Ambiguity and obscurity are frequently used to indicate a similar meaning yet there are real differences between them. The ambiguity is an affirmative concept in Arabic poetry, and the critics consider it as an artistic standard in best literary samples. Whereas, obscurity is a negative concept which results to the lack of text's values of skillfulness.This article deals with an explanation of the literal and the idiomatical meanings of ambiguity and obscurity. It discusses Arabic poetic specimens known as samples of ambiguity particularly in Symbolic and Surrealistic odes.

Woman has invisible presence in classical Persian Literature. Perhaps, the best way to see her feature is unveiling the mystic sense of love. In the works of our previous poets, in any stage in which the name of woman is mentioned, it is in general sense and doesn’t have individual characteristic. That’s why woman’s feature has been encountered with opposite and different symbols in Persian literary and cultural domain. In the arena of literature action and reaction of the past, except in a few romantic stories in which woman is the symbol of loyalty, the others have cast curtains of veil on their faces. The trivial symbolic conclusion of a woman caused the interpretations (allegory) in the literary world in the present works. In this article, by considering these two approaches and contradictions in Maulana’s poetry, we have alluded to his methods in modifying the women’s position (empowerment).

Abstract A symbol is one of the meaning-giving elements of language that shows the special capacity of words in depicting multiple and diverse concepts. By reflecting on the poems of the last three decades, we can see that in ritual poetry, symbols are repeated in a chain and lead the audience’s mind to different meanings. In this way, a network of meanings is formed in the audience’s mind. This is where understanding and receiving the symbol is important. This article examines and analyzes the ritual poems of the last decade in terms symbolic network. The research is a descriptive-analytical one based on library sources. How diverse is the symbolic network in ritual poetry? And what is the contribution of these symbols to the semantic network of the poem? The variety of symbols in contemporary ritual poetry can be classified into several clusters named color symbolic cluster, city symbolic cluster, calendar symbolic cluster, and character symbolic cluster. The symbolic context of these poems undoubtedly introduces sublime concepts such as social justice, hope, objection to injustice, and presentation of accurate images of social life.

Contemporary poets have enjoyed the effect of colour on man's spirit and used them to express their feelings about social and political matters. Fadava Toghan as an influential Palestinian poet has used colours in her poems to reflect people's pains, wishes and hopes. Woman's feeling and the delicate spirit of the poet on the one hand and political and social situations dominated on Palestine land on the other hand have urged her to use colour. In this research, an analytical-descriptive method was applied and the most frequent concepts of colour have been extracted from her poetry book. The findings show that black, green and red have been the most frequent colours. In her works, green would stand for happiness, hope, beauty, movement and/or Palestine and the nature of the country. Black would stand for sadness, hopelessness, oppression, and the presence of Zionists. Red would mean martyr's blood, national rise and movement.

Poets due to various social problems have tried not to limit their symbols to a specific domain but to use them in various domains such as religious ones. In such a plot, the prophets have a constructive role. Modern Arab poets have used these characters, since they carry potential indicators and are compatible with poets’ internal experiences. They use these personas to highlight their forgotten characteristics and to represent their innermost mental data in a symbolic way. However, since these symbols are closely related to vocabularies in the text, they contain various and specific meanings which are technically important and they deserve to be carefully studied. This paper deals with some of the technical values of these indicators such as exile and sufferance, patience and faith, endurance and freedom, sterility and rebirth, revolution, sacrifice and compromise.

In the contemporary era, color variation and poets awareness of this phenomena is due to their approach and deep intelligence about elements of the universe. The application of colors existed in ancient Arabic literature, but its direct reflection on the real life. In contemporary Arabic literature, colors are applied not only to beautify poems rather it is tool of symbolization.Factors such as policy-orientation, socialism and city affairs are counted as the main factors to express the symbolic bases by contemporary poets. A particular ideology and academic viewpoints of these poets along with their individual inauspicious incidents provide a background for the manifestation of some private symbols in poetry. Salah Abd al-Sabour is one of the contemporary Arabic poets who, in a widespread level, have applied symbolic colors. This essay intends to survey the colors in Sabour's poetry and their symbolic indications. The method is descriptive-analytical. The research illustrates that the poet has applied black, white, green, yellow, red, wheatish, gray and turquoise colors. The black color is the dominant one that manifests effects like citizens' not being naïve, their corruption, internal and external enemies and Zionist attacks.

There is no doubt that colors are important factors in creating arts including poetry. The poets use them because of their visual beauties to show their hidden values. Sometimes they go further – beyond the external features – ad use colors as symbols to express their own meaning. Moreover, modern poet’s deep insight and vision are the main causes to change the colorful portrait to a bright wonderful one.Among all colors, green has been the most attractive one to modern Arab poet, Abd al Mo’ti Hijazi, for it is the dominant color of village, the poet’s real beloved. This paper deals with the position of green color in Hijazi’s poetic images and its symbolic meanings and aesthetic aspects. The green is the most prominent color in Hijazi’s poetry which proves his interest in this color which is the symbol of his beloved countryside as well as the symbol of his political ideas.

The Symbols manifest role in creating images and conveying poetic concepts. Colors find a symbolic form in poetry to express emotions viz, anger, fear, and love. Poets use colors in the real sense to sensualize beauty. Sometimes, considering their symbolic aspects, they draw abstract concepts. The movement of socialist poetry in Afghanistan, poets, with a deep look at the phenomena of existence and awareness of the diverse and symbolic concepts of colors, have used different colors to express their ideals and desires. Present study, actualizes descriptive-analytical method to analyze the symbolic position of color in the said movement. The results show that the symbolic use of colors is prominent in this poetic movement. The color, red: is a clear symbol of freedom and communist thought,black is a symbol of suffocation and tyranny ruling the society. Poets of this realm have found a way out of the black symbol in red color. The white color is a clear symbol of peace and victory while other colors such as green, blue, and yellow, which have the highest frequency among the main colors along with other colors, are considered important elements of symbol creation in the movement of socialist poetry.

One of the distinctive manifestations of odes at Age of is Jahelid is depiction and description of ridding animal for the Jahelid Arabic man in general and camel in particular, that is friend, attendant and associate for the poet and apparently by allusive borrowing from limbs of symbolic animals like zebra, ox and ostrich etc he/she has sparsely illustrated it. Unlike the technique adapted by prior critics and some of contemporary orators, this paper is intended to interpret variously seemingly- diffusive descriptions from Jahelid Arabic poet from his/her ridding animal in order to reveal depth of links among concepts and their different themes by analysis based on symbolic deciphering and decoding and such symbolic elements to be embodied within a mythical nature. Accordingly, it does not seem probable that in Jahelid ode, camel to be symbol of an ideal poet or human that was linked to camel and it is symbol of power, agility, wisedome, keenness, prudence, sense of responsibility, rigidness and stability etc.

Contemporary poets use the legendary symbol in its artistic and contemporary image in diaspora literature, and this type of symbol in modern Arabic literature has occupied a great place and great writers have appreciated it to raise the symbol from just a passing reference incompatible with the text to embodying their suffering to fuse their subjective and objective concerns into symbols that were able to provoke. The human soul, especially as they broke the traditional barriers that hinder the launch of their literature in the sky of imagination. The effects of this circle extended to include many writers, whether in poetry, prose or in the novel, such as Ahmed Zaki Abu Shadi, Saeed Akl, Salah Labaki, and Samih Al-Qasim. This article explains an overview of the life of the poet Samih al-Qasim and mentions the verses that bear the symbol of the prophets in his poems. Samih al-Qasim adopted religious symbols, including the symbol of the prophets for his concerns and the pain of his people in front of the occupiers, and he used the character of the prophets as a symbol of rebellion against every unjust oppressor, and to express the rebellion of the Palestinian man against the forces that made him suffer ordeal. His brothers in the pit or when the whale swallowed the Prophet Yunus (peace be upon him) and depicted the liberation of the homeland and the victory of the Palestinians by visiting Jacob, his son Joseph, after enduring the pain of separation.