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Ph.D. Student of Persian Language and Literature , Tehran University & Researcher of the Academy of Persian Language and Literature Romanticists have been the center of global attention for two decades by providing a new viewpoint in the fields of literal, cultural, social and political global studies. Romanticism as a live school of thought is a fundamental Part of modern culture more than being a real phenomenon of 19th century. Actually it is a new approach in global studies more than a mere literal school. The most important principle of this school is individualism, individual perfection and individual unlimitation,with emphasizing the role of imagination. From the literary aspect it is a new and ontological evaluation through poetry. Imagination has an important place in the aesthetics of Romanticism, actually the special approach of this school to Imagination, should have specified and distinguished it from the others. Modern art and literature in Iran comes from our familiarity with western thought which lead us to understand western culture and Philosophy. Definitely it is very important to understand different origins of this thought for a better understanding of it. In this article, we survey one of the Romanticism aesthetic features, i.e. "imagination" and its emergence in Persian poetry during the "constitutional time", as the earliest time of this style evolution.

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Allegory, is one of terms that despite extensive use and antiquity in the west rhetoric because of had some commonalities and differences whit other rhetorical ornaments, such as metaphor, symbol, emblem, irony and etc. literary critics and rhetorician in providing precise definition and determination of functions of allegory encountered to confusion hence credibility and significance of it in the difference periods according to the intellectual currents to become whit many ups and downs. The Romantic school was one of the processes that first time rhetoricians have tried to study features and functions of allegory compared whit symbol for distinct of borders these two terms and provide precise definitions and specific characteristics of each terms. In fact we owe modern mean of allegory those comments of some ones such as, Goethe, Schelling, August Wilhelm Schlegel and Coleridge. These rhetoricians did the first systematic efforts in clarifying and defining the meaning of the term allegory. On this basis, the essays aim of the writer has been presented a report of functions and features of allegory in the Romanticism school passer authority over critical comments in this regard, such as ; Goethe, Schelling, A. W. Schlegel and Coleridge.

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Fotoohi . M. , PH.D.
 
Abstract
This essay is concentrated on Romantic Image. Romantic Image essentially is deferent with classic, symbolic, Surrealistic and imagistic Image, in nature and aesthetic. The author sets forth essence of romantic Image in three sections: The first section explains four special feature of Romantic Image 1) poet's transmutation in nature and things 2) images as shadow 3) running images and 4) individual aspect of image). The second section discusses the relation between images and their places in context of poem with two features of connection and running. The third section explains three functions of romantic images. The final part deals with the metaphoric pole of language in romantic writings.
This essay is aimed at distinguishing classical and romantic imagination and set forth process of creature, value of aesthetics and origin of image insights in these kinds of writing. 
 
 

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Realism is one of the terms in Literature and Literary Criticism which entails multiple meanings. It can be applied both to a certain Nineteenth-Century literary movement and to a style in storytelling which endeavors to, as far as possible, depict life as it really is. This article tries to investigate the features of Realism after briefly going through different interpretations of the term and various approaches to analyzing Realistic works. So firstly, Realism has been explored as a historical concept as opposed to Romanticism and then its features have been presented. Following that, the social essence of the author’s weltanschauung reflected in Realistic works, and the radical ideological approach of Social Realism have been expounded. Based upon scholar’s opinions, verisimilitude in Realism has been evaluated in two sections: verisimilitude in relation to society and verisimilitude related to literary texts. And finally the views of the opponents and critics of Realism have been briefly held out.  

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Badr Shaker Sayab and Qaysar Aminpour are the pioneers of contemporary Arabic poetry, and tasteful and innovative poets, whose poems clearly manifest and display the principles of Romanticism School of Thought, including naturism, and historical journeys.
Qaysar Aminpour is a poet, who appropriately reflects sentiments and emotions in his works; although his poems mainly revolve round suffering and pain, such that he is known as the poet who reflects hardships.
These two poets maintain similar characteristics and poetic languages in temporal and spatial dimensions and aspects. This study is based on a number of assumptions:
1- Both of these poets are committed to Utopian Romanticism School of Thought
2- Their works portray geographical journeys and enthusiasm for arrival at their homeland
3- Their works state sentiments and feelings such as pain, suffering, and love
This article has made a comparative effort to discover terms of application of principles of Romanticism School of Thought and to state the similarities and differences of the works of these two poets with these principles.

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The school of romanticism emerged as a dialectical reaction to classicism and neoclassicism in the eighteenth century and it was influenced by philosophical, political and social factors of its age. Romanticism was characterized by its emphasis on individualism, the freedom of imagination, the sincerity of emotions and also the attempts to reach the transcendent truth, discernible beyond the scientific reality. Along with the formation of literary renaissance in Iran, many academians and literary traditionalists introduced modern literature as an imitation of the west in form of translations of western schools, including romanticism. Such an idea has been consolidated by the lack of valid and reliable literary research in the following decades. The current study has indicated that the interpretation of romanticism in Iran has been influenced by neglecting some of its essential characteristics, debasing its components from its philosophical and epistemological context and by inaccurate renditions of some of its core concepts. As literary schools contain conceptualized and structured components, literary research in Iran has seemingly employed this accessible structure in studying literary trends. Consequently, this has led to incomplete and even erroneous understanding of the trends of contemporary literature, due to focusing on sole descriptions of such elements as love and nature, without considering Persian literary traditions. 
 

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Samuel Taylor Coleridge is the most symbolic of all Romantic poets. Through his creative imagination, Coleridge creates symbols that disguise the philosophical ideas, and something fresh and unsullied out of the chaos of different images and associations. It is simply imagination that enables the romantic poet to present spiritually perceived things, and resolves his conflict by returning to “dynamic organicism.” In Coleridge’s masterpiece entitled The Rime of the Ancient Mariner, the emphasis is placed on “negative romanticism” or the poet’s “period of doubt and despair” when he fails to perceive the truth, imaginatively. In isolation and with the help of imagination, the poet sees the benevolence of the universe and the beauty of all the creatures. Besides, he finds the potentiality to grasp the truth. What follows is an attempt to see to what extent the Mariner is symbolic of a romantic poet, or a true romantic poet according to Peckham. This study traces the different states the Mariner goes through changing from a negative romanticist to a positive one. The changes are accompanied by change in attitude towards the universe and unity with it. Furthermore, projections of Coleridge as a romantic poet, on his imaginatively created character help reveal more about the Mariner.

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The study of the evolution of literary schools and comparing the principles and characteristics of different schools is one of the important fields of research in the  comparative literature.Meanwhile, the contrast between classicalism and romanticism in the theory of literary genre and their different approaches to this category, is very significant. The authors believe that there are both intellectual and social principles in these two schools that theory of the literary genre of the schools, in spite of the plurality or apparent differences, is based on these principles and a large part of the contrast between these two schools is also the result of the opposition of these principles.This research is based on an analytical-descriptive approach and want to explain the principles and foundations in the context of intellectual and social conditions, its impact on the theory of literary types and, ultimately, the comparison of these schools. The results of this research show that the theory of essentialism and different perceptions of the theory of mimesis including belief of fixed and unchanging laws of literary genre, the purity of literary genre, as well as the belief in the existence of hierarchy among literary genre and the superiority of types of narratives such as tragedy and epic ,is the basis for the formation of the general principles of the theory of classical literary types of classicalism. In contrast , the components such as historicism, attention to the genius of the poet in the creation of literary work and the tendency toward individuality has led to the formation of a new theory of genres in the romanticism which it is based on the rejection of rules  governing literary genre, the combination of existing literary genre, and the consideration of other literary forms, especially the lyric literature , novel, and the creation of new genre.

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One of the stylistic features of the elegies of the first period of the Holy Defense (1980-1984) is the imagination of nature, which goes beyond traditional rhetoric due to the subject of mourning of the martyr, and is connected with the literary schools of the world. By collecting all the elegies of the first years of the war that have been published in the collection of poets’ poems and studying the function of nature in images, a combined nature was revealed that can be called a romantic-classical duality. Among the romantic functions of nature in elegies are “nature as a mourner”, “nature as a creditor to the martyr”, “nature as a credited by the martyr” and “nature as a part of setting”. Among the classicism components, “imitation of nature”, “imitation of the ancients”, “instructiveness and pleasantness”, “clarity”, and “decorum” are noteworthy. This duality is the result of linking the traditionalist and truth-seeking approach with the emotional approach that the poets of the Holy Defense have faced in mourning the martyrs of the war, and have chosen it to express and effectively convey their mourning states to the reader.

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The present study attempts to study the transformation of some of the components of romanticism within the political thresholds. The aim of the present study is achieving a suitable answer to how some more political doctrines of romanticism such as freedom of admiring the women’s rights, outburst of feelings, and full-scale defense of personal experiences becomes so vast that change the non-romanticism components into political issues. In the present study, the poems of the aforementioned poets, that is, Farokhzad and Behbahani, which are different in terms of the content in addition to form, have been investigated and analyzed. Despite all the differences, they are considered to be similar in terms of political thresholds with respect to the transformation of themes, particularly naturalism and personal feelings, in their works.