Paradox is one of the manifestations of the beauty of expression in literary works and it is considered as one of the highest methods of artistic unfamiliarity that causes the word to deviate from the normal state and has a significant impact on the audience. This literary art may be used as a phrase or combination. The main question of the present research is how Zahed Tabrizi has used paradoxical expression in fertilizing his poetry, and in what ways he has shown the beauties of this art in his beautiful lyric poems. In ascetic poems, paradox in connection with rhetorical arts and aesthetics, metaphor, simile, two-dimensional image, irony, permissiveness, ambiguity, and exaggeration are mixed and the beauty of the content and expression of his poetry is doubled. At the same time, he has mostly used paradoxical compositions to reflect his intentions. The method is descriptive-analytical and is based on library sources. Introduction Paradox is one of the most innovative and the most prominent poetic and literary tricks: "Beautiful and Very shrewd Technique" (Vahidian Kamyar, 1997 294). It is undoubtedly a rhetorical factor “which raises the basis of speech and increases the appeal and pleasantness of the speech" (Rastgoo, 1989: 29). The poet achieves another universal creation by escaping from the logic governing the universe. That is, the desired and imaginative world, which is not possible in the realm of causality system, is made in poetry. " (Diggs, 1987: 256). "Indian style poetry is a theme poem, not a subject" (Shamisa, 1995: 298), so the poets of this style seek to use tricks to create new themes and what better way than paradox can be effective, so " the use of paradox and the creation of paradoxical images is one of the most important factors in the attention and interests of poets of this style. " (Ismaili and Hassanpour, 2016: 12) Experts of the contemporary period also believe that one of the prominent expressive features in Indian style poetry is the use of paradox by poets of this style. (See Shafiee Kadkani, 1992: 57). Zahed Tabrizi is one of the speakers of Indian style who stands out with the paradox of the word and causes surprise and happiness, and with pleasant bites of "Double Scissors" ". (Fotouhi, 2006: 329) The paradox makes the resident mind move and by creating sweet surprises, it pours the wine of knowledge and mysticism into its soul. In all the paradoxes of the Zahed Tabrizi, mystical concepts and the spiritual lover appear. However, many expressive and original beauties can also be found within the paradox, so the main research questions are: How has paradox caused surprise and beauty in the poetry of Zahed Tabrizi? How is paradox used in Zahed’s sonnets? In the paradoxes of Zahed Tabrizi, which expressive and novel industries show themselves? 1. 1. Research methodology After collecting verses from the Divan of Zahed Tabrizi's sonnets in which the paradoxical technique of façade has been used, the author referred to the sources and articles related to this subject such as articles "Studying the reasons for increasing the frequency of paradox in Indian style" (2016), From Esmaeili and Hassanpour, in this article, the authors have considered the reasons for the high paradox in the Indian style, as well as an article by Goli and Bafekr titled: "Paradox in Saeb's Poetry" (2008), which explored the paradox in Saeb's poetry, the article "Aesthetic Paradoxical Techniques" (2016) from Bafekr, which examines the types of aesthetic paradoxes and its structure, and the article "Paradoxical Methods in Sanai's sonnets " (2018), Mahdinia and Sattari show the function of this rhetorical element in Sanai's sonnets, as well as the books of rhetorical techniques and the culture of words, phrases and ironies that are not far from the author's point of view. According to the sources, he gathered materials to make his analysis reliable and realized this research by describing theoretical concepts and analyzing poems. Discussion The paradoxes of Zahed Tabrizi's poems can be divided into two groups of phrases and combinations in terms of structure, and each of these two types has its types. Sometimes paradox is used in the concept of a hemistich or stanza as a phrase or image and interpretation. These types of images have more artistic and aesthetic value than the combined paradoxes, which is abundant in the poetry of Zahed Tabrizi like being a stranger in hometown (Zahed Tabrizi, 2010: 54, ), alone in circle (Ibid: 54), and…. Paradoxical expressions and compounds in Zahed Tabrizi's Sonnets include two types: The content paradox is the discourse that lies behind the ordinary appearance and in accordance with the custom of truth as opposed to that appearance. Aesthetic paradox: This kind of paradox has nothing to do with contradictory content and concepts,That is, there is no contradiction in the meaning, but there are words in it that contradict each other in one sense and are not contradictory in the other. (Vahidian Kamyar, 1997: 284). This kind of paradoxical view based on expressive methods Such as similes, metaphors, two-dimensional images and irony, and novel methods like ambiguity, exaggeration and rejection, and the image are seen in Zahid’s Sonnets. Conclusion In addition to using a paradox to express his thoughts, Zahid has not neglected the beauty of this art. In investigating the types of paradoxes that include expressions and compounds, Zahed has used conflicting phrases more because they have more art value and aesthetics than conflicting compounds. In paradoxical expressions, zahid's attention to highlighting the word and beauty of expression is more than its content. To achieve this goal, the basis of the work is in relation to rhetorical sciences such as metaphor, irony, Iham, exaggeration and similarity, especially the metaphor (hidden), and he expresses it with allegory. Most of the paradoxes in Zahid Tabrizi's sonnets are based on the simile in the aesthetic field of Conflicting phrases.

Mirza Ghasem, the son of Mirza Mohsen Tabrizi, known as Zahed, was an orator and poet of the second half of the 11th century of Hedjri, who lived in Isfahan in the reign of Shah Soleiman Safavi. His birthday is not clear.His Manuscript anthology includes: Sonnets, Ballads, Quatrains, Masnavi Safinat-Al-nejat, and Menshat.Mirza Taher Nasrabadi who was among his contemporaries has included his biography and works in his own Tazkare.His hymns praising Islam's holy prophet and especially Molalmovahedin, Ali-ibn-Abitaleb, make it clear that he has had Emamieh Asna Ashari (twelve Imams) as his religion. Sweet and melodic Sonnets of Zahed abound in delicacy, lyric passion, long and clear images and ideas, imagination, and other features of Hendi style. Zahed's deep insight and strong imagination are unique in the creation of visual imagery, as well as in benefiting crystal clear words in a chain of magical ideas. Zahed's mature and, reasonable Sonnets which include colorful meanings, sweet ideas, and exciting images sometimes resemble a painting and sometimes a piece of music. Since the manuscripts of Zahed Tabrizi’s anthology have not been introduced to the sociely of scholars, this article aims to introduce Zahed and his lyrics to the advocators and researchers of Persian literature.

Before being famous and known by others, poets greatly have been contemplating on poem books (divan) of other poets living before them .immitation. proves such claims in a way that dare we say all poets even privileged Like hafez, has been impressed by poets living before him.Mirza”son of tabrizi”famous as a purist, is one of those poets and oretors lived n Esfahan in shah, time he was impressed by his contemporary counterparts in spite of his creativity in writing poems.his divan insists in ghazal, ghaside, robaee and masnavi safine nejat and monshat.he is shiet who has expressed his love to all 14shied emams’shiet leaders’emam Ali in his poems.His ghazals which are full of sensations ad feeling’ ghasayed’ historis’ masnavi shows his creativity in writing poem.Here writer is going to introduce his works and poem style by using tabrizi divan.

Sufism had enjoyed of penetration and more antiquity among other religions of Iran .Sheikh Zahed Gilani established Gnostic movement which had been rarely different with other mystical groups in Iran. However, the base of Zahediyeh’s Sufism was on poverty and mendacity, but Sheikh Zahed by political and economy’s penetration which had found in Gilan, Shervan, Aran, Azarbayjan was respected by local and Ilkhani’s kings. In spite of the great number of Sheikh Zahed Partisans, Shervan’s rulers was always shocked with fear and dread. Because Disciples of Sheikh were more than their forces .After joining Sheikh Safiodin Ardebili to him, on the base of the heritage which Sheikh Zahed had carried to him, the mystrical method was created by him. It seems, Sheikh Sufi in spite of spiritual motivations and wealth had paid attention to the pecuniary of Sheikh till to increase his power by this way. Besides of this issue , Sheikh Sufi, by transferring lordship (being a sayid)from Sheikh Zahed family to himself after getting married with sheikh Sufi’s daughter, provided the background of mixed thought of political civil of Iran for his dynasty.

Mohammad ibn Soleyman known as Fozouli Baghdadi is one of the talented poets who is master of the Arabic and Persian and Turkish languages. So, many works of this eminent poet has remained in the abovementioned languages, one of which is Rend va Zahed epistle. The analysis of Fozouli`s thought style is the main question of this research, and the researcher tries to reach the mental and ideological levels of the aforementioned writer by investigating the elements of eloquence. The point that would be clarified in the analysis is that the thought levels in this epistle have been reflected covertly and Fozouli''s attitude in this work is a critical approach. In fact, Rend va Zahed is the result of father and son`s debate and Fozooli in this debate has attempted to analyze and criticize the most important social and philosophical matters of their time, as well as to show their social interactionsto all layers of society. Rend va Zahed, in a symbolic manner, proposes the conflict between wisdom and love. Wisdom which is father in the symbol of a zahid (‘an ascetic pious man’) who debates with his rend (‘slyboots’) son who is the symbol of love and mania. Certainly Fozouli in this work has referred to a dichotomy and conflict between heart which has appeared in slyboots personality and wisdom which has appeared in ascetic personality.

Hassan ibn Zahed Gharib Kermani was a Persian Muslim alchemist, lived in first half of the 8th century. In the period of Abu-Sa`id Bahadur of Mongol Ilkhanate dynasty in Iran, Ibn Zahed travelled in 723 A.H. to India, where he was supported by Sultan Mohammad ibn Tughluq, the second king of the Tughlaq dynasty of India, and then his alchemical books were dedicated to the king. His first book, Miftah al-romuz is an authentic book that deals with the fundamentals of Alchemy, covering 6 chapters and 31 parts. Two other Farsi books are left by him and unfortunately not well-known: Mighlad al-konuz which explains alchemical processes, tools and equipments used in alchemy and Muntakhab (a selection) of Miftah al-romuz which is an independent treatise, however, more or less, is similar to Miftah al-romuz.

Sufism had enjoyed of penetration and more antiquity like other territories of Iran.Sheikh Zahed Gilani established a Gnostic movement which had some difference with other mystical groups in Iran. However, the base of Zahediyeh's Sufism was on poverty and mendacity, but Sheikh Zahed by political and economic inFluence which had found in Gilan, Shervan, Aran, Azarbayjan was respected by local and Ilkhani's kings. In spite of the great number of Sheikh Zahed Partisans, Shervan's rulers were always shocked with fear and dread. Because Disciples of Sheikh were more than their forces. After joining Sheikh Saffi-al-Din Safiodin Ardebili to him, on the base of the heritage which Sheikh Zahed had carried to him, the mystical method was created by him. It seems, Sheikh Saffi in spite of spiritual motivations and wealth had paid attention to the pecuniary of Sheikh to increase his power by this way. Besides of this issue, Sheikh Saffi, by transferring lordship (being a sayid) from Sheikh Zahed family to himself after getting married Sheikh Zahed's daughter, provided the background of mixed thought of political civil of Iran for his dynasty.

Soil salinization is a predominant process in the degradation of arid and semi-arid soils that causes reduced the yield of crops, increases erosion and intensifies desertification. The Zahed Shahr studied area is located in the south and east of Fasa city, Fars province and in recent years the soil salinity has affected large areas of the farms and gardens in this area. The aim of this study was to evaluate the salinity changes of the soils during a 17 year period using Landsat 7 and 8 satellite images using the spectral angle mapping method. To do research, the salty soil spectra were extracted from satellite data and then using supervised classification the areas with salty soil were identified changes in salinity soils in ArcGIS software were investigated. Field studies, soil surface sampling, chemical analysis and spectral analysis of soil were performed by Spectroradiometer, and X-ray diffraction analysis for mineral identification was done. The results obtained from visible and shortwave infrared Spectroradiometer, and X-ray diffraction analysis showed the presence of evaporites minerals (calcite, halite, gypsum). By comparison with real ground data, the spectral angle mapper method was identified to be efficient in the classification of soil salinity. The results of the SAM method for a period of 17 years show four times spatial increase in soil salinity in this area. The area of saline soils has increased from 1600 hectares in 2000 to 6500 hectares in 2017.

Different poetic forms are appreciated differently within various eras. A form or forms were dominant regarding political condition, the perspective of the governor, social condition, spiritual statues of people etc. As the epic and Form of Masnavi, Eulogy and Ballad were more appreciated comparing to the others in the Era of Khorasani Style, while Sonnet were more interested in the Era of Araqi Style.The Eulogy poem was not allocated too much of attention due to their religious perspective in the era of Safavid leading to less fame of Ballad form, which is the form of Eulogy. However, some poems recruited Ballad form in line to religious perspective of the Safavid and tried to survive it.Zahed Tabrizi, the hardworking poet and writer of the Safavid Era enjoys some ballades, which indicates his endeavor using literary techniques and elements of fiction on subject of ballad trying to appreciate forgotten ballad form.The objective of the this study is assessing the elements of fiction and high frequency of literary techniques, which are regarded by Zahed Tabrizi using the three manuscripts of Zahed Tabrizi’s Divan.

Lataif al-Tafsir is one of the most ancient and complete Persian commentaries, published by Mrs. Saeedeh Kamaifard with the help of Miras Maktoub Institute. The commentary is in five volumes and based on two versions. This study tried to examine the corrections of this commentary, focusing on Chapter Saffat of the holy Quran. This chapter was selected as it is among the middle chapters of the Quran, its size is big enough to be explored, it includes various issues, and ignoring the original version in the second half of this chapter. The researchers believe that the commentary has various shortcomings and categorized them into “form” and “content” shortcomings. Many witnesses pertaining to any of the categories were identified in the text. Succinctness and incontrovertible misreadings were focused upon. The succinct paper could not allow reporting in detail the causes of the misreadings, so they were mentioned briefly. The study concluded that the recorrection of Lataif al-Tafsir is totally remarkable as examining the case shows it clearly. Even if one doubts about the generalizing the findings of examining this chapter to all the commentary, some other incontrovertible issues confirm the finding such as putting aside and not using the ancient original version that belongs to Astan Quds Razavi, not having access to the complete eligible version that belongs to Abu Rayhan Biruni Library in Tashkent, not using ancient commentary and etymology books, and repeated misreadings due to ignoring the register and context. Keywords: Lataif al-Tafsir, Saffat Chapter, Text Correction, Misreading, Criticism, Distortion IntroductionLataif al-Tafsir is among the most ancient and comprehensive Persian commentaries, published by Mrs. Saeedeh Kamaifard with the help of Miras Maktoub Institute. The commentary has been done based on two versions and published in five volumes. This study tried to examine the corrections of this commentary, focusing on Chapter Saffat of the holy Quran. Among the issues affecting the selection of this chapter are its size, the diversity of its contents, and the losses in the second half of the original version of this chapter. The researchers believe that this corrected commentary includes various shortcomings and mistakes and they categorized them into “form” and “content” issues.Materials & Methods This study tried to examine the corrections of this commentary, focusing on Chapter Saffat of the holy Quran. This chapter was selected as it is among the middle chapters of the Quran, its size is big enough to be explored, it includes various issues, and ignoring the original version in the second half of this chapter. The researchers believe that the commentary has various shortcomings and categorized them into “form” and “content” shortcomings.Discussion & ResultThe study concluded that the recorrection of Lataif al-Tafsir is totally remarkable as examining the case shows it clearly. Even if one doubts about the generalizing the findings of examining this chapter to all the commentary, some other incontrovertible issues confirm the finding such as putting aside and not using the ancient original version that belongs to Astan Quds Razavi, not having access to the complete eligible version that belongs to Abu Rayhan Biruni Library in Tashkent, not using ancient commentary and etymology books, and repeated misreadings due to ignoring the register and context.ConclusionWitnesses of any of the categories were identified in the text and were put into its correct category. Succinctness and incontrovertible misreadings were focused upon. As the paper is supposed to be short, including all causes of the misreadings in details was impossible. A short review of correcting the chapter shows clearly the following issues:Various publishing and writing mistakes of this correction have greatly damaged the originality and validity of the text. Misreadings of the text have led to changes in the interpreter’s meaning and confusing the audience;Putting aside other ancient original versions such as the ones to Astan Quds Razavi and the manuscript belong to Abu Rayhan Biruni Library in Tashkent was not a right act. We guess that the reasons can be taking easy the issue, not pondering enough upon selecting the right versions, and probably lack of access to some versions;On the one hand, such issues like inaccuracy, lack of perseverance, and maybe haste in reading the original version, and on the one hand, the omissions and incorrect recordings of this version have led to many misreadings;Not checking ancient interpretive, narrative, historical, and lexical sources have resulted in meaningless parts of the text. Probably, the corrector did not feel necessary to use these sources, or found checking them difficult and time-consuming, or was content with recording the available versions and presenting an authentic commentary;Decreasing and increasing changes, deliberate in most cases and without any apparent reason, imposes the doubt the trustworthiness of the corrector in accurately recording the phrases;The corrector is supposed to endeavor at first to make correct decision regarding the illegibility or omissions and give a correct reading, using other versions and evidence. He should speculate in some occacions. Unfortunately, some of these speculations have been resulted in wrong conclusions because of putting aside the authentic version belong to Astan Quds Razavi library and neglecting the context;Two versions have been used for correcting this surah and most of other surahs. However, the second half of this surah has been corrected using only one version (Ganj version). The wrong issues of this part were so many so that the text is unusable, and we decided to categorize a few kind of these mistake examples into “miscellaneous misreadings”.In addition to the above-mentioned issues, the huge volume of this commentary, the corrector’s haste, the great diversity of this work in terms of content and meaning, the archaic fashion of expressing of the content, and different survived versions of this commentary with different handwritings have make correcting this work too difficult to be done by a corrector in a limited time and remain no choice except for correcting the commentary.