Treasury of Persian Language and Literature

Children’s and adolescents’ poetry, as a branch of lyrical literature, plays a significant role in nurturing language skills, imagination, and emotions among young audiences. One of the fundamental elements in attracting child readers is the use of internal music within the structure of the poem—a musicality created through techniques such as repetition, pun (jinas), alliteration, and paranomasia (i'nat).This study aims to examine the role of internal music in the folk poems of children and adolescents and to analyze the aesthetic techniques employed. The research method is descriptive-analytical, based on a textual analysis of selected works by contemporary poets specializing in children’s and adolescents’ literature. Data were collected through purposive sampling and analyzed with a focus on phonetic elements and rhetorical devices.The findings reveal that free repetition and phonetic repetition occur most frequently in the poems analyzed and play a significant role in creating rhythm, musicality, and reinforcing concepts in the minds of young readers. Furthermore, the extensive use of pun and alliteration fosters linguistic playfulness, enhances auditory appeal, and stimulates children's creativity. Paranomasia has also been widely utilized as a method for enhancing the resonance and fluency of the poems.The results of this research indicate that internal music not only contributes to the aesthetic enhancement of children’s poetry but also serves as an effective factor in strengthening language skills, facilitating the learning process, and fostering emotional engagement with the audience. These findings emphasize the necessity for children's poets to consciously incorporate musical techniques in their compositions.

The national epic of Iran, the Shahnameh, is the most monumental and identity-defining work for the people of Iran from ancient times to the present, holding a particularly significant place in the field of mythological studies. What renders the Shahnameh enduring and immortal—more than any other major mythological work—is that traces of myth can be found throughout all of its narratives, including the historical section. This claim is substantiated by the observable presence of mythological elements across various events in the historical accounts of the Shahnameh. The aim of this study is to explore the mythological traces and the marvelous, extraordinary occurrences found in the historical part of the Shahnameh by examining selected stories from this section. The significance of Ferdowsi’s method of engaging with historical events becomes more apparent when we recognize that the sub-narratives concerning the lives and reigns of historical figures in the third part of the Shahnameh are, in some cases, presented as hyperrealities rather than pure historical facts. This study, which employs a descriptive-analytical method based on library data and document analysis, will demonstrate that the Master of Tus, particularly in recounting sub-narratives in the historical section of the Shahnameh, significantly employed mythological approaches in the narration of historical events.

Image is one of the most important literary tools for conveying concepts. What makes poetic images more effective is poetic imagination. The word image is equivalent to image, which arose from the thoughts of the Imagism literary school, which was founded in the early 20th century in England by a group led by Hume based on the theories of the famous French philosopher Bergson. Poets look at the world with awareness and use the images they see in their surroundings to embody abstract and mental categories. In this way, they try to convey their mental products to the audience and draw them into their mental space, and through this, generalize their beliefs.
Similar images can be seen in Hadiqa and Masnavi, which differ from each other in various aspects of imagery. Given these differences, the degree of their impact on the audience changes. In this study, which was conducted in a descriptive-analytical manner, the images in similar tales such as Hadiqa and Masnavi were extracted and analyzed in terms of their impact on the audience. Finally, it was determined that what caused the difference in the impact of these images on the audience were elements such as objectivity, embodiment, dynamism, imagination, positivity, communication, artistic effects, describability, and beauty.

This study analyzes the social relationships and associations of the characters in Saadi's Golestan from the perspective of Edwin Sutherland's differential association theory. Differential association theory emphasizes that social behaviors, especially deviant ones, are formed through interactions and learning from peers. The aim of the study is to examine the impact of the social environment and human relationships on the behavior of the characters and to present models for the social prevention of crime. Using the content analysis method, this study has examined Saadi's Golestan anecdotes from the perspective of criminology and the impact of social relationships on the behavior of the characters. The results of the study show that positive social environments and associations guide the characters towards moral and social behaviors, while corrupt environments lead to deviant behaviors. These findings emphasize that Saadi's teachings can be effective in preventing crime and promoting positive social relationships in today's society. Analysis of the anecdotes shows that Saadi paid particular attention to the determining role of the environment and companions in shaping the personality and behavior of individuals.

Art, including literature, constitutes an indirect and artistic mode of expression, and poets and writers employ various devices to achieve this objective—one such device being kināyah (metaphorical allusion). Kināyah, while inherently indirect and artistic, is also one of the most prominent techniques for aesthetic enhancement in language, and it is born and nurtured within the cultural and customary context of the society in which it emerges. One of the distinctive features of Kamal Khujandi’s ghazals is that, within the mirror of his verse, occasional reflections of folk literature and beliefs—such as proverbs, allusions, idiomatic expressions, and collective cultural assumptions—are manifest. He has effectively utilized such elements to articulate his poetic thoughts. This characteristic contributes to the vividness and chromatic diversity of his poetry. One of the primary literary tools employed by Kamal Khujandi is kināyah. The present study investigates metaphorical allusions and their role in the aestheticization of language within the Divan of Kamal Khujandi. Conducted as a theoretical study using a library-based research method, the investigation explores kināyāt (plural of kināyah) in Kamal Khujandi’s Divan with the aim of demonstrating the significance of allusions and their role in beautifying language in the context of the Iraqi style of Persian poetry. The study applies both analytical and descriptive methodologies. It was observed that a significant number of the kināyāt employed by the poet involve the use of human body parts in their structure. Furthermore, in employing kināyāt in his poetry, the poet has paid close attention to rhetorical figures, with ihām (pun), tanāsob (semantic harmony), takrār (repetition), and jinās (paronomasia) being the most salient. Additionally, in some of his metaphorical allusions, the poet has utilized elements traditionally associated with tashbīh (simile). Therefore, it can be concluded that Kamal Khujandi was deeply aware of the role of metaphorical allusion in the creation of aesthetic beauty and made effective use of this literary device to express his thoughts, emotions, and poetic sentiments. His deliberate integration of metaphorical phrases with similes and other literary techniques reflects his mastery and artistic sophistication.

National epics are expressions of the beliefs, culture, and ancient customs of a people, created based on myths and rituals. Ferdowsi is a poet who both "creates and composes epics," and epic poetry is defined as a genre that evokes the spirit of zeal, bravery, intensity, and resistance—whether its theme is inherently epic or centered on the story of a hero. Shiite epic upbringing, grounded in ancient culture and religious tradition, serves as a pathway to opening new horizons in social function and decisive historical arenas—an endeavor whose necessity is increasingly felt. The present study aims to examine the commonalities between national epic and religious epic. Using a descriptive-analytical method and relying on library research, this study seeks to analyze the epics of Rostam in the Shahnameh by referring to the foundations and teachings of the Qur'an. The findings of this study indicate that although the foundations of national epic align with those of Islamic education, there are aspects within the national epic that diverge from Islamic educational paradigms. These distinctions are explored in the current research.

The function of the time element in the scope of fiction has always been represented from various perspectives and dimensions. In fact, it is impossible to tell or write a story without the constraints of time. According to Genette's theory, when events are not narrated as they occur and in their place, the sequence of events in the story is disrupted in the narrative. Events that recount future events and events that recount past events are called (retrospection).
Research Objectives: The aim of the present study is to analyze the short and long narratives of the Masnavi with Genette's theory, which is one of the most recent theories about the elements of point of view and time in narrative.
Research Method: The present study has been studied using a descriptive-analytical method.
Research Findings: It indicates that: How does Rumi in the spiritual Masnavi, in processing stories with the utmost beauty and skill, fully enjoy the literary-narrative capacities of the element of time and point of view, which has made his work immortal in the minds. The narrative in the Masnavi does not flow linearly, because it has many breaks that arise due to various factors in the narrative.
Research result: In order to return from these breaks to continue the narrative, Rumi uses unique methods to place the heard narrative back in the flow and space of the interrupted narrative. The return formulas in the Masnavi are not only used when the narrator escapes the danger of the main narrative due to interpretive breaks and then intends to return, but are also used in the narrator's explanations about the space or characters of the main story itself.

Love for the homeland, patriotism, and nationalism have long served as instruments in the hands of numerous thinkers and intellectuals to evoke deep emotions and awaken the people’s consciousness in the struggle against despotism, arrogance, and colonialism. Among such ideologies, nationalist discourse stands out as one of the influential intellectual movements within the political sphere and modern political history of Iran. This school of thought has offered new interpretations and orientations to the idea of freedom—an aspiration that Iranians have pursued since the Constitutional Revolution—by associating it with liberation from the yoke of global colonialism and imperialism, the fight against poverty, and other such ideals. Examining the impact of nationalist discourse on the Iranian conception of freedom—which itself functioned as an ideology guiding the quest for liberty—is of particular importance. Given the complexity of examining all aspects of this phenomenon, this article specifically investigates the representation of the idea of freedom in the literary works of two nationalist poets as a means of discerning the broader effects of nationalist discourse. The influence of nationalism on Iranian political literature is evident through its impact on both the writer and the reader. This study aims to analyze nationalism in the poetry of Mehdi Akhavan Sales and Hamid Mosaddegh using the discourse analysis method developed by Laclau and Mouffe (1985). "Homeland" and "Iran" emerge as central signifiers, while "anti-despotism" and "freedom-seeking" function as floating signifiers. Additionally, both poets' works show a significant engagement with mythological themes. The Iranian individual is portrayed as a political subject.