جستجوی مقالات مرتبط با کلیدواژه « شعر عربی » در نشریات گروه « علوم انسانی »

Intellectuals and great scholars ofphilosophy and literature have always tried to define poetry and express its characteristics as their understanding permits. Poetry is one of the manifestations of intellectual human life. Through the analyses and interpretations of critics and poets about the identity of poetry, recognizing it as one of the fine arts, from the point of view of the poets themselves, is an important and significant category, opening undoubtedly a new worldview in poetics for us. This perspective on poetry, which in recent years has been called "Farashiʿr " and "Al-mitashiʿr " in Arabic and "Metapoetry" in English, is a poem that deals with the subject of poetry. Whether the poem is "a child of a poet" or "a product of human impatience" or "a product of life's events" or "an incident in language" or "an imaginative word..." or anything else that critics and literary people define, is an externaland non-poetic view to poetry. The charm of the poem becomes more apparent when the creator of the poem, the poet, tells what the poem is from within the poem. In this paper, we have tried to investigate the metapoetry in Arabic and Persian poetry with a descriptive-analytical method, relying on examples of some well-known poets in each of the two languages.

Mastered both Persian and Arabic languages, Nour al-Din Abdul Rahman ibn Ahmad Jami, nicknamed as Khatam al-Shoara, is a powerful Iranian poet of the 9th century AH. It is enough about Jami's mastery of Arabic language that the Fava’ed al-Ziya'iyya in Sharh Al-Kafia, left of him, are known as Sharh-e Jami in Syntax. In addition to valuable works in verse and prose in Persian and Arabic languages and numerous Persian poems, he has been able to write the themes of Arabic literature well in Persian language and also left behind Molamma’ poems, which is one of the valuable fields tested by Persian-language poets. Playing a role in the development and evolution of Molamma’ in his era, Jami’s poems of Molamma’ are the continuation of the poetry of bilingual poets. There always has been a question about the Persian-language poets' Molamma’ that in terms of structure and content, what role did they play in the evolution of Molamma’ industry and what innovations did they add to it. With this same question on the mind, the investigation of Jami's Molamma’ consisting the analysis of its structure and themes for achieving the degree of variety and innovation of Jami in Molamma’ was chosen as the subject of this article. According to this research, through making innovations in terms of the structure, Jami has experimented with different types of Molamma’s and created various themes of poetry, description, and praise as the subject of these Molamma’ types, which can be considered as a technique in poetry writing.

Women's rights are an important issue in today's world, as the Declaration of Human Rights states that all human beings, regardless of gender, have the same individual and social rights, and no one can deprive another of this right. According to the Universal Declaration of Human Rights and the Convention on the Rights of Women, women have not yet achieved their full rights in Arab societies. In the process, Arab writers and poets, aware of the false traditions and the rule of the spirit of patriarchy and the disregard for women's rights, wrote about this issue in their works, defended women's rights and called for women's access. They got their rights. Among these poets, Fatemeh Naout, an Egyptian poet, has a prominent role.In most of his poems, especially in the divan of "Sharfti Mutt al-Asafir", he has dealt with the subject of women in the language of protest and symbolism.The present research has been done by descriptive-analytical method with the aim of receiving the poet's poems about women's rights and analyzing his poems in the field of women's rights components. The findings indicate that the poet refers to the rights of life, comfort, and marriage, and introduces women with the symbols of "poison", "farash" and "ward".

Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, Maulana Khalid Naqshbandi is one of the Sufi scholars, scholars, theologians, and Kurdish poets who, apart from numerous works in Islamic sciences, mysticism, and Sufism, in various poetic formats, including: odes, poems, ghazals, and masnavis, poems in Persian and It is written in Kurdish and Arabic; In this research, the prosody weights of these poems have been examined and analyzed based on the standards and rules of prosody. The variety of prosody weights and the familiarity of this poet with various Persian and Arabic weights have revealed and highlighted the literary point of his poems. The obtained results show that the variety of prosody weights in his Persian poems is more than Kurdish and Arabic poems. The unique and beautiful point in his poems is that he has used the characteristic bahur of Arabic poetry in the composition of Persian masnavis, and he has benefited from the characteristic weights of the quartet poetry in the composition of the poetic forms of the piece and the sonnet. The weights of his Kurdish poems are syllabic and folkloric. He used his Sufi thoughts and beliefs in his Persian poems in the style of Iraqi style poets and used weights in their works.

Muhammad ibn Hassan Ḥur is one of the Shiite scholars of the 11th century of Hijri and one of the great narrators who has a high position in narrating the Ahl al-Bayt (as) hadiths. In this regard, he authored the book Wasāʾīl al-Shīʿa, which is considered an important reference in its subject. Sheikh ʿĀmili was an expert in intellectual and narrative sciences and has left behind precious works. Ḥur ʿĀmili's reputation in narrating hadith cast a shadow on his other works and put his other works under the shadow of this science. One of the artistic creations of this great scholar is his poetic nature, which is fully manifested in his 15,000 verses poem. The most important subject of Ḥur ʿĀmili's poetry book is the praise and lamentation of the Prophet's progeny. The handwritten version of this poetry book is full of dhikr of Ahl al-Bayt (as), which is written with the beautiful expression of the poet. Since this poetry book has not been published yet, the need to introduce and identify the valuable content of this work is much greater. Among the hundreds of religious and ritual odes in this poetry book, there is only one ode that is dedicated to the praise of Imam Riḍā (as). This poem contains valuable points and its expression is of special importance. One of the results of this research is the recognition of the argumentative dimension of the poet in using rational and narrative reasons in this ode, which is clearly evident in Ḥur ʿĀmili's eulogies centered on Ahl al-Bayt (as).

Baha' al-Din Muhammad Ameli, known as Sheikh Baha'i (953-1030 AH), is one of the most virtuous scholars of the Safavid period, who wrote poems in Persian and Arabic. In this article, with a stylistic approach, his Persian and Arabic poems are analyzed in a comparative way in terms of structure and content.

The collection of research data has been done in a library manner, and the research findings are written in a descriptive and analytical way. The statistical population includes Sheikh Baha'i's Diwan and his Arabic poems, which were published in Al-Kashkul and various books.

gs: Sheikh Baha'i's Persian poems are simple and without language difficulties, and in Arabic poetry, he wrote simple poems according to Arabic Morph syntax. Macaronic language, the use of Arabic prosody, the use of Arabic words is some of the influences of the Arabic language that can be seen in his Persian poetry. In the comparative comparison, there are similarities in the structure and content of both his poems. There are many types of repetition in the form of puns, Alliteration, repetition of words, sentences rejection and reverse, similes, metaphors, Quranic Allusion, contrasts, allusions, Metonymy, in the rhetorical structure. And in the content, he pays attention to mystical, religious, educational, and lyrical themes, mysticism and religion are the main motifs of his poems. Love for God, Rogue and Qalandari, description of wine, condemnation of the hypocrisy of ascetics, attention to religiosity, advice to religion, seeking the infallible imams, seeking intercession from the imams are the main content in mystical and religious trends. And he has written the educational content with the elements of religion and mysticism. A small part of his poems is lyrical, which is more in Arabic poems than in Persian.

Sheikh Bahāyi is a bilingual poet who wrote to Persian poetry and poetry in Arabic, which was his First language, In the comparative comparison of his poetry, there are stylistic similarities in the linguistic structure, rhetoric and content. He has written poetry in Persian and Arabic with a simple language, common rhetoric of literature and common mystical and religious thought.

contemporary poets Have devoted some of their poems to subject of Islamic Awakening. One of the issues that is being Considered globally and especially by the Islamic countries and societies is the accurate know edge of The dimentions of the Islamic Awakening as a new thought that has been brought up in recent decades. Said Matuq is amony the new and contemporary poets who has used poem as an expressive literary Genre to express his thoughts and ideas and to learn the Islamic Awakening as a valuable goal in his Society. He has used xeffective concepts which based Very on original values and explanation of national identity will smooth the way of Moslem people to eternal happiness or hereafter bliss. This research answers the guestion of which concepts exists in the Emirati poet Saeed Matuq which are positive for compre hensively streng thening of Awakening movement in the history of Islamic civilization. for this purpose the descriptive analytical method ased on he has been able to successfully reflect the political and social mood of his people and the other Islamic countries in the path to worship and awakening and anti-colonialism.

Since one of the most important goals of using language is to communicate and meet people's needs, therefore, on the one hand, the useful and effective use of this tool requires accurate and correct knowledge of words and expressions, and on the other hand, understanding their situational context. Searle's speech act theory is placed in the field of language pragmatics. In this field, meaning is studied when it is used and in relation to the outside world, and context and situation are studied as the two main conditions in achieving deep meaning.This linguistic function can be analyzed in all kinds of texts, especially literary texts. Analyzing the text from this view shows how the poet has hidden the main theme in the lower layers of the text, i.e. the deep structure, in order to prevent the banality of the theme and on the other hand use it in order to describe the currents of his period. In this opportunity, we have discussed an Ashurai elegy. The purpose of this descriptive-analytical research is to discuss the speech acts in a literary-historical work that depicts the intellectual qualification of the contemporary Arab poet in dealing with the most tragic political event in the Islamic world and its connection with the current conditions of their colonized society. The result of the current study is that the contemporary poet has used all the verbal works, but expressive actions have been more prominent with regard to the purpose of awakening and seeking revenge.

Swara Ilkhanizadeh was a famous Kurdish poet and Ahmad Abdolmo’ati Hejazi was a famous contemporary Arab poet of the twentieth century whose poetries criticize urban life mixed with industry and modernism, and a tendency to living in pure rural areas, As the notions of city reluctance are regarded as prominent features stated in the poems of the two poets. Since an independent study has not yet done a comparative analysis of the phenomenon of city reluctance in the poetry of Swara and Hejazi; therefore, the authors intends in the present study to comparatively analyze city phobia in the poems of the two poets. The fundamental issue of the present study is how and in what formats the phenomenon of city reluctance is manifested in the poems of the two poets and to what concepts and poetic themes is it related. In order to explore this issue, the authors have used the foundations of the American school of comparative literature and a descriptive-analytical approach based on the study of the themes of the poems of the two poets. Expressing hatred of the symbols of industry and modernity, boredom with polluted spaces and urban elements and a feeling of wilting and nostalgia, cruelty and cold social relations, leaving the city and tending to return to villages are the most frequent manifestations of city reluctance in the poetries. The number of Hejazi poems and the processing of various aspects of city reluctance in his poems is much more than the poems written by Swara, but the city-avoiding concern in the poetic images of Swara is more focused on mythical and mysterious of the nature and on drowning in the clear murmur of the pebbles of springs.

Imam Ali (AS) is a unique figure that many Shiite and Sunni poets have praised and expressed their virtues, and in this regard have reminded them of their true faith and righteousness. Sheikh Hussein Al-Najaf, the Shiiae poet of the thirteenth century in Iraq, reflects his commitment to the Shiite religion and the defense of the legitimacy of the Ahl al-Bayt (AS) in his poem. In this research, an attempt has been made to study the virtues and virtues of the pious Mawlawi in his poems by descriptive-analytical method and citing the Divan of this fascinated Shiite poet. The results of the research indicate that the poet has expressed his virtues in a fluent and clear language and by quoting the verses of the Holy Quran and the hadiths of the Prophet of Islam (PBUH). Al-Najaf Historical events and important wars in the life of the Prophet (pbuh) such as; Reflects the war of Badr, Hanin, Uhud, Khandagh, etc., and in this way, rhetorical beauties such as; It has used beautiful allusions, metaphors and similes. In addition, the poet to express the courage and bravery of the Imam, his status and intercession, from the important events of the time of the Imam (AS) such as; Laylat al-Mubayt, the issue of Ghadir, the rejection of the sun, the division of fire and paradise, etc., which has added to the beauty and uniqueness of his poems and has been able to present the virtues and virtues of the Holy Prophet (PBUH)

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


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


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


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

Sherko Bekas The renowned Kurdish poet and Ma’arouf Rosafi the famous Arab poet are contemporary Iraqi poets of the twentieth century who have a particular interest in alienation in their poetic themes.  The two poets suffered from social, political, and consequently, they have suffered from the alienation of place In addition to the mental alienation of personal life. Since there is no independent study of comparative analysis of the phenomenon of alienation in the poetry of Bekas and Rosafi, so the authors aimed to do a comparative study of alienation in the poetry of two poets. The fundamental question of the present study is how the phenomenon of alienation and in what form is it expressed in the poems of the two poets, and with what implications is it linked? To study this issue, the authors have used a descriptive-analytical approach based on the sociological foundations of the poems of these two poets.    spiritual, social and political alienation resulted from the hegemony of aliens and the downtrodden, resentment of living at home, Failures and fractures, suffocation and lack of freedom, rampant corruption, destruction of moral and the original criteria, frustration at people's disregard for enlightenment, disillusioned by the public's disregard for the Enlightenment, the sadness of retrogression, the regret over the decline of the motherland, and the ancient archetypes, have led the two poets into isolation along with the time alienation caused by dissatisfaction with life and calamities of the time and the time alienation and the desire to return to the past. Compared to Rosafi, Bekas outlook on global issues arising out of grief and alienation is broader. Among the concepts associated with alienation, the home has a particular theme that overshadows other provocative elements of the alienation. Because the home is the focal point for all the social, political, time and place issues and the sense of alienation surrounds around it in the poetry of the two poets.

Religious figures, especially divine prophets, have always had a special place in poetry. Meanwhile, the story of Musa and Khidr is one of the stories that have had a great impact on Persian and Arabic literature, especially Persian poetry. Events, scenes, messages and mysteries of the story of these two nobles, in the form that Musa is a symbol of Shari'a, and Khidr is a symbol of the old way, is manifested in Persian and Arabic poetry. This article intends to study the mystical basis of the story of Musa and Khidr in Persian and Arabic poetry and to analyze the codes, allusions and semantic implications of the use of the story. The findings of the research indicate that in Persian poetry, the image of these two nobles is a mystical and radiant image and their story is carried by high mystical thoughts through interpretation, and symbolism. Whereas in Arabic poetry the mystical basis of this story gets a political nature and links to the subject of resistance. It should be noted that in contemporary Arabic poetry, Musa is introduced as a symbol of Shari'a human beings who do not know the situation and are always looking for questions, while Khidr is a symbol of the old path and the heart who knows the unseen world and saves) Musa from confusion.

Literature has a strong connection with social issues in every society, and poetry has been considered as one of the most impressive and impressionable sample in connection with social themes. The aim of the article is to evaluate social issues in Ayman al- Atum 's poem. He, like any other poet of his time, has been deeply affected by social matters, and therefore this subject is clearly reflected in his works. The most serious issues, which are mentioned in his works, are poverty, sense of justice, patriotism, oppression and savagery. This research using analytical and descriptive method attempts to analyse the poet's view of social issues, miseries, penury and persecution emphasizing library studies in Diwan Naboat Al-Jaein. Research findings indicate that the poet effectively expresses different aspects of a disorganized society with a sharp language and an admired perspective. He considers himself to be a social reformer and has always felt it is his duty to assist his fellow countrymen4. He has also demanded the restoration of people 's rights, establishing justice and avoiding tyranny and aggression.

The story of Sodom appeared in religious heritage to explain the destination of pagans and the perverted people. Arab poet Khalil Hawi has utilized this topic in three odes. Using the descriptive-analytic method we tried to explain the hereditary and religious roots of these odes, furthermore we explained how Hawi modernized the story by applying it in a social and political situation in Arab countries and how he made use of pessimistic expressions in his views. The poet's viewpoint is vividly pessimistic in these odes and he relied on symbolic expression of the topic of Arab sovereignty in Arab homelands and of old dogmas and reactionary thoughts with a grotesque diction; so, he shows his anger and wrathful attitude toward tyrant and absolute Arab sovereigns and toward Arab nations for their passivity, silence and obedience against them. The results show that our poet has had three phases toward this problem: firstly, he looks pessimistic to existence in the first ode "Sodom", so confusion, stress, and death are apparent as main themes in it. In the second ode "Return to Sodom" we confront a radical change in his attitude, because there are some hints of optimism and hope for Arab revolution; But at the third ode "Sodom for the Third Time" this hope will wither soon and a newborn pessimism will takes its place and our poet looks gloomy and sad.

Ahmad Zaki Abu Shadi (1892) is one of the leading poets in the field of Romantic school in Arabic literature who sometimes tried to express the educational themes in poetry in addition to romantic principles. He is the child of an age in which the struggle for liberation from colonialism was carried out full – blooded; thus, he portrayed some of the moral recommendations and human values ​​in the form of in – text infrastructures; one can become aware of the characteristics of romantic poetry in the Arab society by reading his poetries. Educational poetry refers to those couplets whose poetic purpose is to teach moral values ​​and human beliefs. This descriptive – analytical article intends to show in what field and how the educational teachings of the mentioned poet were reflected. The most important results indicate that the moral propositions he sought in religious discourse were presented through intertextual relations and beautiful descriptions, while in expressing social and political issues he tended to symbolism more than any other literary trick.

Opposition is one of the literary techniques and is called poetry or prose that is created in imitation of the work of another poet or writer. In Arabic literature, this technique has appeared more in poetry and one of the characteristics of the opposition in poetry is the similarity of weight, facial expressions and the subject of the poems of the desired poets. Literature and poets in different periods of Arabic literature, from the pre-Islamic to the contemporary period, have paid attention to this technique. And the field of committed religious and especially Shiite literature is not devoid of such contradictions. g these poetic contradictions are the poems of Safi al-Din Hali in response to Ibn Mu'taz. Ibn Mu'taz considers the Abbasids to be more deserving of the caliphate than the children of Fatemeh Zahra (PBUH). On the other hand, Safi al-Din Hali, in the same weight, rhyme and subject, responded to Ibn Mu'taz by presenting Qur'anic, intellectual and narrative reasons and violated his claims. In this article, we intend to analyze the content of Safi-ud-Din Hali's opposition and explain the most important allusions and points, Quranic, narrative and historical of his poem.

Iran and the kings of Persia, as one of the ancient civilizations of the planet, have been able to attract the attention of various nations, including the Arabs. Aashi Akbar, who was fascinated by this civilization and the behavior of the Persians, by traveling and praising the kings and great Iranians such as Kasra Anoushirvan and Shahpour, opened his place in the government and court of the Persians and his poetry was full of Persian words that he borrowed from the Persians and the way of writing and composing those words was exactly the same as what was common among the Persians. This research, which in turn is one of the special articles in the field of comparative literature and the adaptation between the two languages of Persian and Arabic, aims to express and shine the Persian language in other languages, especially Arabic by mentioning Persian words among the verses of poetry left over from Aashi.

Intertextuality means that every text was affected in a period of time by previous works, and has given itself a textual identity via changes and evolutions of previous works. As the result of this ideology, every text is a result of thoughts belong to the texts before it. One of the different kinds of intertextuality is called intrinsic intertextuality. Intrinsic intertextuality is the textual relations between a work and other works of the same author or poet that has emerged in another text, but not as a repetition. Sa'adi, lord of lecturers and bilingual poet, who has used some contents and concepts in his Arabic poems and these contents have been used in his Persian poems, too. This survey has searched about Sa'adi's Arabic and Persian poems in an intrinsic intertextuality view and via content analysis and also in an aesthetic approach. Also it has shown content similarities and also lexical and conceptual delicacy of Sa'adi's words more than before. The results of the survey show that the lord of the time avoids repetition in repetitive contents artistically and via using his talent and techniques and literary devices has used a new concept which has attracted the audience by his art. The important point is that Sa'adi's speech in intrinsic intertextuality of his words, not only is far from repetition, but also led to the creation of new and supreme images, and this is the characteristic which distinguishes Sa'adi from others.

  The presence of myths is visible in the literature of every nation. In the meantime, Arabs and especially its poets were familiar with mythical figures. Mentioning the names of mythical heroes with their legendary features in the poetry of Jahili (pre-Islam) period indicates this familiarity. After literary resurrection and establishing connection with Western culture and civilization, using myths was reformed which dates back to mid-twentieth century. In this period Arab poets have used myth for expressing concepts and applied it as a useful means in poetical illustration. 

  Arab contemporary poets aimed to benefit from extraordinary power and capabilities of myth for their goals and wishes. For the realization of their goals the heroes and mythical figures are revived in order to objectify their ideas, emotions, and passions and in this way poetical experience is mingled with mythical concepts.    Among all the myths, the religious ones have also appeared in poems of Arab poets. The figures of prophets including Mohammad (pbuh), Jesus (AS), Moses (AS), and Job (AS) have been frequently used in the poetry of contemporary poets. The poets by benefiting from these figures and their related issues tried to induce their concerned concepts.   Among the prophet figures that can be found in Yusuf al-Khal’s poetry are Abraham (AS), Job (AS), Adam (AS), and Jesus (AS). Jesus (AS) is one of the most frequently used figures among these figures. Considering the unbalanced circumstances of Arab society, Yusuf al-Khal wishes for a savior of mankind to set up a global resurrection. He wishes for a great resurrection which brings a better life for the Arab nation. By using the symbols of this religious myth he protests against political failures, unorganized conditions of Arabs, and the presence of terror atmosphere. So, in this article we study the different aspects of Jesus Christ (AS)’s personality in Yusuf al-Khal’s divan. The main research question is: in what aspects the mythical function of Jesus (AS) character is represented in poet’s divan?

Since myth and mythical function in Arab contemporary poetry is transformed from a simple, ordinary function to an influential function with predetermined goals, the goal of this research is to extract and express myth function in one of the greatest contemporary Arab mythographer’s divan that is Yusuf al-Khal and to study its contemporary social function. The extended and different function of myth in al-Khal’s divan shows the necessity of this research.   

In this research by using descriptive-analytic method first, poet’s divan was carefully studied and the examples of myth function were extracted and finally analyzed and studied.       

  In a section of ‘Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ book by Yusuf al-Halavi the myth in Yusuf al-Khal poetry is dealt with that is not specifically about Jesus (AS). Also, As’ad Razogh in ‘Al-Sho’ara-e-Al-Tamozion: Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ published in 1996 studies the style of myth usage in poetry of five Arab contemporary poets including Khalil Havi, Sayab, Adonis, and Jabra Ibrahim Jabra. In one of the chapters he has dealt with some of mythical odes of Yusuf al-Khal including ‘Al-Bae’r al-Mahjoureh’ however, it doesn’t include other odes concerning Jesus (AS) myth. In the article “Myth in the Arab Contemporary Tamouzi Poets’ Poem” (Akbarizadeh, 1393: 27-46) which is published in Lyrical Literature No.23 myth in three Arab poets including Adonis, Sayab, and Bayati are dealt with but no mention has been made to al-Khal divan.   In this field, the most important article is “Al-Masih va al-Romoz al-Masihiyah fi Divan Yusuf al-Khal” (Roshanfekr, 2014: 61-90) published in Al-Loghat al-Arabiyah va Adaboha No.1 magazine. Reading present article and comparing it with mentioned article shows the similar and different aspects clearly, because the goal of present article is to illustrate mythical aspect of Jesus (AS) character in the form of (4) a mythical symbol. It is a method which the mentioned article does not have and instead it generally have dealt with Jesus (AS) character in divan and have not emphasized on the mythical and symbolic aspect of Jesus (AS).