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Poetry is beyond ordinary speech due to its implicit language, weight, rhyme and the combination of its constituent elements with poetic feelings, and therefore, its translation is difficult and sometimes impossible. The main concern of the translator of the poem is to explain the special features of the original text as much as possible and to create an effectiveness poetic text in the target language. Since the words and elements of both languages ​​are not exactly the same, there is a loss of meaning in translating the poem, and the translator can compensate this loss in some way. In an analytical-descriptive approach, the present article studies the strategies of meaning loss compensation in translation of Arabic poetry and tries to present the guidelines so that translator can create a text having the same effect on the readers while sustaining the features of Arabic poetry. For this purpose, by examining the opinions of a group of experts in the field of translation about Meaning loss compensation deals with positions of meaning loss and its compensation strategies in translation of Arabic poetry into Persian at the phonetic, lexical, imaginative, stylistic and cultural levels. The present research has been done based on translation samples of some contemporary Arabic poets derived from Shafií Kadkani Arabic contemporary poetry book (2008). The findings showed that in the translation of Arabic contemporary poetry into Persian, meaning loss is occurred at the phonetic, lexical, imaginative, stylistic and cultural levels and by using compensation strategy, translator can sustain the general tone of the main text and use in place- compensation  and Kind- compensation.

1. Introduction
Translation experts believe that poetry translation is considered as difficult and valuable. The content and the form are inseparably intertwined in the poetry. The language of poetry is usually implicit not explicit. Poetry is distinguished by its musical style or rhythm, and this is a basic and unattainable feature the translator is required to translate (Baker and Saldina, 2009; Kashanian translation, 2017, p. 253). Poetry also has imagination and emotion and its purpose is to influence the feelings and emotions of the audience. Then, the constituent elements of poetry and what is presented in the image form are beyond ordinary speech, and this makes the poetry translation difficult, complex and in some cases impossible (Al-Buyeh Langroudi, 2013, p. 14).
In poetry, sounds are effective in conveying the poet's content and feelings. The poet uses his imagination to express his feelings and also pays attention to the implicit meanings of the word and uses a special style and method to express his emotions and feelings that distinguish his poetry from other poems. Poetry also expresses the cultural and linguistic issues to which it is composed. Therefore, in translating the poetry, it is important to pay attention to sounds, words, images, style of poetry and cultural issues. The main concern of the poet translator is to explain the special features of the original text as much as possible and to create a poetic text in the target language that has a similar effect on the readers (Baker and Saldina, 2017, p. 259). The imbalance of different phonetic, lexical, visual, stylistic and cultural levels of the original poem with its translation results in a loss of meaning in translation.
 
2. Questions and Hypotheses
Researchers try to answer these two questions: a) in translating Arabic poetry into Persian, at what levels may a loss of meaning occur? B) In the translation of Arabic poems into Persian, what mechanisms are used to compensate for the loss of meaning at various levels?
It is assumed that in translating Arabic poetry into Persian, there is a loss of meaning at the phonetic, lexical, visual, stylistic and cultural levels, and the translator compensates the meaning using other language tools of the target text or the same language tools elsewhere in the target text.
 
3. Research method
Given that there is a loss of meaning in the translation of literary texts especially poetry and the translator can compensate for it in some way, the positions of meaning loss and its compensation strategies in the translation of contemporary Arabic poetry into Persian have been discussed by examining the opinions of a group of translation experts including Echo, Vienna, Darblane, Hinges, Newmark, etc. about the positions of meaning loss in poetry translation and its compensation mechanisms and providing evidence of the translation of Arabic poems into Persian. Examples are selected from the book of contemporary Arabic poetry by Mohammad Reza Shafiei Kadkani, who is one of the contemporary Iranian critics and poets.
 
4. Results
Studying the opinions of some translation experts about the loss of meaning in translation and its compensation strategies, it was found that in translation and especially the translation of poetry, there is a loss of meaning and the translator can compensate for this loss. Through compensation, what is expressed in one mode in the source language is changed to another mode in the target language so that the target text can have the same effect as the original text on the audience. In translating Arabic poetry into Persian, the difference between the phonetic, lexical, visual and cultural elements of Persian and Arabic and the difference between the style of the poet and the translator can cause meaning loss at the phonetic, lexical, visual, stylistic and cultural levels. The present study offers the following solutions to compensate for this loss:
At the phonetic level, there may be a loss of meaning in the translation of puns, weight and rhyme, phonation and repetition. When the Persian equivalent of pun words in the source language is not related to each other in the target language, the translator can transfer the general tone of Arabic poetry to the Persian text by creating puns in another part of the text or by using other language industries such as phonology. In translating weight and rhyme, given the importance of these two elements in poetry, the translator should try to transfer the effect of weight and rhyme of contemporary Arabic poetry to the Persian text. The difference in words and weights of Arabic and Persian poetry prevents the translator from using the rhyme and weight of the original poem, and to compensate for the loss due to the untranslatability of the weight and rhyme, he can use different sections of the lines in translating the poem. Differences in the vocabulary of two languages ​​may cause the transliteration to be untranslatable, and it is possible for the translator to create a phonogram in another part of the destination text by repeating another letter that has the semantic characteristics of the repeated letter in the source language and to deal with compensation of untranslatability of this linguistic feature. Considering the purpose of repeating a word or phrase in the original poem, the translator can also repeat another word or phrase in the translation that is not in the original text, but the translator creates an effect similar to Arabic poetry on the audience using it.
At the lexical level, the translator can compensate for the loss of meaning in one word and in another word of the target text, which includes the semantic burden of the untranslatable word in the original text.

• Restrictions such as the difference in the weight of the poem and its translation, and the difference in the words of the source and target languages, etc., may prevent the image in the original poem from being transferred in the translation; In this case, the translator can transfer the images intended by the poet in another part of the translation.
• The difference between the style of the poet and the translator causes the words and their arrangement way in the original poem to be different from its translation, and this leads to loss in meaning. Literary re-creation and creation are suggested solutions to compensate for the loss of meaning at the style level.
• Since the audience of the target text is not familiar with the cultural issues of Arabic poetry like the audience of the source text, cultural negligence in translating poetry can be compensated by bringing a cultural equivalent and further explanation and compensational increase at the cultural level.

Therefore, in order to create a dynamic balance between the source text and the target text, translator of Arabic poetry into Persian can compensate for the loss of translation in two general ways:
- Using compensation in type: by using other linguistic tools of the target text, to create the same effect as Arabic poetry on the reader of the translation.
Using compensation in place: Compensate for the intended effect elsewhere in the target destination text, thereby compensating for the limitation of the target language in one part of the text

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The details of the fundamental mechanisms of translation can be analyzed through Semiotics. In his various works, Umberto Eco, one of the semioticians, has studied the symbolic aspects of translation. Umberto Eco's semiotics is based on how the text is combined with the reader's personal and cultural encyclopedia. In Echo's view, text has two levels of expression and content, and in poetry, expression prevails over content. In translation of poetry, the expression essence in the target text tries to be equal to the essence of expression in the source text so that it can affect the audience almost like the source text. The present investigation, using a descriptive-analytical method and a semiotic approach based on Umberto Eco's view, studies the transfer of Adonis's poetic signs at expressive substance level in the Persian translation process .To this purpose, Adonis's three volume book entitled" the past, the place of the present" translated by Amirhossein Allahyari (2019) is examined. At linguistic essence level, words and grammar are studied, and at the level of non-linguistic essence, puns, rhymes and melodies are studied. The result of this research shows that the transfer of the signs of Adonis's poetry in Allahyari translation is more pronounced at the level of non-linguistic essence. In order to convey the signs of Adonis's poetry in translation, after establishing a connection between the various linguistic and non-linguistic essences in the text of the poem, Allahyari negotiates them and uses encyclopedic information to create a text in the target language that affects the audience like Adonis's poetry; In this regard, he has sometimes neglected his allegiance to the essence of language.

1. Introduction
The significance of poetry among the Persian speakers, position of contemporary Arabic poetry in world literature, and the cultural affinity between Iranians and Arab countries' people have resulted in increasing the translation of contemporary Arabic poetry into Persian in the recent years. In order to analyze the translations, various methods can be used. Semiotics is one of these methods that analyzes the transfer of signs from one language to another one. Umberto Eco is also one of the semioticians who have used semiotic approach in his various works to study the translation.
The three-volume collection of Al-Katab: Ams al-Makan Al-aan has special importance  among the works of Adonis a prominent contemporary Arab poet. Amir Hossein Allahyari, who is a lyricist himself and has literal translation published the Persian translation of this poetry collection for the first time in 1396 A.H. and it has been published three times  so far.

2. Questions and Hypotheses
The present study tries to answer these questions: 1. In which levels of expressive substance is the transfer of the signs of Adonis's poem in Al-Hiary translation more evident? 2. In the process of transferring the signs of Adonis's poem into Persian language, what methods did Al-Hiari use? The considered hypotheses are as follows: 1. Transferring the signs of Adonis's poem in Allahiari's translation has a greater expression at the level of non-linguistic essence. 2. In order to convey the signs of Adonis's poem in translation, after establishing a relationship between various linguistic and non-linguistic essences in the poetic text, Ellahiari negotiated them and using encyclopedic information, he created a text in the target language affecting the audience like Adonis's poem. be; In this regard, he has sometimes has abandoned loyalty to the linguistic essence.

3. Research method
The present study seeks to use Umberto Eco's semiotics ,which is based on content and expression, to investigate how the signs of Adonis's poem are transferred at the level of expressive substance in Allahiari translation. Examining the basic concepts in Eco's semiotics, this study has used his opinions in the book entitled " Saying the Approximate Same Thing" to investigate how to transfer the signs of Adonis's poem into Persian language. Since the mentioned book has not been translated into Farsi, the Arabic  translation of it by Ahmad Al-Samai entitled "An Naqul Al-sheé Taqriba" has been used (2012). In this book, Eko uses the opinions of Yilmazlev, Peirce and the encyclopedia model for translation, and based on this, he explains his position about some of the translated works. The data of the research was selected from the three-volume collection Al-Ketab: The Past, the Place Now (2018), which is translated by Al-Katab: Ams Al-Makan Al-Aan Adonis, and as said, Amir Hossein Allahyari translateded it into Persian.

4. Results
Text is a combination of signs and is formed by referring to often context-based and culture-based codes. The manner of combination of text with the encyclopedia of the reader's personal and cultural knowledge forms the core of eco semiotics. From Eco's point of view, the text has two levels of expression and content, and each of these two levels has different essences. In the text of the poem where the expression dominates the content, there are also non-linguistic essences at the level of expression in addition to the linguistic essence. Eco believes that two source and destination texts cannot have the same impact  on their readers. Therefore, the translator negotiates with the text and finally decides to delete some effects of the original text and transfer some to the target text according to the goals of the text. In poetry translation, the essence of expression in the target text tries to be equal to the linguistic and non-linguistic essence of the source text so that it can have almost the same effect on the target audience as the effect of source text on the target audience.
Transferring the signs of Adonis's poem in Allahyari's translation has a greater expression at the level of non-linguistic substance. In order to convey the signs of Adonis's poem, the translator, after communicating between the linguistic and non-linguistic essences in the poetic text, negotiated them and created a text in the target language that would have the same effect as Adonis's poem on the audience; In this regard, he has sometimes abandoned loyalty to the linguistic essence.
At the linguistic essence level, according to the context of Adonis's poem and the cultural and linguistic issues of the source and target texts, the translator has transferred vocabulary and grammatical rules in such a way that the target text has the same effect on the audience as the source text. Sometimes, in order to be faithful to the intentions of the text, after explaining the core content of a word to himself, he negotiated about the obvious violation of the literal meaning of that word and ignored the literal meaning of the word, and sometimes he made mistakes in the translation.
In the translation of non-linguistic essences such as puns, rhymes and beats, Allahyari has tried to transfer the signs from Adonis' poem in such a way that the poetry of the target text does not lack anything from the original text. At the level of puns, he has transferred the melodiousness from the source text to the target text by observing the puns in different sections, in the manner of the original text, and sometimes by negotiating whether to use the literal equivalent of the word or to observe the melodiousness of the text. It has decided to produce a melodious text by ignoring the literal meaning of the words and using Persian equivalent words to impress the audience with the musicality of the text. In addition to creating music in the translation of the poem repetition of some phonemes along with similar words has helped to induce some concepts to the audience of the target text, which are in line with the main goals of the text.
In the examples where, due to the existence of common words between Arabic and Persian, it has been possible to use the rhymes of the original text in the translation, the rhyme of the Adonis poem has been given without any change in the target text. Sometimes, ignoring the content of the source text and the linguistic essence, the translator has sought to consider the non-linguistic essence of the source text as an effective factor and, more than anything else, take the side of rhyme; even if the literal meaning of the source text is lost. The translator has tried to pay attention to the cultural issues of Persian and Arabic language in choosing rhymes.
Since the music of Adonis's poem is not limited to the prosody format and of poetry, but in the connection manner of words and the rhythms of his poetry, it is an amazing music the same as music of poem weight. In the translation of some phrases, Allahyari has failed to respect the dictionary level of the original text in order to preserve the rhythm


 

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Narratology is a new science and the result of the structuralist revolution in the field of fiction, which achieves the various dimensions and hidden meanings of a literary work and increases the power of understanding the text by examining its narrative techniques and structures. One of the most prominent structuralist theorists is Gerard Genette, whose theory in one of the most complete and effective theories of narratology. Genette's theory holds that the structure of literary texts is described and analyzed based on the three components of time, mood, and voice. This paper examines the narrative component and its function in the short stories "Sourat Shakira" by Mahmoud Shoukair and "Asrar al-Duri" by Akram Haniyeh, the contemporary Palestinian writers, using an analytical-descriptive method. The paper aims at showing the usefulness of the narrative study of the short story despite the limitations of the structure and its small volume in reading and analyzing a literary work and penetrating its inner layers.