In the recent years, the knowledge of stylistics has experienced some new branches. Thanks to the recent efforts of a group of linguists, traditional stylistics has changed its branches in favour of genres, rather than the types of prose and verse. Up until two decades ago, stylistics mainly focused on the form of the text, and the genres were almost ignored or overlooked. However, in the light of the studies of people such as Mick Short, Geoffrey Leech, Johnathan Culpeper, Elena Semino and some other linguists, now we are able to conduct research on the stylistics of short story, stylistics of novel, stylistics of poetry, and for sure, stylistics of drama. Stylistics of drama which is considered an interdisciplinary field of study between pragmatics and literary studies, gives numerous ways to analyze dramatic works. From these ways the most important ones are “turn-taking in drama” and ‘’speech acts’’ through which a more thorough understanding of the play is to be formed. As far as ‘’turn-taking’’ is considered, some factors like starting conversations, having more turns, having longer turns, interrupting other characters, appointing next speaker and appointing the subject of conversation are to be focused. In 1974, the underlying principles of turn-taking were first described by sociologists Harvey Sacks, Emanuel A. Schegloff, and Gail Jefferson in their seminal article named “A Simplest Systematic for the Organization of Turn-Taking for Conversation, ” which was published in the journal Language. Later on, issues such as Adjacency Pair, Back- Channel Signal, Conversational Grounding, Cooperative Overlap, Cooperative Principle, Discourse Markers, Listening and Repair were introduced, and dialogue analysis turned out to be a separate field of study. This new field also enjoyed some already established fields as well to continue its growth. These items were speech acts and performative sentences. Speech act is a technical term in linguistics and the philosophy of language. The contemporary use of the term goes back to J. L. Austin’ and J.Searl’s development of performative utterances and his theory of locutionary, illocutionary, and perlocutionary acts. Speech acts are commonly taken to include such acts as promising, ordering, greeting, warning, inviting and congratulating. So, the Analysis of ‘’speech acts’’ necessarily includes all the five levels mentioned above, as well as the issue of power among the characters involved in a conversation. All the above mentioned issues have recently been employed in the analysis of drama, and new light has been shed in the literary criticism of a genre which provides excellent examples for dialogue analysis. In the current research, efforts have been made to make the best use of the techniques of the stylistics of drama to analyze one of the most striking plays of the contemporary Iranian playwright, Akbar Raadi, under the title Aheste Bâ Gol-e-Sorx (Slowly with Rose). The main objective is using the two ways mentioned earlier and to give a vivid stylistic illumination of the play. It will be seen that powerful and challenging characters are identifiable by studying above-mentioned factors, and the results have been presented in tables and charts for a better understanding.

In modern Persian the preposition "az" signifies the concepts instrument, method, cause, nature, possession, part-whole relationship, source, path, separation, comparison and topic. "az" is the remainder of the preposition hača in Avesta and sačā in Sanskrit. This preposition has been taken from the root "sac/hak" meaning accompaniment and has been used in Middle Persian and Parthian as "az" and "až". In Sanskrit sacā has been used to convey accompaniment. This preposition has undergone two levels of grammaticalization over time: in the first step noun has been converted to preposition to mean “accompanied with” and other meanings derived from it, and in the second step it has been used to convey other meanings such as source and other related senses. The present paper is an attempt to investigate the polysemy of "az" based on the conceptual transfer model.

The mismanagement of government administrative organizations in the Qajar Iran and its consequences is not an unspoken issue. The record of the central government to eliminate this shortcoming indicates its failure. On the other hand, this inefficiency had a heavy cost for the people. Thus, getting rid of the consequences was a difficulty that the people themselves had to overcome. Social reaction to the mismanagement in the Qajar period is the problem that the present work studies in the case of public opposition of the people of Astarâbâd, a province on the south eastern coast of the Caspian Sea, to the will of the central government. Explain that, shortly after the abolition of the tobacco concession (January 1892/Jumadi al-Awal 1309 AH), in August 1892/Muharram 1310 AH Astarâbâd became the scene of mass opposition against drinking alcohol and then for several months against the governor of the province. So far, the occurrence of these happenings and their results have been neglected. The present article is a historical-analytical research, based on archival materials, that deals with the role of mismanagement (independent variable) in the occurrence of the popular reaction in Astarâbâd (dependent variable). Examining the social forces active in this political action and also its result are other goals of the present work. The findings of the study show that mass opposition in Astarâbad first caused by extreme frustration and deprivation of the people and then led to their rational-calculation of opposition to the government-appointed ruler to improve the situation in the province. Although the insurgency initiated by the lower classes in order to combat the cholera outbreak, the secondary stage - the rejection of the governor - welcomed by other urban classes and local military commanders who demanded improvement in the multifaceted consequences of chronic mismanagement in the province. Despite the religious motive as well as the participation of different classes and groups, the resistance in Astarâbâd had all the characteristics of a "rebellion" and lacked participation and the support of a political organization. In spite of success in opposing the will of the central government, the rebellion due to its nature- lack of both public political awareness and political organization- failed to bring about desirable and lasting result for the province and the people of Astarâbâd as well.

Anecdotes of Elders in Persian Sufi Poems Sufi literature in its two forms, prose and verse, especially between the 6th and 9th centuries A.H., is a large and important part of Persian literature with various types and subtypes such as edicts and didactic works of prose and verse, as well as works that report moments of passion and Sufi illumination is in a lyrical or symbolic language. One of the main and common materials among almost all these different types, although with different levels and frequency among the types, is the narration of "stories" and "sayings" of Sufi Sheikhs. This research is an attempt to present a detailed and documented picture of the quality and quantity of the reflection of the "stories" (and not the sayings) of the Sufi sheikhs in the most important Persian Sufi educational systems, including Hadiqat al-Haqiqa Sanâ'i, Attâr's poems including Elâhinâma, Asrârnâmeh, and Manteq al-Tayr and Mosibat-nâme, the six books of Mowlânâ's Masnaviye Maʾnavi, and Jâmi's Haft-orang. The results of this research show that out of the total of 300 stories narrated in these works, apart from the stories attributed to the unknown elders (47 stories), which constitute the highest amount of stories, the most stories are related to Bâ Yazid (with 24 cases), Abu Saʾid Abul Xair (with 21 cases) and Šebli (with 20 anecdotes). Also, about a quarter of all the stories are "Karâmat stories" and the theme of the rest of the stories is the teaching of Sufi knowledge and concepts. It is worth mentioning that in a historical and comparative perspective, it is clear to see the increase in attention to the narration of Karâmat stories between Sanâʾi and Rumi; As in Hadiqat al-Haqiqat, there are no honorable stories, but among the 26 stories narrated in the six books of Mowlânâ's Masnavi, 15 stories (that is, about 60 percent of the stories) are about honor. Finally, it is possible to consider the totality of Persian Sufi poems as having less attention to stories of virtues compared to types such as Tazkirats and hagiographies as well as some ancient Arabic short books.

Anecdotes of Elders in Persian Sufi Poems Sufi literature in its two forms, prose and verse, especially between the 6th and 9th centuries A.H., is a large and important part of Persian literature with various types and subtypes such as edicts and didactic works of prose and verse, as well as works that report moments of passion and Sufi illumination is in a lyrical or symbolic language. One of the main and common materials among almost all these different types, although with different levels and frequency among the types, is the narration of "stories" and "sayings" of Sufi Sheikhs. This research is an attempt to present a detailed and documented picture of the quality and quantity of the reflection of the "stories" (and not the sayings) of the Sufi sheikhs in the most important Persian Sufi educational systems, including Hadiqat al-Haqiqa Sanâ'i, Attâr's poems including Elâhinâma, Asrârnâmeh, and Manteq al-Tayr and Mosibat-nâme, the six books of Mowlânâ's Masnaviye Maʾnavi, and Jâmi's Haft-orang. The results of this research show that out of the total of 300 stories narrated in these works, apart from the stories attributed to the unknown elders (47 stories), which constitute the highest amount of stories, the most stories are related to Bâ Yazid (with 24 cases), Abu Saʾid Abul Xair (with 21 cases) and Šebli (with 20 anecdotes). Also, about a quarter of all the stories are "Karâmat stories" and the theme of the rest of the stories is the teaching of Sufi knowledge and concepts. It is worth mentioning that in a historical and comparative perspective, it is clear to see the increase in attention to the narration of Karâmat stories between Sanâʾi and Rumi; As in Hadiqat al-Haqiqat, there are no honorable stories, but among the 26 stories narrated in the six books of Mowlânâ's Masnavi, 15 stories (that is, about 60 percent of the stories) are about honor. Finally, it is possible to consider the totality of Persian Sufi poems as having less attention to stories of virtues compared to types such as Tazkirats and hagiographies as well as some ancient Arabic short books.

The author, a linguist working on the dialects spoken in the Caspian littoral, starts with a review of tense structures in the dialects of Māzandarān (that of Sārī) and Gīlān (those of Rāmsar and Rasht which differ somewhat) before tackling māzī-ye naqlī (the present perfect tense). She finds that one type of this tense is made with the past participle of the main verb and the present tense of the verb dā štan (= to have) as the auxiliary, and she cites examples from all the three dialects. But there is a catch. This verb pattern works only if the main verb is transitive.What happens when the verb is intransitive? In such cases evidently māzī-ye naqlī is not used and in most cases māzī-ye motlaq (the simple past tense) is substituted. And she quotes a number of Iranian and foreign scholars who all have spoken to this effect. But she also notes that a certain verbal pattern is found in the dialect of Māzandarān composed of the past participle of the main verb functioning adjectivally with the present tense of an attributive verb which approximates the māzī-ye naqlī in Modern Persian. And she cites many examples to clarify this point.

Abstract In New Western Iranian languages, plurality is an obligatory category, and it is marked both morphologically and syntactically; however, Bâdrudi, as a central Iranian language, has a special status among Iranian languages. Insofar as the plural number is not an obligatory category and only appears alongside the plural suffix and verb agreement, this language uses other ways to mark plurality. This article examines some features of plurality in the Bâdrudi. Findings indicate that in Bâdrudi, the plurality is marked by the suffix -u, but mostly noun plurality is marked syntactically by verb agreement and pronominal agreement. The reduplication of noun stem is another way to mark plurality in animate nouns. In all the ways through which the plural number of nouns is marked, the verb agreement is always obligatory. This is but the use of the plural suffix, pronominal agreement, and reduplication are optional. There are also cases where the noun is not plurally marked in any way. This means that the distinction of number is not an obligatory category in Bâdrudi. Keywords: number, plurality, noun, Bâdrudi, Iranian languages   Introduction Number is one of the most common features of nouns in world’s languages. For example, English makes a semantic and a formal distinction between, for instance, dog and dogs, or child and children. In English, the number feature can also be realized on verbs and pronouns through agreement with a subject, as in: ‘these children were playing together’. In this example, the verb and the demonstrative pronoun are plural and indicate the number of children. This is by no means to state that they point to the number of ‘playing’ events. While Number is an obligatory category in English, there are many other languages in which the use of the plural marker is called upon only when it is important to mark number. Unlike English, and similar languages in which the majority of nouns, from the personal pronouns and nouns denoting persons to those inanimate objects and abstract entities, can mark number, there are many languages that restrict the number opposition to fewer situations, namely those which are high in animacy. In terms of the number values, most number systems have only the two singular and plural polarities. But there are other degrees of numerosity that occur in different languages. The most frequent form of such number system is duality, which designates only two instances of one thing. Another one is the trial system which refers to three distinct real-world entities. Finally, ‘paucal’ stands for a small number of distinct real-world entities. Given the different ways that the number is expressed, some languages have special ‘number words’ which are employed merely for the purpose of indicating number. This includes morphological expression of number which manifests widely in terms of affixes. Stems can show changes from minor stress alternations to major restructuring to show number. The way in which number is marked syntactically is through agreement. Agreement is often in addition to other morphological means of marking plurality. Demonstratives and verbs are relatively frequent agreement targets, showing agreement in number either uniquely or combined with other categories, notably gender. Reduplication is a frequent and iconic way of indicating plurality. This may involve the whole stem, more frequently, or part of the stem; the relevant part may appear at beginning, or end of the noun.   Materials and Methods This article examines some features of plurality in the Bâdrudi language, a central Iranian language spoken in central Iran. Part of the data used in this article are taken from Bâdrudi and Arismani corpuses, archived at ‘Corpus of Iranian Languages’. It is to note that another part of the data is collected by the author from the Fami village, where a variety of Badrudi is spoken. The data are transcribed based on the APA phonetic transcription and glossed in a semi-Persian way of glossing. Through this approach, the meanings are in Persian but the grammatical features are shown in English.    Discussion of results and Conclusion The analyses suggest that Bâdrudi uses three methods to mark plurality: 1. Morphological Marking: In this marking system, the plural number is indicated by adding the plural suffix ‘–u’ to the noun stem, which is not obligatory and can be used along with the syntactic ways of verb agreement and pronominal agreement. Verb agreement: Through such a strategy, the plurality is shown by the agreement between the plural noun and the verb. In this connection, the noun can also have a plural suffix: jen-u vo mir-u ru kade de âx-en “Men and women are sitting at home”. Verb agreement marks the noun that is a subject or an agent: sang baalaa cinu de darkat-en “The stones fell from the wall”. But in the sentences with ergative structure, it marks a noun that serves as an object: ču-šun ataš xossen “They burned the wood”. Pronominal agreement: In this way, the plural number is marked on the demonstrative pronouns and comes in a noun phrase. In this case, the verb of the sentence is also used in plural form: nome izom bâ tabar amariy-en “these woods are broken by an ax”. reduplicating: This involves the use of material from the noun stem and suffixing it at the end of the noun, like dot ‘girl’ > dotmot ‘girls’ in nin dotmot čerâ namden? “Why did not these girls come?”  It can be said that in Bâdrudi while the use of morphological suffix is not obligatory to indicate the plurality of noun, the use of pronominal agreement is also not obligatory as long as there is a verb agreement. On the other hand, in all the examined examples, the use of verb agreement is an obligatory way of marking plurality. The results show that in Bâdrudi, the verb agreement is a necessary and imperative way of marking the plurality of nouns. It is interesting to note that other markers are compulsory to be used. There are also cases where the plurality is not marked in any way. Considering that the verb agreement generally marks subject or agent, a noun serving as an indirect object, is not marked by any of the morphological or syntactical ways. In general, it can be said that although Bâdrudi marks plurality morphologically and syntactically, plurality is not an obligatory category in Bâdrudi, and there are still degrees of splitness in marking the plurality.

Investigating the paradox and its function in expressing the experience of the unity of existence in the poetry of the Timurid era[1]Mysticism is the knowledge of unseen truths, and in other words, mysticism is the knowledge of the truth through names and attributes, and man’s reaching the position of eternal life in God’s presence. The mystic of God, through inner journey, passes through the mystical stations one after the other and until it reaches the position of annihilation and connecting with the truth. Every school and way of thinking has its principles and rules, and mysticism also has certain rules and principles, and anyone who steps on the path of true knowledge needs a leader and a guide, and under his supervision he should study mystical teachings and conduct exercises as well as. He becomes mystical and in this way he achieves the perception of states and positions and the discovery of secrets, which is referred to as a mystical experience. Mystical experience is the collection of perceptions and knowledge of the mystic’s secrets, which after cultivating and nurturing the soul, he is inspired.  Every mystical experience is specific to the mystic who has received it, and because these perceptions are discovery and intuition and are received through inner intuition, to express them, the mystic cannot use the language of expressions, and those truths and long meanings do not fit into the ordinary language. Thus, he uses a language appropriate to those experiences and resorts to code, simile, metaphor, and paradox. Of course, sometimes resorting to the language of allusion is completely conscious and on purpose, so as not to expose the secrets.  Because not everyone is confidant of secrets. In order to explain mystical thoughts and experiences to others and to convince the audience, mystics use the artistic capacities of language in the form of paradoxical and contradictory expression and other types of allusive language. However, many of them consider mystical experiences beyond the explanation and description, and some consider it impossible to express and describe. These facts and knowledge are very different and variable according to the condition of the seeker. The question is why it is not possible to reflect these mysterious situations in the construction of conventional and standard language.  And why after their linguistic reflection, the resulting propositions seem incomprehensible, and at first glance, sometimes seem contradictory and contrary to habit. This paradox has caused thinkers and linguists to pay special attention to the language of mysticism and the means of mystic expression. Since mystics do not use only the external forms of language, but also all the symbolic, allusive, pictorial, visual, music, dance and other symbols and conceptual signs of a society’s culture in expressing the mystical experience. The special type of expression and the use of different types and methods of language make the covering of the mystical experience more concrete and make it more difficult to understand the meaning from the form of words. According to this introduction, the purpose of this article is to examine the mystical language and the means of expressing the mystical experiences and understandings found in the texts of the mystical poems of the Timurid era. Understanding the characteristics of the language and expressing the mystical experiences of this period and its style depends on the text, and from the text and its texture, the characteristics of the language and the means of expressing the mystical experience of this era can be obtained. For the correct understanding of the experiences and the divine mystical mysteries of this period, we need to understand the concept of the environment of the text and to know the contexts of the origin of the text and in other words extratextual contexts and the culture, thought and politics of the Timurid era society. According to the necessity of the situation, culture and textual configuration of the text, it should be noted that the concepts of the mystical texts of the Timurid era society, consist of different cultural contexts and structures, different readings and religious narratives and views and perceptions and discoveries and intuitions of mystics. The pinnacle of all these views is the emergence of the ideas of the Shiite school in mysticism and the boom in reading the ideas of Ibn Arabi and other Sufi schools of ancient Xorâsân. The idea of ​​surrendering to Valiyy and humanism of the Shiite school as a type of religious interpretation and the strict and traditionalist ideas of the Naqšbandiyye Tariqat as another model of religious readings are in opposition to each other and the way out from these two points of view, is the re-reading of  Ibn Arabi’s thoughts that opens the way for the sufi orders and mystics of this age and has developed Sufism and mysticism and opened the field for all sections of the society to some extent. In this sense, the area of ​​language: open and closed signs of the language of mysticism expands. The confrontation and entanglement of religious and mystical thoughts and sayings, patterns of open and closed society, politics, Tariqat and Šariʾat, have caused the complexity of the language of this period; since many of the sensitivities and grudges of the societies are the sources of conflicting ideas in the human society, and also the breadth of signs and the expansion of cultural concepts is the source of the interveneing of religious and cultural thoughts and traditions and all these matters play a role in the expansion of language and another characteristic of the expansion of the language of mysticism. In this era, the flourishing of art, especially painting, which is a form of the language of mysticism and  means of expressing mystical experience. This case can be mentioned from the visual art of Kamâl al-Din Behzâd as an interpreter of Ibn Arabi’s idea of ​​the unity of existence in the form of painting and drawing. ReferencesČenâri, A., (1377). 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Našriyyeye dâneškadeye adabiyyât va olume ensâni dânešgâhe Ferdowsi Mašhad. Year 28. vol. 3 & 4. pp. 271-294. [1] Ramazân Tafsiri: Ph.D. student of Persian language and literature of Emâm Xomeyni lnternational university.Hamid Tâheri: Associate professor of Emâm Xomeyni lnternational university.