مجله مطالعات ایرانی
پیاپی 43 (بهار و تابستان 1402)

The establishment of a national military force was one of the first plans of the nation's representatives in the first constitutional parliment. The short life of the parliament and Mohammad Ali Shah's coup became one of the main obstacles in realizing this goal. With the efforts of representatives and libertarians in the second parliament, the governmental gendarmerie force was established. A force that played a dynamic and active role in the country's developments from the time of its formation until its integration into the unified army. This essay tries to research the influence of the gendarmerie forces in the two events of the First World War and the coup on third of Esfsnd 1299 (february 22nd 1920) by analyzing the bases. The essay examines the issue through a historical method with a descriptive-analytical approach and the findings of the research show that the connection of a group of gendarmerie officers with the democrats and the independence of Iranian officers led to the union of the gendarmerie with the nationalists in opposition to the forces of Tsarist Russia and England; But the damage of the war and the deep financial and political crises that had led the country to the abyss of disintegration and subjugation, took the ideals and goals of the gendarmerie officers and the gendarmerie force reacted to this situation with passivity and the cooperation of a part of this force with the coup on third of Esfsnd 1299 (february 22nd 1920)accompanied.

Mohammad Ibrahim Bastani Parizi, the son of Haj Akhund Parizi, was born on the 3rd of Day 1304 SH.. He completed his education in Tehran. He received his Phd. degree by translating Ibn Athir's pre-Islamic section as a doctoral dissertation (Bastani Parizi, 1366, 4). Bastani’s period of life began in earlier years of the first Pahlavi and continued until the fall of Pahlavi and the years after the Islamic Revolution. Certainly, the profound political, social and cultural events that took place in Iranian society during these years have greatly influenced his typeand style of writing . Finally, he died on Tuesday, 5th of Farvardin, 1393, at the age of 89. At the age of 20, he wrote his first book, The Prophet of Thieves, which has been reprinted 17 times. He has written about 1000 articles and his collection of books has reached 63 so far, 13 of which are in Kerman.

The present research is in the line of theoretical researches and is from the branch of historical researches which has been done by using the library method and taking notes of Writings and books bastani parizi and some contemporary historical texts. Assuming that Parizi pays attention to women as an influential element in historical events and has portrayed the image of them in social life as a free and independent human being with a special status in his works; so in this research we are faced with this main question that how is the position of women in Parizi’s works? In answer to this question, the main hypothesis is that Bastani Parizi has had a positive view of women in the history of Iran, contrary to the usual practice. The purpose of this article is to examine the status of women's historiography in Parizi works. The importance and necessity of addressing this issue is the lack of historiography about women as a new matter in historiography. Historical research in the field of social life, especially that of women, is one of the most overlooked topics of historical studies in Iran. Lack of attention to this issue in historiography is one of the difficulties that make researchers doubt to enter this field. Of course, some efforts have been made, but they are not enough, e.g.: Ms. Simin Fassihi's article, entitled "From the History of Elite Men to the History of the Forgotten Women: Causes of Delay in the Emergence of Women's Historiography" in which the reasons for the general neglect of historiographical schools (political, cultural, social) on the subject of women on the one hand and women's awareness of their rights and on the other The focus of these rights on the emergence of feminist movements has been addressed. Ms. Rostami's article entitled "Woman-centered reading in the history of Beyhaqi and Samak Ayar". She deals with the social discourse in these historical works in which women have grown up, shone or been suppressed. Also an article entitled "Women's image in the history of Jahangosha Jovini" by Mohammad Alipour, which surveys the position and image of women in this book, the role of women in the political and cultural issues of the time and how women reached social status and civil rights. Of course, Reza Baraheni wrote "Male History" in 1348 SH. he emphasized that "weakening the female sex is a made up by patriarchy" (Baraheni, 1982, 172). Although the work was written half a century ago, it is still necessary to express the overlooking history of women's in women's researches. Therefore, in this study, By examining the works of Parizi as a historian with historiography in a special way, which has paid more attention to this topic, than other contemporary historians, an attempt has been made to study and reflect the role of women in his works. Bastani Parizi has considered the social life of women in both cultural and family activities. The role of women in many political events from Parizi’s perspective is considered as the footprint of women in history. The economic position of women with land ownership and economic endowments has attracted Parizi’s attention.

The identity of each nation is made up of a set of specific and functional realities, which have been formed throughout the history of each nation. Among the most prominent elements of identity: common language and geography, religion and beliefs, etc., are among the items that are considered in historiography, and when historiography pays attention to a certain group, these identity factors show themselves more. (Sabzianpour, 2016, 77) Women's historiography is a special method in historiography in which the Parizi has distinguished himself from other historians of all times by including female gender in history analysis. Women's historiography in Iran is more limited to exploring documents, memoirs, women's notes and descriptions of their activities in history, and less to the methods and criteria of women's historiography and the use of gender in the analysis of women's history (Fassihi, 2009, 45). Bastani Parizi has written and analyzed historical events with a different perspective on the influence of women in history.The writing of Parizi's first article entitled "It is the fault of men, not women" in Tir 1321, which was published in Kerman Awakening newspaper, coincided with the change of conditions and the promotion of women to leave the traditional life that had begun since the beginning of the first Pahlavi period. And it continued until the second Pahlavi period. One of the slogans of that period was this change of attitude towards women. Although the works that emerged in this field show authors concern of women and its issues, express the real view of the authority towards women . However, this movement was formed only to gain prestige in the world community and to move towards modernism and modernization, and to gain legitimacy in accordance with the requirements of the times. It must be acknowledged, of course, that the role of women in Parizi’s works was written concerned to the deprivations, restrictions, and realization of women's rights and demands, something that was rare in the works of the time. Girl's castles are among the buildings that are usually built in impassable areas and no one is sure about their construction and secrets. Bastani Parizi in the book of Khatoon Haft Qala pays special attention to these castles, including Dokhtar Castle in Kuhbanan (Modarressi, 2012, 224 and 230)

Women's historiography is a special method of historiography in which Parizi, by entering female gender topic in the analysis of history, have distinguished his historiography from women historians close to but different from other contemporary historians. What can be deduced from the position of women in Parizi’s works is that the good and positive image of women is superior to its negative. Due to, women are not always and everywhere the same, and Parizi is not expected to hide anything contrary to what is in the nature of a person or society, In general the writer believes that: first, although compared to other historians of his time Parizi in his historiography has shown more attention to women, the status of women has not been considered as much as their service and position and importance in society. Secondly, his attention is the result of the conditions of the time, his spiritual and educational condition, the conditions of his private life and what had happened to his relationship with women, as well as what he had learned from it has given him a total perception the same as what can be clearly seen in his works.The presence of women in social position, such as participation in charity affairs, based on endowment is emphasized. In addition to the role of women in the society their cultural roles are also been surveyed.  Bastani Parizi in many political events has sought the role of women as behind-the-scenes and also motivating factors of men in their important political decisions. Women are considered as uncrowned kings in his works. He also  had studied and analyzed the presence of women alongside men in military incidents and wars.

Cultural and spiritual heritage has been mentioned in the literary texts of nations and in their social relations and worldview, like valuable capitals from generation to generation. Considering the current era and contemporary social developments, cultural heritage is felt more in the process of globalization, and Article 5 of the UNESCO Declaration in 2001 emphasizes the importance of preserving, exchanging and developing cultural heritage as stated in Article 27 of the Universal Declaration of Human Rights. But cultural heritage cannot simply rely on its material products because culture is constantly metamorphosing and it is the intangible part of culture that forms its inherent essence and gives in different societies. It can be specific and individual. This intangible heritage (ICH), which includes all the intangible manifestations of culture, represents the diversity of the living heritage of humanity and is also the most important means of transmitting cultural diversity in the UNESCO World Convention in 2003 for the preservation of cultural heritage. Intangible emphasized that, of course, its operation was based on the model provided by the World Heritage Convention in 1972, so spiritual and intangible heritage can be defined as a part of cultural assets. Expression, which is one of the basic aspects of the social and intellectual life of nations and forms the source of identity, diversity and creativity. One of the most important means of cultural transmission and preservation of the heritage of the past is the literature of the nations, which is the expression of myths, symbols and signs, rituals, philosophy and knowledge of the lives of the ancients in the form of words. From this point of view, Persian literature is a repository of ancient teachings, and Khayyam, as one of the most influential poets of the Seljuk period, represented these elements in his quatrains. It should be said that from the collapse of the Sassanid Empire, part of the spiritual heritage of ancient Iran can be transferred to the Islamic era after Hakim Sohrvardi, who was familiar with the connection between Khosravani's thoughts and Pahlavi wisdom before and after Islam, with authentic Pahlavi and Avesta sources. be And he made direct use of that treasure, and during the Samanian era, epic works such as the Shahnameh were written to revive the national identity of Iranians. These poems, which were written in the Khorasani style, were mixed with ancient legends and heroes with a resonating order, but later he was a style poet. Iraqi replaced introspection, complexity and mysticism with openness and epicness, however, there are cultural and mythological elements of ancient Iran in the poems of the poets of the era of the Turks and the Mughal patriarchs and some of these elements in the poems of poets. It also appeared later, and Hakim Omar Khayyam was no exception to this rule and used these cultural elements many times in his quatrains.

This research is based on the qualitative method (non-quantitative, descriptive and analytical and with the tool of taking files from library sources) and follows the interpretive methodology (explaining and expanding the poems and expressing the historical records of the themes) and an attempt has been made to The question should be answered that the representation of the spiritual elements of ancient Iran in Khayyam's quatrains includes and what social and political conditions did the poet choose these elements? What areas of ancient cultural treasures did the poet pay more attention to and this How has the chain of cultural continuity worked? Based on this, by examining Khayyam's poems and looking at the historical, social and political developments of the poet's time and the literary interpretations of these quatrains in the field of representing the cultural elements of ancient Iran, the understanding of the text, its interpretation and criticism is discussed and new models are presented.

One of the most important means of transferring cultural heritage and preserving the works of the past is literature, and it must be said that some of the cultural elements of Iran during the Islamic era were influenced by ancient Iran, whose traces can be seen in the literary texts of this era. In this regard, it should be said that with the fall of the Sassanid Empire, Iran entered the Islamic era of its life by leaving behind its ancient world, but many of the tangible and intangible heritages of that era were transferred to the Islamic era, and this cultural continuity and reflection of spiritual heritage in poetry and literature in the form of legends and legendary kings, light and darkness, wine ceremony and happiness and tarb, sanctity of fire, Magus and Zoroastrian rituals, Mitraism and love, Manichean rituals, Zurvanic thought, Khosravani and Pahlavi wisdom, Nowruz and Yalda, mysticism and pantheism, the games such as Backgammon, Chovgan, Chess and other such things have been represented. In this research, an attempt has been made to find out the spiritual elements of ancient Iran, which include philosophy and religion, rituals, myths and all the intangible phenomena that are somehow reminiscent of that era and in Khayyam's poetry has reflected. These spiritual elements specifically include topics such as Zurvanic thoughts and the influence of Ferdowsi, the expression of the ancient beliefs of the Ismailis and Khorramdins in Khayyam's poetry, music, wine ceremonies, and also the manifestation of ancient Iranian mythology in Khayyam's poetry. Khayyam's poem is a mixture of deep philosophical questions in the form of a quatrain, which is a poetic form of Iran. The poet has composed these quatrains under the influence of the epics of Khorasan style as well as the historical proximity to the revival of Iranian civilization during the Samanid period and the rise of the Ismaili work during the poet's lifetime, who were themselves influenced by ancient Iran. These poems reflect the mythological and ancient themes that were transferred to Khayyam's era in the form of literature and through a series of cultural continuity.

It should be said that the Shahnameh epic was the most important factor influencing Khayyam's influence from ancient Iran. This influence was reflected in Khayyam's poetry, especially in the form of fatalistic and Zarvanian ideas, in the form of concepts such as the unreliability of the world, taking advantage of opportunities, accepting Sepehr's rule, and determinism. In a way, Khayyam's era should be seen as the era of expansion of the mystical and philosophical thoughts of the Ismailis and esotericists. The existence of philosophical questioning in Khayyam's poetry cannot be considered unrelated to the esoteric environment and intellectual currents of that era, which were themselves influenced by ancient Iran, especially that Neyshabur of The most important centers of the Ismailis were in Khorasan. We can see in Khayyam’s poetry the Bateni and Khorramdini beliefs in concepts such as keeping secrets, paying attention to the teacher and mentor, living happily, not hurting others, paying attention to the conflict between the rich and the poor, and shared beliefs, as well as beautiful reincarnation in the form of plants growing from the graves of beautiful women and princes, and personification into a jar. Khayyam's other influences from ancient Iran are things like the influence of music and many references to Iranian musical instruments and gatherings of joy and drinking and mention of common terms in these ceremonies. In addition, he repeatedly referred to Iranian mythology and ancient kings.

The rich Iranian literature is full of psychological issues, one of which is cognitive errors. The link between psychology and literature has existed for a long time, and this interaction has become even greater today. One of the most important issues that should be considered in the field of literature is assigning a special place to interdisciplinary studies including psychology and literature. In psychological literature, literary works are analyzed based on psychological theories. The issue of cognition and cognitive errors is one of the most important debates in the field of psychology. The cognitive errors in the works of some Persian literary masters are one of the controversial topics that need special attention and research. Knowledge, attitude, thoughts, and worldview of an author is a consequential element that shapes the content of a literary work. The difference in the perception of the same situation and experience in the works of different authors is the result of this difference in attitude, in this way; each author mixes what he perceives from his environment with his attitude and writes it in the framework of a poem or a literary text. For instance, phenomena such as death, life, love, and hate are described with different characteristics in the works of different writers. The purpose of this research is to determine the cognitive errors based on the theory of Aaron T. Beck in Nasir-i-Khusraw's Diwan and to identify the most frequent cognitive errors and distortions in this poet's Diwan. Cognitive errors and distortions in Nasir-i-Khusraw's poems have been observed to some extent due to the worldview and attitude of this poet, and Nasir-i-Khusraw's rational approach to issues has become the main cause of such intensity of using cognitive errors in his poems.

The utilized methodology in this recent research is analytical-descriptive of the type of content analysis and in document-library form, the statistical community, and the research area of Nasir-i-Khusraw's poetry library. Moreover, the means of collecting information are library sources and sources, and the analysis of the materials has been done in the form of qualitative analysis.

Cognitive errors and distortions, which are among the most important debates in the field of psychology, are thoughts and intellectual backgrounds that cause a person to perceive facts in an indirect and distorted manner, which in the long term leads to a shift in people's opinions, attitudes and perspectives about the world and all its surroundings.According to Aaron T. Beck's theory, these errors are divided into 17 types, and in some references, 10 types of errors, comprised of Mind Reading, Future Telling, Catastrophizing, Over-Generalizing, Personalizing, Blaming, Should, Regret Orientation, Negative Filter, Discounting Positives, Emotional Reasoning, dichotomous thinking, Labeling, Unfair Comparisons, judgment Focus, Ignoring Counter-Evidence, and What If cognitive errors.By studying Nasir-i-Khusraw's poems, much evidence is found that demonstrates a kind of pessimism, dissatisfaction, disappointment, the complaints of his historical era and its people, and other sad issues. What is the cause of such a sad atmosphere that casts a shadow on the poet's poems, is a topic worthy of research, which led the author to rely on the theory of "Cognitive Errors by Aaron T. Beck" - which is based on the relationship between depression and cognitive errors - in this Let's start searching in Divan poetry of the mentioned poet. Nasir-i-Khusraw is one of the most meaningful Persian poets whose philosophical thought system, is fundamentally based on the main purpose of poetry and literature is education, guidance, and advice. During the 11th century, the political unrest and the chaotic social conditions, which were the result of the rapid transformation of governments and related issues, made the need and created a significant demand to pay attention to moral discussions more obvious. The sensitivity to moral education reached its peak with the intensification of Ismaili activities in the fifth century.Education was so important in the eyes of Ismailia and Naser Khosrow that they were called people of education. From these aspects, it has been observed that Naser Khosrow's effort has always been based on this issue to call his audience to what is considered important according to his vision. Naser Khosrow's thoughts and views clearly can be observed in his poems and he always strived to behave at the same altitude he mentioned in his poems.In Nasir-i-Khusraw's Chakamahs, there are usually protesting verses addressed to the earth and the sky, God, the sky, fortune, and the people of his time. The frequency of complaints in Nasir-i-Khusraw poetry is high, but the quality and style of complaints in Nasir-i-Khusraw's Diwan, like many other themes and types of poetry, have found a unique form that directly originates from his special insight and ontology.His intention for these many complaints is not only for the sake of the current situation, but criticism for the purpose of reform and enlightenment, education, guidance, and personal and social reform. In this way, Nasir-i-Khusraw's complaints usually find a tone of instruction and advice. Since complaints can somehow be related to cognitive errors and include various types of cognitive errors, the examination of these poems will show us the cognitive errors in Nasir-i-Khusraw's poems, which was the meaning of the comment written in this research.

With the studies that have been conducted on Nasir-i-Khusraw's poems, much evidence was found that depicts a kind of pessimism, unhappiness, disillusionment, complaints of his historical era and its people, and other disastrous issues. On the other hand, factors such as bitter life events and depression, probably, cause a person's pessimistic attitude towards himself, his performance, others, the surrounding environment, the future, and ultimately the universe. Based on the research conducted in the poems of Nasir-i-Khusraw's Diwan, it has been observed that Labeling and Over-Generalizing cognitive errors are been observable in a significant portion of Nasir-i-Khusraw's Diwan. In fact, along with every cognitive error, the poet also makes a labeling error. Both Negative Filter and Dichotomous Thinking cognitive errors are also very considerable. The error of Judgment Focus is often seen due to fact of ignoring the evidence that contradicts the poet's thinking, and the poet associates his judgments with labeling, sometimes blaming and extreme generalization, and even prophesying and bipolar thinking. It has been seen to a significant extent. Catastrophizing error has also been relatively observed, which is mostly associated with labeling. The Blaming cognitive errors can be observed in an equal and average proportion. The error of Mind Reading is seen in a small portion, compared to other cognitive errors, and the error of Personalizing (self-blame) and selective abstraction, which could be categorized as a part of Negative Filter cognitive error, are the least conceivable cognitive errors in Nasir-i-Khusraw's Diwan, and perhaps the reason is his rational approach to the issues. That he always believed himself and his opinions to be right and insisted on them. The error of Regret Orientation has been observed as a realistic thought in the poet's poems because Nasir-i-Khusraw has always regretted the past because of the problems that have arisen for him during his life and also because of his worldview and perspective. Poems that are the result of Nasir-i-Khusraw's realistic thoughts can be seen everywhere in his poems, especially in the parts that refer to fate, predestination, or free will, or when he deals with the world and the lack of loyalty and kindness in it, or when he talks about people's fear of death. He points out that it is quite evident that some facts are unavoidable and sometimes distinguishing these facts from cognitive errors requires thinking and consulting with several referees, which was one of the limitations of the present research, without reservation.

The tile painting of the story of the court of Hazrat Suleiman the Prophet (pbuh) and the demons is a rare example of a tile painting related to the head in a house of the Qajar period in Shiraz, which, in addition to its artistic and religious features, shows the connection between art, religion and politics in this period, and has not been introduced and investigated so far. Is. This rare head was offered at the Bonams auction in 2010 and displays the tradition of painting and the evolution of tile painting in the Qajar period. In the present research, it is important in terms of cultural and artistic investigations. Tiled gates of the Qajar period and especially of Shiraz city express the cultural and artistic features of this period and are important from this point of view. Head on the topic that was introduced in the Bonams auction and is complete; According to experts, the auction is an exceptional example. Despite these cases, no serious research has been done on the shape of the head in the content and content, and it shows the necessity of the current research and its innovation.

This research has been carried out in a descriptive-analytical way using library and survey resources. The header images are downloaded from the internet version. The statistical population of this research is the Qajar era tiled headland with the theme of Suleiman Nabi's court and they are analyzed using relevant criteria and in a logical and analogical way. The method of analysis is based on the examination of visual principles and rules used in the appearance characteristics of the door, based on logical and comparative analysis. In this research, its characteristics are studied.

 In the analytical study of the main part of the tile painting of Hazrat Suleiman (A.S.), which can be seen in the horizontal rectangle part of the work. Hazrat Suleiman has a government that no one after him was worthy of. By God's permission, he has mastered humans, birds, devils and demons. The Qur'an in verse 12-13 of Surah Saba recounts a corner of the greatness and vast facilities of the court of Hazrat Suleiman (AS) and says: "... and We tamed the wind for Suleiman, which sometimes travels the path of a moon in the morning and the path of a moon in the evening and the fountain of copper. We made the (melt) smooth for him, and a group of jinn worked for him by the permission of his Lord, and any one of them who disobeyed our command, we made him taste the torment of the burning fire, and they prepared for him whatever Sulaiman (a.s.) wanted. Temples, statues, large food containers like basins and fixed pots that could not be carried because of their size, and we said to them: O family of David, give thanks for all these blessings, but few of the servants are grateful..." (Surah Saba, verse 12-13). It is also stated in verse 20 of this surah: "He looked for the chickens and said: Why do I not see Hoddh? Is he absent?" It didn't take long that he came to the presence of Hazrat Suleiman (AS) and reported the excuse of his absence based on verses 23-26: "I have brought a certain news from the land of Sheba located in Yemen, I saw a woman who rules over the people of Yemen and It has a huge bed. That woman and her people prostrate to other than God and do not worship God, the God who has no deity but Him and is the Lord and owner of the great throne. (Surah Saba: 20) Also, in verse 35 from the language of Balqis, he says: "And I do not consider war right now, I am sending them a precious gift to see what news my messengers bring." At first, Balqis tested Solomon by sending expensive gifts. These two verses are the story of the words of the Queen of Sheba and the image that the artists of the Qajar period painted on the front of the court of Hazrat Suleiman. In this scene, Hazrat Suleiman is sitting on a blue and gold throne with a halo of light in the center of the picture and is taking a letter from Hudhud, the yellow circle represents Hudhud and a letter is flying at its tip The three elders who are shown in the picture with headbands and crowns and trays of golden gifts are the bearers of the gifts. Demons are seen on both sides of the image, black, spotted and with two wands in analogy on both sides of the image. Two lions are sleeping at the bottom of the throne of Hazrat Suleiman (a.s.) and two Simorghs are above his head. A peacock, another bird (nightingale) and a hooded owl can be seen with a letter in its beak, and two elves can also be seen linearly on the picture page. This is the main part of the Sardar, which deals with the verse of bringing gifts from the Queen of Sheba Balqis to Prophet Suleiman (AS).

In the art of the Islamic period, iconography and images of prophets and imams have been common. According to the existing examples, the art of tiling and engraving in the Qajar period and especially in the city of Shiraz was very important. In this article, a rare tiled dostun door head from the city of Shiraz, belonging to a house, was examined for its content and theme in the Bonams auction. This door somehow connects the religious and romantic themes in Qajar period tile work. This scene from the court of Hazrat Suleiman (AS) and tile iconography is one of the unique and less paid samples that has significant symbolic and artistic values and the writing according to his order shows that This issue was ordered directly by the owner of the house, the writing in the factory of master Ebrahim Mara introduces the artist of the work. The study of different parts of this headboard and columns shows that the initial theme of the headboard is based on the narration of the court of Hazrat Suleiman (pbuh) and the bringing of the letter by Hodhod, the importance of this bird, the bringers of the gifts of the Queen of Sheba, and it is repeated once in the headboard and four times in two pairs. Is. The presence of lions, birds, divan, and jinn in the image indicates the mastery of the Holy Prophet and his conversation with the animals and the surrounding of his rule over them. The secondary theme of the story refers to the love story of Hazrat Suleiman (AS) and Saba. Anthropomorphism, demonism, birdism, and romantic themes are depicted in the margin of the main image on the columns. Lion and sun drawing; red flowers; The landscape painting is similar to other examples of tile painting in the Qajar period. Sardar directly refers to the court of Hazrat Suleiman (AS) and Hodhud, but in the columns, the love story is depicted in a symbolic and allegorical way, and Hudhud as an influential role is the only role that is repeated both in Sardar and the columns. The subject of its religious and literary function and its connection with the features of Qajar period art has turned it into a unique and remarkable example.

Introduction :

Diachronic approaches to the study of Persian language help us understand not only the historical features of this language, but also the characteristics of its modern usage. There are linguistic forms in New Persian derived from the verb “gereftan: to take” which play a modal role in sentences and indicate hypothetical actions and irrealis modality; in other words, they are used to help us express the modal concept of assumption and imagine unrealistic conditions. An example of such function can be seen in the following proverb: “giram pedar-e to bud fāzel / az fazl-e pedar to rā če hāsel?” “Let me suppose that your father was a wise man, / what does his wisdom to do with you?” i.e. “Never mind who your grandfather was, what are you?” The main purpose of this article is to answer the question of how the verb "gereftan: to take" has acquired such a modal usage. In order to answer this question, it is necessary to show the process in which the verb "gereftan: to take" gradually takes distance from its lexical meaning and gets closer to grammatical functions.

Methodology:

 In this article, after a review of the literature, we go through the theoretical framework of the study regarding grammaticalization and modality. Accordingly, grammaticalization is defined as a process of change in languages through which lexical forms containing independent semantic meanings gradually obtain grammatical functions, for example to represent modality, aspect, etc. The linguistic form subject to changes such as desemanticization and phonetic reduction may, depending on the context, play a double role for a long period of time both as lexical and grammatical element. On the other hand, in a specific language, there might be several approaches to indicate a single grammatical sense such as modality. As time goes by, one of these approaches can overcome the others for the sake of its higher frequency of use in different contexts. As a result of later changes, such linguistic form may be decategorized and function merely as a grammatical device. The whole process of grammaticalization is under the influence of reanalysis and analogy. Before jumping to discussion, it is necessary that we review the definition of modality too. According to Lyons (1977), modality refers to the speaker’s opinions and attitudes towards propositions expressed with language or circumstances. Concepts such as assertion, obligation, supposition, etc. are amongst modal situations. Every language has its own specific tools to represent modality including “lexical” ways or “grammatical / semi-grammatical” linguistic devices such as verbal mood, modal verbs, adverbs of modality and. In New Persian, modality is more expressed by modal verbs and adverbs than by the verb moods. Within this framework and through a diachronic approach, we will discuss the different functions of the verb “gereftan: to take” in Persian. More specifically, here, evidence extracted from texts written in Old Persian, Middle Persian and New Persian is analyzed to clarify the process of grammaticalization of the verb “gereftan: to take” and its modal functions in theses contexts.

Discussion :

The root “grab” in Old Persian texts, signifies “own something”, “seize something (as possession of / as prisoner)” (see Kent, 1953): 1) xšaçam hauv agarbāyatā: He seized the kingdom. (DB I, 41-42) 2) …avam Vahyazdātam agarbāya…: That Vahyazdata they took prisoner. (DB III, 47-48) Later usages of the verb “gereftan: to understand” is not attested in Old Persian but can be traced back to Avestan texts (see Bartholomae, 1961): 3) hiiat̰ ϑβā hə̄m caṣ̌mainī hə̄ṇgrabəm: When I grasp you with my eyes. (Yasna 31.8, Humbach et al., 1991) Also, the root “grabh” in Sanskrit is used to signify “to understand”, “to learn”, “to calculate”, etc. (see Monier- Williams, 1899). In Middle Persian Zand texts, influenced by translation from Avestan, the verb “grift- / gīr-” is used to mean “perceive through the senses” (Changizi, 2016). More specifically, the formula “pad… grift- / gīr-” is frequently used in Middle Persian texts signifying “to consider”, “to suppose” and “to learn”: 4) mēnōg ī xrad pad puštībānīh gīrēnd…: When they consider / choose the spirit of wisdom as (their) guardian. (Anklesaria, 1913) 5) “wāzag [ō] awe gōwišn ke wīr a’ōn ku frāz gīrēd.” “It is necessary to say the word to a person who has such comprehension that he grasps it.” (Dēnkart vi, Shaked, 1979) In New Persian, “gereftan” is used to construct some compound verbs such as “yād gereftan: to learn”, “pand gereftan: take advice”, “ebrat gereftan: to learn a lesson”, etc. In some contexts, the noun phrase object is replaced by a subordinate clause. Such changes pave the way for the verb “gereftan” in New Persian, to be topicalized, desemanticized and finally distanced from its lexical meaning. As a result, some forms of the verb “gereftan” go further in the path of grammaticalization to express modal concept of hypothetical actions and irrealis modality. The forms attested in the texts and also in colloquial and everyday language are restricted to the singular imperative ({be}-gir) (6), plural imperative (be-gir-id), in subjunctive mood, in present tense, first-person singular (gir-am) (7) and first-person plural (gir-im) (8), and first-person singular verb conjugated in past tense (gereft-am) (9). 6) “gir ke giti hame čang ast-o nāy …”: “let’s say the whole world is {full of the sound of} harp and ney …” (A poem by Anvari) 7) “giram ke dar bāvar-e-tān be xāk nešaste-am / va sāqehā-e javānam az zarbehā-e tabarhā-tān zaxmdār ast / bā riše če mi-kon-id?” “let’s say in your assumption I got broken down and defeated / and my young stalks are wounded by the blows of your axes / what are you going to do with roots?” (A Poem by Dadvar, 1990) 8) “towbe gir-im ke bāz ast dar-aš sud-aš čist?” “Let’s say the gate of repentance is open, what is the point?” (Unpublished poem by H. Zahmatkesh) 9) “gereft-am ze to nātavān-tar basi-st / tavānā-tar az to ham āxer kasi-st.” “let’s say there are many more feeble than you; Than you, at least One is more puissant, too.” (A poem by Sa’di) The whole construction can be formulized az “giram / girim / gereftam / gir (that) X, then Y” in which, X is the sentence expressing the hypothetical situation and Y is the one expressing its would-be result. 

Conclusion:

 In this paper, different functions of the verb “gereftan: to take” in Persian were discussed. After reviewing the literature and theoretical framework of the study, evidence extracted from texts written in Old Persian, Middle Persian and New Persian was analyzed to clarify the process of grammaticalization of the verb “gereftan: to take” and its modal functions in these contexts. The results suggest that following a metaphorical extension, in specific contexts, the verb shifted to the beginning of the clause so that the noun phrase object was replaced by a subordinate clause. Thereby, due to mechanisms such as reanalysis and analogy, the first-person singular verb in past tense (gereft-am), first person singular and plural verb in present tense (gir-am, gir-im) and the imperative form of the verb ({be}gir) have gradually lost their lexical characteristics and gone further in the path of grammaticalization to indicate hypothetical actions and irrealis modality.

One of the most important scientific treasures of any country is the collection of short and long articles written by experts in various fields and published in publications. Writing articles in Iran does not have a long history. Before the constitution, most of the research texts were the same contents that were written in tazkires and other books, which of course had no scientific and documented basis. After the constitution, the quality of literary research was transformed and skepticism became common and literary researchers tried to improve the quality of literary research by referring to original works and using criticism techniques. In the field of satire, the first articles written are related to the introduction of Obeid Zakani and humor in his works. And in general, it should be said that the word humor in the sense and meaning of the term that we use today was first used in researches that introduced Obaid Zakani and his special way of expressing Lataif, a way that was used with others. It was different and attention to the element of social criticism is   prominent in them.

In this research, firstly, by using famous Persian websites such as Noormags.ir, Magiran.com, Humanities Comprehensive Portal, Academic Jihad Database (SID.ir) and... articles on the subject of Obeid Zakani. It was found that there are about 71 articles that use the name Obaid Zakani or the word mouse and cat in the title or abstract or keyword. Then, we have classified and analyzed the articles in thematic and historical categories, and the result of the research is shown on the graph. It should be noted that in this research, only scientific articles were examined and counted, and conference articles and books were not considered.

Looking at the researches in the field of humor, we realize that the first researches in this field are about the introduction of Obeid and his works as the most important humorist before the constitution, but with the passage of about a century, scientific and non-scientific articles are still being written about Obeid. The review of articles related to Obeid Zakani provides us with valuable information about the research process in different years, which can be used to observe the interest and scientific level of researchers related to specific topics and approaches of Obeid research in different decades. In addition, it can help researchers in this field to avoid repetitive research and to have better access and familiarity with humorous sources for conducting new research, and to recognize useful and necessary sources from non-useful ones.In this research, we have reviewed the scientific articles related to Obeid zakani that have been written since the beginning until today. Examined the articles in terms of structure and content and divided them into six historical periods and seven subjects of Obeid's humor, Obeid's biography, introduction of works, content and theme, rhetorical and satirical techniques, comparative studies and review of literary theories in Obeid's works; We have reviewed and classified; We have introduced repetitive and useless researches as well as useful and scientific researches and have shown the historical course of articles in different decades. Studies show that in the first years, the subject of the articles is often the introduction of Obeid Zakani and Obeid's social satire and introduction of his works. These articles mostly have a descriptive approach and have little benefit from analysis and reasoning. The language of the articles is often literary; Writers tend to write essays and generalize and do not go into details. In the sixties, only one article was written, which is better in terms of quality than the articles of the previous period. In the 1970s, in addition to dealing with Obeid's life and satire, Obeid's works were introduced and compared and compared with the works of others such as Hafez and Yaghmai Jandaghi. is not. In the seventies, the subject of most of the articles is the introduction of Obaid's works, and the articles still have a descriptive approach and do not deal with specific analysis. In terms of structure, they lack a scientific structure in the modern sense. Mohammad Jaafar Mahjoub is the most important researcher of this period, in the field of introduction of Obeid's works and its manuscripts, who contributed to a better and more scientific understanding of Obeid Zakani and his works with his articles. His articles are among the most influential articles in the field of Obed studies. In the 1980s, scientific articles grew significantly in terms of content and structure, and diverse and new topics such as comparative studies, studies of children's and adolescent literature, and literary theories were also effective in looking at Obeid's works in a new way, but these articles were written by beginners and They often lack analyzes and arguments and presentation of scientific statistics.

Conclusion :

 Most of the articles in the field of Obed studies were written in the 1990s, and in terms of quality, these articles have a variety of topics and scientific structures, and have more analytical power than previous articles. However, they have weaknesses, such as: not mastering the theories and examining Obeid's works based on literary theories, not providing accurate statistics on the amount of use of satirical techniques, great importance on the structure of the article and its stereotyping, and less attention to the content, arguments, and analyzes Scientific. After the 1990s, the most articles in the field of Obed studies were written in the 1970s. Although the articles of the eighties are less than the articles of the seventies; In terms of the quality and diversity of the subject, they have a more scientific structure and content than the previous articles. With all this, it is suggested that researchers in the field of Obed studies, by limiting the scope of research and focusing on details and using statistics and citing scientific sources and data, master the modern methods of comparative research and literary theories, pay more attention to analytical and argumentative aspects, to Help improve the scientific level of articles.

 With the collapse of the Safavid government, many residents of the country's cities were massacred or forced to flee to remote rural and mountainous areas during internal riots and the aggression of neighboring countries. With the beginning of Nadir's rule and the improvement of the relative security of the country, the Urban development policy and tax exemptions caused the residents to return to their hometowns. the present research, thus aimed to respond to this question that what was urban development -financial relations of Nadir Shah Afshar with urbanites? To answer this question this study was performed that nadir in his effort to gain the consent of the city dwellers to achieve the monarchy followed the Urban development tradition of the Safavid government to improve the cities and exempt them from taxes. During the monarchy, the Afshar ruler's Emphasis on War camp supplies led to double taxes, torture, and reprimands of the urbanites.So far, no comprehensive research has been done on Nadir Shah Afshar's relations with the city dwellers, but in some researches related to the Afshar era, brief references have been made to the social-financial conditions of the cities.The author of the thesis "Insight and method in the historiography of the Afsharid era" by citing first-hand sources has made references to Nadir Shah's actions and personality including his vows to the Razavi shrine or his wealth-hoarding trend which caused the misery of the people. (Naseri, 2016: 110 , 125) The authors of the article "The effect of Nader Shah and Alisha Afshar's endowment policies on the decrease or growth of the endowments of Astan Quds Razavi" have mentioned the confiscation of endowment income by Nadir. (Suzanchi Kashani and Shaabani, 2013: 85) In the research of "Discrete Institutional Changes of Nadir shah and Evaluation of the Economic Conditions of Iran in the Age of Afsharid" attention has been paid to Nadir shah's tax arrangement and also to the destruction of cities. (Ehsani et al., 1400: 17 , 28) In the article of "Nadir shah, Legitimacy and Social Rebellions, 1139 AH-1152 AH/ 1726 AD-1740 AD" is mentioned about the rebellion of different cities under the command of Mohammad Khan Baloch. (Faridi, 1396: 158) In the book of "Iran in the Age of Nadir" is mentioned that Nadir considered the city dwellers to be the patrons of the Safavid dynasty. (Axworthy, 2008: 230) In the authorship of "Fragile Resistance: The History of Iran's Social Developments" is stated that the excessive pressure of taxes on the merchant class led to the destruction of regional and local trade in the country but Mashhad became an active commercial city. (Foran, 1377: 131-132)

the current research pays attention to the condition of the cities during the period of Nadir Shah by carefully studing the historical sources in order to survey a comprehensive description of his Urban development and financial policy with the city dwellers. In this regard, the research analyzes and interprets these features and their effects on the situation of cities by using the historical approach and classification of various aspects such as Urban development and the tax system of Afsharid government.  

With the declinee of the Safavid government, the Necessity to strengthen the military arm to establish social security led to the domination of the militarian over the executive affairs of the country which in turn provided the basis for the removal and change of the nature of many bureautical positions such as the prime minister. However, with the beginning of the reign of Shah Tahmasab II, the tradition of Safavid statehood which was based on the improvement of the ruins left over from the civil wars was revived to some extent and the Shah gave orders to the governors for Urban development actions; For example, in 1140 A.H., Nadir was ordered to allocate cash and commodity amounts to the Biotat of Astan Quds Razavi. (Shahidi, 2017: 216-216) Under the influence of the legacy of the Safavid bureaucracy, nadir Urban development actions were continued in the early period of his reign which were especially in Isfahan. For example, in 1150 AD, the royal palaces of Isfahan and the suburbs quickly became Rebuilding. For this reason, Nadir Shah gained a lot of respect among the people for reviving the works of Shah Abbas I. (Du cluster, 1346: 172-173) Despite of the relative revival of Isfahan city, the business center was moved to Mashhad due to the greater Urban development attention of the ruler. (Spilman, 1742:39(In case of political-military necessity, Nadir Shah sometimes built residential cities and castles. These actions was mostly carried out during military campaigns to the strategic areas. The ruler founded two cities in his name, one of which was around of Mashhad on behalf of Kandahar. He also built a fort and a bazaar for the settlement of people after the destruction of the Kandahar fort. (Wared, 1349: 254) By combineing the functions of the kingdom and the ministry, Nadir Shah personally closely supervised the appointments of officials such as the city governor, Mustofi, tax collectors, kalantars and heads of guilds in order to obtain maximum taxes. For example, in 1149 A.H, he established the process of evaluating all the properties of the country and the inputs and expenses of the marketers in order to obtain the maximum tax; As he confiscated all the waqf properties of Astan Quds Razavi. (Toomar Alishahi, 1379: 25-30)

During the Safavid era, there was not much tax strictness and sometimes the tax of low-income urban guilds was also forgiven.With the collapse of the Safavid government, the lack of a powerful and comprehensive central government caused the urban society which was the most accessible type of community in the country and the center for the establishment of the treasury, various guilds, and government courts, damaged a lot in the struggle of the Afghans with the claimants of the monarchy. Therefore, the re-establishment of the central government under Nadir Shah led to the gradual improvement of the situation of the cities as the centers of the establishment of the government in Urban development and financial affairs. At the beginning, Nadir tried to gain widespread legitimacy by improving the conditions of the society in the form of tax exemptions, Urban development actions and get interest of local residents and elders to finally prepare the conditions for attaining the monarchy by leaving the Safavid princes. However, during the period of the monarchy, Nadir Shah's change of behavior due to factors such as failure in political, military and religious goals led to tax strictures and even destructive actions such as confiscation of property, torture and mutilation of city dwellers under the pretext of providing military forces. The rebellion of urban classes, tax collectors and even Ali Qoli Khan, the nephew of Nadir Shah, caused many times. A process that, while disquietuding and fleeing the city dwellers to distant areas, gradually led to the deterioration of the foundations of the Afsharian government and even the murder of the Afsharian ruler.

The term "Bachekhani" has two uses in folklore, firstly in Maktabkhaneh literature and secondly in Ta'zieh or Shabiye Khani. Bachekhani, in Maktabkhane terms, is related to the collection of lithographic and illustrated books that were written for children in the Qajar period. Many of their writings were used in schools and became known as "Bachekhani". These books are mostly booklets like small volumes without covers, cheap and in small pieces were printed for children to study. Bachekhani in Taziyr terms is related to the role-playing of children in Ta'zieh ceremonies; whether in the role of Ahl al-Bayt children or in the role of Ashqiyya (enemies) children, many works have been published about the concept and history of reciting as well as Maktabkhaneh literature. This type of research should be based on the mentioned texts the field of home school literature is more, the works are focused on the publication of related texts and works less research has been done in its different dimensions on the topic of Bachekhani in Ta'zieh. Maktabkhaneh literature - no independent research has been done so far and it has only been published in works while dealing with other topics, there is also a reference to the role-playing of children in ta'zieh gatherings it is called "Bachekhani ". In Ta'zieh ceremonies, the singers of the group of "Movafeghan" were chosen from among the children with good voice. The parents of these children were either reciters themselves or from the fans of the Ahl al-Bayt and the audience and those who were interested in the art of ta'zieh. Any shortcoming in teaching children the correct rhythms, and gestures could disrupt the order and reduce the effectiveness of the live performance of Ta'zieh, so the training of children's singers has been carried out in a very serious process. The costume of the singers in ta'zieh ceremonies is simple, except for some roles, so that many of the audience of ta'zieh can present their children by wearing such simple clothes under the title "children in ta'zieh ceremonies ". These children who do not have a prescription such as "Agha ya Hossein" and "Amoo Al-Atash" participate in creating atmosphere and portraying the heartbreaking scenes of exile, captivity and oppression of the Ahl al-Bayt. The effect of the presence of children and the correct and poignant performance of the related versions was so great that even non-Muslim audiences were affected. One of the first roles that children learn and perform in ta'zieh ceremonies is Shabiye of "Hazrat Sakina", the daughter of Imam Hussain. This role is given to a ten-year-old. Although there are not many poems related to the Shabiye of Hazrat Sakina in the mentioned gatherings, the impact and passion of these poems will never be forgotten by the audience. Abdullah bin Hassan, the nephew of Imam Hussain, was a child of about ten-year-old who, in the last moments of the Imam's life, came out of the tents and ran to him and put his hand against the sword of one of the soldiers of Umar ibn Saad shielded and died in Imam's arms. The Shabiye of Abdullah bin Hassan is usually performed by seven-to-twelve-year-old boys. After his martyrdom, the pieces of the Shroud of Abdullah bin Hassan are distributed among the faithful audience of Taazieh for blessing. It shows the captivity and martyrdom of Muhammad and Ibrahim, the children of Moslem ibn Aqeel, after the martyrdom of their father in Kufa. The children who perform Ta'zieh in the role of Moslem children are usually less than twelve years old and sing most of their poems in harmony with each other. And they have learned to shed tears while reciting. In the historical and narrative sources of Shia for centuries, the name of Hazrat Ruqayyah - the daughter of Imam Hussain - has not been mentioned and the story of the death of that young child in Sham became more famous during the Qajar period. At the same time, the death ceremony of Hazrat Ruqiya in the ruins of Sham is one of the most painful The congregations are Ta'ziyeh and usually children under seven years of age play this role. Roles such as Ahu (episode of martyrdom of Imam Reza) son of Harith (episode of martyrdom of the children of Moslem), Muhammad son of Hani (episode of martyrdom of Moslem bin Aqeel), Hodhod (episode of martyrdom of Hazrat Soleiman) and Ali bin Hor ibn Yazid Riahi Martyrdom Assembly of Imam Javad (episode of Martyrdom of Imam Reza) and the like. Another point is that the children sometimes chant Taziye alone, for example, Hazrat Ruqiya, the son of Hani, Hazrat Sakina, etc., and sometimes they play a role in pairs, such as Muslim children in the episode of Martyrdom of Muslim Ibn Aqeel or Zainab's children in the old assemblies and or Hasanain and sometimes they chant or whisper a poem in groups, such as Ahl al-Bayt in the Sham People market (Bazare Alhe Sham), the first list of Bachekhani books in another sense, which is the subject of this article, includes 47 titles, which are under the name of the list "Haj Musa Tajer of Tehran" is included in the appendix of the book "Gajineh Neshat" - authored by Mirza Abdul Wahab Neshat Esfahani - and according to the announcement of the Iran newspaper, No. 575, Thursday, 15 Rabi' al-Thani 1282 AH). This list contains the names of 320 Persian books and 14 Arabic books in five groups, one group of which is Bachekhani books. At the same time, the number of Bachekhani books based on the list of Iranian school literature books is 70 titles. In this article, the complete list is included. Bachekhani books have been introduced.

Kerman was one of the special economic areas of Iran in the Qajar period. The economic importance of this region laid in its foreign trade. An important part of Iran's exports to India and Europe was producing in this region. A look at the situation of Kerman's foreign trade, during the Qajar period shows that the most important commercial goods of Kerman for export throughout the Qajar period were shawls, carpets and in the next stage, opium commercial goods. Carpet was the most important export commodity of Kerman and sometimes allotted itself more than 99% of Kerman's export commodities (Sehhat Manesh, 2019: 97-116). Also, in the balance of industry and agriculture in Kerman, industry and especially the shawl and carpet industry were in a higher rank. This was while the dried fruit trade was one of the most important trade items in Iran. The trade of dried fruits in relation to the total exports of Iran shows a figure between one -fourth to one -sixth in the years from 1906 until 1913(Kaveh, 1286: 7-8). Nuts were obtained from agricultural products. Therefore, industry and agricultural products in Kerman were in an unfavorable commercial situation compared to many other regions in the Qajar period. So here lies the main issue. Therefore, the forthcoming research focuses on the field of medicinal plants and nuts and seeks to answer the question: What is the position of medicinal plants and nuts in Kerman's foreign trade during the Qajar period?

The present research is a type of historical research in the field of economic history. Therefore, due to the nature of the research, the method used was historical. In the research method, a combination of statistical and descriptive-analytical methods was used. The use of statistics and figures was used to analyze and explain the trade, especially the dried fruit trade in Kerman. For this purpose, the data were extracted from the main sources of local history of Kerman and Iran, but the main reliance is on the annual documents of the British Consulate in Kerman.

Kerman during the Qajar period was considered an important region for the production and export of nuts. Among these products were products such as pistachio, almond, tragacanth and henna. Tragacanth was the most important herbal-medicinal commodity in Iran, whose trade was more prosperous in western Iran and Kermanshah. Most of the mentioned products were exported from Kerman to India and Europe. For this reason, the Indians and later the Persians of Iran or the Zoroastrians were the main intermediaries in trade between Kerman and India. Bandar Abbas and Minab were also the main ports for exporting nuts and medicinal plants from Iran to India and Europe. Since Kerman's goods were exported through Bandar Abbas, the presence of Indians on both sides of the Kerman-Bandar Abbas route indicated that the Indians were mediating in the trade between Kerman and India. On the one hand, the Indians were present in Kerman and had relatively good facilities, and on the other hand, a relatively large number of them were present in Bandar Abbas, Minab and Bandar Lengeh. There was another reason for the presence of Indians in Kerman and Iranian ports, and that was that Indians were citizens of the British government. For this reason, they were fully supported by the British consulates in these areas, and this support justified their long presence in the commercial areas of Iran.At the beginning of the twentieth century, equal to the years leading up to constitutionalism, 60 Indians settled in Bandar Abbas for trade. Goods that came to Bandar Abbas from other parts of Iran such as Kerman, Rafsanjan, Sirjan, Jiroft and Bam were exported to India through them. At the same time, 26 Indians were in the port of Lengeh for business and 14 in Minab (Lorimer, 1915: 10, 1097, 1227).Trade with other countries had a major impact on the development of economic and social life in Kerman and its dependent provinces. In terms of foreign trade, most of Kerman's trade was with Britain and Russia. Of course, trade with Britain was more with the British East India Company, in other words, with India. The Kerman region traded with Russia through Khorasan, and trade with India and Britain through Bandar Abbas. The largest volume of foreign trade in Kerman was through Bandar Abbas and with India and Britain. Most of the goods produced in Kerman province were also exported through Bandar Abbas. In terms of foreign trade in Kerman, Russia was in second place, after Britain (Mohandes, 2007: 140). The most important products that were imported to Bandar Abbas for export from Kerman were tragacanth, pistachio, almond kernel, pistachio kernel, almond, mahlooj i.e., cotton and carpet, alfalfa seed, madder, cumin, fluff, wool, walnut, and gooseberry. Through trade and export of these products, almost one million tomans of foreign currency entered Kerman. Target markets for these products were: Karachi, Mumbai, Egypt, London, Jeddah, Oman, Bahrain, Basra and Baghdad (lorimer, 1915: 11; Sadid-ol Saltaneh, 1989: 175, 191; Nazem ol-Islam Kermani, 2005: 233).In the seven-year period ending in 1324 AH / 1906 AD, the main exports from Bandar Abbas were as follows (100 thousand rupees per year); Fruits and vegetables (6), opium (3), wool (1.5), medicine and medical supplies (1.33), gum [probably tragacanth] (1.33) and carpets (1.25). With the exception of opium exported to China, almost all of these items were exported to India (Lorimer, 1915: 11).

Herat is one of the major cities in the eastern part of Greater Iran and northwestern Afghanistan. Like other cities of Khorasan, Herat was destroyed after the Mongol attack. The destruction and stagnation caused by the invasion of the Mongols had a short period and a process of reconstruction has begun after fifteen years. Studying the development process of Herat on that period, helps to clarify the urban transformations that occurred during the 13th to 16th centuries. It should also be said that the results of this research will be effective for understanding urban development models in the Timurid period and after. The main purpose of this article is to study the development process of Herat city during the Kartid and Timurid periods. The fundamental question of this research is what effect has the origin of the above governments had on the development trends in Herat city?

The method used in this research is analytical-historical. The method of collecting information has been done in two stages: first stage; Studying historical sources, archaeological reports and research projects that have been published in relation to the general contents of the subject. The second stage: documenting the developments of Herat city during the period of Kurt dynasty and Timurid which was done based on the impressions of library and field studies. At the end, the analysis and arrangement of the research findings in order to achieve the trend of the development of Herat city, which has been presented in the desired time frame.

The main city of Herat, which we know today as Old Herat, was located in the middle of the Enjil Block, between the north of the Hari River and the south of the Enjil canal, and just south of the Kohan-Diz of Herat. This area had a quadrangular defensive wall that dates back to the Timurid or possibly the Mongol era. With the destruction of the city of Herat due to the Mongol invasion (1221 A.D), the city of Herat has been uninhabited for fifteen years. Finally, with the decree of Ogedei Khan, the process of rebuilding the city started in 1236 A.D and these reconstructions have been focused mainly on the restoration of irrigation canals in the outskirts of the city (Heravi, 2006: 158). With the beginning of the rule of Malik Shams al-din Kurt, the founder of the Kurt dynasty, the square defensive wall of the city was restored and the people of Herat started building inside the city. At the same time, there was construction outside the defensive wall (Ibid: 217). During the reign of Malik Fakhr al-din, the wall of Herat was rebuilt and strengthened, and he also built several buildings inside the city (Ibid: 463). The construction of gardens in the northern suburbs of Herat became popular during the reign of Malik Ghiyas al-din, as several royal gardens were built in the northern suburbs of Herat at this time (Allen, 1983: 94). At the end of the Kurt dynasty and during the rule of Malik Mu'ez al-din Hussein, the outer defensive wall of Herat was built. This wall covers the entire old city and the surrounding countryside. Withthe capture of the city in the 14th century by Timur, much damage was caused to the city of Herat, including the destruction of the outer defensive wall (Zamchi Esfazari, 1960: 81).During the reign of Shahrokh, Herat was chosen as the capital of the Timurid state. At this time, by order of Shahrokh, Herat's defensive wall was restored and two intersecting bazaars were built in the center of the city, as well as Shahrokh's Madrasa complex and Khaniqah in the north of the city (Hafiz-i Abru, 1970: 10). The most important construction activity in the period of Shahrokh was focused on the construction in the northern outskirts of the city. As was constructed and restored several buildings, between the northern wall and Joy-i Enjil, along the path of Khiaban-i Herat, like Gouharshad and the Firouzshah complexes, and several gardens. In addition to that, several buildings and gardens were built in the lands between the Juy-i Enjil and Juy-i No, which have been indicative of the development of the city's suburbs towards the northern mountains of Herat (Allen, 1983: 46-49). During the reign of Sultan Hossein Bayqara, the last powerful ruler of the Timurid dynasty, most of the construction was concentrated in the northern suburbs of Herat. During this time, a large number of religious and non-religious complexes and buildings were built and restored along Khiaban-i Herat, between Malik Gate and Joy-i No (Khowandmir, 1993: 194-198). Apart from these buildings, as in the previous periods, a series of gardens were built and restored between the lands of Juy-i No and Juy-i Enjil. Among these gardens, the Jahanara garden is considered the most important royal garden of Hossein Bayqara. The digging of the Juy-i Sultani, which was carried out at the end of Abu Saeed's period at the bottom of Gazurgah mountain and parallel to Juy-i Nu and Juy-i Enjil, caused the extent of the northern suburbs of Herat to extend to the foot of Gazurgah, Zanjirgah, and Mukhtar mountains until the end of Hossein Bayqara's period. The construction of this canal paved the way for the construction of numerous gardens and tombs in this part of the northern suburbs of Herat (Golombek & Wilber, 1995: 58-59).

The city of Herat can be considered the highest level of urban development during the rule of the nomadic population that entered Iranian lands after the Mongol invasion. The urban developments that have occurred in this city can be considered a combination of the Timurids' urban planning in their two former capitals, Samarkand and Kash. Like the inner city of Kash, Shahrokh also built two intersecting bazaars with a Chaharsu in the center of the city in Herat. The construction of the square-shaped defensive wall of the city cannot be attributed to the Timurid period, but the lack of change in its dimensions indicates the closeness of its shape to the Timurid urban development. Like the Samarkand, the importance of construction on the outskirts of the city has increased gradually in Herat as well. After the period of Shahrokh, almost no other new buildings were built inside the walls of Herat city. The Timurids of Herat, like Timur and the rulers of Kurt, used the northern outskirts of the city as a suitable place to build settlements and future developments. In this direction, the construction of various gardens and buildings continued in the northern suburbs of Herat until the end of the Timurid government of Iran, until there was no place left for new constructions in this area of the city. In this way, the city of Herat, which was limited to the old Herat area with a square defensive wall at the beginning of the Timurid period, expanded based on the development of water resources (construction of water channels) as much as possible towards the northern suburbs. At the end of the Timurid period, unlike the Kurt period, no outer defensive wall was built to determine the extent of the city, and only the natural barrier defined by the mountains in the north of Herat determined the final extent of this development. These constructions are all indicative of the nomadic tendencies of the Timurids and their related nobles who, like the Mongols, despised life inside the city walls and wanted it to be as close as possible to live in nature.

Polysemy is one of the most controversial arguments in lexical semantics. Some disagreements between linguists are derived from the consistency or dynamicity of the lexical meaning and the ways for determining distinct definitions of a conceptual unit. These conflicts become more critical in declaring the various concepts that prepositions represent because apart from concrete concepts, prepositions represent a wide variety of abstract ones. Due to proposing a modified version of practical principles in determining distinct meanings of polysemous words, especially prepositions, the principled polysemy theory by Tyler and Evans (2001 &2003) in the cognitive linguistic approach is an efficient method for explaining the polysemy. In this method, the primary and distinct meanings of prepositions are determined by means of obvious and defined principles, after that, all concepts are depicted in a semantic cluster around the primary meaning and form the semantic network.Studying the research literature has shown that despite the wide usage of /bær/ (on), whether as a preposition or in the structure of various nominal and verbal compounds, no independent research has been done about its semantic implications yet. In addition, while most ofthe semantic studies have a synchronic approach, the evidence of this research is not only based on the usage of /bær/ (on) in contemporary Persian but in historical Persian.In this study, the polysemy of /bær/ (on) is studied based on cognitive lexical semantics with the method introduced by Tyler and Evans; called principled polysemy, and the purpose is determining the core meaning, displaying the semantic network of/bær/ (on) and scrutinizing the role of spatial and non-spatial elements in forming the peripheral concepts.

This research is descriptive-analytical, and the data was studied from the principled polysemy theory point of view. The Dehkhoda lexicon and the Sokhan dictionary were selected as corpora for choosing raw data. Because the Dehkhoda lexicon proposes some examples of historical usages for any entry and the Sokhan dictionary covers the sample sentences in Modern Persian, these two sources complete each other and have relative comprehensiveness. After choosing corpora, the examples of using /bær/ (on) as a preposition in each corpuse were categorized, and they were evaluated and criticized in terms of the structure and accuracy of definitions. Next, by applying the principled polysemy and considering the history of /bær/ (on) and its recent application, the primary meaning of this preposition was determined. For finding the radial categories at first, the diverse and scattered meanings of /bær/ (on), which were pointed out in two dictionaries, were conceptually categorized. In the next step, the mechanism of perception of the mentioned meanings was explained according to the theory of principled polysemy, along with historical and contemporary evidence. Finally, the semantic network of /bær/ (on) was drawn using the analyzed data.

Among the words of a language, prepositions are semantically more complicated in comparison with other word categories because they have a more pronounced grammatical function than the lexical function. In the history of the Persian language, from ancient Persian to now, /bær/ has had a prepositional meaning and has played numerous grammatical and semantic roles. In this paper, the polysemy of the preposition /bær/ was investigated using the principled polysemy theory of Tyler and Evans(2003).The primary meaning of /bær/ is “above” and “on”. The trace of this meaning is apparent in all concepts expressed by /bær/, derived from the primary meaning. All of these meanings form a semantic network around the primary meaning. The distance of peripheral concepts from the center of the network depends on the mechanism of their derivation. Some mechanisms like abstraction, changing the relationship between landmark and trajectory and focusing on each segment of configuration elements of proto-scene play an efficient role in creating the radial categories. There are six radial concepts for /bær/ as a preposition. “Causality” is one of the radial categories of /bær/ results from the abstraction of its primary meaning. In creating this concept, the focus is on the function of trajectory. The next radial category represents “duty and responsibility”, which is non-spatial and abstract too, but it is the result of focusing on the position of the landmark. Another member of the radial categories of /bær/ is “confrontation and opposition”. Abstraction, de-spatialization and emphasizing conceptual spatial relation between the landmark and the trajectory, creates this radial category of /bær/. “Accumulation” is the next radial category around the primary meaning of /bær/, created by abstraction and iteration of the conceptual spatial relation between the landmark and the trajectory. In addition, emphasizing this recent relation is the main point in shaping this concept. “Concomitance and companionship”, which is the consequence of changing the relationship between landmark and trajectory, and is the result of paying attention to the conceptual spatial relation between the landmark and the trajectory, is the fifth radial meaning of /bær/. The last concept that this preposition conveys is “conformity and compatibility”. Both mechanisms of changing the relationship between the landmark and the trajectory and in the next stage, abstraction and de-spatialization, have influenced the primary meaning and created this radial category. In this concept, the new concept relies on concentrating on the trajectory. As we expected, all the distinct meanings of /bær/ interact with the proto-scene of this preposition and result from the expansion of this spatial structure.Out of the six distinct meanings we listed for /bær/ (on), four results from the process of abstraction and de-spatialization of the primary meaning. Abstracting and de-spatialization of the primary meaning is a process started in Ancient Persian, when / bær/ had a partial tendency to express the concept of "based on, according to", in addition to "above and on" and in each era, its function and consequently, the number of the peripheral concepts that it represents has increased. So that in Modern Persian, scholars such as Khanlari, Anvari, and Givi have given up to ten different meanings for this preposition, which in other dictionaries also grow to twenty. According to the principled polysemy theory, the distinct meanings of a word should be independent of the context in which they are used and independent of the semantic influence of adjacent lexical elements. Considering this principle, regardless of the context-dependent meanings given in the dictionaries in the entry of /bær/, the context-independent meanings, except the primary meaning, semantically overlaps with one of the six radial concepts stated for /bær/.Considering the efficiency of the principled polysemy theory of Tyler and Evans in determining the polysemy of prepositions, which is semantically one of the most complex categories of language, it can be a suitable basis for writing a dictionary and compiling a comprehensive and accurate list of words of a language.

Using the Principled Polysemy theory in determining the primary meaning and radial concepts of /bær/ (on) has shown that “over and on” is the primary meaning of /bær/. Following some mechanisms such as abstraction, changing the relationship between the landmark and the trajectory, and focusing on each segment of configuration elements of proto-scene, six distinct meanings have been formed for /bær/, which are: 1- causality 2- duty and responsibility, confrontation and opposition 3- accumulation 4-concomitance and companionship 5- conformity and compatibility. Changing the relationship between the landmark and the trajectory and abstraction of the primary meaning are the main mechanisms in forming the radial categories in a way that four of these six distinct concepts, i.e., causality, duty and responsibility, confrontation and opposition, as well as conformity and compatibility, are the result of abstraction and non-spatialization of the primary meaning. Accumulation and companionship originate from changing the relationship between spatial elements, i.e., the landmark and the trajectory.

The basement is one of the most common spaces in most buildings that has been used since ancient times. Underground spaces have been used in past periods and traditional architecture and urban planning in various shapes, scales and contexts. Many of these spaces and their construction experiences are still in use.

The purpose of this article is to study the contexts, types and applications of underground spaces in the past and traditional Iranian architecture. In this regard, the most important question of this article is that "the necessities and types of underground spaces in architecture and what are the traditional urban planning of Iran? The research method used in this research is a historical-analytical research method with a qualitative and quantitative approach that is based on documentary study methods, library and case study.

Excavation of land, hills and mountains and sheltering in the basement, in addition to protecting users and their property, has created lasting spaces throughout history. These spaces are very attractive and memorable, especially for tourists and non-residents, due to their uniqueness in terms of external and internal form and landscape. Paying attention to the positive features of these spaces, especially in rural areas, can play an effective role in preserving their native identity.

The results indicate that the basement has been used in the past in various areas of housing, storage, shelter, animal care. Also, the reason for using these spaces is often security, climatic and environmental requirements, especially the steep slope of the land. The basement has a moderate air temperature due to its shelter in the heart of the earth in severe heat and cold, which is a great advantage for human use and its belongings in hot and humid, hot and dry (Shovadan in Dezful and Shoushtar city) and cold mountain climates. The basement has two main types of underground settlements and underground spaces. Underground settlements are also in two types of flat underground settlements such as Oei underground city and underground rock settlements such as Meimand. Underground spaces also have a variety of garden pit spaces, aqueducts, sheds, slums and storage.

The Persian poetry has ever been experiencing innovations as an actual element for distinguishing some poets from others, or a period’s poetry from the previous ones. This, in its turn, eventually leads to the emergence of different styles in poetry.Using innovations such as compound neologisms, the stylist poets of all ages have given some uniqueness to their language.Shafi’i-Kadkani is a rare eloquent poet in our time because of his close acquaintance with Persian’s classic language and literature, as well as his wide knowledge of contemporary poetry and literature. His simultaneous knowledge of classic andcontemporary literature is of a salient representation in his poetry. One among the linguistic characteristics of Shafi’i-Kadkani’s poetry is his intelligent use of compound words. Some of those words are coined by the poet himself, while the usage of some others could more or less be traced back to the classic or contemporary periods of Persian poetry. This paper lays stress on the derivational and compound neologisms that, according to his language of poetry, the poet has coined and used. Regarding the significance of word-formation in poetry, it seems an essential requirement to investigate this feature in the poems of prominent Persian poets.Shafi’i-Kadkani is a select poet of contemporary poetry whose verses fairly fit such an investigation. Compounding-processes in the nominal and adjectival categories, as well as their positive effects on the improvement of this poet’s verses, come within the scope of the present study. The poetic achievement of the poet throughout half a century, includes 17 poem-books compiled by the poet in three collections as follows:The first collection, entitled “A Mirror for Voices”, consists of seven poem-books, composed between 1337-1355, including ‘The murmur of voices’, ‘Night singing’, ‘Out of the leaf’s mouth’, ‘In Nishapur’s allées’, ‘Like a tree in the night rain’, ‘about being and singing’, and ‘The fragrance of the river Mulian’;The second collection, entitled “The mountain deer’s second millennium”, covers five poem-books named ‘The cypress of Kashmar’s elegies’, ‘A letter of desolation’, ‘The sonnet for sunflower’, ‘for the pigeons’ admiration’, and ‘The comet’;The third collection, entitled “An infant called happiness”, includes five poem-books named ‘below this welkin, and above this earth’, ‘The acme of thriving and composing’, ‘From everlasting to eternal’, ‘The petunias’ trumpet’, and ‘in a cold night with no song’.

This research follows a descriptive-analytic method, and uses a library-based and note-taking research method to collect the data and elicit the necessary content. In this regard, besides the 17 poem-books of Shafi’i-Kadkani, more than 20 valid resources in Persian grammar and linguistics have been surveyed.

To compose a poem, all poets employ some specific techniques and modes, one of which is the process of coining or inventing words and combinations, called lexical deviation by the formalists. This process is clearly and widely applied in Shafi’i-Kadkani’s poetic language. To survive and maintain its freshness and attraction, language needs neologisms. Word-formation process is divided into compounding and derivation. In compounding process, two different lexical items are combined to generate a new lexical item. This study investigates the process of compounding (combining lexical items) as well as the process of affixation (adding prefixes and/or suffixes to lexical items) under the general term of compounding since those processes are jointly utilized to convey new meanings and to invent new words with new meanings, too.More precisely, this paper focuses on studying compound/derived nouns and adjectives either narrowly used by other poets or coined by the intended poet with no record in previous works. It looks as if, while composing his poems, the poet has had in his mind an image of the complex word with no previous use, and having the knowledge of language capacity and potential, he has invented those words.Compound and derivative neologisms in Shafi’i-Kadkani’s poems could be divided into different types from a grammatical, linguistic or rhetorical point of view. This paper firstly divides those words into two major categories of Noun and Adjective, and then, based on the word-formation processes involved, investigates them in three different types of compounds, derivatives and compound-derivatives.Some processes to form compound nouns and adjectives used in Shafi’i-Kadkani’s poems are as follows:Inverted genitive compounds, combining two nouns: vine-leaf (تاک برگ), mourning-dress (سوک جامه), walnut-tree (گردوبن).Genitive compounds, combining two nouns without the genitive/ezāfe marker -e: pomegranate garden (باغ انار), sand-wind (ریگ باد).Compound nouns, combining two nouns (with a relation of simile) making a new nominal concept: fire-bush (آتش بوته), blood-leaf (خون برگ).Inverted adjectival compounds, combining an adjective and a noun with a total nominal concept: leaf-clothes (برگینه جامه), thirsty-year (تشنه سال), ominus weep (شوم شیون).Derivative nouns, derived from adding the suffix “-ā” to an adjective: quiet+ā (خامشا), wide+ā (فراخا), soft+ā (نرما) (softness).Derivative nouns, derived from adding the diminutive suffix “-ak” tonoun: rain+ak (بارانک), stream+ak (جویک).Derivative nouns, derived from adding the suffix “-vār/-vāre” (-like) to a simple noun: body-like (تنوار), wave-like (موجواره).Compound-derivative nouns, derived from adding a suffix to a noun-present stem combination: curtain-pulling (پرده پردازی).Compound adjectives, combining a noun and an adjective (in the form of inverted adjectival compounds): fettered-feet (بسته پا), a remote past year (دیرسال).Compound adjectives, combining an adjective (in adverbial function) and a noun: heavy-raining (تندبار), gentle-shining (نرمتاب).Compound adjectives, combining two nouns: mirror-ritual (آیینه آیین), winter-sleep (زمستان خواب).Compound adjectives, combining two nouns (having a relation of simile): brick paving (آجرفرش), silk-voice (ابریشم آوا).Compound adjectives, combining a noun and a present stem giving a present participle: sky-link (آسمان پیوند), resistance-burn (backbreaking) تابسوز, intellect-split (mind-illuminator) (خرد شکاف).Compound adjectives, combining a noun and a past stem giving a past participle: mirage-born (سراب زاد), shadow-grown (سایه رست).Compound adjectives, combining an adjective and a present stem: sharp-shine (تیزتاب), bright-adorn (روشن آرا).Derivative adjectives, derived from adding the suffix “-nāk” to a noun: odor+nāk (fragrant) (بویناک), smoky+nāk (smoky) (دودناک).Derivative adjectives, derived from adding the suffix “-ān” to a verb: germinate+ān (germinant, sprouting) (رویان), wash+ān (detergent) (شویان).Compound-derivative adjectives, derived from adding the suffix “-ān” to a noun-present stem combination: wing-open+ān (flying) (بال گشایان), shadow-drag+ān (shadow making) (سایه کشان).Compound-derivative adjectives, derived from adding the suffix “-gūn” (-like) to a compound noun: moon-shine+gūn (moonshine-like) (ماهتابگون).Compound-derivative adjectives, derived from adding the intensifying infix “-ā” between a reduplicated djective: green-ā-green (absolutely green) (سبزاسبز), soft-ā-soft (extremely soft) (نرمانرم).It should be noted that this paper disregards studying the common Persian compound/derivative nouns or adjectives used in Shafi’i-Kadkani’s poems, such as harm-doer (maleficent) (زیانکار),background (پیشینه), skillful (چیره دست), capillary (مویرگ), ration-eater (hireling) (جیره خوار), shamefaced (شرمگین), ill-fated (شوربخت), and many more similar examples.

Inventing word combinations is a distinguishing element in language, and a factor in bringing it out of its quotidian use. Compound and derivative nouns and adjectives in Shafi’i-Kadkani’s poems, have an idiosyncratic structure and an outstanding frequency. Besides making use of common combinations in old Persian poetry, he, if necessary, invents combinations, forms the compound and derivative words as he intends, and employs them in his poems. His skillfulness in inventing combinations brings an eye-catching sitting of combinational neologisms to his linguistic context eventually leading to a revival in his language. Moreover, Shafi’i-Kadkani paves the way for making and using such combinations in future, and in his turn, expands the lexical amount and enrichment of Persian language.The total number of compound and derivative nouns and adjectives invented and used by Shafi’i-Kadkani in his three poetic collections, counting the narrowly used compound nouns and adjectives in previous Persian poetry, is 85 (nouns) and 93 (adjectives).Investigating the nouns and adjectives used in Shafi’i-Kadkani’s three poetic collection gives the implicit result that his innovation in making and using compound and derivative nouns and adjectives in his first poetic collection, “A mirror for voices” (including 17 poem-books composed in 1337-1355), reaches to a total of 24 nouns and 32 adjectives (the sum total of 56). In his second collection, “The mountain deer’s second millennium” (including his next five poem-books), the number rises to 44 nouns and 44 adjectives (the sum total of 88), and in his third collection, “An infant called happiness” (including his five most recent poem-books), the number falls to 15 nouns and 18 adjectives (the sum total of 33).Considering the equal volume and temporal order of composing those three collections, it’s revealed that making and using such compound and derivative words in his second collection, enjoys a rise in relation to his first one, but meets a small fall in his last collection.

Vazhaneh is one of the genres of the School of Word Originality. This school announced its presence in the early seventies by Arash Azarpeyk, one of Simin Behbahani's students, with the publication of the Third Genus book and his manifesto. So far, this school has introduced more than thirty literary genres to the modern and post-nimaie literature of Iran and the postmodern literature of the world. Vazhaneh is a Fara-structuralist genre in which vocabularies are the citizens of the civil society of the text. Each has a comprehensive position of existence and being, in which the poetry of the text and narration are intertwined. These works have been created by avoiding the rule of coexistence-substitution, paying attention to minimalism in literature, and having a sensory-geometric structure in such a way that the sensory-geometric structure and the literariness of the text will be preserved in whatever language they are translated. In this article, which was compiled using library sources and in a descriptive-analytical way, the element of repetition, which is one of the structural elements in poetry, is examined and analyzed in the Vazhaneh genre and specifically in the works of the Iranian Kurdish poet "Niloofar Masih." In this article, it is clear that Vazhaneh, while creating unity between form and content, is also a Fara-structuralist genre. In this article, it is clear that vocabulary creates unity between form and content and is also a Fara-structuralist genre. In this genre, the element of repetition has created a form. In addition to creating a secondary meaning and making the work more visual, it can also emphasize and develop the work.

The research method in this article is based on different bases:A) Based on the goal: descriptive-analytical (expressing the essential rules and describing and analyzing the finding).b) Based on the background of the research: developmental-promotional (this research is in continuation of the research related to the element of repetition in literary works). c) Based on the data collection method documentary or library (it refers to written sources, including books, articles, and theses.)

From the time of Ferdinand de Saussure until now, dealing with structures has been the most critical pleasure and preoccupation of researchers in various sciences, including literature. The hypothesis of the systematic nature of language led the critics to consider literature as systematic and to find the same distinction between literary and non-literary language that Saussure found between language and speech and the method of syntagmatic and paradigmatic. The structural linguistics approach focuses on examples and different aspects of language, that is, speeches. In this theory, the critic examines and analyzes various examples and types of literature, that is, different genres and how to follow or deviate from the norms. Vazhaneh is the literary genre of the Fara-structuralist School of Orianism and the most accessible literary genre in the world. This genre was invented based on the human-word theory, which is the result of a humanistic and sociological perspective that is one of the prominent theories of this school. This genre was known as Oriyank at the beginning of its creation. Vazhaneh turns to "poem-word" in poetry and its sub-genres, to "story-word" in fiction and its sub-genres, and to "text-word" in Fara-text style and its sub-genres. (cf. the introduction of Azarpeyk, Hashemi, 1400, 28)The Vazhaneh genre, by going beyond the speech chain or the rule of substitution, practically goes beyond language's linear and one-dimensional features. In this genre, a word has a linear and horizontal relationship and a vertical and geometric relationship with other words. These connections (horizontal or chain, vertical and geometric) create a secondary meaning and are not subject to a time extension. That is, due to the visual-written nature of Vazhaneh's text, we must simultaneously pay attention to the geometry and unique arrangement of those words to understand the meaning. While the chain always consists of two or more consecutive units, and an element gains its value when it is placed on a chain and is in opposition to the element before and after it. In fact, to a large extent, it derives its meaningfulness from this pattern. (Azarpeyk, 2017: 12) One of the features of Vazhaneh is its structure and form. Every feeling or message can have its unique form and structure. In the meantime, the text and arrangement of words, which is usually the result of literary intuition, the outpouring of emotion and feeling, or even the result of understanding an intellectual and philosophical matter, is closely related to the codes of the text. Discovering the basis of the relationship between two words brings the audience into the text. Sometimes, two words with special arrangements contain a special meaning. For example, there is a simile, metaphor, contrast, permission, irony between two words, and it is the responsibility of the audience of the text to discover the meaning and primary and secondary connection of these words. So, in Vazhaneh, the centrality of communication is the responsibility of all text elements. (Ahmadi, 2017: 24)

According to the examples of this poetry, Repetition in vocabulary has different types: Repetition for emphasis/Repetition that creates secondary meaning/Repetition to create form/ /repetitions that occur in nature and the result is onomatopoeia/Repetition to create a more substantial feeling/repetition to show practical continuity.Therefore, it can be said that Repetition is one of the elements that Niloofar Masih has used in her Vazhaneh and has been able to display meanings, forms, emotions, original sensory-geometric music, and new content, and how to look at nature with particular attitudes. Therefore, Repetition is one of the indicators of maintaining and integrating the structure of the text.

The Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way.Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire.In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maidswere to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance.During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled "Reciter".This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings.

 In the present study, the authors believe that by searching historical and literary sources, storytelling and narration as one of the literary  positions in the court of kings and sultans, explaining the rituals and  relations related to it and introducing and recognizing the letters left  by the storytellers and Although the court narrators are brief in their  research, a part of the article deals with the background of storytelling  related to the Arab government and its connection with court  storytelling in Persian literature.

The performance of the ancient tradition of storytelling in Iran is  revealed to us by studying the oldest historical documents and Persian literature; However, considering the fact that emirs and kings have played an important role in the history of Iran as the main supporters and encouragers of Persian literature and its sub-branches, the answer to these questions is to what extent kings were buyers and wanted to tell stories or tell stories. And it is unknown to us with what status and rank the storytelling position as well as the position of storytelling was prevalent in their court. Following the answers to these questions, oral literature in the field of narration and story is considered and researched as the most basic way of communicating with the audience  as well as how it is transmitted and promoted in the court of kings .The search for the roots of Iranian culture and history in connectionwith the early storytelling, the degree of commitment and support of princes and kings to the literary position of storytelling and how to create and spread this artistic and literary taste in the court has necessitated this research.

Noting that the first literary societies about sultans were established in various historical periods, it can be said that literary positions and professions, including storytelling, first appeared in the court  of opportunity by addressing the properties and the chosen ones, whose characteristics are as follows: Are: 1- Generally, the storytellers of the court, due to the special type of their audience and their affiliation with the Shah in meetings and  travels, were required to know the legends and life stories of the  previous rulers or to quote the Shahnameh and other epic texts. Many storytellers were the court of the poet and in their poems  they used nicknames derived from their names and nicknames; also, because the stories about praising Mamdouh were in parallel  with the poetry, court storytellers can be considered as rivals of  poets, who sometimes gained superiority over court poets by   gaining a higher position. 3- Familiarity and awareness of musical instruments and musical  instruments have been among the necessary conditions for  storytellers who have been able to enter the court; as in the book of  Qaboosnameh, the storytellers are mentioned as "Khanyagars"   who narrated the poems of the poets with their instruments and songs. 4- Other special skills and techniques of court storytelling are the ability to narrate the story and bring short and poetic anecdotes,  often in the form of Masnavi, which was expressed before the story and to attract the attention of the audience with the term "pre-   reading".

Beloved and her aesthetically image and description have a predominant presence in the Persian love sonnet (Ghazal); Poets have always talked about the beloved's lips, eyes, moles and Stature, and have depicted the aspects of the beloved's beauty. The aesthetics of the lover in persian classic Ghazal is a stereotyped aesthetic, and poets have often depicted the same aspects of beauty in the beloved; It's like everyone had the same lover and this was caused by not relying on individual experiences and reality and caused by generalization and subjectivism. This approach to the aesthetics of the lover changes in Iranian modern Ghazal; in these sonnets, the poets depict the lover with a emphasis on individual experiences, realism and personal vision. in this way, they create images different from the classic Ghazal in the beauty of the beloved and avoid repetitive images.These new images regared to the lover aeshtetic aspects show the Iranian modern  poet's have a new and different view of the lover and his beauty aspects and show predominant changes in the depiction of the lover's aesthetics. Unlike the classic persian ghazal, in the new ghazal of individual experience, objectivity and empiricism are replaced by generalism, subjectivism and repeating the experiences of the predecessors. This feature causes us to encounter different aesthetic images of the beloved in the modern Persian ghazal, and the beloved is described and depicted in a new way.

The research method in this article is descriptive-analytical. By examining the Ghazals of Iranian modern poets, the differences and distinctions in the aesthetic aspects of classic and modern Ghazals have been analyzed.

Beloved, as a Qiblah of lovers, has a significant presence in classic and modern Iranian Ghazal and the Iranian love Ghazal is formed and expanded on the axis of the beloved. In the classic Iranian Ghazal, the lover's cuteness, infidelity, cruelty, charm, etc are all her attributes that are repeated and Regardless of some breaking of tradition, for example, in the Ghazals of the School of Occurrence (Voghoo’) and Vasookht, a stereotyped view dominates the aesthetic aspectes of the beloved and most of the poets have not avoided repeated descriptions and stereotyped descriptions  and they have depicted their lover in a mold. Nima's opinion, who said that our poetry is subjective: " I told you that our classic poetry is subjective. That is, it deals with conscience and inner conscience mood. In it, the external scenery is an example of the interaction that took place in the interior of the narrator. He doesn't want to pay much attention to the things that exist outside" (Nimayoshij, 1985: 80). It also applies to the aesthetics of the beloved. Because the descriptions of the beloved and the aspectes and moods are subjective, not objective, and the classic poets The traditional poets do not express their individual experiences and present the subject from a repetitive and stereotyped point of view. As if all classic Iranian poets had a single lover and depicted a single lover.In the aesthetics of the beloved, dishonesty, unrealismn and subjectivism in the description can also be seen in the aspects of the beloved's aesthetics. A single beloved with repetitive aesthetic aspects is present in classic Iranian Ghazals. Although in few cases a poet has show a tendency against this general trend, but it is insignificant and is not considered a dominant characteristic of style and because in style: "the presence or absence of an element or several elements is not so important as the "frequency" of that elements... Therefore, the study of the appearance of a specific element in stylistics is not as important as the study of its high and impressive frequency statistics" (Shafi'i Kadkani, 2008: 39).Therefore, the prevailing aesthetics in traditional Ghazal and the high frequency of repeated images cannot destroy the stylistic feature of the design of the repeated lover in traditional ghazal.But this approach in the aesthetics of the beloved in modern ghazal is completely changed with a emphasiz to the theory of Nima who said: "Try to write as you see" (Nimayoshij, 2015: 35), the modern Iranian poet has also tried to depict the beloved as heor she has seen her. It is not without grace to mention that modern Iranian Ghazal was also heavily influenced by Nima's leading theories in all elements of poetry.Inspired by Nima, modern ghazal poets innovated in all aspects of Ghazal, and one of the innovations was in the aesthetic aspects of beloved.Therefore, in modern Iranian Ghazal, we witness the presence of different aesthetic aspects of the beloved, which is unprecedented in classic Ghazal. Modern iranian Ghazal has tried to be experimentalist, realistic and objective and to depict and describe the beloved as she is, not as seen by the past. Relying on a personal view and individual experiences has brought this innovation in the aesthetics of the beloved.Beloved in moedern Persian Ghazal, unlike classic Ghazal, has light, honey-colored eyes, straight and golden hair, and looks like a waterfall, rainstorm, wheat field, etc., short, medium height, and sometimes tall, lips like raspberry, cherry, pomegranate, etc. These images show the realism of modern Iranian Ghazal in this matter. All of these show imagery innovation in modern Persian ghazal compared to classic ghazal.

The result of a research on the aesthetic aspects of the beloved in the modern persian Ghazal is that the modern Ghazal ,unlike the classic Ghazal has discovered new aspects of beauty in the beloved and has described and illustrated them. The clichéd and repeated images of classic Ghazal, which represent the repeated vision of the classic poet, have given way to the creation of an image in aeshtetic aspects based on empiricism, realism, objectivity, and a personal view and the poets describe the lover as she is, not in a general form.It is for this reason that in the modern ghazal, the beloved does not only have black eyes, but is described in bright colors such as blue, green, honey color and etc., and the color of the beloved's eyes is included in the ghazal as it is.In addition to this, the beloved hair is not only black, and relying on the personal experiences of the poets, described blonde, red color and etc. Other aspects of the lover's aesthetics are also different.The Present research, finally, proves that the aesthetic aspects and description of the beloved in the modern Iranian ghazal is different from the classic poem and based on individual experiences, realism, objectivity is different from that. It can be said that the modern persian ghazal in the field of imagery of the aesthetics of beloved has been innovative like other images, and innovation in the image is one of the most important characteristics of the modern persian ghazal.