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Comparative literature is a branch of literature that considers the literary relation and influences of the countries. Scholar of comparative literature sits between two or more branches and records the literary-cultural transfers. This article is an attempt to study the cultural and story similarities between two the literary works; an Iranian and a French. "Leili o Majnoun", Nezami’s literary work and "Cyrano de Bergerac", Rostand’s piece have commons aspects about the content and the personality of their heroes; platonic love is the most important element in these literary works. Among the other similarities, we can represent the reality of their stories and the common literary structure. In spite of the similarities, we should consider the differences of the heroes in their manner of love-affair. An innocent love is another common point between these masterpieces, which finished with the death of heroes, Majnoun and Cyrano. In this article, we try to expand these similarities and the differences with a comparative consideration in order to conquer a new horizon.    

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Comparative mythology partly is a one of the modern courses, which have been used broadly from the second mid-nineteenth century. On the one hand, the relation of this approach has become firm in the comparative literature, and fixed in the mythical critic, on the other. Though at first, the necessity recognition of world's nations myths was introduced widely and comparatively by the European’s and broad researches were done by them, especially in the field of European nations (Rome and Greek's) myths, but the extent of this approach in the Islamic nation's myths did not progress, except of some small and separated surveys on myth motives. In 2000 AD, Hossein Mojib Al-Mesri, by understanding this poverty research, in “Comparative research in Arab, Iran and Turk's myths”, took the first step in comparison of Iranian, Arabic and Turkish's myths. It is wonderful that, even after a decade, researches did not refer to this. Mojib Al-Mesri, in this comparative research, has studied every Iranian, Arabic and Turkish's myths in three separate parts. However, this book does not operate according to the twentieth century mythical critic approach, but in Iran's myths study, it exhibits modern conclusions and achievements in comparative mythology and in this way, compares unfamiliar Arabic and Turkish's myths with similar Iranian samples that have not been studied in any research so far. This paper has tried firstly to clarify the myth relation and functioning of mythology in comparative literature and  then  introduce  Hossein Mojib Al-Mesri's achievements. Then in a more limited scope, it reviews his theories that he received from Iran's myths. In the end, it shows the existing common points between Persian myths with Arabic and Turkish samples in two sections of religious and historical myths. The purpose of this essay is revealing the potential capabilities of Islamic nations' myths. It also recommend the necessary changes, which must occur in one-sided and unilateral views of Iranian or Non Iranian mythologists.

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Rostam and Koraoglo as two nationl and epic champions that their fate are linked with the fate of their nations, are symbols of  the wrangle of forces; Good and Evil, Light and Darkness, and Honesty and Dishonesty. The spirit of impassion, mythological aspects, courage, dedication, love, revenge and splendor are conjoint specifications of the two champions. This article answers the following questions:
1- What are the conjoint specifications of the two champions that affect on the authorship of the story?
2- What are the mythical elements that changed these champions into myth?
3- What are the conjoint specifications of women in these stories?
4- What are the important amorous elements in these stories?

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Indo-european worldview has been reflected considerably in the formation of the Persian poem and prose, because of its literary and contextual grandeur. It has affected many works in various aspects, so that its mythology has been used in the prominent works such as Firdausi's Shahnameh and the Kyrgyz epic of Manas. However, the way of possessing such a worldview by Shahnameh and Manas is the subject of current research. In this regard, we have described and considered the behavior of heroes in the two works based on the George Dumezil's Three Functions Theory. Our study reveals that the tree functions of the theory have been applied all over the stories of these two epics. This theory is based on the two vises: coordination and contrast; meanwhile Shahnameh and Manas are based on goodness and evil, which are symbolized in heroes such as Siavash/Bakai as well as Rostam/Manas. The first section consists of the wisdom, intellect and calmness symbols, and the second section is related to the symbols of violence, stringency warmness, militancy, and self discipline; while ordering the Quadruplet elements system, provides the people with peace and self-coordination by its force. Moreover, there are invulnerable Demons and Personages in both epics such as Esfandiar (in Shahnameh) and Malgun and Mady Khan (in Manas). However, their only vulnerable spots are their eyes through which they must be killed and their dominance must be ended. This is the motif of “Killing the Demon by blinding him”, which forms one of the worldview's elements mentioned in Indo-european mythology.

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Nizami Ganjavi was a great Masnavi writer of the 6^th century (AH.) and one of the founders of Persian poetic fiction. One of the attractions of Nizami’s Masnavi is blessing, litany, and ascensions that are seen in the beginning of each of his verses, which have been highly regarded by his followers due to their beauty and unutterable imagination. The current paper intends to make a comparative study of Nizami’s Khamsa (or five poems) and three Arabic ascensions before it; i.e. Kitab al-Maeraj of Qashiri, Maeraj al Nabi of Ibn Abbas and Al Isra’a va al Maeraj of Ibn Hajar Esghalani and Sayouti that have shown similarities and differences in structure and content. Hence, it is concluded that in spite of distinguishing features, Nizami has been much influenced by the aforementioned works in performing his ascensions. To this end, the literature of Nizami was matched with the evidences acquired from the above ascensions so that similarities become more apparent and obvious.

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Human's knowledge in each era and regarding the paradigm of that era divides the knowledge into different categories. One of these categories, which was identified in the 19th century, is the field of comparative sciences. This kind of knowledge, having specific properties, separates itself from comparative studies and different types of pure knowledge. This research is to study comparative sciences and particularly their philosophy of existence. Unfortunately the scientific society in Iran lacks such macro-approach. Not having a general view is one of the disadvantages of studying comparative sciences like comparative literature or comparative art. This research investigates a general view about this kind of sciences and their genesis.  

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The historical and literary a common ground in Persian and Arabic Created Valuable Literary poems on various subjects. We can mention elegy that versified in the sadness of destruction of Baghdad by Saadi Shirazi and Shamsuddin Kofi. Reflecting the Mongol invasion of Islamic countries, including Baghdad caused profound grief and sorrow over the lives of Muslims. In this article we have tried to analyze the reflection of the tragedy in the poem of the two poets and we have mentioned by Comparative analysis to the Themes and content is written by the poet's and We have also explore the similarities and differences of the two poet elegy. The results of this study indicate that both the poet in several main themes have in common such as crying and grief, complained of oppression days tend to pre-Islamic Arabic language and literary style and Mention honors predecessors. Lastly Both poet said monody by Pure and simple Diction, yet full of sorrow and regret, in elegy of Baghdad and ”mostaasem”.

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The influence of one literature on the other is the   consequence of cultural interaction in different nations. No literary dynamics can keep itself away from the influence of other literature. When both sides of the equation interact through the cultural and literary language of the two nations, the issue will be more serious.  Since the Literature and language of Iran and Tajikistan have the same origin, then this can be a subject for a comparative study. So in this article, we will investigate similarities and differences in how to apply mythology, poetic language, its functions and its application in both quantity and quality in the poetry language of two contemporary poet from Iran and Tajikestan ( Forough Farrokhzad, Golrokhsar Safi-Ava). The main question is that how is each of these poet`s  attitude to myth, mythological themes and  their origins, and to what extent do they have used from these mythological motifs in their poems. These motifs are: God, goddesses, gods, prophets and entrepreneurs, mythological figures, historical and epic creatures, plants and animals and mythological mythology as well as certain areas.

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Considering that there are many commonalities between MohammadReza Shafiei Kadkani and Abdul Wahhab AL-Bayyati in cultural, social and political fields, and especially in literary filed, and also the inveterate familiarity of Shafiei Kadkani with AL-Bayyati’s views and opinions, besides study and translation of his works and preoccupation regarding to AL-Bayyati, all these caused Shafiei Kadkani to model AL-Bayyaties poetries and his personality as the major sample and in some cases to he impressed by him such that, sometims, Shafiei Kadkani composes like AL-Bayyati. So the common aspects of these two literates could not be accidentally. Therefore, obvious signs of this impressiveness and commonality are discussable in the framework of comparative literature. The purpose of this article is analyzing the commonalities and impressiveness signs of this Iranian poet from the Iraqi poet.

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Throughout the history, women writers, regardless of geographical, historical and cultural variations, have always been faced with the same concerns and challenges. Women's literature depicts a world based on the masculine priorities and logic concerns. So, due to disturbing laws written by men, women writers have tried to use "feminine aesthetic" and find a proper language to express their concerns and aspirations. In this way, they were capable to represent a clear picture of the woman as it should be.  In Iranian and Italian contemporary literature, many women authors have created works based on women's issues. Among these works, we can mention the works of Zoya Pirzad and Alba Deses Pedes who narrate, in a specific manner, the same story about women's challenges and concerns. This paper applies "Theory of the Gynesis in Women Writing" to these two novels formed in two different geographical and cultural origins, and aims to answer the question of how the common characteristics of feminine writing engender fundamental similarities in plot, narrative and characterization? What we can say with certainty is that the characteristics and common factors in both text and meta-text of these two feminine writings engender a realistic and measured image of "women situation" in these two societies

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While comparative literature knowledge expanded beyond the European borders toward the Arabian lands, it found many for and against among the Arab critics. Some appreciated comparative literature in order to enrich the  national literature and culture (including conversation, friendship, recognizing and understanding others), and some were doubtful about it; they believed that it is a European-based approach in comparative literature as well as the western naturalism aiming to westernize Islamic-Arabian thoughts, and is the threshold of novice (cultural) colonialism. Drawing on a descriptive-analytic approach, this theoretical research tries to do a deep and accurate analysis of the second critical group. The main findings comment on the group of critics on the damages of comparative literature in identity and culture, who believe that comparative literature suffers from Europeanism, and cultural racism.

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Nostalgia or submit for the past is a mental state that appears in a person unconsciously and then becomes a thought. In the literature, this state occurs for a poet or writer, who, because of individual motivation or surrounding social, political situation, feels cut from the present time and raises the idea of returning to the past and its sweet memories. Abd -Al Wahhab Baiati and Mohammad Reza Shafie Kadkani, as two famous contemporary Arabic and Persian literature poets and gonfaloniers of the school of literary romanticism, refresh their memoirs according to their personal and social conditions; and their poem takes the color of pain, sorrow and yearning for the past and induces an atmosphere of submit and nostalgia to the audience. Therefore, in this research, the authors, using Hermeneutics approach and content analysis method, review and match the appearance manner of this poetic thought in these two poets' lyrics. The results showed that these two poets have subscription in nostalgic themes, staying away from land, childhood, lover, loss of values and myths.    

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In relation to the impact of Persian literature on the west, in the 19th century, Ralph Waldo Emerson is one of the most outstanding American figures. His interest in Persian poetry, particularly that of Hafiz, encouraged him to translate some Persian poems into English. He also composed some poems with oriental inclinations, inspired by Hafiz and the mystical poetry of some other Persian poets. Emerson also wrote an essay, entitled “On Persian Poetry”, in which he introduced German translations of Persian literature as his source of knowledge and revealed his high regards for Persian poets. However, his greater admiration for Hafiz than for others in this essay is due to the fact that to him Hafiz, while being a greater poet, was a liberated minded intellectual as well. This study is an attempt to scrutinize Emerson’s observations of Persian poetry. First, the sources from which he acquired his oriental notions will be examined. Then his view on Persian poetry will be focused upon, and finally his praise for the merits of Hafiz’s poetry including: intellectual liberty, transcendental vision, Takhalloss (his mode of copyright), the function of the hidden layer of meaning in his poetry, etc. are going to be examined. This comparative study will finally present Emerson’s misconceptions in the field of Persian poetry. His mistakes and misconceptions might be the result of cultural differences, his lack of knowledge of Persian language and different time span in which the two poets lived.

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Based on the theories of René Wellek and Henry Remak, interdisciplinary studies, as a sub-category of Comparative Literature, started to grow since 1980’s. The study of the relationship between literature and such arts as literature and painting has, since then, attracted the interest of many researchers. This paper is as attempt the relationship between poetry and painting through the poetry and paintings of Sohrob Sepehri. What have been discussed in this interdisciplinary research are the concepts of stasis and dynamism, which appear differently in the written language of poetry and the visual medium of painting. Though the main emphasis of this research is on interdisciplinarity, it still offers new perspective to a better understanding of Sepehri's poetry and paintings. The writers have tried to open the way for further interdisciplinary research in the field of Comparative Literature by elucidating a clear theoretical framework and research methodology.

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Baroque movement started from Italy and covered the whole Europe. Baroque school came into being after the glorious Renaissance era, and The Indian style came into being in Persian literature likewise Iraqi. These two have a firm relationship with each other. For example, sonnet is the prevailing form in both schools. Also they have concepts like movement and permutation, emphasis on visible and concrete forms, reliance on physical beauty, how to describe nature, dominance of décor, defamiliarization, etc, in common. What are clearly observed in Baroque literature are: not imitating the formers, instability of the world, movement metaphors, death, presentation, carpe diem, artist's revolution, philosophical complexity, paradox, conditionality of human knowledge, freedom of speech,etc. These are also salient in the poetry of Bidel Dehlavi. This research studies the firm relationship between Baroque school and poetic style in Iran and India considering some poems of Bidel.

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Comparative literature is an academic field dealing with the literature of two or more different linguistic, cultural or national groups. While most frequently practiced with the works of different languages, comparative literature may also be performed on the works of the same language, if the works originate from different nations or cultures among which that language is spoken. Also included in the range of inquiry is comparison of different types of art works; for example, a relationship of poetry to other poems. This article compares Nima’s Afsaneh and Alfred de Musset’s Les nuites. Some characteristics of Nima’s Afsaneh subscribe with Alfred de Musset’s Les nuites, and this article reviews the common characteristics of these two poems. 

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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.    

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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.  

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  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.

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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.