مجله فنون ادبی
سال شانزدهم شماره 3 (پیاپی 48، پاییز 1403)

Samad Behrangi (1939-1968) was a pioneering figure in children's and adolescent literature. During his teaching career, he not only leveraged his mastery of teaching methods and learning styles, but also created a new type of popular stories. These stories used the generative element of repetition to convey revolutionary ideas in the form of allegory. This technique was consciously employed to cultivate children's critical thinking and awareness. This article analyzed the use of complete repetitions, spaced echoes, and incomplete echoes throughout Behrangi's stories using statistical methods. The high frequency of 777 instances across 260 types in 17 stories suggested that repetition was a core stylistic component of his writing. Beyond its aesthetic function in conveying the author's ideas, this repetitive narrative patterning also had a significant impact on the development of the reader's personality. Identifying the details and dynamics of this constructive and effective narrative element can open new avenues for young writers seeking to advance Iranian children's literature. It also presents opportunities for researchers to deepen their analyses of works in this field. Additionally, mastering the structural components of such stories can prove highly effective in teaching Persian to non-Persian speakers or Iranian bilingual students in the early years of elementary school, beyond just the role of stories as educational tools.

Translating poetry has always been a challenging issue for some reasons. Firstly, it is accompanied by cultural challenges. Secondly, it is considered untranslatable due to its unique qualities. Thirdly, the poet’s style, if not fully captured in translation, becomes a pale substitute for the original. Fourthly, issues related to Artificial Intelligence (AI) also arise. This article tried to analyze some of these issues in the light of the Persian translations of the literary techniques of Shakespeare's Sonnet 62 in a qualitative-explanatory way and with the help of human and machine intelligence tools. The main goal was to pay attention to the upcoming challenges in the translation of literary techniques. Farzad provided a fluent translation, Moghadam provided a relatively free translation, Shafa provided a translation faithful to the content, and Tabibzadeh provided an accurate and accepted translation of the sonnet. Among the AI tools, Google Translate provided a literal translation close to the original text, Telegram Bot provided a more complete and fluent translation, and OpenAI GPT provided a more accurate and human-like translation of the sonnet. It seemed that literary translation, especially poetry, required human intelligence creativity in order to bring its "alternative" presence closer to the "original".

The ironic combination of "Derafshi shodan/kardan" in the meaning of "to be infamous" was used for the first time in Ferdowsi's Shahnameh, and it has no history in other poetry and prose works before that. The questions that arise when encountering this combination are: what connection exists between the words of the combination (true meaning) and its ironic meaning? In the creation of this ironic combination, what interpretation and idea did Ferdowsi have of the Derafsh, and how did he perceive its presence on the battlefields, which caused him to bring out the ironic concept of "infamy" from it? The findings of this study indicate that the use of "spear" in a special way on the battlefield, to perform martial arts, was the origin of the creation of this ironic combination. The words of this combination convey correctly not only the true meaning of irony, which means getting into the shape and form of the flag but also its ironic meaning, which means being infamous. To create this ironic combination, Ferdowsi recreated the real world of the epic in his mind and language, expressed the image he perceived from the epic, and narrated it with the most suitable words for the audience in a comprehensible way.

The major part of the History of Jahangosha is about the Mongols and their wars, conquests, destructions, killings, and looting in Iran, which was written by Joveyni in beautiful technical prose. Joveyni was not just a narrator, but with the power of his pen, he depicted events and scenes for the reader like a powerful painter. In this study, based on library research and using a descriptive-analytical method, Joveyni’s depiction of the violence and killing of Mongols in the History of Jahangosha has been investigated. The purpose of the study is to show the artistic methods of Joveyni in depicting and accurately and effectively conveying the crimes of bloodthirsty Mongols. The findings of the research show that Joveyni presented accurate descriptions and images of the characteristics of the Mongol army, murders, looting, and destruction caused by the devastating attacks of the Mongols with the appropriate and accurate use of imagery, simile, irony, and metaphor, respectively. The images of the History of Jahangosha are generally alive and dynamic. The harmony of images and fantasy elements with the theme and content of the work is well respected. The use of specific and related words is another technique used to depict the violence of the Mongols.

Abu al-Qasim Lahuti is one of the innovative poets in contemporary Persian literature. However, so far, his innovations have not been studied in detail. Lahuti views the alteration of the rhyming scheme as the prominent enabler of innovation in poetry. Some have attributed the origin of this rhyming style to the Western poetry. Yet, others believe that it has a Turkish origin. In view of the fact that Lahuti had some connections with the socialist Soviet Union, it can be argued that such innovations in his poetry may have had a Russian origin. Lahuti has mostly relied on "alternate", "enclosed", and "chain" rhyming styles in order to innovate in his poetry. In alternate rhyming, the first verse of each stanza rhymes with the third verse and the second verse rhymes with the fourth verse. In enclosed rhyming, the first verse of each stanza rhymes with the fourth verse and the second verse rhymes with the third verse. In chain rhyming, each stanza has three verses and the arrangement of rhymes is such that in all stanzas, the first and third verses rhyme, and the second verse of each stanza forms a rhyme with the first and third verses of the next stanza. It should, however, be pointed out that he has never limited himself to only one of the three kinds of rhyming schemes and has sometimes combined them in his poetry. Furthermore, he has also sometimes used the Masnavi (rhyming pair) form in the last verse in his poems, just as is the case with the sonnet in Western poetry. Overall, Lahuti’s particular attention to the role of rhyme schemes as grounds for innovation in poetry could be further regarded as a precursor to Nimayi poetry. Of course, Lahuti himself tried to shorten and lengthen not only rhymes but also hemistiches (مصراع, mesrâ’).

The visible and hidden layers of literary compositions can be better understood and highlighted by making comparisons between different literatures. This method makes it clear which literature is superior to the others in terms of perspectives and linguistic power. The philosophical field of aesthetics explores many facets of beauty and can improve the enjoyment of reading literature. Given the importance of the Mashruteh Era, knowing the viewpoints of liturgical poets before and after the Mashruteh Movement is vital. This research uses a comparative-analytical approach to investigate the most notable Ghadiriyyas in Persian poetry spanning from the Qajar era to the early Mashruteh Era and the eighties. This research is an effort to identify the most common components that enhance aesthetics. The findings show that before the Mashruteh Era, literature had considerably improved both in terms of quantity and variety—as well as rhetorical strategies—than subsequently. From a linguistic standpoint, musical repetition is the most often used element. Free repetition, dissonant puns, and assonance repetition were more common before the Mashruteh Era, while the Zoghafiatain was more common in regular repetition. After the Mashruteh Era, assonance repetition and dissonant puns in free repetition, as well as portmanteau in regular repetition, achieved the highest frequency. Allusion became the most popular literary device following the Mashruteh Era, whereas simile was the most common rhetorical method in poetry written before that time. 

Poems composed by Hafez can be considered the most complex and enigmatic ones in the Persian language in terms of the use of artistic, rhetorical, and semantic capacities and functions of language. In this regard, Hafez goes to the point that it would be impossible to comprehend the intellectual world of his speech without reflection and hesitation. Hence, he has intelligently, fluently, and consciously used all the subtleties and capacities of the language to present his thoughts and draw his worldview taking advantage of them all with remarkable dexterity. It is because of the use of these clever linguistic tricks that his poetry has always been the subject of literary studies by scholars from different perspectives. On the other hand, since one of the most important stylistic and artistic features of his poems is the amazing use of amphibology and its different types, especially proportional amphibology, many researchers and poets have tried to examine the different layers of meanings and linguistic mystery of his art by extracting evidence of amphibologies and its various categories in his poetry in order to reveal the wonders of prismatic relations of words in his poetry. The present study has used the methods of description and analysis to examine the idea of ​​new proportional amphibologies in the poetry of Hafez. These proportional amphibologies have not been considered in previous research and studies of the poetry of Hafez.