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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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This article explains the common themes of Shahriar and Fowzi Maalouf's poems by asking what common themes of their poems about nature were. To answer this question, in the research process, a descriptive analytical method has been used based on library studies and content analysis of the data. The findings of this research indicate that Shahriyar has given some reflection on the nature of the Fowzi due to a periodic crossing of his life in relation to romantic tendencies in nature. Shahriyar's attitude toward nature is the result of his own experiences and personal acquisitions, while in Fowzi's view, nature is the source of inspiration for many concepts. The characterization of nature is more realistic in the sense that the Fowzi's poetry takes on the utopianism.

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This article seeks to use the descriptive-analytical method and relying on the definitions of social modernism to address the issue of social innovation in the poetry of the two poets and what are the similarities and differences in each of the topics? The analysis of Baroudi's poetry suggests that he is taking advantage of the sophisticated taste as well as following the critics of the West to the affairs of the people and to correct the defects in society. Like Farrokhi Yazdi, he addresses issues such as central justice, homeland, despondency, attention to poverty, opposition to oppression and oppression, and invitation to studying science as one of the most important subjects of his poetry. The most important aspect of Baroudi's and Farrokhi's poetry's differences is that Farrokhi, as a responsible critic, deals more with the community and related issues, but in Baroudi's poetry, he makes imitation of modernization. However, with the advent of the Arab movement and the issue of exile, it is twisted within it and pursues a sharp eye and a sharp sensitivity to the social problems of its country.

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Language as a fact and social behavior is always invariant with social, cultural and traditional values. Vocabulary has an ideological identity card, and by digging the archeology of the vocabulary one can achieve inequality in the position and social roles of men and women, because they create, promote And reinforcing sexual ideologies through the same language and through discourse. In this research, the author of this study, with the approach of the sociology of language and with the descriptive-analytical method, wants to specify the cultural and social position of contemporary Arab and Pars women, based on the poems of Kuwaiti poet Sa'ad al-Sabah and Iranian poet Simin Behbahani. Achievement of the research shows that in choosing linguistic structures and patterns, Suad Al-Sabah and Simin Behbahani's follow specific linguistic patterns of their gender. Because women have been deprived of access to power in the community and have been deprived of their proper social base; their frequency of using emphasizing sentences in their poems is highlighted, so that their speeches may be considered. Using speaker's pronoun, those two poets aim to disturb the balance of power and prove the presence of women more actively in the cultural and social areas. These two contemporary Persian and Arab poets, with the help of mental metaphors, and metaphorical schemas, bring forth or create certain meanings. Suad Al-Sabah has cited Cygnus as a metaphor from a contemporary Arab woman to say that the contemporary woman has lost her freedom and her country has become a prison for her. Simin Behbahani's using the metamorphic "Gypsy" for contemporary Iranian woman, expresses hatred of allegiance, weakness, oppression, homage and submission, and demands human rights, liberty, pure and mutual love.

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Due to its richness and long history, Iranian mysticism has been able to fascinate everyone. In Iranian mysticism, the goal of the seeker is to gain knowledge through the stages of conduct and strive to purify his soul. Comparative literature is a suitable context that plays an important role in this regard. In the meantime, Muhammad Adam, a modern poet, gifted and alive in Egypt, whose poetic life is tied to mysticism and Sufism; In some of his poems, he mentions mystical-Iranian thoughts that have been influenced by them. Therefore, the present study seeks to show how Mohammad Adam Adam's poetry is influenced by Iranian mysticism through a descriptive-analytical method. This research is generally divided into three main sections. In the first part, Iranian mystics who were influenced by Mohammad Adam, in the second part, common mystical terms and in the final part, common mystical symbols with these mystics in his poetry are examined. The findings of the research indicate that Mohammad Adam has benefited from the boiling source of Iranian mystics, among whom are: Rumi, Suhrawardi, Hallaj and Ghazali. Also among the manifestations of Mohammad Adam's influence on Iranian mysticism, common mystical terms such as: 1) existence and non-existence 2) love 3) praise of God 4) soul 5) unity 6) travel and also common mystical symbols with Iranian mystics including: 1- Light 2- Candle 3- Fish 4- Night.
 

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According to critics and experts in the field of myth, "Achilles" or "Achilles" is the most immense Greek mythological hero in the Trojan War. Humorous, the oldest and most famous Greek epic, in his book The Iliad, the most comprehensive epic version of the West and the Greeks, is the story of this myth and his adventures in the Trojan War. This book has had tremendous effects on the cultural and literary communities of the West and the East. In the same vein, some contemporary Arab poets, like Suleiman Al-Bustani (1856), Mahmoud Darwish (1941), and Abdul Aziz Al-Maqalah (1937), have often been influenced by Iliad Homer, calling this myth. The purpose of this article is to critique and evaluate the effects of the presence of the myth of "Achilles" in the poetry of the poets, based on Pierre Brunel's theory and how to apply it in their poetry. The research achievement, which has been written with a descriptive-analytical method, shows that the Achilles myth in the poetry of some named, such as Darwish, and the articles that are poets of the generation of screaming and catastrophic events and defeat in Arab lands, The mission of a war hero on the battlefield of Troj, as a sinner and political ambassador among Arab nations, is that the emancipation of contemporary human beings from pain and suffering is political-social.

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 الملخص:
مع اختلاط فکر وثقافه الأمم المختلفه، أدی الفکر العابر للقومیات، مع ظهور الثورات فی أمریکا اللاتینیه ومثقفین النخب الثقافیه فی المجتمعات العربیه، إلی انهیار جدار الإثنیه وتجاوز الحدود الجغرافیه وکسر الحدود اللغویه فی النهایه. لذلک، لم یستغرق الأمر وقتاً طویلاً حتی یتم دمج الثقافات والأفکار الوطنیه لمختلف البلدان والمجموعات العرقیه إلی حد کبیر. من بین الفئات التی تتکون منها الأفکار العابره للحدود، هناک موضوعات أدبیه تظهر فی أدب الشعوب العربیه أکثر من أی أمه أخری. من بین الکتاب الذین تأثروا بالأفکار العابره للحدود أکثر من أی شخص آخر فی المجتمع العربی، یمکن ذکر «نازک الملائکه» و«عبد الوهاب البیاتی». نظراً لأن موضوعات المناقشه العابره للحدود واسعه جداً، فإنَّ البحث الحالی یحاول أن کشف، بالاعتماد علی المنهج الوصفی التحلیلی، للتحقیق فی المقاربات العابره للحدود فی قصائد الشعراء المعنیین فقط من حیث قضیه الجنس (ذکر وأنثی) والإجابه عن السؤال أدناه: عبر الوطنیه للجندر، کیف وبأی شکل ظهر فی شعر هذین الشاعرین؟ تظهر نتائج البحث أن أشعار عبد الوهاب البیاتی أکثر تأثراً بواقع الحیاه والتجارب الشخصیه ونتیجه مخیلته للمرأه ومفهوم إیجابی عن المرأه، ووجهه نظر نازک الملائکه هی بسبب الضغوط النفسیه اللاواعیه والأوضاع الاجتماعیه لمکان الحیاه، فکره الرجل بالنسبه لها أکثر تأثراً من تصوراتها ومفاهیمها الذهنیه، وبذلک تمکنوا من التعبیر عن هذا البعد من المفاهیم العابره للحدود فی قصائدهما.

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The notion of the ideal city is a seductive vista, beckoning from the realm of aspirations and dreams. It stands as a realm untouched by pain, suffering, or illness a symbol of a flawless and utopian reality. In contemporary poetry, poets often turn to the imagery of this ideal city within their verses, seeking solace from the tribulations and yearnings of their time. This research, employing an analytical-comparative approach, delves into the conceptual origins of the ideal city within the poetry of Fadavi Taqvan and Zhaleh Esfahani, following a brief exploration of their life narratives. The study aims to unravel the shared themes and distinctive nuances embedded in their poetic renderings.This research holds significant value as it pioneers a comprehensive exploration of the ideal city concept within the works of these two female poets. Such an in-depth comparative analysis has been notably absent in existing scholarly pursuits. A key revelation of this study is the tendency of both Fadavi Taqvan and Zhaleh Esfahani to seek refuge in the ideal city through select verses, allowing them to transcend political challenges and personal tribulations. Their poetry breathes life into this utopian city, framing it within contexts such as revisiting childhood, reminiscing about ancestral lands, experiencing absolute tranquility and envisioning a dreamlike homeland.

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Poetry is beyond ordinary speech due to its implicit language, weight, rhyme and the combination of its constituent elements with poetic feelings, and therefore, its translation is difficult and sometimes impossible. The main concern of the translator of the poem is to explain the special features of the original text as much as possible and to create an effectiveness poetic text in the target language. Since the words and elements of both languages ​​are not exactly the same, there is a loss of meaning in translating the poem, and the translator can compensate this loss in some way. In an analytical-descriptive approach, the present article studies the strategies of meaning loss compensation in translation of Arabic poetry and tries to present the guidelines so that translator can create a text having the same effect on the readers while sustaining the features of Arabic poetry. For this purpose, by examining the opinions of a group of experts in the field of translation about Meaning loss compensation deals with positions of meaning loss and its compensation strategies in translation of Arabic poetry into Persian at the phonetic, lexical, imaginative, stylistic and cultural levels. The present research has been done based on translation samples of some contemporary Arabic poets derived from Shafií Kadkani Arabic contemporary poetry book (2008). The findings showed that in the translation of Arabic contemporary poetry into Persian, meaning loss is occurred at the phonetic, lexical, imaginative, stylistic and cultural levels and by using compensation strategy, translator can sustain the general tone of the main text and use in place- compensation  and Kind- compensation.

1. Introduction
Translation experts believe that poetry translation is considered as difficult and valuable. The content and the form are inseparably intertwined in the poetry. The language of poetry is usually implicit not explicit. Poetry is distinguished by its musical style or rhythm, and this is a basic and unattainable feature the translator is required to translate (Baker and Saldina, 2009; Kashanian translation, 2017, p. 253). Poetry also has imagination and emotion and its purpose is to influence the feelings and emotions of the audience. Then, the constituent elements of poetry and what is presented in the image form are beyond ordinary speech, and this makes the poetry translation difficult, complex and in some cases impossible (Al-Buyeh Langroudi, 2013, p. 14).
In poetry, sounds are effective in conveying the poet's content and feelings. The poet uses his imagination to express his feelings and also pays attention to the implicit meanings of the word and uses a special style and method to express his emotions and feelings that distinguish his poetry from other poems. Poetry also expresses the cultural and linguistic issues to which it is composed. Therefore, in translating the poetry, it is important to pay attention to sounds, words, images, style of poetry and cultural issues. The main concern of the poet translator is to explain the special features of the original text as much as possible and to create a poetic text in the target language that has a similar effect on the readers (Baker and Saldina, 2017, p. 259). The imbalance of different phonetic, lexical, visual, stylistic and cultural levels of the original poem with its translation results in a loss of meaning in translation.
 
2. Questions and Hypotheses
Researchers try to answer these two questions: a) in translating Arabic poetry into Persian, at what levels may a loss of meaning occur? B) In the translation of Arabic poems into Persian, what mechanisms are used to compensate for the loss of meaning at various levels?
It is assumed that in translating Arabic poetry into Persian, there is a loss of meaning at the phonetic, lexical, visual, stylistic and cultural levels, and the translator compensates the meaning using other language tools of the target text or the same language tools elsewhere in the target text.
 
3. Research method
Given that there is a loss of meaning in the translation of literary texts especially poetry and the translator can compensate for it in some way, the positions of meaning loss and its compensation strategies in the translation of contemporary Arabic poetry into Persian have been discussed by examining the opinions of a group of translation experts including Echo, Vienna, Darblane, Hinges, Newmark, etc. about the positions of meaning loss in poetry translation and its compensation mechanisms and providing evidence of the translation of Arabic poems into Persian. Examples are selected from the book of contemporary Arabic poetry by Mohammad Reza Shafiei Kadkani, who is one of the contemporary Iranian critics and poets.
 
4. Results
Studying the opinions of some translation experts about the loss of meaning in translation and its compensation strategies, it was found that in translation and especially the translation of poetry, there is a loss of meaning and the translator can compensate for this loss. Through compensation, what is expressed in one mode in the source language is changed to another mode in the target language so that the target text can have the same effect as the original text on the audience. In translating Arabic poetry into Persian, the difference between the phonetic, lexical, visual and cultural elements of Persian and Arabic and the difference between the style of the poet and the translator can cause meaning loss at the phonetic, lexical, visual, stylistic and cultural levels. The present study offers the following solutions to compensate for this loss:
At the phonetic level, there may be a loss of meaning in the translation of puns, weight and rhyme, phonation and repetition. When the Persian equivalent of pun words in the source language is not related to each other in the target language, the translator can transfer the general tone of Arabic poetry to the Persian text by creating puns in another part of the text or by using other language industries such as phonology. In translating weight and rhyme, given the importance of these two elements in poetry, the translator should try to transfer the effect of weight and rhyme of contemporary Arabic poetry to the Persian text. The difference in words and weights of Arabic and Persian poetry prevents the translator from using the rhyme and weight of the original poem, and to compensate for the loss due to the untranslatability of the weight and rhyme, he can use different sections of the lines in translating the poem. Differences in the vocabulary of two languages ​​may cause the transliteration to be untranslatable, and it is possible for the translator to create a phonogram in another part of the destination text by repeating another letter that has the semantic characteristics of the repeated letter in the source language and to deal with compensation of untranslatability of this linguistic feature. Considering the purpose of repeating a word or phrase in the original poem, the translator can also repeat another word or phrase in the translation that is not in the original text, but the translator creates an effect similar to Arabic poetry on the audience using it.
At the lexical level, the translator can compensate for the loss of meaning in one word and in another word of the target text, which includes the semantic burden of the untranslatable word in the original text.

• Restrictions such as the difference in the weight of the poem and its translation, and the difference in the words of the source and target languages, etc., may prevent the image in the original poem from being transferred in the translation; In this case, the translator can transfer the images intended by the poet in another part of the translation.
• The difference between the style of the poet and the translator causes the words and their arrangement way in the original poem to be different from its translation, and this leads to loss in meaning. Literary re-creation and creation are suggested solutions to compensate for the loss of meaning at the style level.
• Since the audience of the target text is not familiar with the cultural issues of Arabic poetry like the audience of the source text, cultural negligence in translating poetry can be compensated by bringing a cultural equivalent and further explanation and compensational increase at the cultural level.

Therefore, in order to create a dynamic balance between the source text and the target text, translator of Arabic poetry into Persian can compensate for the loss of translation in two general ways:
- Using compensation in type: by using other linguistic tools of the target text, to create the same effect as Arabic poetry on the reader of the translation.
Using compensation in place: Compensate for the intended effect elsewhere in the target destination text, thereby compensating for the limitation of the target language in one part of the text

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The dream of contemporary poetry refers to the presence of dreams as a poetic element in the structure of contemporary poetry, which contributes to the aesthetic expression of concepts and acts as a means of expression. Al-Jabouri is one of the contemporary Iraqi poets that have had an important role in the country’s poetic transformation. The most important features of his poetry are the extensive application of dream and this presence stems from his tendency to the realist approach. This research is on the theme of the dream and its manifestations in the poetry of Al-Jabouri and is based on the descriptive-analytical approach. The dream in the structural appearance in the poems of Jubouri is used in both negative and positive contexts, i.e., related to attendance and absence. On the level of absence, the dream carries signs of silence and reluctance to surrender. Whereas in the presence, it becomes the subject of the dream revolution and the dream of return or life is with warmth and euphoria or becomes the poet's way to build a paradox meaning the dream come true through his presence and loss of the same in the different scenes.