نشریه ادبیات تطبیقی
پیاپی 27 (پاییز و زمستان 1401)

Paying attention to the syntactic and rhetorical patterns of composition leads to the discovery of the main techniques of the poets of each period. The composition was an important characteristic of Indian style poetry (Shafi'i Kodkani, 1987: 64). The style has lasted for three centuries and includes various styles (Hasanpour Alashti, 2005: 19). This research investigates and describes the procedure and frequency, and patterns of composition, in two branches of Isfahani's Nazok-khiyal (delicate Imagination) and Indian Dur-khiyal (remote Imagination) in Indian style. However, research has already been done on the Special vocabulary compounds and genitive, and attributive compositions of the poetry of this style based on generative-transformational grammar, but those studies don’t care about the unique characteristics of the combination in Indian style and didn’t pay attention to the significant differences in composition between the two important branches of the Indian style.

This article, based on Semantic relations and the existence or non-existence of the determination and the head, in semantic relations, classified the compounds into two branches: Endocentric compounds and Exocentric Compounds (Bloomfield, 2000: 222).
 In this essay, the meaning of composition is close to the logical meaning of the composition. It means the words, phrases, or sentences that created the complete concept (Mohaghegh, 2007: 42). To accurately examine the routine of complexity and techniques of poets, the poets were classified into: the poets of Nazok-khiyal (delicate Imagination) style: Baba faghani, Orafi, Naziri, Kalim, and Hazin, and the poets of Dur-khiyal (remote Imagination) style: Zolali Khansari, Asir shahrestani, Ghani Kashmiri, Shukat Bukhari, and Naser-Ali Sarhindi.

 The Endocentric compounds consist of Special vocabulary compounds, polysemous and ambiguous compounds, irregular compounds, consecutive attributive compounds, and predicated metaphorical compounds which have the head and the determination, and the Exocentric compounds Consist of simile and metaphorical genitival compounds, irony, and allegorical verbal compounds, and figurative predicated with simile and metaphor, and hyperbole. These compounds do not have pronounced determination.Endocentric compounds:1.The Special vocabulary compounds in nazok-khiyal style, are simple and abounded and these compounds are artificial and abstracted in Dur-khiyal style.2.The irregular equivoque compounds in Nazok-khiyal styles are ingenious and these compounds in Dur-khiyal style are platitudinous.3.The Nazok-khiyal poets utilized attributive metaphorical compounds. These compounds in Dur-khiyal style are ambiguous because they describe rare and abstract situations. Sometimes these compounds are scattered, therefore, do not create a coherent meaning image.The predicate compounds in Dur-khiyal style are more difficult because these compounds have been mixed with hyperbole and antithetical simile and far-fetched etiology.Exocentric compounds:1.The attributive, additional, verbal compounds which have simile and metaphorical genitive means in Nazok-khiyal style are numerous and meaningful. In Dur-khiyal style, the poet relates unrelated adornments to each other.2.The predicated compounds have allegorical and metaphorical genitive means. These compounds constructed without any arguments somehow cannot be imagined as semantic for combinations.

Consideration of the process and pattern of composition in Nazok-khiyal style indicated that in the endocentric part existed the determination. In Nazok-khiyal style, the Special vocabulary compounds are simple and near to the Khorasani style. In Dur-khiyal style, these compounds are difficult and very close to the Azerbaijani style. The polysemous and irregular compounds in Nazok-khiyal style are artistic and ingenious so which increases the coherence of the distich, but it seems that the Dur-khiyal poets do not have this ability to use this artistic technique, therefore, compounds compose ambiguous images. In both styles, attributive compounds with condenses and eliminate compose comprehensive, hyperbolic contradict consecutive adjectives. in Dur-khiyal style, these adjectives convert to abstract clauses which do not have enough coherence and cannot compose a meaningful description. In both styles, phrasal verbs are an outstanding technique of depiction which gradually become complex and abstract expressions. Predicated figurative compounds in Nazok-khiyal style are simple and in Dur-khiyal style composed with an array.In the exocentric part, the additional compounds in Nazok-khiyal style are meaningful although imaginative but in Dur-khiyal style, these abundant compounds are insignificant. Predicated figurative compounds in Nazok-khiyal style are attendant with a condensed trope and condensed antithetical simile. These compounds in Dur-khiyal style with abstract relations predicated on each other without logical causation. These compounds are an important technique that composes the complex meaning. in Dur-kheyal style, the intentional leonine rhyme of the poet and weak causation are conducive to an unusual nonsensical predicate that increases the intricacy of the poem. a complex compound sentence, artificial instance, and hyperbolic antithetical predicate destroyed the coherence of this style and created abstract intricacy, and indeterminacy, and plays a major role in the blunt imprecision of the composition of this style.

 In Persian and Arabic literature, there are poets who devoted special attention to morality. Therefore, a large portion of their poetry are devoted to this matter. “Morality refers to a set of standards to which humans must comply” (Fouchécour, 1998: 211). Poetry, among other matters, is a reflection of moral thoughts across different cultures. Qasemi Gonabadi and Nasif al-Yaziji paid attention to virtues and moral advice in their poetry; Qasemi’s masnawīs The Essence of Poems (Zobdat  al-Ashar) and The Majority of Poems (Omdat al-Ashar), and al-Yaziji’s diwan. There are poems with didacticism themes in al-Yaziji’s diwan (Al-Fakhoury, 1995: 677). Qasemi also “focused on moral issues in all his masnawīs” (Qasemi Hosayni Gonabadi, 2015: 17).Belief in one God and in prophets, along with the poets’ attention to and interest in the Qur’an and Qur’anic teachings and Nahj al-Balagha in their works encouraged us to compare their perspectives in terms of moral virtues.Indeed, this study aims at examining and comparing moral virtues in the works of the two poets. The other goal of the study is to encourage the young generation’s interest in the rich and long history of the Persian language based on the ideas of Iranian scientists in the past centuries. Knowledge, humility, honesty, patience and loyalty constitute the core of moral virtues in the two poets’ works.The article aims to answer these questions:What are the common moral themes in Qasemi’s and al-Yaziji’s poems according to Khaje Nasir al-Din al-Tusi’s category of moral virtues? How?Are there any differences between the two authors’ attention to moral virtues? The main purpose of this paper is to examine common moral virtues in Qasemi’s and al-Yaziji’s poems.

 This study draws on library resources and available documents. To analyze the data, a descriptive-analytic approach is taken. In doing so, Khaje Nasir al-Din al-Tusi’s category of moral virtues in the book Nasirean Ethics is used within the American School of comparative literature. There has been no research on the comparison of moral virtues in Qasemi’s and al-Yaziji’s poems.

 Moral virtues have always been in poets’ spotlight; poets who lived in two or more lands far from each other, but their intellectual similarities cannot be overlooked. Qasemi’s and al-Yaziji’s goal in using these moral virtues is to praise and honor human virtues or to encourage goodness and righteousness. “Morality means how society perceives what is wise albeit in practice than theory. That is the reason why Khaje Nasir al-Din al-Tusi and many others before him put morality under ‘practical wisdom’” (Fouchécour, 1998: 8-9).In his book Nasirean Ethics, al-Tusi enumerates four main virtues: wisdom, courage, chastity and justice (Khaje Nasir, 1994: 109). For any of these virtues, he introduces some subcategories (Ibid: 109-117). In what follows, a summary of common moral virtues in Qasemi’s and al-Yaziji’s poems is presented according to al-Tusi’s category. 3.1. Wisdom  Of al-Tusi’s subcategories for “wisdom”, “knowledge” is chosen and common points in Qasemi’s and al-Yaziji’s poems are briefly reviewed. 3.1.1. Knowledge Qasemi has praised knowledge in all his poems. For example, he wrote four pages on the importance of knowledge under the title “In Honor of Knowledge and People” in The Essence of Poems (Qasemi, 2014: 182-186). He calls knowledge the water of life and a reason for survival.Resort to knowledge and wisdom for salvation/it is the staff of life for survival and immortality (Qasemi, 2015: 184).The magnificent features of this poem are: it is easy to understand and is sophisticated, not to mention its pleasant aesthetics.For al-Yaziji, knowledge is the source of life and survival of the scholars’ names:How many kings disappeared [by reputation] after their death,while scholars’ names always remain among people (al-Yaziji, 1983: 45).Beauties of al-Yaziji’s poems are:Positioning the word “king” before “scholars” indicates the superiority of the rank and position of knowledge and scholars over kings.“Populace” means common people and scholars. That is, the name of ordinary knowledgeable people will be remembered but not the name of kings.Qasemi puts emphasis on knowledge (if combined with action) and scholars.Knowledge and practice both together to make [human beings] prosperous in this world and Hereafter (Qasemi, 2015, p. 217) Using similes and parables, he manifests the importance of knowledge combined with action through various forms (Qasemi, 215: 161).For Al-Yaziji, action drives life and is the source of the world’s survival:You should resort to knowledge. So, ask for it without laziness and act on it because a wise life makes sense only through practice. (al-Yaziji, 1983: 400).3.2. Courage 3.2.1. Humility  For both Qasemi and al-Yaziji, humility is associated with being lofty:Someone who practices humility, his status is as lofty as the sky, and his value is excellent. (Qasemi, 980 AH: 113). Al-Yaziji considers humility to be the cause of nobility. It also has verses close to thistheme. (al-Yaziji, 1983: 306). He is the one whose humility is higher than dignity. Every time his rank and position rise, he tells himself to sit down and not be arrogant. (al-Yaziji, 1983: 203).3.3. Chasity 3.3.1. Patience Patience is a key concept in the vast Islamic culture. It is stated in the Qur'an “... God is with the patient” (Al-Baqarah: 153). Qasemi considers patience to be a source of peace and refuge for man in hardships; I am at the heart of the sea ofhardship and suffering, but I seek refuge in patience (Qasemi, 2014: 194). When you flower look at the face, you tore the shirt of patience Qasemi used the beautiful metaphor “the flower’s shirt of patience being torn” and Al-Yaziji calls patience the most valuable medicine and treatment in hardships:Patience is the most valuable thing that heals the wounded/It wounds the heart and shows the paths to God (al-Yaziji, 1983: 222). Be patient during the difficulties, hardships, and events of the time coming one after the other (al-Yaziji, 1983: 222). 3.4. Justice 3.4.1. Loyalty   In all his masnawīs, Qasemi strongly emphasizes keeping the promise. He believes that anyone who breaks his oath is an animal lower than a dog:He is one of the loyal/ but a dog’s life is full of lust!But whoever breaks his oath out of misery, he is a dog, but a disloyal one. (Qasemi, 2015: 187).al-Yaziji also praised loyalty and considered it one of the qualities of generous people and breaking the oath is one of the characteristics of the wicked:Fulfilling the oath is one of the virtues of honorable people, while breaching it is a feature of wretches (al-Yaziji, 1983: 324). 3.4.2. Honesty Qasemi and al-Yaziji have repeatedly praised the virtue of honesty and honest people. Using the title highness, Qasemi praises honest people:You practice honesty, dignity, and sincerity. Oh, my friend! May God protects you from the evils of the time!May God bless you! May honesty be your way until the Day of Doom! (Qasemi, 2015: 197).Al-Yaziji also praises the praised for being honest and trustful:Those who keep their promises and avoid deception are honest people and do not lie (al-Yaziji, 1983:301).

 Persian and Arabic literature are quite similar on many grounds. Both Qasemi Gonabadi and Nasif al-Yaziji addressed moral virtues in their poetry. Such scholars as Khaje Nasir al-Din al-Tusi have written books on morality and ethics. al-Tusi developed a classification of moral virtues. Following the American School of comparative literature, common moral virtues were examined in Qasemi’s and al-Yaziji’s poetry. The analysis suggests, both poets similarly paid attention to moral virtues. The two poets wrote poems concerning such moral virtues as wisdom, courage, chastity and justice. Knowledge is one of these virtues as both poets praised cognitive certainty and knowledge combined with action. Qasemi had topics and anecdotes concerning knowledge and acting on knowledge. He wrote 70 verses on the value of knowledge and 80 verses on criticizing and condemning knowledge without action. Modesty is another common feature of the two poets’ works, which equips the modest person with honor. Mentions should be made of courage, chastity and patience on which the poets wrote verses. Loyalty was considered a virtue of the noble people, and both poets praised honesty. Qasemi also used similes and animal symbols to manifest moral virtues. Appealing literary devices can be seen in their poems.

The rhythm, which means the repetition of elements, is one of the principles in all arts: music, dance, poetry, and theatre. In poetry, the repetition of words, sounds, and phrases creates rhythm. Perhaps an example can clarify the concept of rhythm. If a person's footprint on the beach's sand is an example of rhythm, the places where he puts his foot on the sand and digs it is called a beat (or motif); And the distance between beats is called space. That is, we can consider rhythm a set of beats that are separated by spaces. Based on the differences between the beats of a chain or the differences between the spaces of a chain, we can classify the rhythms. In this article, we show that although rhythm is important, experts have not paid much attention to it. At first, we try to provide a more accurate definition of it; and we introduce its subcategories with the definition and example. Then we remind that in fact, the rhythm of poetry is one of the examples of rhythm; As well as one of the physical characteristics of the language.language can be divided into two semantic and physical layers from one perspective. The semantic layer consists of meanings and concepts. This layer is not an objective layer and its elements cannot be touched, seen, or heard. The physical layer consists of elements such as words or rhythms and rhymes. This layer is objective and tangible. In fact, in linguistic communication, the physical layer is transmitted and activates the semantic layer in the mind of the audience.

In the present study, we intend to achieve the most effective style of translation of poetry from French into Persian. For this reason, we have compared the opinions of various experts on the role of the physical layer of language in the translation of poetry; in addition, we have compared different styles of translation of poetry into Persian; we have also compared the types of rhythms and rhymes in Farsi.

In our opinion, the physical layer of language is highly used in literature, especially in poetry. Our issue is whether translators can translate the physical layer. Do we need to translate this layer? If the answer is yes, how should we do this? This paper attempts to answer these questions. Of course, our focus is on the rhythm and the rhyme, and we examine the «translation into Persian», not the «translation from Persian».We want to answer this question, which in the translation of poetry from European languages into Persian, considering the differences between them and Persian, a translator, what physical facilities can use. We know that rhythm and rhyme are a poem's most important physical elements, and we want to know what they do in the translation process. Our effort is to explain to the reader using a set of evidence, some of the ambiguous concepts.Based on the relationship that may form between the source poetry and the destination poetry, we can expect a variety of approaches to translating poetry. However, if we want to make a general classification, we can separate the three main approaches (Vide: Boase-Beier,2009: 194):Prose rendering. In this approach, semantic characteristics are recreated, and poetic characteristics such as rhythm and rhyme are eliminated. Such an approach can only convey the concepts and imagery to the translation audience.Adaptation. In this approach, the most important semantic characteristics and sometimes even the most important poetic characteristics are eliminated, to increase the impact of the poem created in the destination language. Translators who use this approach sometimes claim that the work they created must be evaluated as independent work.Recreative. In this approach, the semantic and poetic characteristics of the original poem are recreated using the destination language facilities. The purpose of the translation that chooses this approach is to achieve a relative resemblance between the poetry of origin and its translation.In this article, our focus is on the recreative approach. It should be noted that the methods of taking any approach could be changed. That is, in different ways, one can follow a specific path. Based on the relationship that may form between the origin rhythm and the destination rhythm, we can expect a variety of approaches. Overall, three approaches can be used to translate poetry rhythm (Vide: Holmes, 1988: 25-27):Mimetic. In this approach, the origin rhythm structure is recreated in the destination language; Of course, there is no guarantee for the result. Hexameters, for example, are natural for French speakers, while for English speakers who are accustomed to Pentameters, such a rhythm is heavy.Analogical. In this approach, a structure is used in the destination language, which has a similar effect to the origin rhythm structure. For example, in translation from France to English, pentameters are used instead of Hexameters.Organic. In this approach, the translator uses a rhythm that he thinks is more appropriate. That is, there is no relationship between the destination rhythm and the origin rhythm.We believe that the nature of the rhythm of poetry is not well known. Therefore, our first attempt is to study it. We have hypotheses that show how it works. The basics of the rhythm of poetry are different in different languages; we refer to them. Meanwhile, we explain different opinions and try to choose among them, the idea that seems more appropriate. We will talk about all kinds of rhythms and rhymes; and of course, in Persian poetry, rhyme and fixed-rhyme [: radif] are interrelated. When we talk about rhythm and rhyme, we also have to talk about modern formats and rhythms. We try to ignore semantic issues; in no way, we will not enter issues like imagination; we only deal with language physics. Then we introduce a kind of developed rhyme called super-rhyme, and we give examples to show its performance. Super-rhyme is objectively like a classical rhyme-in-prose [: saj?]. In the end, we examine three translations of a French poem.

Finally, we conclude that because the formats of classical Persian poetry and the vocabulary and concepts that form it are limited and unchanged, this genre cannot be a suitable container for the content of a poem from another culture. On the other hand, since the new vocabulary does not fit in the classic rhythm, the freshness of the source poem will be hurt. Therefore, to achieve the best result, it is better to use non-metric rhythm and super-rhyme; Classic formats generally restrict translation; so if they need to be used, we can simulate them; That is, we can create a quasi-classic format with non-metric rhythm and super-rhyme. In other words, non-metric rhythm and super-rhyme can greatly increase the quality of a translation. Every translated poem has two identities. An identity that is dependent on the source poem, and by comparing the translation with it, we can evaluate that identity, and an identity that is independent of the source poetry, and by comparing the translation with the poems in the target language, we can evaluate that identity; so a successful translation is a translation that has two acceptable identities. In the article, we have introduced a new style in translation, which consists of a kind of rhythmic prose and a kind of developed rhyme and maximizes the impact of a translated poem without weakening its semantic aspect.

Shayest-Nashayest is a jurisprudential-ethical work written in the late Sasanian period detailing Zoroastrian ceremonies, rules, and rituals. The ninth, tenth, and twelfth chapters of this book address religious topics and instructions. The poems of some pioneer Persian poets also contain fundamental ideas about the ways to reach perfection. Imam Mohammad Ghazzali is also famous for his book Ehya-e-Ulum al-Din in Arabic and Persian prose and is also a great scholar in the field of Islamic ethics. This study seeks to address the extent to which pioneer poets were influenced by the ethical discussions in Shayest Nashayest and Ghazzali's thoughts.This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

The ideas presented in Shayest Nashayest and Ehya-e-Ulum al-Din are also reflected in some poems of Persian pioneer poets, as discussed below:2.1 Adornment with knowledge and science Concerning knowledge and its significance, the author of Shayest Nashayest has argued: “People should visit three places more often: The home of knowledgeable people, individuals who do good deeds, and people of great wisdom” (Mazdapour, 1990: 245) Ghazzali raised extensive discussions on the virtues and benefits of knowledge, various sciences, and their effects: “Knowledge/wisdom is a prerequisite for having a good physical life (Ibid, Vol. 1: 8). According to Nasser Khosrow, a poet who has good knowledge speaks good words,justlike a clean pottery pitcher that has clean water:A knowledgeable person does not speak anything but good words; Just as clean water comes from a good pottery pitcher (Naser Khosrow, 2005: 377).2.2 Telling the truth and avoiding lies In Zoroastrian religion, truthfulness is a sign of religiosity: “Spatman of Zoroastrian says that a religious man is Yuzhdasrgr (truthful). That is, one who speaks the truth and cherished religious instructions is a religious person” (Mazdapour, 1369: 160) Ghazzali also argues that one should not utter something that is pure loss and a statement whose benefit is less than its loss (Ghazzali, n.d., Vol. 3: 108). Narrating the story of Anushirvan, the Sassanid king, Ferdowsi (1979, Vol. 4: 434) stated:If the tongue is accustomed to telling liesIt cannot receive divine illumination. Telling lies is a sign of helplessness and misery We should cry for miserable and helpless people 2.3 Conscious praise In the 19th chapter of the book Shayest-Nashayest, the word “ahunawar” is mentioned many times. It is the most sacred prayer of Zoroastrianism, it belongs to the gods and it is recited on different occasions, in religious, farming, and wedding ceremonies for saving from strays, and purification of sins, and it is not specific to kings (cf. Mazdapour, 1990: 238-240). Describing the evils of praise, Ghazzali suggests that people who use to praise others may say what they do not realize and have no way of knowing it (Ghazzali, n.d., Vol. 3: 156). Sanai (2009: 40) also advises poets to avoid praising worthless people:Poets who praise worthless people to earn money are shameless. 2.4 Good temperateness In Shayest Nashayest, good temperateness as an important personality trait is juxtaposed to truthfulness, and good-natured people are considered more innocent and worthy of selection: “When they are choosing among innocent and decent people, they should choose the one with good temperateness, truthfulness, and decent action based on certain criteria” (Mazdapour, 1990: 159) Ghazzali considers the cure for all bad moods to be a part of knowledge and action and says that acting against the cause brings the right result (cf. Ghazzali, n.d., Vol. 3: 145). Masoud Saad (1983: 636) invites poets to be good-tempered:As a poet, you should not be bad-tempered as good poets avoid ill temperateness.

A single thought dominant in all poetic works investigated in this study as reflected in the parts of the book Shayest Nashayest and Ghazzali's thoughts is that from the point of view of Iranians before and after Islam, having a God-centered spirit, good qualities, and inner purification is a way for human liberation. Persian-speaking poets, due to their religious background and under the influence of religious thoughts, have written moral poems and recommended them to other poets.

Existentialism is one of the philosophical schools that, due to its emphasis and special view on "human", find its way into literature, especially into novels and plays. This school was first founded in Germany by Kierkegaard in the 19th century (Rasekhi langaroudi, 2018:18), and then Jean-Paul Sartre spread it in France.In this school, the human is a lonely and abandoned being who has to do something for himself because there is no helper or necessary existence. Existentialism became popular in Iran in the forties and fifties and many were influenced by it and created many works inspired by it. Jalal Al-Ahmed was one of the intellectuals and writers of that period, who was influenced by Sartre's thoughts at some point in his activities. As a committed writer, he described the suffering of a simple porter worker in the short story "The life who escaped" in order to find a way out of the chaos and social injustice. This article tries to examine the concept of suffering in this story and in this way evaluate the influence of Sartre's thoughts on Al Ahmed. In this research, the mentioned subject has been analyzed in a descriptive-analytic way and with a comparative approach, using some elements and components of the school of existentialism. The results of this research indicate that the suffering that Al-Ahmed portrays in his story is not due to frustration and passivity, but rather by portraying this suffering, he seeks to find a way to improve and enhance the troubled situation of the workers and such viewpoint stems from the theory of "committed literature" that Sartre talks about.

In this research, the mentioned subject has been analyzed in a descriptive-analytical way and with a comparative approach, using some elements and components of the school of existentialism.

Undoubtedly, the environmental factors and the socioeconomic conditions of the post-World War II played a decisive role in the spread of Sartre's existentialism philosophy (Dastgheib, 1975: 75).  This philosophy was trying to free human thought from the prison of restrictive rules, deception and trickery. After the two world wars, people realized the futility of existence and the baselessness and bewilderment of existence and such mental turmoil made them understand anxiety, apprehension, loneliness and destitution more than before.
 Due to the prevailing political and social atmosphere of Iran in the 40s and 50s, Sartre's ideas soon found their way into intellectual circles as an effective discourse. Many intellectuals, writers and translators who objected to oppression and injustice became fascinated by concepts such as " human absolute freedom", "responsible intellectual" and "writer's commitment". The philosophy of existentialism seeks awareness and responsibility to fill the void of meaning in life. Such a view of human beings in a world that is engulfed by disorder and injustice affected Al Ahmad like many others.Sartre held responsibility for the writer and believed that the writer should be committed to his society and people. According to Sartre, the writer was obliged to help build a better world by writing about the injustices and deficiencies of society. Under the influence of such social function of literature and the author's commitment, Al-Ahmad, as a concerned intellectual, paid attention to the underprivileged and deprived society class in his stories (Rahimi, 2015:80). As two committed writers, Jean-Paul Sartre and Jalal Al-Ahmed, both deeply believed in the commitment and responsibility towards society. They saw writing as a means to raise public awareness and depict the pains and adversities in society and life.The short story "the life who escaped" is from the short stories collection of "Setar". Setar is the third short story collection of Al Ahmad after "Visiting" and "Of our sufferings". "The life who escaped" is an existentialist story and the roots of Sartre's philosophical ideas and Al-Ahmed's devotion to ideas such as Loneliness, doubt and inner conflict is obvious in the main essence of this story.In the story "The life who escaped", the worker is in a situation from which he has no escape. Either he must deliver the cargo to the destination where he will get money so that he does not die of hunger, or he must abandon the cargo, while it is not known whether he can find another job or not. In this story, we see how the deterministic situation casts a shadow on the worker and leads him to the abyss of desperation, helplessness and destitution. The worker finds himself in an absurd world and the more he struggles, the more he sinks into this swamp of absurdity and failure.Sartre believes that a person is constantly involved in different situations throughout his life and only he should decide what to do. He is free to choose and stand by his choice; in "The life who escaped", Al-Ahmed portrays this Sartre notion in a fictional form. After two days of unemployment, a worker decides to work as a porter. He is forcibly pushed into such situation, but soon realizes that he does not have the necessary strength to carry the cargo. According to Sartre, every human in any situation, can act based on his decision. So, the worker must choose between his two options; he has to take the cargo to its destination without any difficulty and accept whatever happens along the way or return it to its original place.According to Sartre, the human being is always in the circle of possibilities. But to a certain extent, he can hope for possibilities that are exactly within his scope of action. It is "action" that makes it possible for humans to live. But "action" itself requires motivation, and this motivation comes from a level of understanding and awareness (Warnock, 2007:47). The poor worker in the story of Al Ahmed is also fully aware of the concept of hunger and knows the meaning of empty pockets and poverty. Such awareness motivates him, despite his physical weakness, to get his cargo to destination in order to earn some money.According to Sartre’s philosophy, man is constantly choosing. In fact, planning and choosing different paths imply her freedom and freedom of action. Man is constantly forced to choose. So, man is always free and at the same time, he has to choose. Man has no way to escape from these decision makings. So, as Existentialists say: "human is condemned to freedom".  Al-Ahmad also shows in a fictional and symbolic way how important the consequences of human choices are and well depicts that humans can be selective in any position and situation; even in the position of a daily worker who must carry a cargo to earn some money and get rid of his hunger. The worker can choose to get the cargo to its destination or take it back to its first place and free himself from the responsibility which is beyond his power and abilities. We are only watching the struggle of the worker who wants to push back his submission to despair as far as he can.

As a committed thinker and writer, Jalal Al-Ahmad always sought to create an escape route from the political and cultural dead ends and find a way to get out of the chaotic social situation. Influenced by Sartre and others such as Camus and Celine, he started writing realistic stories. Stories that narrate the pains and sufferings of downtrodden and oppressed people. Hoping to draw public attention to social problems and take a step, even a small one, toward their correction.He narrates the helplessness of an abandoned human well in the story "The life who escaped". The man in Al-Ahmed's story, in a symbolic way, must take responsibility for the heavy burden that is on his shoulders. There is no one to help him. The worker in Al Ahmed'sstory, with all his desperation, is free, as free as Sartre has repeatedly pointed out. from the existentialist viewpoint, all humans are free, even a prisoner, a cripple or a man under the gallows.In his suffering image, Al-Ahmad is looking for existential possibilities that implicitly open a way to hope, life and justice.

Comparative literature plays an important role in knowing the position of Iranian authors in the world. Knowing the relationships and differences between two cultures will change the boundaries and overlaps and provides a new aspect. Moreover researching fictional literature from the psychological point of view makes it possible to know its hidden angels. Enneagram is a new typology derived from the study of the human psyche. This psychological theory categorizes the behavioral traits of human beings into 9 personality types: Reformer, Helper, Achiever, Individualist, Investigator, Loyalist, Enthusiast, Challenger, and Peacemaker. This study aimed to investigate the compatibility of the main characters of the selected works of Goli Taraghi and Alice Munro with the nine types of Enneagram and psychological analysis of the characters to better identify and compare and compare the analysis results to achieve similarities and differences between the two authors. The present article is a descriptive-analytical study. The results indicate that the fictional characters of both authors are highly compatible with the theory of Enneagram, and both authors use types 2 (Helper) and 8 (Challenger) with the highest frequency, and the difference is that the characterization in Alice Munro's work is more diverse than Taraghi's work.

The story of Kaveh Ahangar is one of the fascinating stories of the Shahnameh, which has attracted the attention of researchers due to its features such as the uprising against the oppression of the tyrannical king, the victory of the uprising and the dethronement of the cruel king and etc. In addition to Shahnameh, this story can be seen in Asadi Tusi's Garshasb-Nameh and some historical texts after Islam with some differences. But there is no mention of this story in Avesta and Persian texts before Islam And in the Shahnameh, Kaveh appeared only in the story of Fereydoun. For this reason, the origin of this story and the origin of Kaveh's name and character have become controversial. And so far, researchers have presented different theories about it, which can be divided into four categories. The first group believes that Kaveh's name is related to Avestan names but his character is not old and this story was written after the Parthian period which was included in the Sasanian Khoday-Nameh and the legendary history of this period. Ferdinand Justi, Arthur Christensen and Zabihullah Safa can be mentioned in this group. The second group considers his name and character are old and legendary, and they have tried to find a connection between his personality and Kai-Qubad or Tvashtr, the blacksmith of the gods in the Rig Veda personality. Johannes Hertel, Bahman Sarkarati, and Turaj Daryaei can be mentioned in this group. The third group believes that the story of Kaveh is not the mythological story but is a Persian Ayyari story that entered the national epic at the end of the Sassanid period and the beginning of the Islamic period. Mehrdad Bahar is in this group. The fourth category believes that Kaveh has been associated with the cow, which plays an important role against Ahriman from the beginning of creation in Iranian myths, especially in the story of Fereydoun.

Iranian researchers and orientalists have written various articles about the relationship between Kai-Kavus in the mythological texts of Iran and Kavi-Uśanas in the mythological texts of ancient India and they considered these two characters the same in the age of the Vedas. For example, Georges Dumezil, in the book “The plight of a sorcerer”, considered these two characters to be the same. Also, Christensen suggests that India took this character from Iran. Herman Lommel says that in the Rig-Veda Kavi-Uśanas is the only one whose name is connected with the title of Kavi, and in Iran this title is connected only with the name of Kai-Kavus. Mehrdad Bahar, one of the Iranian researchers, believes that in an Indo-Iranian stage, Kavi-Uśanas or Kai-Kavus was a warrior-Priest, and in the Avesta and Pahlavi era, a king-Priest, But in the Persian literature and some Pahlavi narratives, his character has been transformed especially in the Shahnameh, into a tyrannical, imprudent and unwise king.

In the Rig-Veda, the name Kavi-Uśanas is mentioned in three forms: Usana the son of kavi, UŚana kavya and Uśana, and various characteristics and actions have been listed for him. His actions are of four categories: mediating between the Div`s and the Asuras, making a Vajra mace for Indra, knowing the secrets of the cows (sometimes considered treasures), getting rewarded by Indra for serving him. Here we compare the works of UŚana kavya with the works of Kaveh.3.1- Making a Mace: Making a mace is the most important act of Kavi-Uśanas and Kaveh, because with this mace (Vajra) Indra kills the dragon of drought and darkness Vritra and releases the waters. Although the making of this mace is attributed to Tvashtr (Black Smith), in several hymns of the Rig-Veda, Kavi-Uśanas is the maker of the mace.3.2- Having Wisdom and knowledge: In the Indian texts, Kavi-Uśanas and his father "Kavi" are attributed to wisdom. In a hymn of the Rig-Veda, Kavi-Uśanas is described as the owner of wisdom and knowledge. Sometimes also the power of prophecy is attributed to them. We can see also this power at Kaveh. For example, after Fereydoun ascended the throne, Zahhak's supporters prevented him from being killed and imprisoned, and Kaveh planned a friendship with Zahhak and then imprisoned him.3.3- being rich: In the Indian texts, Kavi-Uśanas is very rich. For example, he reigns on the top of Mount Meru, and three-quarters of all the gold and gems in the world belong to him. There are also narrations in Naqqali texts which emphasize that Kaveh was a rich man and owner of a clan.3.4- Piety: According to the analysis of Georges Dumezil in the Rig-Veda, Kavi-Uśanas is neither a god nor a warrior, but a powerful and wise saint who had an ambiguous personality in the past. Indians and Iranians later mentioned him in two different ways. This feature is also mentioned in the Naqqali scrolls for Kaveh. For example, Zariri says: Kaveh and his children were so chaste, pious, and manly that they were considered saints of God. They never lie or do bad things.3.5- Magic: In the Indian texts, has been attributed Kavi-Uśanas magical powers several times and there are also stories that he has used this power. Although there is no mention of Kaveh's magical power in the Shahnameh and he is described as a simple blacksmith, in the Naqqali scrolls, not only Kaveh himself is attributed magical powers, but there are also magical elements in his stories.3.6- panacea: According to a hymn of the Rig-Veda, Kavi-Uśanas has the power to make the old people young and vice versa. He can also raise the dead. This feature is seen in the Shahnameh as a panacea that is kept in the treasure of Kai-Kavus that is mentioned in the story of Rostam and Sohrab.

Conclusion:

 Kaveh's connection with Kai-Kavus and Kavi-Uśanas is a point that researchers have not paid attention to regarding the origin of Kaveh Ahangar's name and character. Dumezil believes that there are similarities between these two that is neither coincidence nor borrowing. The innovations that are assigned to Kai-Kavus in the Pahlavi and epic texts of the Islamic period are a form of a new dress that preserves the previous materials. Exactly the story of Kaveh is a new version of this ancient myth, which, in addition to the same root of the name, is similar to the story of Kai-Kavus and Kavi-Uśanas in six features: 1- Making a Mace, 2- Having Wisdom and knowledge, 3- being rich, 4- Piety, 5- Magic, 6- panacea. This ancient myth during the transition from the age of mythology to the epic divided into two parts, and each part’s name refers to a character, Kavi and Kaveh became a blacksmith and Uśanas a priest, religious and holy man. But by time, the myth of Kavi-Uśanas was forgotten and Semitic mythology took its place, and the character of Joshua, who was more famous, replaced Uśanas.

Introduction :

Mrs. Dalloway’s novel is the story of a fine day in London in 1923; Clarissa Dalloway is preparing a big party and many people are introduced during her tours of the house, the town and her relationships with others. She has hired a tutor for her daughter Elizabeth, whose name is Miss Doris Kilman. She is one of the non-main characters who has a short presence, But it is very strong in the novel. While promoting the party and in just a few pages, the author shows us Kilman’s character from the mind and point of view of  Clarissa, Elizabeth and Kilman herself and the author reveals her appearance and psyche. In Hedayat's short story, Abji is an ugly girl who, although she is twenty-two years old, her time for marriage has passed and because she has no hope of any enjoyment in this world, she has taken refuge in religion and hopes for the blessings of the other world in heaven. She commits suicide in her younger sister's wedding due to humiliation and jealousy. Hedayat wants to show the destructive effects of people's beliefs. Therefore, the tragic end of Abji khanum's story is a bitter criticism of the culture of his time.

Today, intertextuality has provided the necessity of research between texts; the discussion of texts and intertextual influences examines the many commonalities and differences in the texts. This issue is the main necessity of all comparative research. This article, with the library method and characterological investigation of two stories that have different origins, habitats and languages, seeks to compare many similarities and differences of these two stories characters.

Each person's unique personality is made from his genetics, environment, interaction and lived experience with others; But some factors cause the emergence of similar characters, If one person interprets an experience as similar to another person, then their processes are psychologically similar. This is how the characters analyzed in this article, namely Abjikhanam and Doris Kilman, are similar. Abjikhanam and Doris Kilman, although they were created in two different countries, cultures, times and languages, have deep similarities to each other; Because they have similar psychological, interpersonal and family background. Wolff's view of the female characters in his stories is combined with feminist attention. There are many women in Mrs. Dalloway, each of them is treated as necessary; But in the characterization of Doris Kilman, she used a lot of precision and in addition to characterization techniques, she also used psychoanalysis. Hedayat also considered the psychological dimensions and invisible causes of behavior in dealing with Abji's character, and both works have a psychological infrastructure. The influence of family, community and relationships in the formation of human characters is undeniable; The basis of the personality of both women in both works is in addition to the direct psychological aspects related to the family and the dominant culture of the time. 

In the comparative analysis of the characters of Doris Kilman and Abji Khanum, it should be noted that both authors have spoken about the past of the characters in such a way that their current personality, intellectual and psychological characteristics can be seen. Also, the influence of family and general culture is prominent in the formation of both stories; Poverty and ugliness have increased Doris Kilman's sense of humiliation. She is alone, she has no supporter, friend or family, and most importantly, she has never been able to attract a man's attention. She is looking for a replacement to fill all her emotional and psychological voids; So she goes to church. Now she is a radical Christian. Abji khanum is also the same; she is ugly, she has a poor and ignorant family, she grew up with humiliation and discrimination from childhood, and as a result, she is now grumpy, jealous, hopeless and self-deprecating; her compensatory behavior is the extreme refuge in the mosque. Both characters believe that they should win over everyone and show off their superiority; Abji wants to achieve this goal with religious knowledge and Doris with her university degree. In addition, both of them wish for a situation where the differences between people disappear and everyone is equal; A condition or situation like heaven.The misbehavior and aggression of these two are also reactions of two damaged and wounded souls, with the difference that Doris had a happy life in Germany as a child; But Abji khanum has not benefited from this blessing either. Her mother always beat her and told her from the age of five that she was ugly and no man would marry her. The suicide of Hedayat's character shows the difference between his attitude and Wolff's. Woolf was an egalitarian feminist and wrote the character of Doris in such a way as to show her stubbornness in the unequal male system: Doris struggles for her life. Woolf - contrary to Hedayat - lived in a time when women had taken great strides for their rights. So, these two oldgirls have two different destinies, because the historical-cultural conditions and environmental conditions and the views of their authors are different.

Storytelling, especially for children, has been started since the beginning of history because fiction is among the first tools human used for a better understanding of the world around; such background foregrounds the significant role storytelling has played in cultural and social life all over the world. With the emergence of the discourse of humanism and the importance this discourse put on education and the disciplining of the young generation, a utilitarian use of narratives was normalized; in other words, narratives were deployed as an efficient means to form the social and individual identity of children in desired directions while guaranteeing collective and civil life. Even though due to the child’s lack of experience and awareness, the majority of children's literature inevitably became didactic, what was conveyed through this literary genre was to institutionalize the value structures popularized by the ruling humanistic discourse as well. Through techniques of repetition and, consequently, ‘naturalization’, Children’s narratives formed an integral part of their identity. However, this instrumental use of children's literature to control and direct children’s psyches towards predetermined behavior patterns caused deeper concerns in society when those dualisms governing the humanistic discourse approximated to extreme behaviors such as racism and sexism. Therefore, it was felt that the real nature of liberal discourse, as a ‘construct’, should be revealed, and its doctrines should be open to questions. Such challenges were posed by different movements. One of these movements was post-humanism. The main axis of post-humanist thinking, as Flanagan has also pointed out, was the “redefinition and expansion of the human subject” (2014: 5), which has been associated with the challenge of the dual-centered structures of the ruling humanist discourse and the critique of ‘essentialism’.

The present study has attempted to examine “Khaleh Souske” and Gulliver’s Fourth Travel from the perspective of posthumanism. It has investigated the deconstructive effect of posthumanism on children’s literature in a comparative reading. It deploys a descriptive-analytic approach to explore how children’s literature, once deployed as a means at the service of spreading the ideology of liberal humanism, can also be adopted by the counter-discourses to open up new horizons. The methodology is based on a posthumanist approach focusing on discursive hierarchies of “the self”/“the other” and human/animal. To approach the text from a post-humanistic perspective is to challenge the hierarchies and the superiority it has claimed for man to nature. Consequently, a post-humanist technique reveals the dependence of man on nature, and tries to bring nature and culture together. Such attempts depict man and nature as equal and, thus, question man’s superiority to nature; this outcome provides a different definition of man and nature.

This article, as discussed above, focuses on the notions of posthumanism and its deconstructive effect on children literature in a comparative reading of Gulliver’s Fourth Travel, a work by Jonathon Swift (the British writer), and “Khale Souskeh,” a Persian folklore story. Using a posthumanist approach, the writer tries to discuss how children literature, once deployed as a means at the service of spreading the ideology of the dominant discourse (liberal humanism) to instill the discursive hierarchies of  “the self”/“the other” and human/animal, can also be adopted by the counter-discourses to open up new horizons up to the postmodern man. It is argued that through the blurring of the borders between human/animal and, thus, the breach of the hierarchical “chain of being,” an anti-narrativeisformed which can redefine the concepts of gendered “identity” and “self.”In this part, the most important humanistic elements in Gulliver’s Fourth Travel and “Khale Souskeh,” have been analyzed, and the stands of these two works on various doctrines have been compared. These works have mainly questioned liberal humanism for three major doctrines: man’s superiority to nature, essential identity, and binary of man versus nature. 3-1. Man’s Superiority to Nature Besides its focus on the notion of ontology and its challenge of humanist binary oppositions, post-humanism tries to destroy the existential superiority of man in existence, and this sometimes approximates to the border of satire. In other words, by highlighting the capabilities of other beings in nature (animals here), the liberal human-centered view, expressed in the form of ‘man as the center of existence’, is challenged and, along with that, ‘the chain of being’, once justifying this idea. Such stand substitutes hierarchical relationships with a rhizomic one, in which a horizontal relationship replaces the former vertical structure imposed on human and animals. 3-2. Essential Identity Satirizing human supremacy requires the creation of ‘in-between’ beings in these works. While these creatures look like animals, on the one hand, they also have the physical and behavioral characteristics of humans, and, consequently, create cultural structures which depict such ‘in-between-ness’. The heterogeneity that these creatures display questions all the essentialist doctrines, especially that of ‘fixed, essential identity’, to which liberal humanism has referred over centuries to justify its racist, sexist, and supremacist stands.3-3. Man versus Nature In works centered on animals, the first challenge the audience are facing is an entrance into a world where animals speak the language of the audience. This promises a different story. In fact, the ability of animals to speak is the first feature that moves animal boundaries; furthermore, it is at this time that the humanistic ‘ontology’ and the human/animal dualism are shaken. The reason lies in the fact that in the past, the most significant characteristic distinguishing humans from animals is their speaking power, and this power is drawn from one’s wisdom. Therefore, the existence of this power in animals presupposes special wisdom, which, if not higher than human wisdom, is equal to that.

Post-humanism, by providing such space of heterogeneity, makes a new sense of belonging to be formed, the outcome of which would be a challenge posed to essentialism. Accordingly, it questions liberal humanism and its discriminatory system since ‘essentialism’ is its building block. By challenging the ‘ontological" discourse of liberal humanism, blurring the boundaries of "self/other" and highlighting the concept of ‘fluidity of identity’, post-humanism can form a kind of ‘anti-narrative’ that tries to create a new culture, in which relationships are based on equality. Furthermore, it expands liberal humanism’s ontology and treats man as an entity that just coexists with nature. This expansion will later build up a better relationship between man and his environment and, thus, teaches children to act as such. Besides, by equating animals with humans, these works have tried to restore the lost balance of the universe, which has been exacerbated by the hierarchical structures of liberal humanist discourse and its efforts to conquer nature. Furthermore, they can provide some awareness to the children of the current generation about the status of man in nature, as another being rather than the only being for which the universe has been created. This knowledge modifies man’s ambition and makes him build up a kind of peaceful coexistence with nature.

Victor Emil Frankel (1905-1997) is an Austrian psychiatrist and the founder of the theory of Logotherapy. Logo therapy deals with the importance of understanding and acquiring the meaning of life and is in the line of existential psychotherapy or human psychology. Belief in an unconscious God is one of the foundations of this theory. Unconscious spiritual communication is in the form of prayers and prayers at the time of emergency. Frankel's spiritual unconscious is not related to a particular religion, it originates from human nature and Even in the hearts of those who do not believe in God, there is a Transcendental and personal God. Suppression of belief in God leads to neurosis and it is cured by becoming aware of the remembrance of God. The appearance of innate spirituality and attention to God is in a state of emergency and when a person has lost hope of any help. In this state, a person achieves an indescribable peace that cannot be justified by scientific principles except that this tension is naturally present in the person's unconscious.Undoubtedly, one of the most fundamental concepts raised in Rumi's thought is the relationship between man and God. In the stories of the Masnavi, he spoke about the existence of a transcendent power inside man and believes that the God-seeking nature of man requires him to remember him in his heart in difficult situations. Even if he does not believe in the existence of God and is a sinner. Those who unconsciously remember him in their troubles make the unconscious supreme God to their consciousness. Human neurosis originates from forgetting the remembrance of God, and its cure is the remembrance of God. It seems that Rumi`s mystical thought is somewhat different from Viktor Frankl's unconscious God. This research shows the basic similarities and differences between these two views and clarifies what points both thinkers have pointed out.The research questions are to what extent these two views are similar? And what are their possible differences and where do they come from? The hypothesis is that both thinkers generally have the same opinion and believe in the existence of an unconscious God. It seems that the main difference is in the sources of these two views. Frankel expressed this belief in the form of human-centered existential psychology and Rumi based on God-centered Islamic mysticism.

This is theoretical research based on written documents and sources, conducted in a descriptive-analytic method and with a comparative approach.  In this article, we examine the similarities and differences between Frankel's spiritual unconscious and Rumi's innate spirituality.

3-1. Unconscious God in Viktor Frankl's theory One of the foundations of Viktor Frankl's Logo therapy theory is the spiritual unconscious. He expressed this theory in the book the Unconscious God and believes that the word "spiritual" in this interpretation is without its religious meaning and only to show that we are dealing with a special human phenomenon. (see. Frankl, 2014:29) and only to show that we are dealing with a special human phenomenon. (see. Frankl, 2014:29)According to Frankel, the unconscious is divided into unconscious instinct and unconscious spirituality. According to Freud, the unconscious is the place of repressed instincts, while spirituality can also be unconscious. 3-1-1. Neurosis with unconscious forgetfulness of God Frankl believes that by suppressing something at the level of the conscious mind, that thing is pushed into the unconscious, and by removing the suppression, what is in the unconscious becomes conscious. Therefore, those who have repressed the sense of religion and belief in God in their existence suffer from neurosis. (See: Heydari, 2000: 334) 3-1-2. Trans logic and intuitiveness of the unconscious God Viktor Frankl believes in the presence of God in the heart, but God who does not understand logic and is only in the spiritual unconscious. (See: Marshall, 2017: 68) 3-1-3. Manifestation of unconscious God in all humans at the emergency time Frankel considers the heart of all human beings to be the place of God's presence and believes that everyone remembers him in some way. (Frankel, 2016: 156) Communication with the forgotten God enters the human heart more in times of emergency and distress and through prayers. (See. Frankel, 2018 A: 152) 3.2. Innate spirituality in Rumi's Masnavi The focus and destination of Rumi's thought is God. One infinite God whose essence can never be reached, but is present in the human heart. In Rumi's thought, the human soul has a connection with God in the inner hidden layers. The soul is from God and has temporarily descended to the world and finally returns to Him. Man, sometimes forgets his God-seeking nature and seeks the reflection of his existence in another. The unconscious remembrance of God is a proof of the existence of God-seeking nature of man. 3.2.1. Neurosis with forgetfulness of innate spirituality Despite the divine nature and connection with God, man sometimes forgets his theological background and falls away from him. According to Rumi, the basis of creation of all human beings is based on spirituality and divine presence in the heart. This spirituality is sometimes forgotten and people forget about "him". Rumi, like Frankel, believes that when a person forgets his spiritual nature and neglects the memory of God, he suffers from mental and spiritual diseases. The only way to cure this disease is to remember God and cultivate religious beliefs. 3.2.2. Trans logic and intuitiveness of innate spirituality According to Rumi, the understanding of God in all existence is based on the spiritual experience of man. God is present inside humans and is understood based on divine nature and love. Sense and intellect do not understand this transcendental spiritual existence and it is only a personal and internal experience. Rumi believes that God's existence cannot be understood by reason and logic, and understanding it is beyond logic. Therefore, it can be said that the basis of the similarity between Rumi's view and Frankel's theory is the inner belief in a transcendent and intuitive existence in the heart, which shows that the nature and creation of man are based on spirituality.3.2.2. Manifestation of innate spirituality in all humans at the emergency timeAccording to Rumi's belief, urgency and distress reveal and prove God's existence in the heart of human and make him aware of himself. In difficulties, man understands the God he has forgotten and asks him for his needs. A person who is oblivious to the remembrance of God becomes aware of his presence when he feels helpless and unconsciously prays.In the Qur'an, there is a story of a group of people who were in danger of drowning and saw no helper, so they sincerely turned to God.) Spider: 65 (Like the story of Daqoghi in the Masnavi, who saw the people of the ship caught in a storm, facing death and praying to God. Also, in the first story of the Masnavi, when the king saw the condition of the maidservant and the inability of the doctors to treat her, he went to the mosque barefoot and begged him for help. A man who lost his inheritance turned to God and asked him for help. In another story, a prince was caught by the magic of an old woman and fell in love with her. The doctors were unable to bring him back to normal. The king prayed to God and his prayer was answered. The old harpist picked up a harp from poverty, prayed to God and received God's mercy and forgiveness. In Masnavi stories, all human beings are in heart connection with God regardless of any religion or belief, Therefore, it is possible to consider man's attention to God in emergency situations as one of the commonalities of Frankel's theory of unconscious God and innate spirituality in Rumi's thought. 3.2.3. Divine providence is the reason for emergency situation to show innate spirituality Frankel believes that there is a cause-and-effect relationship between human urgency and prayer to open, but according to Rumi's belief, divine providence sets the stage for emergency so that man returns to his God-seeking nature.The emergency that God puts on man's path is the same care to turn his neglect towards God into awareness, because man is easily neglected. If someone does not deserve this care, he will not be in this position, like Pharaoh who did not even have a headache in his entire life, so that he would unconsciously pray to God. Nasuh was a man with a feminine face who worked in the women's bathroom. He had repented with his tongue several times, but he had broken the promise again. Divine Providence affected him in a difficult situation. One day, the king's daughter's pearl earrings were lost in the bathroom. They closed the door of the bathroom and searched the clothes, but when they did not find the gem, they asked the women to undress and this was the beginning of Nasuh’s true repentance. Therefore, in Rumi's thought, God exists before human emergency, and emergency is a tool to remember God, but according to Frankel's belief, God comes to the level of consciousness when emergency has occurred.3.2.3. God's success is a condition for displaying innate spirituality.According to Rumi, divine success is a condition of understanding God in the heart. God provides the necessary means and conditions for a person far away from Him, but He does not give this success to everyone. The issue of divine success is also the difference between the beliefs of Frankel and Rumi. According to Frankel, man is the initiator of the relationship with God. Based on humanist psychology, he believes that it is man's right to connect with God; That is, spiritual transformation begins from within man. The success of remembering God is for all people, including evildoers and sinners, and if God wills, He remembers Himself in their hearts. Rumi claims in his Masnavi that Pharaoh, contrary to his apparent enmity with God, unconsciously remembered him and used to pray with him at night.

The comparative analysis of Rumi’s opinions and Frankel's theory showed that Frankel's view is reductionist due to the basic difference. Frankel only believes in the positive effect of belief in God, but Rumi considers the spiritual dimension of man to be under God's will. Rumi and Frankel's views are similar in two basic aspects: The heart origin of belief in God and treatment with belief in God. However, there is a fundamental difference between these two ideas in the existential nature of God and the relationship between God and man. The most fundamental difference is in God's effectiveness beyond the conscious and unconscious aspects of man. Frankel considers urgency to be the cause of a person's heart's attention to God, but Rumi considers urgency to be a tool in the hands of God for human to pay attention to the origin and to inform the forgetful man. So, when God wants to reveal Himself to the human heart, He creates urgency in him to make him search for Himself. Therefore, according to Rumi’s view, in accordance with Islamic religious and mystical views, placing a person in emergency is a divine favor. But in Frankel's thought, the idea of ​​God originates from the unconscious of the human heart to enable him to overcome difficult situations. For the emergence of the unconscious God, Frankel establishes a cause and effect relationship between urgency and prayer for opening. However, according to the tradition of Islamic mysticism, Maulvi believes that God's grace puts man in a situation of emergency and the means to become aware of God are provided. According to Frankel, man is the initiator of the relationship with God, and the establishment of the relationship is from man to God, but from Rumi’s point of view, God is the initiator of the relationship and gives human success of remembering him. In a summary, it can be said that Frankel's view is a secular view of God, despite the spiritual dimension. This point of view confirms the therapeutic aspects of believing in God according to Rumi (religious and mystical approach). But from the aspect of theology, these two views are completely separate and even contradict each other. Beyond the therapeutic issue of believing in God, Maulvi considers the manifestation of belief in God in the human heart as a transhuman thing. But in Frankel's theory, attention to God is purely human and belongs to the immaterial dimension of human existence. With a functionalist and utilitarian view, Frankel considers the idea of ​​God to be useful and therapeutic for humans, but Rumi has an existential and ultimate view of believing in God in humans, beyond therapeutic utility.

Semiotics has provided researchers in the immediate past years with a tool for analyzing, understanding, and criticism of literary texts and discovery of hidden meanings. Semiotics has tried to unveil, decipher, and discover the deep meanings behind the structure. Amal Donqol (a contemporary Egyptian poet) and Siavash Kasraei (an Iranian poet) lived in their turbulent times. Political and social disorders intensively influenced the content and structure of their poems. The comparative semiotic study investigates meticulously and in detail the works of the Egyptian and Iranian poets considering hope and despair. It hopes to have a better and deeper understanding of the poets’ thoughts and spirits and their influence on their poems. Moreover, the study makes the ground for better presenting of the similarities and differences of their attitudes, as they live in rather similar conditions.Using the semiotics of the application of time, place, and myths, the study investigated the duality of despair and hope  in some poems of the two poets regarding the structure and poetic language. It tried to answer the question that how despair and hope have been presented in the poems and in mentioned components and how their poetic and artistic manifestations are.

 This descriptive-analytic study was done within the American framework of comparative literature.

Semiology (or semiotics) is a new type of criticism that has had a great impact on literary studies and related research. This field of study interprets literary texts according to such criteria and layers as time, place, intertextuality, narration, character, etc. This study explored the place, time, and mythical characters to show the appearance of hope and despair in the selected poems. The components work as codes for the poet through which he shows his inner feelings and imposes positive or negative meaning upon them. The analysis of the signs unveils the hidden layers of meanings in a literary text and familiars readers with the world, thoughts, and feelings of its writer.Time and place as signs and their signified are various and wide in literary texts and important for reading texts. The poets have used many words showing place and time. In many cases, adverbs showing the place in Donqol and Kasraei's poems lose the characteristic of being adverb of place and become a signifier having specific signifiers. The time adverbs have also been used in this way as their poems shows the change many times. The words become positively or negatively marked as they convey the poets’ feelings.  These words convey meanings different from their place and time meanings, which engages the readership with one of the dualities of despair or hope. Myth is also an important component that imposes meaning on the meaning in works of both poets. Using and recreating the myths, the poets communicate their ideals and spirits to the audience.

 The study investigated the duality of despair or hope in the poems of two poets based on the application of some components of the semiotics of time, place, and myths. The socio-political conditions that the two poets live in seem to be the same and their poems protest against their contemporary situation, but based on the mentioned examples one can say that when the poems have been composed, when death and despair were dominant in the mental space of poets, he optimistically expected a bright future, whereas death and despair are always dominant in Amal Danqol's poems. As a result of the different views of the poets, time, place, and myth have a hopeful and liberating application in the poems. In Amal's poems, however, the place, time, and myth components become nightmares of fear and failure, as a result of his sad and desperate creations. Finally, looking from semiotic analysis, it can be concluded that the fully optimistic and hopeful poems of Siavash Kasraei sometimes lack poetic fantasy and becomes similar to prose, making it a weakness of the poems. On the contrary, Amal Danqol's poems, though exaggerates in expressing darkness, they are totally strong and surprising sometimes regarding poetic beauties, creating new meanings, and linguistic deviations.

Women's writing was formed at the beginning of the 20th century following the women's movement to assert their rights, but women have been writing for a long time. Women writers have always tried to project their ideas by using writing and emphasizing female themes, and their goal was to redefine identity, break stereotypes and change the pre-defined values ​​of the patriarchal society. In this article, we are going to follow the social and literary activities of women in France by presenting a short history from ancient times to the present day, which leads to the improvement and promotion of women's position in society, then we will define women's literature, its characteristics and concepts. And finally, we will take a look at Persian women's literature, which changes a lot under the influence of French literature and currents such as feminism and the new novel, and we will show that Iranian women writers have also made great efforts to improve the social status of women. The purpose of this study is to provide a perspective of the historical course of women's literary and social activities, which can open the way for writers to conduct female-centered literary research in the field of comparative literature, and also lay the groundwork for studies in the form of social, psychological and feminist criticism.

The research tool of library resources and research documents is based on content and data research method. In the first part of this article, we follow a path of women's activities in the social and literary fields in France by presenting a short history from ancient times to the present day, then in the second part, we look at the expansion of women's writing and the influence of women's literature on the intellectual and cultural currents of society. We will discuss, and in the third part, we will examine Persian women's literature and how it is influenced by French literature and the role of Iranian women writers in improving the social status of women.

Literary works as the crystallization of individual and social thoughts have had a significant impact on the cultural and social upliftment of the society, in fact, a society can be known by examining the content and topics of its literature. Women have penned the distant past, but literary critics never thought that the writings of women writers could be a reflection of their inner and feminine characteristics. Real questions were raised about women's writing in the 20th century. Until then, only man thinks and does not consider woman as a human being who is the same and different from him at the same time. The written word and therefore literature has been monopolized by men, and the few women who have succeeded in raising their names in the history of world literature have not played a role in its fate and evolution. In fact, the term women's writing includes important concepts; this is because men's novels and writings are never mentioned, and this indicates a kind of intellectual superiority or even the real superiority of men's writings over women's; but women found writing a place for change, which provides the possibility of transforming social and cultural structures. Since women's movements are a social trend and literature is also considered a socio-cultural production, therefore, the mutual influence of these issues on each other can be investigated. Few books have written about the role of women in literature. As a reflection of society, literature is more than anything the fruit of time, place, view and social thought. Women, in turn, have a great contribution to the formation of world fiction. But have women's literature and writing influenced the fate and promotion of women's social status? What factors have played a role in the flourishing of women's writing, and finally, is the issue of women's writing limited to raising a literary feature or is it beyond this field? Due to the dominance of patriarchal culture, the image of women in literature is unrealistic, and in other words, women are interpreted as "other" in most literary works. . "Understanding the relationship between language and gender within the scope of linguistic studies is quite difficult, that's why the involvement of related social, historical and cultural studies is necessary" (Barekat, 2016: 36). Therefore, the social institutions that are reproduced in the literature are not only the expression of the individual thoughts of the artist, but also tell about the conditions of their time and society and are written based on the collective and group consciousness of their period. For a woman, writing was forbidden to enter the world and she always had the desire to violate this prohibition. Since the founding of the French Academy by Cardinal de Richelieu, for a long time only men could become members, and in fact, the Academy was like a guardian temple of the language. A kind of rejection that kept women away from a center of power, namely language. Although the mother is the first person who transmits it to the child, this deprivation actually indicated the reduction of the role of women in society, which led to many struggles to achieve their true position; Therefore, language and, as a result, literature, is the place to express many of women's desires, and they consider it a manifestation of equality between the two sexes. On the other hand, this issue allows them to occupy themselves with the creation of new literary types, create their own literature, and step into the unknown lands of writing. In fact, this non-acceptance by traditional literature prompts them to experience a new literature that is more free and easy. Finally, it can be said that if a writer's writing is considered feminine, it is because we are constantly faced with feminine themes. Expressing the inner experience and female senses is a new achievement of female writers for literature. But "the reflection of women's voices in the field of novels and literature is the only image of gender and social identification, and a review of the literature is indicative of this" (Tavakoli, 2012: 31). Women's writing style or feminine writing and the presence of women in the writing scene as a social phenomenon are not separate from each other because feminine writing is a song of difference and praise of femininity, and this is a kind of recognition for women who had to hide their identity under pseudonyms. It is also considered a social movement.

The intellectual conditions of the second half of the 20th century and its currents, such as abstract art, Einstein's theory of relativity, nihilism, the new novel, structuralism, the events of May 1968, made it possible for a critical-protest spirit to emerge, which, through access to language and speech, leads to liberation. Women contributed and opened new fields for women's writing in France. Under the influence of feminist trends, female novelists reached a new understanding of femininity and found more freedom to express their opinions and break tradition in the heart of modern fiction writing. In Iran, the number of translations of French works and the inspiration of feminist movements and the new novel provided an opportunity for contemporary women writers to rely more on the form and language of the novel and to experiment with new types of writing. Since 1339 and the birth of women's literature, the social position of women novelists as well as the number, topics and tone of women's novels have evolved significantly. Their widespread presence in the field of story writing was a reflection of the change in thinking and striving for freedom. The period after the Islamic Revolution can be considered as the period of establishing the position of women in the field of fiction writing, in which they sought to redefine their position in society by testing new forms and themes. Therefore, women's literature and writing has played a significant role in the cultural process of the society, presenting a new image of women and promoting their status.