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Children's poetry is a suitable and effective platform for moral and social development and increasing their mental and cognitive abilities. In this respect and due to the importance of the content of children's literary works in the education system, it is necessary to understand children's poetry from different angles. People's culture is a wide collection of elements related to the material and spiritual life of the people of a land, which preservation and transmission to the children's audience and strengthening its place in the thoughts of composers of this field is the reason for the influence and creative productivity of this rich culture. Among them, material traditions are people's daily issues such as tools, food, clothing and vehicles. The present essay examines the reflection of these material traditions in Shaaban Nejad's epic poems. review method; Analytical-descriptive based on library sources. The results show; Shaaban Nejad's poetry as a main source in research; It has a clear and conscious link with people's culture. By using the material examples of people's culture, he connects the past and the present together, with the help of narration, rhythm and song, wide range of vocabulary, imagery and literary works, he displays his ancient roots for the child of the modern world and flourishes and The stability of children's and adolescent literature in Persian language.

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Imagery is one of the basic subjects in the domain of aesthetics of text, which has been noticed by the men of literary taste and art from the past.  The poets have regarded imagery as the integral part of their poetry and the critics have analyzed and investigated the literary works from this perspective. Imagery criticism, especially in the temporary era, has been attended to by the men of literature. Furthermore, Ashurai poetry, as an enormous portion of the nationally committed literary heritage, has always represented Ashura. This literary art has always been after beautiful and obvious depicting in form and content of the events and causes of this enormous movement.      Clarifying this part of the literary beauties in the contemporary Ashurai poetry is the aim of the present study using an analytic-descriptive methodology and based on the American school principles of the comparative literature. For this purpose, we investigated the poems composed by over 40 poets in the last century of the two nations. To this end, after extracting metaphorical images from the selected poems of the two cited languages, with equal number of these poems, the researchers applied tables and figures to provide the reader with a suitable statistical view of the issue. The results revealed the width and variety of the images in Persian poetry, the innovation and presentation of the new images in Persian more that English, the outstanding presence of the romantic and mystical elements in Persian Ashurai poetry, and the variety and vastness of the elements composing these images in Persian poetry.

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The memory of death, which has always turned the happiness of many into misery and discomfort, has been a source of tranquility for the true mystics and Sufis. Being inspired by the Quranic culture and hadiths, which portray death of the faithful as pleasant and brilliant, mystics have always looked upon death through a mystical angle. In their view, man’s celestial soul has been detached from the divine Creator and has been deprived of enjoying His intimacy when he was exiled to this mortal world and was confined in the prison of body. Mystics have always considered themselves entrapped in two prisons: prison of body and prison of the material world. Therefore, all their attention and efforts were focused on ridding themselves of these two prisons.
Thus, for the true mystics, death is not disgusting and ghastly but lovely and exquisite. Contemplation on the mystics’ moods at the time of death and what they say about death reveal some quite wonderful points. A group of them got inspirations as regards the exact time of their departure on account of their extra-ordinary wisdom and foresight and have warmly embraced death. Another group put their love and enthusiasm for death to thought-provoking and strange sentences.
No doubt, Moalana stands on top of all these lovers of death and mystics as far as  thanatophilia is concerned. His collection of lyrics is full of poems in praise of the delicacy and gracefulness of death in a lovely and enthusiastic way.
 

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 Resistance literature is the most important cultural strongholds for nations under domination. This word has always been associated with anti oppression and evokes it. This genre of literature has got a long bachground in the history that because of ruling oppression in muslim countries from alien countries and also imposed wars, has got a special representation. Iran and Palestine are two prominent examples of this country. Saleh Mahmood Alhowariis one of the poets who pays special attention to Palestine. Also TaherehSafarzadeh,with his poetry has defended his nation confronting aliens, and we see manifestation of resistance in her poems. Pride and national identity and patriotism, challenge, hope for a better future, and invitation to solidarity are of the common themes in the poetry of both poets.This study intends to express the themes of resistance literature in poetry of both poets and compare these kind of themes in their poetry using library tool and descriptive-analytical method the American School of comparative literature.

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The views of the great poets on the essence of poetry and its constituent elements, expressed implicitly within the lines of their poetry, offer invaluable points that are often missed by literary critics. These critical views, which are sometimes expressed in a pseudo-philosophical statements, and are often wrapped in artistic expressions, are based in their actual experiences.  These views are usually expressed in brief, or wrapped in imagery, or even in an elegant indirect language, which may be extracted and, through analysis, may lead to our deeper understanding and invaluable views on poetry. These conclusions, we realize, are sometimes confirmed by the bulk of criticism. It is worth noticing that such conclusions were already preceded by great poets who were apparently the best critics themselves. The classification and the analysis of these poets’ views on poetry are considerable, and can constitute a new branch of study in the field of history of literary criticism in Persian Literature, and subsequently change the traditional system of evaluation of poetic styles.

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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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This article first studies the process of the formation of the art of emulation by examining its development and evolution in both Arabic and Persian literature. Then the article would compare and contrast the emulated poetry in Arabic and Persian. The hypothesis is that Persian emulation, like many other poetic forms, comes from Arabic literature. Thus the fundamental question is “How to examine the nature and quality of the similar and common features and issues of Persian and Arabic emulation?”. Thus the literal and literary senses of emulation are first studied, and then its representative examples in Arabic and Persian poetry and prose are listed. In this section, such subjects as echo, parody, burlesque, takhmis, and tadhmin are relevant examples that are introduced as the common devices in both literary traditions. In the manner of a conclusion, an analytical treatment of these writings is conducted, taking into consideration their positive and negative implications and effects.  

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Occupation of Palestine and Iraq’s invasion to Iran, as two enormous events of the twentieth century, overshadowed the lives of two lands. Meanwhile, literature- especially poetry-as one of the thinking areas of the Palestinians and Iranians, had witnessed a fundamental transformation. The poets of the two lands parallel to the enemy’s attack, showed resistance together with the combatants against the invasion of the enemy. “Smyh Alqasm” and “Hassan Hussein were two poems who left various worthwhile resistance poems. One indicator of this type of literature is the use of dramatic, symbolic and lyric contents. The present paper intends to investigate the reflection of changes caused by the onslaught of foreign enemies on the deployment of concepts and symbolic myths as well as the homology, differences, semantic developments and concept changes of these themes in the lyrics of Samyh Alqasem and Hassan Hosseini. The results indicated that both Samyh Alqasem and Hassan Hosseini have used symbolic and natural, human being, animal and place lyrics but symbolic and lyric meanings in the poets of Samyh enjoy more initiative, variety and extension.

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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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Sohrab Sepehri and Abbas Kiarostami are artists who could express their thought in the form of another language using the myths and symbols.  The most important considerations in their works are neutral symbols. In this paper, the authors tried to review the symbolic nature using comparative approach and Gaston Bachelard's theory. We analyzed Hasht Keteb and Kiarostami's movies, and found that the mythical structure and contents briefly express differences and commonalities in their works. The most applicant natural symbols widely used in these works consist water, air, soil and plants. The results of our study showed that Water and soil, in various forms, involve a dual role in poetry and cinema: both as a symbol of death and resurrection, and creation. Wind is the symbol of divine origin and evolution. Also it indicates the death and destruction. Plant is the symbol of cosmic tree. Symbolic imagery and mythical nature, in Kiarostami's films and Sepehri's poems, can affect the poetic spirit of two artists, which is result of thier familiarity with Eastern mysticism and also for being influenced by painting and photography skills.  

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Since the earlier times, stories on prophets, miracles and their adventurous and instructive life have received special attention as effective elements in the literature domain, embellished literary works and attracted attention of huge number of readers. One of the most enticing, influential and noteworthy of these stories is on Jesus Christ. In the literature of the past, most of the poetical interpretations of him are more under the influence of Islamic point of view and less on Christian one, which in most part is in conflict with Islamic trend of thought on some significant issues. In the modern literature and specially the contemporary Arabic and Persian poetry, the Islamic interpretation of Jesus is encountered by a considerable Christian turn and some concepts like Jesus' sufferings, his crucification, his sacrifice for redeeming the human’s sins and his resurrection after death derived from Gospel find their way into poetical works. These concepts have been converted into mythical and symbolic ones in the Christian art and considerably aid poets in expression of internal anxieties, victimized nations’ suffering, cruelty of governors, cruel governments and so on. Adonis and Ahmad Shamloo are two modernist and experimentalist poets that some parts of their poetry are devoted to symbolic and mythological depiction of Jesus Christ. Relying on American school in comparative study, this comparative study attempts to investigate the motif of Jesus in Adonis and Shamloo’s poetry in a comparative manner and analyze some considerable issues in their poetry including Jesus’ Christian or Islamic aspects, the styles of these two in depicting him, their points of commonality and difference in Jesus' symbolic interpretations and success or failure of each in applying these symbols.

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The present study seeks to analyze the components of black poetry in the poems of Simin Behbahani and Nazak al-Malaek as two contemporary Persian and Arabic poets. The reason for choosing and adapting the lyrics of these two poets in this study is that each of them, in a period of their own literary life, somehow faced with some currents, which have in turn raised a sense of despair and Nihilism in humankind. Affected by the suffocation and tyranny of society in their era, they have extensively reflected the components of black poetry in their poems.

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The current research is based on the theory of Lucien Goldman The creator of the work of art is the representative of a particular class whose collective thinking turned into a productive work by his author, the comparative-analytical study of the social sources of the poems of Donqle and Hosseini as intellectuals of the popular class. Prodotti explains the presence of collective thought in their mental network by examining the ideals of these two poets. The achievement of this study suggests that both poets have a duty to distinguish and to expand the collective thinking of ideals that are summed up in the land, justice and culture. They succeeded in fulfilling this mission against the society and the people's classes and their lost ideals, and obstacles to achieving these aspirations, which were often the result of malicious foreign policy and, in some cases, the mismanagement of internal leaders. , Identify.

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This comparative study, based on the Slavic approach, explains the features of utopia in the poems of Sohrab Sepehri and Nazak al-Mulaakeh, two Persian and Arabic poets, and analyzed and analyzed the aspects of their sharing and differences with regard to the descriptions of the two poets at content level. The results of the research show that both the poets have taken refuge in their imaginative and poetical uranium to escape the reality of their community; and because of their romantic tendencies and similar social conditions, they have both common themes such as escape from poverty and The cruelty and attention is given to the world of childhood, nature and the countryside. But the different tendencies and experiences of the two poets have brought the utopian utopia closer to reality, giving it a national and socio-ethical dimension, and made Sohrab utopia more cryptic, mystical, moral, and transnational and global.

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Literature of resistance has both human and world face. Efforts by a generation of fighters for liberation of land, religion, culture and traditions from the shackles of aggressors to national privacy and human values are done, which everyone can draw poetic and literary expression. Events such as occupied Palestine and Iraq’s attack on Iran caused the creation of unique works of the resistance literature of nations. Works of the poet of Palestinian resistance, “Smyah Alqasem”, poets of Iranian’s Sacred Defense, “Hosseini Hassan” and “Kaiser Amin Pour” are valuable legacy in the realm of the resistance poetry of the two territories. The present study is to investigate homology and differences in the poetry of resistance by relying on the works of two poets of the country. Research findings showed that sense of belonging to the land, disposal of foreign invasion and occupation are among the main factors in the incidence of resistance elements of Samyh, Husseini and Aminpour poetry. Land, war victims, rebellion against the aggressor, religious and ethnic motivations of struggle, martyrdom, the enemy, oriented ideals and values to override objections by flow resistance are the main themes of the poets.

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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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The exact date of coffee into Iranian territory is not known, but what has come to us from literature, show the reign of Shah Abbas Safavid and especially, in coffee houses in big cities in Iran like Isfahan flourished. The coffee houses of Safavid has cultural practice that most public places and especially the artists and poets. Because the Safavid poets of the era, such as the Board did not know about the art of poetry, the place was not in court and the other party's growing middle class in this day and age class gathered in coffee houses, poetry and literature to suit Since literature and society are constantly being traded bilaterally with elements in coffee houses in poetry and art of the period of manifestation of this age is certain. Coffee, opium and opiates are the most important elements that have been visualized in the poetry of this age. The method is a cross-sectional study and tool researched biography of the Safavid court and some of the poets of this era.

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This article tries to identify the common stability themes and factors in the poems of Shamlu and Darvish. For doing so, the poems of these poets were investigated in descriptive and analytical way. Comparative study of Shamlu and Darvish poems in the scope of stability poetry and explaining the common elements and analysis of the stability themes from content and linguistic perspective will be effective in analysis of the stability poetry in the world literature. In addition, this analysis helps us to identify these poets’ ideology and thoughts in detail. Therefore, the common elements of stability poetry in the world literature are recognized by broad research on the resistance literature of the nations. The poems of Mahmud Darvish and Ahmad Shamlu contain numerous common themes on resistance literature such as patriotism, confronting oppression and liberty and etc. The conditions of both poets have influenced their poetry and both of them have expressed their ideals ideologically because of tyranny and suffocation.