نشریه ادبیات پایداری
پیاپی 23 (پاییز و زمستان 1399)

Mysticism is the recognition and realization of the Truth with the heart, and the mystic is one who walks in this way to see God with his heart. Perhaps one of the best definitions of mysticism is: "Mysticism is nothing but an aesthetic and artistic view of theology" (Shafi'i Kadkani, 2002, 19). The best platform for the emergence of Sufi ecstasy is the field of literature, especially poetry: "Sufism is closely related to literature, including prose and order, as if the mysticism of the literary language, especially poetry, is more expressive in expressing mystical findings. A form of mystical language is a scientific or teaching language. In this language, a mystic tries to convey his findings to others in the language of order or teaching poetry, such as most of the poems in Mathnawi-e Ma'navi and Shabestari's The Secret Rose Garden " (Fanaei Eshkevari, 2013:56).Resistance literature is another literary variant influenced by the spirit of resistance and freedom of nations.  In our country, especially in the contemporary era, resistance literature has become more manifested by the literature of Holy Defense, which itself is a subcategory of resistance literature."Although there are differences among poems with themes of resistance in the period before the victory of the Islamic Revolution, the period of Holy Defense, and the postwar era, all of which are considered as periods of contemporary poetry, the common point among them is fighting against oppression, advocacy of justice, and call for resistance against the enemy" (Hejazi, 2008, 74).Eight years of Holy Defense for the Iranian people is a passion for epics, faith and mysticism, as warriors defended their religion and country with such a vision: "In the field of culture of Holy Defense, love and mysticism, valor and masculinity, courage and epic, sacrifice and devotion, faith in purpose and confidence in victory, and in one word, genuine human moral values emerged. The culture of Holy Defense is a collection of thoughts, beliefs, values, interests and attachments, common relations, and habits manifested during the Holy Defense. The areas of 'spoken', 'written', and 'behavioral' form this valuable and value-creating culture, and can naturally be transmitted to later generations" (Barzanoni, 2006,7).There are similarities between the literature of Holy Defense and mysticism, whether it is the literature of Holy Defense as epic literature, because it is the narrative of the warriors of Islam, and at the same time, our mystical literature also implies epic concepts: "A mystical front in our literature has exactly the epic form: the hero of mysticism is a hero who dreams of immortality (and immortalizes himself by joining the eternal God through fanna-fi-Allah); his enemy is a demon in the name of the soul, a pitched war between them. In this war, there is a talk of bloody roars and whales, love whales, sea of monotheism and other epic objects" (Shamisa, 2002, 46).The poetry of the Holy Defense, as its name implies, should have an epic color, and it may seem, in the first place, that this branch of literature is a subcategory of epic literature (although technically the Holy Defense literature is a subcategory of resistance literature) because it is about battle, courage, and preparation for sacrifice in the way of national ideals and values, but more carefully, the poetry of Holy Defense can be considered a subcategory of mystical literature. Iranian soldiers' view toward war was a spiritual one, and saw jihad in the way of God and being killed in war as equivalent to martyrdom, which is a high status. So, the poetry of Holy Defense, whichsuch literature, can also be mixed with mystical terms and interpretations.

Mystical terms and concepts are of great variety and illuminate the study of the poems of the Holy Defense, as well as how poets deal with them. One of the terms that has taken another color is the night. Mystics make use of natural phenomena to express their spiritual experiences, and night is of no exception. Mystical terms are not mono-semantics and sometimes accommodate fruitful meanings. Night is one of these terms, the multifacetedness of which becomes clear when taking a look at mystical texts, its. The night can be transcendent and precious, on the other hand it can be degraded and represent the darkness of existence and the symbol of the human soul. The purpose of this paper is to investigate and evaluate the 'night' used in the poetry of the Holy Defense with a mystical approach.     

The value and position of the night in Islamic culture is definitely derived from the teachings of the Qur'an and the prophetic tradition, and since mysticism is not separate from Islam, in order to better determine the spiritual position of the night, we have investigated it from the perspective of Quranic verses and hadiths, and then from the perspective of mysticism to evaluate the attitude of the poets of the Holy Defense with a mystical approach to the night by specifying the spiritual characteristics of the night. Night and its value in the Qur'an .The night is very important in the Islamic religion, because God has sworn to it in the Qura'n and assigned a separate Surah (Al-Layl) to it. In contrast to the day, which is special for working and trying to live a worldly life, the night is a good time for peace and stillness, and as a result, a better heart-focused attention towards God. This is why it is recommended in the Qur'an that: " Stand vigil through the night, except for a little [of it], a half, or reduce a little from that (Qura'n, 73:2-3 ).The special emphasis of the Qur'an on performing worship and night prayers has increased the importance of the night for Muslims, especially since worship in the night is a sign of the truth of the faith of the servants: "Indeed the watch of the night is firmer in tread and more upright in respect to speech, for indeed during the day you have drawn-out engagements" (Al-Muzzammil: 73: 6-7). In the Qur'an, God has mentioned thirty nights completed with ten other nights, which is a total of forty nights of prophetic solitude with God: " We made an appointment with Moses for thirty nights, and completed them with ten [more]; thus the tryst of his Lord was completed in forty nights" (A'raf, 7:142).The night is so high in position that the Qur'an was revealed at that time: " Indeed we sent it down on the night of ordainment " (Qadr, 97:1). The existence of the nights of ordainment for man is a blessing that makes man hopeful for both the erasure of previous sins and the determination of a good fate.-Night in Hadiths The night is also mentioned frequently in the hadiths of the Prophet (s) and the Infallible Imams (a), and as quoted by Muhammad (PBUH), this mentioning is influenced by the recommendations of the angel of the revelation: "Jibrail recommending me to worship during the night made me believe that the  good people of my Ummah would never sleep, but only a part of the night " (Ibn Babiway, 1988, 13). In emphasizing the importance of the night, the Prophet (S) goes so far as to draw a line around certain people and distinguish them from other people and gives them a special title: 'The Companions of Layl (night)', who are the noblest Muslims: "The noblest people of the Ummah are the bearers of the Qur'an and those who are familiar with the night"  (Allama Majlisi, Vol 110, 230).Imam Hasan al-Askari (a) says about night in a mystical expression that he considers night as the path to truth and proximity, and thus, the night is a shortcut that brings man to his great goal as soon as possible, which is the proximity to Allah. Indeed, the proximity to Allah and reaching the position of proximity to God  is a journey which cannot take place except by staying up during the night" be 2. The Verse 103 It doesn't arrive). (Allama Majlisi, vol. 75, 380).-Interpretations of The Night in Mysticism Night is one of the multifaceted terms in mysticism. From a point of view close to the view of the Qur'an and hadith, the night has a great status that has secrets in itself.In the heart of the night, God reveals his friends and lovers, because lovers visit friends and enjoy proximity to God in the solitude of the night, away from the sight of aghyaar:"When night comes, the special friends of God will be praying: their hearts in prayer, their hearts in need, their lives in secret... When it is time for dawn, it is commanded that these doors of the victory will be opened and the skirts of the holy throne will be thrown over and those closest to Him should be extinguished by the command of the glory. Then, Jabbar-e Kaenat, with his pride, says: Every friend came with their friend in private, where are my friends?" (Meybodi, 1982, 3710)But night is a multifaceted phenomenon in mysticism. The night can also be the bedrock of pure mystical moods and the joy of worship and make proximity to God possible, it can also represent the dark part of existence and take on a negative semantic burden. The night, in the words of mystics, sometimes refers to God, for example, Shaykh Mahmud Shabestari, with the term 'bright night', refers to the right to transcendence: "The meaning of the bright night in the words of Shabestari is the 'essence of ahadith', "which is likened to the night in colorlessness and indiscriminateness, because as there is nothing to be understood in the night, in this stage of nature, which is the stage of the demise of manifestations, there is no perception, for the inconsiderate nature of proportion and constraints is all vanishing. But, it is bright because the right of the Truth is bright in Himself and everything is takes light from Him" (Sajjadi, 2004, 497).Night is sometimes a symbol of the high levels of existence: "Also, mystics, since they often look at the truth and the heart of affairs, consider the night to have esoteric and spiritual meanings and characteristics, which are mostly interpretations; for example, ibn 'Arabi interprets Layl as intellect and clergy and lunch as a appearance and tangible, and believes that it is necessary to bring man to the limits of existence. And his senses are aroused" (Asadollahi & Fathi, 2015, 12,13).The night is an allegory for 'possible' because of its darkness, and from this perspective, its semantic burden is reduced: "The darkness of the dark night is a possiblity because the possibilities are 'zill' and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 497). Also, the night in the interpretation of the wisdom of Illumination is the stage of absence and 'the position of the standing property': "The standing property are also inferred as the darkness of the night. As the night of humanity implies, is the position of the standing property. The darkness of the night is the darkness of the possibilities because the possibilities are subtle and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 496).A corporeal thing is in the position of darkness and appears to Incorporeal things as a defect. The materialistic world is Absolute darkness: "Sohrevardi considers the materialistic world to be a shadow of a black stain on Gabriel's left feather because of its inherent darkness" (Amini Lari, 2010, 3).Sometimes night, blackness, and darkness and the day and light are interdependent, which refer s to spiritual conditions. In this definition, the night represents ghabz and obstruction: "This bright day is the sign of the covenant of the heart, and that dark night is the example of a resentment. O you! who are calm in the daylight of the state, do not feel safe that the darkness of the night is a suffering. That's why the states are sometimes ghabz or bast" (Sajjadi, 2004, 497).In a summary of the mystical categories mentioned, the night is seen from the perspective of time capacity, place of solitude, secret and romantic need, joiner with true lover and mystery or discover secrets. The night, due to darkness and anti-light, represents the ego and the dark side of the existence of man, the possible and the universe of matter, as well as the stage of non-existence. From a more specialized mystical point of view, the night represents the essence of ahadith as well as the highest levels of existence.

By examining the selected poetic evidences of the Holy Defense in this paper, the night with a mystical approach in these poems has various interpretations that this diversity of perceptions can be close to the multidimensionality of the night in mysticism.From one perspective, the night is at odds with light, which can represent blasphemy and falsehood, as well as sensuality and sensuality. The night is the time for the red death, which in the poetry of the Holy Defense is equivalent to martyrdom.The night itself has no credibility or value, but it is the people who pay the price for it by their behavior or devalue it.As can be seen and the evidence quoted in this article, the night in the poetry of the Holy Defense is consistent with its mystical interpretations, but in the poetry of the Holy Defense of mystical terms and interpretations such as the essence of ahadith, rationality and clergy, and the position of the lords of the fixedness is not a sign.Two things that are specific to the poetry of the Holy Defense and are new in mysticism, are the occurrence of red death or martyrdom at night and the last night or the night of the operation.

The issue of combating oppression and aggression is one of the important educational approaches for children and adolescents, which is based on national and religious teachings in the educational topics of Persian elementary school textbooks. Accordingly, the authors of the Persian textbooks have identified national and religious symbols based on resistance and have presented them in those books to provide or strengthen the context of resistance and epic motivations in the minds of children and adolescents in Iran, so that by getting a better understanding of symbols of resistance, they come to recognize their national background and religious beliefs based on resistance and be prepared to fight oppression and aggression. The present study aims to explore the resistance reflections in symbolic images in Persian elementary textbooks, with a descriptive-analytical approach. The research findings show that the authors via various religious, national and conventional symbolic images in the field of myth and history tried to present the reflections of resistance in Persian textbooks. These books have benefited from the symbols arising from the personal, moral and devotional approaches of Imam Ali (AS), the Ashura uprising of Imam Hussein (AS), the sacrifice of warriors and the martyrdom of martyrs, the myth of Rostam Dastan and Arash Kamangir and the historical uprising of Aryobarzan, which play a key role in explaining the concepts to the audience through visual and symbolic language.

Resistance literature has a history as long as human settlement on Earth, and resistance to the rebellious soul in the first Persian poems, which has appeared in the form of educational literature, is a form of resistance literature. The ancient literature of resistance, which is manifested in the form of educational literature, depicts the stability of man against the soul (internal enemy) and has its own narrative grammar (poetic structure), but the concept of resistance over time and based on the situation of human beings and their resistance against the invading foreign enemies is manifested in another genre called resistance literature with a different structure, so that elements such as temporal position, audience position, type of genre, etc. have been involved in the formation of these two structures. The present study has been done in a descriptive-analytical manner, using library resources to examine the effective narrative elements in the evolution of the structure of resistance literature in both educational and resistance genres. The results of the present study has shown that although the concept of resistance literature in both perspectives -old and new- means endurance, but elements such as: 'position of the narrator', 'type of enemy', 'concept of message', 'position of time', 'different themes' and 'type of genre' have created differences in the formation and separation of the structure of resistance literature in the two genres.

 Introduction:

Poetry has always had a very important status in the past culture of Iran. Social, political, cultural, religious and historical issues of Iran are reflected in the mirror of Persian poetry. In many historical periods, in addition to its artistic role, poetry has also played an important role in communication. One of the most important periods in which poetry played this role was the Constitutional Period. Poets of this period played the most important role in social awakening, and poetry was the most important tool for this purpose .Among the poets of this period, Farrokhi Yazdi should be mentioned as the most important poet of ghazal in the Constitutional Era, who used this form of poetry to express his ideas of resistance. That is why he has been called 'the poet of freedom'. In addition to poetry, he published articles in praise of freedom and the struggle against dictatorship in the Toofan newspaper. Sometimes the existence of epic themes in the poetry of some important poets of this period (for example Bahar) has led researchers to think that the main background of resistance poetry is epic. But if we consider Farrokhi's poem as a whole, we will see that he often has a lyrical mentality in expressing the theme of resistance, even when referring to an epic story.

Considering that in the poem of resistance, issues such as obligation, commitment, and expressing social issues of a historical period expressed in explicit language are important, and on the other hand, in lyrical poetry, the expression of the poet's personal emotions is important, The main question of the article is how Farrokhi Yazdi was able to Express resistance themes through lyrical poetry. Therefore, this article critiques the concepts of resistance in the language of his poetry by paying attention to the text of Farrokhi Yazdi's poetry and structural analysis of his poetic propositions.

Choosing the format of ghazal by preserving its linguistic and content conventions to express the concepts of resistance, using different components of lyrical language and emotional functions of language and combining concepts of resistance with the domain of personal feelings are some of the most important components that Farrokhi has used for expressing concepts of resistance in poetry. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and are combined with his emotional experience. In this type of poetry, often the personal 'I' of the poet is the main axis of the syntactic structure of the poem. The lack of freedom is the cause of the poet's pain and sorrow. Farrokhi can be considered the pioneer in combining the traditional spirit of lyrical poetry and explicit social and political concepts in the new era of Iranian poetry. Farrokhi Yazdi not only in his purely lyrical ghazal but also in other types of ghazals in general follows the tradition of Persian ghazals. In Farrokhi Yazdi's poetry, traditional contents of Persian lyrical poetry are always seen along with new themes and terminology of resistance. In general, he has been successful in combining these two components. The peak of lyrical mentality in creating visual compositions in Farrokhi Yazdi's poetry can be seen in the composition of The Beloved of Freedom. These resistance concepts for him are like the sacred and the beloved, which are constantly in front of his eyes and thoughts.One of the most important components of lyrical poetry in Farrokhi's poems is that he considers the concepts of resistance as a personal feeling. He considers the issues of people's resistance as a 'value'. His strong faith in these values and the manifestation of this faith in his emotional and intimate poetry makes him seem like a lover who has only the desire for freedom in Iran and is ready to sacrifice his life for 'freedom', 'homeland', and 'justice'. The most important feeling that connects Farokhi's lyrical mentality with his idea of resistance is the feeling of 'loving'. This feeling is also the most important feeling in Persian lyrical poetry. Love and affection are the product of the feeling of love that has created lyrical and mystical poems in ancient Persian poetry, and in Farrokhi's ghazal shows the poet's connection with resistance components such as freedom and homeland.

Considering Farrokhi's poetry as a whole, we will see that he often has a lyrical mentality in expressing resistance issues. The manifestation of this attitude in his poetry can be measured according to two characteristics: Farrokhi's first step in expressing the concepts of resistance is the use of lyrical language; the second component that makes his poetry lyrical is that he considers the concepts of resistance as a personal feeling. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and combine with his emotional experience. One of the most important manifestations of this feature is the use of the emotional function of language. The lack of freedom is the cause of the poet's pain and sorrow. This is as sad as the distance of the beloved from the lover in ancient lyrical poetry. On the other hand, the concepts of resistance, especially 'freedom', are the main purpose of the poet's sense of 'love'. The poet offers his most intimate personal feelings for freedom. Freedom is the beloved in his poetry.

Introduction  :

Context is a set of elements and details of field, place and time that determines the conditions for the production and reproduction of meaning in a literary work. The analysis of the effects of resistance memoirs with linguistic and metalanguage features involved in creating meaning indicates the quality of the reciprocal relationship between language and discourse, as well as the relationship between narrative characters. The study of how meaning is transmitted as knowledge in cognitive linguistics has been considered as contextualism. Contextualism is a part of cognitive linguistics in contrast with reproductive linguistics, and is influenced by the hypotheses of Edward Sapir and his colleague Benjamin Li Wurf about linguistic relativity (linguistic relativity hypothesis) based on cultural diversity, and is also influenced by cognitive psychology, with a similar approach to the functional approach (see: kamri, 2011, 42).In the last five decades, functional and semantic linguists have identified a set of details and elements in organized texts that include context, subject, situation, time, and place. They call this set of details and elements context. In fact, 'context' is a set of conditions, in which the text and paratext have been produced.

In this paper, with a descriptive analytical method, we have tried to examine the most important linguistic and metalinguistic (paralinguistic) factors in the function of multiple layers of elements and context details in creating and reproducing meaning in the memoir The Foot That Remained. The purpose of this study is to show the quality, unity or dispersion of the meaning of the work at the time of occurrence, production and reproduction of events from a linguistic-cognitive perspective.

The new critique has received the terms 'context' and "context analysis" from cognitive and functional linguistics, in the last two decades. Morkeriger (1956) first used it in the sense of the aesthetic experience of the literary work as a completely complex, self-reliant and unique world (Ghasem nejad, 1997, 192). This approach found a prominent place in poetry and the separation of poetry from prose, so that phonetic ideas, order of images, the effect of vowels and consonants in the verbal context and meanings are induced, and textual references refer to the non-verbal context of poetry. (Volk, 2004, 500).One of the most important reasons for paying attention to context in literary works is the distinguishing feature of literary language from everyday language. In fact, "words are motionless in the context of everyday language and cannot transcend our perception of things, but art seeks to convey the sense of things as they are perceived; not as they are known” (Bertens, 2008, 45). In fact, discourse and anthropological studies can be achieved from within the context of a work, because language communicates fluidly and dynamically between itself and the context to create text in accoradance with the linguistic context and the properties of that context. Because the text does not only have a meaning and is not just a means of transmitting meaning (Mohajer& Nabavi, 1997, 27).The study of interpersonal, sociological, and historical elements in the West is an interdisciplinary approach that has developed since the second decade of the nineteenth century. In the Islamic world, the debate over how to create the interaction of words for communication has been of particular importance too.Context works as a dynamic element in relation to antecedent and precedent elements to produce meaning. The set of context-building elements, including verbal, cultural, and referential background, is placed in an environment called the context (Fowler, 2016, 155).

By studying the context of The foot That Remained collection of memories, it became clear that the study of meaning in the text is related to recognizing the quality of the elements that make up the text. This connection is a good way to better understand the literary capacities of a work. By identifying the linguistic and situational context of the collection, the way meaning in the two parts of the war and captivity was produced and reproduced was shown. Hosseinipour has brought the intertwined elements of context in interaction with each other to an end of suspending meaning at the time of text production. In this work, the author, using his linguistic creativity, while using linguistic context, has also used situational contexts in the appropriate setting. By creating an atmosphere created by the linguistic and situational context of the work, he created a kind of framing so that the reader would be in the position of narration along with him, and in this way, his understanding of meaning would be more accurate.By using cultural and situational context, Hosseinipour has considered concrete elements outside the text in his narrative. This method allows the linguistic context to show a new understanding of the world around the front and the narrator during captivity, in communication with and accompany of the elements before and after it. In some cases, he uses linguistic knowledge to move some grammatical elements against the rules of language to help highlight a certain part of the text. Part of the linguistic and external references of this work include codes and signs of concrete subjects and refers to matters that are out of the immediate context of speech in time and place. One of the most central concrete issues in the situational contexts of this work is manifested in the dual confrontations of good and evil. In some cases, this confrontation is manifested in the form of verbal satire and in others in the form of myth. The narrator creates a situation that brings the narrative closer to reality by going back and forth between the sub-narrative of the signifier in the socio-cultural context, as well as explaining its position and interactions with it.

Resistance literature usually describes the heroism, struggles and sacrifices undertaken by a nation or ethnic group against another nation or ethnic group that is occupier or aggressor (Mirsadeghi, 1998, 16. Sangri (2005) considers the struggle against internal tyranny or external aggression in all political, cultural, economic, social, and resistance spheres to be at the heart of the works of sustainability literature. (p.45). In contemporary Persian language and literature, the poetry of the Islamic Revolution, especially that of the 60s coinciding with the Holy Defense, "is a reflection of the militancy, stability and heroic mobility of contemporary Iranian youth in protecting the borders and homeland of their ancestors" (Rastegar Fasaei, 2002, 363). "Holy Defense Poetry is a combination of epic and lyrical layers and didactic veins" (Farhadi, 2018, 194).Although Iraj and Houbare is a lyrical poem, its composition during the imposed war and its incorporation of epic themes and concepts, has made "the study of the cycle possible within the context of resistance literature, culture of the front, and war literature" (Mirabedini, 1999, 174). Qasem Larbon (Rahimian) was born on January 1, 1914 in Babol. Larbon's nickname, in addition to referring to his birthplace, expresses his love and affection for Mazandaran. He worked as the French language teacher of the high schools of Babol and selected writing as his main occupation. More than 20 works of fiction, several plays and a collection of poems are the result of his work (Mirabedini, 2009, 3). The poem Iraj and Houbare, as his first book of poetry in 1011 lines, was first published in 1984. Larbon died on October 23, 2012 in Tehran. Addressing sustainability literature separately in poetic, prose, and even dramatic formats requires its own audience; But it seems that writers and poets have so far failed to present a remarkable work combining sustainability literature and lyrical literature. Larbon has been able to highlight these two issues in the form of a long and beautiful cycle, and now, the title "Epic of Love and War", has provided the motivation and necessity of the present study.

This research is written based on a descriptive-analytical method and its unit is the verses and lines of the poetic cycle. Due to the fact that the lines of verses are not numbered, the reference to the verses is based on the page number of the book (printed in 1984). The statistical findings of the research are based on the percentage of frequency of components and variables in relation to the whole poetic cycle, which is also shown in the form of a diagram.

Larbon is not a poet of revolution and war; but, the spirit of fighting against oppression, resistance and persistence against the ruling power is depicted in the form of chronology in stories such as: "Nestless Birds" (2000), "Bitter Bread" (2003), "Spark in the Dark" (2007) and "Abyss" (2009) and in the poetic cycle of Iraj and Houbare, he has portrayed this spirit against the aggression of the external enemy.  The literature on the stability of the Iraj and Houbare poetic cycle is examined in eleven components. National symbols are one of the most important components of the resistance literature in this collection; The name 'Iraj', one of the main characters in the story, is associated with the ancient ancestors and national symbols of the glorious history of Iran. The name of 'Fereydoun' and the reference to 'generation' and 'pure origin' also emphasizes the national symbols. The use of the names of 'Iraj' and 'Fereydoun' at the beginning of the poem shows that Larbon considers the historical and mythological nature of these men, and the story of Larbon's Iraj is also reminiscent of Iraj of Shahnameh. Respect for the homeland is another component highlighted in this collection such that Iraj prefers his homeland to his beloved and sacrifices his life to protect it. Expressing bravery and heroism is another component of the sustainability literature. In the poetic work of Iraj and Houbare, such bravery is not exaggerated but is depicted naturally and dramatically from a real scene. Martyr and martyrdom are among the main themes of the literature of sustainability, especially in the era of Sacred Defense, whose sanctity is multiplied by religious values​​. Larbon provides a magnificent description of Iraj's martyrdom in this poem.However, in the poetic works of resistance literature, no work with this theme can be found. However, in the poetic work Iraj and Houbare, the lyrical aspect of the poem is dominant over its epic aspect; But Larbon has been able to address all aspects of defense and war, including the role of women as one, which has received special attention due to the love story of this collection. The other part of the epics and poems of stability is related to the period after the brave martyrdom of the men in the field of struggle, which is also mentioned in this poem which depicts the conditions and states of Houbare and Iraj's mother after Iraj's martyrdom. Addressing the issue of war, battlefields, and operations is one of the components which has been widely reflected in the sustainability literature.In this poem, too, this important point is well illustrated in the letter that Iraj writes and sends to Houbare; this letter does not contain the usual romantic words of the lover and the beloved. The other components that can be referred to in this collection includes: description of the actions of the enemy, the eternality of the martyr, the use of military terms and phrases, and prioritizing the love of the homeland over the love of the beloved which is well illustrated throughout the collection.

Resistance literature, which is tangible in all periods of a nation's history based on the prevailing political and social conditions, and is crystallized in the poetic and prose works of poets and writers, is a literary manifestation of resistance and perseverance. The study of resistance literature in the lyrical collection of Iraj and Houbare shows that according to the findings, the frequency of resistance literature in the collection is 26.9%. Although the lyrical aspect of the collection dominates the epic aspect, Larbon looked at different aspects of resistance literature. Larbon has well been able to align the components of the resistance literature with the lyrical theme of the collection, which supports the research hypothesis. The opposition of ideal love and love for the earthly beloved has led the collection toward the literature of resistance.A tangible, true story taken from the contemporary history of society, which is not only made by the poet, but beyond that, is on a subject the audience is familiar with and identifies with it. Among the components of the resistance literature, due to the composition of the collection  in the context of the imposed war, battlefield staging and military terms have become more frequent than other components. Another feature of this work is the role of the family, especially the mothers and wives of the Holy Defense warriors, which was not paid much attention in other works of the poetry; However, this component is not an insignificant issue considering the content and lyrical load of the collection - if not highlighted - and it has become more frequent than other components.

Religious, moral and mystical beliefs are rooted in the ambitious spirit of man and his instincts for wanting the more and the better, and his higher needs such as the need to move. These innate tendencies have led man to the beliefs that have been and will be inseparable from his social and personal life for a long time, and it is natural that writers, who are themselves part of human society, reflect these tendencies and beliefs in different ways. After the revolution and with the beginning of the imposed war, there was a fundamental change in the religious view of many writers and unlike many writers before the revolution, their perception of the religious life of society influenced by the realities of society and the different presence of religious thought, a positive and realistic perception. Abdolmajid Najafi is one of these writers after the revolution and who has a semantic view. In this research, the reflection of religion, ethics and mysticism in the novel With cups of hemlock by this author has been studied. In this novel, he has depicted moral and religious behaviors and their spiritual perceptions with a meaning-oriented perspective and bringing opposite and opposite spectrums, and has presents a spectacular picture of religion and meaning. The beliefs and spiritual behaviors of the main characters of this novel are the main elements shaping the action of the story; characters who are responsible people with pleasant and sociable religious beliefs and far from superstition, those who endure suffering in fulfilling their responsibilities and fulfilling their beliefs, endure hardships and ridicule death and captivity.

 Introduction  :

During The First World War, most of the poets and writers participated in the war fronts and wrote their poems, experiences, observations and stories in the forms of story, drama or memory. This issue established a new genre in the western literature called 'war literature' or 'resistance'. Often, these works are merely 'war literature' that focuses on the martial men's war  in war fields, destruction caued by war, as well as killing people in the front line and behind it.

Regarding to the cinema adaptation of literary works, the following articles can be referred to: “The comparative analysis of five cinema adaptive films in Iran cinema with the stories text related to them” written by Siyavash Golshiri and Nafise Moradi.”  “One thousand and one night in literary recreation mirror”  written by Rohollah Rozbeh, and, “The role of the media in production of meaning: The comparative analysis of Dash Akel’s story and film” written by Zahra Hayati and Reihane Ghandi.  

3.1. A Summary of The Third Eye Novel This novel is, in fact, a story about thirteen teenage students residing in Bijar, who decided to go to the war frontline together. Despite their parents' dissatisfaction, they could finally get their permission. after having finished their educational course, they all departed to war. The first operation they took part in was Valfajr  Mogadamati. They arrived at the paved road between Fakke and Chazabe sooner than they had predicted. These students realized that the military operation was unveiled to the enemy because of the enemy’s trick. As a result of this, some of these students were lost, some became captive among this dispatched group. Only one injured person succeeded in coming back to the homeland. All of captives returned to Iran after passing seven years in prison. Also, after fifteen years, lost people’s corpses were brought to Iran. But, the main theme in the above mentioned novel is their families’ restless waiting. 3.2. A Summary of Akhtar and Agitation Days Story This book consists of eleven stories, the last of which is Akhtar and agitation days. In fact, this story is a summary of The third eye. Here, the story writer has omitted the Bajarian’s days in captivity and considered Akhtar the same as the hero's mother in The third eye. In The third eye, Ja'far was Akhtar’s son, but he was replaced with Yousof  (Joseph) in this story. 3.3. Track 143 Film Actually, this film is about Olfat and Younos (Joneh). Younos and his three friends went to war. Among these, Younos was lost, one of them was martyred, one person got captive, and only one man became injured and could come back. Throughout fifteen years, Younos’ destiny was unknown to Olfat. She was aware of Younos’ martyrdom after the returning of the captive man to home. 3.4. Similarities between Film and Book 1- Some teenagers’ going to war is the story of the book and film. 2- In both cases, one person became injured and then was hospitalized in Mashhad Hospital. 3- The village inhabitants became informed of captives’ conditions through one of the captives.  4- One of the young men was martyred.   5- One of the villagers’ inhabitants went to the war zoon as the representative of the villagers.  6- One villager that travelled to the war zoon in order to find the dispatched teenagers got disappointed. 7- In both the book and the film, the missing person’s mother did not know anything about his lost son. 8- The lost person’s mother became hopeful after a man’s calling, but she came to realize that there was no news about his lost son when visiting that man in his home. 9- The lost soldier's mother was suggested to visit a fortune-teller. 10- The density of Akhtar’s or Olfat’s lost sons became clear after fifteen years. 11- Akhtar or Olfat believed in the superstitions. 12- Akhtar or Olfat tied a radio to her waist to be aware of her lost son’s conditions.   3.5. Differences between Film and Book. 1- In The third eye Novel and Akhtar and agitation days Story, all people from Bijar that went to war, were students. But in the film, all people were working in the mine factory. 2- In the novel and book, the dispatched people came from Bijar in Kordestan. While the dispatched people in the film, were from villages of Kerman. 3- In The third eye Novel, the teenagers, at first, were fifteen people. Finally, thirteen people remained after two persons’ leaving. In Akhtar and agitation days, there were nine people. Seven people remained after two people left that place. And in Track 143 Film, four people went to war. 4- In the novel, the names of mother and her son were Akhtar and Ja’far Rezaee, whereas in the book, they were Akhtar and Yousof. Their names were Olfat and Younos Mirjalili in the film. 5- Younos gave her mother a radio in the film. While this was not the case in the mentioned books. 6- in The third eye, Akhtar had five children and also had a closer relationship with Ja’far in the novel. In Akhtar and agitation days, Akhtar had five children, too. But here, she had a closer relationship with Yousof. But, in the film, Olfat had two children, she had a close r relationship with her Younos.  7- In the books, parents did not permit their children to go to war. In fact, the students got permissions based on Imam’s order telling that going to the war was a collective duty. While in the film, the teenagers attended the training course secretly. 8- In both books, Ja’far and Younos fell in love with the girl in their neighborhood, called Nahid. But in the film, Younos fell in love with his aunt’s daughter named Maryam. 9- Akhtar’s husband was alive and helped her in the books. But, Olfat's husband had died long before, in the film. 10- The Bijari teenagers received training in Yazd in books. While in the film, the teenagers' training was in Kermanshah. 11- In the books, the Bijari inhabitants gathered in a special place called Maghar (the site) and asking about their children’s conditions. But, in the film, while behind the carpet loom, Olfat got informed by TV about how the military operation was unveiled to the enemy.   12- In the books, one of the parents of those from Bijar came to know about  Khalil Agha's son being hospitalized in Mashhad. Whereas, in the film, Olfat went to the mine to see Sayyed Ali where she was informed about Habib being found in a hospital in Mashhad. 13- Samad Agha, as a military man, went to the war zone to get some information about the lost people, in the books. But Sayyed Ali who was a miner, did it in the film. 14- In the books, Akhtar heard from Batoul that Iraq Radio announced the lost people’s names after each military operation. But, in the film, Olfat got aware of this by Sayyed Ali. 15- In the books, there was no news about the marriage of Ja’far and Yoosof's beloved. While, in the film, Olfat’s sister visited her and got permission from her to accept Maryam’s suitor's proposal. 16- In the books, Akhtar’s husband wanted her to give Kheirat (eleemosynary) to people. But, in the film, Nane Jan demanded this activity. 17- In the books, one of the neighbors told Akhtar a fortune-teller’s name. Then Akhtar visited him. However, in the film, Hossein Agha, working in telephone booth, gave Akhtar the name of a fortune-teller. 18- In the books, an unknown man telephoned Akhtar and told her about her son’s being in captivity. Akhtar found that the news was not true and this false news was done by Komalea and counter-revolutionary people. But in the film, a man called Younos Mirjalili’s mother instead of Yoonos Mirrahimi. 19- In the books, there was not any news regarding how the martyr’s corpse were found. While in the film, a soldier dreamed of the martyr telling him about his burying place. 20- In the books, the martyr’s mother tied a radio on her waist for a long time. Ultimately, she heard that her son’s corpse was found while she had the radio on her waist. But, in the film, Olfat heard that news when she was separating the radio of her waist.  21- Mash Bagher told the news of the war ending to Akhtar in the books. However, Sayyed Ali announced this news to Olfat in the film. 3.6. Track 143 Film Addaptaion Type of The Third Eye and Akhtar and Agitation Days Books The type of adaptation in the film was 'Free Adaptation', because the adventure site has been changed from Bijar into Kerman. In this film, the students were replaced by the mine workers. By reducing the characters, she created some new characters. The narration of the novel and book was omniscient and a flashback. The writer changed some names. Also, she deduced the characters into four. There were no parallel story in the film. The success of Track 143 Film was due to two reasons: First, the film tried to arouse the audiences' identification by its realism. Second, the director borrowings from the film The immigrant produced by Hatamikia.

Narges Abyar wrote Akhtar and agitation days Book and The third eye Novel. Later, she made Track 143 Film based on these books using 'free adaptation'. By some changes like omitting war scenes and the dispatched characters’ captivity period, the change of students into mine factory workers, the change of Bijar into Kerman, and especially highlighting the relationship of the mother and one of her special child, the film producer tried to showing a loving relationship between mother and a child. also, the radio was a barrier for mother and child’s meeting. When the radio was put aside, this mother reached her child. It is necessary to know that the film producer had no way to achieve her goal except by 'free adaptation.

Contemporary undesirable events in Islamic countries have given rise to resistance literature. Resistance literature is one kind of committed literature. Such literature, due to social, political, and historical issues of each nation, has different reflections compared with other periods. We can name Abūtaleb Mozaffari, the Afghan poet residing in Iran, and Jaber Qumayha, the Egyptian poet, as two of the many poets who write in this genre. Sayyed Abūtaleb Mozaffari dedicated the greater part of his book to the resistance and sacrificing of Afghans. He, in his poetry book How an eagle dies?, worked on the distasetful and adverse life events of the Afghan nation. Jaber Qumayha, the Egyptian poet, did so as well because of being in the border areas near Afghanistan and witnessing all kinds of transgressions against the frontage of this Muslim nation. He reflected his literary commitment in his poetry book To the Jihad of Afghans ... I Sing, and wrote about Asghans' bravery. In the present study, the authors have made a comparative comparison of these two poets' resistance ideas in order to illuminate the difference in their common themes of resistance. Jaber Qumayha, as an Egyptian poet, looked at Afghanistan's resistance literature from the viewpoint of a committed poet; However, Sayyed Abūtaleb Mozaffari was present in the jihad as one of the Mujahedin. This difference in viewpoint has added to the literary beauty of their poetry. In this comparative study, we surveyed the common themes of the two poets' books, based on the American school. We concluded that the manifestations of resistance such as the reflection of suffering and hardship during war, the spirit of fighting, the memorial of martyrs, being left behind the caravan of martyrs, inviting to alliance and avoidance of dissension, and cultivating the spirit of hope and self-belief have a very high frequency in these two books.