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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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Abstract: Time is an abstract notion, and it is always being understood by objective things. In the contemporary theory of metaphor, with its cognitive bases, there are some metaphors such as "time as a location or bounded space" or "time as an object". In these metaphors the relationship between time and observer is also being considered and two categories are extracted including "time moves and observer is motionless" and "time is motionless and observer moves". On the other hand, the amount of conventionality or novelty is also noticeable in cognitive view. In this article, time metaphors in Forough Farrokhzad's poems were extracted firstly. Evidence showed that these metaphors were the same as those which are used in ordinary Persian. In the next step, conventionality or novelty of poems was studied and it is found that in her first three books, "the wall", "the captive" and "rebellion", metaphors are mostly conventional but in her last two books, "rebirth" and "let us believe in the beginning of old season" conventional metaphors are extended and they were accompanied by novel features and even completely new metaphors were created.

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  “Pain and suffering” is one of the tragic aspects of the human life which, as a recurrent motif in art and literature, particularly in women’s contemporary poetry, requires a particular attention. This article presents an ontological analysis of the concept of “pain and suffering” in Forough Farrokhzad’s and Simin Behbahani’s poetry with respect to its quality, quantity, and instances. Accordingly, the article consists of a criticism and analysis of the concept of “pain and suffering,” its objectives, and its effects on the contemporary women’s poetry. Furthermore, an ontological discussion on the examples and different types of “pain and suffering” in Forough Farrokhzad’s and Simin Behbahāni’s poetry is presented.

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Forough Farrokhzad, Persian contemporary poet, was born and grown up in a society where the female poets were less rebellious against the values, the values which were rooted in the cultural background and beliefs of Iranians. In 20^th and early 30^th , Forough decided to escape the contracts and norms. Her first reactions were rebellious. The demand for emancipation in her first three poems, "captive", "wall" and "rebellion" represents this issue against the beloved and the values of the male-dominated society. In the "Other Birth", she criticized the patriarchal domination of society and began to explicit all the dominant values of society. In most of her poems, the poet wants to leave everything that she throws at her and always sees the obstacle to this emancipation; this barrier can be man, law, society, or human. But in the "Let's believe in the beginning of the cold season," she rather criticizes the modern Man. In her latest work, the poet portrays the themes such as rebellion and emancipation in abstract and in some cases multi-dimensional manner. Specially in the poem " Let's believe in the beginning of the cold
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season", which is also the title of the collection, the poet expresses her desire to rebel and then to liberation in various ways.
            Therefore, it can be said that this rebellion is, in the first poems of the Forough, has obviously two senses, first of all, the love that comes from the feminine passion and then the rebellion against the beloved-woman contracts in his contemporary society. Moving through the first poems of Forough and following her poetic path, we find that the poet faces a number of ups and downs in expressing the concepts in her poem, most of them follow the same form. But what we see in the books after the "captive" and "the wall", is the expression of these two concepts with more poetic images and other poetic arrangements. In fact, the poet has never ignored the rebellion during the stages of maturity, but rather propagated it with new ways of expression.
Our hypothesis is that the theme of rebellion in these works is personal most often unidimensional or bi-dimensional, but what is said in the poems of her two latest works, it is very important to go beyond the personality of the poet and, therefore, to move from personal revenge and to reach “the social self” for “the collective rebellion”.
From the beginning to her final poems , the poets seeks to express this rebuke, which include expressions, images, metaphors, analogies and poetic arrangements. Of course, it should be pointed that this measures are not conscious, rather it would be her won worldview. In addition to the rebellion, another important issue is the belief of liberation from persecution. In fact, for Forough Farrokhzad, the liberation is a kind of attempt to find a solution to the breakthrough, and that liberation is expressed with various poetic forms.
By adopting a semiotic approach to literary discourse analysis, the authors tried to analyzed the visual dimension of Forough's poetry in the representation of the concept of liberation and rebellion. Thus the main objective of the current research  was to show that the visual dimension was one of the main structures of the meaning of the text. Our hypothesis was that the figurative dimension in Forough's poetry is  the concept of rebellion and emancipation, and sometimes the abstraction of this dimension makes it difficult for the reader to understand the meaning. This paper consisted of three parts. Following the research background, which focused mostly on sources that analyze Forough's poem from thematic-structural perspective,the authors have discussed the methods, and approaches of semiotic theories of Paris school to text analysis, which defines the figurative dimension.
In the end, the authors have shown some Forough’s poetry characteristics that are remarkable. First, the negation of all social and poetic constraints, in relation to the man, the beloved, the nature and the love. The next step has been attributed to the liberation theme. The love has different aspects in Forough's poetry and is not valued, the only thing that gives hope to the poet is the season that is cold. This image of the cold that was from the beginning continues throughout the poem with the changes of comparison and metaphor and in the end, it is again the center of the poet's interest. Thus Forough's poetry has a spatio-temporal isotopy and at the end the first picture appears, which is due to the uniqueness of the image of rebellion and liberation. In the case we want to show the figurative dimension on the basis of model proposed by  Denis Bertrand, we must say the figurativity goes in the negative direction, towards the conceptualization and not on a clear and explicit direction.
 
 

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In this study and based on mental and affective axis the interrogative propositions have been investigated. According to results of this research, these propositions signify her quest and are crystalized in the form of love, the quest of self or searching identity, and the concern for humanity. Through this process of searching identification and in the poetic universe of Forough Farrokhzad, she asks always numerous question on the nature of love, life and herself. From affective view point, the analysis of interrogative propositions shows that the priority of love in her both early works gradually get pale and her questions have been quantitatively and qualitatively transformed. It is worthy to note that the addressee of these propositions is an example of her mental and affective metamorphosis and this study tries to show that her addressee from personal “I” or default and presupposed addressee changes into an interpretable and generalizable pronoun to all readers and addressees. With no doubt, adopting this approach shows the great extent of Forough Farrokhzad mental and affective universe.

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The present study adopts the French School of Comparative Literature methodology to introduce Anjuman and to explore the historical and thematic relationships between her poetry and that of Farrokhzad. Using content analysis and comparative approaches, the research examines feminist themes in their works and their portrayals of female identity.
The findings suggest that Anjuman was well-acquainted with Farrokhzad's poetry and philosophical outlook, which profoundly influenced her creative expression. Her work reflects themes central to feminist literature, including the assertion of women's love and identity, resistance to patriarchy, critiques of social inequalities, and the articulation of women's desires and aspirations. These shared concerns highlight Anjuman's intellectual and poetic engagement with Farrokhzad's legacy. However, significant differences emerge in their approaches: Farrokhzad openly addressed women's issues, challenging societal norms with bold language. By contrast, Anjuman's poetic expression, constrained by Afghanistan's restrictive social context, remains comparatively reserved and avoids directly challenging established norms. Nonetheless, her work symbolizes the voice of Afghan women striving for representation in a challenging socio-cultural landscape.
 

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Nadia Anjuman is one of the young poets of Afghanistan who had a very short life but was able to find a place in Persian literature in this short life. Some critics have called Nadia "Forough" of contemporary Afghan poetry because of her simple, unadulterated feminine poetry, as well as her untimely death. But this Forough, like Farrokhzad, did not reach the period of perfection and maturity. The present study is an attempt in the framework of the French school of comparative literature, in order to introduce this poet and show the historical relationship between his poetry and Forough Farrokhzad's poetry. This research has analyzed the female-centered components and efforts to achieve the real position of women in the society in the poetry of Forough Farrokhzad and Nadia Anjuman with a descriptive/analytical method. The findings of the research indicate that women are particularly important in the poetry of these two poets, and the issues related to her from various aspects such as protest against the patriarchal culture, expression of women's emotions and feelings, inequality of women's rights and oppression against them, etc. has taken. These two poets, due to cultural commonalities and living in societies with old traditions and living in unfavorable social environments, have had almost the same performance in portraying the true identity of women and their place in society. In addition to these, Nadia Anjuman, due to the traditional society Afghanistan, like Forough, has not expressed openly in women's issues and has not broken norms.
 

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بررسی تطبیقی بوطیقای آیرونی تصویری و انواع آن در شعر فروغ فرخزاد
و غاده السّمّان
چکیده
آیرونی تصویری، پدیده‌ای بلاغی است، و از ویژگی‌های آن، بیان تناقض بین دو ذات، برای اثبات صفت‌های مثبت و منفی است، که از طریق تصویرهای متناقض، که در اصل با یکدیگر موافق و متناسب بوده‌اند، آشکار می‌شود. واین تناقض در تصویرها، نشان دهنده‌ی القای مفاهیم نو ظهور در زندگی واقعی، و در نتیجه، فهم مشکلات پیچیده در جامعه است. و نظر به اهمیت و شیوع این تکنیک بلاغی در شعر معاصر، به بررسی آن در دو مجموعه شعری "تولدی دیگر" فروغ فرخزاد و "رقصیدن با جغد" غاده السّمّان، پرداختیم؛ تا با استفاده از روش تطبیقی با رویکرد نظریه دریافت مکتب آلمان عمق اندیشه‌های آنها پیرامون جامعه مرد سالار مثل عدم برابری حقوق زن و مرد، و مسائل اجتماعی دیگر، مثل ظهور روشنفکران دروغین، که پیشرفت جامعه را در گرو تقلید کورکورانه خویش از فرهنگ غرب می‌پندارند، بپردازیم. اما مهمترین یافته‌های تحقیق، حاکی از کاربرد تصویر متناقض زن توسط دو شاعر است؛ همینطور، غاده السّمّان، تصویری متناقض از شخصیت‌های مشهور در زمان گذشته، به کار می‌برد؛ و سیف الدوله را حاکمی بی‌بند و بار تصور می‌کند؛ و فروغ فرخزاد، تصویری متناقض از ویژگی‌های پیامبرانی ارائه می‌دهد، که هدف تبلیغ آنها، هدایت مردم بوده است، و آن را به صورت نمادی متناقض، در روشنفکران دروغینی تصور می‌کند که هویت دینی و فرهنگی خود را فراموش کرده‌اند.
واژگان کلیدی: آیرونی تصویری، فروغ فرخزاد، غاده السّمّان، تولدی دیگر، رقصیدن با جغد.