فصلنامه إضاءات نقدیه فی الادبین العربی و الفارسی
پیاپی 38 (صیف 2020)

The beauty of the literary work, especially free poetry, is due to the cohesion of its different parts in form and content, so that it appears to the reader as a coherent construction of harmonious units from the beginning to the end. Organic unity is one of the most prominent issues raised after the emergence of free poetry of which the plot is the most important element. In this article, the authors examine the organic unity of narrative plot and its importance in forming organic cohesion and coherence of the constituents of poetry through the comparison between the pioneers of Arabic and Persian free poetry, Badr Shakir al-Sayyab and Mehdi Akhavān Sāles, from a comparative view point and reliance on the American school. They are also examine how each of these poets uses these elements. The findings of the research show that Akhavan is more successful in applying narrative plot, including rising and falling action (gereh goshāei and gereh afkani), in formation process of organic unity, because his poetry is in a clear linear process that is materialized this by using rising and falling action as well as logical systematic sequences of thoughts in which the richness of the Persian heritage in fictional language has been effective.

Positive psychology seeks "good living" and the scientific study of the "ideal man". It is a science that focuses instead of human weaknesses, mental illnesses and inabilities, on his strengths and abilities, such as hope, happiness, mental health, satisfaction, contentment, and bliss. Martin Seligman examines human emotions in three periods of time, the present (happiness, euphoria, passion and eagerness, being current), the past (satisfaction, pride and honor), future (optimism, confidence, hope and faith). He maintains when a person reviews his emotions, experiences and excitements in the present time and compares them with the past and the future, feels that s(he) is tranquil, secure  and joyful in present time, and must feel to have satisfaction and pride  compared to the past, and to have hope, optimism and faith compared to the future. The present article intends to show that in reading literary texts from psychology view point that reflects usually abstract concept of living and spiritual experiences of ancient Iranian nation, applicability of perceptions becomes more plausible. So, the article examines this experience in Hafiz poems that are comprehensive manifestations of Iranian living and spiritual experiences. Wisdom, Transcendence, virtues, hope as well as satisfaction and happiness, are examined from a set of capabilities based on evidences from Hafez Divan.

Love is one of the main concepts and themes in Persian literature. Attār and Mowlānā (Rumi) who are both nobles of romantic mysticism, prefer suffering in love to ascetic life. In the present article using comparative method, the manifestations of the lover and the beloved is analyzed in the odes of two poets and their views is extracted and expressed from one hundred verses that contain common and different views of them. This article aims to study the manifestations of the lover and the beloved in the odes of Attār and Mowlānā in order to describe similarities and differences between these two poets. This study is done through descriptive-analytical method. Findings of the study reveal that although there are differences between Mowlānā and Attār views in the issue of love, Mowlānā is greatly influenced by Attār, but has numerous abnormalities. Attār in his description of love, focuses more on bodily and external aspects rather than the mystical and spiritual aspects of the lover and especially the beloved. So that the bodily descriptions are more frequent. In Mowlānā odes, the descriptions of the beloved are totally mystical and even in the verses in which the poet, if necessary, describes the appearance of the beloved, they are accompanied with the mystical odour, so that the reader feels that the appearance of the beloved in these descriptions is rather symbolic.

The mysteriousness of the creation and the emergence of the world always leads human beings to find their answers in the world of myths. Researchers divide the myths of creation into two general groups: The myths of cosmogony that describe the beginning of the world in symbolic terms; and the myths of origins that portray the birth of plants, animals, humans, etc. The myth of light and darkness is one of the most universal cosmogonic myths that are strongly bound with mystical literature. Sohrāb Sepehri is a mystic poet, and his intuition of the story of creation is achieved through his poetry. In mystical intuition of his first poem collections, we encounter both of the two myths of cosmogony and origins, whereas in the later collections we encounter rather with the origin myths. In this article, we examine Sepehri’s Hasht ketāb (eight books) by a descriptive-analytic method. We will study Sepehri’s mystical intuition from the perspective of mythological criticism based on the light and darkness mythology in order to answer some of the questions of humans willing to know the creation.

"Zahāf" in  Arabic lexicon means 'to become remote from the origin; crawling of the child'. In Arabic prosodic terminology, 'zahāf' refers to poet's numerous options that make easy compose poems for Arab poets. In Persian poetry they are inevitable principles though are difficult to follow, make Persian poetry more harmonic. Arab poets compared to Persian poets have more options in using different forms of words. The present article by using documentary research, extracts zahāfs principles and their causes from different Arabic prosody books and compares them with Persian prosodic traditions. The comparison shows that Persian poets cannot follow Arabic prosody all the times. So, Persian prosodists explore new rules. However, Persian prosody is not so remote from Arabic prosody to make necessary completely new mechanism for Persian rhythm.

With the publication of newspapers, a new branch, the press satire, is separated from literary satire. Press satire changes depend on political, social, and cultural developments; it is unstable and sometimes even interrupts. Iran in 1350s has been one of the most troubled Third World countries in terms of unequal distribution of incomes. This article aims to study the patterns of class differences in Iranian society in the 1350s and to study the press activities of Abu al-Qasim Hālat at that time. This descriptive-analytic study extracts and analyzes the satirical poetry of Abu al-Qāsim Hālat from that period press. The findings of the study show that Abu al-Qāsim Hālat by use of simple words and slangs deals with issues such as the problems of the people and society, social inequality, criticism of  the tyranny imposed on the society, promoting relationships on standards, class distances and promoting corruption through which he paved the way of reformation in the society. With his humorous criticism he played a role in transformation of the social and cultural situation of Iranian society in the 1350s.