1- Introduction:The emphasis is one of the important subjects which have a serious effect in speech’s eloquence. The speech will be effective when it is proportional with situation of the addressee. The addressee has sometime empty mind, sometime is uncertain, and sometime is denying. The eloquent should give a lecture effectively and the translator should translate the lecture without decrease these effects as he can. So that the true reflection of emphasis methods is very important in translation, and addressee’s effect is changed, if it is no EQUIVALENTS of emphasis methods in basis and destination languages and this is a challenge that the translator faces in the translation process.

Particles are kinds of words in Arabic and Persian language. Although the number of this group of words is less than the numbers of noun, verb, and other groups of words and that they have no independent meaning, they play a significant role in the syntax of the words since such words bring about connections between the words and sentences. Particles in both Arabic and Persian language explain the function of their following words so that the Arabic prepositions place their following nouns in the oblique case and make them a temporal, local, distinctive, and similar functions. Persian prepositions also make complementary form of their following nouns with different meanings. Interjections in both languages make an interjectionary function of their following nouns, and conjunctions make a reciprocal function or coequality in the terminology of the modern grammarians, of their following nouns. In the present article, the writer compares practical methods of the particles in both languages with an aim to explain its readers the similarities and differences in them and to unveil some dark corners and obscurities in the language not taken enough heed by grammarians.

Language is a living phenomenon and lexical items are the building blocks of language. They are born, they evolve, and they may die some day; some change over time and some remain the same. From among the different languages of the world, Arabic has had the greatest lexical influence on the Persian language, and no doubt one of the greatest sources of this influence has been the Holy Qoran. The emergence and life-time of Arabic lexical items in Persian have not been the same for different lexemes. In this paper, 105 vocabulary items were selected from classic translations of 11 noncontiguous chapters of theHoly Qoran, and were classified into four categories:1) Words traditionally translated but through time replaced by the original Arabic word (e.g., Talagh [or divorce] traditionally replaced by Persian equivalent ‘Pay goshadeh kardan’ but later replaced by Talagh)2) Words translated of which the old and new Persian EQUIVALENTS are not the same (e.g., the Arabic word ‘Moltahedan’ [meaning shelter] that was translated into ‘Andakhsvareh’ in old Persian and replaced by ‘panahgah’ in modern Persian)3) Words translated into old Persian EQUIVALENTS and later replaced by an Arabic word other than the one in theHoly Qoran (e.g., the Qoranic ‘Zaim’ [meaning guarantor] traditionally translated as‘Paybandan’ but recently replaced by the Arabic ‘Zamen’)4) Words that have only been used in translations and do not appear in dictionaries (e.g., ‘sostyavandeh’ [meaning miracle] instead of ‘mojeza’).

The main objective of this study was to find out whether English Present participles change in the process of translation into Persian. The material for the study was collected from the book, 'Animal Farm', written by George Orwell (1990) and its three translations into Persian. Based on the content or text analysis, the researcher could determine different grammatical structures in Persian for English present participles. of this storybook, 10 complex sentences containing present participles were selected from each chapter. These English structures were analyzed based on catford’s model (1965) of shifts in translation. Then, the frequencies and percentages were estimated and represented in figures I, 2 and 3. The grammatical structures in Persian were distributed such that Persian verb structures had the most (40%), and implications and phrases (3%) the least frequencies. The other grammatical structures such as clauses or adverbs obtained different levels of frequencies among the frequencies of the above mentioned structures. This paper provides other researchers an insight into translating these structures from English to Persian or other languages through analyzing the methods by which we can relate these structures to their translations; furthermore, the researcher can develop the methods for other grammatical structures.

Persian and Arabic, in the area of Linguistics and literary criticism, are strongly influenced by the translated works. A comparative study of the Persian and Arabic books and articles on literary criticism makes clear that the Arab translators, in spite of coining different EQUIVALENTS for one term, have been more successful. Being an inflectional language, can be a reason of this success for Arabic. As an example, the term "intertextuality", has three EQUIVALENTS in Arabic that respectively mean "negotiating of texts", "permeation of texts", and "interrelation of texts", while in Persian, the accepted equivalent "beyndmatniat" does not include all the semantic features of this term. This article, through contrasting the Persian and Arabic EQUIVALENTS of "intertextuality theory", decides how far each of the two languages has been successful.

Metaphor, as one of the most important literary devices, holds a high epistemological and aesthetic significance. Also in the field of translation studies, some experts maintain that translating metaphors is the hardest task. This is especially important in the translation of authoritative texts such as the holy Quran.By paying attention to past and present scholars’ opinions about the quality of translation and finding equivalent for Quranic metaphors we reach methods such as metaphorical translation, literal translation, meaning translation, etc.With due attention to definitions and function of translation and metaphor on the one hand and Quranic text quality, literal translation of Quranic metaphors combined with interpretations and the ultimate message of those seems to be the most suitable one.This is because one can maintain the structure, original style, and cultural features of the text while adding notes for helping readers grasp the ideas better. A survey of some existing translations shows that translatorS have confused readers by adopting inconsistent methods in translating metaphors, a fact which is rooted in the lack of a reliable theory of translation.

Predicate IS one of the mom components of sentence that gives a description about the subject and its grammatical form is dictated by the subject. Depending on the kind of the verb used in the predicate structure and on the way grammatical and semantic meanings are expressed, predicate s may take different forms: verbal, nominal, simple, and non­ simple. This type of classification for the predicate exists in both Russian and Persian. Russian linguists study the issue of predicate mainly in verbs, while in Persian the majority of linguists consider predicate to be anything expressed about the subject of the sentence. Pissicov, a Russian linguist, gives a new classification for predicates in Persian which facilitates the selection of equivalent for predicate structures in both Languages. Accordingly, one may compare the nominal predicate in the majority of cases in both Russian and Persian Languages and find appropriate EQUIVALENTS for verbal predicates.

Abstract The famous Mukhtarnameh series includes a lot of everyday language, such as idioms, ironies, assimilations, colloquial terms, slang, prayers, curses, and broken up prose, which helps the writers get their ideas across to the readers. This series has garnered a positive reception from the audience, having been translated into Arabic and broadcast on numerous stations across the Islamic world. The presented question is about what the translator or group of translators did while translating the given parts and the methods they used to translate and match them. Because these parts are very common in the Mukhtarnameh series and their Arabic EQUIVALENTS haven't been studied in depth from this point of view, the research aims to make progress by finding, extracting, and grouping them. Use a descriptive-analytical approach to look at their Arabic EQUIVALENTS and, if necessary, suggest the best replacements while sharing the research results with the public. The result shows that in the interpretation of the common components of the studied series, more than anything else, conceptual equivalence has been used and a large amount of the equations presented suffer from the problem of insufficiency. IntroductionThe creation of an exceptional work is laudable and reflects the artist's identity. Following the construction of a valuable and esteemed work, it is crucial to disseminate and showcase it beyond its initial confines, broadening its audience reach. It is clear that smart policy and smart investment are important in this situation, especially when it comes to growing the audience. These things can also be seen as good for the language and culture of origin. The Mukhtarnameh series is among the artistic-drama works that have gained popularity in our country in recent years, receiving acclaim from domestic audiences and attracting the attention of viewers in other Islamic nations, particularly Arabic-speaking ones. This series employs several tactics to express the intended thoughts, including proverbs, irony, similes, and folk components such as idioms, assimilation, colloquial language, profanity, prayers, curses, and cursive writing. The series effectively executes the notion transfer process by utilizing various linguistic techniques. The presence of such strategies, particularly the vernacular elements, whether in the source language or Persian, plays an undeniable role in the credibility and persuasion of the audience. The question arises regarding the position and function of these components in the Arabic translation. What is the intended concept, and do these components bear the same significance in the translated text as they did in the original language? Because this issue is so important and we need to protect Persian culture and language, as well as look at how Persian art is translated into other languages and fix mistakes that happen in similar works in the future, this study tries to find, extract, and group the vernacular elements used in the Mukhtarnameh series. Employing a descriptive-analytical methodology, it analyzes the translator's performance regarding these elements, thereby illuminating both the strengths and weaknesses of their work for the audience. Literature ReviewTo date, numerous studies have been conducted in the domain of vernacular language,however, no research has been provided to assess the film, particularly the Mukhtarnameh series, from the standpoint of vernacular language elements. However, some studies related to vernacular language have been conducted: 1. Elahe Sattari and colleagues' 2018 article "Examination of Principles and Standards of Translation from Vernacular Language: The Case of Studying Vernacular Arabic Language" looks for good solutions for vernacular interpretations. They come to the conclusion that vernacular equivalence is better than semantic translation as a way to translate. They are aware. 2 In 2018, Marzieh Rabiei et al. wrote an article called "Equalization of Iranian Folklore Categories: Arabic Translation by Noon Wal Qalam Jalal Al Ahmad. " In it, they used Peter Newmark's methods to look at and compare the cultural parts of this story and its translation. Their conclusion indicates that cultural and functional equivalence predominates in the translation of this text. A study by Maryam Hajizadeh et al. (2018), called "Evaluation of Methods for Translating Satirical Expressions in the Series 'General Manager' and Its Persian Dubbing Based on Gotlib's Strategies, " looked at the satirical expressions in this series, focusing on a certain group of parts. Overall, they have compensated. Their findings indicate that the substitution of materials and rewriting have been the paramount techniques employed by the translator or translators in the dubbing of this series. They looked at the meanings and vernacular lexicon in Arabic and how it is localized in their 2020 study called "Reflection of the Effect of Vernacular Elements in Translation: The Collection of Love Stories on the Hilltop of Al-Haram. " Upon categorizing and reviewing the examples, they determined that the translator predominantly employed the displacement approach during the translation process. Research MethodologyThe current research methodology is descriptive-analytical and statistical,hence, following the examination of the selected series, the slang meanings are extracted, categorized, appraised, and analyzed.   ConclusionLooking at the translations for the colloquial parts of the Mukhtarnameh series shows that the spoken language structure of the source text has been replaced by formal written language, with no signs of the spoken language remaining in the target text. This is especially clear in the cursive writing and the repeated words. This issue has reduced the prominence and role of vernacular elements in Persian, which have been shaped by Arabic influence. This outcome does not imply that the translator is obligated to preserve the vernacular characteristics of the source language in the target language. It was clear from the statistical and content analysis of the EQUIVALENTS that the translator put more effort into conceptual and communicative translation and less into finding functional and equivalent words in the target language. The translator mostly used two methods to find words that would match strong language, insults, and curses: "elimination" and "softening. " The goal was to make these words less harsh and rude in the target language, thereby addressing verbal impropriety. Or maintain a greater purity of expression than that found in the original language. 4. The research shows that the translator's greatest strength in equating popular idioms is his ability to convey the idea from the source language to the target language, while his greatest weakness is his inability to do so. A substantial number of Arabic counterparts exist. 5. To sum up, the research shows that the translation quality of the popular parts of the series being looked at is poor, which means that many expressions need to be revised and fixed. Consequently, although expressing gratitude and appreciation for the translator, who diligently presented the nation's cinematic achievements beyond its borders, his translation is deemed mediocre.