نشریه ادبیات تطبیقی
پیاپی 23 (پاییز و زمستان 1399)

The contexts and factors that create contemporary fiction in Arabic and Persian literature are close to each other; In particular, in both languages, the story is derived from Western storytelling patterns, meaning that the similarities have led many scholars to believe that the style of writing of one of the two is influenced by the other, although it does not have an effect. Can be denied. (Mirsadeghi, 1376: 180) Short story appeared in the eighties of the nineteenth century in the West and entered these lands simultaneously with the political and social developments of the first half of the contemporary century in Iran and the Arab countries. (Rasouli, 1391: 65) and with the initiative of great intellectuals such as Naeema in Lebanon and Jamalzadeh in Iran, it became one of the most important types of literature in these countries. At this time, Naeema established a new way in the literature of that time by collecting her works entitled "Kan-Makan". He always based his stories on social problems and spoke about the sufferings of the people of his country. He was born in 1889 in Baskenta, Lebanon, to a Christian and Arab family. (Al-Khoury, 1991: 23)He spent 20 years of his life in the United States and is one of the emigrants. Although Qajar Iran was one of the most tense periods in Iranian history; But it had a profound effect on Persian literature. From then on, Iranian writers set out to invent a new style to awaken and make people aware of the current situation, and to lead all classes towards reconciliation with literature by simplifying and avoiding complex and complex prose. Meanwhile, one of the most prominent cultural figures in Iran is Jamalzadeh, who has made great efforts to revive literature. He is one of the great writers and translators who in the literary history of Iran has always been mentioned as the father of short stories in Persian and the initiator of the realist style in literature. In this article, an attempt has been made to make a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

In this article, an analytical-comparative method has been done between the two story series "Kanomakan" and "yekibud yeki nabud" by Jamalzadeh. The content study of this type of literature can be a new approach in the field of social studies. In this method, a comparative study of the short stories of two great writers of Lebanese and Iranian literature, Naeema and Jamalzadeh, was carried out. The style and characteristics of both authors' short stories have been researched with an emphasis on their short stories in order to determine the similarities and differences between their short story writing styles.

There is no doubt that the Arabs have been familiar with the story for a long time. The existence of the authorities and the stories of Alf Layla and Layla is a proof of that. Ancient Arab fiction did not have a specific style and style in the modern way, and they took its style, thought and subject from the West. In this period, we are witnessing the flourishing of short stories, especially in Lebanon. Most of the writers of short stories in Lebanon, such as Naeema, Gibran Khalil Gibran, Tawfiq, were emigrants, and had studied the literature of other countries. Short story as a form of fiction was formed in Iran by people like Jamalzadeh and continued its evolution along with literary currents; The first collection of short stories to be published in book form; Jamalzadeh's "yeki bud yeki nabud" collection was in 1300 AD.This collection had differences in characterization, narrative methods and language with its previous examples, and Jamalzadeh's ability is more reflected in the short story.He admits that he used the story as a means of preserving proverbs and sentences. (Mir Abedini, 1387:80)The Kanomakan Collection is a book of prose that contains six short stories written by Naeema in Mahjar. The stories of this book are: "Sat Al-Koko, sonateha aljadida, Al-Aqr, Al-zakhira, Saadah Al-Bayk and Shurti" The heroes of his stories in "Kan Makan" series are more than the capitalist class -Writing is at a high level. In the four stories of "Kan Makan", Naeema has used methods for narrating the stories that take them out of the state of monotony and mere definition, and this is one of the positive features of this book. These stories are:"sonateha aljadida, Al-Aqr, Al-Zakhira and Saada Al-Bayk." (See: Al-Sayyid, 1974: 240-242)Jamalzadeh is a contemporary Iranian writer and translator. He is considered the father of Persian short stories and the originator of the style of realism in literature. He published the first collection of Iranian short stories entitled "One was not a Buddhist" in 1300 in Berlin. His story has social and political themes. In addition to revolutionizing Persian prose, he consciously used the technique of European storytelling. He recommends the whole style of simplification to Iranian writers, and perhaps for this reason, the theme of the first story of "Farsi Shekar ast" is about simplification and simplification. Jamalzadeh's collection "yeki bud yeki nabud" is a collection consisting of an introduction, six short stories and a collection of slang Persian words, which was published in 1300. Its six stories are: "Farsi shekar ast, Rajol siasi, Dusti khale kherse,Darde dele Mullah Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah". This book is considered to be the beginning of Persian realist literature and Iranian short stories and the starting point of change in Iranian fiction. "Jamalzadeh is the first Iranian writer to use the European storytelling industry with conscious intent." (Mir Abedini, 1387: 83)In comparing the authors of the two story series "Kanomakan" and "yeki bud yeki nabud", it should be said that both authors can be considered as migrant writers; Naima has experienced both Arab and American environments and Jamalzadeh has experienced both Iranian and American environments. They mapped the culture, literature and contemporary thought of their country. Jamalzadeh's role in contemporary Iranian culture, literature and thought is more of a historical role. Through his efforts, the modern experiences of Iranians gradually took shape. It should be emphasized that although Jamalzadeh pays more attention to "theme" and "subject" than "form" and "structure", but his innovations in the narrative forms before him are also remarkable. It is worth considering. (Moshtaghmehr, 1387:138)The language used by Naeema and Jamalzadeh in their stories is on the border of "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In all her stories, Naima has tried to express the problems, social, religious, and cultural issues of the people in simple language. The language of Jamalzadeh's stories is always eloquent, descriptive, fluent and conversational. In analyzing the titles of the two story series from the point of view of form, it should be said that the main title of Naeimeh series "Kanomakan" and the title of the series "One was and one was not" are Jamalzadeh in sentence form. The formal title "Kanomakan" clearly indicates the narrative type of the work, although it puts the reader in anticipation of an old story. The titles in the collection of Naima "sonateha aljadida, Al-Aqr, Saadat Al-Bayk and Shorty" and the titles "Dusti khale kherse, Darde dele Ghorban Ali, Bile Dig Bile choghondar and Vilan Al-Dawlah" are among the formal titles that determine the type of story in the collection.In analyzing the two titles from the content point of view, it should be said that the titles of Naimeh and Jamalzadeh are not in conflict with each other; Rather, they affirm each other, both of which, as belonging to tradition, are reminiscent of earlier traditional anecdotes and ancient literature; Especially in Jamalzadeh's collection, where the title "anecdote" at the beginning of all six stories in this collection is reminiscent of the traditional structure of stories and anecdotes of ancient fiction.In the title of these two collections, "Kanomakan" and "One was not Buddhist", there is a lexical contrast (Kan and Makan) and (was and was not), and between the titles of the two collections, there is a lexical inconsistency; In this way, "where and when" and "yeki bud yeki nabud" cause a contradiction of words, and a contradiction in the composition or sentence leads to inconsistency between the cohesive group in the sentence and creates a linguistic joke. (Fotouhi, 1390: 383)One of the tricks that Naimeh and Jamalzadeh use to attract the reader in their collection is ambiguity and suspension, which creates ambiguity in the reader's mind and forces him to read the story to the end. And in the text of the stories of both collections, there are signs of the tendency to die. It brings and this is one of the positive features of these two sets. In terms of commonalities and differences between the two works, it should be noted that both stories are very similar in form and appearance; In a way, both series have six short stories that are arranged in sequence without interrupting or separating the stories. Both writers wrote abroad and are somewhat cultured in Western culture, but their collection of stories mirrors the whole situation and culture of their country and has a completely Eastern spirit. The perspective of both Naimeh and Jamalzadeh is often "I am a narrator" in which the narrator is one of the characters in the story and from his own language (first person inside) or one of the sub-characters (first person outside) Narrates.The collection"yeki bud yeki nabud" has a common feature, and that feature is introducing the hero as a "brigade" and not giving the reader a chance to know him through his actions. (Kamshad, 1384:164) In both Naimeh and Jamalzadeh collections, the hidden and latent concept of dialectics is "was and was not" and the transition from "bud" to "nabud" is a dialectical change that is manifested in the form of contradiction, controversy, conflict and change. The language used by Naeema and Jamalzadeh in their stories is on the border between "old" and "new". Ancient themes, elements and expressions can be seen in their works. Their language is full of slang terms, allusions and expressions. In the difference between the stories of Naeema and Jamalzadeh, it should be said that the dominant element in the titles of Naeema's stories, in addition to slang and oral language and its story and elements, is society, people and social, religious and cultural problems. (Mahdavi Mehr, 1397: 15) While the dominant element in the titles of Jamalzadeh's story is the emphasis on slang and oral language and the story and its elements. (See: Jamalzadeh, 2005:28-13)Naima used the element of religion in her collection and in the story (Al-Aqr) she did not refer to the Holy Spirit and the Holy Mary and religious beliefs, and the use of proverbs and reflections of beliefs is one of the features of her stories. , 1074: 352); Meanwhile, Jamalzadeh's collection is devoid of religious and ideological symbols. The protagonist in Naeema's "Kanomakan" series is more than the affluent class, which is influenced by Russian stories. Meanwhile, the protagonist of the Jamalzadeh series is a "brigade". (Kamshad, 1384: 164) In Naeema's stories, woman has a prominent and colorful role, while in Jamalzadeh's stories, women always play a small role in society, and the reason is the closed society of that time, which caused , To confine the people to the customs and traditions.In the "Kanomakan" collection, Naeema is a little humorous and has almost no place, but there are different types of humor in Jamalzadeh's collection, and perhaps the reason for this is the characteristics of Jamalzadeh's collection that do not have the necessary maturity, and yet the first It is the way of storytelling. The characterization of Naeema is more complex than Jamalzadeh in "Kanomakan" series. Naeema's characterization is such that contradictions become apparent over time. Like what is said in the style of speech in the "Kanomakan" collection, Naeema is more realistic and realism has a higher frequency, and in Jamalzadeh's collection, the element of imagination is more frequent.

The following two sets of results are obtained from analytical-comparative comparison: These two stories are among the first examples of new short stories in Iran and Lebanon, and the authors are both the father of short stories and the giver of a revival of Arabic and Persian prose. In the stories of Naeema and Jamalzadeh, there is no such complex knot that throwing or gradually opening it gives the story ups and downs and guides the reader step by step with the story. The most characteristic features of Naeema's short stories are the abundance of social themes and the expression of pains such as poverty and misery, class distance, and betrayal in the family center. In all his stories, he has tried to reflect the problems of the people, social, religious, religious and cultural issues and to deal with the lives of different sections of society.Attention to simplification, expression of pure truths of the time, use of slang terms and interpretations, presence of contradictions and double confrontations in Jamalzadeh's collection, make the story comprehensible to the public and bring it to the traditional structure of fairy tales. Ancient resembles. Jamalzadeh's stories are more like memoirs (and in the story: "Dusti Khaleh Kherseh, Bile Dig and Beleg chondar" to the travelogue). Jamalzadeh has paid attention to the element of politics in the story and it can be seen in the story of "Al rajol siasi".By choosing the concise titles "Kanomakan" and "yeki bud yeki nabud", Naeema and Jamalzadeh paid attention to the musical components and consciously used the European storytelling technique. The titles of Jamalzadeh collection, from the point of view of form, have more variety and dynamism than Naimeh collection, and it has different types of titles such as phrase, combination, and phrase. In terms of content, the dominant element in the titles of Jamalzadeh's stories is the emphasis on language, story and its elements, while the dominant element in Naima's story is, in addition, the content, society, people and religion. Jamalzadeh is more important than "structure" and "form" for "subject" and "theme", but his innovations in narrative forms are also noteworthy.The protagonists of Naima's stories in the "Kan Makan" series are more than the affluent class, and most of the stories in this book are at a high level in terms of observing the principles of storytelling. Jamalzadeh admits that he was in one and he was not in one, that he has used the format of the story as a means to preserve the proverbs, rulings and culture of populism.

What is examined in this article is the method of selection and composition on the "paradigmatic axis" and "syntagmatic axis" in the poetry of two contemporary Persian poets "Shamloo" and the Arabic poet "Nizar Qabbani" from a linguistic point of view, The method of aesthetics of these two poets should be examined and compared. In this goal, we have explained the study of literature from a linguistic point of view and we have examined the book "Aida Dar Ayene" from Shamloo's poem and "Belqis" from Nizar Qabbani's poem. The results show that Shamloo wrote his poem in such a way that the understanding of each verse depends on the reader's thinking and his achievement of the poet's choices from paradigmatic axis, while the audience in Qabbani poems is often The poet's compositions are on the axis of companionship, and this factor has made it easy to understand the poems and their concepts. Finally, Shamloo's inclination towards the selection process on the paradigmatic axis causes a special atmosphere such as creating implicit meanings in the verses, complexity, ambiguity, meaning and distance from each other, and Qabbani's inclination towards the combination process causes the explanation of the poems, the proximity of the meaning and the instance and Easy to understand poems.

In this article, first, Jacobsen's theory about function of linguistic and his definition of the "paradigmatic axis" and "syntagmatic axis of language are described. Then, by explaining the function of these two poles in the poetry of Shamloo and Nizar Qabbani, the difference between the performance of these two processes in the poetry of these poets will be examined and compared. In the following, the industries that operate on the "paradigmatic axis" and "syntagmatic axis will be examined. Speech figures such as "simile", "metaphor" and "irony", which create implicit meanings, are on the.The paradigmatic axis. Speech figures of "ambiguity", "paradox", "antonymy", " Synonyms " and types of "paralelism" are on the syntagmatic axis and further  explain the meaning of the phrase. An example of the performance of each of these. Speech figures has been analyzed in a book of poems by two contemporary poets, Shamloo and Nizar Qabbani, which are given below for examples of these poems. In fact, the purpose of this article, after achieving the type of metaphoric poles and metonymic poles in the poems of these two contemporary poets in Persian and Arabic, is to analyze the stylistic features of contemporary poetry based on these two metaphorical and virtual poles.

Discussion :

Based on the analyzes, we find that the use of the "paradigmatic axis" and "syntagmatic axis"  in Shamloo's poetry tends to the paradigmatic axis with a difference of 6%. Although the percentage achieved is not high, but it can  be significant in examining the poet's style. The statistics obtained from Qabbani's poems also show his tendency towards the combination process. Shamloo, by using metaphor, and irony according to choice, shows the ultimate function on the paradigmatic axis in verses, and with these works, it creates implicit meanings in verses, and on the other hand, by using ambiguity and paradox, and antonymy, they have presented the ultimate performance on the syntagmatic axis in parallel with the paradigmatic axis in each clause and explained their meaning. The lack of significant parallelism in  Shamloo poems has caused the relative tendency of these poems to the paradigmatic axis. While the widespread use of the phonological parallelis, along with simile in Qabbani's poems, has made it easier to understand his verses and tend towards the combinaition process. Uses and functions of the paradigmatic axis and syntagmatic axis have included the complexity of his poetry. Whereas in Qabbani's poems, the performance of the Sensory sides of similes has caused the proximity of the referent and signified and finally the easy access of the audience to his choices. The ironies used in the verses of these two poets, although they have caused an implicit meaning in the verses, have been selected in such a way that the reader, in dealing with their combination on the paradigmatic axis, reaches the same choice as the poet Has chosen based on the axis. Carefully in the verses under consideration, we find that Shamlou mentions in a poem an almost single subject: "This unity has increased the subject of the vertical connection of the verses with each other. In other words, the poet has selected a single theme from among the themes in Persian poetry on the paradigmatic axis and has combined it on the syntagmatic axis of poetry.

Based on the analysis of the research, it can be concluded that in each of the studied sections of Shamloo and Qabbani poetry, the two "paradigmatic axis" and "syntagmatic axis"  have acted together. The tendency towards the performance of the selection process on the "paradigmatic axis"in Shamloo poems has caused the distance between the signified and the referent, as well as the increase of the implicit meanings in the text and the difficulty of the meaning of the text. While the tendency to the performance of the combination process on the "syntagmatic axis"in Qabbani poems has caused the approach to the signified and the referent and easy understanding of the meanings of the verses.Performance of Speech figures such as Synonyms, paralelism, simile,  sensory direction of similes and metonymy on the "syntagmatic axis"in Qabbani poems in proportion to contemporary Arabic poetic features such as simplicity of poems and easy understanding of meanings, use of everyday topics, etc. In Shamloo poems, in accordance with the characteristics of contemporary Persian poetry such as its generality, dealing with worldly issues, the use of words and combinations of modern Persian language, the freedom to use all words, the existence of natural literary speech figures, music and natural tone And the language is familiar to people, which indicates the performance of the process of composition in the poems of these two poets. Therefore, the function of the metaphoric poles and metonymic poles in the poems of these two poets has made the verses easier and their direct understanding by the audience.In Shamloo poems including the performance of speech figures such as irony, metaphor and simile with a tendency towards rational parties on the paradigmatic axis in proportion to the characteristics of referring to private issues of life, intense attention to social and political issues, ambiguity, similes and new metaphors, emphasis The use and importance of the symbol, and the creation of new relationships between the sensible and the rational, and in Qabbani's poems the performance of these speech figures in proportion to the characteristics of contemporary Arabic poetry such as the  variety of rhetorical methods, exaggeration in the use of imagination and style, To take refuge in the symbol in the structure of the ode is to hide the meaning, complexity and ambiguity. These proportions in the poems of these two poets express the performance of the selection process. The function of the metaphorical pole and the selection process in the poems of these two poets has caused secondary meanings in the text and difficult understanding of the verses by the audience. Finally, based on the statistics and frequency of speech figures based on selection and combination processes, we found that the frequency of application of the combination process in Qabbani poems is higher than the selection process, in Shamloo poems, the frequency of the selection process is higher. Therefore, the tendency to use the combination process in the syntagmatic axis in Qabbani poems has made his poetry easier and the tendency to use the selection process in the paradigmatic axis in Shamloo poems has caused the complexity of his poetry.

Tazkerat al-Awliya Attar Neyshabouri is one of the most important texts in the Persian language, which is extremely important both in terms of including the quotations and anecdotes of 97 famous mystics of Islam and Iran and in terms of Persian prose. This great work has been edited several times so far, the most famous of which, is the edition of the late English Orientalist R.A. Nicholson in 1905. Recently, a publication of Tazkerat al-Awliya has been published, which should be considered the most scholarly edition of this book. This edition of Tazkerat al-Awliya, which was compiled by Mohammad Reza Shafiee Kadkani and spent a lot of time, has been prepared using 38 manuscripts and the use of many sources, including Persian, Arabic sources. The editor in introduction has written of more than one hundred and seventy pages, deals with the method of editing the text of the book and its structure and content and in the second volume, he has tried to mention the copies of the exchanges as well as the detailed comments on the quotations and anecdotes contained in the Tazkerat al-Awliya.Tazkerat al-Awliya.
Attar Neyshabouri has used Arabic sources in editing Tazkerat al-Awliya rather than using Persian sources. With his poetic and beautiful prose, he has poured Arabic quotations and phrases in the form of Persian language and has created an exhibition of the most beautiful examples of Persian prose in this book. However, he also makes mistakes in quoting or translating from Arabic.
 The author, who while studying and carefully editing the new Tazkerat al-Awliya, noticed some forms of mistakes and ambiguity in a number of quotations, searched the Arabic sources of the quotations and, after finding the Arabic origin of them, compared them with the text of Tazkerat al-Awliya. And noticed corrections in the Persian text and their correct form in Arabic sources, and finally presented its findings in the form of this article.

In the present study, we have dealt with 14 cases of the quotations of Tazkerat al-Awliya and according to the origin of those words in the Arabic sources used by Attar, we have shown that in 13 cases, the text of Tazkerat is different from the Arabic principle of the saying. These differences in the recordings were either due to Attar's misreading or misunderstanding of the Arabic sources he used, or to the difficulty in the source he quoted. In one case, we have discussed the meaning of a word - in a word by Abu Hafs Haddad Neyshabouri - and we have explained the word in question in a meaning other than that edited by the editor of the book. In addition to showing the alteration of the text of the Tazkerat with their Arabic origin, the source that was probably used by Attar is also discussed in most of the quotations discussed. What is presented in this article can be considered as commentaries on these fourteen quotations that guide the reader of Tazkerat al-Awliya to their correct text as well as the correct understanding of the words of the mystics from whom these sayings have been quoted.

In the following, we will describe the 14 cases mentioned in the text of the article in the order of the book. Arguments, references and sources are given in the confrontation text.
1-3. Quotation 17/31
The word فرستادن is ambiguous in this quotation, but according to its Arabic origin, it is clear in Sufi sources that the translation or quotation of this word has been corrected. What Attar called فرستادن is actually فراستدن.
2-3. Quotation 28/159
In this quote, the word is شاید vague and meaningless in the context of speech. But according to the Arabic origin, it is clear that شاید the corrected form of the word is آساید.
Carefully in the sources before Attar who have quoted this word, it can be accepted that Attar took this word from the translation of the Risalat al-Qushairiyya, which was one of his most important sources in Tazkerat al-Awliya.
3-3. Quotation 30/52
Although the word خلق has meaning in this quotation, in the Arabic origin of this quotation, it has come instead of خلق the word حق.
4-3. quotation 35/31
In this quotation, too, although the word موت means death, the consensus of the Arabic sources who have quoted this quotation leads us to accept the authenticity of جوع. According to the narrations of this word in four Arabic sources, Attar's translation is closer to the Arabic text of the Risalat al-Qushairiyya.
 5-3.Quotation 38/4
This statement of Abu Hafs Haddad Neyshabouri is also an anecdote related to the period when he was a blacksmith. The editor of Tazkerat al-Awliya has explained the meaning of the word action in this commentary in the book: "He wants to say: 'As long as I saw my action, it was useless. When sincerity came to me and I no longer valued my action and did not see it, then the goal was achieved."
But the meaning of عمل here is not طاعات و عبادات but کار و حرفه و کسب, and it is about Abu Hafs blacksmith's job, nor spiritual obedience and worship.
6-3.Quotation. 43/103
The word نسبت has no specific meaning in this quotation. Carefully in the Arabic sources, it is clear that the corrected نسبت is نشست.
7-3.Quotation. 43/133
In this word, in all three Arabic sources that have quoted it, the final word of the phrase is جود. It is clear that the misreading of جود  to  خودis tied to a point, and it is very natural that the scribes of the early manuscripts of Tazkerat al-Awliya خود  was read / written جود.
8-3.Quotation. 43/200
This word is mentioned in the form of مصادفه in both Arabic books that have quoted it, and since there is a discussion, مصادفه in a sudden sense is in complete harmony with the subject of the speech. .
9-3.Quotation 43/240
The second part of this statement is confused and ambiguous in the text of the book.The correct form of the sentence should be as follows: الفقر بحر البلاء وبلاوه کله عز.
10-3.Quotation 50/59
According to the Arabic origin of this quotation, هیچ چیز is the converted form of هیچ خیر.
11-3.Quotation 55/27
In this quotation, as we saw in paragraphs 2-6, the word نشست is relatively misreaded to نسبت.
12-3.Quotation 62/14
This statement, as stated in the book, has a semantic contradiction because in it, ادب is opposed to مداومت بر ادب. According to its Arabic origin, it is clear that the second ادب has replaced خدمت.
13-3.Quotation 75/110
In this quotation, the verb صورت نبندد , which the correct form of it is  صورت ببندد.
14-3.Quotation 75/160
In both cases, instead of the word نقد in the book, the word وقت is used in Arabic sources, and this is true.

Carefully in the Arabic sources of Tazkerat al-Awliya, the contents of this book can be better edited and understood. In this article, we have dealt with the fourteen quotations mentioned in the Tazkareh, and according to their Arabic sources, we have noticed Attar's misreading of his sources. The conclusion obtained from the correlation of Tazkerat al-Awliya with its Arabic sources indicates that in the text of Tazkerat al-Awliya, there have been alterations to its Arabic sources. In the text of the article, by mentioning the documents, the misreaded cases are mentioned and the correct form of the word is given.

Impressionism, which is a subcategory of Modernism, is not just a school in painting but also a modern approach to the art and to the life, which associates the points of views of the phenomenology philosophers of the late 19th century. The Impressionist artists often reveal their experience as a personal one on a phenomenological- philosophical basis. This personal experience rises not only from the artist’s personality, but also from the traditions and beliefs. Therefore, investigating the artistic works in Impressionist school from different countries could reveal the similarities in and the differences of the emotions and understanding of the countrymen.in his country.From the very beginning of emerging, the school of Impressionism has taken the attention of many artists. Sohrab Sepehri in Persian literature and Paul Verlaine in French literature are counted as modernist poets though they belong to different culture, the deployment of Impressionism elements has made their poems similar.Before applying it in his poems, Sohrab Sepehri had experienced Impressionism in his paintings. Paul Verlain, also, has familiarity with the Impressionism school with the Impressionism school in art circes. The effect of environmental factors such as light, air, color, and poetry has caused the poems of these two poets to move toward the atmosphere of the impressionistic painting. The current article investigates the manifestation of Impressionism in the poems of Sohrab Sepehri and Paul Verlain through the descriptive- analytical method; and tries to reveal the difference between the points of views of the two poets toward the world, the art, and the Impressionism school, as well as toward the characteristics such as defamiliarization, living the moment, playing with colors and light, unfinished pictures, using light colors, relating modernity to the nature, etc. Sepehri has applied Impressionism school as a tool to express the humanistic concepts, whereas, Paul Verlain is bound to the Impressionism just in terms of the structure, The difference is rooted in the amount of the effect of the Impressionistic painting on the poetry. It is also the result of the Eastern nature of the Impressionism school.The abstract and ambiguous expression of Impressionism is, in fact, reminiscent of Eastern mysterious artworks.

The methodology of the current research is analytical-descriptive. From the very outset, Impressionism and its position in art and the world literature are noticed. Then, Sohrab Sepehri and Paul Verlaine′s poems will be analyzed and compared based on the elements of this school of thought.

The school of Impressionism, which is the most important branch of modernism, has a new approach to life. This school was initially dedicated to painting, but gradually encrypted into other branches of art. The beginning of literary Impressionism dates back to the nineteenth century when it has reached its peak in painting.In this article, the poems of Sohrab Sepehri and Paul Verlaine, two new poets of Iran and France, are examined according to the influence of the school of Impressionism. Although these two poets belong to two different lands and different cultures, their familiarity with the school of Impressionism has caused their poetry to have a similar atmosphere.One of the reasons for Sepehri's inclination towards this school is his mystical inclinations. He first experiences this school in his paintings. In Sepehri's poetry, which is a imagery-mystical poem, the components of this school can be vividly seen. However, the French poet and musician, Paul Verlaine, has become acquainted with this school in art meetings. His poetry is more influenced by the modern Western art currents of the Impressionist. That is why most of the structural features of this school can be seen in Paul Verlaine's poetry.In general, structural features such as playing with color and light, concise images and the use of bright and clear colors have a similar place in the poems of both poets. While the content features of this school such as defamiliarization, subjectivity, momentary perception, direct visual perception, movement and flow, and artistic presence are more obvious in Sepehri's poetry.

Sohrab Sepehri and Paul Verlaine, poets-painters familiar with the school of Impressionism, have subconsciously incorporated some features of this school in their poetry. The poems of both poets have a similar position. But, in other features the views of the two poets are different. Sepehri's unfamiliarity leads him to a more beautiful world than the real world, while Verlaine's unfamiliar world is a bitter, painful and sarcastic one. The momentary perception is clearly emphasized in the poetry of both poets with the difference that in Sepehri's poetry, there is a moment of mystical infrastructure. Sepehri depicts the short moments of life with a deep and accurate view and tries to leave his soul in poetic solitude but Verlaine who has lived a difficult life and does not see brilliant days ahead, is only happy for a moment. This perception arises from a moment of absurdity. He knows every movement.On the other hand, Sepehri's naturalism has caused his poetic world to be far from the modern world, while Verlain, accepting the modern world, connects it with the wild. There are two possible reasons for this: the first reason is that Sepehri experienced Impressionism in his paintings before he became a poet, while Verlain was only acquainted with the theory of this school in artistic meetings. The origin of this school is the west, and the original features of this school are very similar to mysticism and eastern art.rld, while Verlain, accepting the modern world, connects it with the wild. There are two possible reasons for this: the first reason is that Sepehri experienced Impressionism in his paintings before he became a poet, while Verlain was only acquainted with the theory of this school in artistic meetings. The origin of this school is the west, and the original features of this school are very similar to mysticism and eastern art.

The valuable Frankenstein or Modern Prometheus novel written by Mary Shelley in the early nineteenth century is a Gothic-style science-fiction. What distinguishes Frankenstein while simultaneously showing the features of science -fiction is its Gothic style and induction of a horror genre over the novel atmosphere. The Gothic novel found its place as a literary form in the world literature from the 18th century. The term Gothic is associated with architecture and refers to a type of European construction that was common in the Middle Ages but was not influenced by Greek and Roman architecture. The atmosphere of horror in the castles and mysterious places full of ghosts establishes the semantic connection between Gothic architecture and its fiction style. The induction of this terror in these novels is the result of the fear present in the mind of a writer who tends toward modernity in the struggle with traditions but still adheres to the latter. In Frankenstein's novel, the creation and appearance of a creature whose actions are Satanic but at the same time accompany the reader's emotions make the core of the novel in the form of an innocent being that had no role in his creation. The novel is written in the form of letters, following the style of Oriental stories and having a story within a story. There are five narratives in the novel: Walton's letter to his sister, the life story of Victor as the creator of the monster, the story of Frankenstein from the beginning of creation and what he commits in the course of the story in revenge, the life story of the hut dwellers, and the story that Safie narrates for the hut dwellers and the readers of the novel. The present study has considered the Oriental themes and concepts in the text of the novel while analyzing their characteristics and formation.

The present study has used a descriptive-analytical method. First, the documents were collected through library surveys and available resources in Persian and English, after which they were reviewed and analyzed. The present study seeks to find answers to these questions: First, what is the primary spark of the presence of Oriental elements in Frankenstein’s novel? Second, how can the presence of these elements be analyzed based on the environmental and inter-textual factors? Given the allusions in the text of Mary Shelley and the Oriental Thoughts, as well as the internal structure of Frankenstein's novel, it seems that the author had the translation of the “One Thousand and One Nights” novel and has been under great influence of its internal stories. Besides, the author’s familiarity and communication with a group of the greatest English poets and writers, including Lord Byron, can be effective in strengthening the assumption regarding her familiarity with the Oriental themes. This study has taken a comparative approach based on the American School, along with the use of some inter-textual principles in describing similarities. According to the principles of this school, there is no obligation to prove such a claim as the author’s direct familiarity with Oriental ideas, but the existing similarities can be formed through inter-textual elements and various factors.

According to studies conducted, the presence of Oriental elements in Frankenstein's novel can be divided into two categories: The first one includes hyper-textual factors that represent the author's familiarity with the East and its influence on her in writing the novel. The second category is associated with direct references to the East and Oriental thoughts across the novel.Mary Shelley and her husband's acquaintance with Lord Byron is an example of hyper-textual references. Lord Byron explicitly mentions his acquaintance with Iran in his poems. Another instance includes the style of the novel’s authorship, using a story within a story or internal stories as the style of The One Thousand and One Nights. This book was translated into English and French at that time and attracted the attention of Western writers. The novel includes five narrations in the form of letters or story-telling of a character. The opening story (Nomber1), which is in the form of a letter from Walton to his sister, describes his acquaintance with Victor Frankenstein in the Northern Waters. The second story (Number2) is narrated by Victor and is the core narrative which has several internal stories. The third story (number3) is about the monster creature telling the story of how time passed from the time it was separated from Victor until then. Then, the next story (number4) is about the old man and his children who live in the hut and are whose life is observed by the monster creature. Finally, the last story (number 5) is bout an Arab girl called Sophia, and is narrated through a letter in the hands of the creature. What the monster creature performs in that part of the story related to the murder of William, Victor's little brother, and then using a trick to accuse the servant is one of the repetitive themes in the stories of One Thousand and One Nights. The monster creature steals the beautiful necklace of the murdered child and puts it in the pocket of Justin, the housekeeper, while he is asleep in the barn. This is a familiar image that often occurs by jinns or demons in The One Thousand and One Nights tales, based on which they unjustly accuse someone to reach their beloved. The views and opinions of the main character of Frankenstein's novel, Victor, about the East are among the contextual implications of the text. Victor's friend, Henry Clerval, also studies Oriental philosophy. From the beginning of the novel, Mary Shelley shows her familiarity with the East through the characters' conversations, showing the protagonist as a character fascinated by Oriental ideas. In another part of the story, narrated by Frankenstein’s monster, the life of the inhabitants of the hut is represented while Safie, the girl from the East, lives with them. The inhabitants of the hut choose a book named The Decline of Empires by Wiley to teach the girl their language because they regard its style as an imitation of Oriental authors.

The study of the author's life and works and the explicit references in the text of the book show the influence of the East and the Oriental fiction style on her as the most important factor. The impact of Oriental fiction on Frankenstein's novel can be observed and explored in the inter-textual and hyper-textual dimensions. Inter-textual factors are those references made by Victor, Henry Clerval, Safie, and other characters. Oriental philosophy, Arabic, and Persian languages, and the mysterious Oriental works are mentioned in several places in the book by Victor, the main protagonist. Also, Henry Clerval, a close friend of Victor Frankenstein, studies Oriental philosophy and Oriental languages. He accompanies the protagonist and is the symbol of philosophical wisdom and Victor’s guide, who eventually becomes the victim of the monster creature. The three victims of this story represent three currents of thought that are destroyed by the monster creature. William, Victor's younger brother, represents the childhood innocence ignored in the modern world. Henry Clerval represents wisdom and philosophy that are suppressed in opposition to science, and Elizabeth is the symbol of love and affection that becomes faint and doomed to be ignored in the modern world. This uncontrollable creature does not respect the holiness of any of these blessings and tries to diminish them, reminding the consequences of his misdeeds. Consequences of entering the realm of the gods and transgressing the servitude await the elite perpetrator, and he should confront the inevitable and miserable fate of his rebellion. Hyper-textual factors such as the technique taken from the One Thousand and One Nights, in which a story is narrated within a story, are examples of Oriental elements in this novel. Five narrative lines make up the total novel. The presence of fantasy elements and the Gothic style brings the story closer to the fairy tales that are the most obvious example available in the One Thousand and One Nights at that time. Another instance is the presence of some story themes that are very similar to Oriental themes, such as the trick that the monster creature uses to accuse Justin, the housekeeper. Another Oriental element is the presence of an Arab girl named Safie in one of the stories told to Victor by the monster creature, and the letter in which the girl describes her life presented as a witness to the story. This is another support of the evidence on the structure and idea of the One Thousand and One Nights stories, which narrate the male domination of women and the oppression whose victims were women.

Realism is one of the most important and one of the oldest theories in political sciences and international relations. Attraction, objectivism, and on the other hand, closeness to conventional understanding in the analysis of political phenomena is the factor that has promoted and sustained this theory. The theoretical dominance of realism is such that intellectuals of international relations consider realism as the mainstream theory. (Griffiths, 1992:3). Waltz's theory of realism is based on four basic hypotheses: 1) Pessimism about human nature. 2) War is the final solution for settling the problems. 3) The security of the government and its survival is the most important goal. 4) The only way that is put forward for the governments is to increase power. (Jackson & Sorensen, 2015:chp3). Accordingly, realists emphasize the constraints of agents' corruption and the lack of supreme authority of the international system, which requires increased power and security. In Persian historical and literary texts, Ferdowsi can be considered as the closest intellectual to Waltz's realist approach. Shahnameh is an epic work in which the concepts of war, power and security are the most important words used. In addition the independence movements in the third and fourth centuries AH, that coincided with the rise of Feudalism and chaos caused by weak power structure of the Iranian monarchy, influenced the importance of realism in Ferdowsi's political thoughts. The main question of the research is to what extent is Waltz's theory of political realism compatible with Ferdowsi's political thought? With regard to the main question of the research, it is hypothesized that considering the events and political disorders in Ferdowsi’s era, Hakim Toos has expressed his political-theoretical views on the need to increase power and ensure security in Iran, through using the anecdotes and legends of his predecessors, which is compatible with the main political realistic Hypotheses of Waltz.

This article uses the "Content Analysis" method; Because this method is useful for orderly, objective and quantitative description of communication content. Sampling of sources is purposeful and is done with a theoretical framework that is based on key words such as government, power, hierarchical structure, rationality and war in Kent Waltz’s theoretical realism framework.

In the turbulent internal conditions and the cultural and identity collapse of Iran in the Ferdowsi era, he was able to offer an appropriate answer and a favorable plan for the future of Iranian identity by epic and paying attention to the main elements of the political reality. By dealing with epics and wise advices, he gathered the behavior of the heroes and even their defeats and victories into a system of political thought. In addition, the concepts that can be extracted from the myths mentioned in Shahnameh are to build a desirable society in order to unite the Iranian government and prevent the collapse of this historical-cultural-political system. Iranian mythology represents the mental structures left over from ancient Iran and Ferdowsi's attempts to elevate the value of these structures in his time to create a powerful and free-standing Iran in the framework of a political school that the authors consider close to political realism in international relations theories. The authors believe that Shahnameh is a strong theoretical structure that, in the shade of stories and philosophies, expresses Ferdowsi's desirable political system in order to portray a powerful and famous Iran for future generations.

Although Waltz's realism can be identified in many schools, the central concepts in his political thought are key concepts such as human nature, power, war, the structure of the international system, and rationality. Although some approaches place more emphasis on each of these concepts and theoretically explain political events from that perspective, they all owe much to his philosophical view of the nature of human existence and nature. Regarding Ferdowsi's political thought, due to the geographical conditions, the unfavorable situation of national and religious culture, the rule of Feudalism and the growing weakening of Iranian power and identity under the rule of Sultan Mahmoud Ghaznavi, Ferdowsi's greatest concern about the political future was a single entity called Iran. Accordingly, in long fictional systems and mythical and historical metaphors, he expresses his political thought, which is closest in meaning to the philosophical approach of political realism.

  Literary schools and their varied forms are the result of the alliance between society and literary texts. The dynamic, evolving and constantly changing society of the West has provided the grounds for the emergence of various literary schools; A concept that is not very common in the East in general and in our land, Iran. However, the salient feature of the contemporary world: its "ruralization", in other words, the expansion of media and cultural relations, is itself a ground for familiarity and, consequently, the expansion of literary schools in various geographical-cultural realms. Thus, by quoting literary texts, both in our culture and in the West, harmonies and homogeneities can be achieved; The result of what we have said is this: a comparative study of literary schools with the texts of Persian literature is a necessary enterprise in order to increase literary knowledge and through it, to better understand a person in different historical periods and different fields of thought.

This study is based on the descriptive analysis method by using library research and studying the most significant components of romanticism in the poems of Louis Aragon and Ahmad Shamloo. Critics believe that the school of Romanticism had a great influence on nineteenth-century French literature, and on the other hand, contemporary Iranian literature was clearly influenced by French literature in form and content; Accordingly, the authors of the present study intend to conduct a comparative study on the elements of the school of Romanticism in the poems of Ahmed Shamloo and the poems of  Louis Aragon, the prominent poet of the twentieth century France. The main focus of the research is to answer the following question:What are the most prominent components of the school of Romanticism in the poems of Louis Aragon and Ahmad Shamloo? And consequently, how does Aragon and Shamloo exhaust the principles of the Romantic school in two different cultural geographies?

 In the history of schools of thought, Romanticism is one of the most important philosophical, artistic and literary movements, which "rejects the classical laws and rationalism, seeks to reform thought and expression" and "It praises emotion, imagination, dreams, greed and spirituality. (FLAUBERT, 1887–1893: 1/37) This school emerged in the late eighteenth century in England, Germany, France, and northern Europe. Important features of this school include attention to human feelings and emotions, sadness, justice and freedom, excessive influence of environments, events and heroism; Some literary critics believe that the importance of Romanticism is due to its tremendous impact on Western thought and the world, and that all the changes of the nineteenth and twentieth centuries are derived from the principles of this school. (Berlin, 1394: 20) But before that, it should be noted that the emergence of any school requires some areas: the destruction of the old system, the industrial revolution, urban growth, the growth of the middle class, the expansion of literacy and other emerging phenomena in the emergence of the school Romanticism was effective in Europe (see: Khajat, 1391: 7 and Zarghani, 1387: 217). In terms of content and structure, Ahmad Shamloo was influenced by French poets such as Paul Éluard and Louis Aragon, and much of his poetry was based on the main components of the Romantic school. Argon, on the other hand, was deeply influenced by classical Persian literature. The authors intend to study the most prominent components of Romanticism in the poems of Louis Aragon and Ahmad Shamloo by adopting a comparative approach while highlighting meaningful similarities and differences. Some of the components examined in this study are: imagination, personality and individualism, naturalism, utopianism, travel, love and death.The most important component that distinguishes Romanticism from Classicism is the element of "imagination." Using the element of imagination, romantic poets are able to "depict the world in such a way that the infinite is within the finite, and the ideal is within the reality, and at the same time it can reveal all its beauties." (Forrest, 2014: 65) In their surprising view, imagination is a representation of truth and thus, has a close relationship with a particular insight, perception or inspiration. (Bavere, 2017: 61). Another principle of the school of Romanticism is the reflection of the inner emotion and sorrow of the poet / writer; Thus, the poet opens the door of his inconsolable heart to his audience and introduces them to his deepest feelings. Sometimes romantics "limit poetry to excitement and emotions that have no artistic originality, are superficial, simple and underdeveloped, and do not have enough depth and ambiguity to have a profound and adequate effect" (Baghinejad, 2010: 58). In Romantic literature, the concept of love is prominent in the poetry of poets; In their views, love is such an inner love combined with imagination, lust and nympholepsy; Romantics consider their beloved as idol to be worshiped and sanctified;; "In this way women enter the literature of this age who have nothing in common with ordinary women; "There are things like fairies, forest nymphs, sailors, wild queens and princes of the East, mysterious gypsies, strange enough and untamable people." (Priestley, 2012: 1391). Consideration on death is an impartible part of human life and has dominated the human mind and soul in various ways throughout history. From the beginning of life, human beings have resorted to superstitions, religion and philosophy to deal with this ambiguous and frightening phenomenon and have tried to understand and digest this important natural phenomenon by relying on science and art. One of the most famous traits of romanticists is the intense tendency to grief and depression and the remembrance of death (Dethwish). By seeking solitude, they sought to explore the mysterious world of the unconscious and the dark aspects of the mind, and to meditate in the depths of their being; Other components of the Romanticism and its reflection in poetry is naturalism and its connection with imagination. Romantic poets, considering natural phenomena and sanctifying the universe beings, intended to use nature as a source for unseen revelations and the emergence of godsend.

The analysis of poetic examples shows a kind of harmony and homogeneity in the poetry of the two poets; Using the element of imagination, both poets have portrayed mysterious manifestations of romanticism for their audiences; As well, these two have turned to a happy childhood and, by combining emotion and imagination, vitalize the inspiring memories of childhood for their audience; In the works of both poets, the excitement and feeling is more the kind of suffering, anger and severe pain indicating the bad environment around and the unhealthy situation of the country. Aragon witnesses the occupation of the homeland and the killing of innocent French people, and expresses its deep sorrow at seeing the horrific and violent scenes. Shamloo also speaks openly and overtly in expressing the poverty, deprivation, displacement and ignorance of the people of his time, and considers his poems as a course of hope to reflect the suppressed hatred of oppressed human beings and to cry out to human beings; In the expression of love, both poets consider their beloved wife as a beautiful and perfect queen who has been a source of comfort for poets and relieving their sorrow and boredom. After marrying his wife Elsa, Louis Aragon wrote most of his poems to his wife and in her name. As Shamlou, After marrying his wife Aida, has made his love the main theme of many of his love poems and has taken the title of two collections of his poems from his name; Utopia and Dethwish are among the paradoxical categories in the poetry of these two: Aragon and Shamloo both regret the loss of genuine human values ​​and seek utopia to achieve their dreams and aspirations, but in Finally, both consider death a source of comfort. using imagination and discernment, Both poets try to portray their feelings and emotions in the form of drawing natural phenomena for their audiences with detail and care in the phenomena of nature; In the subject of individualism, both poets consider themselves as the heroes of their poems and express their sorrow and feelings with full courage, regardless of any limitations.

There are different opinions about the time in when the idea of Iranian Literary Return movement has emerged. Safaei states that "this great literary movement" raised before the time of Qajar, that is, the time of Karim Khan Zand, and he believes that it aroused in the Isfahan Literary Association. (See: Safaei, Undated: 2) Others, such as Shamisa and Arianpour consider it to be initiated at the end of the Afshari period. Another group, such as Shams Langroudi and Zarrinkoob, mention that the emergence of the idea of return originates in the Safavid period. Some researchers and scholars refer to it by different expressions, such as the School of Return (Langroudi, 1996: 76), Resurrection or Literary Return (Bahar, 2009: 311), Literary Renaissance (Ripka, 2016: 551), the new movement (Rezazadeh Shafaq, 1962: 377), and it is interpreted as the great literary movement (Safaei, Bita: 2). In contrast, the other group oppose to and disagree with the return flow, and introduce it as a mere emulator movement which has no originality and causes literary decadence. "Such poets are indeed caricatures of poets lived in the fifth and sixth centuries AH" (Shafiee Kadkani, 2016: 20). According to some researchers, Isfahan is the origin of poetry in the way of return approach and Mushtaq Isfahani and his followers are considered as those members of the Moshtaq Association who pioneered returning to the classic style of masters.However, it is obvious that the movement of returning to the style of those poets following Khorasani and Iraqi were not only the outcome of Isfahan poets' will, but there were other poets who experienced writing poems in the classic style before the members of the Mushtaq Association initiate it. Some poets followed the Literary Return turned to write ode poems in Khorasani style, for example, Saba, Qaani, Soroush, and Sheibani are among those poets. Poets such as Mujamar Esfahani, Foroughi Bastami,and Neshat Esfahani turned to the lyricism of the Iraqi style. Some of the poets of the return period, especially those of the first phase, were also under the effect of the Indian poets. (See: Khatami, 1995: 306)In some way, one can conceive neoclassicism as the school of return in Europe, considering it looks back to the artistic and literary traditions of ancient Greece and Rome in European literature. This literary school emerged as a result of the Renaissance cultural and social flourishi and the creation of the humanism idea, which are considered as the most important achievements of the Renaissance. The initial signs of the school of neoclassicism were found in Italy in the fourteenth century AD. Three prominent Italian authors, Dante, Petrarca, and Boccaccio, take consideration to the ancient Greek literature; on some grounds, however, this movement failed to continue there. Some reasons for the failure of neoclassicism extension in Italy include issues such as the lack of literary centers and coteries and the lack of theoretical foundation, occupation of this country by Spain (which has more medieval civilization), and rising of the inquisition by governors, weak economic status and subsequent production of literary and artistic works in pursue of material objectives and less attention to the aesthetic principles for producing works. On the other hand, in France, especially from 1643 to 1715 AD, it flourished "due to the well-established tradition of neoclassicism in this country and the absolute political superiority of France in Europe" reached at the highest completion, all resulted in release of brilliant works. Broadly extension of this school in France and the creation of prominent literary and theoretical masterpieces in this country caused the study of French classicism or neoclassicism to being considered as studying European neoclassicism. The school then extended from France to England, Germany, and other European countries. The neoclassicist poets and scholars believed that "the ancient times in Greeks and Romans were prosperous, successful, and very accomplished, additionally they claimed "our time, after thousand years of barbarism, is triumphant, civilized and accomplished, thereby we are the most truly descendants and the rightful heirs of the classical era."(Priestley, 1977: 64) Thus, they sought to extract the rules and principles included in those kinds of literature via examining the outstanding classical works of Greece and Rome and tried to introduce it as a guidance for neoclassical authors and poets. Boileau is one of the first theorists who provided the theoretical foundations of this school through publishing "The Art of Poetry". The school of neoclassicism has its own rules and principles that the principle of following intellect might be considered as the most important components. While there are different opinions about those neoclassical works following intellect. Shamisa interprets the rationalism of this school as good sense or common sense that its rules are commonly accepted. (See: Shamisa, 2011: 47) Milene is one of those authors who generally considers the neoclassicism era as a period in which rationalism predominates over emotions, he believes that neoclassical scholars such as the Greeks have the opinion that emotions disturb the balance of the social system and human relations, by contrast, intellect stabilizes them. (See: Millen, 2017: 246 -247). Accordingly, some criticized this principle and conceived it in opposition to the spirit of literature and literary works, which provide the necessary atmosphere for flourishing mental feelings. In contrast, Wellek rejects critics and states that "so far any reliable critics have believed that artistic expressions are limited to a process of self-conscious reason. Some elements such as the genius, inspiration, and passion of the poets are inseparable parts of the art of poetry in the Renaissance Period. These critics believed in the rational theory of poetry, but they didn’t assume poetry as being completely a rational subject. They, however, didn't consider poetry as an unconscious process. Indeed, in their view, imagination needs reason as a guiding and a deterrent factor." (Wellek, 1994: 50-51). Another group of researchers have rejected the claim of mere rationalism of this period and believe that although the 17th century is the age of attention and even faith in the intellect, it is also a period that compromises with the mood of analysis, and notice to the emotions and passion (see: Seyed Hosseini, 2015: 105 - 106, Nazari, 2011: 21 -23). Another feature of neoclassical works is holism. The aim of these literatures is to discover and represent a typical human being, not an extensional human being; thereby, spheres from ethics to education and politics, all goes along with holism. Other components of neoclassical works are the imitation of nature or according to Shamisa, description of characteristics of human beings, the principle of being moral and instructive, perspicuity and brevity, representation of the truth, the rule of three unities, that is "unity of time, unity of place, and unity of subject". Writers including Racine, Moliere, Ben Jonson, Dryden, Pope, Lessing, and Alfieri are prominent neoclassical authors. especially a symbolic expression of the myth of creation.

The Literary Return movement in Iran is analogous to the school of neoclassicism in Europe with respect to their nature in referring to the great works of the flashy literary periods. However, the first did not achieve success as great as the school of neoclassicism, which was so successful in the evolving process of European literature by using the works of classic masters. This study aims to study and examine the contexts and conditions which caused the formation of two aforementioned literary movements through a comparative approach. In this way, we contrast them to identify the reasons leading to their success or failure in the direction of literary evolution and renaissance.

According to the poets of the return movement, the degeneracy of Persian poetry happened in the time of Safavi, in their view, it was true especially about the second and third generation of Indian style poets, who had decreased the Persian poetry to raillery, imagery enigmas, and production of precious contents. They sought to free Persian poetry from this platitude and finally found the solution to return to the classic style. However, returning to classic style, and modeling classic Persian poetry developed in a way that neither created persistent and outstanding literary, nor developed new schools and literary movements. Eventually, it remained a mere imitation of old filatures. It seems that the poets of the return movement were only able to understand the crisis, but they failed to provide a true and effective solution. As a result, the crisis of mere imitation of the classic works, without any consideration to the efficiency of this modeling for the literature of that time aggravated the crisis of degeneracy and platitude of the poetry in the Safavi period. The main goal of the poets of this period was to bring back the original identity of Persian poetry that existed prior to the Indian style and to prevent the increasing trend of poetry language towards platitude; the return movement, however, didn't limit only to the language, but it made a return to the 4th and 5th centuries AH in terms of time and thoughts. In order to make their poetry more similar to the poems of the Qaznavi and Saljuqi periods, these poets tried to get distance from the prevalent language of the day, as well as the issues of that time, so they included the thoughts of imitated periods in their poems.  The mere imitation of the poems and poetic contents of classic poets is sometimes so monotonous that even the poets of the return movement themselves acknowledge it. On the contrary, the writers of the neoclassical school of Europe have taken the approach of returning to the impressive works of classic poets.However, taking consideration to the principle of return in this school is accompanied with an effort to identify and establish the theoretical foundation and innovation, even it leads to new literary movements. Fundamentally, this school writers' goal is not referring to past works, but they consider it as a strategy. In fact, they sought to see the present situation in the past and evolve it. The neoclassical authors do not limit and confine themselves to prevalent thoughts of the classical period, rather they try to make their works correspond to the ideas of their own time. Accordingly, many works of neoclassicism, Greek epics and myths have been revived in a way that reflect the issues and events of 17th and 18th century in Europe. "One might be fond of the past without cutting their feelings with present. A strong awareness of the past could strengthen the present." (Dilthey, 2015: 58)

Examining the produced works in Iranian Literary Return period reveals that the idea of Iranian poets of the Literary Return movement that the traditional style is able to free Persian poetry from the degeneracy of Safavi poetry did not succeed. The efforts of these poets were useful in decreasing some unfavorable elements of the Indian style, but it did not result in a favored evolving trend in Persian literature. Thereby, they created poems without originality and disproportionate to the requirements of their new period. Such failure originates from the lack of strong epistemological support and the decline of thinking that had bothered Iranian society since previous times due to the political and social turbulence. On the other hand, neoclassicist authors, due to their appropriate cultural condition, the systematic structure of thinking, and the integration and cohesion of all cultural and social entities, took steps towards evolution and eventually achieved independence in their style. Their works did not remain only as mere imitations, but by establishing a strong theoretical foundation, they created outstanding examples of poems in line with the relevant aspirations and plans of the Renaissance, which were in accordance with the principle of humanism and the spirit of their time. In fact, neoclassicism emerged in Europe in the sixteenth century. Contrary to the Iranian return movement, it resulted in a new and dynamic literary movement and even played a role as an intermediary loop for subsequent schools including romanticism.

With the immergence and overwhelming outspread of the consumption of the modern video culture, directors and producers have had the opportunity to employ literary masterpieces for their subject matter and hence, reel in huge profit.

The present study aims to thoroughly analyze three filmic adaptations of Arthur Miller’s Death of a Salesman (1949). In so doing, it is crucial to study the play in the first place. In the next step, the researcher aims to bring to light the dominant discourses and culture of each film’s period of production. The analysis of each adaptation encompasses the ideologies and the mindset of each director and adapter. These different directors and adapters are then compared to each other so as to further bring to light their discourses, not to mention the process of transposition each adaptation has experienced.

What makes this study quite innovative is its comparative aspect. The general framework of this study is Comparative Literature as adaptation studies are considered a major branch of comparative methodology. Contextualization is another critical methodology, which brings to the fore the study of major discourses of the time and place of adaptations. The “wh” questions asked by Linda Hutcheon for the delineation of the creative or faithful process an adaptor has gone through in making an adaptation is the first and foremost important theory applied in this study.The next theory applied is that of George Bluestone who analyzes three areas between literature and film. These areas encompass such aspects as linguistic and image, consciousness and inner thoughts and representation of women. Kamilla Elliot, the next theorist employed, introduces six concepts for adaptation through which different types of adaptation process are delineated.

The study comes to find that Benedek and Segal’s adaptations which were produced at a time when America was doing away with Communism as a whole, fail to portray the failure of the American Dream, the theme of the play. Henceforth, the Lomans’ life failure is shown to be the result of the mental demise of the protagonist. German expressionist Schlondörff’s expressionist adaptation being produced at a time when the masses were coming to a consensus that the American Dream is unlikely to come true, fully ad freely depicts the destructive result of the American Dream.

This research employs a comparative study design to analyze the political, sociological, and psychological impacts that Iraq-Iran and Iraq-America war had in shaping the literary and narrative approaches that Iranian and American female war memoirists use. Employing Bertrand Westphal’s approach of geocriticism, this paper examines two female war memoirs that are specifically concentrated on two cities of Khoramshahr in Iran and Fallujah in Iraq: One Woman’s War: Da (2008), narrated by Zahra Hoseyni, and Rule Number Two: Lessons I Learned in a Combat Hospital (2012), written and narrated by Heidi Squier Kraft. This paper aims to demonstrate that the existing and mostly male-centred narratives of Iraq-Iran and US-Iraq wars, due to their aspatial lenses, are unable to represent the reality of war. In other words, existing war narratives are mostly one-dimensional and, therefore, distort the reality of war. The geocritical approach demonstrates that how the spatiality of two mentioned war memoirs is appropriate to go beyond the dominant male-centric narratives.

Geocriticism is a way of perceiving hyperspaces and real spaces, which can be regarded as a new approach in the perception of place in a new sense and altering the conventional ways of recognition. Geocriticism is a method of literary analysis that incorporates the study of geographical spaces which considers all writing as a map. Bertrand Westphal argues that space is more important than time and geography more important than history. Emphasizing the necessity of utilizing three elements of geocriticism namely multifocalization, polysensoriality, and stratigraphic vision, allows the authors to grasp the space of war in its spatio-temporal totality. This method in fact provides us with a more precise representation of war space.

Focusing on two female war narratives, Da and Rule Number Two, a narrative of thirty-four days of Battle of Khoramshahr, and a narrative of US-Iraq war in the city of Fallujah, respectively, it is argued that employing a spatial point of view, one can cast a new light on the understanding of space of war in general, and urban space in particular.Da tells the story of a 17-year-old woman who is ready to die defending her town and the ideals surrounding the Islamic Revolution. The memoir captures the struggles of Iranian women trying to create a balance between the demands of the war on the one hand and their demands as Muslim women especially of how Zahra Hoseyni has called through her memoir, where it serves as an alternative to traditionally male-narrated war literature. The narrator also explains her activities as a combatant in the defense of Khorramshahr, while in the last section, the author devotes to Zahra Hoseyni’s recovery from the shrapnel wounds that she had to bear following the war. The narrator is shown to have spent her married life in two homes where the first one was in the suburban area of southwestern Iran within the commuting distance of the front and the second in the urban apartment house in central parts of Tehran. Hoseyni’s book is a product of time and space, where she carries out interviews with Seyyedeh A’Zam Hoseyni, a woman having the same family name but having no relation to the narrator. The memoir becomes part of the larger project to record the oral histories of Iranian women who actively participated in the Iraq-Iran war. The author presents the map of Khorramshahr both in the form of an image and with the use of literary devices to describe the city as it was during the initial stages of the war based on one found in what Hoseyni calls in her work, Khorramshahr “dar Jang-e Tulani” or Khorramshahr in the Long War. The war, according to the author, rendered the living of a life of comfort meaningless.The war memoir Rule Number Two gives an account of Kraft’s work as a clinical psychologist who uncovers the wounds of war that a surgeon would never see. The doctor puts away the thoughts of her children back at home acclimated to the sound of incoming rockets and learned the ways of listening to the traumatic stories that are offered by a war zone. The narrator shows her audience some of the toughest lessons of her deployment to Iraq, which is articulated by the TV show MASH, where the battlefield is controlled by two rules: Rule number one is that young men die in the battle. Rule number two is that doctors cannot change rule number one. Kraft realizes that some marines and some of their doctors would be damaged by war in ways that she as a doctor would not repair in as much as some people would be repaired in ways she would less expect. The memoir is a powerful firsthand account that gives comfort to those distressed by the war and what it takes to occupy space marked by war. The memoir describes places, people, and events based on the recollection of them to the best memory of the Kraft’s memory’s ability, where she gives the story of all men and women of the Navy and the Marine Corps in Al Anbar, the largest governorate in Iraq. The memoir is a story of the strong men and women who were doing the nation’s bidding so that others would pursue their lives undisturbed. Kraft begins with the story of her life, where after several years as a flight psychologist with the US Navy, she gave birth to twins in 2002.The theory of geocriticism retraces the history and the lines of space, place, mapping, literature, and literary mapping image in literary texts. The researcher examines how landscape and its real and fictional spaces function as a setting for the action in the contemporary life of female memoirists. The landscape, comprising of the real and fictional spaces, becomes the impetus for the texts and its historical backgrounds afforded through the narrative techniques. Three elements of the geocritical approach are employed to provide a comparative analysis of the two mentioned war memoirs: Multifocalization, in which many different points of view are needed to establish the literary space; Polysensoriality, which refers to space inasmuch as it may not be perceived by vision alone, but also by smell, sound, and so on; and Stratigraphic Vision, in which the topos is understood to comprise multiple layers of meaning, deterritorialized and reterritorialized. Through these three steps of inventing new space, women war memoirists try to invent some never seen and unheard partly fictional and partly factual war narratives. The current research is based on the discussion of the narrative techniques of contemporary female war memoirists. The female authors identified as ignored/nonmentioned part of war history who have been forgotten among the gendered masculine face of both literature and history productions. As in the contemporary war studies, gender studies assume the principle concern of war narratives, where the female war memoirists with their unique perceptions of geopolitical and historical backgrounds are producing new literary productions with different narrative techniques. The aim of the present research is to carry out a comprehensive and close analysis of the representation of space and place (and the range of cognition of women memoirists) in the contemporary female war narratives.

Geocriticism indicates that female war memoirs are not merely the exclusive freehold of official ideological narratives and reflects the real space of war as what it is in itself. Geocritical reading of female war narratives in this manner reveals the reality of war from an entirely new standpoint. It should be noted that three elements of the geocritical approach namely ‘multifocalization’, ‘polysensoriality’, and ‘stratigraphic vision’ are very useful theoretical instruments that enhance our geographical knowledge. They help us to narrate the spaces of war-damaged cities in their multidimensionality. Geocriticism demonstrates that each space is imbued with different sensorial features that are irreducible to each other. Space is a totality of these layers. Spatializing the war narratives (memoirs) is a way to achieve a more precise knowledge of the war.

Resistance and persistence poetry aims to express social problems and apply humanization in the literature. It aims to clarify undesirable conditions in terms of social and political problems and anomalies. Khalil Matran and Shafiei Kadkani are two well-known contemporary Arab and Persian poets, whose poetry is imbued with considerable and valuable concepts of resistance and protest. This study makes an attempt to compare resistance and persistence ideas in the poetry of these two poets, to determine their similarities and differences, and to determine how the same conditions in the two geographical areas have contributed to the thought unity of the two poets. The results of the analysis revealed that, given the same political thoughts, Khalil Matran showed creativity in connecting the historical narratives with the contemporary conditions, while Shafiei Kadkani succeeded in creating and using symbolism in the resistance and persistence literature.

A comparative-descriptive method was used in this study to compare the lines of thought of the two poets. The data was collected from the book of poems of Khalil Matran and the book ‘A Mirror for Voices’ by Shafiei Kadkani. The random sampling method was used for this purpose. The comparative method was used to better understand the poetry of the two poets. This study aimed to determine the similarities, differences, methods of expression, and attitudes of the two poets in the two different time periods and with different languages but with the same idea of the fight tyranny.

The lack of freedom of expressing human concerns led Khalil Matran and Shafiei Kadkani to use the language of poetry to portrait the tyranny dominant in the Iranian and Egyptian societies. The chaotic social, political, and cultural circumstances of the Iranian society and the Arab societies and familiarity with the Western literature are among the most important common themes in the protest literature among Persian and Arab poets. Khalil Matran was a follower of Romanticism but he developed a tendency toward protest narrative poetry, given social and human concerns and expression of the idea of freedom. He was a freedom-fighter who lived under the dictatorship of Abdol-Hamid in Lebanon, during which time there were clashes among different religious sects. He was fully aware of the important events of the late 19th century and the first half of the 20th century in the Arab countries (Hussein Mansour, 1977, p. 27). He was one of the first contemporary poets who introduced fictional and epic literature majestically into the Arabic literature and poetry.He succeeded in connecting material and spiritual matters in many of his stories and in adapting his method based on the requirements of a given story. He was a freedom-fighter who fought tyranny, submission, neglect, and backwardness.Shafiei Kadkani was a great Iranian poet who lived after the Constitutional Revolution. His poetry was mainly concerned with social matters. The suppressive political atmosphere at the time led Shafiei Kadkani to use symbolism in his poems to portrait social issues. His main mission was to spread awareness in the society. He obliged himself to represent social events, injustices, and voices of freedom-fighters and their murdering in his poetry. His main motifs include freedom-fighting, fighting for liberation of country, enlightenment, mourning the death of victims, and social criticism. His prolific mind reflected human thoughts differently by focusing on social problems, and such a reflection was his social criticism.Living under a dictatorship and human concerns have caused poets to express freedom-fighting thoughts. Khalil Matran fought tyranny, submission, neglect, and backwardness and played a major role in his people’s political awareness. Shafiei Kadkani was also aware of injustices and tyranny and suppression in his time period and zealously represented people’s suffering. The similarities in motifs between the two poets include encouraging to fighting, resistance and persistence, calling for awareness, commemorating fighters, condemning ignorance and unawareness, exalting freedom, and hoping for victory over tyranny.Khalil Matran speaks indirectly in his historical and political elegies and also makes use of historical and national elements of other countries. He lived in Egypt, hidden from the Ottomans, and their rulers and spies. He represented suffering of freedom-fighters caused by the dictatorship of Sultan Abdol-Hamid by using the historical tools and with reference to Khosro Anushiravan. Therefore, he wrote an elegy called ‘Murder of Bozorgmehr’ to state that how this Persian king ruled with absolute authority and how such ruling method directed him toward oppression and injustice (Zeif, 1707, p. 130). Shafiei Kadkani emphasized the necessity of resistance and persistence by using positive and negative symbols and by portraying the oppressed and oppressors such as the Tatar people, Genghis Khan, Siyavash, and Bijan.Khalil Matran was a freedom-seeking poet. He despised tyranny, oppression, and imperialism. He was fully aware of history. He portrayed the defeat of the Germans in the best way in The elegy ‘Iyana Battle.’ By portraying the doom of the Germans, he alluded to the situation of his own country fellows being oppressed by the Ottomans (Zeif, 1707, p. 129). Silence over oppression is also portrayed in different ways in Shafiei Kadkani’s poetry. He criticized the chaotic conditions of his society, in that why the people were indifferent to each other and felt no empathy for each other because of the tyranny over the society.Khalil Matran believed that people’s synergy and empathy, which results from their awakening to tyranny, leads the desirable end. To prove this claim, he referred to the year 1870. In that year, the Germans stood up for their dignity. After calling for the awakening of the society and shifting away from silence, Shafiei Kadkani referred to fighters who did not succumbed to tyranny, had enlightened thoughts, fought for their ideals, and had no fear of the coming events.Khalil Matran attributed the people’s contempt to ignorance, which was widely painful. He called for awakening, justice, and national and ethnic awareness and condemned oppression and oppressors. By narrating the history of Anushirvan, he called for awakening. Shafiei Kadkani criticized indifferent and neglectful people, who take no responsibility and seek a wrong peace in their ignorance and neglect. He described a silence and suppression, in which people choose to become neglectful instead of awakening and rising.Abdol-Hamid’s authoritarian regime fell in 1908. Then, Khalil Matran let out deep cries by writing the elegy ‘Freedom Greetings.’ Shafiei Kadkani’s social thought was mainly constituted by his efforts in fighting for the ideal of freedom. In his poetry, freedom is represented by such symbols as rain, spring, garden, and lightning. In the ideal attitude of Shafiei Kadkani, no force can prohibit freedom, which can be established freely everywhere. Khalil Matran did not call for rising against oppressors explicitly in none of his poems. He only tended to convey his messages implicitly and covertly. Despite tyranny and oppression, Shafiei Kadkani did not lose hope for freedom and victory. And despite suppression, he still wrote poems of freedom and did not lose hope for victory over oppressors.

 In the comparative analysis of the two poets under study, it was found that they were influenced by the same cultural, social, and political conditions and performed their poetic duty. Khalil Matran’s contribution was to write elegies imbued with cries of anger and protest. By using allusions, he showed a prospect of repetition of the people’s ignorance and neglect. Therefore, he called for awakening, justice, and national awareness. The main feature of Shafiei Kadkani’s poetry is the use of symbolism. His poetry is free from sloganeering and political content, and the artistic use of natural elements makes its poetry more artistic and interpretable. The results of the comparative analysis of the protest poetries of Khalil Matran and Shafiei Kadkani revealed that these two poets played a similar role in awakening the people and fighting tyranny under the influence of the European literature, and that the suppressive atmospheres of the two societies and the lack of freedom of expression, the sense of responsibility, and social and human commitment caused them to use symbolism and narrative poetry.Both poets used an implicit language and similar themes and contents to criticize tyranny and performed their artistic missions in an appropriate manner for their audiences. Khalil Matran used the historical narratives of other countries and allusions to express his protest to tyranny. And Shafiei Kadkani succeeded in writing narrative protest poetry by using literary devices such as analogies, symbolism, and metaphors under the influence of natural elements. In sum, they were committed poets who did not remain silent over the socio-political events of their time periods and performed their social missions by their arts.

 In the field of contemporary Arabic and Persian literature, Afaf al-Batayneh and Moniro Ravanipour are two well-known figures who have sought to identify women by creating various works of fiction. They grew up in societies where there has always been an unfavorable view of women. Hence, they are deeply acquainted with the concerns and desires of women. Based on this, the main issue of the present study is to study and analyze the views of these two authors in relation to the role and position of women in Arab and Iranian societies. For this purpose, the novel Out of the Body by Al-Batayneh and the novel Gypsy by the Fire by Ravanipour are considered as examples. In this research, the author seeks to answer the following questions: a) What are the commonalities and differences between the feminist views of Al-Batayneh and Ravanipour in the mentioned novels? B) What are the characteristics of literary commitment and selfishness in the mentioned novels? C) What are the most important women's issues raised in these novels? D) What role has the patriarchal society described in these novels and related discourse played in the isolation and oppression of women?

In the present study, a descriptive-analytical method and a comparative approach (American school) have been used to analyze the two novels Extraterrestrial from Al-Bataineh and Gypsy by Fire from Ravanipour. Also, the method of analysis is inductive (part to whole). The author's premise for choosing these novels has been the relative similarities of the cultural and social context of Arab societies with Iranian society and the closeness of the position of women in these societies. Components of the feminist movement have been used to reread and explore the views of the two authors

3-1. Complete subjugation of women against men In the novel, the author first depicts the prevailing atmosphere in Arab societies and the precarious position of Semen, and then refers to the living conditions of Sarah (formerly Semen) in Scotland in order to compare the worthlessness of women in the Eastern social structure. To emphasize. In other words, by creating a character with two identities, the author introduces the anti-feminist concept of feminine passivity as opposed to the feminist concept of women's freedom and authority in order to present a counter-ideal of the Arab city and the Western utopia. In the first part of the novel, Mani never has the authority and opportunity to make decisions and is treated like a helpless human being. While he was a teenager and attached to Sadegh, he faced his father's opposition and was forced to separate from his beloved. Avoidance of Sadegh and forced marriage with the forbidden is the main manifestation of the subjugation and passivity of semen (at the primary level) and the women of the Arab society (at the macro level). This level of obedience has made the semen of a girl helpless and weak.In the gypsy novel by the fire, the mirror and other women, as the character of Man, are initially shaky and devoid of intellectual and personality independence. The mirror always obeys the wishes of the father and accepts that he is a tool to earn money. The mirror has grown up in a culture where deviating from masculine norms has unpleasant consequences. He faces punishment and rejection on the few occasions he deviates from the norm. When the story of Ayneh sleeping with a man named Mans is finalized for the men of the caravan, they torture and harass the girl to escape this stigma. This behavior is a public example of violence against women and clearly reveals the patriarchal cultural context of Iranian society. The men of the family flog him for five days in a row, and if Bakht is his friend and he survives, he will be rejected by the cultural group.3-2. Traditional marriage in Eastern societiesIn the novel Out of the Body, the sign of this behavior has been seen many times. Mani, as the main character of the novel, expresses interest in Sadegh, but the male-dominated, non-pluralistic atmosphere does not accept it and strongly opposes this legitimate demand. Abam Mansour's dogmatic view and fanatical reaction to the girl's independence-seeking behavior indicate the unpreparedness of the cultural structure of Arab society to delegate female roles to themselves. In the eyes of Arab men, the daughter is an alternative to the mother and they should behave like her. That is, he must always be submissive and obedient.On this basis, Semen is imprisoned and oppressed for a while and then, he is forced to marry a deprived person. Although the girl has no interest in the forbidden, but she is not able to object on an objective and external level and expresses her glories along with tears and lamentations internally and in the form of the hadith of the soul.In The Gypsy by the Fire, a seventeen-year-old woman who has lost her husband to a snakebite and is widowed is not allowed to marry a boy her own age. Interestingly, this view is not limited to men, and the hegemony of patriarchal power has affected women's perceptions to such an extent that they, too, take such beliefs as principles and follow them. This passive behavior indicates the lack of intellectual development of women who have been dominated by men for centuries. The negative reaction of the mother to the son's request to marry a widow shows that women have not reached the level of intellectual maturity to be able to free themselves from the domination of men. By blindly following the line of thought institutionalized by patriarchal hegemony, they sometimes confront each other and behave like men. By raising this issue, Ravanipour indirectly seeks to raise the intellectual level of its audience, especially women. He looks beyond the variable level of gender and, by involving women in the emergence of current unfavorable conditions, invites homosexuals to make cognitive changes in themselves. In other words, from the author's point of view, self-defeating and passive women have an equal share of men in the current unfavorable situation.3-3. Feeling broken by being feminine in Eastern societiesIn the novel Out of the Body, Mani is a traditional girl caught up in the old and erroneous beliefs of society. She blames herself for being a girl. This thinking is born of the patriarchal society's misbehavior with women. Under the influence of this view, women have become so stagnant that they see the problem in their gender. Perhaps because they are unable to change the situation and analyze the causes of these injustices, they summarize the problem of being a woman.In the gypsy novel by the fire, unlike the novel Out of the Body, the gender breakdown of women is indirectly expressed. In other words, the author (narrator), by creating scenes and illustration techniques, leads the audience to believe that Eastern women feel dissatisfied with being created with this gender. The narrator's descriptions of the quality of the family father's dealings with the mirror confirm the humiliation caused by being a woman in society. The instrumental view of women imposed by male hegemony is Ravanipour's main concern in this novel. What is reflected in the depth of these scenes is the expression of the failures that women experience. Although in the initial layers of these depictions there is a kind of humiliation and failure of being feminine, but in the deeper layers, Ravanipour's ultimate goal is to generate motivation to change this system of thought and behavior. In one part of the novel, the mirror father, after noticing the girl's relationship with a stranger, brings her to the field for punishment. Interestingly, the punishment of a family and, to a lesser extent, personal issue is done as a group. A tribal system based on patriarchal rules has given them the role and right to decide the fate of a girl and to treat her as they see fit.3-4. Suppression of love and affection in Eastern societies for fear of wrong judgmentsIn the novel Out of the Body, a confrontation is seen between these two schools of thought. When Mani lives in the village, she falls in love with a boy named Sadegh, but by revealing this secret, the girl is imprisoned by her father and the bond breaks. Previously, semen in private was always afraid of exposing her relationship; Because the society has taken permission from him to do this and has imposed a severe punishment for committing it. In the novel, when a girl is humiliated for loving Sadegh, she is completely helpless. Even the mother has no power to intervene in the face of the father's firmness and is the only observer.In the novel Gypsy by the Fire, Ayneh meets a male writer who has come to Bushehr to spend the Nowruz holiday. The mirror falls in love with a stranger and offers himself to gain the trust of the beloved and to gain him, but some time later, when he returns to the inn, he no longer finds the name and address of this person. The first big crisis in his life comes with a love failure.3-5.Presenting a violent and negative image of a manIn the novel Out of the Body, the author describes men who are bullying, violent and tyrannical and have no favorable idea of ​​the female sex. Male violence in this novel is applied in two ways: soft hegemony and violent hegemony. Each type of hegemony has its own components. In the novel, with the exception of Salem (Uncle Mani), all the men seen in Arab societies are tyrannical and use the principles of coercive hegemony to oppress women. Abu Mansour (Mani's father) is the most important person who changed the course of his daughter's life with violent behavior and led her to ruin. Mahroos (the first wife of Mina) is also an alternative to Abu Mansour.In the novel The Gypsy by the Fire, after the mirror is driven out of the caravan, he seeks refuge. A person named Shukri introduces himself as the friend of the mirror father, and when he notices that the girl is confused, he tries to trap her. Shukri ruthlessly prepares the mirror for sexual exploitation and, without informing the girl, hides others in a room to rape her. Ravanipour indirectly calls these people hyenas and makes their laughter a brutal act before tearing up prey.3-6.Equality Al-Batayneh, in his novel Outside the Body, constantly talks about these violated rights. He has divided semen life into good and bad. In the first half, she faces all kinds of social injustices, but in the second half, she becomes a progressive and intellectual woman. The author indirectly asserts the superiority of Western culture over Arab culture and states that women in Western societies are growing and flourishing due to the principle of equality in male-female relations. While in the Arab countries, this situation remains taboo and there is no will in men and women to break the gender stereotypes.In the novel Gypsy by the Fire, the author does not pay much attention to this principle. Ravanipour talks more about the suffering of society for women than about the spirit of female egalitarianism. In Ravanipour's system of thought, men have not necessarily reproduced a patriarchal culture, and most women have helped men achieve this goal. Therefore, when we encounter a group of women who not only do not make an effort to eliminate this human crisis, but also play an effective role in learning about it, talking about equality seems absurd and ridiculous. The women in this novel do not seek much for their violated rights. In other words, they make no systematic and coherent effort to make women aware of their rights, and only the mirror character is placed in the process of individualization, which, of course, has been less influential in the emergence of this desirable situation. In other words, the mirror, by going through a series of events, happens to be on the path to prosperity and excellence, and we do not see a planned and purposeful effort by him. In this novel, the mirror, after meeting the painter Hannibal, is like a woman who has left the traditional shell in search of her identity. Therefore, all these favorable changes are due to Hannibal. The confrontation between the mirror and Hannibal symbolically represents the confrontation between tradition and modernity.

The main characters of the extracorporeal and gypsy novels by the fire are women. As the desired character of chastity, Mani has experienced two completely different moments in his life. In the first half of her life, she is a passive woman, surrendering to adherent traditions. He has no right to choose and must act under the influence of the wishes of his father and members of his cultural group. Unsuccessful intermittent marriages and the domination of violent male hegemony are the most important components of Jordanian patriarchal society, which are in conflict with feminist and feminist views. In the second half of my life, he goes to London and gets acquainted with the manifestations of the West. She sees that in the new environment, women's rights are highly respected and women have the same human rights as men. Mani is so influenced by Western culture that he completely denies his background and repeatedly acquits himself of the anti-ideal of the Arab city. Mani changes her face and name in order to destroy her connections with her Aqaba and become another character with a new appearance and esoteric. This behavior of Mani or Sarah is a concealment of the former identity and the reproduction of a new identity. In Ravanipour's novel, she is a mirror woman who is excluded from her cultural group due to her relationship with the man she is interested in, and spends most of her life away from her father and those around her. She marries other men several times, but they abandon her after abusing this helpless girl. However, the mirror has never given up and has not stopped trying to disrupt the situation. During his trip to Tehran, he sets foot in a new and at the same time different environment and experiences events that lead to the flourishing of his character. Ayneh tries to save herself from critical situations, but Mani does not just make changes in herself and by attending various conferences, she tries to free women from male tyranny. Thus, the components of dynamism and attainment of individuality seem more pronounced in the semen than in the mirror. Another issue is my extreme attachment to Western culture. Due to her departure from the patriarchal and monolithic atmosphere in Jordan and her experience of an environment in which women are respected and have human rights, she is generally undergoing a cultural transformation and, with her past rejection, is dedicated to a fledgling feminist-based culture. Turns. While the mirror has never denied the rituals and cultural structure of its society. Although the mirror is rejected by its cultural group, it never turns its back on it.to rescue this strain And. In this research, using the feminist foundations and the descriptive-analytic method, similar and dissimilar views of the two authors in the aforementioned novels are explained and explained. The results of the study show that the two authors address issues such as: complete subjugation of women to men; traditional marriage in Eastern societies; Men, egalitarians, have criticized society's false beliefs. The main difference between the two authors' viewpoints is the self-sacrifice, the cultural transformation, and the extreme fascination of the "semen" in the novel Al-Jasad and the modest behavior of the "mirror" in the Gypsy novel beside the fire.

Rabindranath Tagore (1861-1941) was poet, philosopher, musician and portraitist from Bengal, India. He is mostly famous for poetry. He was the first Asian winner of Nobel Prize (Mahvashan, 2018: 144-146). Tagore is known as the Indian Goethe, he is among the most distinguished Indian characters who supported Mahatma Gandhi in Indian Independence Movement (Watt, 2018: 452). He is among the poets who has been influenced by philosophical thoughts and new European literary genres due to India colonization by England, familiarity with English language, education in Europe, reading western authors’ works and also through translating and researching intellectual and literary works.  Ahmad Shamlou is Iranian poet, author, lexicographer, scholar and translator who is considered as the main representative of free verse in Iran. He has been influenced by western culture and literature due to travels and translating European works. Shamlou has lectured in countries like Germany and America as committed open-minded poet. Shamlou also won Stig Dagerman Prize at the end of his life. This prize dedicated to Shamlou for defending freedom of speech and discussion (Shahrjerdi, 2003: 25).Tagore and Shamlou are both universal poet and scholar, committed open mind, humanitarian and philosopher who have expressed their emotions and thoughts in their poems well and have influenced by western culture and literature directly or indirectly. Both of them pay attention to poetic beauties. They also were interested in music, theater and drama. Tagore has travelled to Iran tow times and he has spoken about his Iranian origin in both times in his lectures: “I am Iranian and my ancestors migrated to India from this land. I am glad to have come to my ancestors’ homeland.” (Mahvashan, 2018: 146). Shamlou has also read Tagore’s poems and even he has tape recorded Chitra Play in his voice (Pourazimi, 2018: 558-560). Therefore, the evidences show that Shamlou has been indirectly influenced by him.Among literary schools, romanticism components form the most common features between Shamlou and Tagore poems which is analyzed and investigated based on indices mentioned in authentic literary schools books in their poems. According to commentators, romanticism mostly has these indices: freedom, character, emotion and feelings, naturalism, escape and travel, revelation, the magic of speech, returning to Middle Ages and legends, unanimous and lyrical songs and epic poems, reflecting century diseases, paying attention to play, different types of novel and… but romanticism differed in different countries due to social, political and cultural conditions (Seyyed Hosseini, 2016: 183-189).Comparative literature has been changed and progressed many times from the beginning due to its international, cultural and interdisciplinary content. Therefore, various views have been proposed to analyze and investigate nations’ literature works. But two schools are more famous and more popular among other ones: French school of comparative literature, American school of comparative literature. But this study mostly analyzes romanticism parameters in Shamlou and Tagore poems based on comparative literature school. Totally, American school of comparative literature has been mostly based on similarity not difference which is distinguished in French school; American school mostly relies on modern criticism and gives originality to text not to hypertext. Thus, this school also pays attention to literature and other human wisdoms such as beautiful arts and even experimental sciences (Khatib, 2020: 46 narrated by Seyyedi, 2017: 52-53).

This study has investigated the most important components of romanticism mostly based on the principles of American comparative school in Shamlou and Tagore poems through descriptive-analytical method and quantitative evaluation. Shamlou poems which are studied are: Poems of Irons and Feelings, The Verdict, Fresh Air, The Mirror Orchard, Moments and Forever, Ayda in the Mirror, Ayda: Tree, Dagger, Remembrance, Phoenix in the Rain, The Eulogies of Soil, Blossoming in the Moist, Abraham in the Fire, Poniard in the Plate, Little Rhapsodizes of Exile, Unrewarded Eulogies, On the Threshold, The Tale of Mahan’s Restlessness, these poems have been collected during 1945-2000 and have been published in a book titled: Ahmad Shamlou, the Works Collection of First Book, Poems (2016). Tagore’s poems which have been analyzed mentioned in the literature review.Thus, Tagore’s poems translated and Shamlou’s poems reread and according to the most important sources of recognizing literary schools, comparative literature and criticism, the most principal indicators of romanticism have been identified and classified in the poems of Shamlou and Tagore which compared and analyzed by mentioning examples and the frequency of most components have been quantitatively evaluated.

 Discussion :

  Poems of Tagore and Shamlou are analyzable in different literary dimensions, especially components and features of romanticism. Although they are different in worldview, spatial, temporal and lingual conditions, they have similarities considering some intellectual and literary attitudes and lyrical concepts. This essay has comparatively investigated the most important components of romanticism such as: nature, imagination, individuality, freedom, travel, nostalgia and love intheir poems. Totally, they have equally used three components of nature, human behavior, nature and individuality in their poems.Both of them love nature and have used natural elements to create imaginary pictures; but Shamlou has used imagination elements more than Tagore. Shamlou has symbolically used nature to develop political and social concepts and Tagore has used it to develop the meaning of mysticism and personal feeling. Both of them expressed their feelings. Emotions and thoughts using nature and they have not only aimed at describing the appearance of nature in their poems and they used nature symbolically.Individuality also plays an expansive role in the poems of both poets. Both of them try to express their personal thoughts and feelings. When Shamlou talks about myself, the reader approximates to his real and true character in his life, but reader faces with poet’s momentary feeling and emotion in Tagore’s poems and as Shamlou does not page his personal and real life book, individuality associates with social and human self in Shamlou’s poems and this is less in Tagore’s poems.Both of them believe in love and except sweetheart’s physical aspects they considered her soul and clarity. The identity of sweetheart is clear in romantic poems that Shamlou has composed for Ayda. Tagore does not mention his sweetheart in is romantic poems but is some poems is concluded that he meant his wife from woman. Both of them challenged for human freedom, made corrections in society, both of them considered life and death as a journey.

Considering romanticism components in the poems of Shamlou and Tagore it is concluded that: both poets are similar to each other considering the frequency of using three nature, human behavior and individuality components in their poems. Both of them love nature and have used nature elements to create imaginary picture, expressing feelings and thoughts and have attributed human behaviors to nature to approximate more to nature. Individuality appears more in their poems: Shamlou used individuality sometimes in collective concept. Except poetry, both of them tried to make corrections in the society as an open mind. Releasing people from captivity and corrupted thoughts were their intellectual challenge. Travel is also a component which is used equally in their poems. Both of the considered life and death as a journey. Shamlou has used imagination element more than Tagore. Despite the lack of happy childhood, childhood nostalgia is obvious in their poems. Nostalgia and loneliness have been considered by both of them. Tagore and Shamlou believed in love and except the physical beauties of sweetheart, they considered her soul and clarity. But Tagore explained mystical sweetheart than earthly sweetheart in his poems.