مجله پژوهش های ترجمه در زبان و ادبیات عربی
پیاپی 1 (زمستان 1390)

Abolqāsem al-Shābīis one of the renowned contemporary poets who is considered a Romantic poet and most of the critics have emphasized his tendency toward Romanticism; however, his poems show traces of symbolism as well. Now the question is whether al-Shābī is a poet merely with romantic tendencies or he also subscribes to the school of symbolism. This paper examines al-Shābī's poemswith regard to their symbolism and discusses his innovations in imagery and symbolsusing a descriptiveanalytical methodology. First the poet's Divan is studied closely and then its symbolic and mysterious aspects are analyzed within the theoretical framework of this study. The examination of the poems revealed that he has a tendency toward mystery and symbol. As one of the poets of Apollo school, he has been influenced by symbolism; some of the features of symbolism such as synaesthesia, attention to musical rhythm, rhyme and meter suggest that he has a tendency toward symbolism.

AkhavanSaleth started his work by composing poems in Khorasani's style at the beginning of modernism; however, soon he got acquainted with Nima's style and remained one of his faithful friends ever. AmalDonqol, a nationalist Egyptian poet, was born in 1940 in Qena; he was living at the time when Arabdogmatism was prevalent in Egypt and he is therefore known as the 'poet of protest'. Akhavan is so attached to the heritage of his ancestors that in his poems, in both form and content, this ancient heritage is observable. Donqol, too, has strong attachment to the heritage of his ancestors and has referred to it frequently in order to provoke the nationalist sentiments of his audience. He draws on history and mythsalong with their events and characters to return to the Arabs their lost pride.

Undoubtedly, the poems of any poet resemble a mirror reflecting the circumstances of his time and illustrate his feelings and reactions to the current events of society. On the other hand, poems too impact social events of their time and may encourage people to perform an action or prevent them from undertaking an activity. The poems of FadvāToqān, a political and committed poet from Palestine, represent the pains, hopes and wishes as well as the struggles and resistance of the people who are treated in their homeland like strangers and invaders.Fadvā is influenced by the pains and sufferings ofher people and society and puts her grief into words; sometimes she thinks it impossible to become free from these problems and sufferings and thus plunges into a whirlpool of despair. This is then followed by her poetry of hope where she chants 'resistance till freedom' and sacrifices allher love, devotion and blood for the sake of her homeland. The present paper, relying on the analysis of ToqānsDivan, categorizes her poems into three themes of despair and disappointment, hope and determination for changing the future and finally struggle and resistance. Based on this classification we identified a trend in these poems: a trend from despair to hope and struggle. For all the issues discussed above, numerous instances are extracted from FadvāToqānsDivanand analyzed using completeinduction.

It is doubtless that all poets and writers throughout history have been influenced by other poets, scholars and writers. All throughout the twentieth century, the French concept of 'comparative literature', given this human phenomenon of influencing others and being influenced by them, has resulted in extensive and invaluable studiesthat have in the first place attempted to illuminate the part played by French literary men and thinkers in the development of western culture and literature. An area of inquiry in comparative literature is the study of the ways literary men influence and are influenced by others. Given this key principle of influence– which is the basis of comparative literature in its classical sense – we can assert that a great many of Muslim poets and literary men have been influenced by the words of Imam Ali (PBUH) and have incorporated his words into their poems or writings. Sadi is one such great literary man. He has been inspired by the profound themes of Quranic verses, prophetic traditions, Arabic literature as well as the lofty views of Imam Ali (PBUH) and has merged all these with his amazing genius and sparkling wit to create universal elevated literature. Since the impact of Imam Ali's (PBUH) words on Sadi's work has been enormous, the present paper attempts to examine the influence of Nahj al-Balāgha on SadisGulistan.

Mohammad al-Māghūt, a writer, poet, dramatis, journalist, and theatre and television artist, is one of the most renowned cultural figures in contemporary Arabic literature and has had a tremendous and profound impact on Arabic language and culture. Unlike other distinguished figures in contemporary Arabic literature such as NezārQabānī, BadrShāker al-Sayāb, al-Bayātī, Adonis, Mahmoud Darvish, etc., he is unfortunately not adequately known in Iranian academic and cultural circles; this is while he is contemporary with the said figures and has been innovative in Arabic blank verse. The present paper thus is an attempt to introduce the poems of this influential artist as well as his character and the development of his art, works and thoughts.

Examination of the similarities and differencesbetween Persian and Arabic literature and the impact of these two on each other has been the subject of numerous researches in comparative literature. Since in recent decades the connection between Persian and Arabic literature has weakened considerably, it seems that focusing on the cultural similarities between them on the one hand, and the impact of the west as the origin of modern literary criticism upon them on the other hand, paves the wayfor the investigation of practical critiques in different fields; this can fill the gap that has appeared due to the lack of direct connection between Persian and Arabic literature. The differences in the viewpoints of Persian and Arabic literature as well as their different interpretations of western theories and the reflection of these interpretations in the works of Iranian and Arabic writers can affect the type of critical inquiry in these two fields. The present study examines a number of practical critiques of Arabic fiction (especially short story, as a branch of the vast field of Arabic literature)written in Iran and Syria,in order to identify the similarities and differences in the attitudes of the critics in both fields. Moreover, it explores the degree of their success in investigating short story and its development in Iran and Syria.

Mozaffar al-Navvāb, a distinguished Iraqi poet and a leading satirist, well-known in the field of social and political critique, has a privilegedstatus in contemporary Iraqi literature. He has experienced a difficult life in theperiod of political instability in Iraq and has later suffered from pressure and exile; he is angry at the inability of Arab authorities to resolve social and political problems especially those related to Palestine; he is also angry at the compromising strategies of authorities as well as the inability of the Arabs to face and tackle their own problems. Mozaffar al-Navvāb expresses his anger over all these issues and the social and political shortcomings in a harshand naked language and criticizes the agents of the deplorable conditions of the Arabs; his mastery over vernacular language and his fluent Arabic has attracted a wider audience for his message.

After the rise to power of Shah Abbas the Safavid and the massive immigration of Shiite Ulama from Lebanon (Jabal 'Āmel and Beqā') and Bahrain to Iran, a literary movement began in Arabic language and itspioneers were these newly arrived immigrants. Another pillar of this movement was the Iranians who learned Arabic from these jurisprudents, including MīrDāmād, the famous philosopher and jurisprudent. Besides his philosophical works, MīrDāmād has some poems in Persian and Arabic. Although on the mother side he is the grandchild of MohaqeqKarakī, Lebanese scholar residing in Iran, in the musical structure of his Arabic poems he is markedly influenced by Persian poetry to the extent that in the selection of the meters and other metrical features of his poemshe has benefited enormously from Persian poetic meter. This has added Persian color and feel to the music of his poems. He has avoided in his poems the frequently used Arabic meters and on the other hand has made use of Persian meters such as circular meter. Based on the available examples, we may conclude that MīrDāmād, in composing his poems, has been influenced by Persian poems of Mevlana and Hafiz. These issues are examined in this paper using comparative criticism.