Débat is one of the genres in Persian poetry. The poet employs this literary form to develop and express lyrical and didactic concepts (e.g. wisdom literature) and, at times, social themes. In spite of the fact that most of the modern poets ignore or do not pay enough attention to this literary form, Shafiei Kadkani, a current university poet and researcher, makes much of its potential in some of his poetry. In this research, while discussing the differences between classical and new forms of the genre, we particularly try to elaborate on the ingenious variations of the form in Shafiei Kadkani’s poetry. Results of this research show that the poet inspires a fresh soul into the corpse of the genre by introducing new insights and using some original techniques both in form and content.

A prelude to couplet COMPOSING- Baba Taher Oryan (the naked), and characteristics of his poetry Fahlaviat or ancient folklores which implied fervor, dance and joy in the language of local minstrels and musicians of the ancient times. and have been mentioned in the lyrics of Hafez of Shiraz as "Golbang-e Pahlavi", has an evident manifestation in the development of the Persian Poetry. Some people believe that Baba Taher was a tatters-clothed and bare-footed man, and that's why he was called "the naked". "Baba" has been defined by dictionaries as leader and patriarch of Calendars at that time. Another group has also attributed his nakedness to his ingenuous language and innocent purport of his poetry. Baba Taher has couplets which are a model of the most immaculate sophistical thoughts and the most joyful love songs which are among the most famous poetry of the Persian language.

Aimed at examining communication as a learnable behaviour in Molana’s petry, this paper will provide some instances in these poems for each of the three well-known theories of learning, communicative, and social behaviors, namely, Classical Conditioning, Instrumental Learning, and Social Learning. Although the instances were found out to be numerous, for the sake of space in this paper, only two or three poems were decided on to be decoded by each theory.Furthermore, differentiation, as a necessary principle in communicative and social behaviours, was separately dealt with in Molana’s poems, relevant verse lines being mentioned when needed, and the results were classified in a diagram. Finally, I tried to answer the question as to whether it is possible to find a connection between prevailing western theories of communication in this regard and the content of Molana’s poetry.

One of the most controversial sections of Masnavi Manavi is the opening verses of   Book II that about them different views of the interpretation have been suggested. In these verses, Jalāl al-Din Rūmi speaks implicitly of the causes of disruption in COMPOSING Masnavi Manavi. Also, the commentators of Masnavi Manavi have spoken about this very disruption and analyzed these verses. The present article attempts to propose new ideas about the causes of this disruption. To do this, we consider the prose prefaces of Masnavi and compare them with the final verses of the Book I, the first verses of Book II and Book III. The results indicates that on the one hand, the reason of the delay is due to the mood of the poet and on the hand it is due to the mood which the audiences were and the content of circumstances in general. As the present research is based on interpretation of the text, we believe that this article explains the cause of delay of COMPOSING the Book III and the period of inactivity better.

Simultaneous with genesis of rhetoric in Arabian and Persian language, and with this assumption that skill in rhetoric be shown and cause a altitude for poet, some Iranian and Arabian poet, designed poetries that poet force himself to coming one or several rhetorical art in every verse of that and really present a concise collection of rhetoric by his poem. Thereafter this kind of poem named “badi’ieh” prevails first time in Persian poetry and then in Arabian poetry. In these two languages this kind of poetry has difference quality and traits. This article is explanatory of COMPOSING of “badi’ieh” in Persian and Arabian literature, historical progress and their differences and similarities.

The song literally means wisdom and fresh originated from Avestan root “Teoroneh.” This word is a general term referred to the types or forms of poetry and music, especially, quatrains and “fahlaviat”. According to the ancient origins of the song, the most ancient Persian poetry is found in this genre. Composed by Zoroaster which is recorded in the "GATT", songs are considered as the first of Iranians literary glimmer. The present study is a descriptive analysis of songs by focusing on the definition of speech, rhymes and features that songwriter applied in the constitution epoch of Iran. This paper reviews music, language and theme which can be found in songs of that period. In the eighth and ninth centuries AH the term ballad was used interchangeably with lyrics and song while it was referred as COMPOSING the music. Later, the term song was referred to words in music and singing. Song, of the tenth century onwards, refers to the poem accompanied with music containing prosodic weight and sometimes it has, more or less, rhyme. One of its most striking features of song is its aptitude of being composed. Song has been frequently consistent with prosodic lyrics until Safavid period. Song in its modern form is a reward or product of Constitutional Revolution in Iran. It has a simple and intimate language and its themes are usually popular, folk and emotional.

A controversial and yet- to- be solved issue about Mathnavi is the reasons for discontinuation of Mathnavi of Rumi meetings at the close of Book I and the delayed start of Book II. Different reasons could be found for this delay in Mathnavi and works of other poets contemporary with Mowlana. However, none of there reasons by itself seems convincing enough. Therefore, researchers, both contemporary and those living in previous centuries, have been looking for other reasons, which considered altogether prove to be convincing enough, and can often be inferred from Mathnavi.In this article, the researcher provides a background to the discussion, presents a summary of the views and ideas of the view holder in the part, explicates Mathnavis ideas and then classifies the ideas and views taking the three speaker- address- and text- oriented approaches and then draws new conclusions this new classification, rather than forvsing on the reasons for the postponement of, mostly high lights the background, reasons and explicit and implicit mystical teachings of Mathnavi. There apply to the understanding of similar cases in Mathnavi (for examples untimely and sudden silent in Book VI and other works (like the mystics interest in keepings a low profile or keeping silent) this new classification explores a number of previously unexplored reasons and factors of delay such as the role of patience and silence, Mathnavis recommendation for silence, literary and stylistics devices, the address’s role and his wisdom and will, will be brought to light.

BACKGROUND AND OBJECTIVES: A textbook is like a carpet, the more delicately and accurately it is woven, the more beautiful and bright it will be. In this regard, the concept of Pedagogical content knowledge (PCK), with its various knowledges, opens new windows to design and COMPOSING it. Also, different patterns and elements of instructional design play an important role in curriculum planning, designing and presenting concepts and materials. Stylistics also specifically deals with the text and combines two types of scientific and creative writing. The problem of this research is "weakness of authorship" in textbooks; In other words, the authors compose more based on their taste and less follow a specific theoretical framework. Its purpose is to introduce the scientific and practical basics of how to write a textbook. METHODOLOGY: The research method is qualitative and its kind is applied, and in each section of this article, some criteria are given for how to design and compile a textbook. FINDINGS: This thesis also has two aspects, scientific and artistic, and the creation of literary pleasure and defamiliarization in the image and text of the book have been emphasized. At the end, paragraph as a unit of reading, writing and thinking are examined in terms of style and structure, so that the background for more edited and refined writing can be found. CONCLUSION: The result of this research is drawing a theoretical-practical framework for designing, compiling and authoring a textbook and presenting some criteria or standards for it.