Focusing on the translation of classical Arabic poetry into Persian classical poetry, this article examines the interactions that take place between the expressive construction and the rhythmic construction of poetry in this type of translation in order for the translation product to convey both the content of Arabic poetry and simulate its classical poetic form. The questions are as follows: In this type of translation, what are the effects of the interaction between expressive construction and rhythmic construction on the relationship between Persian poetry and Arabic poetry? After studying some examples of translations by analytical-descriptive method, it is concluded that in this type of translation, rhythmic construction occurs in Persian poetry independent of Arabic poetry; due to the observance of rhythmic requirements, the expressive construction of Persian poetry often distances itself from the expressive construction of Arabic poetry. Also, sometimes Persian poetry differs from Arabic poetry in the way of arranging speech in the form of verses; the relationship between Persian poetry and Arabic poetry in terms of expressive construction is realized if the expressive changes in the translation were understandable and in line with the transfer of the themes of Arabic poetry, and rhyming often causes expressive changes in the translated product. Finally, there are three dominant tendencies in this type of translation: formal re-creation, dynamic re-creation, and free re-creation.

After the spread of Islam and its acceptance by different ethnic groups, the Islamic culture became the basis for mutual respect among peoples and nations, and Arabic poetry started promoting brotherhood in faith instead of tribal arrogance. However, when the Islamic society and the Arab world gradually moved away from the Islamic anti-discrimination sources, followed by the reappearance of pre-Islamic tribal prejudices, especially in the Abbasid period, some sects like Shu'ubiyya started defaming the Arabs as a reaction to the injustice of the kings called Caliphs. In the same way, some Arab fanatics started humiliating other Islamic nations such as Iranians and Kurds. Of course, the share of the Kurds was more than double; on the one hand, due to being Iranian, they had to pay for what Iranian Shu'ubiyya did, and on the other hand, because they were believed to be the descendants of the "Medes", they were humiliated by some Persian fanatics. So, “ how Kurds have been portrayed in the classical Arabic poetry? ” is the question which the researcher, using a descriptive-analytical method, tries to answer in the present study. In fact, some various aspects of the images of Kurds in the classical Arabic poetry like how Kurdish figures have been praised or criticized, and their race and lineage have been investigated. The results show that a significant number of such images, under the influence of the conflict between Shu'ubiyya and Arabs, portray negative and superstitious images of Kurds. In some other works, some influential Kurdish figures have been admired and praised but their lineage and race have been changed intentionally. In a few cases, we can find a true image of Kurds. Expansion of mutual communications, general knowledge enhancement, regional disputes, and similar status of Kurds with other nations in the middle east are among the main causes of this positive portrait of Kurds.

In this paper, by examining some patterns in the pronunciation of the Arabic loanwords in the early Persian texts, we show that the Arabic loanwords have borrowed from two sources of Arabic, one is the Conquests Arabic, which is the colloquial language of Muslim conquerors, as well as their written language until the late Umayyad period. the other is classical Arabic, which until now has been considered by Iranologists as the only source of Arabic loanwords in Persian. We suppose that the attribution of many non-classical pronunciations of Arabic words in early New Persian, such as Shā n (in classical Arabic: š aˀ n), ḏ ī b (in classical Arabic: ḏ iˀ b), belleh (in classical Arabic: billā h), masala, mesla/masla (in in classical Arabic, masˀ alah) etc., contrary to what previous researchers have said, have nothing to do with the Persian phonology, but the special pronunciation of these words shows that they are borrowed from the Conquests Arabic.

Over its history, the Persian language has experienced numerous challenges. One of these challenges was encountering with the Arabic language. The expansion of Arabic language caused Arabic to become a literary reputation and identity among Persian speakers, and poets were proud of their Arabic poetry. One of these poets is Khaqhani Shervani who composed both Arabic and Persian poems. As he claimed, he has an Arabic divan (poem collection). As opposed to what today's scholars have stated, Khaqani's Arabic poetry writing is referred to in some historical resources and biographies such as Mostofi's Selective History, Jami's Nafahat al-Ons, and Amir Alishirnavayi's Majalis al-Nafaes. The present thesis has mentioned Khaqhani's some characteristics and illustrative techniques that lack of familiarity of some researchers with them can cause problems in translation, interpretation, and explanation of his Arabic poems. Khaqhani used a lot of rhetorical figures of speech in his poetry. Most figures used by Khaqhani are pun, hyperbole, allegory, and letter writing. Sometimes the utilization of different rhetorical figures of speech has caused complicated images, and usage of terms of different sciences has also caused his Arabic poems, like his odes, to be counted as technical poems.

poetry and prose, like all other arts, need to use tools to communicate with the audience; irony is one of these tools. Early rhetorical scholars have addressed the significance of irony and its impact on the expression of meaning as well as the indirect transfer of the message. The present study is an attempt to analyze irony and its variants in classical Kurdish poetry in a new way, and to study the reasons behind its emergence in the literary world, while focusing on its aesthetic functions. Irony is a word, phrase, or sentence which is used to express meaning indirectly. The meaning may not be so influential if expressed in an ordinary language. Irony artistically expresses the meaning and is rooted in the science of rhetoric. The results of this study indicate that the origin of irony is the common speaking of people and it is used in specific times and places to convey the message and to inform the addressee with different goals. Irony reflects the intellectual level of society. It has a particular significance for all of the speakers of a mother tongue. It is rooted in society and its survival or decline depends on the decision of the people in a society. Irony has an intrinsic impact on speakers of a language; it is sometimes encouraging and alleviating the personal pains at other times. The main purpose of irony is to magnify the meaning. Adopting a descriptive-analytical method, the present study aims to answer the following questions: What is the main reason behind using irony in literature? Why does the writer or speaker express the meaning indirectly?

The classical (fasib) Arabic, which has always been a source of solidarity among speakers of Arabic, is now facing serious threats. The first threat was posed by Arab speakers themselves, pursued later by Orientalists, who attacked the syntax of Arabic. The second threat was posed by those supporting vernacular Arabic dialects. This was welcomed by colonialists who wanted to separate Muslims from their historical past. While the threats have done damage to the solidarity of Arabs, the writer admits, it has strengthened national spirit, paving the grounds for the emergence of great poets and writers. In this article the writer discusses these threats and, at the end, presents practical solutions to these problems.

Khuzestan Arabic poetry in contemporary age has continued its progress and dehiscence. In spite of following old poetry, it shows the changes and renewal in the form and poetical objects and style. This poetry has been influenced by contemporary Arabic poetry and its poets followed great Arabic poets such as Mahmood Sami al-Barodi and Ahmad Shoqi. They have composed the poems while frequently comparing them with particulars of literary schools like classicism, romanticism, symbolism and realism and realism.We can see manifestations of this change and renewal by young poets as Abd al-aziz Hemadi, Foad Ashore, Hosin Torfi, etc. They could enrich their poetry by two old and new cultural heritages.

Nations have created legends and myths in their lives which were acceptable for them and they had deep belief in them. These myths are more colorful among some nations. Arab poets, also, have used Arabic and even other nations' myths in their poetry, and regarding the environment and conditions have used their thoughts by implementing these ideas. We have tried, in this essay, by describing the vocabulary and mythical expressions and brief familiarity with some of the most well-known Greek, Mesopotamia, Ancient Rome and Egypt myths, deal with the contemporary Arabic poetry and investigate some of their poetry in their distinguished ones to know the reasons of the application of myths in the modern poetry.

One of the most interesting areas of study and research in Eastern literature is the interaction of literary works in Persian and Arabic languages, especially the common themes of Persian and Arabic poetry, which is one of the oldest topics in comparative literature. It is also one of the most difficult fields of research in this field. In the present study, which has been prepared by the scientific-research Institute, the author has tried to explore the influence of Arabic poetry and literature on the poetry of Farrokhi Sistani, a fifth-century Persian poet, in a comparative-descriptive-analytical manner based on the French school of comparative literature. The present study, after preface and deals with Farrokhi's poetic style, it briefly points to the influence of the Qur'an and Arabic words and the names on his collection. Among other things, it has been concluded that Farrokhi, while being influenced by the interpretations and images of Arabic poetry and literature, is a creative and thematic poet; furthermore, in the literature of the Orient, and especially in Farrokhi's poetry, the dominant culture of the pen on the arrow and the sword, which is the dream of the educated human beings of the present age, has been well illustrated. Hopefully, this exploration will further the long-standing connect between Persian and Arabic literature and it adds another source to the sources of comparative research.

This article consists of several basic sections. The first section considers, in brief the movement of cultural associations in Kuwait which began in 1920s, continued in 1950s and strengthened after Independence in 1962. The section, also, mentions the factors of the rapid growth of the Kuwaiti cultural movement. The second section contains a list of the Kuwaiti poets and poetesses. The third section discusses the subjects of the Kuwaiti poetry; the society, the central mater of the Arabic world; Palestine. The historical sequence is considered here.