نشریه ادبیات تطبیقی
پیاپی 28 (بهار و تابستان 1402)

Stories and legends are like ships in the direction of the wind, moving east and west, north and south, traveling from one land to another, and sometimes changing from one form to another. The process of development and metamorphosis of these stories can usually be traced, despite their ups and downs. Among the most attractive examples of this type of story are those that have humorous content, and they have certainly played an important role in creating pleasure and entertainment for people in different nations. Since such stories were usually presented as anecdotes and in a short form, they could be passed on more quickly. One of the most famous comic characters in Iran is Molla Nasreddin, who has a long history among Iranians and other people. His popularity, presence, and influence are such that many instructive hints and answers are attributed to him and he is effectively represented in folk literature and Persian proverbs and sayings.The fact that stories have been used since ancient times as one of the best methods of education prompted us to look for similarities in the legends and stories of other peoples. Compare with domestic examples. Among the different countries, the German fairy tales collected by the Brothers Grimm seem to be more similar to the stories of Molla Nasreddin. In this article we will try to answer the question, what are the similarities and differences between the themes of the stories of Molla Nasreddin and the fairy tales of the Brothers Grimm?

The method used in this research is descriptive-analytical. The data has been analyzed by content analysis technique and library documents have been used in it. The research approach in terms of comparative literature is based on the American school.

From the distant past to the present, wise people have told stories and legends to guide others and teach them important life lessons. The problems that people faced on a daily basis required solutions, which were often found in stories. On the other hand, people's dreams and fantasies, and even unattainable desires could come true in stories and sweeten their palates, even if only for a short time. In the following article, we will review the summary of some stories of Molla Nasreddin and related stories in Grimm's Fairy Tales We will also .categorize and extract the salient features of the characters mentioned in the stories.We have selected 29 stories of Molla Nasreddin based on their similarities with the Brothers Grimm's fairy tales as examples for review. then we will compare the way of storytelling and their similarities and differences.In most of these stories, simplicity is the main characteristic of Molla Nasreddin. Moreover, the mullah can be seen as a simple and ignorant character who is often self-deprecating, but sometimes he appears so entitled and arrogant that this personality conflict makes the audience laugh. Sometimes he takes advantage of the experiences of others, and sometimes he is open to criticism with humility. All these traits are different characteristics of ordinary people, one of which is highlighted in each story to attract the audience's attention and make them correct their behavior.Most of the characters of the Brothers Grimm are naive, ignorant, and gullible. Some of them are the third brother or the third student and sometimes they are smaller and weaker than others. Resourcefulness and good-heartedness are positive qualities that connect the reader with the main character, and their cleverness at the last moment or their luck provides a happy ending in the stories. In some other stories, the main character is cunning and greedy and uses any means to achieve his wish. Here, however, contrary to Iranian stories, witches and wizards are present to help the hero in difficult times and save him from danger. After all, theGerman people also have common concerns and problems, and stories help them during the difficulties.

Folklore consists of the language, behavior, way of thinking, and attitude of the members of the society reflected in their legends. The stories of Molla Nasreddin, with their humorous and wise aspects, have played a very important role in informing and sensitizing the people. The storytellers of Grimm's fairy tales have told stories to people by following the example of normal characters in society so that people can easily identify with them and find the way out of problems and succeed from the heart of the story.In Iranian culture, due to the belief in Islam and Islam's rejection of magic, humor was used instead of magic to portray popular culture and educate people, while in Germany, the tool of magic and legend was most commonly used to convey concepts and criticize the prevailing situation. Thus, the difference between these two cultures is the non-use of magic in Iranian stories.The similarities between these two collections lie more in the fact that a common person takes roles and positions in different stories, and this despite the naivety and stupidity and everyday events and sometimes laughter. Unexpectedly, he completes something and sees the consequences of his actions. The purpose of the stories is to condemn the bad qualities and traits in society and teach morality and lifestyle in a pleasant and effective way.In general, the mullah can be seen as a simple and ignorant character who is often self-deprecating, but sometimes he appears so self-righteous and arrogant that this personality conflict causes laughter among the audience. Sometimes he takes advantage of the experiences of others, and sometimes he is open to criticism with humility; but these behaviors do not last long, and they come across as stingy, greedy, selfish, and apologetic. The heroes of the Brothers Grimm's fairy tales are also naive, ignorant, and gullible. most of them are the third brother or the third disciple and sometimes they are smaller and weaker than others. Resourcefulness and good-heartedness are positive qualities that connect the reader with the main character, and their cleverness at the last moment or their luck provides a happy ending in the stories. In some other stories, the main character is cunning and greedy and uses any means to fulfill his desire.It can be concluded that the general culture of the two countries has many similarities and themes. Heroization of ordinary characters is the main theme of most of these stories. Sometimes the audience gets angry or laughs at the exaggerated naivety of the main character, but in the end, this method has a profound effect on the audience and teaches the audience many lessons during the story.

After the term "Folklore" was coined by Ambroise Morton in 1846 and the beginning of research on folk literature and culture, Studies related to this field had many developments and scientific advances. Research in the field of Persian folk culture and literature also began with the research of orientalists (see Afshari, 1388: 289). After that, even despite the increasing process of recording the components of folk culture and literature and even the establishment of the orientation of folk literature in 2013 and the specialization of studies in this field in Iran, the research conducted in this field still has obvious flaws. Stopping at the stage of registering the components of folk literature, the ambiguity in the structure and characteristics of these components, and most importantly, the weakness in the theoretical foundations are among the most important things that can be pointed out (see. Aliani et al, 2019: 10). One of the main reasons for this issue is the neglect of the Arabic sources of the early Islamic centuries as the preservers of Iranian folklore culture and literature in the era of the loss of Persian sources and neglect in the history of folklore Persian literature.. "It is an important issue that the Arabic language played an important role as the preserver of Iranian folklore literature before Islam." (Cejpek, 2014: 27 & 26). Despite this, in addition to the researches that have been done in the field of folklore culture and literature, the importance of these resources and the effective role of the comparative approach have not been paid attention to in the design of the lessons of the folkliterature orientation. Especially since in the list of courses of this heading, there is a course called "Arabic Prose and Poetry" in which these sources are expected to be paid attention to, but these sources were not paid attention to in its design. Based on this, in this article, while explaining the reasons for the importance of these sources, the most important available Arabic sources are introduced in terms of the reflection of Iranian folk literature and its developments in the first centuries of Islam, And in order to eliminate the existend shortcomings, a heading has been designed for the course "Arabic Poetry and Prose Texts". 

Considering the need to refer to Arabic sources for the historical connection of the elements and components of Iranian culture and literature before Islam with the Islamic era, this research has been done by descriptive-analytical method and by analyzing the literature history data available in the library sources.

The task of transferring Iranian culture and literature to Arabic culture and language in the first centuries of Islam has been undertaken by the translation movement. "Many sources of the past folklore of Iran have been translated into Arabic by Iranian scholars such as Ibn Moqfa, Tabari, Masoudi, Thaalebi, Hamzeh Isfahani and others and are available to us today." (Beihaghi, 1365: 41). Despite this, the heading designed for Arabic poetry and prose lesson of the heading of Persian folk literature in order to get familiar with official Arabic literature, including Arabic mystical texts, poems by Arab poets, Arabic works by Persian poets and writers, and contemporary Arabic research texts in the field of language and literature, the Qur'an, Nahj al-Balagha, and commentary texts, Arabic proverbs, phrases and verses common in Persian texts. The general approach and a cursory look in the selection of texts and the focus of this heading on official literature texts and neglecting the importance of the comparative approach do not meet the scientific needs of students in this field. Therefore, the issue of interest in this article is that despite the many reasons for the high importance of Arabic texts in the history of Iranian folk literature, how the sources of Arabic poetry and prose texts in the heading of folk literature to explain the nature of Iranian folk culture and literature and its developments In the first centuries of Islam and attention to the importance of the comparative approach has not been organized? Reasons for the importance of the comparative approach in the history of Persian folk literature Some of the most important intratextual and extratextual reasons for the importance of Arabic sources in the field of Iranian folk culture and literature are as follows: 1.The existence of different forms of Iranian folk stories and proverbs and and anecdotes in Arabic sources: in many cases, these sources have become the oldest or only sources of Iranian folklore stories. Such as the reflection of a story about Ardeshir Babkan, in the book "nehayat-al-arab" under the name of Irajosteh and Khosrow in the persian translation of Varavini's Marzbannameh. The importance of the works of Arabic-speaking Iranian writers and poets, especially the Shaoubians, in terms of recording the components of Iranian folk literature: The Shaoubieh movement is one of the most important factors in the transfer of Iranian folk culture and literature to Arabic culture and sources. The works of this group, such as Ibn Muqafa, Mahmoud vorraq, Saleh ibn Abd al-Quddus and Bashar ibn Burd, contain a large number of poetice or prose form of components of Iranian folk literature such as Iranian proverbs and admonition in Arabic In Arabic: “The tooth is still worn out, and the one who has it is still in pain and is leaving it. ” (Ibn Muqaffa, 2002: 140). In Persian: " The eaten by worm (destroyed) tooth of the should be removed " (Amini, 2009: 287). The importance of Arab collections(collections of poetries and writers works and folklore content too) in Iranian folk culture and literature: whith spread of a new style in Arabic writings is via Jahiz Basri (under name of collection writing) and the creation of numerous works imitating it, the reflecting ideas, admonitions and anecdotes related to folklore culture and literature in written works increased. The reflection of some common beliefs in Iranian culture in Abu hayyan Tawhidi's Al-Emta va Al-Moanesat about trees, animals and mineral stones is one of these (cf. Tawhidi, 2005: 235). The need to pay attention to the literary components in Arabic sources that have a folk origin: one of the main necessary steps in explaining the importance of Arabic written sources in the field of Iranian folk literature is to pay attention to the literary components that have a folk origin. "There has been a continuous mutual influence between written and oral literature" (wellek, 2013: 41 & 42). Fables, parables, jokes, Arabic folk poems of Iranian origin, quatrains, and beggars' stories originating from Iranian culture are among the most important of this group. 5. The importance of Arabic sources in terms of recording the legendary history of Iranians and its importance in the discussion of mythological studies: the translation of Iranian history sources into Arabic, especially the "Khuday nameh", and the comparison of different characterizations of Iranian mythological champions such as Rostam in these sources with the Shahnameh and Iranian folk culture, It doubles the importance of Arabic sources in studying the history of developments in Iranian mythology. The influence of Arabic-Islamic culture on the components of Iranian folk literature: When discussing the importance of Arabic sources in the discussion of Iranian folklore literature, it is necessary to consider the effects of Arabic-Islamic culture on Iranian public culture and literature. including the influence of Arabic proverbs and admonitions and the importance of influence of Semitic and Islamic history in the discussion of comparative mythology and the spread of Arabic love stories in Iranian culture. Authors and important works: the works of Ibn Muqafa as the first collections containing Iranian proverbs and rulings after Islam, the works of Jahiz, the important work of Abu al-Faraj Isfahani called Al-Aghani, the works of Thaalibi Neishabouri, the book of Abu hayyan Tawhidi’s Al-EMtaa and Al-Mu’anasat, the works of Qazi Mohsen Tanukhi and the work of Ragheb Isfahani With the name of Mohazerat al-odaba va Mohaverat al-shoara va al-bolagha, which contain verse and prose form of proverbs and admonitions, anecdotes, stories, superstitions, Arabic stories that are influential in Iranian culture, jokes and popular opinions. these cases are the most important things is the importance of Arabic sources in reflecting folk culture and literature. Designing the heading of the Iranian folk culture and literature course in Arabic poetry and prose texts: based on the discussed topics, it is suggested to change the title of the Arabic poetry and prose texts course in the Persian folk literature heading to "Iranian folk culture and literature in Arabic prose and poetry texts" and educational topics should be organize under these main headings: "The importance and role of Nahj al-Balagha and the Holy Quran in Iranian folk culture and literature" "Iranian admonitions, Arabic admonitions and understanding the importance of moral and religious admonitions and advice in Iranian culture (before and after Islam)" " Iranian proverbs in sources of Arabic proverbs, Arabic proverbs, stories of proverbs, examples of Arabic poems by Iranian poets (poetice form of proverbs and admonitions)" "The importance of historical sources in the analysis and investigation of Iranian, Semitic and Islamic mythology and how to synchronize them" " Analysis and investigation of Iranian folk culture and literature in the Arabic collections" "Study of Arabic love stories introduced into Persian culture and literature" "The influence of folk culture and literature in the creation of the literary type of Maghameh" "Jokes and comical in Arabic sources" "Familiarization with the research texts of Arabic writers in the field of the connection between Iranian folk culture and literature with Arabic and Islamic culture and literature".

The current heading of the course on Arabic poetic and prose texts of the folk literature major does not fit with the goals and nature of the major. In the design of the proposed heading in this article, three effect-oriented, component-oriented and research-oriented approaches have been considered. In teaching these cases, you can pay attention to these three approaches. This means that in effect-oriented cases, the focus should be on the study of literary components that have an impact on people's culture, in component-oriented cases, emphasis should be placed on comparing and studying the course of changes in literary components, and in research-oriented cases, emphasis should be placed on the reflection of various components of Iranian folk culture in the Arabic collections. By presenting such cases, it is possible to solve part of the historical problem regarding the nature of Iranian folk culture and manners after Islam, and to direct students' minds to the importance of theoretical foundations in research in this field.

One of the important fields of comparative literature is the interdisciplinary studies such as psychological criticism of literary works. This criticism expresses and compares the states of mind and personality structure of artists of different countries with different cultures. Among the important subjects in this criticism is the archetypal criticism which looks at similarities and differences of literary works of different countries through an introspective and psychological view. In this regard, one of the important archetypes is the shadow archetype. This archetype is the animal and inferior part of human personality which includes all unethical, lustful and forbidden desires and activities. According to Young’s theory, within the evolution and individualation process and in movement from shadow toward oneself, the ego should be able to pass the negative specifications of shadow such as pride, lust, greed, covetousness and etc. in order to reach himself. However, the shadow archetype has also positive aspect. Excitement, creativity, creation and many of natural instincts are positive aspects of shadow which the human needs them for life continuation. Whereas, when the poets sing the poem, they are connected to the unconscious mind and represent its contents to the audiences, investigation of archetypes such as shadow archetype is a way to recognize the hidden dimensions of their personalities.In this article, the poems of two poets, Forough Farokhzad and Sylvia Plath, have been investigated and discussed from this viewpoint. Many similarities and little differences of personality and lifestyle of these two poets led to occurrence of similar manifestations of shadow archetype in their poems.

This research has been formed based on American school of comparative literature. This school believes that the similarities of literary works are raised from the common human spirit. In this research, author has investigated and compared the shadow archetype in the poems of Forough Farokhzad and Sylvia Plath by an analytical and descriptive method. The author, by library method and analysis of motifs such as love, pleasure, disappointment, idealism and thinking about death which are the aspects of shadow archetype, has come to this conclusion that the poems of these two poets, although in the same time period but with far distance and unawareness of each others, have various similarities solely based on the common human spirit.

In this article, the manifestations of shadow archetype are investigated and compared in the poems of Forough Farokhzad and Sylvia Plath. These two poets sang the poems approximately within the same time period but in different geographies.Forough Farokhzad is one of the pioneers of Nimaeian Poetry (modern poetry) and one of the first famous persons of modernism in Iranian poetry. Living in a male-dominated society and experience of weak and unstable emotional relations have given a special courage to Forough so that she, in addition to break the old poetic frames,casts doubt on old laws and traditions of life. Sylvia Plath is an american poet and writer who is one of the leading woman in american literature for singing  the confessional poem. Bitter and hard life style of Sylvia in family and strict and male-dominated society is evident in each line of her writings.These two poets, probably due to the extreme feeling of guilty, have unconsciously followed the shadow archetype in their books. Sometimes, they have used the word of shadow directly and sometimes indirectly as a bird or woman with an ambiguous and fictitious face. Investigation and comparison of these aspects is a way toward the unconscious inside of these two poets and also show the social and cultural similarities and differences in Iranian and American society during living and singing of these two poets.     

  Investigation and comparison of shadow archetype in the poems of Farokhzad and Plath not only show the hidden angles of their personalities but also represent the space of their family and society to some extent. Lack of affection in childhood and, more important, an unsuccessful marriage, caused that the said both poets always wish the love and affection. This point led to plenty use of shadow in their poetries in the concepts of lust and hedonism. Lack of sympathy, experience of violence and also frequent social failures represent another face of shadow archetype namely sadness and sorrow with this difference that the sadness and sorrow of the Forough in her first poetic duration are the sadness and sorrow of a young and emotional girl and it took a while for Forough to express the human deep sorrow. But Sylvia Plath tied her personal sorrow with human sorrow in her first poems with mythological and symbolic language.Shadow in the concept of nullity and disappointment has been used very much in the poems of two poets which rose from their failures and frustrations. Shadow archetype as the symbol of humiliation and disability has different usage in the poems of Farokhzad and Plath. Feeling of humiliation in Forough’s poem is a result of an Iranian literary tradition namely the obeisance of loving poet against the beloved but the feeling of humiliation in the poem and prose of Sylvia is very deep and indicates one personality specification.Other aspects of this archetype such as fear, anger and violence are more obvious in Sylvia’s poems. This issue although indicates her approximate extroversion in comparison with Forough but represents her harsher family and society space.Generally, Sylvia Plath, with using more aspects of shadow archetype, achieves complete cognition of that archetype and reconciles with that better. However, in Forough’s poem, the active aspects of shadow archetype are less used. This point not only shows the approximate stillness and calmness of Forough’s life in comparison with Sylvia but also it can represent the inherent and introverted modesty of the eastern poet. This issue caused that the Forough Farokhzad, in despite of plenty attempts, is not successful in reconciling with shadow and a kind of ambiguity, restlessness and anxiety encompass her life and poem.

During the 6th century, Nizami was a well-known poet who had a significant impact on the emergence of the Persian sonnet, especially in its romantic variation. Although Nizami gained widespread fame and admiration, many of his sonnets have been disregarded. Comparable to other Persian poets, Nizami composed sonnets on specific occasions in addition to his celebrated poems, which frequently delved into subjects like love, being, and inebriation. Many articles have been written about Nizami's poems, but his sonnets have not received as much attention from scholars. Some researchers may believe that his sonnets are not as worthy of analysis compared to his Khamseh, or they might not consider them significant enough in terms of form and content. However, Nizami has exhibited his extraordinary artistic talent in crafting sonnets, much like his exceptional Masnavis. His careful word selection, artistic imagery, and suitable concepts have resulted in delightful and captivating poems that have garnered praise from prominent figures in Persian literature. The concept of intertextuality, which explores how different writers' works influence each other's ideas and perspectives, is currently a popular topic among scholars.

 Given the similarities in intellectual and language style between Nizami and Hafez's poetry, it is worth investigating the connection between their sonnets and other literary works. By examining Hafez's poetry, especially his sonnets, it is evident that Nizami's sonnets have influenced Hafez's literary style in various linguistic categories. Intertextuality plays a crucial role in the formation of texts, and it often creates a variety of voices and dynamics in a text. No text can be completely independent of intertextuality. Therefore, poets and writers can draw inspiration not only from previous works but also from their future works. This inspiration can manifest in different forms, such as structure, framework, external structure, word choice, sentence structure, or even descriptions. Despite Hafez's exceptional poetic skills, he still incorporated the words and ideas of his predecessors into his work, and Nizami was one of the poets who significantly influenced Hafez's work. By examining Hafez's poetry, we can comprehend how Nizami influenced both the extratextual and intratextual components of Hafez's work.

"Extratextual communication" refers to the external relationship between texts. By comparing texts, we can identify these connections that exist outside of the texts themselves. This type of connection is the impact that one text has on another in terms of structure. This can be observed in the sonnets of Hafez and Nizami, where the influence of Nizami on Hafez's sonnets is evident due to the strong connection between them. While it's possible that Hafez was influenced by other writers, it's essential to identify the most impactful factors that played a role in shaping his work. This type of similarity is primarily found in the musical dimension of poetry, such as weight. However, sometimes the thematic content of the verses can also play a role alongside the musical and phonetic aspects. The following are some examples of intertextual signs that can be observed in both the internal and external aspects of certain verses written by the two poets: the use of the same weight and rhythm, the same format and rhymes, common vocabulary and combinations, similar similes, and common themes.The term "intratextual communication" refers to the relationship between different parts of a text. In this context, it pertains to the influence that certain words and their meanings have on each other within a text. Sometimes this influence is accompanied by musical harmony, while other times it is not. Here are some examples of intertextual signs that can be observed within the inner aspect of the verses written by two poets: the use of similar allusions, common images, shared similes, comparable interpretations and descriptions, and debates.

A thorough analysis of Nizami and Hafez's sonnets illustrates the degree to which Nizami's poetry served as a source of inspiration for Hafez. Hafez ingeniously utilized Nizami's poems to craft even more exceptional and articulate verses, showcasing his own creative prowess. The study's findings indicate that: 1- The interaction and correspondence between the texts of these two poets is not only based on linguistic and semantic aspects, but also due to the similarity of cultural context and shared stylistic features, which can be observed in both intra-textual and extra-textual communication. 2- Hafez was influenced by Nizami's sonnets in terms of their weight, rhyme, line structure, and other musical components. 3. There are evident connections in the field of intra-textual communication (infrastructure) between these two poets, including themes such as love, ruins, etc., which were influenced by the prevalent lyrical literary traditions of their time. 4. In some instances, Hafez incorporated Nizami's verses into his own work with little to no modification.

Theater, as one of the literary types, has created a link between literature and performing arts. There have been two types of theater, comedy and tragedy. In the past, the type of tragedy was superior to the type of comedy. In the seventeenth century in France, with the appearance of Molière, comedy flourished and a revolution took place in the classical theater. In Iran, playwriting does not have much history. But its traditional and religious forms have always existed. In this article, we have done a comparative study of two comedy plays, Molière's The Miser and Akhundzadeh's The Tale of the Miserly Man. In the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships. In this article, we have benefited from the theories of Michel Viegnes in the field of theater and his classification of types of humor and the theories of Ménandre, the ancient Greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases Akhundzadeh imitated Molière and what was his purpose in writing this play. In fact, the era of comedy flourishing can be considered the post-Renaissance era and the 17th century. With the emergence of playwrights such as Molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. Molière had a significant influence on the playwrights of the world and also influenced the Iranian theater during the constitutional period. The plays of Mirza Fath Ali Akhundzadeh (1228-1295), an Iranian writer, thinker and critic, were among the first plays written following European plays. The title, structure, characters, and content of his play The Tale of the Miserly Man also convey his impression of Molière's The Miser.

Comparative literature arose in France in the nineteenth century. Researchers of French comparative literature or the "French school of comparative literature" emphasized the issue of "relationship" between literatures. According to Guyard, "the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures." (Guyard, 1958:12) With Guyard and after him Pierre Brunel, comparative literature becomes more of a science than a type of literary criticism. In addition to the issue of historical investigation, Yves Chevrel also brings the issue of boutiques into this topic. In his opinion, "comparative literature should add comparative boutique studies to its studies." (Chevrel, 2016: 48) In the American school of comparative literature, which is led by René Wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: "Everything It should be examined from the perspective of a literary work." (Brunel & Chevrel, 1989: 189-190) As mentioned, Akhundzadeh was influenced by Molière and the similarity between these two works is not accidental. Therefore, in this article, our research will be comparative literature based on the French school and we will discuss the influence of thoughts and themes and the comparative style of two works. To examine the types of humor in these two plays, we will rely on the theories of Michel Viegnes, a French writer and researcher, and to examine the characters of the plays, we will rely on the theories of Ménandre, the ancient Greek playwright.

 3-1. Content review As one of the freedom-loving playwrights of the Qajar era, Akhundzadeh criticized the traditional customs of the society through theater. Moliere's theater can also be defined as a realistic reflection of the performance of the members of a society. In this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. Socio-political and anthropological satire Moliere's play The Miser and Akhundzadeh's play are both social comedies. Moliere's The Miser depicts the bourgeois society of Paris during the reign of Louis XIV. Harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in France, a stingy person is called Harpagon. Akhundzadeh's story of the miserly man also portrays the society of Iran in the early 13th century. In their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. In the preface of Tartuffe, Molière clearly states that "comedy can be effective in reforming some customs and traditions." (Molière, 2016: 5) In fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. According to Akhundzadeh: "It should be known that what is meant by the art of "comedy" is moral refinement. It means knowing the ugly and beautiful of human nature by looking at the shape and resemblance" (Adamiyat, 1349: 63). 3-1-2. Personality psychology According to the theories of Ménandre, the ancient Greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) A slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (Blanchard, 2000: 22-24) The main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. The choice of such characters actually shows the classicity of these two plays. Boileau emphasizes that "in Molière's plays, humor is created due to the mocking aspect that is rooted in the psychology of the character" (Conesa, 1995: 146). 3-2. Structural investigation Akhundzadeh, like Molière, is not only concerned with showing some social and moral problems, but also emphasizes the artistic aspect of writing. In his plays, although he maintained the "unity of action", Molière questioned the "unity of place" and "unity of time". In other words, he followed the principle of classical theater according to which the plot should revolve around a single event. But refuse to limit this event to one day and one place. Akhundzadeh also wrote his play The Tale of the Miserly Man in a classical style and in five chambers (curtains) and did not limit it to a fixed place and time of one day. 3-2-1. Language and style The language of Akhundzadeh's play, like Molière, is close to reality and effective. The story of the play and the dialogues of the actors are told with sweet and attractive expressions. In that period, the written language and the spoken language were significantly different. In this play, Akhundzadeh tried to distance himself from the common prose of his era and use spoken language for the characters. Regarding the similarities of the language of the two plays in question, it can be pointed out that the language used is vernacular. In this play, Molière's language is a natural and spontaneous language that shows the reality of the present and is performed quickly and impromptu by the actors. Another characteristic of Molière's language is his writing rhythm, to the point where we sometimes see a special rhythm in consecutive sentences and answers (Attaque des répliques). 3-2-2. A combination of humor Writers and theoreticians have always tried to classify its types since the emergence of comic theater. In this research, we try to explain the types of humor from Michel Viegnes’s point of view. Viegnes divides humor into three types: personality humor, verbal humor, and situational humor. (Viegnes, 1992: 88) Molière and Akhundzadeh have used all three types of humor in their plays.One of the theater techniques mentioned by Michel Viegnes is the monologue ou soliloque technique. With soliloque, in fact, the character "thinks out loud" (Viegnes, 1992: 60) and this issue provides reasons for laughter. Like Molière, Akhundzadeh used monologue to show the humor of a characterThe scope of comic language or verbal humor is very wide. And "Includes exaggeration and exaggeration, changes in the construction and shape of the language, playing with words." (Viegnes, 1992: 9) According to Michel Viegnes: "In all languages, people have laughed at people whose way of speaking is out of the norm." (Ibid.)According to Michel Viegnes, "situation comics go beyond speech and include all kinds of kicking, spinning jumps, spinning on heels, and...." (Viegnes, 1992: 98).

These two playwrights, in fact, study different human types and their disadvantages from a sociological and anthropological point of view, and depict the complexity of the human spirit in order to force the society of their age to think about their weaknesses through a humorous language.The style of both authors is classic, but it has undergone many changes and innovations. In fact, they present a mixture of comedy and tragedy to the audience.In this research, we come to the conclusion that with the help of comparative study, we can identify the roots of the currents of thought that influence the literature of the interior. With the help of comparative study, from an aesthetic, content and even theoretical point of view, literature can be studied not individually, but in its relationship with foreign literature. The comparison of the studied works is to test their similarities and convergences in order to consider literary phenomena in their transnational reality. Akhundzadeh's acceptance of this foreign genre, drama, and its rules, is important. In fact, with the help of this comparative study, we examined the entry and acceptance of a style, a theory, a theme in the literature of the country. Akhundzadeh's play is actually a kind of rewriting and literary representation in a transnational perspective. The purpose of literature is not only to connect with its reader and accept the work by him, but it is the influence of languages and thoughts on each other and the influence and influence, and as a result, progress and innovation in literature.

Comparative studies, in addition to showing the overlap between culture and literature, can lead to the identification of national literature as much as possible and reveal the position of each work in comparison with its international examples; therefore, such studies can play a significant role in the globalization of literature and identifying the strengths and weaknesses of local works.One of the approaches that can be used for the comparative study of two works is the narratological approach. In this approach, the narrative elements of two works are measured together and the similarities and differences are determined. Various theories have been proposed in the field of narratology. One of the most important theories in this regard belongs to the French theorist Gerard Genet (1930). He considers the "story" or the main plot of the story to be one of the aspects of the narrative and considers it to be the real sequence of events.   One of the approaches that can be used for the comparative study of two works is the narratological approach. In this approach, the narrative elements of two works are measured together and the similarities and differences are determined. Various theories have been proposed in the field of narratology. One of the most important theories in this regard belongs to the French theorist Gerard Genet (1930). He considers the "story" or the main plot of the story to be one of the aspects of the narrative and considers it to be the real sequence of events.. In this research, a comparative comparison of one of the narrative elements (grammatical Tense) in two novels, “Don Quixote” and “Dayi Jan Napoleon”, has been done. Tense is one of the elements that gives identity to narrative and story and is defined by three components of order, continuity and frequency.Four hundred years ago, in 1604 AD, Miguel de Cervantes published the first part of his immortal book "Don Quixote"; A work that later earned the title of the world's first fiction novel. This work is one of the oldest novels in modern European languages. Many consider it the best book written in Spanish and one of the most prominent examples of the picaresque novel. Don Quixote shows the audience the life of a person who suffers from delusions and spends his time reading forbidden story so that, according to the author of this story, he loses his sanity in an incurable way. The main character of the story sees himself in the place of one of these knights and sees imaginary enemies in front of him, which are often mountains and trees. "Don Quixote" is an imaginary and clumsy warrior who thinks he is invincible. He, accompanied by his servant, Sancho Panza, goes on long journeys and it is in the middle of these journeys that strange actions happen to him. He has no other goal but to save people from the oppression and tyranny of cruel rulers, he has an imaginative view of his surroundings and sees everything as a tool of war. Bitter humor reigns throughout this story, so that despite the strange actions of the main character, the reader feels empathy and sympathy for him. The society in which the author lives has had a great influence on the creation of such images. In 1972, Iranian writer Iraj Pezeshkzad published the book " Dayi Jan Napoleon ", which was widely accepted by book readers, and with the creation of a television series from this book, day by day. The number of people interested in this book has increased. Dayi Jan Napoleon is an eventful novel based on tale. The author pays attention to the main and essential aspect of the novel, which is narrative. It can be said that humor is the main axis in the story, as this case has left the author's hand free to express any issues far from being frank. Humor in the words and live and critical narratives of the life of the market alley people is one of the characteristics of this work, so the author has created unique and lasting characters by using nostalgic and local images, folk idioms and proverbs. The story consists of domestic episodes around a family. The driving factor of the plot is the conflict of two characters, "Dayi Jan" and "Aghajan", who act as types emerging from two social forces. Aghajan represents the urban middle class, which is taking the place of landed aristocracy in the social hierarchy. His opponent, Dayi Jan, flees into fantasy in front of the undeniable reality; Because he doesn't know what to do with the upcoming "fall", as he says.

The method of collecting information and data is based on library and analytical studies. Extracting data from the novels selected in this research has been done using the qualitative analysis method and relying on the data of Gerard Genet's narrative theory.

Tense is one of the elements that gives identity to narrative and story and is defined by three components: order, continuity and frequency. In general, in both novels, the sequence of events follows the chronological order. The number of irregularities and time lapses, which include future and retrospections, is not faint in both novels, and they usually come in the form of decisions and predictions of future events, expressions of memories, and reminiscences of the past. This has added to the attractiveness of the novel and the pursuit of the reader. In Don Quixote's novel, often, the narrator talks about the emotional decisions of the main character by passing from the present to the future and engages the reader's mind in how the events happened, while in Dayi Jan Napoleon's novel, the expression of memories and hindsight is a source of pride for some.The factors that increase the positive speed and acceleration in the narrative are delay and compression, which summarizes the narrative by creating a time break in the story and removing some unnecessary repetitive events. By providing detailed descriptions of characters, time and place, the author slows down the narrative speed so that the reader is more involved in the novel. The two themes of war and travel play a key role in both stories, although in both stories more of its imaginary and illusory aspects are considered. Long descriptions and events that happen during these wars and journeys in "Don Quixote" novel advance the story, but in " Dayi Jan Napoleon " novel, they help to create a humorous atmosphere and expand time. Dayi Jan Napoleon 's novel is more dialogue-oriented, so it mainly has a constant momentum and temporal similarity, but the temporal continuity in Cervantes' novel has a negative momentum due to the abundant use of ropes. The dominant frequency in the two novels is the singular frequency, which is not far from expected considering the narrative style of both works and their realism. Although other types of frequency such as frequent frequency are used in both works; however, singular frequency is the most used.

The narrative of the end of the era of aristocracy and lords and serfs in two different geographical points and the similarity of the behavior of activists such as Don Quixote and  Dayi Jan on the one hand and Sancho and Mashqasem on the other hand, creates the mentality that Iraj Pezeshkzad, in The writing of Dayi Jan Napoleon has looked at Don Quixote's novel, or it has sought to present an Iranian version of this novel; however, in Iranian history and culture, there have been no shortage of such delusional people. Of course, at the end of Don Quixote's story, we witness the transformation of the character and the acceptance of reality, but in the Dayi Jan Napoleon's novel, the character of Dayi Jan does not change and remains in his delusional world.

"Dystopia" means a fictional place where people live inhumane and often terrifying lives. The grounds for the emergence of dystopia, which is also known as dystopian literature, are works that have viewed the reality of human life in the contemporary world with extreme pessimism. In addition to expressing dissatisfaction and criticism of the present, this literary genre examines the dangerous effects of political and social structures on the future of humanity. In this essay, two examples of dystopian works from two different Iranian and American cultures; That is, the novels "The Terrible Tehran" by Morteza Mushfiq Kazemi and "The Handmaid’s Tale" by Margaret Atwood have been examined and compared. According to some experts such as Gary Saul Morson, American writer and literary critic, in the book "Boundaries of Genres", Frederick Jameson (1998), American critic and theorist, and George Orwell, author of the dystopian novel "1984" Dystopian literature is an independent type and genre whose components may occur. (Orwell, 1968: 502؛Burroway, 2011: 29؛Morson, 2010: 128)The dystopian story began in the early 20th century and developed during this century, a period that required revolution, cold war, and major critical social changes; “When attitudes toward nature and human society began to change around the world, this change began with the outbreak of World War I and intensified after World War II. The brutality and violence depicted between European countries in World War I and subsequent events such as the economic crisis throughout Europe, the rise of Hitler and the Nazi Party, the use of atomic weapons and then the outbreak of World War II, views changed to human nature. (Alter, 2017: 9)American literary critic Moulin (1943) says: "The dystopian narrative is mainly a product of the horrors of the 20th century. A hundred years of exploitation, repression, state violence, war, genocide, disease, famine, genocide, depression, debt, and the continued destruction of humanity have provided the perfect ground for the fictional infrastructure of dystopia. (Moylan, 2000: 11) These events and developments in an age when humanity claimed progress in science, industry, and claimed cultural and moral progress and elevation, caused human doubt and existential anxiety in the modern era. The idea of using man-made science and technology against man himself made them angry and frustrated, and literature began to reflect these new negative feelings.Dystopian literature or "anti-utopian" literature refers to the mistakes of utopian ideas in real human society. (Sargent, 2010: 103) and examines the dangerous effects of political and social structures on the future of humanity. (Jameson, 1998: 28؛ Kaplan, 2015: 93؛ Gottlieb, 2001: 13) but theorists such as Bakulini argue that: "Dystopia shows dissatisfaction and criticism of the present time. (Baccolini, 2013: 37)Sargent (1994), an American researcher who has done research on utopia, considers dystopia narrative in fiction to be about a non-existent society that is "significantly worse than the one the reader or writer currently lives in." (Sargent, 2010: 93) Dystopian literature is "in contrast to utopian literature, in which the future imagined for human society is ominous, morbid and full of filth. In these works, the pure human qualities turn to lowness and give way to vices and beastly qualities, and evil and filth dominate the society" (Mirsadeghi, 1998: 8-7). In general, the main focus of dystopian literature is social and political criticism. Booker, an American expert, considers dystopian works as a social critique of contemporary society. He says: "While utopian works try to show the ideal society in order to explore alternatives to contemporary life, dystopian works act as social criticism in showing the negative aspects of contemporary society in a false or pseudo-utopian culture." (Booker, 1994: 3) In dystopian research, the main goal is to understand the social dreams that are destroyed in dystopian novels. In the 20th century, the writers of Plaidshahr have given answers in the form of stories and novels to technological, intellectual, and industrial changes, as well as two world wars and the subsequent changes in the way people perceive themselves at the individual and national level.

The present study will apply the two novels "Terrible Tehran" by Morteza Mushfiq Kazemi (1977-1902) and "The Handmaid’s Tale" by Margaret Atwood (November 1995) based on the American school, and in terms of The research tool and field is based on library documents and note-taking. It should also be mentioned that this research will be investigated and analyzed based on the teachings of the American school. Research questions What are the patterns and components of dystopian literature in the two novels Tehran Makhoof and Nadima's Story? What are the similarities between the motif of dystopia in the novel Teheran Makhuf and the dystopia of Nadima's story?

Unlike utopian literature, which has a relatively older history, dystopian literature is a new phenomenon and examines the darkest aspects of the human mind and human nature. from another point of view, the term dystopia is mainly a literary term and it refers to a group of literary works that act as warning stories against a kind of totalitarian government and uses human experiences, the failure of governments, evil ideologies and the rule of corrupt rulers and leaders.The essence of dystopian literature is to inform and warn; Therefore, by using comparative literature and comparative study of dystopia, cross-border and transnational awareness can be achieved in this field. Dystopian societies in the dystopian literature  are catastrophic and degenerating societies. The people of this society are characters who fight against environmental destruction and environmental destruction, technology control and government oppression.In this research, similar social components of both novels have been discussed in the main parts of corruption in the political structure and totalitarian society, control techniques, war and coup, social adaptation and feminist topics, and it was found that both dystopian novels studied; "The Handmaid’s Tale" and "Terrible Tehran" are works that draw great concerns about the future and depict them. These novels warn of what will happen if the world continues as it is in the story. Each of these stories depict a world that has gone astray and has used human history to convey this message. These two dystopian works have used the most frightening and unimaginable aspects of the political environment, so that even though the political structures and genres change, the dystopian idea and all that shows the ugliness of the society will remain constant in the literary world.

Both the novels "The handmaid's Tale" and "The Terrible Tehran" had political themes in which the governments have applied the most extreme violence and political propaganda to control the people; People who are not allowed to think freely and the regime has complete control over their freedoms. The most important consequences of surveillance and control are the destruction of emotions, human needs, and family ties. It is in this situation that a strong hero flourishes based on the current situation. In each of these novels, the protagonist does not consider the government to be fair and tries his best to fight against it. The protagonist sees flaws and vulnerable aspects and implements a plan to highlight and expose those weaknesses. In both novels, which are good examples to show the nature of totalitarian societies, the way leaders and government officials act has caused corruption in government departments, the use of the law in line with the interests of those in power, suppression of freedom seekers and opponents, and petrification. In order to control the people and prevent deviations and opposition protests, the rulers of dystopia have used tools such as advertising, propaganda, censorship, drugs and violence. In both novels, war and coup as another important component of dystopian novels has left a deep impact, and the evil rulers were able to create a level of social uniformity in the society with a strong tool called the policy of implementing social adaptation to facilitate the advancement of their government process. Finally, in these two selected dystopian novels, the status of women is mentioned; The role of women, their importance and dignity are among the hidden concepts in the novel "The Handmaid's Tale".The focus of the novel "The Terrible Tehran" is also on the disclosure of the pitiful situation of women in the years after the constitutional revolution. The purpose of the genre of dystopia is that the members of society and nations come to an insight to study history in general and to inform about the filth to prevent mistakes from happening. Otherwise history and its mistakes will be repeated and what should not happen. Therefore, both selected dystopian novels, not only on individual change; Rather, they have focused on collective improvement, and this is the only way to ensure social and political happiness. These two novels actually depicted futuristic worlds where a number of their assumptions have been realized in the real world.

One of the ways to enrich the content of poetry is to use the cultural supports that have existed in Persian poetry for a long time. The range of cultural supports used in Persian poetry is very wide and includes references to the Qur'an and Hadith and use of various scientific terms. Based on this and considering the use of these cultural supports in poetry, which are often used in the form of innovative spiritual arrays, especially allusions, it can be said that they have always been one of the sources of nutrition for poetry and literature.Since Persian and Urdu poetry has always had a close connection with popular culture from ancient times to modern times, there are many evidences of referring to the elements of popular culture, especially its linguistic elements.According to the above explanation, this research using the descriptive-analytical method has tried to compare and analyze the role and function of the most important linguistic elements of culture and popular literature in the poetry of Simin Behbahani and Parveen Shakir with the approach of comparative literature.

This article is a theoretical research that, with the approach of comparative literature, has tried to analyze and compare the reflection of the linguistic elements of popular culture in the poetry of two contemporary Persian and Urdu poets (Simin Behbahani and Parveen Shaker).

Poets use cultural supports and lived or learned experiences to strengthen the content of their poems. Undoubtedly, popular culture and literature is one of the most widely used spiritual fountains of official literature. Customs, traditions, beliefs, parables and allusions, stories and legends, etc., are elements of popular culture that can be divided into two parts, linguistic and non-linguistic. Linguistic elements; It includes interpretations, idioms, allusions, insults, proverbs and proverbs, stories and legends and everything that is created with the tool of language. Simin Behbahani and Parveen Shakir are among the well-known female poets in contemporary Persian and Urdu literature who have been influenced by the foundations and elements of folk culture and literature in their poems and have reflected them artistically in their poetry. culture in dictionaries means "a collection of customs and traditions." The collection of sciences, knowledge and arts of a nation". (Moin, 1384: 1176) and also "a complex general phenomenon of manners, customs, thought, art and way of life that is formed during the historical experience of peoples and can be transferred to the next generations" (Anvari, 1381 : 5346) came and said in a clearer definition:  "Culture... is the collection of spiritual heritage of a people, whether it is the product of their intellect and understanding or the offspring of their taste and emotion." (Mahjub, 2016: 36) In a more comprehensive definition, culture is referred to "all the material and spiritual institutions in which a human being is born, raised and has a personality." (Velayati, 2010: 19)   From the point of view of some researchers, culture is divided into two main parts: material and immaterial (spiritual), and from another point of view, some researchers have divided culture into the official culture and popular culture. material culture, tangible cultural elements; Such as architecture, it includes clothes, tools, etc., and non-material or spiritual culture includes the intangible parts of culture; It refers to beliefs and beliefs, proverbs and allusions, stories and legends, etc. (Chehreghani, 2015 A: 93) As can be seen, the linguistic elements of culture are placed under spiritual culture. The meaning of official culture is a set of cultural elements that are not only reserved for the masses and are also accepted among the elites. From another point of view, Culture can be considered to mean art or at least a source and watering hole for art, because noble, official and elitist art can be more enriched by hanging on the sources of popular culture. (Hall, 2013: 696) In all societies, language is considered the main axis of culture, and since literature is also an application of language, popular culture, which is transmitted orally from one generation to another in different societies, has an inseparable connection with popular literature. (Chehreghani, 2015 B: 3) One of the valid divisions for the constituent elements of popular culture, along with material and spiritual elements or healthy and unhealthy elements, is their division into linguistic and non-linguistic elements. The meaning of linguistic elements is that part of cultural elements that is created on the basis or with the tools of language and includes expressions, terms, allusions, songs and lullabies, work songs, parables and proverbs, stories and legends, etc. and researchers sometimes refer to it as oral literature. (Mirsadeghi, 1998: 12) According to what was said, popular literature is considered a sub-branch of popular culture. Comparative literature, which continued and followed the slogan of "world literature" of the romantics in Europe and started by collecting and comparing the stories and legends of the nations of Asia and the Middle East, "speaks of the research on the relations between the literature of the nations and the different peoples of the world." (ZarrinKub, 1982: 125) The method of comparative literature in the French school is "examining the historical relations of national literature with the literature of other nations written in a language other than the language of that country". (Ghunaymi Hilal, 2014: 7) Research in comparative literature introduces us to other nations and their similarities and differences with each other and their literary or cultural influences. Various topics are included under comparative literature, one of which is folk culture and literature. The importance of this approach lies in the fact that it helps to know the true mood, habits and way of thinking and living of the people of a region and to get to know more about the real face of a nation. For this purpose and to know more precisely the cultural similarities and differences between the nations of Iran and Pakistan, this research has investigated the issue of using language elements of culture and folk literature in the poetry of Simin Behbahani and Parveen Shakir.

The research findings show that the two mentioned poets have used the linguistic elements of popular culture in a wide way, considering their gender and female perspective, which is due to the affinities and historical, religious, cultural, etc. links between the two Iranian societies. And Pakistani and the two languages Persian and Urdu, regardless of the existing differences, have many similarities.As seen, Simin Behbahani, a contemporary Iranian poet, and Parveen Shakir, a contemporary Pakistani poet, have benefited from the linguistic elements of popular culture, both in the production and creation of the theme, and in strengthening the meaning and enriching the content of the poem, and in the direction of inducing better meaning and Its greater impact. Among the linguistic elements of popular culture reflected in the poetry of two Urdu and Persian poets, one can find many common elements including words, interpretations, idioms, ironies, proverbs, common stories, legends, etc. Poets have adapted the popular culture of their people and used it correctly in their artistic creations. What attracts the most attention in this matter is the great verbal and semantic similarity between the proverbs and allusions of the two nations, which is due to the ancient connection of the Urdu language and literature with Persian language and literature, and more importantly, the historical influence of Persian culture and literature in the Indian subcontinent. Especially Pakistan tells that in addition to many similarities in meaning and theme, sometimes the words of Urdu proverbs are very similar to the Persian equivalent and sometimes the same; Like the proverb " If the world is washed away, he is still asleep" in Urdu language, only the word "water" has been changed to "flood"; However, among the types of linguistic elements of popular culture used in the poetry of the two selected poets, the reference to legendary stories is less frequent.In addition to the mentioned commonalities and similarities, differences can also be identified in the use of linguistic elements of popular culture in the poetry of the two poets; Including all kinds of explicit insults and sarcasm and children's game songs;Such as Jom Jomak, Atal Matal Tutule, Tab Tab Hambazi, etc., which are common in the Persian-speaking community of Iran, are abundantly seen in Behbahani's poetry. Still, this type of linguistic element does not exist in Parvin Shakir's poetry. In addition to that, the lullaby is also a subject of which there is an example in Behbahani's poem; But in Shakir's poetry, although a poet has the experience of motherhood, it is not seen. Since Parvin Shakir is fully familiar with contemporary Persian poetry and is known as the only translator of Forough Farrokhzad's poetry in the Urdu language, and due to the feminine perspective that dominates the poetry of the two selected poets and their belonging to the space of neo-classical poetry (in Persian language and Urdu) it is expected that Shakir was influenced by Simin Behbahani's poetry; However, based on the findings of this research, apart from the existence of some similarities between the elements of general culture used in the poetry of both poets, the obvious influence of this Urdu language poet on the poetry of Simin Behbahani cannot be proven

The terms self and other have been cast as constituent elements of the human condition. Philosophers like Hegel, Husserl, Kierkegaard, Bakhtin and Levinas have addressed these concepts as social problems, as issues within the society that are also reflected in literature. Sadegh Hedayat’s “The Stray Dog” and Paul Auster’s Timbaktu are two examples from Persian and American literature which show the writers’ preoccupation with the concepts of self and other. An important function of these works is their social function. Pat and Mr. Bones represent a society in which the relation between self and other is constantly constructed and reconstructed. Their actions make the audience think about the social and philosophical implications of the binary opposition of self and other. Sometimes they are the other to the social self and sometimes they are the self which enters into social relations with others. The present study probes into the notions of self and other in “The Stray Dog” and Timbaktu and asks how the texts define and construct the concepts of self and other and how could these constructions be interpreted. It also studies eschatology, altruism and indifference towards the demands of the other in the two texts as it draws a distinction between fear and social anxiety. It also discusses animal rights and the human domination of nature. As submissive characters, both Pat and Mr. Bones are entrapped in the rules and structures of human society. Even when they are rejected by society, they still seek the approval of a domineering power to experience the satisfaction consequent upon hegemony.

This is qualitative and fundamentally theoretical research. The logic that governs the research is deductive; that is, the results have been obtained by comparing extracts from the two texts. Using library sources and using the American school of comparative literature, this research has investigated the different aspects of self and other in “Stray Dog” and Timbuktu.

The present study deals with philosophical perspectives on self and the metaphysical concept of otherness. It also addresses alienation, rationality, power and the rise of modernism against Cartesian philosophy in “The Stray Dog” and Timbaktu. It studies the emergence of self/other binary opposition and modern man’s rejection of Descartes’s concept of subjectivity and his embracing of Hegel’s notion of consciousness, a philosophy that makes allowances for the presence of the other. The binary opposition of self and other is evident in “The Stray Dog” and Timbaktu. In these narratives the opposition between human beings and dogs provides the writers with a fertile ground for investigating the social and philosophical implications of self and other. The confrontation between humans and non-human animals represents the ontological and social dimensions of self and other in the modern world as self–other understanding is a central concept that forms the backbone of social cognition. The study also addresses eschatology in the narratives in terms of the dimension of time and space. The eschatological journey of Pat and Mr. Bones is beyond the realm of comprehension because it is the mysterious separation of the subject/self from society/other. Although both characters move towards annihilation, their journey could be seen as moving toward an ultimate perfection yet to be attained. Pat and Mr. Bones are both seeking a Utopian world and a master who would make an ideal world for them. This is the subject’s escape towards the sacred and the transcendental. Both narratives challenge the concept of time and place. According to Auster, Timbuktu is “Where the map of this world ends, that’s where the map of Timbuktu begins” or it is “an oasis of spirits.” (Auster:  2017:61) or “a realm of eternal nothingness” (ibid, 62). It is also described as a place “where no things are nor will ever be. Except me. Except not me. Except eternity” (Ibid, 76). Similarly, in “The Stray Dog”, Pat “did not know why he was running, did not know where he was going, could neither go back nor move forward”. (Hedayat, 2017: 28). The two narratives are caught between the impulses of life and death. That Pat finds peace by separating from the human society and Mr. Bones finds peace in reaching Timbuktu show that both narratives are eschatological chronology: both stories are concerned with the ultimate destiny of the individual and the return to one’s origins. The two texts are similar in many respects. Both writers employ suspense to highlight the outcomes affecting the characters’ fate. Hedayat creates suspense by choosing the word stray to describe the dog and Auster creates semantic ambiguity and suspense by choosing the title Timbuktu and relating it to the other world. In both texts, space becomes time and vice versa. The temporality and spatiality of the two texts is close to Bakhtin’s concept of chronotope. As chronotope has a cognitive meaning and narrative structure, it expresses the style, attitude and ideology governing the narratives. By choosing two non-human animals as major characters, Hedayat and Auster portray and criticize the self through its confrontation with the other.  In both stories, the other becomes a catalyst for the recognition of the social self. In addition, both writes emphasize the interrelationship of the self and the subject as well as the independence. However, in “The Stray Dog” the self is in a destructive relation with the other, while in Timbuktu the self and other complement each other. Both texts address the coexistence of self and other, the ethics of care, animal rights, eschatology and man’s passive attitude towards nature. Both writers have addressed self-other dualism in their other novels. This theme is evident in Sadegh Hedayat’s The Blind Owl and Paul Auster’s The New York Trilogy, The Book of Illusions, Moon Palace and Oracle Night. In both texts, the binary of self and other is based on the presence of the self, the presence of the other and the interaction between the self and the other. This self-other dynamic is closely related to Bakhtin’s idea that self is implied dialogically in otherness.

An analysis of the two texts shows that they have many points in common: non-human animals as narrators, narrative suspense, the interrelation between the social self and the subject, symbiosis and social ethics, eschatology, the ethic of care, animal rights and the metaphysical concept of otherness.in both narrative the self is represented in opposition with the other. Both texts suggest interaction between the self and the other and caring for the demands of the other. Otherness is approached as the presence of the self, the presence of the other and the interaction between the self and the other. The dialogical implication of the self in the otherness is Bakhtin’s suggestion for the self/other binary opposition. Through this opposition he comments on hegemony, displacement, abandonment, loneliness, the problematic relation of man and nature, and the expression of pain and suffering. As hegemony designates complete domination, both narratives criticize the way oppressed societies recreates the discourse of power. Hedayat and Auster use the relation between humans and nature and humans and non- human animals to show the dark side of the society. Moreover, both narrative show the distinction between fear and anxiety which, at the narrative level, related to existentialist fears and jouissance.

Love is one of the common topics of psychological topics and literary works that can be examined and compared in the framework of interdisciplinary researches" (Mahmoudi, 2019: 91) This article aims to compare the narrative of love, using Sternberg's love triangle theory, and has selected two well-known contemporary novels from two different cultures and believes that love is one of the natural characteristics that is common to all human beings regardless of the historical and cultural backgroundand examining its reflection in the works of different nations can establish cultural links between them. This article aims to compare the narrative of love, using Sternberg's love triangle theory, and has selected two well-known contemporary novels from two different cultures and believes that love is one of the natural characteristics that is common to all human beings regardless of the historical and cultural background. and examining its reflection in the works of different nations can establish cultural links between them. This theory also explains the nature of the components of love and considers "love" to be understandable and explainable in the form of its three constituent elements, that is, intimacy, lust and commitment (Sternberg, 1998: 9-10). The approach of this research is comparative literature based on the American school. According to "Rene Volk", the founder of this school, "comparative literature has become an established term for any kind of literary study beyond the borders of national literature." Comparative study provides the opportunity to compare different views of world writers on various subjects and its relationship with other sciences on a wider level. The use of psychological theory in this research is also chosen based on this

The current research is a descriptive-analytical research. Its data is of a textual type and includes sentences expressing the variables of intimacy, passion and commitment based on Sternberg's theory, which is collected through the study of library-documents and its results qualitatively described, compared and reported.

The authors of both novels selected in this article came from different cultural backgrounds; Dolatabadi is familiar with the traditional rural life of the 50s after the land reforms in Iran, and Ishiguro is familiar with the traditional culture of Japan after World War II and influenced by English literature. Both of them experienced the period of transition and transformation of their society in a way, and in their works, they implicitly reflected the mutual influence of love and emotional relationships of humans and the limitations of social life. The stories "Az Khem Chenbar" and "Never Leave Me "are not purely romantic works, but love is seen in the normal life of the characters and in the background of other events and affects them. In both stories, social and cultural conditions have an effect on the appearance of the three components of the "love triangle" and how it occurs and causes subsequent events. "People's romantic experience is strongly influenced by culture and is based on the environmental characteristics of the events of the two stories."In the culture of some societies, love is one of the necessities of marriage, but in the culture of another society there is no connection between the two" (Sternberg, 1998: 19).In the novel " Never Leave Me"Heilsham School" which is created and elaborated by the author's mind; The main limit is the life of the characters.The prevailing conditions, "scientific" conditions and human profit seeking, are for obtaining donated organs, which has caused the birth of students and the establishment of Heilsham School, and overshadow on the relationships of Heilsham boys and girls and made them victims. The sense of intimacy and commitment of the students is strengthened while learning and living together in one group, that is, Heilsham Boarding School; But the opportunity of life and passionate love has been taken away from them. The main characters, Ruth, Tommy and Kat, are dynamic characters who try to change the situation because they need to prove their love for a better life. The story of "Az Khem Chanbar" realistically reflects the image of the social life of its era in the rural area called "Rahim Abad" where the relationships of people, under the shadow of social conditions, beliefs and convictions, difficult economic conditions and poverty, under the influence of male dominance and Local customs are formed within the framework of the family and without codified education Strong characterization is one of the common points of these two works. The character of the manager in Dolatabadi's work and the character of Hilsham's supervisors in Ishiguro's work represent people who sacrifice "love" for their own profit. The parents of "Maru", the character around whom the events of Dolatabadi's novel take place, abandoned him and entrusted him to his aunt in order to improve their economic conditions Therefore, like the students of Hailsham, she is far from her real family, with a forced marriage, she does not have the opportunity to express her passion. Taher is a static character who considers Maru's wife as his right, and "Maru" is a dynamic character who becomes Taher's wife against her will and works to change the situation. "At the same time, the culture around us makes beliefs; The experience of love also changes."The feeling of love is one thing, and showing it in the form of behavior in a way that the other party feels; is a lover; Something else (Armstrong, 2013: 40-24 Examining the behavior of the characters using Sternberg's theory identifies the elements of love and its components in two novels and shows that the authors were able to; By paying close attention to the social and cultural factors of the society of the story, create images of the components of love with characterizations and descriptions of their behaviors in the reader's mind.

In the novel "Az Khem Chenbar", the love of "Tahir" to his wife "Maru" is a "stupid love" composed of lust and information, and the information of theory. Maru's love for Tahir, in which only the element of "intimacy" can be seen; It is of the "loving" type Mr. Manager's love for Maru is of the "passion" type, that is, it has a strong image of lust and a weak image of intimacy and lacks commitment. Mirjan's son's love for "Maru" has a dimension of excitement on the part of Mirjan's son, and it is revealed only in the form of a conversation between other characters in the story, and it can be considered a type of "infatuation". In this novel, the frequency of behaviors indicating "lust" is more than "intimacy" and "commitment".In this novel, the narration of behaviors that indicate "intimacy" is more than the other two components. In the novel " Never Leave Me", according to Sternberg's theory, the love between Kat and Tommy is of the "ideal love" type, between Kat and Ruth, of the "romantic" type, between Kat and Lenny, "infatuation" and between all three. Ruth, Kat and Lenny are of the "loving" type. The behaviors that show the components of "intimacy" and "commitment" are more in the novel "Never Leave Me" than in the novel "Az Khem Chanbar" and the behaviors that show "enthusiasm" or "lust" in the story "Az Khem Chanbar" are more than the story " Never Leave Me Therefore, it can be said that these two authors have proposed types of love and its elements that are consistent with Sternberg's theory and can be compared and compared with each other.

 Mythical time is said to be a time that is not transitory unlike normal, linear and limited historical time; Rather, it is a holy, distant, mana, stable and eternal time; It does not lack, it is eternal and eternal. This research aims to reveal the characteristics of mythical time and various aspects of the mythical view in the works of Sepehri and Lermontov. Sohrab Sepehri, a contemporary Persian poet, in his poems, with visual language and continuity in their images and their continuity, has been able to create some of his works in Eastern philosophy with regard to mythical time and basically myths, with his special type of worldview and intellectual influence. Mikhail Lermontov, the 19th century Russian poet, is one of the elites of his country. With his worldview and attention to Eastern myths, he has been able to reflect myths and mythical time in his works. Some of his poems are reminiscent of surahs from the Quran and the Bible. According to the results of this research, it seems that the theme of myth and mythical time is present in the works of two poets, and time in the works of Sepehri and Lermontov is a sacred and mythical time.

 Thinking about time is a topic that has occupied the mind of this Romanian thinker, and in the works of this researcher, it is always seen as a recurring theme, in such a way that, according to critics, time is the main hero of his works. In his opinion, the subject of "time" is like "Maya" in the eyes of a Hindu "Brahman" and he goes through all the paths and paths in order to go beyond the "Eternal Eclipse”. A major part of Mircha Eliade's research is about secret knowledge and rituals, and in all of them he tries to find a solution to stop time. Because he believes that in ancient times, man had the ability to overturn or at least suspend time. The myth of the eternal return of Eliadeh is considered one of her most reliable works on "time and history" and in her research studies, she has prepared a report on the mythic idea of the past people about time. By collecting a large number of legends, symbols and ancient rituals and interpreting them in a comparative study with their unique worldview, which is based on spiritual ontology, the opposition of theology and the earthly world, he comes to the conclusion that religious people in ancient societies believed in two types of time, ordinary and limited time and historical, sacred and mythological time. (Eliadeh, 2014: 7-8) The coherent language and structure of Sohrab's words and poetry, on the one hand, assimilation with the elements of life and surrounding nature, the use of epistemic and mythological origins, along with the absolute presence of the poet's mind and heart, connects his poetry to a holy and mythical time through instant revelations. And the escape from transitory and irreversible and decaying time leads his poetry to eternal and permanent time. A time of theology that has moved far away and is endlessly renewed by repetition and endlessness.Lermontov's mythical time and worldview can also be seen in his works. Eastern myths in some of his songs are reminiscent of texts from holy books. One of the scholars of history and orientalist named Dimitri says about him: Although you cannot find any kind of image of Islam in Lermontov's works, you can see the face of one of the most beautiful Islamic corners of the earth, and that is the Caucasus and its nature and people. The influence of the folklore of Caucasian nations is noticeable in his poems. Caucasus is considered the birthplace of his poems. Of course, in the meantime, due to the lack of access to Lermontov's works and the lack of sufficient sources related to them, the analysis of the article was inevitably carried out based on some of his works that were available scattered in electronic sources and sometimes in various scientific researches and non-scientific journals.

  The feedback of mythical time (stable and lasting time) in the works of poets such as Sohrab and Mikhail Lermontov who have a similar tendency to eastern thoughts was the subject of this article. According to the two poets, myth is the story of sacred and Minoan in the first time of everything.Regarding the examples and main examples of creation, symbols of the center, re-creation of the continuity of time, issues related to the beginning and end of the world and life after death, ontological aspects, sanctity of time, inner (existential) time, re-creation of time, eternality of creation, eternal examples and repetitions All of them are reflected in their works. One of the most important mythological manifestations in the literature of various nations is the myth of creation, creation and eternal time and place and the beginning of existence.

 Sohrab imagines the creation of the world according to his thought, worldview and intellectual influence. In his poems, he seems to have been present at the moment of the beginning of the creation of the world and the first days of creation took place in his era, in this way he paid attention to the beginning of the year and day, the duration of creation, the constant re-creation of time and eternal examples and repetitions, the examples of rituals and those reflected in his poems. From another point of view, it can be said that the poet recreates (the world) in his poems and tries to present the creation outside of time and no history in the mind of the audience, and this type of view is similar to the approach of primitive man and traditional societies and mythical mankind. Sohrab's belief in mythical and sacred time has been manifested in various aspects of myth and mythological concepts.Mythical time and mythical view are also visible in Lermontov's works. Paying attention to archetypes, recreating time, creation and creation of the first works of the world, the use of mythological characters such as the devil, angel and mythological concepts such as death and birth, hell and heaven are evident in his works. Bringing holy places (symbols of the center) such as "Palestine", "Holy Mountain", "Jerusalem" and even swearing to the factors of nature and the beginning of the world and many other signs on the recognition that he also has a special view of mythical and sacred time. gives consistency and according to these evidences and works, it is possible to prove his belief in a holy and mythical time.By comparing the works of Sohrab Sepehri and Mikhail Lermontov in this research, it seems that time is sacred, mythical and eternal in the eyes of both poets. Let's look at these works for the type of their worldview, according to the specific intellectual and thought of these two poets, Sohrab Sepehri's poems floated in an aura of hope and oriental mysticism that is characteristic of Sohrab's view, while (timelessness) is a mythical time in the poems. Lermontov is the result of nihilism and despair and has turned into despair and negativity.

black satire from literary, philosophical, or historical points of view. Black satire appears in the work of poets or writers in whose thoughts elements of commitment and responsibility permeate, on the grounds that real black satire cannot be realized without writers positioning themselves critically towards things, and as we know, criticism itself is a manifestation of commitment. In committed and meaning-oriented contemporary literature, satire is more moral, therefore it is less close to humor, black comedy, and lampoon, and rarely mixes with them. Therefore, the field of satirist's involvement includes intellectual, religious, political, social, moral, literary and even economic issues. In this research, the grotesque elements in two works, Prince Ehtjab by Houshang Golshiri and Shop of Suicide by the French writer Jean Teulé, are examined and compared.

 The current research was formed in order to add to the existing theoretical knowledge in the field of contemporary Iranian grotesque literature, and its immediate application is not considered. Hence, it is considered "theoretical" in terms of purpose. It is also descriptive-analytical for the implementation and promotion method. Columbia encyclopedia considers grotesque as equivalent to black humor and writes in the definition of black humor: "Black humor, in literature, theater and film, grotesque and morbid humor is used to express the absurdity, insensitivity, paradox and cruelty of the modern world. goes. Ordinary characters and situations are often exaggerated with irony far beyond the limits of natural humor. Black humor mostly uses things associated with tragedy and hurts the audience. In the field of understanding grotesque in Persian literature, in many cases grotesque is assumed to be exactly equal to black humor.

 Grotesque components in Prince Ihtjab and Suicide Shop Swearing and Cursing This abuse and uttering profanity is caused by an inner anger and the author tries to vent his anger by using abusive expressions and terms. Terribly Funny Maybe we can say that the laughter that comes after seeing the work of grotesque and black humor; is a nervous and confused one. A laugh that is more scary than funny. In other words, fun and fear are mixed together. Of course, this combination often leads to the awakening of the audience. In "The Prince Ihtjab", horrible descriptions lead to terrifying atmospheres. In The Suicide Shop, this component is reflected in the same amount but with a different quality. The difference of the "laughable horror" component in Jean Teulé's work compared to Prince Ehtjab is its fantasy. The expressions used in The Suicide Shop, although they are scary, in the end, they do not lead to the formation of a scary atmosphere. Abnormality One of the funny factors, as well as creating terror and disgust at the same time, is the element of abnormality. It has been seen a lot in mixing laughter and laughter against abnormal things. It can be said that simultaneous and mixed attraction and repulsion is the product of something abnormal. The main character of the story, who seems to suffer from the disease of sadism, harasses Fakhri, who is also a masochist. The anomalous component in The Suicide Shop also existed in a serious way and has a unique quality. Exaggeration Another element that defines grotesque and black humor is exaggeration which is crossing the limit of balance and going to extremes. Perhaps this means that the imagination in the grotesque is too free to indulge in anything, even immoral matters, to the point of distorting everything at will. In "Prince Ehtjab", the component of exaggeration does not exist. Although some of the descriptions seem unbelievable, this incredibility is there more due to the space than the magnification of an element. However, The Suicide Shop is full of exaggerations and hyperboles. The Differences Suicide Shop and Apocalyptic Space The novel Suicide Shop uses the element of the apocalyptic atmosphere, in which severe climate changes have made everyone depressed and sad. The atmosphere of depression is evident in the story. The author skillfully included three historical figures in the story. The Twach family have named their children after three famous suicides - patriarch Mishima Twach is set to evoke Yukio Mishima, while their eldest son Vincent Twach is named after Vincent Van Gogh and their daughter Marilyn Twach brings Marilyn Monroe to mind. But in the story of Prince Ehtjab, this apocalyptic atmosphere does not exist. And the story is told retrospectively.Discourses of Power in Prince Ehtijab In Prince Ehtjab, Golshiri includes power discourses throughout his story. This political dimension of Golshiri's story should be understood according to the discourses of his time. Golshiri, influenced by the intellectual discourse of his era, in this novel, by representing and explaining and describing the power and violence that led to the destruction of the Qajar dynasty, has made a synonymization and assimilation between his novel and the social and political requirements of the Pahlavi rule. Prince Ehtjab is the last person and an infertile man from the dynasty of Qajar princes. Therefore, he is the last link in the chain of transformation of forms of exercising power. The first link of this chain and the agent of total authoritarian power is the Great ancestor or Jad Kabir. He is the embodiment of undisputed power. He is tyrranical ruler, a despot who has complete control over people's lives, wealth, and honor. He knows power well and has knowledge and access to the tools and methods of maintaining it. His life is summarized in two areas: murder and acts of force, lust and sexual entertainment: "every day you should kill only one or two" (Golshiri, 1368: 50). Flashback is the main feature of Prince Ehtjab Prince Ehtjab is expressed in the way of the fluid flow of the mind and therefore lacks temporal and spatial coherence. This method and technique of going to the past and reviewing the actions, speech and thoughts of the characters makes the past dynamic and brings it live in front of the reader, and the reader feels a connection with the past because of this. While in Suicide Shop, this element is not used because the purpose is to present depression and the imediacy of depression.

Grotesque is a characteristic of the effect of absurdity in modern fiction. This type of humor has components in fiction. Harassment and cursing, being laughable and terrifying, exaggeration, abnormality, and "disbelief in the best system of creation" are among the components of grotesque that have been investigated in this research. The results of the present research show that in "Suicide Shop", the Hataki component is much less visible than Golshiri's effect. Also, the obscenities in this work, unlike Prince Ehtijab, are completely non-profane. In The Suicide Shop, the component of funny horror is reflected to the same extent as in Prince Ihtjab, but with a different quality. The difference of the "laughable horror" component in The Suicide Shop compared to Prince Ihtjab is in its fantasy. In Prince Ihtjab, the component of exaggeration is not evident. But The Suicide Shop is full of exaggerations and overstatements. Also, in Prince Ihtjab, the component of "disbelief in the best creation system" is not reflected, while, The Suicide Shop was formed based on the idea of protest against the universe and a negative view of human life.

The genre of horror stories under the title of Gothic fiction, by combining scary themes and images, creates a style of story whose basic features are horror and fear. The content of this story style is made up of many scary themes that have their roots in the Middle Ages, the setting of the Gothic novel is often the half-dark castles and palaces of the Middle Ages. Most of the sources in the field of analysis and the study of the meanings and concepts of the words, in explaining the meaning of the word Gothic, mention it as an attribute attributed to the peoples from Northern Europe (Germanic peoples) known as Goths, their prominent feature that is mentioned in most of these sources. It is the attribute of being wild and uncivilized. Gothic is actually an artistic and literary style with unique that includes concepts such as fear, anxiety, darkness, pain and suffering, appeared in the centuries before the formation of classical and features romantic art and literature, and some even with titles such as Romanticism has mentioned it. Gothic style, after the Middle Ages and Renaissance, still has its followers in the modern era and has found a colorful emergence in other fields of modern art such as film, cinema, photography and fiction. In the modern era, the main characteristic of Gothic style is horror, darkness and anxiety. Dark colors, scary and mysterious scenes and images, all of which somehow try to show the ugly aspects of life, are prominent features of the Gothic style in these works (especially in literature). Since literature and literary works are always a suitable tool for expressing the opinions and views of writers, therefore, the use of the Gothic literary genre can, in addition to creating scary, attractive and modern adventures, tell the psychological and inner state of human beings and the facts behind the scenes. Many of the cries of human societies. In 1764, the first Gothic novel named "The Castle of Otranto" was written by the English writer Horace Walpole, and literary critics have considered this novel to be the first Gothic work in literature.

In contemporary Arabic and Persian literature, "Tamer Ebrahim" and "Peiman Ismaili", two young contemporary Egyptian and Iranian novelists, authored two novels, "Sanee Al-zalam" (The Maker of Darkness) and "Negahban" (The watchman) with the aim of creating modern works in the field of Gothic fiction. They have created characters and adventures that despite their fiction and unreality, express the real facts and adventures in the mind, soul, psyche and history of human societies."Saane Al-Zalam" is the storyteller of the dark life and sheer bad luck of an Egyptian journalist; A story full of mystery and fear. This story deals with some historical tragedies and heinous murders and crimes, while the main cause of these tragedies is an evil and vile creature called "Al-Shi'". Youssef Khalil, the hero of the novel "Sanee Al-Zalam", is a young journalist with unpleasant physical and mental characteristics who lost his parents in his childhood and his temperamental characteristics made him neither a friend nor a lover. After preparing a report on the murder of a ten-year-old boy by his godfathers, this character gets involved with very horrible and unusual events. During this novel, two real historical tragedies in the 15th and 16th centuries in Hungary have been processed and horrifying images of these facts have been presented. Therefore, "Sanee al-Zalam" means "creator of darkness", a title that refers to the perpetrators of the dark periods of history and human tragedy. Of course, behind themask of these people, there is a demonic force called "Al-Shi" that appears in new faces in every era and time and covers up evil actions."Peyman Esmaili", in the novel "Negahban", by creating a gothic atmosphere, tells an interesting story of a young engineer (Siamak) who, like "Youssef Khalil", lost his parents in his childhood and is a lonely person. And this loneliness becomes his constant friend, because the accident has taken away from him, apart from his parents, the desire to have a child (as a result of the accident, his offspring has been cut off). This novel takes place in frightening atmospheres and the audience is always faced with violent nature and scary atmospheres. At the beginning of the novel, "Siamak" sees the face of the truck driver who collided with the arrow of "Kyumarth" in the form of an animal like a wolf. In fact, the wolf in this story plays an important role in connecting the story with scary themes. At the end of Siamak's life, this animal is released in the cold mountain, which is basically the Gothic hell of the story.

The present research, relying on the descriptive-analytical research method and based on the American school of comparative literature, to find out the hidden layers of the text and the comparative analysis of the literary Gothic components in the two novels "Saane Al-Zalam" and "Negahban", to investigate the elements of character, place and time is discussed in the two mentioned novels. The importance of the present research is in the comparative investigation of Gothic themes in these two novels and it can lead to the explanation and evaluation of the common effects of Gothic literature in two contemporary Persian and Arabic works, which is of considerable importance.

The results of the research indicate that the characters who have a main role and an effective presence in the two gothic novels "Sanee Al-Zalam" and "Negahban", like other gothic stories, are characters with unusual and negative characteristics. These characters have negative and sometimes conflicting psychological and physical characteristics that have formed the leaven of their horror and Gothicism. The character of "Idris" in the novel "Negahban" and the character of "Al-Shi" in "Sanee Al-Zalam" are the most gothic characters in these two novels. In the two novels "Sanee Al-Zalam" and "Negahban" there is an overlap between fictional literature and realism; because when we see the murders carried out by these people, we are observing the facts, and when we look at the nature of "Al-Shi" and "Idris" as two demonic beings in the novels, we are facing imaginary and fantasy creatures. The use of symbolic tools to express the events in the story "Sanee Al-Zalam" is a way to express the facts through symbolism. but the story of the guard expresses the desired goals and objectives with a realistic and simple point of view. Themes such as the consequences of the war, the unemployment of the border dwellers in the west of the country and their turning to smuggling, and the human fall and poverty of the people of southern cape are presented in this work in a realistic manner. In the story "Sanee Al-Zalam" we witness the staging of the story in frightening and terrifying places and spaces in the palaces of the kings. By writing a story based on European Gothic works, the author of this work seeks to express the truths of the terrifying history of human societies, which she has achieved by re-reading historical events in places such as the palace of European rulers. And "Elizabeth Bathory" happened in their palaces, they are a symbol of other terrible tragedies that happened throughout history. In the story "Negahban" as well as other authors of literary works, "Peiman Esmaili" seeks to express his mental origins and express his subconscious mind. The places that are the scene of the story of "Negahban" are the cold and snowy mountain, the strange and scary stone house in the middle of the mountain and the shanty that is the residence of "Siamak" in the scorching heat of the south. All these places somehow express the author's feeling of fear and loneliness, a feeling that he felt with all his heart during the imposed war in his childhood.The element of time is the third component examined in this research; in "Sanee Al-Zalam" and "Negahban" the fluid flow of time and the dynamics of this flow are considered important elements of creating stress and fear in the audience. In both stories, most of the scary events happen at night. because among the times of the day and night, the night has the greatest potential to create fear and anxiety, and showing the adventures and the presence of evil at this time has more attraction and traction to increase the fear in the story.