Protection poem besides that it is a war weapon sometimes it seems as a whisper. This poem is a way of humanitarian progress in the shape of verse. These deep reflections are obvious in the poem of protection in Persian and Arabic. With regard ti the affect and reflect of the two protection cultures of Palestine and the Islamic republic of Iran, we can see the same thoughts in the poems of MAHMOUD DARVISH and Ghaysar Amin pour the Islamic Iran poet. From al among these subjects is the life and death phenomenon, interion reflection or the study of essence.Death and life phenomenon in the poem of the two poets’ appears in two kinds; usual life and deaths without any philosophy and the other kind is a beautiful and lovely death, which is a window open to a free world. It is a way to the permanent real life. An Inner reflection in the poems of these two poets has the charactric of humanitarianism which is a way to answer confusion and questions about human and his situation in present world. Ghaysar, s disturbance in inner reflections itself reflect and DARVISH redeems about essence.as a method to remove his hesitation about himself. Wonderful and answerless questions about essence are frequent in the poems of Amin pour alike. But in the poems of DARVISH we see the confrontation with death and questions about essence.

MAHMOUD DARVISH is regarded as a pioneer of Palestinian resistance poetry, who has devoted his poetry to the Palestine's ideals and tried to describe the pains and desires of Palestinians, especially that of children whom DARVISH regarded as Palestine's future. He also sees the spirit of resistance in them and expects them not to forget their parent's blood and to be honest guardians and defenders of their territory. MAHMOUD DARVISH has witnessed the scenes of war and bombardment since his childhood and he has tasted the bitter taste of homelessness, exile, poverty, and bereavement; he has witnessed the pain and grief of his hometown children, therefore, he can speak of their pains and grieves effectively and frankly. This study tries to describe and analyze Palestinian children's pains and grieves in MAHMOUD DARVISH's poetry through a descriptive and content analysis method. The study of DARVISH's poetry from this viewpoint shows that the following subjects compose his main poetical themes: the unfortunate status of displaced Palestinian children in exile and custody, poverty and bereavement, insecurity and genocide of children and their families, and the spiritual turmoil caused by witnessing these disasters. His poetry is a mirror reflecting feelings of oppressed children whose rights have been violated, and now as a poet, he expresses this before human thought and conscience.

Jewish identity is based on the historical, cultural, and religious heritage of the Jews, and the poetic elements which draws the poet's attention to particular events and inspires him to record those events. This research is based on the analytical and adaptive method, the purpose of which is to investigate the concept of Jewish identity and its conceptual structure in Nayman Bialek and MAHMOUD DARVISH poetry. MAHMOUD Darwish compares the Jewish identity with the Arabic identity in order to remove the Jewish-only quality from the Jewish identity and emphasizes on the resistance of the Jews and their help and assistance. In this way, Jewish prophets are portrayed as the heroes who can save the Palestinian people from the Zionist oppression. Bialek's genius has taken many steps in the transformation of Jewish poetry. He employs the myths and religious teachings of the Jews in the service of Zionist philosophy, which leads to the consolidation of the concepts of racism, patriotism, and atheism. This research reveals the Jewish identity in Bialek's poetry and shows that Bialek does not apply the religious teachings of the Jews to serving the glorious purposes, education or poetry, rather he uses it as a means to focus on the concepts of "displacement", "legacy" and "cruelty" to compare the Jewish past and present painful situations such as ghettos, and holocaust. The Jewish identity in Darwish's poetry is based on the story of Hajar, Ismail, and Habukhuk to show the occupation of Palestine by the Zionists and the distinction of religious Judaism and Zionist extremism.

According to Jung, the Swiss psychologist, human subconscious has a collective aspect that is filled with inherited archetypes from its ancestors. As the matter of fact, this legacy can affect human thoughts and feelings. One of those archetypes is called anima, which refers to the character of a woman hidden in every man. Considering those work that come from masculine feelings, especially those that have a romantic theme, it is better to see the traces of anima. This is due to the fact that the woman inside the man has the opportunity to reach the stage of emergence and manifestation in such work. This research, implementing an analytical-comparative method and a comparative approach of the American school of thought, considers the similarity of literary work and, as the result of the commonalities of all human beings, carefully examines this archetype in the love poems of two contemporary poets,MAHMOUD DARVISH and Fereydoon Moshiri. The results of this research show that anima can be used as a common basis in comparing the poems of two poets,Because although they are from two different cultures and races,But together, they have used many positive and negative anime functions and projections. When they feel sad, afraid, empty and dead, they are in control of negative anime and when the wife of the heart and the lady of the dreams call all their goodness and beauty and wish to join her, they are dominated by their positive anime.

MAHMOUD DARVISH and Qaisar Aminpour are both poets in whose works identity, both social and individual, have found special growth, maturity and crystallization; social commitment and giving meaning to the formal and structural ideals of a poem have been inseparable components of committed poetry; as many critics have considered the ultimate goal of poetry to be the fulfillment of this commitment. The existence of individual and collective identities in poetry pave the way for the emergence of personal and social ideals by which the poet demonstrates his identification with society and a specific audience. MAHMOUD DARVISH and Qaisar Aminpour have both used their collective identities to preserve the values of society and the revolutionary spirit, so much that many of the content characteristics of their works can be analyzed from the point of view of this tendency. They are comparable with the love for the homeland, resistance and struggle, collective nostalgia, the history of a nation, etc. that are the tangible pillars of this view. In addition to this committed response, the personal identity has also been clarified-not as a collective identity; but the context of its growth and development has never been completely limited to the individual spirit, and the poet has always taken a step towards the desire to socialize and leave the personal identity.

Speech act theory is known as the fundamental aspect of language pragmatism which considers the role of language in its applications and its contextual use. In such a scientific area of language study, speech act theory focuses on discovering the unobservable relationships between a language and an act known as pragmatics. To this purpose, the present study is an effort to analyze one of the odes of the resistance poet, MAHMOUD DARVISH, using a descriptive-analytic methodology. It aims to discover the resistance speech acts according to the semantics, context, and pragmatics which are accompanied by the poet in his ode “ Qasidat-al-Arz. ” Addressing the contents based on John Searl's speech act theory, the results showed that assertive and expressive speech acts have the highest frequency among others in this ode. The assertive speech act of the poet was in concordance with proving the geopolitical identity, mentioning the truths and the usurped rights of Palestinians. It is with an emphasis on the past to testify his claim in order to promote emotional motivation and hope sprit. In the expressive speech act, the poet attempts to demonstrate a grim picture of his feelings because of the happenings of his contemporary. His speech acts are stated implicitly which are the prerequisites of a poetic text.

Intertextuality is a theory that connects old and new texts، and adds to the richness of literary works. Therefore، through a descriptive-analytical method، and with emphasis on Julia Christova’ s theory، this study aims to conceptually review the effect of religious intertextuality in resistance poetry of MAHMOUD DARVISH، the Palestinian poet، and Qisar Aminpour، the Iranian poet. Intertextuality involves many areas; however، since these poets have conceived that Quran and other divine books and religious men are the main sources for man’ s freedom، with the help of religious intertextuality، they have invited people to fight against enemy. DARVISH has benefited from Jewish and Christian sources mostly through parallel and general negation، and Aminpour has used the parallel and minute negation. Intertextuality in DARVISH poems has more specificity than in those of Aminpour. Using religious intertextuality in three areas of Islam، Christianity، and Jewism represents the two poet’ s interaction with other religions، and this is something that the world needs. The religious integration mentioned by DARVISH and Aminpour is an issue in the light of which governments could leave religious conflicts and reach a kind of peaceful coexistence.

“Intertextuality” is one of the figures of speech in order to enrich Arabic literature poetry and prose to make their work eternal.The present article intends to study “Intertextuality” in the poems of Mahmood DARVISH (1964-1983) to understand the reasons of resistance of using this figure of speech in his poetry.

An effective element that makes MAHMOUD DARVISH poetry beautiful is the imagination that rises from the use of colors. He uses color in symbolic, allusive and metaphoric forms. In his poetry, green depicts hope, freedom seeking, life & motion and love for resistant Palestinians. White stands for peace& quietude in freedom. It sometimes means non-existence and mortality. Blue is often taken as calmness, eternity, wisdom and infinity. Red is the symbol of martyrdom, courage, sacrifice and dedication in pursuit of freedom. Black is the color of despotism, oppression, colonialism and chains of captivity. Brunet is the color of Palestinian identification and its grain farms. All these colors have been creatively employed in his resistance poetry.

If Palestinian poetry is divided into three sections; Palestinian refugees, fedayeens and cries for the release of Palestine, it will be revealed that, after 1967 when Palestinian Resistance Movement showed its extensive presence to fight against Israel, invaluable poems have been composed in this regards. After 1967, Mahmood DARVISH, a poet of Palestinian Resistance (1941-2008), gained fame. His poems can be categorized into three artistic stages: early stage with 'Wingless Sparrows', middle stage with 'Olive Leaves' and genuine maturity stage with 'Lover from Palestine' and so on. He considers a step backward as a ten-step jump forward and with a love in his heart addresses his anguished compatriots. "We will capture the seven heavens." He cries out. With regards to the fact that Mahmood DARVISH's poems are considered as the beating pulse of contemporary Palestinian literature and have been developed among the cries of refusal and echoes of bullets and cries of refugees, the present paper studies to depict aspects of resistance literature such as; national identification and patriotism, arousal of national zeal, opposing against lasting oppression, threats/advices of enemy and enhancing hopes in his poems.