One of the main themes and topics of children and teenagers’ poetry in our country is God. Since audience of such poems enjoys lesser mental faculties and experiences to comprehend abstract concepts so various tools should be made objective and tangible in such implications for them. The existing characteristics, vocatives, bounties and prayers in nursery rhyme indicate that nursery poets have adopted nature as a tool for depiction and characterization of God for children and teens. Sky with its belongings, rain, cloud, star, sun and moon as well as earth with mount, plane, sea and the existing flowers and plants and group of animals and often livestock, especially birds and in particular butterfly, nightingale and pigeon are the main core of those images, which were portrayed by nursery poets. God is present in most detailed natural phenomena in nursery rhyme and it is interwoven with all segments and elements. God has been observed in nursery rhyme by pantheist view that is the bequest of mysticism.

The season of autumn and all of its elements and phenomenon is one of the vital subjects of nursery rhyme. In this article, the child poets approach and their inspiration in observing the visual attractions, natural and biological capabilities of autumn are pointed out; also the way of using the symbols and legends of autumn is discussed and explained. The results of the research show that some of the autumnal themed poetry that were created in the field of children’s poetry, were affective in creating an emotional-artistic connection; also at introducing the reader to the changes that are happening to the outside world with the arrival of the season. Based on the referred samples of the autumnal poems of nursery rhyme, can be broken down in four different approach categories: the classic, the cognitive, the pictorail and the general approach; and each one of these approaches have their own specific and special natures. The result of the ideology is the general and expressive style that the child poets are benefiting from it.

The fundamental tools of literary assessment and aesthetics must be sought in rhetorical studies. Although these studies do not engage in the critique and evaluation of literary works in practice, and only suffice to define, identify, cite evidence, and express theoretical opinions, they still provide means for better and more accurate evaluation of literary works. As a rhetorical device, the interlocking or chain rhyme which is called Tasalsol in Persian poetry, can be observed in both verbal and conceptual continuity of verses. It is one of the techniques mentioned in rhetorical books and treatises in certain periods of Persian poetry, yet it does not stand out in modern rhetorical books. Persian chain rhyme scope links it to some other devices and genres. For example, one type of conceptual interlocking rhyme is Tasalsol Mowqouf, which is related to the use of the technique in run-on lines and enjambment. Another type of verbal chain rhyme is mostly observed in Qasida, a Persian subgenre similar to ode, and has been referred to as chain ode in the existing scholarship. This latter type closely resembles the Persian literary device, Taqsim which is somehow a sequence of parallel attribution, referred to as serial Taqsim in some ancient sources. Moreover, this type of Taqsim overlaps with some other Persian devices such as Rad ol-Ajz ala al Sadr and Rad ol-Sadr ala al Ajz, Tashabah ol-Atraf, Tekrar or Mokarar. In this article, we will delve into the examination of this device and its examples.

The art of commposing the two - rhyme poems in 20th century was one of artistic techniques of old Persian poems. Unfortunately it had been forgotten in the previous centuries, therefore I started composing it in order to preserve this difficult and fine techinque in persian language and culture from several years ago, so that this marvelous art to be reserved in Persian culture

In this article the writer discusses the following issues: position of rhyme in classical Persian poetry, acoustic aspects of rhyme and its effects on the line and the general atmosphere of the poem, the comparative aspects of rhyme with musical elements. The writer also presents a brief survey of the history of rhyme in Iran and the reason justifying and necessitating it by providing examples from Hafiz's sonnets.

This article deals with the question of rhyme palilology in Hafiz poetry and the reasons giving rise to this phenomenon. While rhyme palilology has a fairly high frequency in Hafiz poetry, it rarely occurs in the poetry of previous poets or even the poetry of Hafiz contemporaries. In spite of the fact that palilology of rhyme was generally considered a fault in a poem in the period before the pre-Hindi style, it occurs frequently in the Hindi style, specially in the works of Saeb. And since many characteristics of Hindi style can be traced in Hafiz poetry, rhyme palilology can be attributed to Hafiz, specially because of the high frequency of the phenomenon in his work. The main reason why Hafiz used this technique was his change of opinion about rhyme. In fact, it may be claimed that Hafiz aesthetics of rhyme is to some extent different from that of other poets.

This Essay, in addition to Literary masters' descriptions of rhyme and its literary, artistic, and  musical value in Persian poetry, emphasizes that rhyme, as a part of poet’s vocabulary and a word taken from criterion language, has its stylistic role as well. The stylistic distinction of a poet is shown by his/her unconscious choice of harmonious and rhythmic words as rhyme. This stylistic distinction is partly related to the stylistic characters of a poet as well as his period style. This can, in turn, lead to the prominence of his/her poetry. Since there isn’t any attention to rhyme stylistics in the researches of contemporary literary masters, in this essay, samples of rhyme stylistic function in different periods have been represented for masters’ attention.

IntroductionThe rhythm, which means the repetition of elements, is one of the principles in all arts: music, dance, poetry, and theatre. In poetry, the repetition of words, sounds, and phrases creates rhythm. Perhaps an example can clarify the concept of rhythm. If a person's footprint on the beach's sand is an example of rhythm, the places where he puts his foot on the sand and digs it is called a beat (or motif); And the distance between beats is called space. That is, we can consider rhythm a set of beats that are separated by spaces. Based on the differences between the beats of a chain or the differences between the spaces of a chain, we can classify the rhythms. In this article, we show that although rhythm is important, experts have not paid much attention to it. At first, we try to provide a more accurate definition of it; and we introduce its subcategories with the definition and example. Then we remind that in fact, the rhythm of poetry is one of the examples of rhythm; As well as one of the physical characteristics of the language.language can be divided into two semantic and physical layers from one perspective. The semantic layer consists of meanings and concepts. This layer is not an objective layer and its elements cannot be touched, seen, or heard. The physical layer consists of elements such as words or rhythms and rhymes. This layer is objective and tangible. In fact, in linguistic communication, the physical layer is transmitted and activates the semantic layer in the mind of the audience.  MethodologyIn the present study, we intend to achieve the most effective style of translation of poetry from French into Persian. For this reason, we have compared the opinions of various experts on the role of the physical layer of language in the translation of poetry; in addition, we have compared different styles of translation of poetry into Persian; we have also compared the types of rhythms and rhymes in Farsi.  DiscussionIn our opinion, the physical layer of language is highly used in literature, especially in poetry. Our issue is whether translators can translate the physical layer. Do we need to translate this layer? If the answer is yes, how should we do this? This paper attempts to answer these questions. Of course, our focus is on the rhythm and the rhyme, and we examine the «translation into Persian», not the «translation from Persian».We want to answer this question, which in the translation of poetry from European languages into Persian, considering the differences between them and Persian, a translator, what physical facilities can use. We know that rhythm and rhyme are a poem's most important physical elements, and we want to know what they do in the translation process. Our effort is to explain to the reader using a set of evidence, some of the ambiguous concepts.Based on the relationship that may form between the source poetry and the destination poetry, we can expect a variety of approaches to translating poetry. However, if we want to make a general classification, we can separate the three main approaches (Vide: Boase-Beier, 2009: 194): Prose rendering. In this approach, semantic characteristics are recreated, and poetic characteristics such as rhythm and rhyme are eliminated. Such an approach can only convey the concepts and imagery to the translation audience. Adaptation. In this approach, the most important semantic characteristics and sometimes even the most important poetic characteristics are eliminated, to increase the impact of the poem created in the destination language. Translators who use this approach sometimes claim that the work they created must be evaluated as independent work. Recreative. In this approach, the semantic and poetic characteristics of the original poem are recreated using the destination language facilities. The purpose of the translation that chooses this approach is to achieve a relative resemblance between the poetry of origin and its translation.In this article, our focus is on the recreative approach. It should be noted that the methods of taking any approach could be changed. That is, in different ways, one can follow a specific path. Based on the relationship that may form between the origin rhythm and the destination rhythm, we can expect a variety of approaches. Overall, three approaches can be used to translate poetry rhythm (Vide: Holmes, 1988: 25-27): Mimetic. In this approach, the origin rhythm structure is recreated in the destination language; Of course, there is no guarantee for the result. Hexameters, for example, are natural for French speakers, while for English speakers who are accustomed to Pentameters, such a rhythm is heavy. Analogical. In this approach, a structure is used in the destination language, which has a similar effect to the origin rhythm structure. For example, in translation from France to English, pentameters are used instead of Hexameters. Organic. In this approach, the translator uses a rhythm that he thinks is more appropriate. That is, there is no relationship between the destination rhythm and the origin rhythm.We believe that the nature of the rhythm of poetry is not well known. Therefore, our first attempt is to study it. We have hypotheses that show how it works. The basics of the rhythm of poetry are different in different languages; we refer to them. Meanwhile, we explain different opinions and try to choose among them, the idea that seems more appropriate. We will talk about all kinds of rhythms and rhymes; and of course, in Persian poetry, rhyme and fixed-rhyme [: radif] are interrelated. When we talk about rhythm and rhyme, we also have to talk about modern formats and rhythms. We try to ignore semantic issues; in no way, we will not enter issues like imagination; we only deal with language physics. Then we introduce a kind of developed rhyme called super-rhyme, and we give examples to show its performance. Super-rhyme is objectively like a classical rhyme-in-prose [: saj?]. In the end, we examine three translations of a French poem.  ConclusionFinally, we conclude that because the formats of classical Persian poetry and the vocabulary and concepts that form it are limited and unchanged, this genre cannot be a suitable container for the content of a poem from another culture. On the other hand, since the new vocabulary does not fit in the classic rhythm, the freshness of the source poem will be hurt. Therefore, to achieve the best result, it is better to use non-metric rhythm and super-rhyme; Classic formats generally restrict translation; so if they need to be used, we can simulate them; That is, we can create a quasi-classic format with non-metric rhythm and super-rhyme. In other words, non-metric rhythm and super-rhyme can greatly increase the quality of a translation. Every translated poem has two identities. An identity that is dependent on the source poem, and by comparing the translation with it, we can evaluate that identity, and an identity that is independent of the source poetry, and by comparing the translation with the poems in the target language, we can evaluate that identity; so a successful translation is a translation that has two acceptable identities. In the article, we have introduced a new style in translation, which consists of a kind of rhythmic prose and a kind of developed rhyme and maximizes the impact of a translated poem without weakening its semantic aspect..

By review on rhyme knowledge and based on those subjects which are incorporate in rhetoric and verse critique books, one may already find the importance of rhyme and its effectiveness in Persian poetry. Despite of all advantages of rhyme, sometimes there are some limitations in verse and thus poets prefer to sacrifice the meaning for the sake of rhyme. In fact, such passive reaction against restrictions is due to poet’s weakness so that artist poet never sacrifices pure concepts for lexicon and rhyme in such pitfalls. Amidst, Molavi is the greatest poet that such barriers and limitations never compel him to sacrifice meaning for the sake of lexicon and rhyme; but inversely, subconscious intuitive ingenuity of his mind along with bold iconoclasm may raise tumult in rhymed lexicons, which will make any reader or hearer astonished. Author of the present article intends to study on scheme of Molavi’s artistic innovations and normphobic strategies as the place of rhyme in the honored book of Spiritual Couplets.

This article is going to analyses rhyme in Nimaic Poems by Shafii kadkani. Therefore, Nimaic poems is extracted from the first two hundreds pages of The book Second Millenniumof the gazelle (Hazareh-ye-Dovom-e-Ahou-ye-Kouhi) including "Elegies on Kashmars Cypres" (Marthieha-ye-Sarv-e- Kashmar) "a line on Dejection" (Khati- Ze- Deltangi) and a part of "A Sonnet for the Sunflower" (Ghazal- Baraie- Gol-e- Aftabgardan) and are discussed based on various rhyme schemes.Shafii Kadkani is aware of the miraculous power of rhyme and exploits different possibilities of rhyme for creation of devise music, link between utterances and etc. rhyme in his poems can be studied variously. This article is based on analysis of internal rhymes, double rhymes, mixed rhymes and etc. The major element in the aesthetic analysis of his poetry is applicable to those rhymes in which he has innovation and creates parallel rhymes, balanced rhymes, etc. The result is indicates that he is more inclined to use balanced rhymes.