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.

According to the theory intertextuality, every literary text, aware or not aware, procreation or readout from his contemporary literary works or before. Nahj-al-balaghe, Since the rise so far, [after the Quran] aways, is considered as one of the key and sources for Arab and Iranian literati. while the classical Iranian poets modling from the valuable words and concepts of Amir of believers is More prominent. so that the kinds intertextuality of Nahj-al-balaghe in many Persian poems, is visible clearly. The aim of this study is to identify, introduce and explain the word intertextuality Imam in the words and concepts of classical Persian poetry. The realization was done by descriptive analytical method, and by induction eloquent the valuable words and concepts of Nahj-al-balaghe in the poetrys of the most prominent Iranian poets. By analysis and study of Process intertextuality in these poetry (the text present) and Nahj-al-balaghe (the text missing) we find that the kinds intertextuality was came In the form Intertextual in words of content and reports, and intertextual relations in In the form partial negation, negation and rejection of parallel or general. It should be noted that the intertextual content, and the negation of the parallel of intertextual relations, in the style of writing poems studied, the other, is more pronounced.

Traditionally, Persian poets and writers had to be well-versed in a number of sciences or at least have some information about certain sciences as the nature of their works necessitated. Traditional medicine is among the sciences that enriched Persian literature with its multitude of terms and concepts. Although, basically, the terms appeared in the literature of the fifth and sixth centuries, the writers and poets of subsequent centuries continued to use them. Once understandable to the common reader, the images and concepts taken from traditional medicine have now become obsolete and obscure. This article is an attempt to clarify certain medical terms appearing in some classical Persian poems.

Simile, recognized as a fundamental rhetorical figure, appears in a variety of forms that engage the imagination. Sources on rhetoric have more or less sought to identify, define and categorize types of similes and, in general, compile the theoretical foundations of Persian literary aesthetics, but there has not always been a full congruence between creative texts and theoretical sources. Therefore, the categories and definitions presented in rhetorical texts concerning simile do not represent all the methods of forming simile and its creative subtleties. One of the special varieties of simile in Persian poetry is double/paired simile (mozdavaj). This study aims to provide a clear and comprehensive definition of double simile, trace its historical development in rhetorical manuals and poetry collections, and ultimately identify the most common patterns of double simile. The findings of the study indicates that double simile is a kind of Estekhdām-e-Tashbīhī (simile with referential shift) with a fixed conceptual motif. Accordingly, the poet compares the lover and the beloved to each other through the double simile mediated by Estekhdām, which paradoxically signify a distance rather than a proximity between the lover and the beloved. Apparently, the oldest rhetorical source that identified and defined double simile is Tarjomān al-Balāqa. However, rhetoricians after Radviani have either forgotten this particular form of simile or have overlooked its inherent and distinguishing features, subordinated to equivalent simile (Tasviat or Taswiyah). It is noteworthy that the earliest poet who has shown interest in this device is Manteqi Rāzi. In this research, an attempt was initially made to take a fresh look at this literary technique and to examine its differences from other simile such as tasviat or estekhdām. Then, through an analysis of poetic collections, the varieties of double simile were identified and classified into the sixteen common and widely used patterns.

There are several types of poetry with the social and moral themes in the context of a millennium Persian literature which are considered the most important cultural media in Iranian society. These concepts, under the impact of Islamic culture (The Qur'an and progeny) with the title of benevolence and goodness, dissemination of spiritual beauty and ethico-social messages have allocated themselves to human beings in a vast dimension. Having dealt with social and moral principles like combating against despotism, inclination to chastity, anti egotism, freedom, uttering the codes and secrets of practical wisdom in life, we've discussed about its pathology in the dimension of disappointment, pessimism, lack of chastity, women's contempt, depreciation of wisdom, and invitation to virtual love by bringing some examples from works of some great poets in Persian literature.

Since a long time ago, poets and orators used various knowledge sources and human sciences to express thoughts, intentions, and their intellectual achievements. For instance, they utilized natural and supernatural elements and names of geographical places as the sources of their artistic creation. The old poets and orators, which are known as the laureates and frontiers of classic literature, used the names of the cities, mountains, rivers and famous places like palaces and places of pilgrimage in their poems to make their works more elegant and more artistic. Using these geographical names for making images in the poems not only preserves and saves the name of these places but also it facilitates the reader’s comprehension and understanding. This article aims to investigate and analyze the imageries created by geographical names in Naser Khosro poems, the representative of Khorasani style, and Khghani poems, the representative of Iraqi style, to show the changes in the contents involving geographical names and the frequency of geographical names in these two styles. The analytical method is used in this study and some verses have been collected from Khaghani and Naser Khosro poems then they have been categorized and compared and finally analyzed.

Related to each other, village and city are two main habitation and human society. Their relationship is associated with a kind of dichotomy, defined by the elements of difference and contradiction, which has been shaped throughout the history and has made the urban community to take an arrogant look to the village and villagers. This is despite the fact that the Iranian villager had a form of self-sufficiency before the beginning of capitalism and the city was, in return, more dependent on the village. Accordingly, the present study is to make the reality of village-city relation clear and to determine what role the Persian classical poetry plays meanwhile. The answer highlights the background and the roots of the urban community's view; so, the Persian poetry has been studied over the centuries and, due to the discursive nature of the subject, it has been examined on the basis of discourse analysis theory of Laclau and Mouffe. The results show that the village-city dichotomy has its roots in the ancient period and is the product of the city expansion and the power concentration in it. Islam, as a religion with urban desires, has also helped the urban discourse to be dominant. To keep its superiority, the discourse has utilized different tools such as poetry, which in some cases helped continuing the dominance of urban discourse through representing the village.

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 Egyptian Neoclassic poets were the first poets who could save poetry from the calamities befallen them during the age of decadence and put it back on the right course once more. In this article attempt is made to analyze the poetry of three well known Neoclassic poets, namely, Baroudi, Shawqi, and Hafez Ibrahim. Traces of modernism is more evident in their works than their contemporaries. While using the classical Arabic system of meter and rhyme, and also forms, the poets wrote to express new ideas and feelings unknown to the classicists.

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.