Hindi style is one of the few Persian poetry styles that has had several names. The names which have caused many arguments and discussions. What has caused this chaos in the appellation process of the style is the lack of considering interests and tastes of the two groups of poets of this style who with regard to the differences of time, language and place, have displayed a certain scene of Persian language and have revealed a part of potentials of this fine language.So, in this article, by comparing the poems of two superior poets of this style, namely Saeb and Bidel, we tried to describe their common and different points, and to show the different aspects of Persian language in two geographic domains of Iran and India.

Rahatal sodour va ayatal sorour is one the Persian historical prose texts about the conditions of Iraqi Saljoughi`s which is written in technical prose- the common style of writing in that era - by Mohammad Ravandi, a powerful Persian writer. The prose of the text is not the same throughout the book. When it is merely about history it is simple but when the text requires, like the introduction and the entries of discussions or special occasions, such as crowning and demise of kings and… the author has used all poetic and literary nice arts and has compiled a typical beautiful Persian prose. Ravandi, like many technical writers has used many Persian and Arabic poetic testimonies. He has used 1778 Persian verses as testimonies. His outstanding literary feature is using Quranic adaptations and allusions as prose or poetry. In spiritual case, especially in using verbs, the features of Ghaznavi era are observable. New word combinations like tonok zavabeh, tahamtandel, heidartan… and expressions in astrology, chess, and medicine and… are conspicuous in this book. In this study we have tried to analyze the book from lingual, literary and mental aspect and illustrate its stylish matters especially from lingual and literary aspect.

Mirza Ahmed bin Mohammad Hossein Motavalli Bashi” known as “ Roshan” is one of the poets who lived in the Hijri’ s thirteenth century. He was one of the custodians of the Shah-e-Cheragh holy shrine which was a hereditary position in his clan. Mirza Ahmed Motavalli Bashi as a collection of valuable poetry, transcribed in broken Nastaliq script by “ Ali Akbar Shaker” with its original handwritten volume still existing in the library of Shah-e-Cheragh shrine in Shiraz. Mirza Ahmed was one of the followers of Shia Islam and had great love for the household of prophet Mohammad. A large portion of his Diwan concentrates on the mourning of Imam Hossein and Karbala event. Other topics seen in Roshan’ s poetry include Qalandaris poetry, love poems, and description of some events in his personal life. The historical poems written by him are also of great importance. Roshan’ s Diwan includes a total of 3016 lines written in different templates including balladry, Ghazal (sonnet), segments, composite-tie, Multiple-poem and quatrain. This Diwan had not been edited or printed to this day and is not available to the society at large. Therefore, the authors the current article edited this Diwan and wrote an introduction for it. In this article, along with introducing Mirza Ahmed Motavalli Bashi and his family and their place in Persian literature, the stylish and literary characteristics of Roshan’ s Diwan is introduced.

Style and form of Wittgenstein’ s writing are unique in contemporary philosophical literature. Thinkers take different stands about role of style and form of writing in Wittgenstein’ s works. Some of them considered form and style to be aesthetic element which weakens argumentations of his text. In contrast, the others, believe that he was aware of diverse options of form and style and chosen his unique form and style due to limitations and potentialities of his philosophy and unique potentialities of the chosen form and style. Overall purpose of this study is to examine the relation of literary forms and philosophical content in Wittgenstein’ s works. In this regard limitations and potentialities of Wittgenstein’ s style and literary forms are studied. The method of this research is descriptive-analytical and it is done by focusing on Wittgenstein’ s works. Findings of this research show that the literary aspects of philosophical text are not accidental or ornamental for Wittgenstein. Results of this research also show that he was aware of limitation and potentialities which originate from literary form. In addition, studying literary aspect of Wittgenstein’ s works in conjunction with their philosophical content reveals their fusion and interconnectivity to achieve his philosophical purposes.

Though, it is assuming that Persian Prose style has consistent rule within its ancient history, but there is happened significant mutation. However, there are influences of many Inter/Extra text causes on mutation progression of Prose style, but one of the most important reason, were presence and appearing of Stylish authors and their Creative individuality in this respect, who has affected on their society and style age by leaning on their temerity and innovation, rather be affected by them. AbolFazl Bejhaghi was one of those highlighted author within Iranian Prose mutation history, who has moving through the simple style to the technical style of next to his race. Also, he is qualified on particular conditions within extent of Author proficiency as well by his perky innovation, he is initiator of word embellishing and focusing on speech aspect within Persian Prose History.

Abou Mohammad Badee Balkhi is the poot of 4th century.There are a lot of differences among biographers regarding his name and penname, one of his works is "Masnavi of Rahatol Ensan" deriver from Anoushirvan,s pandnameh.The poetical topic of this book that is full of mottos, maxims, and advice, has a simple and practical dimensi on and reminds us of the maxims remained from great people narratives based on the statements of my thologic and historical characters. In this paper this book and its stylish, literary and artistic features have been studied.

In Iran, when we look at girls with hijab, we usually think that they are more or less the same and that chador is their most important characteristic. It's as though wearing a chador conjures up more similarities than differences. But over the last few years، we are gradually witnessing the emergence of a new generation of hijabers. They're trying to make a fashionable hijab. They use elegant accessories، make-up، use branded bags، shoes and glasses. They believe in matching these things. We saw these "stylish hijabers" as a sign of a new generation emerging and named them "3 In 1 generation". Fourteen of those girls were interviewed in this study. The results of the research show that there is a mandatory chador among the hijabers and not all have chosen the chador at their own discretion. Girls who are compelled to wear chadors resist this imposition in a variety of ways، for instance، wearing an open front chador is one of those. Also، some of the "stylish hijabers" try to correct the society's view of "chadors" by connecting fashion and hijab، and also by wearing branded clothes and accessories. In the 3 in 1 generation there exists a confrontation between "us" against "the other" but not towards misveiled women (based on the official discourse) but towards veiled women، considered as tasteless and petrified by this group. This study confirms the role of hijab fashion bloggers along with fashion and lifestyle pages on Instagram in the lives of these girls.

The artistic religious helped from some tricks making the speech stylish for good of the utterance of themselves and sometimes thy are not adjusted with some natural norms of the speech, on of this tricks that makes speech beautiful and interesting for listener and reader is "repetition industry", on the 0ther hand we try to arrange comparative consideration in this field in Farsi, Arabic and English literature and somehow it was different with the arrangement of eloquence scientists, but in some nominations followed the ancients, in this new arrangement we can divide them as follow, the repetition based from continual word to: echo, alliteration, assonance, homeoptoton, and epizeuxis, and based on repletion place: anaphora, epanastrophe, epanalepsis, epistrophe, refrain line / burden, rhyme, alliteration, internal rhyme, and according to meaning of repetition words: paronomasia/pun, inversion, antimetathesis.