نشریه مطالعات ادبیات تطبیقی
پیاپی 28 (زمستان 1392)

The Holy Prophet، the lord and master of the world، has been a beacon to guide human beings. Eulogizing him is among the issues that have been worked on by so many poets from different languages and cultures after the advent of Islam. This topic became very important and of special delicacy for Arab and Kurd poets، who penned valuable works on the subject. Abdu-Rahim Baraei، a Yemeni poet of the seventh century، and Mullah Abdul Karim Modarres، a Kurdish competent contemporary poet and translator of the Holy Quran، are two poets that have dedicated most of their poetry to praise and eulogize the Holy Prophet. The authors relying on the American school of comparative literature use a descriptive–comparative method to study the Diwans of Baraei and «Sana va Sakala» (praise and begging) by Mullah Abdul Karim Modarres، there they study the features of the Prophet and his praise in the poems of these two poet and review the common points and differences between their poems.

Hafez is the greatest lyricist of the eighth century. He enjoys an excellent position in mysticism and poetry. Hafiz’s excellent ideas and poetic gifts distinguished him markedly from other poets. The human heart knows the language of his poems. Ethical issues and educational considerations in his poetry absorb everyone''s attention and stimulate the audience’s emotions. We know that Hafez had a good command of earlier poetry and these concepts have been integrated in his poetry. It is possible that Hafiz has been aware of the poetry of Imam Ali، because the didactic aspect of his poetry is similar to that of Imam Ali’s poetry which focuses on Morality and education. It is possible that Hafiz has been influenced by poetry of Imam Ali. This paper aims to reconcile the poetry of Hafez with the poetry of Imam Ali from the perspective of didactic literature in order to discover the similarity of ethics and education between them.

Quoting a Hadith from Imam Reza، distinguished interpreters of the Holy Quran argue that by “The Great Sacrifice” in the Holy Verse “And We sacrificed it with The Great Sacrifice”، the Holy Qur’an is pointing to Hussein b. Ali. He is “God’s Sacrifice” and “God’s Blood” whose sacrifice occurred in 61 A. H. Definitely he is the most spiritual and Quranic martyr in human history. Therefore، Persian poets and authors have created significant and influential poems on the magnitude of Imam Hussein’s spiritual uprising. The most outstanding historical theme addressed by various Persian artists is the unique issue of Ashura which was realized through the brilliant acts of Hussein and his loyal and valiant comrades in Karbala. Being inspired by this great and invaluable epic، Persian artists have created a prominent literature، including the most eloquent and exalting poems on Ashura. The present article aims to review Ashura literature، from Kasayee Maroozi to Behbahani Tajali.

T. S. Eliot’s peculiar symbolism is professionally distinctive. Eliot bases the atypical language of poetry on paradox، irony، ambiguity، myth، and symbol; and achieves objective and tangible imagery in an exclusively unexpected method، consequently intertwining sensibility and emotion. This multifarious method relies on Eliot’s theory of the objective correlative، which he applied to the Waste Land. The objective correlative firstly relies on the de-characterization of the author، this being the cornerstone of new critical methodology، and sees poetry as an independent and self-sufficient phenomenon that should be in turn analyzed through such internal and essential criteria as complexity، ambiguity، and textual cohesion and coherence in order to study textual unity and integrity. Secondly this theory is closely associated with symbolism both as a literary technique and school. Thirdly، there is the incorporation of tradition in poetry which reflects the neoclassical orientation of this theory. Adonis is among those poet-critics who have indirectly been impressed by Eliot’s theory of the objective correlative. Adonis، like Eliot، believes that poetry is not an expression of character but instead an escape from personality and character. Thus the speaker should look at past poems from a historical point of view، that is، he or she should absorb and digest the prior poem. Therefore، the poet should adopt a language different than the language of science and philosophy. Part of this peculiar language comprises of symbolism. This study attempts to first elucidate Eliot’s theory of the objective correlative، second to investigate its corresponding precepts and principles in Adonis’s poetic theory، third to highlight instances of this theory in the works of Eliot and Adonis’ contemporaries، and last but not least this study will discuss the status of Eliot and Adonis as the pioneers of New Criticism in the English and Arabic traditions respectively.

Parvin Etesami is one of the prominent and celebrated contemporary Iranian poetesses who enjoys a prominent place، particularly by dealing with certain issues such as women education throughout her poetry. Under the influence of her father Yusuf Etesam al-Mulk and his works، as translated from different languages، she successfully advanced her development and flourished in this field. Yusuf Etesam al-Mulk translated some books from Arabic into Persian including، namely، Qasim Amin Mesri''s book entitled Tahrir al-Mar’a on freedom and women education، to be partly published in Iran under the title of Tarbiyate Niswan (Women Education). This paper is an attempt to explore Qasim Amin Mesri''s ideas on the education of women and the effect on Parvin Etesami’s poems and views، therefore by studying their lives، works، and comparing their views the authors seek to make clear whether she was under his influence in her poetry or not، and if yes، determine to what extent she has received influence. Moreover، in this paper their approaches towards the necessity of educating women and Parvin''s particular attitude towards the capabilities of Iranian women without imitating Western women has been treated.

This article commemorates the first anniversary of the departure of Seyyed Mohammad Anwar. This contemporary figure had an excellent command of Persian and Arabic. This literary savant and scholar was a masterful poet composing in Persian and Arabic. The current work examines the excellent status of this scholar in contemporary literature as Anwar held a position of artistic and literary repute and originality in the field of Persian and Arabic poetry.

One of the ways man frees and redeems himself from misfortunes and calamities is sacrifice and offerings to the higher powers and controllers of the world. One can find different shapes of sacrifice in all monotheistic and non-monotheistic religions. Sacrifice can be divided in two kinds، namely، sanguinary sacrifice and non-sanguinary sacrifice. In the religious traditions of the native peoples of the American continent، there existed the cruelest types of sacrifice to calm the anger of gods or to attract their attention. This article supplies a brief account of the different kinds of sacrifice from philosophic and religious point of view. Moreover، studying the Islamic and Quranic tradition can shed light on the nature of this action among uncivilized peoples.

This paper is an attempt to analyze the Bakhtinian concept of heteroglossia in Mohammad-Ali Jamalzadeh’s short story “Kabaab-e Ghaaz” (The Roasted Duck). Analysis of such features as comic style، language، contemporary reality، character zones، discourse، and the author’s refraction and deviation gives the reader new insights into so far neglected or superficially considered layers and enables him/her to become more acquainted with the author’s language as well as with the relativism and dialogism of the ideological system of the story. Analysis of heteroglossia in Jamalzadeh’s works is important in that he is accredited with the beginning of realism in Iranian fiction. “Kabaab-e Ghaaz” is a comic short story and laughter، which is central to heteroglossia، acts as one of its conspicuous elements.