خلاصة:
سرودن غزلیّات و اشعار عاشقانه، نه‌تنها در ادبیّات فارسی و عربی، بلکه در ادبیّات دیگر ملّت‌های جهان نیز به طور وسیعی رایج بوده است، ازآنجاکه سعاد صباح و مستوره اردلان در فرهنگ کویت و ایران جایگاه مشابهی دارند، بررسی تطبیقی غزلیّات این دو شاعر به‌منظور شناخت و آشنایی بیشتر با آن‌ها می‌تواند بحثی نو در زمینۀ ادبیّات تطبیقی باشد. این پژوهش؛ برآن‌است که به شیوه توصیفی ـ تحلیلی و برمبنای مکتب آمریکایی که وجود اثرگذاری و اثرپذیری را بین دو شاعر را شرط ادبیّات تطبیقی نمی‌داند، به واکاوی غزلیّات سعاد صباح و مستوره اردلان بپردازد و ضمن بررسی ویژگی‌های ادبیّات عاشقانه دو شاعر، دیدگاه‌های آن‌ها را در این زمینه مقایسه‌کند و به رهیافتی از طرز تفکّر و مشرب تغزّلی دو شاعر دست یابد. با عنایت به نتایج به‌دست‌آمده در غزلیّات دو شاعر، می‌توان به نقاط مشترکی ازجمله (تجلّی معشوق، اوصاف و احوال مشترک عاشق و معشوق، هجران و دوری، فضائل عشق و عاشقی، به کار بردن مرثیه و...) اشاره کرد و همچنین ازنظربیان، دو شاعر به سادگی و شیوایی گرایش دارند. لازم به ذکراست عاشقانه های دو شاعر، از نظر محتوا، زبان و اسلوب نیز باهم تفاوت‌هایی دارند.
Introduction: Comparative literature is one of the masterpieces of literary criticism that measures the works, elements, styles, periods, movements and literary figures, and in general, compares literature in its general sense in two or more different cultures and languages. Writing love poems and the desire to write lyrical poetry is the result of love for the beloved in the presence of the lover and mixing it with his poetic imagination. If we want to recognize the history of the ghazal in the pre-Islamic periods, we can say: "The history of singing and singing ghazal goes back to ancient cultures; ; In Aryan cultures, we find signs of eloquent speakers, among which we can mention the charming and charming stories of "Orpheus", who was the poet of Rameshgar... or also in Greek ritual legends we find songs that the monks and followers of Bacchus sang in their self-defeats, These songs, which are inspired by Greek tragedies, are called "dithyrambs".. There is no doubt about it, that Arab ghazal is a continuation of one of the live and dynamic types of self-stirring poems and the romantic adaptations of camels. it is not in hand, On the other hand, it is not clear as a result of what factor and when and where the sonnet was created from the first to the seventh century AD and it was placed at the beginning of ode writing. But this point is clear that the ghazal was not an independent art in its original form, and it became an independent art from the Umayyad era, and after that there were poets who only dealt with the ghazal. Writing lyrical poems and romantic poems has been widespread not only in Persian and Arabic literature, but also in the literature of other nations of the world. Since Soad Sabah and Mastoureh Ardalan have a similar place in the culture of Kuwait and Iran, a comparative study of lyrical poetry of these two poets In order to get to know them more, it can be a new discussion in the field of comparative literature. Methodology: Examining Ghazal as a dynamic poem in the poems of Soad Sabah and Mastoreh Ardalan is of great importance; Because this type of poetry plays a key role in the divans of these two women poets and contemporary writers. This research aims to analyze the lyrical poetry of Soad Sabah and Mastoureh Ardalan in a descriptive-analytical way and based on the American school, which does not consider the existence of influence and effectiveness between two poets as a condition of comparative literature. To compare the views of two poets in this context and to reach an approach of the two poets' way of thinking and consumption of ghazal. Results and Discussion: The results of this research show that: The lyrical poetry of Soad Sabah and Mastoureh Ardalan represents their literary and expressive style, and both poets have paid attention to the use of language tools and subtleties to express their romantic thoughts and feelings, and have tried to use them in different situations by selecting and Instead of using words, the arrangement should synchronize the audience with their opinion and feeling of happiness or sadness And that the concept of (love) is a prominent characteristic of the lyrical poetry of two talented poets of Persian and Arabic literature, namely Mastoreh Ardalan and Soad Sabah. Among the common characteristics and descriptions of love in the poems of Soad Sabah and Mastorah Ardalan, we can mention the connection, the abandonment and distance of the beloved, the virtues of love, the use of elegies, etc. In terms of language, two poets tend to be simple and eloquent; As they speak, they say poetry and they don't overdo it in the field of verbal and spiritual enhancements, and you can also see coherence in words and meaning, deep emotion and feeling in most of these poems, fluency, accuracy and catchiness in it. He named two poets as the general style of lyrical poetry. In the field of love, two poets have differences in terms of structure and content; For example, in terms of the quantity of Sanandji's romances, he is not equal to Soad Sabah. 5. In the content of Mastorah poems, there is a kind of religious and moral commitment in all of them, the use of religious characters in poetry, mystical prayers and supplications, praise of the Prophet (pbuh) and the Ahl al-Bayt (peace be upon them). ), pride in hijab, chastity and practical commitment to it, etc., are all clear signs of his high Islamic spirit and religious approach, while such poems with such themes are not found in Soad Sabah's poems. Conclusion: The current research, while getting to know these two contemporary Arabic and Persian poets, tried to find examples and common features by analyzing the lyrical texts and comparing them. Considering the results obtained in the lyrical poetry of the two poets, we can point to common points such as (manifestation of the beloved, common characteristics of the lover and the beloved, desertion and distance, the virtues of love and affection, the use of elegies, etc.) did And also in terms of expression, the two poets tend to be simple and eloquent. It should be noted that the romances of the two poets have differences in terms of content, language and style, which have been examined in detail in the main text of the article.
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