This paper is intended to explain the difference between rhyme of the Qur'anic text (fasila) and rhythmic prose (saj‘). According to the earlier scholars, fasila signifies the last word of the Qur'anic verse and saj‘ is the agreement of the final words in prose which rhyme the same, at least in the final letter. Besides giving a definition of saj‘ and fasila, this research touches upon the views of the proponents and opponents of this type of appellation, inasmuch as some are totally opposed to these definitions and some take a middle position. In conclusion, naming saj‘ as fasila and vice versa is agreed upon by most of the experts. However, in most cases, fasila is dedicated to the Qur'an and saj‘ to literary texts.

The widespread use of prose in written and spoken language has not led experts to regard it as an equivalent of verse. On this basis, we do not yet have a specific definition of prose. Perhaps the reason for this shortcoming is either the difficulty of defining this kind of speech or its existential self-evidence. But philosophers, rhetoricians, orators, stylists, critics, and linguists have, more or less, tended to describe, and sometimes define, prose. Adopting a descriptive-analytical method, the present article has tried to offer a logical definition for prose after introducing the existing definitions. Having assessed the views of the predecessors, the article concludes that prose is “ connected speech” , but the feature that distinguishes prose from verse is that in prose only the phonetic-syntactic rules of language dictate the order of the discourse, whereas in verse, meter and rhythm are loaded with rules that determine the arrangement of words. Moreover, the paper discusses rhythmic prose, prose poetry and rhyming prose in terms of their prosaic and verse properties.

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.

Sa'd`i's prose is among the most sublime examples of Persian literary prose. The book, however, has not been given the attention it deserves. The writer of this paper has made an attempt to scrutinize the book to reveal the secrets of its magnificence. He begins with determining the position of the book in the prose books of Persian literature and then goes on to show the elements that contribute to this magnificence. The writer classifies these elements as either linguistic or literary and discusses them in detail.

Farrokhi Yazdi (1888-1939) is one of those poets who did journalism as well. He was both the publisher and a Columnist of the 'Toofan' (typhoon). His prose mainly focuses on communicating socio-political messages. Stylistic matters, however, are considered only as the second significance of his writings. Prose—writing poets are generally expected to keep a poetic prose style but Farrokhi has avoided this and keeps from the other poets prior to him. His essays and articles sound like written lectures and, due to a hot vocative tone of voice, his language sounds to be that of a dialogue, hence problematic in some sense.His article headlines are usually picked from folkloric proverbs. In this regard, Mirzadeh Eshghi, his contemporary, could be a second example.

Mersad-ol ‘, Ebad, is one of the important mystical works in Persian prose. Najm Razi in this mystical work uses an eloquent style of expression and rhythmic language to convey teachings of Sufism. In this work, aspects of simple and complicated prose are mixed. As far as language and linguistic elements are concerned, the Author is influenced by simple prose(Nasr-e Morsal). Yet, use of rhythmic language and musicality categorizes his work among those with complicated prose. The present article investigates the work’, s archaic language and musicality focusing on parallel, pun, and assonance. The use of obsolete words which had been out of fashion in his time, as well as using old grammatical forms shows the author’, s interest in linguistic archaism. The author’, s abundant use of parallelism in assonance proves his attempt at composing rhythmic prose. The method of research is analytic-descriptive.

In this article, the function of simple vowels in Persian poetry and prose is described. By rethinking examples of Persian poetry, the author has shown that firstly, the phonetic manifestation of vowels in Persian poetry is twelve. Secondly, it is necessary to involve phonemes and phonemes in prosody. Thirdly, knowing these twelve vowels and how they work in prosody is very necessary for the proper teaching of this knowledge. The research method in this article is descriptive-analytical, and using PRAAT software, the difference between vowels has been shown accurately. The practical results of the article are the introduction and correction of errors that occurred in the teaching of this knowledge.

This article, first takes a formalist approach and attempts to achieve two goals: defining the term defamiliarization, its essence and function. Then, it illustrates one of the prosodic features of Naser khosrow's poetry which could be considered as an appropriate example of rhythmic defamiliarization. For this purpose, seven meters from his Divan, of which rare meters are usually called unpleasant/ unfamiliar, will be discussed, and, according to their different structures, they will be categorized into two groups: one incorporating six meters, and the other containing only one. The meters of the first group which are mainly analyzed in this study have different length from their current forms. When a poet such as Naser Khosrow employs these infrequent meters in his poetry, it sounds odd to most of Persian readers who are accustomed to the ordinary rhythms. This can be called rhythmic/ prosodic defamiliarization.