تحلیل تطبیقی کارکرد سمبولیسم اجتماعی در شعر مهدی اخوان‌ثالث و سهراب سپهری

ABSTRACT

The movement of social symbolism in Persian literature stands as a significant current in contemporary poetry, defined by the dual characteristics of social engagement and symbolism. Nima Yooshij, the movement's founder and primary exponent, introduced the first example of this style with his poem "Ghoghnoos" (The Phoenix). As an aesthetic strategy, social symbolism has served as one of the most effective tools for contemporary Iranian poets to depict the prevailing socio-political climate. Adopting a comparative approach, this study analyzes the function of symbols in the poetry of Mehdi Akhavan-Sales and Sohrab Sepehri, illustrating how these two poets—despite their differing worldviews and linguistic styles—have harnessed the potential of symbolism to critique the status quo. The central focus of this paper is the examination of a dialectical contrast: while Akhavan-Sales employs mythological, historical, and epic symbols—such as winter, rubble, and ruins—to portray an atmosphere of social despair and political stagnation, Sepehri utilizes naturalistic and ontological symbols—such as water, light, and the garden—in pursuit of a utopia and a space for human liberation. The findings indicate that in Akhavan’s poetry, symbols are predominantly socio-political in nature, serving to articulate the poet's anger and sorrow regarding tyranny and cultural decay; conversely, while Sepehri’s symbolism contains social undertones, it is fundamentally philosophical and mystical, with his social critique manifesting not in the direct political arena, but rather through a return to human authenticity and nature.