Shahnameh is not only significant from a literary perspective, but it is a comprehensive encyclopaedia of age-old Persian traditions and RITUALs. Iranians cherish this masterpiece. Among these RITUALs, there are certain ones related to death such as burial and LAMENTATION ceremonies, which have their roots in human beings RITUAL beliefs and tendencies. Considering that missing loved ones is always a source of sorrow for survivors, people in the past tried to express their pain explicitly to alleviate the psychological pressure. So they would exhibit some samples of their pains by tearing their garment apart, pouring dust on their head, cutting their chignon, scraping their face, cutting thier hair, which are implied in Shahnameh. Also, we come across some burial RITUALs in Shahnameh, which, despite their superficial differences their origin is the cultural and religious beliefs of a nation. These differences in the ideology and religious teachings brought about different ways for burying the dead.

The present research has been conducted with the aim of comparing between, recognizing, and sociologically analyzing traditional and modern eulogies in terms of content, literature, and mode of conduct in the last decade. The theoretical framework of this research combines Durkheim, Geertz, and Berger's sociological theories on religious RITUALs. The research uses a documentary method and content analysis as technique. Inverse questionnaire is used for gathering the data. The research findings showed that modern eulogies have emotional- sentimental thrust, popular (folkloristic), romantic, and derogatory literature, contents with worldly love as a mark of esteem for a religious master and the desired figure, a state of frenzy, excessive religious zeal, professional lighting and voice system, and professional stage management by eulogist. In traditional eulogies more emphasis is put on describing the oppression the Holy Prophet's family suffered. The main features of this type are: formal literature, emotional and moral themes, single style and context. On the whole, these two types of eulogies lack rich content and they sound formalist, emotional, and have the nature of a public show.

Farid al-Din Attar’s Mosibatnameh (Book of LAMENTATIONs), written in line with clarification of mystical teachings and with the aim of proximity to the Divine nature, has been founded on codes that are decoded either by the spiRITUAL guide or directly by Attar himself. In view of Attar, all the universe, heaven and earth, are filled with higher codes that fall into three categories: The first group of codes are natural-based such as inanimate things, vegetation, animals and even the universe. In this group the sun and the sea are among the most important and highest codes as the codes of Divine essence. The second group of codes are the human codes which the messengers of Allah, as the real directors of wayfaring, lead the wayfarers toward total spiRITUAL annihilation in the presence of the most perfect human being, i.e. The Prophet (PBUH) of Islam. The third group are the spiRITUAL codes, hidden inside the human being. Although they are not exoteric, they contain codified meanings. In this paper, we have tried to study the collection of codes in Mosibatnameh in detail and in the three above-said levels, in order to discover new mystical concepts in the treasury of mystical views of Attar. It also intends to clarify some stages of wayfaring in the light of the triple codes.

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

Egyptian poet Ibn-e- Nabata is one of the poets of Mamlooki era who witnessed the death of his beloved ones including his own wife and children and composed elegies describing this event and its influence on him.Ibn-e-Nabata’selegy for children's death is true description of separation and pain for the loss of his children. So his elegy is sung with such a painful heart that is near to explode from great sadness as if he is about to die.On the other hand Persian poet Khaqani Sherwani has told Elegy for death of his darlings and relatives. Khaqani Sherwani lost his son, Amir Rashid Al-Din and his death made him to compose elegy in his elegies most famous of which being Taranom Al-Masaeb (The Songs of Sufferings).This study aims to compare the LAMENTATION and its characteristics in Khaqani and Ibn-e- Nabata’s poems based on American comparative literature school. In this regard, the below questions are discussed and responded: What is the view of two poets in their elegiac odes? Who is superior in this area? What are the similar and different aspects of their mournful poems? General result of this article shows that Khaqani surpasses his Arabic counterpart LAMENTATION singing for his son since human feelings are depicted more fully in his composition than Ibn-e- Nabata' s. In addition, he is innovative in this genre of poetry.

IntroductionThe practice of medicine today is divided into 2 major groups; what is regarded on the one hand as ‘ scientific’ or ‘ evidence-based’ medicine and on the other hand a disparate group known as ‘ alternative medical practices. ’ Modern or ‘ scientific’ medicine, the origins of which date from early 19th century C. E., has many shortcomings and is not perfect, but seems to be the most effective form of medical practice we have today. I will discuss this in a future article.

The stylistic study is a modern and influential approach that emerged following the linguistic developments of recent centuries and took the basic building blocks of linguistics and mixed with its various new currents to delve deeper into the texts. Stylistics is based on the analysis of the phenomena of the text according to the familiar levels, for the whole. On the other hand, committed literature as an important branch of literature, gives poetry high goals that affect the recipient as well as the community through the dissemination of ideas and philosophies; thought has an important role in the selection of textual phenomena of the most important branches of committed literature, the desired literary texts in love Ahl al-Bayt, especially the love of Imam Hussein (p), which has been interested in poets since the earliest ages to date, including these committed poets Abu Dahbal Jamahi, the great Umayyad poet who sang a poem in the lament of the Imam Hussein (p) and chose it because of the era of Imam Hussein (p) as He was one of the first poets who inherited the mother M (p). In this regard, we conducted a stylistic analysis in the lament of Imam Hussein (AS) and how his personality reflected in this poem according to its four levels (rhythmic, morphological, grammatical, and semantic). Our study shows that the poet was so interested in the musical element that it gives it the essential role in generating the general atmosphere and creating photography, as well as choosing from morphological elements and grammatical structures that suit the memorial and inspiration of the epic space.

Persian ghazal that once only focused on romantic conversation proper found new horizons after expanding its subject matter and theme. However, at the same time, it caused serious damage to its form and coherence. The purpose of this paper is to study the RITUAL ghazal of contemporary Iran in terms of both text and hypertext. The fundamental issue of the paper is the challenges that have weakened today’s RITUAL ghazal, looking for the origin of these challenges at the hypertext that has influenced this poetic form. The method of the present study is argumentative and inductive. The main corpus of the paper is the ghazal poems published in the collection of contemporary poets. A critical examination is done of today’s RITUAL ghazal and its main problems, and it is concluded that in today’s poetry in general and RITUAL ghazal in particular, although thematic and especially ideological approaches have been extended, very serious damage has been done, which has negatively influenced the persuasion of general and intended audience. More importantly, the impact of hypertext damage is so considerable and far-reaching that disturbs the text of many of today’s RITUAL ghazals, and the root of many of the text’s weaknesses must be traced to its hypertext.

Our awareness of past cultures and civilizations usually does not go beyond historical periods; therefore, it will not be surprising to find ideas and beliefs that seem advanced at the beginning of the life of some nations. This is not because of the superior intelligence of that nation, but we know of a period of their social life which coincides with the beginning of history, and it is during this period that they seem to have more advanced thoughts and distinct civilization and culture compared with their contemporaries. This is the life of Iranian people. In this paper, the author tries to support this hypothesis by extracting the signs of intellectual and moral schools (Totemism, Atheism, Mithraism and Dualism) in Ferdowsi’s Shahnameh as the national epic.

A RITUAL landscape is a combination of ‘ Place’ , ‘ Event’ , and ‘ Manifestation’ in which the latter one is stronger than the others. In a RITUAL landscape ‘ observation’ and ‘ participation’ are considered as the main elements. The key actors in RITUAL landscape are the ordinary people as the audiences who participate in comprehending the play are of the same type. The RITUAL landscape is not the narrator of history, similar to what is happening to the myth; but instead it speaks of desires, concerns, and worldviews of past times. Therefore, criticizing it as a real fact and a narrator of history might have the anti-cultural consequences. The religious ceremony of Carpet-Washing (Persian: Qā lī shū yā n) held in Mashhad-e Ardahal is one of the RITUAL landscapes in which there is a combination of two traditional ceremonies belong to the Iranian Pre-Islamic and Post-Islamic cultures both in one ceremony. The event is held on the second Friday of the month of Mehr (October), which is according to the calendar of the propitious times (Saad) in ancient Iran, and its story is based on the blood revenge for an offense committed against the Imamzadeh. The symbols used in the ceremony has such a diverse and combinational aspects that decoding them can expose many ways for understanding the Iranian culture. Although the carpet-washing ceremony is kind of landscape that has gradually formed with many historical developments, but recent actions toward them with the aim of ideological interpreting might jeopardize its historical and mythological dimension. It should be noted that the RITUAL landscape cannot necessarily be evaluated by rational interpretation and its useful outcome addressing the utilitarianism; Rather, it is more appropriate to be considered as a manifestation of past culture in relation to the place. The combination of two RITUALs of ‘ Choob-Dastan’ (People with sticks in their hands) and the emotional ceremony of ‘ Nohe-Khani’ (a musical performance and mourning for Imam Hussein during the Moharam) together with the simultaneous participation of the actors and audiences in the ceremony, brings a special feeling toward an important event happened in the past of this territory, which its connection with the Imamzadeh› s blood revenge gives the ceremony a sense of justice; as a final word, the RITUAL landscape of Qā lī shū yā n must be preserved.