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In this article Shamlou’s poem “The Last Word” and its literary factors, which advance the discursive objectives of the poem are discussed. For this purpose, first, in microstructure all the sentences are studied, listed and categorized in ten groups according to Farshidvard’s model for mode of sentences. Then in macrostructure the discursive factors of the poem are studied according to Haliday and Hassan’s sample to provide us with an exact cohesive structure of the text to fulfill the discursive objectives. The results of the micro as well as macrostructure analysis of the poem are reflected in statistical tables, an abstract of which is included in this article. Moreover, the literary factors used to produce satire are also analyzed as discursive factors. The article shows that the poem has been designed on the basis of discursive opposition. Using discursive and literary factors, especially factors of satire, the poem supports the position of the poetics of the modernists and rejects that of the traditionalists, without observing the principals and logic of discourse.

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Irony is one of the important and at the same time complex terms in rhetoric, philosophy and literary criticism that Persian texts have employed its potentialities under various headings such as satire, asterism, etc. In the meantime, one of the rhetorical basesofMasnavi isMawlawi's artistic and skillful use of humor and its various types. Mawlawi's specific skill in recognizing his  audience  and his dedication to explicate grand concepts of religion, mysticism and morality led him tochoosehumor as an indirect way of expression because of its high functionality, and great power to attract and persuade the audience.This paves the way for different types of irony to appear in the entire Masnavi, especially in its Fifth Book. Among different types of ironythat are present in Masnaviare verbal, situational and dramatic ironies. In this article, which is library-based and is done through descriptive-analytic method, the authors will investigate different modes of irony in Mawlawi’sMasnavi. It concludes that because of Masnavi’s allegorical and diegetic character, dramatic irony has a special standing in Masnavi.

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One of the basic characteristics of satire is its humour. When dealing with supreme subjects like death, Satire sometimes movesaway from its basic characteristics such as comicality, candor and accessibility and becomes less relieving and more bitter and sad. When satire deals with death, which is always mysterious and tragic for humans, it fails to provide any absolute relief;instead it brings about short term forgetfulness in the audience through diverting their attention, and givesthem a temporary sense ofbliss. This article identifies satire of death as a complex genre and analyzes its different aspects in samplepoems by Shams Langaroudi. We will see that Shams uses different methods of satire of death to deal with this phenomenon and its related concepts such as thanatophobia. The article reveals that satire of death in poems of Shams reflects human's fear and apprehension about certainty of death and emphasizes the physical and bodily dimension of human being in the natural world.

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At some historical points, all classes and professions of a society, despite all the differences and disagreements, flow into one single stream to reach a higher goal. Iranians have had this historical experience many times throughout history: during the Constitutional Revolution (1905-1911), and also in the Islamic Revolution in 1979. In the Constitutional Revolution, all classes and professions of the society sought a higher goal that was the eradication of despotism and the establishment of the reign of law. In this Revolution, Persian literature, including poetry and prose, was at the service of the Revolution and satire became the revolutionaries’ main media. Literature of this era became so thoroughly mixed with politics that we can consider the great literati of this period as the great makers of the history of Iran. In this article, we have tried to explore and prove their importance.

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There are hypotheses in the history of human culture and civilization in which we can find undeniable similarities and commonalities among them, despite their vastly different cultural and historical contexts. For example, finding commonalities between the language of two artistic aesthetic hypotheses, Sufism and Surrealism, which are very different from each other in terms of context, time as well as cultural and historical emergence, is so difficult. Our main issue in this paper is that there are undeniable similarities between these two hypotheses. This is done by means of a descriptive analytical method and comparative literature approach, particularly in American mode of it, whose aim is to study literature across the borders of given territory and research about the relation among literatures and any other epistemic areas such as art, history and philosophy. We found several common aspects between the languages of these two movements. For example, they use rebelliousness and innovative imagination, symbolism, dream, subconscious mind, love, satire, automatic writing, and madness. They also both guide humans to what is superior and profound.