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A quantity of innovations in Hafez's poems have apparently carried the same features that exist in the poems of a number of other poets. However, since Hafez integrates such characteristics through concentration and decisiveness, strength and richness, and a brief and accumulated volume, their manifestation and glory in his poems is a revelation of more brilliance. It is on this basis that it can be said that the most literary poetic verses and the most meaningful linguistic statements, as well as the most artistic literary, situational, linguistic and even dramatic satires, should be found in Hafez's poems. Hafez's sensitivity to the behavior of political and cultural figures has made him fascinated by situational humor. The attraction of this interest has caused some of the literary satires to be used by him due to the double literary-situational function. Some types of literary humor that are the representation of situational humor include: parables and similes, metaphors and symbols, descriptions and adjectives, exaggeration and hyperbole, and even a part of amphiboly and taxis.

Jalil Safarbeigi’s use of ‘satire’ and ‘argot’, has given quatrains an explicit and attractive appearance. Interweaving satire and argot, coupled with the ambiguity of poetic language, has made Safarbeigi’s quatrains somewhat superior to common language. Simplicity is another advantage of Safarbeigi’s poetry. He uses the most tangible meanings and human experiences in his poetry. When reading his quatrains, the reader understands what is in his mind without much effort. Also, his chosen themes for his poetry make his quatrains prominent and special. These themes include scenes from the real life of the poet, the romance of a tribesman, short but efficient presence of different types of modern people, recreation of the concept of ‘calendar’ and passing of time, and complaints of the poet for having lost all hope to solve the problems. Safarbeigi is also known for breaking the norms, using playful language, and having occasional hints to history, culture and stories. In this research, using an analytical-critical method, we attempt to study the principle of "communication" in Safarbeigi's Rubaiyat to investigate and analyze the two elements of "satire" and "argot", in order to provide a model for analysis of the poetry of those poets who have not been in the center of critical attention so far.

Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. 

The course of satirical writing in Iran is closely related to political history. In the periods when poets and writers have benefited from relative freedom, satirical writing has also grown more. During the Seljuk period, when the government was in an intermediate political position - that is, neither absolute tyranny nor populist government - the course of satirical writing, like the literature of that period, had a completely different and perfected state. In this period, on the one hand, there are many courts and free from tyranny, and on the other hand, at the same time, publicism dominates the kings and people, and education in the society has expanded and has created a variety of styles and voices in the creators of poetry and prose. And in the third level, poets and writers have been abandoned by the government and have benefited greatly from freedom of action. With the progress of literature, numerous satirists have emerged with different and innovative styles and methods, the example of which is not seen in any other period until the constitutional period as a period with complete freedom. The development of humor in this period is more intellectual and content-oriented and has two popular trends such as lampoon and facetiousnes and literary jokes, and special trends such as philosophical, sectarian and mystical satires. Composing odes with a combination of satire, humor and praise, and boldly suspicious poems and humorous narratives of insane intellectuals, has given a different atmosphere to poems and divans in this period.

Iraj Mirza, born in 1253 is one of the most successful satirical poets of the constitutional period, and he was given the title of "Saadi No". One of the most important reasons for the success of his satires is the use of a wide range of methods and mechanisms for creating humor in the structure of his poems. Iraj Mirza's poems are mostly taken from social realities, in which he reflects on social issues with a critical and sharp point of view. The current research aims to study and analyze the methods of satire in this poet's poems by using the library study method and in a descriptive-analytical way. The results of the studies show that Iraj Mirza uses various methods and methods to express his humor and make it more effective on the audience, and the secret of the success of his humor lies in the use of these methods. Among the most important of these tricks, we can mention miniaturization, likening to animals, cursing, destroying symbols, criticizing oneself, debating, breaking religious taboos, irony and humorous lines. As a result, the humor techniques used by Iraj Mirza have a significant effect in presenting the intended concepts.

The most important message of Hafez and his deliberation is rogue (Rendy) and fighting against rulers who behave with hypocrisy. The language of an artist Rend in fighting against hypocrisy has two characteristics which are pun and irony. Sarcasm (or Tahkkomiyeh) metaphor is one of the necessary and effective tools and methods to generate irony. In this essay, in order to epic the importance of being precise in the coherence of Hafez's sonnets, we have been meticulous in the regular system of words and meanings and their geometric fit in creating the sarcasm metaphor. In many cases that Hafez explainers voted for mystical aspects of his poems is for the lack of attention to this point of Hafez sonnets, while by paying attention to the usage of Sarcasm metaphor will find that it has no common point with mystical ideas and it is rather a rogue utterance to criticize the group of Sufis. When Sufis, Ascetics, Preachers, Sheikhs, Mohtaseb and those in power abuse their positions, and due to the preaching power and sacred levers at their disposal, it is not possible to confront them and warn the people in a normal way, the poet uses this method to criticize effectively their way of manner.

Humor is a sub-type of literature and a product of protest, and it is a mirror in which the spectators see the face of everyone but themselves. Humor is the artistic image of the society of detractors, and humor in Persian stories has a long history. Akbar Aksir is one of the contemporary satirical poets who, with the help of humor, aims to correct the shortcomings of the contemporary period. The purpose of this research is to investigate the satirical techniques in this poet's poems.

This research was conducted with a descriptive-analytical method and the data was randomly selected from Akbar Aksir's poems. .

The findings showed that some of the main elixir techniques for humor are: the use of rhetorical techniques such as (allegory, metaphor, identification, simile, allusion, the use of colloquial combinations, permission, similar considerations, hint and... ..) .

Using metaphor, contrast, simile, allusion, allusion, simile, etc. , and sometimes the narrative and fictional language has shown the most basis of humor in the linguistic field of Akbar Aksir's poems. Sometimes he brings poetry closer to the language of street and market people and uses native and local words, and sometimes he uses words that are not available to the public, and he has used all these things to create linguistic humor in his poems.

Stand-up Comedy is a type of audio-visual art that has received serious attention in recent decades. It is a combination of verbal and dramatic arts derived from Oral literature and deeply ingrained in folk culture. Stand-up comedy encompasses different forms of art and performance such as storytelling, acting, music, presenting and oration. Comedians engage with the audience directly on stage, regaling them with amusing anecdotes about life and societal matters, inducing laughter and providing a mental release. The findings of this survey indicate that owing to the distinctive features of stand-up comedy, this form of art will gain significant popularity in future. This particular form of contemporary art serves various purposes including, entertainment, education, creating social solidarity and empathy, as well as critiquing political and societal issues. Its notable interartistic features encompass storytelling, being audience's oriented, being critical, improvisational, flexibility, and drawing on informal language and colloquialisms. The present article explores the history of stand-up comedy in Iran, its functions, its structure and defining characteristics. Additionally, the article delves into the significant themes, elements, styles, and techniques employed by comedians in crafting their performances, and three cases of Iranian performances are analyzed as examples.

The current study aims at investigating the extent of the reflection of basic anxiety according to Karen Horney's theory of psychological criticism in children's and adolescent stories to discuss the pathology of the content of comic stories. According to Karen Horney, most of the aggressive, defensive and affection-seeking behaviors and isolation are rooted in childhood anxiety caused by family and society. The authors of the present study analyze the two collections of juvenile humor stories, “I am not Baba’s servant” by Ahmad Akbarpour and “Cream Love” by Shahram Shafie based on Karen Horney’s psychology and the theory of basic anxiety to identify which aforementioned story has caused anxiety and mental tension in children and adolescent readers.

This study, which has been conducted based on descriptive-analytical method and desk research.

There is a considerable extent of humiliation, fear, anxiety and isolation in the protagonist of the “I am not Baba’s servant” story, as far as David’s anxious and disjointed personality suffers from nightmare because of his father dictatorship and turns to reclusiveness as a defense mechanism of Karen Horneys’s theory. In contrast, the story of “Cream love” narrates the sense of solidarity and love between the members of family in a humorous language and in terms of anxiety mechanism, less feeling of humiliation and distress was observed.

This study, which has been conducted based on descriptive-analytical method and desk research, shows that Shafie has been more successful than Akbarpour in delineating the characters who have more mental health in comparison with the characters of the story of “I am not Baba’s servant”.

Hāfez does not have a favorable opinion of Sufis. Whenever he mentions a mystic, an old man, a Sufi, and their alternative meanings, such as Ahl -e- Khalvat, Khalvt Gozideh, Kootah Astinan, Pashmineh Poosh, Ahl-e-Khaneghah, and monastery, it is accompanied by humor and elaboration. Understanding and explaining the meaning of these satires and elaborations requires attention to the form and structure of Hāfez's sonnet. The inaccuracy in Hāfez's method has led scholars to evaluate this satire and elaboration in a positive light and to think that Hāfez has a different view of Sufis and mystics because they have neglected the humorous use of mystical expressions. From the beginning of the ninth century, Hāfez has been called the exaggerated title Lesan –Ol- Ghaib (Unseen language), and this title has been used for Hāfez as a kind of dignity. Despite the prevalence of this title, the issue of adaptation in Hāfez's lyric poems is also a point that scholars have listed in detail. The combination of Hāfez's adaptation and divination is seemingly difficult and unacceptable, which is why some scholars have sought to present an acceptable concept of the title of Hāfez's Lesan – Ol-Ghaib. Mentioning words related to sufism or quoting sufi miracles in Hāfez's Divan has led some scholars to consider Hāfez's view of sufi personality, work, and deeds positive; Hāfez should be considered a mystic and a sufi. For this reason, in this article, in order to explain the position of mystics and Hāfez's view of them, we have chosen an important and common dignity in mystical texts that has been used in Hāfez's divan: to bring fish out of the sea in order to remove the slander of a sufi. The result of the research shows that if Hāfez has been called Lesan – Ol-Ghaib, it is not because of his divination and prophecy, but this title indicates his deep and extensive study in such a way that he has been able to combine speech in a new way. Based on the words of the sufis, Hāfez has been able to reject and deny their inaccuracies or to offer a special reading of the miracles of the sufis in accordance with his thought. Saying such things, of course, causes the sufis and ascetic to be hostile to him but Hāfez in front of them refers to their own interpretations and he uses the miracles that the sufis claim to dispel slander to better show the sin of the hypocritical Sufis.

The most natural type of satire is behavioral humor that causes surprise and amazement and pleasantry without any literary and linguistic artifice. Hafez, unlike the poets of the Timurid era, who only cared about language games and literary arts in poetry, puts the two elements of form and content in her focus at the same time.For this reason; there are more situational satires in her poems than literary satires. Hafez usually, instead of criticizing the policies of the governments, openly portrays the abnormal behavior of the governments and their supporters, which are often mixed with deception and hypocrisy, in order to create mocking and ridiculous situations from their confrontation and conflict with the logical and conventional human behavior.Or the one that puts hypocritical behaviors against normal transparent behaviors in order to create confrontational and humorous situations. Some types of situational humor in Hafez's poems are: frankness, self-mutilation/pretending debauchery and dissent, inversion, contradiction and opposition, arrogance and demandingness, tragic humor, exaggeration, self-deprecation, justifying reasoning, humor. In this article, we have examined only the first three types.

The fluidity of humor is such that without taking into account the time, place, cultural and linguistic conditions, it cannot be assumed as a single and fixed element. In Persian literature, due to the lack of attention of the writers and poets of the past to compile the basics of humor and disregard for today's interpretation. According to scientific theorizing about humor, the principles and approaches of humor can only be understood and mapped by studying their works. From the oldest Persian literary texts to today, depending on the conditions that were said before, many pieces of literary works can be classified as humor. In this article, Mohtsham's humor has been looked at with an analytical view, and thoughtful results have been obtained from the poetry of this religious poet. The research method in this article is descriptive analysis.

Theater, as one of the literary types, has created a link between literature and performing arts. There have been two types of theater, comedy and tragedy. In the past, the type of tragedy was superior to the type of comedy. In the seventeenth century in France, with the appearance of Molière, comedy flourished and a revolution took place in the classical theater. In Iran, playwriting does not have much history. But its traditional and religious forms have always existed. In this article, we have done a comparative study of two comedy plays, Molière's The Miser and Akhundzadeh's The Tale of the Miserly Man. In the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships. In this article, we have benefited from the theories of Michel Viegnes in the field of theater and his classification of types of humor and the theories of Ménandre, the ancient Greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases Akhundzadeh imitated Molière and what was his purpose in writing this play. In fact, the era of comedy flourishing can be considered the post-Renaissance era and the 17th century. With the emergence of playwrights such as Molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. Molière had a significant influence on the playwrights of the world and also influenced the Iranian theater during the constitutional period. The plays of Mirza Fath Ali Akhundzadeh (1228-1295), an Iranian writer, thinker and critic, were among the first plays written following European plays. The title, structure, characters, and content of his play The Tale of the Miserly Man also convey his impression of Molière's The Miser.

Comparative literature arose in France in the nineteenth century. Researchers of French comparative literature or the "French school of comparative literature" emphasized the issue of "relationship" between literatures. According to Guyard, "the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures." (Guyard, 1958:12) With Guyard and after him Pierre Brunel, comparative literature becomes more of a science than a type of literary criticism. In addition to the issue of historical investigation, Yves Chevrel also brings the issue of boutiques into this topic. In his opinion, "comparative literature should add comparative boutique studies to its studies." (Chevrel, 2016: 48) In the American school of comparative literature, which is led by René Wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: "Everything It should be examined from the perspective of a literary work." (Brunel & Chevrel, 1989: 189-190) As mentioned, Akhundzadeh was influenced by Molière and the similarity between these two works is not accidental. Therefore, in this article, our research will be comparative literature based on the French school and we will discuss the influence of thoughts and themes and the comparative style of two works. To examine the types of humor in these two plays, we will rely on the theories of Michel Viegnes, a French writer and researcher, and to examine the characters of the plays, we will rely on the theories of Ménandre, the ancient Greek playwright.

 3-1. Content review As one of the freedom-loving playwrights of the Qajar era, Akhundzadeh criticized the traditional customs of the society through theater. Moliere's theater can also be defined as a realistic reflection of the performance of the members of a society. In this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. Socio-political and anthropological satire Moliere's play The Miser and Akhundzadeh's play are both social comedies. Moliere's The Miser depicts the bourgeois society of Paris during the reign of Louis XIV. Harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in France, a stingy person is called Harpagon. Akhundzadeh's story of the miserly man also portrays the society of Iran in the early 13th century. In their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. In the preface of Tartuffe, Molière clearly states that "comedy can be effective in reforming some customs and traditions." (Molière, 2016: 5) In fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. According to Akhundzadeh: "It should be known that what is meant by the art of "comedy" is moral refinement. It means knowing the ugly and beautiful of human nature by looking at the shape and resemblance" (Adamiyat, 1349: 63). 3-1-2. Personality psychology According to the theories of Ménandre, the ancient Greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) A slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (Blanchard, 2000: 22-24) The main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. The choice of such characters actually shows the classicity of these two plays. Boileau emphasizes that "in Molière's plays, humor is created due to the mocking aspect that is rooted in the psychology of the character" (Conesa, 1995: 146). 3-2. Structural investigation Akhundzadeh, like Molière, is not only concerned with showing some social and moral problems, but also emphasizes the artistic aspect of writing. In his plays, although he maintained the "unity of action", Molière questioned the "unity of place" and "unity of time". In other words, he followed the principle of classical theater according to which the plot should revolve around a single event. But refuse to limit this event to one day and one place. Akhundzadeh also wrote his play The Tale of the Miserly Man in a classical style and in five chambers (curtains) and did not limit it to a fixed place and time of one day. 3-2-1. Language and style The language of Akhundzadeh's play, like Molière, is close to reality and effective. The story of the play and the dialogues of the actors are told with sweet and attractive expressions. In that period, the written language and the spoken language were significantly different. In this play, Akhundzadeh tried to distance himself from the common prose of his era and use spoken language for the characters. Regarding the similarities of the language of the two plays in question, it can be pointed out that the language used is vernacular. In this play, Molière's language is a natural and spontaneous language that shows the reality of the present and is performed quickly and impromptu by the actors. Another characteristic of Molière's language is his writing rhythm, to the point where we sometimes see a special rhythm in consecutive sentences and answers (Attaque des répliques). 3-2-2. A combination of humor Writers and theoreticians have always tried to classify its types since the emergence of comic theater. In this research, we try to explain the types of humor from Michel Viegnes’s point of view. Viegnes divides humor into three types: personality humor, verbal humor, and situational humor. (Viegnes, 1992: 88) Molière and Akhundzadeh have used all three types of humor in their plays.One of the theater techniques mentioned by Michel Viegnes is the monologue ou soliloque technique. With soliloque, in fact, the character "thinks out loud" (Viegnes, 1992: 60) and this issue provides reasons for laughter. Like Molière, Akhundzadeh used monologue to show the humor of a characterThe scope of comic language or verbal humor is very wide. And "Includes exaggeration and exaggeration, changes in the construction and shape of the language, playing with words." (Viegnes, 1992: 9) According to Michel Viegnes: "In all languages, people have laughed at people whose way of speaking is out of the norm." (Ibid.)According to Michel Viegnes, "situation comics go beyond speech and include all kinds of kicking, spinning jumps, spinning on heels, and...." (Viegnes, 1992: 98).

These two playwrights, in fact, study different human types and their disadvantages from a sociological and anthropological point of view, and depict the complexity of the human spirit in order to force the society of their age to think about their weaknesses through a humorous language.The style of both authors is classic, but it has undergone many changes and innovations. In fact, they present a mixture of comedy and tragedy to the audience.In this research, we come to the conclusion that with the help of comparative study, we can identify the roots of the currents of thought that influence the literature of the interior. With the help of comparative study, from an aesthetic, content and even theoretical point of view, literature can be studied not individually, but in its relationship with foreign literature. The comparison of the studied works is to test their similarities and convergences in order to consider literary phenomena in their transnational reality. Akhundzadeh's acceptance of this foreign genre, drama, and its rules, is important. In fact, with the help of this comparative study, we examined the entry and acceptance of a style, a theory, a theme in the literature of the country. Akhundzadeh's play is actually a kind of rewriting and literary representation in a transnational perspective. The purpose of literature is not only to connect with its reader and accept the work by him, but it is the influence of languages and thoughts on each other and the influence and influence, and as a result, progress and innovation in literature.

One of the most important scientific treasures of any country is the collection of short and long articles written by experts in various fields and published in publications. Writing articles in Iran does not have a long history. Before the constitution, most of the research texts were the same contents that were written in tazkires and other books, which of course had no scientific and documented basis. After the constitution, the quality of literary research was transformed and skepticism became common and literary researchers tried to improve the quality of literary research by referring to original works and using criticism techniques. In the field of satire, the first articles written are related to the introduction of Obeid Zakani and humor in his works. And in general, it should be said that the word humor in the sense and meaning of the term that we use today was first used in researches that introduced Obaid Zakani and his special way of expressing Lataif, a way that was used with others. It was different and attention to the element of social criticism is   prominent in them.

In this research, firstly, by using famous Persian websites such as Noormags.ir, Magiran.com, Humanities Comprehensive Portal, Academic Jihad Database (SID.ir) and... articles on the subject of Obeid Zakani. It was found that there are about 71 articles that use the name Obaid Zakani or the word mouse and cat in the title or abstract or keyword. Then, we have classified and analyzed the articles in thematic and historical categories, and the result of the research is shown on the graph. It should be noted that in this research, only scientific articles were examined and counted, and conference articles and books were not considered.

Looking at the researches in the field of humor, we realize that the first researches in this field are about the introduction of Obeid and his works as the most important humorist before the constitution, but with the passage of about a century, scientific and non-scientific articles are still being written about Obeid. The review of articles related to Obeid Zakani provides us with valuable information about the research process in different years, which can be used to observe the interest and scientific level of researchers related to specific topics and approaches of Obeid research in different decades. In addition, it can help researchers in this field to avoid repetitive research and to have better access and familiarity with humorous sources for conducting new research, and to recognize useful and necessary sources from non-useful ones.In this research, we have reviewed the scientific articles related to Obeid zakani that have been written since the beginning until today. Examined the articles in terms of structure and content and divided them into six historical periods and seven subjects of Obeid's humor, Obeid's biography, introduction of works, content and theme, rhetorical and satirical techniques, comparative studies and review of literary theories in Obeid's works; We have reviewed and classified; We have introduced repetitive and useless researches as well as useful and scientific researches and have shown the historical course of articles in different decades. Studies show that in the first years, the subject of the articles is often the introduction of Obeid Zakani and Obeid's social satire and introduction of his works. These articles mostly have a descriptive approach and have little benefit from analysis and reasoning. The language of the articles is often literary; Writers tend to write essays and generalize and do not go into details. In the sixties, only one article was written, which is better in terms of quality than the articles of the previous period. In the 1970s, in addition to dealing with Obeid's life and satire, Obeid's works were introduced and compared and compared with the works of others such as Hafez and Yaghmai Jandaghi. is not. In the seventies, the subject of most of the articles is the introduction of Obaid's works, and the articles still have a descriptive approach and do not deal with specific analysis. In terms of structure, they lack a scientific structure in the modern sense. Mohammad Jaafar Mahjoub is the most important researcher of this period, in the field of introduction of Obeid's works and its manuscripts, who contributed to a better and more scientific understanding of Obeid Zakani and his works with his articles. His articles are among the most influential articles in the field of Obed studies. In the 1980s, scientific articles grew significantly in terms of content and structure, and diverse and new topics such as comparative studies, studies of children's and adolescent literature, and literary theories were also effective in looking at Obeid's works in a new way, but these articles were written by beginners and They often lack analyzes and arguments and presentation of scientific statistics.

Conclusion :

 Most of the articles in the field of Obed studies were written in the 1990s, and in terms of quality, these articles have a variety of topics and scientific structures, and have more analytical power than previous articles. However, they have weaknesses, such as: not mastering the theories and examining Obeid's works based on literary theories, not providing accurate statistics on the amount of use of satirical techniques, great importance on the structure of the article and its stereotyping, and less attention to the content, arguments, and analyzes Scientific. After the 1990s, the most articles in the field of Obed studies were written in the 1970s. Although the articles of the eighties are less than the articles of the seventies; In terms of the quality and diversity of the subject, they have a more scientific structure and content than the previous articles. With all this, it is suggested that researchers in the field of Obed studies, by limiting the scope of research and focusing on details and using statistics and citing scientific sources and data, master the modern methods of comparative research and literary theories, pay more attention to analytical and argumentative aspects, to Help improve the scientific level of articles.

The development of all kinds of literary, linguistic, and fictional satires with intellectual, philosophical, social, and political topics is one of the characteristics of the Seljuk era. In this era, on the one hand, kings and Sufists tended to support the culture of the common people, and on the other hand, poets and writers, due to the growth of literacy in the society, improved their linguistic and literary art and created difficult works. Since the kings and common people had a simple mentality, poets used humor and poetic stories to communicate with them. In the meantime, all kinds of humor and satire, which were common demands of the kings and the masses of the people, as one of the types of fun and entertainment as well as a means of judgment about the era, attracted the attention of poets and kings. The other functions of satire in this period are: a tool to show the displeasure of poets with the inattention of rulers to their art, a tool for job competition between poets and also to show the realities of the times, criticism of mischief and discrimination, and also to take revenge on the creators of anarchy.

Fereydoun Tavallali was among the most significant contemporary artists who established a new genre in Persian satirical writing. Due to such innovations, he maintained a decisive and influential presence in the literary and political circles in Iran for almost a quarter of a century. Despite the passage of time and the obsolescence of the sociopolitical events of that era, Tavallali's satire has maintained its charm for the Persian speaking audience. Seemingly, a crucial reason for the fineness of his satire is his command of text-based and functional linguistics. Regarding functional linguistics, text coherence is considered as a crucial component of literary works. Michael Halliday's theory of lexical coherence and Ruqaiya Hasan's theory of cohesion and cohesive harmony are among the most practical contemporary theories through which one can acknowledge the degree of coherence and magnetism of a work such as Al-Tafasil by Tavallali. This research uses a descriptive-analytical approach to investigate Tavallali's satires, with an emphasis on Halliday and Hassan's theory of lexical coherence. The results show that Tavallali has utilized the elements of lexical cohesion to create the satire in Al-Tafasil in a way that such elements have enhanced the coherence of structure and content of his satire and given more depth to his intended concepts. He has employed word repetition to enhance the coherence of the overall context in a novel way and has also used Saj' (rhymed prose) to create coherence and cohesion among successive sentences. Tavallali’s use of paronomasia, morphological derivations and alliteration has also merged the successive sentences in a solid sequence. Regarding the harmony of words, he has also made an innovative use of congeries, contrasts and synonyms; the use of contrasts is very proportionate and synonyms are used less often. Instead of using -congeries in one sentence, they are used separately in short sentences, which brings about the higher frequency of verbs and conjunctions in the text. Tavallali has thus deepened the internal coherence of the text with an enhancement of musicality and tone and has aligned the language with his political, critical and revolutionary goals.

No definition is possible for all aspects of irony. From the perspective of this research, irony requires the presence of three people: the ironist, the victim, and the ironic observer. The ironist refers to a concept with his words or actions, knowingly (with the intention of deception) or unknowingly, but the victim takes the opposite. An ironic observer is someone (often a reader) who is aware of and laughs at the victim's misconception. In fact, irony is based on multiple meanings (sentences are multifaceted, words have multiple meanings, actions and situations have multiple inferences), some of its meanings are in conflict with each other.This study categorizes the types of irony, with a formalist approach, in terms of the type of code, the position of the victim, intertextuality, the degree of irony transparency, and density (the scattering of irony in the text). The research method is descriptive analysis, and its field of study is children's stories. In this regard, this article seeks to answer how irony is formed in children's stories with a formative approach. The present article is useful for humorists in the field of children, and the author has not seen a similar research regarding the classification of ironies, either in domestic or foreign articles.

Satire is a kind of literary discourse or sub-discourse because it uses a specific language for the purpose of criticism, protest, and indulgence. Critical discourse analysis is a trend in the field of discourse analysis in linguistic studies that deals with the relationship between language, power, and ideology in society. One of the famous models in discourse analysis is Van Leeuwen's sociological-semantic model in which the analysis of texts is promoted from a descriptive level to an explanatory and justification level and also the relationship between society, culture, power, ideology, etc. is represented in Satire discourse in poems. Shamloo is seen in the field of social, political, and philosophical issues and analyzes his work from the perspective of a worthy Van Leeuwen's model. From the perspective of Van Leeuwen model of critical discourse analysis, this article follows Satire in Shamloo's poetry to determine how Shamloo portrays social agents and, given the critical function of Satire, how to produce and represent discourses with sociological-semantic components. The components of critical discourse analysis in Van Leeuwen's model are based on two elements of explicitness and obscurity, which themselves have different linguistic subsets. According to the results of this research, Shamloo has used the hidden components in the discourse of Satire in his poems more. He conceals the identities of activists related to power, domination, deceived people and traitors, and at the same time emphasizes the activities of freedom fighters and fighters at the same time as activism and direct reporting. Contradictions in linguistic, emotional, and thought contexts are among the characteristics of Satire discourse in poetry.

Irony or double speaking is one of the artistic-literary techniques that, in literature, is equivalent to terms such as sarcasm, praise, contradiction, etc. In the present study, an attempt is made to examine and compare the different aspects of this literary industry in Saadi's Gulistan and Ubayd Zakani’s Akhlaq al-ashraf. In this study, firstly, a descriptive-analytical method is used to look at the political-social situation of the era of both authors; then, the analysis and comparison of ironic types in both books are discussed along with examples. According to the findings of this research, the most types of irony used in Golestan, considering the prevailing conditions of the society as well as the political and social suffocation of that time, which created the shade of humor and veiling of words in the context of the text of the book, are structural, situational, fateful, and verbal. Also, in Akhlaq al-ashraf, the most frequently-used type is rhetorical irony, and there is no special case of structural, radical, fateful, dramatic, and romantic types.

The word ‘humor’ in Persian literature has different meanings. In the contemporary period, it is used as a ‘literary term’ with a difference in definition compared to the joke. The purpose of the present study is to investigate the meanings of humor in specialized sources, cultures, and related books in contemporary literature in order to find a rather comprehensive definition. The two research questions posed in the study are: what meaning or meanings are meant by the term humor? Is it possible to consider a clear and unique definition of humor in contemporary Persian literature and what text is an example of humor? The findings of this research show that the different meanings found by ‘humor’ are related and overlapping making it very difficult to find a clear definition for the term ‘humor’ or a single use for it.