Confrontation and Analysis of Ahmad Matar's Poetry Titles with Seyyed Hassan Hosseini

Persian and Arabic poetry have been telling emotions, events and developments over the centuries. In addition to the content and themes of the poems, which are telling these points, the title of the poems, especially in the contemporary era, plays such a role; Because the title is the opening for the audience to the world of the text.
The ambiguous choice of the title causes the meaning of the text to be hidden; This is because the literary and artistic works are usually a collection of references to other texts, currents, literary schools and numerous cultural, political and social issues and the signs that are in the title of the work can come to the mind of the audience. It helps to understand the set of references - which are sometimes in-text and sometimes extra-text.
In general, the title of the poem is the identity of the poem. Every poet, during the writing of his poem, needs to separate the title and the text of the poem from each other so that the reader can remember and examine it when he sees the title of the work For this reason, it is necessary to choose the title for the poem and it makes it easy to study, memorize and recognize the poems.. In this research, the title of the poems of two poets has been examined from different linguistic and literary perspectives, the relationship between the title and the content of the poems, as well as the frequency of sensory-abstract concepts. 

In this research, which has been carried out by means of analytical-descriptive, comparative and statistical analysis, it has been tried to investigate the various linguistic and semantic angles of poetic titles with the structure and content of Ahmed Matar and Seyyed Hasan Hosseini's poems.

 The title in the term "is an appearance that indicates the inner or absent, and they say about it: an appearance, a sign or a sign for the inner; The title is a set of words that is the starting point of a research or a story or a key for a branch of science or an entry for a subject.
According to the mentioned definitions of the title, the title can be considered as a complete message and parallel to the text, which by choosing the title for a book is actually a kind of sign selection for the book because "the one who puts a title for something, in In fact, he chooses that title based on a certain sign; So the title is a sign and a name that indicates something.
The criteria for naming traditional poems are different from contemporary poems. These criteria can be achieved by referring to rhetoric books and tazkerehs. Naming based on the line of the poem, naming based on one of the focal words of the poem (such as the poem of Tarsaiyeh Khaghani or the poem of Hurayya Abu Saeed Abul Khair) or naming based on the rhyme have been among the ways of naming in traditional poetry
Considering the importance and role of the title in poetry, contemporary poets are constantly trying to choose different and varied titles. With the beginning of new poetry in Persian literature, many naming principles of poems were changed. Of course, the emphasis on the naming of poems had started before Nima and during the constitutional period. Printing and publishing newspapers and magazines and translating poetry played an effective role in this matter.
Sometimes, the spatialization of the poem is done by means of semantics. Vocabulary is one of the factors that help to expand the semantic implications and cause the expansion of the semantic domain of the poem. In literary texts, each word can take on new meanings apart from literal meanings. For example, the word winter means "the fourth season of the year"; But it has many implicit and symbolic meanings such as "coldness", "suffering", "prison", "tyranny" and... This is the reason why the mind familiar with symbolic poems, for example, upon hearing the name of the poem "Zimestan" by the Akhavan –e- Sales, finds itself in the space of poetry from the very beginning.
Ambiguity is one of the prominent features of contemporary poetry, and in literary criticism, it is considered one of the essence and basis of poetry. In some contemporary poems, the title of the poem can help to understand the topic and content of the poem and resolve this ambiguity. Many factors can play a role in the author's choice of title; In-text elements and extra-text elements.
The main tool that the author has for naming his work is the theme. The relationship between the title and the content can have two completely different sides. Sometimes the poet chooses a title for his poem that is in line with the text, and sometimes he may choose a title that is opposite and opposite to the theme. If the title is in line with the theme, it provides the reader with an image of what will come in the poem and what will happen.
Intra-textual or intra-thematic elements are said to be the elements that arose directly from within the text and establish a kind of dialectical relationship with the main text. Selecting the title based on the in-text elements with direct implication and relying on the text somehow creates a conversation between the title and the text. Usually, such titles play a prominent role in forming the horizon of the reader's expectations and provide the audience with more detailed information about the atmosphere that governs the poem.
Any factor outside the text that affects the atmosphere of the literary work is called extratextual elements. These external elements may be a cultural, socio-political event, a historical phenomenon, etc.
From studying the poetry titles in Matar and Hosseini's poems, we come to a number of social-political concepts, which include themes such as mocking ignorance and superstition, openly naming enemies, the spread of corruption and class differences, and the spread of poverty. These poets of sustainable literature have depicted their common spirit in their poems in similar conditions and with a close point of view in relation to the issues that have arisen at the level of the country, region and the world.
From the linguistic point of view, the poetic titles of both poets have a high frequency in word formation, two-part construction, and then three-part construction and more. This issue shows the relationship of both poets to word-making and presentation of concepts through words.
From a literary point of view, although Hosseini and Matar have used literary arrays in the titles of their compositions, and this indicates the use of lexical capacity to expand images, but they use a lot of euphemism and less use of metaphors, similes, etc. In the critical titles of Matar, it is due to the choice of exile and sojourn and being away from the impeachment and accountability of the government.
In terms of the relationship between the titles and the text of the poem, the research shows that these two poets pay attention to both the lexical connection (choosing the title from within the text) and the semantic connection (choosing the title from outside the text) in choosing the titles. have had However, by choosing simple titles from outside the text, Hosseini tried to express the meaning and purpose of his poems more eloquently and expressively.

From the results of the comparative analysis of the poetry titles of Ahmad Matar and Seyyed Hassan Hosseini, it can be concluded that choosing the appropriate title for the poems was one of the main concerns of both poets. They express the poetic titles with rhetorical techniques such as eloquence, metaphor, and allusion. Unlike Ahmad Matar, who mainly paid more attention to the lexical connection (choosing the title from within the text) in choosing poetic titles, Hosseini paid attention to the semantic connection (choosing the title from outside the text) by choosing simple titles to make the meaning and purpose eloquent. Express more and more clearly.