The structure of the sentence serves a fundamental function in the beauty of the literary text and inducing its concepts and themes. The sentence should be combined in a way that the audience position is considered. The vocabulary must be put together in a way that their syntagmatic and paradigmatic reach to ear a harmonic and subtle rhythm and their arrangement reflects the purpose and content of the text. The Al-Ashbah Sermon is one of the remarkable sermons of Imam Ali (as) that in addition to deep meanings and contents is full of structural charm beauties. One of these appeals appearing in this speech is the parallelism Rhythm that came from the frequency of structural equivalents on the surface of the syntactic textures of the sermon text; which ultimately helps to formulate the general music of that text. This research intends to study parallelism Rhythm and its relation with religious meanings and content and its requirements to study its frequency in this sermon with a descriptive-analytical approach to illustrate the unique rhetoric of Nahj al-balagha. This article also tries to take a modest step towards understanding the beauty of the structure and content of this valuable book. The results of this study indicate that both types of parallelism Rhythm (singular parallelism and binary parallelism) are observed in this sermon, although the recurrence of binary parallelism is greater than the singular parallelism.

1. Introduction: Dore Nadereh is one of the most difficult texts in the history of Persian literature. Its author, Mirza Mahdi Khan Astarabadi, has provided an artificial narrative of the history of Nader Shah's era. Although a group of contemporary critics have called the difficult text of this book perverted and misguided, it should be noted that interest in this text, like any other book, is relative and variable,however, this historical-literary work is a special and excellent text in the history of Persian prose in terms of vocabulary and variety of literary techniques. Mirza Mehdi has recorded the history of Nader Shah in another book called "Jahangshay Naderi", the language of which is much simpler than the language of Nadereh. The historical events of Nader Shah's era can be considered as the raw material for the narrative (Fabiola). "Jahangshay Naderi" and "Doreh Nadereh" are two constructs of events (plot),in the former text, the author conveys historical data in simple language, but in the latter text, by using measures such as creating balance in the levels of speech, he introduces it as a prelude to artificial prose. . .

In the field of linguistics, the concept of parallelism refers to a kind of structural harmony or accordance in form, which is normally perceived by the reader or the listener. parallelism is divided into grammatical and non-grammatical. The former includes parallelism on the level of sentences, phrases and words; and the latter studies parallelism on the level of letter and meaning. Since parallelism creates a kind of harmony or music in language, it is obviously regarded as a device of aesthetics, and also because Quran text is a rich source of aesthetics, our aim in this research is to study different kinds of parallelism including phonetic, grammatical and lexical in Quran.

The most exquisite and the greatest manifestations of our culture in our turbulent historical periods are the magnificent works in Persian literature reflecting all historical, cultural, social .psychological, aesthetic, and other aspects. To appreciate the value of these invaluable gems, we must scrutinize over the delicate and witty points and distinguish between the good well as bad aspects because our contemporary literature is the logical continuation of the past literature. In this regard, knowledge of different genres, history of literature, prosody, stylistics, mysticism, history of language, grammar, rhyme and rhythm, Radif, etc each provides a way for better understanding of literary works. Rhythmical language is an appealing subject for people, and some verses and musical statements remained from the time before Islam is an evidence of this. The evaluation of image laden language initiated from the time that a science or a craft entitled rhyme and rhythm was introduced. This article attempts to find a method for understanding the prevalent as well as obsolete meters, and it provides statistical samples from various poetic in the works of the seventh and the beginning of the eighth century famous poets.

One of the most important aspects of Hafiz’s poems is harmony between form and sense.Their relationship is so significant that leads Hafiz to widely use the sign system and connotation in his work so that his poetry has the aesthetic form, common meaning as well as hidden and secondary meaning. The present paper aimed to show that Hafiz has used parallelism as signs to increase the meaning.Implication of signs in parallelism involves two forms including the movement of mind which is not in the direction from the parallelism in the couplet towards another word or concept which is not in the couplet; and the words in the couplet which seems not to have parallelism but they are paralleled with a word out of couplet and guide the reader' s mind towards the word. In this paper, the former is called intertextuality and the latter is called hypertext signs; totally, twelve samples were investigated using library research and on the basis of content analysis.

Rhythm, in Molana's great poetical sonnets, is one of the outstanding stylistic points in Molana's rhetoric and musical poems. His affinity with music and Samaa and his mystical appreciation of human internal Samaa as well as that in universe, resulted in such a variety in meters. The present text which is on meter and versification variety and its beauty and appropriateness with Molana's circumstances in Shams' sonnets, has been taken from Dr. Mazaher Mosaffa's lecture on Molana Commemoration in central library of Tehran University in 25 Dec. 1973. The lecture, along with 7 tables of sonnets' meters, was previously published in Rahnamaye Ketab (1975, Vols. 7-9) which truly witnesses his poetic dexterity on Farsi and Arabic versifications. To commemorate the most eminent prose and sonnet poet of our time, and with Dr. Amirbano Karimi Firouzkohi (Mosafa)'s attempt, a part of that valuable lecture is granted to be published here with no change.

Introduction: Occlusal plane orientation is an important part of organized occlusion. The ala-tragus plane is considered to be parallel to the occlusal plane while reconstructing occlusion. This study was aimed to determine the condition of parallelism of these two planes in Iranian.Methods and material: In this cross sectional study, 197 patients were examined. The angle between ala-tragus and occlusal plane was assessed by indexed fox plane and the position of Stensen's duct to adjacent molar in maxillary tooth and the position of the dorsal side of the tongue relative to posterior mandibular teeth were also examined by clinical examination. Then two planes were investigated by lateral cephalometry for 23 patients. Deep bite, long face, and with bruxism patients were identified to examine the probable effect of this position in them. The data was analyzed with t-test, Peirson and X2 tests (a=0.05).Results: The ala-tragus line had the tendency to be paralleled with posterior occlusal plane and the mean angle of two planes was 1.77o. In cephalometric measurement, the estimated mean of the angle was 2.96o. In the most of the cases, Dorsum of tongue was above the mandibular occlusal plan. In the half of the cases Stensen's duct was in the occlusal third of adjacent molar.Conclusion: The differences in the mean angles of clinical measurement and cephalometric measurement have been resulted from the differences in two methods. The results allow clinicians to parallel occlusal plan with the ala-tragus line to achieve a natural position for reconstruction of occlusal plan.