Among the Persian literary texts, there are seven prose romances that relate to different historical periods. The time difference in the narrative of each romance, the large volume and the geographic extent of these texts, has diversified their structure; this diversity and difference in the way the narratives of the romance have been closely related to the intellectual and cultural developments in the Iranian society; Nevertheless, a fixed pattern is preserved in the mythical structure of the romance. In this article, based on the model of Levi Strauss structuralism, we extracted the minima of the narrative of Persian prose romances and studied their structure. The findings of the research show that the main structure of these texts is based on the initiation ceremony or recognition of the heroism. The hero with a motive, which is generally sought after by a beloved, goes away from home and runs a long journey with enduring hardship; difficult tests and ultimately return home with victory over enemies and obtaining desires. By comparative study of stories, it is possible to rebuild their deep structure, a desire for immortality and perfection.

The lack of paragraph spacing in post-islamic Persian manuscripts has caused some people to think that there is not the paragraph in Persian prose at all. To show how this fallacy is rude, we have tried first to explain the concept of paragraph as an indispensable discourse unit that can be or not marked formally as only a question of punctuation. Then reviewing the history of paragraphos sign in old Greek, we have pointed that even from a historic point of view there are proofs from Avesta text and the Achaemenian inscriptions to demonstrate the consciousness of pre-islamic writer toward the paragraphing the texts by sign "∴ " or simply by spacing between the paragraphs. In Pehlevid text one can discover how the rhetorical and linguistic paragraph-markers such as -a kind of-"and" replace the spacing. The most interesting finding in this article is the continuation of this tradition in post Islamic Persian prose while the great Persian writer insist to begin the most their paragraphs by this special “and”unrecognized by now.

Inserting rhymes and poetry into Persian prose has a long history. Looking at the ancient prose texts, we can see that most of the writers after the birth of Persian poetry tended to this mixture; it is as if they were aware of the effect of poetry on the soul of the audience and the persuasion caused by it. Incentives based on literary and social-political goals have caused poetry to enter prose texts. By looking at the list of old and new rhetorical science books, it became clear that so far, rhetoricians have not paid enough attention to the types of poetry insertion in prose texts, which is one of the aesthetic aspects. The only term that fits this technique better than other interpretations is "Esteshhad" (affidavit). a general term that includes verse, hadith, news, and poetry in the text. Other terms such as solution, adaptation, and guarantee have been proposed, which, according to the existing definitions, are not exactly related to poetry. The appearance of poetry among prose texts has types and rules that have not been discovered so far, and terms for these types have not been provided. The present article tried to examine the prose texts mixed with poetry in the 8th century as an example of research, because Persian poetry has reached the peak of its development in this century, and tried to explain the types of poetry insertion in prose and its purposes by citing examples of the texts and presenting its proposed definitions to solve the problem. The suggested term in this writing is the completely Persian and literary term "She’r-Amizi".Keywords: Poetry, prose, Rhyme, Insertion, Esteshhad. IntroductionThe combination of poetry and prose has been common in Persian texts for a long time. The presence of scattered poems in most prose texts reminds us of the importance of examining them in terms of quantity and literary quality. The research on why and how to insert poetry in prose texts has results worthy of reflection. This article seeks to answer the question: 1- What is the appropriate term for this literary technique? 2 - what are the different forms of inserting poetry into prose? What goals did the author have in mind for this work? And what are the results of using this literary technique?The Goals of Inserting Poetry in prose TextsPersuasion and satisfaction of the audience, boasting, documenting speech, lexical witness, technical witness, explanation and interpretation or translation of hadith, verse or Arabic poetry, and indirect expression. Literature ReviewRegarding the poetic Esteshhadat of literary texts, general or case research studies have been conducted so far.Faqihi (1994): Doctoral dissertation with the title "Arabic Verses in Persian Literary Texts until the Middle of the 6th Century: Including Extraction, Translation, Arabization, Reference of Persian and Arabic Sources, Mentioning the Names of Many Arab Poets and Some Necessary Explanations" in Tarbiat Modares University. It is worth mentioning that he did not analyze the poems as much as he should have and often limited himself to extracting and presenting a few extracted poems.Sarvestani (2009): Master's thesis with the title "Culture of Persian Poems in Persian Mystical prose Texts" at Vali-e-Asr University of Rafsanjan, which was presented in the form of extracting poems and without analysis and research on the poems.Safari Agh Qal'eh (2015): a research in the form of a book titled "Persian Poems Scattered in Texts up to 700 AH" which was published in two volumes by Dr. Mahmoud Afshar’s publications. This book has examined almost all printed texts up to the end of the seventh century and has its own literary values, although the research scope of the present treatise seems to be a continuation of this book, most of the issues that should be analyzed in this treatise are in Mr. Safari's book.The Goals of Inserting Poetry in prose TextsPersuasion and satisfaction of the audience, boasting, documenting speech, lexical witness, technical witness, explanation and interpretation or translation of hadith, verse, or Arabic poetry, and indirect expression.The Results of Inserting Poetry in prose TextsIntroducing anonymous poets, revealing the author of some poems, revealing repetitive themes, discovering the intellectual values and tastes of writers, discovering plagiarism, revealing the involvement of writers in the text and preserving the cultural works of the Persian language.Types of Mixing Poetry in prose- The author has sometimes changed some words from the original verse while maintaining the meter and rhyme and used another word that was more in harmony with the text and topic.- Does the poem relate to the previous text or not? Maintaining the connection between the poem and the text has various forms; sometimes this connection is completely perceptible and understandable. Sometimes the connection is far from the mind, to the extent that the necessary connection between the content of words and poetry may not be received.- The poem either comes after the end of the sentence, or it comes in the context of the sentence and words.- The style of the poem is expressed or not.- Titles such as one verse, verse, Masnavi, etc. are given before inserting the poem, and sometimes the poem is inserted without mentioning the title.Sometimes the way of inserting poems is subject to rhyme; that is, the text can be considered a proportional mixture of prose and rhyme, and sometimes the author has included poetry wherever necessary.- The pattern of the authors in giving the name of the poet is different; sometimes the author did not pay attention to this issue, and sometimes he wrote the name of the poet or the source who quoted the poem there, or both. MethodologyThe research method in this article is in the form of content analysis, and its content is 8th-century prose texts.  FindingsAccording to the definitions of ancient and contemporary rhetoricians, the best term that can be considered for this innovative art is "Esteshhad". The main purpose stated for the use of Esteshhad is to prove the speaker's words, which also comes from the literal meaning of Esteshhad, but the patterns in the texts that we encountered in this article do not fully match the existing definitions of Esteshhad; when the author uses poetry when quoting one of the characters of his work, we do not see any intention to prove the claim in it. This issue is also true about the translation of Arabic verses, hadiths, and poems, or arranging the story told in the work. Therefore, it is necessary to broaden the definition of Esteshhad. On the other hand, "Esteshhad" is a common term in other sciences, such as law. Therefore, it is necessary to choose a special term in Persian literature regarding this issue. Since in this literary art we see the tendency of the author towards poetry and prose and poetry are mixed, the term "poetry" can express this literary art to a great extent. In addition, it does not have the mentioned problems regarding Esteshhad. ConclusionThe insertion of poetry in prose has been used for persuading the audience, clarifying the meanings of words, explaining, interpreting, or translating verses, etc., and boasting or simply embellishing words. Inserting the same poem or changing it, bringing the poem in the middle of the sentence or after it is finished, mentioning or not mentioning the poetic form, and inserting or not including headings such as verse, verse, and one verse before the poem are the methods of using this technique. The introduction of anonymous poets, the revelation of the composer of some poems, the revelation of the repetition of themes in the author's works, the discovery of the intellectual values of writers in a period, the discovery of literary plagiarism, and the revelation of the involvement of writers in writing texts and the preservation of cultural works are among the results of literary research.

One of speciality of contemporary Persian prose is the existance of some verbs which have not any role in structure of main sentence and if they have been dropped from the sentence the meaning of the sentence dose not change. At the same time these verbs clear the spatial condition and the meaning of the sentence and cause the style of speach appreach to the common people. These kind of verbs are seen in works of Hedayat G. Saedi, M. Jamalzadeh, J. Aleahmad and A. Dehkhoda. In fact these writers have used these kind of verbs in some of their sentences to create the taste and colour of common people dialogue.

The present paper investigates the history of the development of the Persian prose in the recent past one hundred years. The main purpose of this research is to provide a brief history of the contemporary Persian prose, based on the definition of periodization and influences of contemporary discourses since the beginning and up to the nineties (solar calendar). In the periodization presented here, the development of the contemporary Persian prose in relation to social structure and its crises has been considered. The paper shows that familiarity with modernity and related discourses have paved the way for major developments in Persian prose and that the connection between these developments and the socio-political structure of the Iranian society has led to the formation of different periods (five suggested periods) in the history of Persian prose. These periods are: The Constitutional Period, the first Pahlavi Period, the second Pahlavi Period, the Islamic Revolution Period and since seventies to the present.

When We review any Text, All we have are words and language. When we study about Mysticism, We couldn’t have any experience about Mystic’s real experience. All we have and all we could research about are manifestations of this experience. In This letter we addressed the discourse of some advertiser of mysticism. Mysticism is an organization that always have some relationships with power, and for or against with it. It also have exclusive Ideological expressions, special objects, and special culture; And it also tried to learn some part of it’s ideas to learners and seekers. In this paper we tried to answer these questions basis of some influential mystical texts:1. the view that governs the totality of each text, how influence on linguistic or non-linguistic choices.2. Is Ideology reflected straight or implied on every single item we examined?3. Is every Text content basis on freely thinking and creative imagination or depend on public thinking and beliefs?4. How these selected texts reinforce or stabilize Ideology structure and how they broke structure?

There are some mystical works which are the written form of Sufis' teachings, lectures, and popular tales. In other words, these works are nothing but the transference of speech to the field of writing. Thus, some aspects of both forms, that is, speech and writing, can be found in them. Taxonomy of Sufis' texts according to their formative contexts (speech and writing) shapes a continuum between these two contexts. What we call goftarnevesht (written-speech) in this article, is a coinage for the synthesis of these two contexts which itself consists of subgenres such as amali, maqamat, majalis, maqalat and siyar. These subgenres are different from each other due to their location on the continuum. This article attempts to describe the differences between goftarneveshtand other written genres which are mostly represented in phonological, morphological, syntactic, and discursive features of the texts.

Abu Reihan Mohammad ibn Ahmad Birooni is one of the great scientists, Mathematicians, astronomers, historians and who is called by the 4th and 5th century researchers scholars of the fourth and fifth centuries whom the researchers call one of the greatest eastern scholars. He was born in Kharazm in 362 (A.H.) and died in Qazneh at the beginning of the revolution of Salageqeh and the reign of Masoud ibn Mahmood Qaznavi. The works of this great scientist were in Arabic language that was the scientific language of Islam and Iran. The only book that he compiled in Persian was At - Tafhim reign which himself translated from Arabic into Persian or vice versa. The fifth and sixth centuries (A.H.) are the most important eras for literature. The Persian prose in these two centuries has the style of absolulely different kind. One style was of simple kind of fourth century prose. The prose styles of these two are of quite different. The styles of prose in these two centuries are different.

Stylistics plays a significant role in many areas of literary researches, of which, the most important is supposed to be the literary criticism. A scientific typology of literary styles can doubtlessly facilitate the task of learning about styles.This paper is intended to be a critical study of prose writing typologies as presented in the Persian books on stylistics. Firstly, the classifications for writing prose are introduced from the standpoints of some researchers; secondly these classifications are commented and criticized. Our investigation itemizes the most important shortcomings of these typologies as follows: lack of the principles of classifications; weak definitions; paradoxical referents; confusing literary and non-literary prose; imprecise and inflexible categorizations; disregarding some style variants particularly the individual styles and microstyles; intermingling genres with styles; one-dimensional views toward styles; inexact determinations of stylistic elements and features; insufficient accounts of the methods of style analysis.

This paper attempts to investigate the conceptualization of conceptual metaphors of Bravery in the contemporary Persian and English prose. The main question of this study is: "How the concept of bravery which is one of the target domain of Morality from Kovecses's point of view (2010: 23) is constructed and understood in the minds of Persian and English speakers. To achieve this goal, the authors prepared a corpus of 400 Persian sentences containing the word of
    and its synonyms and also 400 English sentences containing the word of Bravery and its synonyms from the two Bases of Persian Language database (PLDB)1 and contemporary British national (BNC)2 prose, and examined them through cognitive analysis of the extracted conceptual metaphors. A statistical study of the two figures showed that as a prototype, Persian speakers consider Bravery as an "object" and English speakers as a "property". There are also many common source domains shared by the two bodies: "property", "object", "physical force", "upward direction", "action", "matter" and "human behavior". Although the Persian and English languages have many common conceptual metaphors for conceptualization of Bravery, there are some differences between them including the different source domains between the two languages which are as follows: the source domain of "path" which is belonged to Persian and the source domain of "show" which is belonged to English. The theoretical Framework of the present research is based on the conceptual metaphor theory proposed by Lakoff and Johnson (1980) and Kovecses's (2015).