Romanticism is a literary school gaining ground in the late 18th century, the period between Classicism and Realism schools’ dominance. This school was a reaction to Industrial revolution or Renaissance disappearance. “ It’ s not only a literary school, but also a universal movement in different areas like literature, philosophy, social and political sciences, architecture, music, painting, cinema, etc. ” (Jafari, 1999, p. 1). Romantic and Romanticism have a complicated but interesting origins. Romantic “ is an adjective made from the word “ Roman” , taken from words “ Romano” or “ Romi” , primarily referring to a story which is written in various European vernacular languages in a novel way without following any classic principles” (Seyed-hosseini, 2002, Vol.: 1, p. 163). “ In the late 18th century, France, England and Germany were the first countries started to adopt Romanticism after Classicism, engaging literature and art with myths, imaginations and poetic feelings instead of old norms and conventions” (Razi-zadeh, 2011). Freedom, individualism, desertion and travel, contemplation and intuition, verbal magic, unity with nature, rejection of rationalism, emphasis on imagination and feeling, nostalgia, death, love, folklore, religion, patriotism and romantic illustration are among the key themes focused by Romanticism. However; their usage and interpretation may vary from different perspectives. Since Romanticism has not addressed one particular class but all the public, “ it has become popular in all countries despite of Classicism” (Shamisa, 1993, p. 65). It then expanded to other countries, influencing on different areas. Iran is one of the countries influenced by Romanticism. Parviz Natel Khanlari, Golchin Gilani and Fereydoun Tavaloli, who were under influence of Nimaic poetry, are pioneer romantic poets of Iran (Taslimi, 2004, p. 19). “ Romanticism has brought to the modern world the fact that each human being has its own specific identity. Individualism in Romanticism does not rely on rationality which is a general and public phenomena. It relies on the exclusive inner self of individual which can be distinguished from others” (Jafari, 1999, p. 19). As Romanticism highlights the public, ordinary people and individualism, poets reflect their self and life in their poems. Autobiography, referred to as self-written account, biography, etc., is a literary genre which has recently been emphasized in Iran. “ Autobiography is consisted of the words “ auto” , meaning self and “ biography” , meaning one’ s life story and it has various translations and equivalents like personal life story, self-written account, self-life account, life story, etc. in Persian language” (Anousheh, 1997, p. 763). “ Self-life account refers to the writings describing author’ s mental state and life setting” (Meghdadi, 1999, p. 278). Autobiography or self-written account is one of the literary genres in which it is private, however; some poets and authors has honestly narrated their private life. Autobiography is often seen in writings, however; there are some poets who use it in their poems. Amiri Firuzkuhi is one of the poets who places an emphasis on autobiography in his poems. Seyed Karim Amiri Firuzkuhi (1909-1984) is a contemporary Iranian poet. He is a poem who has talked about his life in his poems. His poems are autobiographic poems with romantic themes. He becomes popular for the simple language and subtle nature reflected in his poems. He is mainly depicting his life events, which are mostly romantic. In other words, he illustrates his life in a real and imaginary way. Therefore, the present article aims at studying poems of Amiri Firuzkuhi with regard to romanticism and autobiography reflected in his poetry. Romanticism elements and features are hence explored and analyzed in his poems. 2) Methodology This study is a descriptive-analytic study based on the data collected from library resources, related documents and articles, internet, etc. 3) Discussion Amiri began composing since he was a teenager. “ As he was influenced by Indian genre poets especially Saib Tabrizi, his poems were acquainted with the subtleties and thematic expressions” (Badragheh, 2013, p. 2) and he became an adherent of Indian genre thereby. “ Indian genre represents life events and routine experiences… Amiri’ s poems are also reflecting everyday experiences, conveying various themes through this style” (Kardgar, 1994, p. 37). Words like death, senescence, despair, sorrow, etc. are widely used in his poems. He stated that he suffered from different diseases during his lifetime. “ His poetry is surrounded with grievance and whimper. He speaks of transient and unstable lifetime, individual failure and poetic pain and suffering” (Yahaghi, 1999, p. 12). “ The reason of repeating such themes in his poetry certainly stem from his physical condition and continuous disease” (Hossein Pourchafi, 2008, p. 102). He composed poems in different forms and his poems are mostly depicting his personal and artistic life. In other words, he is portraying his romantic autobiography representing all of his emotions including pain, sorrow, sadness, despair, etc. Romanticism themes like emotionalism, naturalism, nostalgia, tendency to travelling, etc. are widely seen in his autobiographic poems. Furthermore, his autobiographic poems are embraced with romantic images. 4) Conclusion Key romantic themes in Amiri’ s autobiographic poems are: death, nostalgia, love, religion, desertion and travel, feelings and emotions and naturalism. He always focuses on individualism in his poems. However; he has not ignored his society and composed several poems criticizing modern urban life while indicating that he is reluctant about technology and misses simplicity. He blends Romanticism themes with his autobiographic poems in order to depict what’ s on his mind in a romantic way. His poems are a blend of reality and feeling. His poems represent a real feeling and he links reality and feeling through use of image and metaphor. His images builds a bridge between his real and imaginary life (just like other romantic poets). He always portrays images belonged to a past place and time, describing them with regret, just like romantic images pertaining to a dark and shadowy setting. His metaphors indicate his feelings, representing what he feels about himself. He is so obsessed with his personal emotions that sees all the nature and objects in the same boat with himself.

Seyyed Hasan Hoseini is one of the so mighty contemporary poets who has allotted the major part of his poems to describing the manly braveries of this land s descendants in resistance field. The prevailing principles of romantism dominate over most of his poem. however he has elevated the romantic contents and added such themes that all serve to depict blood dignity and the eternal struggle of right and wrong thanks to his religous beliefs revolutionary ideas and social commitments. He has a social-critical romantism. He criticizes many aspects of modern life and believes that love humanity purity simplicity and truth of life have been lost in this era. He feels sorry for us who have deviated from following the martyrs path and preserving their values.

The subject matter of this article is the influence of western romantism on wersified and prose literature of constitutional period. The bases of romantism in this literature has two aspects first it is familiar with western literature specilly france and Qafqaz literature. Second the enterance of Iranian society to a new period which is follower of European societies and existence of social and mental factors which creates romantism. constitutional romantism is fundamentally social and its appearances mainly is visible through the things like ideal interestin revolution and freedom, sympathize with deprived persons and their pains, hope to have an ideal future, patriotism and nationalism, attention to past iost splendour, looking for a romantic hero and praise him, criticize of new civilization in clinations, etc. unsocial appearances of this romanthism are: special application of language which appear mostly by fresh choosing words method and language attractiveness. Mirzadeh eshghi, aref Qazvini, lahooti, dehkhoda, iraj mirza, farrokhi, shams kasaei, are the leader of persion romantic poets of constitutional period.

Critical review of bourgeois, clarification of the different aspects of personality, structure of dreams and spriritual development in modern world are the focal themes in the works of Hesse who is considered a symbol of young generation in the 1920’s and later in Germany. One may add to the above list his loyalty to the developmental style of Gute, Romantism of nineteenth century and social sciences, particularly the founder of psychoanalysis, C.G. Jung. We are not going to review the impact of aesthetic and philosophical thought of nineteenth century on Hesse’s creativity. It is intended to refer to the above themes and find out how Hesse infers love which is a main focus in his works. Indeed and with the help of the different aspects of love, which is present in his works, this paper tries to show that in his works, the presence or absence of love is the main theme that farms the pace of narration and love is the pivot around which the spiritual transformation of Demian and Siddharta occurs.

Barthelemy d’Herbelot de Molainville (1625-1695) is famous for publishing the Bibliotheque Orientale, an encyclopedic dictionary that was destined for a bright future: this 8 000 entries dictionary includes almost all the contemporary knowledge about the three Muslim empires of the Orient: the Ottoman empire, the Safavid Persia and the Mughal Empire. The picture of Orient presented by d’Herbelot will considerably influence the two following centuries. Although the author’s aim is, as he writes in the preface to his book, to make the truth about Orient known by his public. His immeasurable erudition leads to a quite different result. Throughout the uncountable tales of the dictionary, he provides a vision of a world where wisdom, heroism and splendor are close to tragedy and excess. This world will appear much more realistic to the contemporary public, as it confirms its expectations. In this way, d’Herbelot’s dictionary will nourish the so-called “Oriental” fictional narrative for almost two centuries. French: Barthelemy d’Herbelot: du bon usage de l’Orient Barthelemy d’Herbelot de Molainville (1625-1695) est l’auteur de la Bibliotheque Orientale, dictionnaire encyclopedique de toutes les connaissances de l’epoque classique sur l’Orient des trois empires musulmans, l’Empire Ottoman, la Perse et l’Inde moghole. Les quelque 8000 notices de l’ouvrage deploient une image de l’Orient qui va influencer les deux siecles suivants: reservoir de sagesse, d’heroisme et de splendeur, mais aussi de tragique et de demesure. Alors que le but avoue de l’auteur est de faire connaitre l’Orient dans sa verite, son erudition et les recits don’t regorge l’ouvrage ouvrent paradoxalement la porte sur un Orient litteraire, source de fiction romanesque jusqu’a la fin du XIXe siecle.Keywords: Bibliotheque Orientale, D’Herbelot, Imagologie, Orientalisme, Romantisme

In the field of religious studies, like any other field, the development of each phenomenon is due to one or some causes. Scientific inquiries into the issue of religious experience, a relatively new phenomenon, are not exceptions in this regard, and various factors have played a role in their development. They include harsh attacks against natural theology, Protestants' views and their conflicts with Catholics, their critique of the Scripture, the influence of Lord Herbert and those who were of the same mind with him, and the impacts of Enlightenment philosophy, idealism, Romantism and Pietism, and Kant's ideas.

It is not exorbitant that is one claims that as far as a mortal human being is present, death revisiting is with him. One of the important representations of thinking of death is in poetry and novels. From Epic of Gilgamesh to philosophical and literary works of the contemporary age, this attitude has been represented in one way or another. Persian poetry is also considered this approach. The type of the approach of ancient and contemporary poets to the concept of death is different. Ancient Persian poets combined death with a philosophical and mystical attitude, while the death revisiting contemporary poetry is a different issue. The most approaches to death in the contemporary poetry and consequently contemporary Ghazal are "fearing death", "demanding death", "praising death" and a bit, "revisiting death"; some of the poems are like slogans. Contemporary poetry depends the themes originating from lyrical poetry and Romanticism and sometimes are like the ideas of philosophers and considers issue such as nihilism and sadness and a little, "death awareness" is considered. While in the ancient poetry, the valuable issue of death depends a view originating from the sense of life. Ghazals of Freydoun Tavalloli, Hussein Monzavi, Manochehr Neistani, Fazel nazari and Mohammad Said Mirzaei are filled with the issue of death and death demanding.

Even though, the first acquaintance of the west with eastern literature and culture was mixed with doubt and hesitations, the negative prejudgments of the west (gradually) faded away, particularly during the Age of Enlightenment, with the discovery of the richness of eastern literature. In the meantime, the Romantic Period of the east turned as a source of inspiration for scholars and literary figures of the west. Herder was one of the pioneers of the intellectual movement inclined to the culture and literature of the east in German Literature. His ideas had a profound impact on Goethe's beliefs regarding the East. At the beginning the East was an escape for Goethe from the turbulant west. His acquaintance with Hafiz's Anthology laid the ground for a mystic and fanciful journey into the east.    

Indian style in poetry was not what had been thought over the years. This style had so many unknown capabilities which made it restore its attacked and criticized identity. After the years Indian style is able to impress the poets even with its denied deep imagination and detail, Nima and his followers besides Romantism and Symbolysm, used this style in their poetry. Indian style has dazzled the eyes that after Islamic revolution due to the concerns and afflictions of novel idealogy, paid less attention to the standards of European poetry. Among the poets, Bidel Dehlavi and Sa’eb Tabrizi played more important roles than others in improving this style. A familiar figure in current literature of Iran, Qeisar Aminpour, with all of his attachment to the literary traditions and Nima’s innovation in poetry, was impressed by poetic procedures of Indian style and used it in his poetry. What follows in this paper is a detailed account of the aesthetic features of Indian style in Qeysar Aminpour’s poems.

Romantism or Romanticism was originally an artistic movement that developed in the late 14th and early 11th centuries in literature and then the visual arts, first in England and then in Germany, France, and all around Europe. Romanticism and theater from this school include not only literature, but also all thoughts and opinions, social and political ideas, religious movements, and even beliefs. Huge changes around the world, such as world wars, the industrialization of societies, and the passing of the Renaissance era, made poets and writers from different regions of the world write and compose romantic stories and poems. Of course, in the past literature of Iran, romantic words have often been associated with lyrical literature, but in the contemporary era, many romantic poems have been composed by different poets. Ahmad Shamlou is one of the great poets of Iran, whose romanticism has been expressed in his poetry especially. Although, Shamlou has been introduced as a symbolic and social poet and the new researchers do not include Shamlou's name in their division of contemporary romantic poets. In this article, Shamlou's poetry is analyzed based on romantic principles and components. The results of the work show that romanticism is expressed in his works in the form of excitement and emotion, returning to the nature of love and identity, and individualism. Although some of the romantic components appear less in Shamlou's poetry.