Background: Several empirical studies have shown the attitude of smokers to formulate judgments based on distortion in the risk perception. This alteration is produced by the activation of the optimistic bias characterized by a set of the unrealistic beliefs compared to the outcomes of their behavior. This bias exposes individuals to adopt lifestyles potentially dangerous for their health, underestimate the risks and overestimate the immediate positive effects.Objectives: This study aimed to analyze the relationship between optimistic bias and smoking habits. In particular, it was hypothesized that smokers develop optimistic illusions, able to facilitate the adoption and the maintenance over time of the unhealthy lifestyles, such as cigarette smoking, and the former smokers could acquire a belief system centered on own responsibility.Patients and Methods: The samples (n=633, female=345, male=288) composed of smokers (35.7%), ex-smokers (32.2%) and nonsmokers (32.1%). Each participant filled out two questionnaires including The Fagerström test and the motivational questionnaire as well as a set of items measured on a Likert scales to evaluate health beliefs.Results: The results confirmed the presence of the optimistic bias in comparative judgments, and the attitude to overestimate the effectiveness of their preventive behaviors in the smokers.Conclusions: Cognitive bias in risk perception may influence health behaviors in negative way and reinforce cigarette smoking over the time. Future research should be conducted to identify the better strategies to overtake this cognitive bias to improve the quitting rate.

Lyric is one of the most extensive literary genres. This field is the extended Persian lyric poetry and the continuation of iambic verse. Associating narrative with poetry and presenting it in the form of couplet poem and creating masterpieces such as Nezami's Khamseh and Vis and Ramin made this field flourish.Bahram and Golandam is one of the lyrics that a poet named Aminoddin Mohammad with the pen name Safi from Sabzevar has recited in ninth and tenth centuries. The verse has been attributed to Shamsoddin Katebi Neyshaboori in some sources. In this article, the relation is rejected and after the account of the narrative, the verses and the person that has recited it are introduced. We also consider briefly its narrative motifs.The objective of this article is to introduce one of the famous verses in the opinion of people so that the readers may understand its stylistic and linguistic values and also its plots.

Allegory is a comprehensive notion in rhetoric and is mainly reflected in didactic literacy framework to raise consciousness about ethical, social, and political notions. Fable, as one of the most well- known types of allegory, is a story about animals in which each of those animals are indicative of a particular part of the society and have special behavioral and moral characteristics which help the writer characterizing the story and reaching his goals. Fable is one of the most widely-used concepts in the poems of Ahmad Matar, a critical poet of Arab world. The poet has been successful in transferring his political and social opinions through use of such fables skillfully. He has played a crucial role in awakening the public awareness. This study thoroughly analyzes the symbols and characters of his stories and investigates their social and political implications. Then, artistic aspects of the stories and its numerous approaches are discussed. It is shown that the poet has depicted the feeling and the attitudes of the main characters well through using this technique. In a narrative approach, the stories are concise and descriptive and dialogue has its own special place. Regarding the artistic aspect, the poet in these stories has benefited from all types of abnormalization, deharmonization, defamiliarization, etc. as well as characterization.

In his Masnavi, Rumi recreated the fable "The Three Fish" from Kalileh and Demneh to convey mystical ideas. This study aims to analyze the semantic metamorphosis of "The Three Fish", Rumi’s techniques in expanding its themes into mystical concepts, and the development of a new structural framework. Through a descriptive-analytical approach, this study examines why Rumi viewed the fable in Kalileh and Demneh as the outer layer of the story, with his own narrative serving as the spiritual core. The findings reveal that Rumi infused his mystical insights drawn from his experiences into the story, relying on Quranic themes, prophetic hadiths, Sufi teachings and proverbs. He employed a specific rhetorical style to interpret the thoughts and actions of the fable's main characters, emphasizing subtle points and symbols. Rumi also introduced mystical dialogues, weaving persuasive messages into narrative events. Using metaphors, allegorical descriptions, and the unique language of mysticism, Rumi expanded the story's motif in order to illustrate spiritual dimensions. Additionally, he crafted his own symbolic representations rooted in wisdom, setting Masnavi apart from Kalileh and Demneh while maintaining a surface resemblance.

Saints and heroes are highly respected as moral ideals because they go beyond the minimum standards of morality and dedicate themselves to serving others. However, it is difficult to justify their unusual and exhausting lifestyle, especially for modern individuals. Susan Wolf is one of the philosophers who recognizes this issue and proposes more appealing ideals that promote happiness, goodness, and meaningfulness in life. She strongly opposes the saintly life, which she believes is unpleasant, one-dimensional, and boring. In this article, we explain Wolf's viewpoint and the arguments of her opponents descriptively and analytically. We will also critique the claims raised while evaluating the moral saint as an admirable ideal for today's life. The conclusion is that the lifestyle of saints may be incomprehensible to modern individuals due to its lack of harmony with the masses, reliance on divine virtues, extreme altruism, and supererogatory acts. However, they reveal new possibilities and capacities for human life as pioneers of morality. They can inspire us to self-actualization, develop our capabilities, and cultivate more virtues.

In the works of Fari-d ud-Di-n Atta-r of Ni-sha-pu-r (1145-46–1221), Persian poet and mystic, there is a kind of narration that we can call "musical fable". It is a moral narration intended to enforce a truth, especially one in which animals or inanimate objects speak and act like human beings. The musical fable has a musical structure, and is useful for expressing mystical thoughts. There are nine musical fables in Ela-hi-Na-meh, and six in Tazkerat al-Awli-ya. The aim of this article is to study the themes of these narrations.

La fable, court récit allégorique, trouve ses origines dans des milliers d’années auparavant. L’Orient, d’après l’opinion générale, a été le berceau de ce genre littéraire. En Europe, avant La Fontaine, il y a eu bien des fabulistes assez connus, dont les oeuvres manquaient souvent d’aspect artistique. Mais le grand fabuliste français, par son talent éblouissant, a su comment agir dans la composition de ses fables, et ceci grâce aux sources gréco-latines et surtout orientales, auxquelles il avait accès. Quant aux fables d’origine orientale, bien qu’il y ait de nombreuses discussions considérables, il ne se trouve pas assez d’études comparatives qu’il le faut. Cet article invite les lecteurs à approfondir leur connaissance sur les sources d’une fable sélectionnée de La Fontaine “La tortue et les deux canards”, en la comparant avec ses adaptations orientales, les plus célèbres. Notre objectif principal consiste à rassembler et à étudier une série de traductions éparses de cette fable avec une approche pédagogique, convenable dans les cours de la littérature comparée. English: Fable, allegoric short story, has its origins for thousands of years. The Orient, according to general opinion, was the birthplace of this genre. In Europe, before La Fontaine, there were many known fabulists, whose works often lacked artistic aspect. But, the great French fabulist, by his dazzling talent, knew how to act in the composition of his fables, thanks to the Greco-Latin and especially oriental sources, to which he had access. As for oriental fables, although there are many considerable discussions, there are not many comparative studies, as there should. This article encourages us to improve our knowledge on the source of a selected fable of La Fontaine “The Tortoise and the two ducks”, by comparing it with its translations in the most famous oriental collections. Our main purpose is to collect and study a series of scattered translations of this fable, to establish a pedagogical approach, suitable in comparative literature courses.

The present paper studied naturalism and fable in the works of Mansour Yaghouti. The present research is a theoretical study that has been done by library-analytical method. The study area and society of Mansour Yaghouti's works include a collection of short stories,"Tanhatar Az Mah", "the stories of Ahoodarreh" and "Toshay Parand-e Gharib-e Zagros", the long story of "Pajoosh" and the novel of "Bonbast". Naturalistic features can be seen in the short stories of the “, Kalaghha”, , “, Goozh”, , “, Quarantine”, , and the long story of the “, Pajoosh”,and “, Bonbast”,novel. Yaghouti's stories mostly have a bitter ending, such as the stories of “, Pajoosh”, , “, Zir-e Pol-e Pay-e Derakht”, , “, Ghaziyeh Shishehay-e Morabba”, , “, Gol Khas”, , “, Kooche”, , “, Ahoo”, , “, Sal-e Korpeh”, , “, Cheraghi Bar Faraz-e Madiyankooh”, , “, Tanhatar Az Mah”, , “, Khandeh”, , “, Kalaghha”, , “, quarantine”, , “, Etesab”, , “, Talkh”, , ”, Ramona”, , “, Gozaresh”, , “, Afei”, , “, Akhar-e Khat”, , “, Guiotine”, , “, Zir-e Aftab”, . The presence of animals in Yaghouti's stories is seen dramatically. The protagonists of some stories are animals, such as “, Asb-e Tamas Khan”,and “, Gol Khas”, , and in some stories, such as “, Gorg”, , “, Roobaha”, , and “, Zanboor-e Dana”, , animals are used symbolically. Mansour Yaghouti is one of the contemporary realist writers whose attention to the bitter and painful realities of society is the main theme of his works. The people of Yaghouti's story are from the poor, addicts, criminals, workers and the lower classes of society who are trapped in a miserable life and there is no escape for them. Yaghouti has also made the presence of animals in her stories extensively

La fable et heykâ yat ayant leurs racines dans la nuit des temps font partie des genres les plus anciens et les plus populaires du monde litté raire. Au dé but du XXe siè cle, la premiè re association iranienne de Litté rature, anjoman-e dâ neš kadeh, à la recherche des sources modernes d’ inspiration poé tique, propose et ré alise quelques traductions de fables franç aises lesquelles ont é té chaleureusement accueillies et promptement inté gré es dans les ouvrages scolaires du pays. Vu la valeur attribué e à la traduction de ce genre de texte dans la socié té iranienne, cette recherche se donne comme but d’ analyser ce qui pourrait distinguer ou approcher ces deux genres d’ apologue l’ un de l’ autre et ce qui donnerait é ventuellement leur confrontation. Ré pondre à ces questions exige une mise en regard des thé ories et des pratiques concernant ces deux cré ations litté raires à la lumiè re d’ une fable franç aise traduite en persan par Mohmmad Taghi Bahar.