lack of source, fictional narration style like Sufis, relying on his own memories as an orator, lack of accuracy  in his narrations of events, and Kashefi's intention to motivate Shiites of his time to create a connection with Prophet Mohammad 's family (PBUH). It can also be said that Timurids in Khorasan created an atmosphere from which a kind of Shiites was born by which the Safavids advertise this kind of shiism.

From long ago, the religious intellectuals have heeded to teach religious concepts. Ashura is the greatest religious event if Shia Islam and teaching this religious event have been remarkably emphasized. T.V and specially animation has been the most important media responsible for informing and teaching children for the sake of its specifications. Notably, it has been more successful than books and other media. As animation is popular among children, the current research aims to analyze the content of enjoying what is good and forbidding what is evil in chosen animations. The results have indicated that the chosen animations have shown enjoying what is good and forbidding what is evil to some extent.

The personality of Imam Hossein (as) and the events of the eternal Day of Ashura are among the highly addressed topics in the Islamic literature. Many poets in Islamic countries have addressed this event with honesty and inner purity, and have composed marvelous poems. Ahmad ibn Shakil (578 – 605 AH) is one of the talented poets of Al-Andalus whose lifetime coincided with the Islamic dominance era. He is s Shi’a poet of Al-Andalus during The Almohad caliphate. He utilized Shi’a concepts such as the al-Tathir verse, Hadith Kisa (Tradition of the Cloak), Hadith Manzelat [Tradition of Dignity], and Ashura in his poems. Ibn Shakil has composed two odes about Ashura and elegy of Imam Hossein (as), in which he refers to and mourns for happenings before Imam Hossein’s martyrdom, such as the loyalty and bravery of Imam Hossein’s companions, closure of the Euphrates branch and Imam and his companions’ thirst, and his aloneness, as well as the events after his martyrdom, such as his holy head being mounted on a spear and captivity of his family. This article describes and analyzes the content of this Shi’a poet’s poems about Ashura.

The impact of the uprising of Karbala from the period of beginning the formation to the development and flourishing on Ashura poetry, with its lofty language and unique themes that eventually found its specific expressive style of spiritual verbal and with dramatic works worthy of attention and reliable provided an independent school a poetry. As a result Ashura poetry can be defined like this:Is poem about Imam Hussein and his loyal companions that composed in year 61 Hijri as the year of start this poetry.In this article, recent poets look in represent the symbols of Ashura event in their poetry and explaining the purpose of poetry composed in this case study in the world. In this paper , Ashura images in the works of poets such as Mousavi Garmaroudi, Qaisar Aminpoor, Kasraie, Moalem , Saghir , Moshfegh Kashani , Mardani have been analyzed and studied.

This research was conducted with the aim of investigating the reflection of allusion and likeness to Hazrat Abbas in the poems of the holy defense of contemporary poets. The methodology has been used for books and religious books after the war. Which describes Abbas's literary manifestations in sacred defense poems in the subjects of Hebrew belief in Abbas, Abdis, veteran and veteran, the descent of Karbala, Abbas of the Front, the post-war society, water revenge, Hazrat Abbas and Dasht Abbas. The findings show that the religious and religious essence and religious outlook observed in the training, look, literature and poems related to the sacred defense, all indicate that, on the one hand, the character and function and the historical and religious status of Hazrat Abbas in the presence of Warriors and poets have caused many Talmhay, simile, metaphor and behaviorism in the poems to refer directly to the personality of Hazrat Abbas, and on the other hand, the similarities and matches of the sacred defense with Karbala and Ashura, and the actions of the individuals involved in this incident The vast majority of the holy defense poetry will have a direct look at the courage and passion of Abolfazl Abbas.

Ashura incident can be discussed in various aspects. One of these aspects is the war cries (rajazes) recited by Imam Hussein’s (as)  companions on the battlefield. that the supporters of Imam Hussein (AS) during the battle spoke. War cry is a poem recited on the battlefield to show off one’s abilities and humiliate the enemy. The question under discussion in this study is what are the themes of resistance and stability in the war cries recited by Imam Hussein’s (as) supporters on the day of Ashura? Investigations show that the components of resistance and stability, such as patience and endurance, courage, fulfillment of obligations, accepting guardianship (Wilayat), and honor to lineage has been reflected in the war cries of the loyal companions of Imam Hussein (as) on the day of Ashura, such as Amr ibn Khalid al-Azadi, Jinadat ibn Hares ansari, Nafi’ bin Hilal, Qasim ibn al-Hassan (AS), Ali ibn al-Hussein (as), Abbas ibn al-Ali (as), etc. Considering that the uprising of Imam Hussein (as) and his faithful companions is considered to be the most important uprising against the oppressive government over the course of history, addressing the various dimensions of this uprising and, in particular, identifying the themes of stability and resistance in the heart of this uprising, seems essential. This study tries to draw the theme of resistance and stability from the epopees and war cries of Imam Hussein’s (as) companions on the day of Ashura by adopting a descriptive-analytical method.

Seyyed Heydar Helliis one of the Iraqi Shiite contemporary poets who is known for his religious poems. In this kind of poetry, he has been able to establish a solid link between the virtues of Ahl al-Bayt (PBUT) and the ruling political, social, and cultural conditions of his living period. Under the influence of Holy Quran and honorable hadiths, he has portrayed beautifully the Ahl al-Bayt (PBUT) through a mostly epic approach and a powerful and balanced emotion. Recalling some religious figures such as Imam Ali and Imam Hussein (PBUT), he tries to introduce them, out of the historical framework, being clothed by the new meanings retrieved from contemporary events of the society he himself lives in and to express the difficulties of the Islamic community. He also invites, using an expressive language, people to be aware and insightful and resist against tyranny and colonialism. Having the benefits of Imam Hussein's teachings and other heroes of Ashura in the course of the people uprising against tyranny, being supplicated to Imam Mahdi (PBUH), using consistent oratorical structures and the music matched by the concept of the poems, and utilizing literary modes and dynamic artistic images are f the features make his poetry distinguished.

Jabal Amel is a region in the Southern Lebanon, near the Mediterranean Sea, extending as far as Palestine. It includes the cities of Sour, Sidon, Bint Jbeil, Nabatieh. The inhabitants of Jabal Amel are Shiites and share many religious beliefs with Iranians. Therefore, there are many similarities in Ashoura poetry of Jabal Amel and Iran. In Iran, the fall of the monarchy and the victory of the Islamic republic opened a new chapter in contemporary Ashura poetry and created a new trend in the composing of religious, Ashoura poetry, the diversity and expansion of which was unprecedented. On the other hand, the presence of colonizers, the frequent invansions of the Zionist regime, and the resistence of Lebanese people against them in Jabal Amel have led poets to work on Ashura poetry more than before. This study tries to study and analyze the main common Ashura themes in contemporary poetry of the two regions.

To study the implications of various elegies for Imam Hussein in the poetry of Arabs and non-Arabs is of great importance to many researchers of comparative literature. In this context, the main feature of the elegies is addressing the sufferings of Imam Hussein, and crying upon his pains. Sharif Razi, a poets of Arabic literature in the fourth century AH, and Mohtasham Kashani, a poets of Persian literature in the tenth century, are among Shiite poets who share characteristics regarding elegies on Imam Hussein. This study tries to compare and contrast the elegies of these poets through a descriptive-analytical method.the results are represented in charts.