نشریه پژوهش های ادبیات تطبیقی
پیاپی 6 (پاییز و زمستان 1394)

Maulana J''alalu·''d-din Muhammad Rumi and Walt Whitman are two of the greatest and most influential poets of the world. Nicholson considers Rumi as the greatest Sufi poet of all time، and the United Nations (UN) has named the year 2007 after him. Walt Whitman، on the other hand، is the poet who is entitled the father of the American Free Verse، and forms the third column of the trinity of American transcendentalism along with Emerson and Thoreau. Despite linguistic، cultural، temporal and spatial differences، both poets consider language an insufficient tool for the expression of the transcendental and mystical thoughts; hence، their readership is invitation for silence. Undoubtedly the poets have some differences in silence motif، which is rooted in their culture and language. Rumi denies language courageously to the extent that some of his ghazals end in silence. Whitman، too، expresses his concern for silence spasmodically; however، the real silence in his poetry happens when he invites the readers to be united with nature. In this paper، the authors have investigated the silence motif in the poetry of Rumi and Whitman using the theories “analogies without contact” and “Rapprochemen” within the domain of comparative literature.

Ahmad Sovaylemi is one of the poets of the second generation (60th decade) in Egypt whose poems are greatly influenced by the heredity of the past. A study of his poems indicates that a considerable part of such heredity is that of mystics. Given that the most famous mystical poets are Persian، such influence is quite predictive. A survey of Alshawgh fi Madaen Al-eshgh determines that Sovaylem knew Attar and Mantegh Al-tayr well enough، to the point that he clearly mentions his name and calls him: “The heart of Islamic mysticism”. Therefore، this paper is an attempt to reveal the aspects of the above –mentioned influence on him، considering the viewpoint of French literary school، which emphasizes the mutual effect of the poets on one another.

The main challenges of comparative literature for Edward Saeid Edward Saeid is known as a phenomenon in the contemporary world. This Christian Arabian writer has studied comparative literature including movement، regions، goals and methods، and like his other ideas، he bounded them with the western cultural imperialism، and the different schools. Although he appreciates the nature and positive goals of comparative literature، he chose Deskartian methods and doubted the European style and view of imperialism. This study aims at introducing the challenging views of Edward Saeid in this regard.

Persian and Arabic literatures have had tight link and very similarity across the history. Both literatures in the contemporary era have very similarity and isotropy due to passing the common transformations and experiences، as well as the closeness of conceptual and literary trends of the poets. Thus، in our literary society، comparision of artistic masterpice of both literatures is one of the important fields of research concerning to comparative literature. In the present study، we aim to study، using descriptive-analytic method and based on American school in comparative literature، on the both famous poems of «Crucified man» by «Shamloo» and «Messiah after crucifying» by Badr Shaker-Al-Sayyab، both of which deal with regeneration of the final part of Messiah’s life. For this reason، we have tried to، in addition of to conceptual and literary closeness of Shamloo and Sayyab، representing the place of Messiah myth، analyse both of the mentioned poems in terms of takeing advantage of «Messiah myth»، admissibility structure، method of narrative، and symbolism، and also taking advantage from repetition music.

Huge burden of research in comparative literature in Iran relates to influence studies between Persian literature and other literatures based on the French school، though many of them are not scientific and purposeful due to the theoretical and methodological problems of French school and the methods of Iranians comparatists. This paper has three-part structure: in the first part، we discuss the theory and methodology of influence studies according to the French school. Next، it includes the criticism on the methodology of French school. In the third level، we investigate and analyze some of the theoretical and methodological problems in influence studies in Iran، and we conclude that the lack of appropriate background، imported theory and its mismatch with the literary and scientific needs of the community، incomplete understanding of the theory and the methodology of French school، and unfamiliarity with new approaches in this field are some of the main reasons of problems in influence studies in Iran.

One of the most important characteristics of Iranian paintings is their connection and unity with Persian literature، which resulted in the formation of common language and similar subjects in these two art fields. However، since the Zands Dynasty، especially their late era، a certain divergence occurred between painting and poetry due to the weakness of literature and the fact that the painters were more influenced by the European art. While focusing on the benchmarks of the poems of the return era، and the Royal Court portrait paintings، this study strives to examine the common aesthetic connection between these two fields of art through performing historical، descriptive، analytical and comparative study، and achieve the response to this question that Which factors were effective in the formation and flourishing of the literature and painting during the reign of Fath Ali Shah Qajar and how and to what extent are their common aesthetic links? The painting and poetry of this era managed to achieve flourishing thanks to the supports granted by an art-lover king، i. e. Fath Ali Shah Qajar. Due to the policies of the Shah during his 37-year reign against the arts، a suitable basis was provided for the alignment of these two fields of art in a new and different manner (notwithstanding the occurred divergence) so that the painters act independently in choosing their subjects، and do not refer to poetry so often، while trying to take benefit from poetical descriptions and literature aesthetic criteria، and represent the same through a human-oriented vision.

«Rokub Al Kawsaj» or no beard man backing up، is a celebration، which was hold to exclaim farewell to winter and arrival of spring. «Sarvato Bost»، or kāshmar cypress، is a tree، which has been by Zoroaster from Paradise in Predecessors’ belief، and planted in kāshmar by himself or by Garshāsb. Since the cypress tree was sacred in the eyes of Iranians، they respect this ancient tree. Kāshmar cypress was proud of Xorāsān people until the Mutawakkil Abbāsi era، until it was cutt off by the order of the Caliph. Abu Mansur Saʼālebi; this has been mentioned in «Simār al qolub fil mozāf wal mansub» to «Rokub Al Kawsaj» and «Sarvato Bost» by two examples in the mentioned book. We intended to affirm Even these books in Arabic heritage، which apparently has no relation with Iran history، can encompass valuable subjects.

One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper، the author draws an archetypal comparison of romantic love in the French story of «Tristan and Iseult» and the Iranian epic romance «Samak-e-‘Ayyar». It starts with explaining the Jungian concepts of mother and father archetypes، anima and animus، conscious and unconscious، as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious، the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious)، based on his/her gender. After providing a synopsis of each story، the author explains the archetypal roles and symbolic meanings of kings، queens، heroes، witches، and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters، functions، and events، and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude، outlook، and behaviors of the people that the myths are originated among them، this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century، romantic love ends with death and tragedy; however، in the pre-Islamic Iranian tale، it ends with the union of lovers?

One of the functions of the comparative literature is examining the analysis of relationships and similarities between language literature and different nations. Adoption is also one of the most important issues of comparative literature studies، in which the author interprets or recreates another art work. Tofigh Alhakim and Gholamhossein Saedi are two famous play writers in the field of Arabic and Farsi literature who have، respectively، written «Bejmalion» and «Pygmalion» plays adopted from Greek mythology of Pigmalion; however، the quantity and quality of the elements of their play are different. The purpose of this study is describing and analyzing these two works based on the elements of play، comparatively. The results showed that Tofigh Alhakim had a better performance in this regard. Integrating a few myths، entering secondary characters، creating new themes، comprehensive and meditative dialogue are considered as positive points of Pygmalion. But Saedi، in Pygmalion، not only did not add anything to the origin of the myth، but also was not successful in observing the elements of play. Not using the subgenre topics and new characters، which help to advance the main events of the play، not providing information and introduction of characters and events of the work، content-less and marginal dialogues، which have no effect on play، are defects of this work.

Music and Sama are amongst the most discussed elements in the history of Islamic mysticism and sufism. Rumi’s standing on this subject was close to the intoxicated sufis. He favoured it، promoted it and believed it to be one of the main pillars of the mystic path and journey to Allah. In the cultural sphere of the 19th-century Europe، Nietzsche، influenced by the East، and having a unique way of looking at the concept of excellence and human movement towards evolution، in order to save the alienated human kind who due to the weakness of the church has forgotten the God، brings in music as a principle in human evolution and salvation، which is very close to the Rumi’s idea of music. The two thinkers share paradigms of thought in a) familiarity، identification and the origins of thought، b) the relation of music to the eternal song of the universe، c) music as a way to catharsis and soul purification، d) the relation between music and language، and e) the relation of music to passion and ecstasy and the Nietzschean idea of affirmation. All these lead us to the conclusion that the two thinkers had very close، and sometimes، matching ideas about the origin، existence، function، and effects of music، yielding to a substantive connection.