ویلیام باتلر ییتس

Translation of poetry has been a subject of scholarly interest for centuries. It poses numerous challenges, including the difficulty of conveying the poet's intended meaning, preserving the poetic form and structure, and retaining the emotional impact of the original work. The primary purpose of this study is to gain a deeper understanding of the translation process, particularly when dealing with poetry. By employing Conrad Potter Aiken's analytical approach to translation, this research seeks to shed light on the cognitive aspects involved in the transference of poetic meaning from one language to another. Through a case study of the translation of "When You Are Old" into Azerbaijani Turkish, the study aims to explore the intricate decisions and creative adaptations that the translator had to make while preserving the essence of the original poem. In the second attempt, the translation of “When you are old” is compared with some translations in Azerbaijani Turkish (Sabir’s translation of Hafiz), Persian (Nasime- Shomal’s translation of Sabir), and English (Fitzgerald’s translation of Khayyam) to present a crosslinguistic analysis of poetic translation to study the qualities of successful poetic translations. The results of the paper showed that translators of poetry, to achieve a successful translation, must be successful in transferring both form and content. The conveyance of meaning in poetry translation can be similar to the conveyance of meaning from any text, and if the translator masters both languages, it can be possible. However, to covey the form, the translator must be a poet. The investigations of Turkish, Persian, and English translations showed that mastering the respective prosody is not enough, and the translator must possess poetic wit and he must be a poet himself. This study also showed that the poetic translation can be successful if it looks like a poem in the target language. Moreover, one of the criteria for examining and investigating the translation is referring to the successful translations of that language.

Apocalyptic literature appeared to disclose human’s anxieties in a complicated world. The present study aims at indicating roots of such a literature and displaying the so called Apocalyptic poetry at the Modern age. Hence, this study, while emphasizing American school of Comparative Literature, focuses on two patterns: one is genres and forms, and the other is motifs and types. It is attempted to reveal how Ahmad Shamloo (1925-2000) and William Butler Yeats (1865-1939) came across such a genre in their poetry, and what were their major attitudes toward it. Apocalyptic issues and concepts are various, but this study wished to concentrate on the most distinguished ones in Ahmad Shamloo’s »Journey« and William Butler Yeats’s »The Second Coming«; they are: revelation and poetic contemplation; prevision and exhortation; millennium and end of history; rough language. The results indicates that both poets were familiar with this genre, and far from being influenced or putting influences on each other, the motifs of Apocalyptic literature were strongly present in their selected poems.

This article is intended to provide a postcolonial reading of Nativist works by Nimā Youshij and William Butler Yeats. In postcolonial studies, a nativist writer and artist is someone who exploits the customs, traditions and folk art of his country for reporting and poetry composing. A nativist writer or artist refers to the roots of his culture and avoids imitating Western culture. Edward Said's defines the concept of nativist writer beyond this and knows him a thinker who uses not only of his native art and culture, but he also uses structures and methods of Western culture to express thoughts and feelings of their land. Yeats, Irish poet, is example of this definition who borrows the findings of English tradition and culture to express concepts and recovery Irish culture. The authors intend to introduce Nimā Youshij as a nativist poet using the definition of Edward Said, who is the founder of modern poetic culture in Iran with the help of Western free verse.