Freedom is one of the greatest and highest human values and of necessities of life and evolution that all nations have wanted its realization. The word freedom dates back to human history and it has found criterion and rate through indicators such as truth-seeking, justice and human's existential growth and defines its own limits and is manifested in literature of different nations in various forms. Freedom in contemporary Arabic Literature is proposed in different ways especially existentialistic freedom origin of which is human's knowledge and wisdom that were revealed in Salah Abd-al Sabour's and Adonis’ poems. This inquiry is going to investigate and analyze this concept in the thoughts ofYusuf Alkhal, contemporary modernist Syrian poet, from political, social and existential perspective as he has been tired of Zionist's oppression and believes that freedom will not be achieved without effort, great suffering and sacrifice. He sees social freedom as establishment and stability of freedom in society as far as people's presence will be provided in various areas and is an existentialist whose thought’s main and axial issue is man and his concerns. His thinking and thought is focused on freedom for reaching the truth and power of reasoning is the most important basis of freedom and considers it as a tool for reaching true freedom.

Human as the Superior of the Creature was More Important for Pre-Socrates, But by Emerging Socrates this Remark Become Pale Because he Pointed to be Average of Human's Powers. After many Decades, Some Grand-Phipspher Such as Kierkegaard, Nietzsche, Martin Heidegger and Jean-Paul Sartre Entered and they have Taken Attention to Human and Established Existentialism. This Academy Spoke about Human and His Gentry and Emphasized on Existence Primacy on Identity and that Human is the Only Creature who can Make his Identity. from This Academy Point of View, all Things are for Hunan. this Academy has Influenced in World Literature, Especially in Arab's Contemporary Literature, and Affect an Scholars and Poets. One of Them, Joseph Alkhal Named Modernism Poet in Contemporary Arab Poetry. Man and His Originality is Important for Him and Criticals the Communist Systems, Because Ignore the Individual Genius of Man and His Talent. of his View, Human is Everything and Freedom is His Right. Freedom that Help Him for Forming Freedom Society and Recognize the Fact. he Knows the Literature in Serving of Human. he Knows Poet the Value that be Committe to the Human and Society. this Paper by Analyzing his Distiches Try to Describe Existentialism in Joseph Alkhal Poem and Deals thery Element of it Like:Human, Freedom and Commitment.

1. Introduction The presence of myths is visible in the literature of every nation. In the meantime, Arabs and especially its poets were familiar with mythical figures. Mentioning the names of mythical heroes with their legendary features in the poetry of Jahili (pre-Islam) period indicates this familiarity. After literary resurrection and establishing connection with Western culture and civilization, using myths was reformed which dates back to mid-twentieth century. In this period Arab poets have used myth for expressing concepts and applied it as a useful means in poetical illustration. 1.1 Statement of the Problem and Research Questions Arab contemporary poets aimed to benefit from extraordinary power and capabilities of myth for their goals and wishes. For the realization of their goals the heroes and mythical figures are revived in order to objectify their ideas, emotions, and passions and in this way poetical experience is mingled with mythical concepts. Among all the myths, the religious ones have also appeared in poems of Arab poets. The figures of prophets including Mohammad (pbuh), Jesus (AS), Moses (AS), and Job (AS) have been frequently used in the poetry of contemporary poets. The poets by benefiting from these figures and their related issues tried to induce their concerned concepts. Among the prophet figures that can be found in Yusuf al-Khal’s poetry are Abraham (AS), Job (AS), Adam (AS), and Jesus (AS). Jesus (AS) is one of the most frequently used figures among these figures. Considering the unbalanced circumstances of Arab society, Yusuf al-Khal wishes for a savior of mankind to set up a global resurrection. He wishes for a great resurrection which brings a better life for the Arab nation. By using the symbols of this religious myth he protests against political failures, unorganized conditions of Arabs, and the presence of terror atmosphere. So, in this article we study the different aspects of Jesus Christ (AS)’s personality in Yusuf al-Khal’s divan. The main research question is: in what aspects the mythical function of Jesus (AS) character is represented in poet’s divan? 1.2 The Goals and Necessity of Research Since myth and mythical function in Arab contemporary poetry is transformed from a simple, ordinary function to an influential function with predetermined goals, the goal of this research is to extract and express myth function in one of the greatest contemporary Arab mythographer’s divan that is Yusuf al-Khal and to study its contemporary social function. The extended and different function of myth in al-Khal’s divan shows the necessity of this research. 1.3 Detailed Research Method In this research by using descriptive-analytic method first, poet’s divan was carefully studied and the examples of myth function were extracted and finally analyzed and studied. 1.4 Research Background In a section of ‘Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ book by Yusuf al-Halavi the myth in Yusuf al-Khal poetry is dealt with that is not specifically about Jesus (AS). Also, As’ad Razogh in ‘Al-Sho’ara-e-Al-Tamozion: Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ published in 1996 studies the style of myth usage in poetry of five Arab contemporary poets including Khalil Havi, Sayab, Adonis, and Jabra Ibrahim Jabra. In one of the chapters he has dealt with some of mythical odes of Yusuf al-Khal including ‘Al-Bae’r al-Mahjoureh’ however, it doesn’t include other odes concerning Jesus (AS) myth. In the article “Myth in the Arab Contemporary Tamouzi Poets’ Poem” (Akbarizadeh, 1393: 27-46) which is published in Lyrical Literature No.23 myth in three Arab poets including Adonis, Sayab, and Bayati are dealt with but no mention has been made to al-Khal divan. In this field, the most important article is “Al-Masih va al-Romoz al-Masihiyah fi Divan Yusuf al-Khal” (Roshanfekr, 2014: 61-90) published in Al-Loghat al-Arabiyah va Adaboha No.1 magazine. Reading present article and comparing it with mentioned article shows the similar and different aspects clearly, because the goal of present article is to illustrate mythical aspect of Jesus (AS) character in the form of (4) a mythical symbol. It is a method which the mentioned article does not have and instead it generally have dealt with Jesus (AS) character in divan and have not emphasized on the mythical and symbolic aspect of Jesus (AS). References 1. Akbarizadeh,Masuod & hidayatohah taqizadeh, Ustura dar Shi’r Shoara Tamozi Muasir Arab, Journal of Ghanai Literature, University of Sistan and Baluchestan,12(23) ,Autumn & Winter, Pages 46-27, 1393 AH. Abbas, Ehsan, `Itjahat al-Shi’r al-`Arabī al-Muāṣir, Kuwait: Ālam al-Ma’rafa, 1978. Aldawi, Ahmad Arafat, The Function of Tradition in Contemporary Arabic Poetry, Seyyed Hossein Seyyedi, 1st printing, Mashhad: Ferdowsi University, 2005. Al-Jayyusi, Salma al-Khadra, Al-`Itjahat wa’l-Harakāt fī al-Shi’r al-`Arabī al-Hadith, Abdalwahid Laulau, Al-Tab`a al-Saniya, Beirut: Markaz al-Darasat al-Wahida al-Arabiya, 2007. Al-Khal, Yusuf, Al-`A’māl al-Shi’rīya al-Kāmila, 2nd printing, Beirut: Dar al-Awda, 1979. Al-Kurki, Khalid, Al-Rumūz al-Turāthiya al-`Arabīya fī al-Shi’r al-`Arabī al-Hadith, Beirut: Dar al-Jayl, 1989. Al-Sa’dani, Mustafa, Fī al-Tanāṣ al-Shi’rī, Iskandariya: Mansha’ al-Ma’ārif, 2005. Ashri, Ali, Al-`Istid’ā al-Shakṣiat al-Turāthiya fī al-Shi’r al-`Arabī al-Muāṣir, Cairo: Dar al-Fikr al-Arabi, 1997. Campbell, Robert, `A’lām Al-Ādāb al-`Arabī al- Muāṣir, vol. 1, 1st printing, Beirut: Al-Sharikat al-Muttahida lil-Tawzi’, 1996. Dawood, Anas, Al-`Ustura fī al-Shi’r al-`Arabī al-Hadith, 3rd printing, Cairo: Dar al-Ma’ārif, 1984. Green, Roger Lancelyn, Tales of the Greek Heroes,.Abbas Aqajani, 1st printing, Tehran: Soroush, 1987. Halawi, Yusuf, Al-`Ustura fī al-Shi’r al-`Arabī al-Muāṣir, Beirut: Dar al-Ādāb, 1994. Hammud, Muhammad al-Abd, Al-Hadātha fī al-Shi’r al-`Arabī al-Muāṣir, 1st printing, Beirut: Al-Sharikat al-Ālamia li’l-Kitab, 1996. Ismail, Izzudin, Al-Shi’r al-`Arabī al-Muāṣir, 5th printing, Beirut: Dar al-Awda, 1988. Mujahid, Ahmad, `Ashkāl al-Tanāṣ al-Shi’rī, Egypt: Al-Hay’ata al-Misriya al-Āmma lil Kitāb, 1998. Sheth, Ahmad Jabr, Al-`Ustura fī al-Shi’r al-Filistini al-Muāṣir, Philistine: Maktaba al-Qadisīya li Nashr, 2002.

In the contemporary era, the language of poems is transformed from a tool of expression to a language for innovation with its idiosyncratic framework, and aims at clarifying the relationship of a poet with the surrounding world and her attitude concerning the phenomena. The language of poems comprises the words, their combinations, and literal figures of speech. Furthermore, with the aim of being in coordination with the contemporary conditions of the society, the language of the poems is transformed followed by the attempts the poets have made in revolving their language in this respect. Yousef-Al-Khal and Hossain Monzavi are among the poets of modernist poetry in Arabic and Persian, throughout the poems of whom, the modernity traits in different language are explicitly exposed. This article is an attempt to assess and compare the two poets’,languages of poetry aesthetically via conducting a descriptive-analytic methodology which addressed the most important elements in this respect. For instance,repetition in Al-Khala’, s poems, in addition to creating a kind of rhythm, is utilized to focus upon the meanings, while Monzavi’, s purpose is mostly creating rhythms than meaning purposes. Furthermore, Al-Khalal’, s social commitment has led him to use the plural forms of speech. In contrast, Monzavi uses the single form to express his emotions. Assessing the textual implications, the close relation of the words implications and the forms of the text may be demonstrated in the poems of both. The visual irony in the Al-Khalal’, s poems has caused the literal development and complexity, while this figure of speech has improved Monzavi’, s poems aesthetically. Monzavi managed to combine various senses and then their implications are linked to abstract conceptions. One of the most outstanding specifications of Al-Khalal’, s poetic language that makes him more prominent than Monzavi is the salience of the forms derived from icons which encompasses all elements of his poems.

Yusuf al-Khal is considered one of the pioneers of free verse. Innovation is manifested in different parts of his poetic language. The employment of symbols and myth have influenced his poetic language and created pictures which extracted from these symbols and paved the way of innovation in different elements of his poetic language. This article aims to address characteristics of the poetic language for Yusuf al-Khal based on descriptive and analytical approach. One of the most important anthologies in this field is al-bi'r al-Mahjoor (the abandoned well) the name of one of his books (Divans) which is distinguished by use of symbols and myth therefor all elements of his poems are under the influence of this approach. The poet repeats some words and idioms in his poems and uses the first person pronouns as well as present verbs in order to deepen and emphasize on the considered meanings. Studying the semantics of this book, we can find the relations between its vocabulary and the overall picture of his poems. The poet uses figurative irony to develop his poetic language and deepen his main theme. Semantic de familiarization is a lot in his poems because the use of myth results in more metaphors and simile creation Synesthesia in abstracts in Yusuf al-Khal's poem. And distinct property of his poetic language is the existence of poetic form of myth. This application created distinct form and gave holistic form to his poems.

Ever since Arabic Language and Literatue tied up with mysticism, profound and massive works of prose and verse flourished throughout the territory of Iran. If mysticism is assumed to be the artistic account of religion, the mystic of this territory especially poets have been able to afford it pretty well and perfectly. The unbreakable tie between literature and mysticism, especially in the field of poetry, due to its appealing and balanced aspect, kept on in the contemporary era and it seems that it will last forever. The Arabic and Persian literature have always been the manifestation of mysticism and relevant issues so that the readers could have polished their soul through reading it. Yusuf El Khal is an outstanding Syrian poet who in the contemporary Arabic poetry he has reflected a lot of mystical themes in his poetry divan. Ahmad Shamloo, too, is an innovative poet in the blank verse of Persian language whose poetry consists of concepts such as life and death, holiness of love, freedom, reality of existence, and monism. Due to the contemporaneity of these two poets and their shared mystical thoughts on some concepts such as monism, divine love, mystical wine, freedom, survival and non-existence, reality of universe, satisfaction and surrender, both poets emphasized that the structure and poetic language are much alike. In this regard, the writers have studied data through descriptive analytic method.

Yusuf-Nameh or the interpretation of the surah Yusuf was written by Pir Jamali Ardestani, the great mystic of the ninth century. In this work, which is a combination of poetry and prose, the poet adapts the verses of the Qur'an to his mystic beliefs, interpreting them mystically. These explanations are novel stemming from his intuition and religious experiences. Telling the story of Yusufs life, he elaborates on different stages of the spiritual journey, analyzing a great number of the hidden mysteries of the verses of the Qur'an. In this work, Zoleikha has a positive, mystic character. Zoleikha and her love are presented as an allegory through which he expresses his mystical view about the divine love. He mentions three main points about love: 1-Love is predestinated not voluntary; 2- Love is eternal; the lover and the beloved have known each other pre-eternally and inherently (Ahde- Alast); and 3- Love, the lover and the bdoved are one. In Ardestani's mystical viewpoint, light is the origin of the lover and the beloved which appears in two distinct forms. This viewpoint resembles that ofIbn Arabi and Fakhr al-Din Iraqi about the unity of being. In this paper, a comparison is made between parts of the story of Yusuf and Sheikh Ahmad Ghazali's Savaneh, Fakhr aI-Din Iraqi's Lama'at and Ibn Arabi's Fotoohat al-Makieh.