مجله فنون ادبی
سال دوازدهم شماره 4 (پیاپی 33، زمستان 1399)

The field of the history of literature is the genealogy of the culture of thought. Literary biography (Tadhkirah), as the first generation of the history of Persian literature, reflects the rise and fall of culture, literature, the acceptance of tradition and traditionalism, and the mirror of literary flow that can show the process of evolution and degradation-imitation in the literature. Tadhkirah contributes to the development of literary research, the introduction of literary traditions, indigenous language and literature, and national identity. However, despite the advantages of the Tadhkirah, there are flaws such as superficiality, celibacy, prostration, succinct writing, and chanting that have found their way into a number of Tadhkirahs. The history of literature needs to have a pathological look within itself in order to achieve growth and maturity. Pathology means identifying the negative aspects and purifying Tadhkirah. The pathology of Tadhkirah requires the use of ‘critical thinking’ to avoid illusory traditions and expositors and to acquaint the reader with the situational context of the creation of the text. Critical thinking provides us with the tools for the purposeful, accurate, and scientific evaluation of Tadhkirah.

This descriptive-analytical study was done using the library method.It aimed to use a pathology approach in the field of history and literature in order to show the strengths and weaknesses of such studies inductively.

The most basic tool for recognizing Tadhkirah is through using a critical approach. The pathology of Tadhkirah reveals some shortcomings and inadequacies. Therefore, it is necessary to look critically at the study of tradition, developments, and the decline of imitation to understand why in a historical period literary works were profound while in another period they became weak. Literary criticism mediates between the writer of the literary work and the ordinary reader by presenting the subtleties of literary works to the general public and streamlining the evolution of literary tastes. Criticizing Tadhkirah can identify stylistic, rhetorical, sociological, and psychological aspects in the production of science and knowledge.

Tadhkirahs and histories of literature are a reflection of the culture and thought of a nation, the ups and downs of literature and culture. They can play a role in the analysis and understanding of literary texts. These works can well show the two opposites (evolution versus degeneration-imitation) in the context of the dynamics and statics of forms and themes. Tadhkirahs play a role in the expansion of literary studies, the acquisition of methods and criteria in literary historiography, the explanation of critical discourse and approaches, the cognition of study of literary trends and reflection of historical-literary events, the recognition of literary traditions, national identity and the interpretation of traditions, the description of aesthetic taste and the method of critique of literary predecessors, introducing native literature and ethnic, local and regional languages​. But ambiguity, superficial generalization, haste, ignorance, exaggeration, rhetoric, love and hate, avoidance of firm and justified views have penetrated Tadhkirah. It is necessary to turn to critical thinking and pathology of such research.Using critical thinking in the study and analysis of Tadhkirah could lead to avoiding false imitation, and perverted literary traditions for pragmatism, destiny, passivity, perversion, bigotry, and contention against promotion and improvement, restoring data functions and improving the level of information of in the expansion of historical information in Tadhkirahs literary, attention to  the level of perceptions and expectations in today's readers of the Tadhkirah and the contemporary researchers with the situational context of the creation of the text of the Tadhkirah and the perceptions and expectations of the traditional memoirist, improving the level of depth and value of the reader today than the correct and accurate analysis of the writer of Tadhkirah in recognizing the evolution of the past and encouraging the reader to avoid love and hate, intentions and narrow-mindedness, helping to the typology, classification and periodization of literary trends by combining critical thinking with attitudes towards literary genres and forms, elevation of the level of literary theorizing and accurate and correct analysis of literary texts and mull over ethnic, racial, religious, ideological and political limitations, etc.

One of the basic conditions for understanding the Quran is comprehending the language of the time of revelation. Then, only referring to the interpretations or translations of the Quran, which are based on such an understanding, is acceptable. Accordingly, among the conditions of understanding, interpreting, and translating the Quran, attention should be paid to its syntactic implications. Without having proper knowledge of syntactic implications, the process of understanding, interpretation, and translation may not be completed. Hence, the semantics of the syntactic construction of the Quran and finding their equivalents in various languages, including Persian, are the prerequisites of understanding, interpreting, and translating the Quran. The present study aims at investigating the syntactic semantics of the structure of ‘Aṣbaḥa + the present verb’ in the Holy Quran and its equivalent in Persian. Therefore, the study reviews the verb ‘Aṣbaḥa’ in Arabic as well as the structure of ‘Aṣbaḥa + the present verb’ in Quranic exegeses and translations. Finally, through examining about 150 exegeses and more than 50 translations, this construction is modeled in two positive and negative aspects in Persian. The verb ‘Asbaha’ is one of the semi-mutisarrif verbs. This verb and its similar verbs (adhha, zalla, amsa, and bat) have two functions in Arabic grammar: 1) Tamma (complete): when it means entering one of these five times (morning, noon, during the day, evening or the beginning of the night, and during the night), in this case, it suffices to take the subject and does not need a noun and a predicate; 2) Naqisah (incomplete): when these verbs are incomplete, they have two states (i.e. attribution of the predicate to the subject in one of the five tenses, and attribution of the predicate to the subject without indicating the five tenses). In the second and third cases, these verbs are considered as linking or attributive verbs and are translated as ‘became, made, turned’, with the difference that in the third case, they no longer have the meaning of time. The verb ‘Asbaha’ before the present verb is an auxiliary (definite) verb. This structure is used 3 times in the Holy Quran. In two verses, the present verb, which is the predicate of ‘Asbaha’, are positive and in one verse is negative. Through the grammatical analysis and the study of the interpretive context (combination), the present study proves that when ‘Asbaha’ is used as an auxiliary verb and its predicate is a verbal sentence (fi'liyah) accompanied by a present verb, it is emptied of the concept of time and has only the meaning of becoming (sayrourat). Also, the Quranic applications of this syntactic structure by examining the context of the verses show that ‘Asbaha’ in these cases lacks the meaning of time. There is no indication of the combination of the verses. It concludes that the special event happened in the morning. Most interpretations are silent about the time of occurrence of these verses. Among 150 interpretations, only a few have specified their occurrence in the morning, of which one or two interpretations have suggested the existence or non-concept of time as a probability. By examining the translations of the Holy Quran, in general, the translation of the verb ‘Asbaha’ in these verses may be divided into 4 categories based on their frequency including the concept of time, the concept of becoming, the scattered concepts, and the equivalent. As there is no reason in the interpretations for the existence of the concept of time. It seems that the adverb ‘digar’ (no longer) is an appropriate equilibrium for the verb ‘Asbaha’ in this structure, which indicates the concept of becoming and evolution and is used for both positive and negative aspects.

Describing details and realities, fiction contributes to extracting and analyzing the social issues which are concerned, in one form or another, with behind the front in the literary works. In so doing, the authors embarked upon analyzing four fictive works, including The Burnt Ground, The Cold Suran, Da, and The Last Sunday, to examine the perspectives of male and female writers towards the social issues. The rationale lying behind opting for these works is that on the one hand these works widely address various impacts of war on social and individual life and, on the other, they cast a careful look at certain issues such as mourning for the martyrs, the devastation of cities, paucity of facilities, hoarding, price-gouging, and robbery.The present study, thus, is aimed at analyzing the paramount issues of behind the front in certain literary works representing the literature of the holy defense to investigate the differences between male and female writers in taking these issues into account. This research was conducted using library resources and employing a descriptive-analytical approach. The findings of the study indicated that the holy war had brought about socially and individually consequential impacts due to the war condition and nonequilibrium social status. Given the gender-specific perspectives, the writers have taken into account particular aspects of the war impacts. Mahmood and Afhami have addressed betrayal, price gouging, and robbery.Hosseini and Ramehr-Ramzi have emphasized criticizing the authorities, betrayal, and paucity of facilities. The male writers' perspectives towards mourning are for the most part relied on instigating and motivating the people to be enlisted for service in war and participate in the funeral of martyrs. This is whilst female writers have mainly focused on emotional instigation and crying for martyrs.

The deviation technique is one of the tools for creating poetry and makes it different from natural language. When a poet goes beyond the standard form of language for more creativity, deviation emerges. According to Leech (1969), linguistic deviation happens in eight fields: lexicon, syntax, phonetics, writing, semantics, dialect, style, and time. Madhoosh is one of the contemporary poets in the Fath-Ali Sah Qajar era. He has many poems and proses not published yet. Some of his manuscripts are kept in libraries. His talent in composing a sonnet is obvious. Also, he is proficient in figurative language, artistic details, and poetry. Madhoosh, like his contemporary poets, imitated his predecessors and used their ideas in choosing themes and rhythms. He chose his poetic rhythm according to the theme. Verbal rhymes in his poems that are sometimes in question form add value to his poetry. Smooth and fluent verses, ordinary content, transferring meaning and using proper rhymes are some of his poems' features. His sonnets are full of similes, and there are a lot of metaphors, exaggerations, and allusions in his poetry. Intellectually, the theme of his sonnets is love, and his beloved is from the earth. In this aspect, he does not have a new content and only repeats his ancestors. At some points in his sonnets, he also refers to moral, philosophical, and mystical concepts, and we can see Khayyam's idea in his poetry. This study uses an analytical-descriptive method within the constructivism school framework.  It aims to review different forms of deviation in Madhoosh Golpaygani's sonnets based on Leech deviation pattern. The results show that semantic deviation is the most prominent and frequent kind of deviation technique that Madhoosh Golpaygani uses in his sonnets. He also uses syntax deviation with breaking the order of linguistic self-contained elements and phonetic deviation for a better rhythm. Such kinds of deviation add more value and beauty to his poems. Time and style deviations are less than the other forms.

The prosodic meter of poetry and rhythm of music both originate from the same source which is the symmetric sequence of sounds in time. Prosody seeks to understand various types of metric lines in poetry. Since the first tool for recognizing and understanding meter is through listening, it would be beneficial that teaching methods to be based on listening and speaking skills. However, teaching methods in most formal educational institutions focus more on the lingual aspects than musical ones. In traditional education methods, the participant should go through the labyrinth of learning traditional prosody to understand and memorize a piece. The difficulties of understanding prosody in classical approaches are rooted in onomastics and the categorization of Bohoor and Zahafat. The principles are not only obstructive but also confuse learners. Vaziri (1314, 1315), Khanlari (1386), Najafi (1391) consider the existence of Zahafat unnecessary and have put them all aside. They have smoothened the path of learning through regulating the exceptions, discretions, and necessities of poetry. According to the authors' experiences, there has not been a proper method for understanding meter and preserving that knowledge for a long-term. The method proposed in this study is the use of music to facilitate learning and long-term memorization of Persian poetry metric lines. This study aims at preventing the hardships and difficulties of learning prosody by updating the learning method and using musical content. With the proposed approach, two goals could be achieved: facilitating the learning while enjoying the process and empowering the long-term memorization of Persian metric lines.  The first stage of this interdisciplinary study is gathering information from library and literature review. The next is some oral practices. The data procession method was descriptive-analytic. The results show that the educational musical content is necessary for teaching Persian poetry meter. The following order is followed in this paper: First, a summary of findings by other researchers on the effects of music on the brain and learning process and the role of music in teaching is presented. Second, by studying the sources in linguistics and definitions of the natural rhythm of speech, referring to Persian prosody and the theory of music, the constituents of music and prosody are adjusted. Then, the existing difficulties of naming the meters and classifications are analyzed to identify the issues regarding the process of learning prosody (which is the main purpose of this study). Finally, it has been shown that to produce a scientific content of musical learning, the characteristics of prosody should be considered. Knowing the principles of prosody and music is the main factor to offer ways for the use of music in prosody learning. In composing prosodic melodies, the musical rhythm and note durations are not choosable for the producer since these constituents are unconscious. To produce prosodic melodies, the producer has to choose three-note durations among 21 possible choices. These durations are the eighth note (e), quarter note (q), a dotted quarter note (j) that in the making of musical contents have identical relations with tri-syllable prosody (short, high, and long). Prosodic melodies are the same as Persian meters with syllables having bass capabilities in addition to prosodic ones (regarding duration and sentence structures) with the ability of intervals among durations that makes them capable of being a part of major and minor scales in addition to Iranian Dastgah such as Mahoor, Homayoon, Shoor. Learners can listen to the respective melody repetitively to learn and memorize a verse. By this approach, the prosodic meters are easier to understand without being forced to go through traditional rules. Through studying the sources on traditional prosody and fundamental issues of Bohoor, and new sources on this matter which consider Zahafat unnecessary or even wrong, it could be concluded that learning prosody adds nothing but understanding the forms.  In new prosody, understanding the rules of syllable scanning all depend on understanding the meter first. Learning the meter can be facilitated by using it in repetitive sessions of listening. This practice does not require any professional skill. The results of this study show that prosody contains a few parts of the musical capabilities. That is, all such capabilities are available in the theory of music. As a result, it is possible to modernize all the rules of Persian poetry through rhythm. Besides, the data provided by this research paves the way for creating educational musical contents with melodic prosody to facilitate learning and long-term memorization of Persian poetry meter.

Existence is the philosophy of the originality of existence (one of the most important and influential schools of philosophy and literature in the world, the birthplace of which is "Europe"). Existence is directly confronted with the borderline situations of "death, suffering, fear, and guilt."Gholam Hossein Saedi (1936-1986), who is known as a modern writer, talks about pain, loneliness, and death. His works represent the literature of existence. Saedi's view of life is noteworthy. In his collection of stories entitled Bill's Mourners, he talks about the pains that have fallen on human spirits, and the atmosphere he depicts is full of fantasy, illusion, stress, economic and cultural poverty of rural and urban life in a way that the reader can not hope for a happy ending in the story. The power of Saedi's writing is rooted in his philosophical, literary, and existentialist thoughts, which modern man has repeatedly observed under the magnifying glass of his literary taste. One of the features of the story of Bill's mourners is sociality. Saedi tries to portray the ugliness, corruption, and inequalities of the society in front of the readers as well as expressing the consequences of this injustice. Most of the contemplations on the content of Bill's mourners' stories have been readable for critics, which is the link between social and personal issues and especially the impact of society on an individual's illness. The features that show the relationship between mental disorders and the social level are listed below: The philosophical despair of the characters are  intertwined with social pessimism and social contradictions; The psychology of the masses are illustrated in fictional actions; The villagers take refuge in the city and suffer from immorality and homelessness; The suburbs of cities are suffering from poverty and prostitution; Poverty in the modernized environment is threatening, and a fate awaits people; People ruined by heroism and sanctification; Urban dwellers, like villagers, are plagued by their superstitions; and The result of living in the conflict between tradition and modernity is isolation and loneliness. All the above features can be examined in the context of the borderline situations of "death, suffering, fear and sin". The main discourse of Bill's Mourners is critical, and the predominant themes of the works are the roots of moral corruption and mental illness in the society. Saedi combines attention to the aesthetics and creation of a story with modern methods of storytelling with political and social ideals. For this reason, he is known as one of the writers who pay attention to morals whereas the moralists criticize him. His writing style stands in the opposition to those of contemporary fiction writers. Being influenced by the world literature, he could also be compared to writers such as Dostoevsky, Faulkner, Hemingway, Joyce, and Marquez, due to his political leanings and representing the storytelling in a modern way as well. This influence is shownin two styles: realism in the style of writers such as Chekhov and Dostoevsky; and subjectivism in the format of mental-narrative works of Hedayat, the metamorphosed world of Kafka, the eerie atmosphere of Marquez, and the existentialism of Jaspers and Sartre. As a result, Saedi's thoughts have a strong influence on the philosophers' viewpoints. He seems to know the society, its main pains, and problems. The main themes in his stories are death, suffering, fear, and sin on which the existentialists focus. According to the results of analyzing the story of Bill's Mourners, characters not only do not go beyond the phase of moral existence but also do not get the phase of faith existence. The philosophy of existence has based its analysis of human destiny on three fundamental inferences and considered three signs. The purpose of this article is to clarify the three principles of the entity (benevolence, morality, and faith) in Bill's Mourners.

Trust is one of the most important aspects of human relationships and the creator of participation and balance among members of a society. Social trust is one of the most important characteristics of social capital, for which various types and levels of trust have been defined. Trust is generally divided into intragroup and intergroup categories. Intragroup trust includes trust in relatives, personal trust, and interpersonal trust. The intergrouptrust includes institutional trust, fundamental trust, and moral values. Meanwhile, dependant variables related to social trust include the performance of the government, security, and religion. Social trust is in the minds of many traditional and contemporary sociologists. The concept of trust manifests itself in many different ways. This issue is one of the most important factors in establishing communication between members of the community. Trust is the basic foundation and pulse of the social order. The existence of social problems indicates a lack of trust in the society. The expression of social problems, ugliness, and vulgarity of the corrupt class, especially in the institutional systems and the performance of the government, has long been seen in the poems of our poets and writers. Saif Ferghani is a poet of the seventh and eighth centuries AH who, as a reformer and social critic, critically expresses bad social and economic conditions. In Seif's poetry, bad social conditions have destroyed the public’s trust in the government and even in the society, and Seif, as a representative of these people, expresses distrust, especially of the government and its institutions. The present study investigates social trust in Seif Ferghani’s poems based on the theories of three sociological theorists: Anthony Giddens, Robert Putnam, and Francis Fukuyama. Interpersonal trust, personal trust, institutional trust, religion, security, and moral values ​​are the most common subsets of social trust in the theories of these three sociological theorists. Analysis of the theoretical content of Seif's poetry ideas shows the poet’s dominant thought in the field of intergroup trust. Saif’s biggest complaint is the poor performance of the government and the governing body of the society. In Seif’s Divan, due to the transformation of social life, the disruption of social order and corruption, instead of trust, one should speak of distrust. The only trust that can be seen in Seif’s Divan is the interpersonal trust that is based on the relationship between the lover and beloved. Religion, security, and moral values ​​have also been examined as other variables of social trust in Saif’s Divan which are directly related to institutional trust and government performance. In general, Seif believes that a ruler who does not have religious and moral values ​​in the society disrupts the security and order of the society. According to him, having religion can increase social trust in the society.

 The Ashura event influenced the composition of some of the melodies and types of music. In this article, the beauty of Yazd's lamentation, vocal music of Ashura poems, and their effects on the musical system are the subject of study. The composer establishes the theme and then makes similar themes to expand the poem. While reciting the poems on Hosseini Ashura, the singer progresses with the change of tone and modulation. As a result, in Yazd's Ashura poetry and lamentation, the combination of poetry with the style of song melodies, the presentation of a specific type of music called "Bayat Yazd", the use of musical jumps, and also new melodic styles are some of the characteristics of this kind of poetry. Poetry is the music of words and phrases; this is even more important in the lamentation poem because, in addition to the proportion of meter and content, it also requires the function of a music type. The music of Ashura's poems affects the word and the meter in the same way. Yazd's Ashura poems have developed in terms of the appropriate meter, theme, style, language, and music. Sometimes, according to the music and melody, the meter, form, and rhymes could be modified. All of these modifications depend on the poet's sense and experience. When he opens his mouth, he reveals his hidden meaning with his melody. If the beats create a melodic style, it is called the rhythm of the music, and if the beats represent how the words flow, it is called poetry. Singing is a sub-device. The vocal lines add a specific beauty in performing the lament. In expressing and reciting Yazd's lamentations, knowing the beat and method of breaststroke from one, three, five, or seven, and sometimes a mixture of beats is necessary. Combining different types of external music with semantic and internal music creates a new atmosphere in lamentation. The main variation of lamenting is the addition of frequent or non-repetitive sections. Poets who want to take the path of Ashura should first comprehend the song's spirit and the secrets behind it because not every poem is suitable for every kind of singing. The secret of Yazd's Ashura lamentation and poetry is the novelty of the theme, the combination, and connection of the poem with the melodies, which includes the events of Karbala and recounting the emotional, moral, and cultural needs of the people of their time. But before composing a poem, the composer should consider the extent of the singer's voice, performance, and the way he expresses himself because each singer's voice has characteristics that if the composer does not consider such features, his song could not be so heartwarming and impressive. The Ashura poet can connect the geometric composition of the word with the music. He familiarizes the strings of each song with the texture of each word in creating an Ashura-Hosseini poem. In Ashura poems, melodies or selected musical sentences and meters, in addition to beauty, reveal the content of speech and express the tragic event of Ashura and the desert of Karbala. The role of music and sound in the poems of lamentation is theological. The music of the lyrics complete and promote the art of lamentation rituals and keep alive the Ashura culture.

Ritual poetry has experienced new semantic, visual, and structural domains in recent decades. This type of poetry is researchable as an ideological text. The meaningful connection of poetic elements with each other can be found by analyzing the linguistic and rhetorical components of poetry. Some texts have an ideological context and have the social, religious, or cultural ideals of a particular group. One way to understand these collective beliefs and ideals is to analyze the linguistic and rhetorical elements of poetry based on the beliefs and attitudes of writers and poets. Although ritual poetry has been presented in Persian poetry from the very beginning, for about ten centuries or more, it has not had the courage to change and evolve. After the Islamic Revolution, under the influence of Shiite discourse, it gradually became a dominant ideology in contemporary poetry, especially in the last two or three decades due to the provision of political and social contexts on the one hand, and the continuous activities of poetry associations on the otherhand. Ritual poetry has been polished over the centuries through ups and downs and has reached perfection in the field of contemporary literature by creating new horizons. Both in terms of form and content, it has become a place for beautiful and meaningful poems. As we read in the book Rasade Sobh (Kazami, 2009) “the tendency of young Iranian poets to ritual poetry is a good and blessed tendency and even unpredictable extent” (p. 54).

This study aimed at introducing modern examples of religious and ritual poetry to explain the relationship between the form and content of poetry through the study of rhetorical and linguistic elements. Therefore, two questions have been posed: 1) Is there a significant relationship between the form and content in the ritual poetry of the last three decades?; 2) Through which linguistic and grammatical features and rhetorical elements have the poets expressed their desired ideology? We tried to divide the dominant ideology of the text of the poem into two categories of language and rhetoric and to analyze the sub-branches of each by mentioning some examples.

The results of the present study showed that the linguistic and rhetorical elements in today’s ritual poetry are strongly tied to the ideas of poets. Poets have hidden their religious and scholastic ideology in linguistic layers and syntactic techniques such as marked words, specific linguistic combinations and constructions, type of verbs, omissions, and prepositions. Also, their intellectual worldview has been expressed in rhetorical techniques such as metaphor, illusion, symbol, and exaggeration. Such kinds of technical techniques are tools to convey the ideology of poets.

The study showed that ritual poetry is one of the texts in which linguistic and rhetorical elements are tied to thought. The language and rhetoric in various forms have  crystallized the ideologies desired by poets. The most manifestation of ideology in the linguistic layer is manifested in signified (marked) words. The high frequency of symbolic and ideological words explicitly indicates the poetic dependence of poets on certain religious beliefs. Linguistic compositions also reveal a certain intellectual world. The type of repetitions and emphasis  in ritual poetry is a diagram of mental commitment to the Shiite belief system. The aspects of grammatical verbs and omissions in most cases adhere to the ideology of the poets. In evaluating the rhetorical level, it was found that metaphors, allusions, and symbols were the most important means of conveying ideology. Metaphors such as the sun, the lamp, and the star all arose from a doctrinal belief and represented the dimension of guidance and enlightenment of the existence of the Infallible Imams (AS). The Qur'an and the Kaaba also introduced the level of knowledge of the Imams (AS) and their metaphorical position showed that they are specific to ritual poetry and such a metaphor cannot be formed in another ideology. Implicit references have also shown the concepts and intellectual foundations of poets by invoking historical propositions from hypertext to text.

 Earth is one of the outstanding natural objects in the Qur'an with a variety of roles. Studying the religious history of this cosmic object, researchers have found that it is of high sexual importance among several Semitic tribes and the ancient beliefs of the different regions including the Mesopotamian. Almost in all of these regions, the earth is manifested as a female being, and its gender is female. The present study intends to examine the earth in this historical- religious context and reveal its feminine manifestations in the Quran. Finally, it discusses the earth's archetypal aspects, based on the Jungian concepts. The main questions are as following: What role does the earth play in the mythical beliefs of the Semitic tribes, and what are its main functions? What is the history of the earth's feminine roles in Semitic cultural beliefs? Can such feminine roles be traced in the Quran? If so, what are the most important manifestations of this femininity in the Quran?; and What is the message of the Qur'an in this regard? An examination of the Qur'anic verses reveals that the Quran has taken the archetypal advantages of the earth, with its positive approach to the Anima archetype, and has found the various manifestations of the earth's femininity by notions (ideas) such as "the similarity of the woman and the tilth" (Q 2: 232). According to the results, this archetype mainly makes humans' conscious minds to know the place of Allah in the world and distinguish His power and high position from those of the earth. In other words, such verses seek to reject the beliefs of those pagans who worshiped the earth or thought that the earth is superior to Allah. The Quranic hint at mythological beliefs on the similarity of “the woman and the field” (farm), on the one hand, is to emphasize the sanctity of marriage, introduce it as a religious ritual and then pay attention to its spiritual purpose, and on the other hand, is to advise better communication with women, that is, a proper, pleasant and harmless sexual relationship.