Concise Techniques in the Translation of Saadi's Love Tarji~band Based on the Principle of Minimal Effort in Language

Ojaghi, Sajjad; Mohammadi, Ali

doi:10.22091/jls.2026.15080.1775

Concise Techniques in the Translation of Saadi's Love Tarji~band Based on the Principle of Minimal Effort in Language

Document Type : Grammatical-rhetorical

Authors

Sajjad Ojaghi ¹
Ali Mohammadi ²

¹ PhD student in Persian Language and Literature, Bu-Ali Sina University, Hamedan, Iran

² Department of Persian Language and Literature, Faculty of Humanities, Bu-Ali Sina University, Hamedan, Iran.

10.22091/jls.2026.15080.1775

Abstract

One of Saadi's most famous works is the romantic Tarji~band, which has repeatedly attracted the attention of literary scholars and researchers in this field in recent years. The specific features of meter, rhyme, and form have paved the way for various forms of familiarity and non-normativity in this work, and in this regard, the arrangement of brevity has played a very important role. The principle of sparsity in language is a general rule that refers to the balance and relationship between meaning and the effort expended to convey it, and is observed in all areas of language; however, brevity and sparsity in the field of literature go beyond economy and also contribute to the rhetoric and increase the artistic function of the text. This study examines the various types of brevity and sparsity in Saadi's Tarji~band and attempts to shed light on some aspects of the poet's art in this field. Brevity in Saadi's poetry is not only a common process in language, but also a lever for highlighting, emphasizing, de-familiarizing, and increasing the conveyance of the message. Rhetoric books have divided brevity into two types: omission and abridgement, and we more or less follow the same pattern. Our studies, which were conducted using quantitative and qualitative methods and based on the analysis and explanation of sentences in terms of grammar and rhetoric, show that the frequency of omission brevity in this work is higher than that of abridgement, and the number and type of omitted elements of the sentence in this poem differs from other famous Persian literary works due to Saadi's specific pattern of expression.

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