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.

Ahmad Shamloo is the main representative of prose poetry in the contemporary Iranian literature. Numerous articles and critiques have been written on the various aspects of his poetry. Most critics have used Shamloo's own poems as the verification of the representation of prose poetry; Thus, It is noticed that, except in few cases, most studies carried out on the strengths and virtue of his poems, the weaknesses and defects of his poems have not been the focus of studies. Hence, so far, no article has independently and scientifically traced the non-poetic compenents of Shamloo's poetry. In this article, an attempt has been made to examine factors such as the transformation of poetry into fiction, prose, comedy, rhetoric, report, and literary pieces, as well as his entanglement of mere conceptualism and self-projection, leading his poetry to slipping into non-poetry. The present study has adopted descriptive-analytic approach. Having collected and analyzed library resources, the researchers have found eight elements of non-poeticnesses in Shamloo's poetry.

Though many theoreticians, throughout the centuries, have argued against prosodic devices being a necessary component of poetry, usually these two have been traditionally identified with one another by a great majority of practitioners and readers, alike. But, there have also been those who have thought and acted otherwise. In French literary history, Fenelon is an outstanding pioneer who, both in his creative and theoretical writings, citing the limitations imposed by rigid rules and drawing upon the example of the Bible, argued for the loosening of the rules and, in his Teremaque, created what was termed by others as prose poetry. This paper, using the critical writings of Fenelon, Baudelaire and others, tries to sketch the development of this genre within a period of almost two centuries and to show how, in each period, the practitioners and theoreticians helped modify the literary sensibility of their contemporaries.

Comparative Linguistics has two distinct approaches towards the study of languages; Typology and Generic. The aim of the former is to detect the universals, while the latter attempts to compile the history of languages.Comparative linguist assumes one certain principle for all languages, which is the existence of similarities among them. These similarities are by no means accidental or borrowed. Thus it is assumed that these resemblances are indicators of a common source and the existing differences are the results of their development from a common original language. The comparative method enables us to reconstruct the principle features of the grammar and lexicon of the proto-language, which is a starting point to the historical description of the related languages. According to comparative linguistics, languages possess two dimensions; descriptive or linguistic and artistic-poetic. The linguistic dimension searches for a factor to transform a linguistic message to a work of art.The comparison of the significant models in Indo-European languages makes it possible to reconstruct the languages to reach that common origin, and to define the verse poetry and the poetical prose, as a consistent tradition for communication among Indo-Europeans. Based on this comparison, it can be concluded that in traditional Indo-European societies, poetic language was the area of expertise of those who had poetic motivation, but in addition to the compose of poetry, had other duties such as priesthood, foretelling and eulogizing. The surviving terminologies in the branches of this language family, both in vocabulary and in the poets' ' functional frame, are identical in west and east. Therefore, through these similarities not only can the social status of the poet be seen, but also the poetical terminology of the Indo-European family branches can be identified.The following study attempts to reconstruct and describe the poetic language and its initial form according to the existing data, with an emphasis on the Indo-Iranian branch of the languages.

The office of judgment is one of the most important, sensitive, and valuable social posts that have been assigned to the judge and the religious and cultural elders of Persian literature have placed the exact conditions for it. It has been tried using some literary texts such as Bustan and Gulistan of saadi, rumi's Masnavi-i Ma'navi, Hadiqa al-hagiqah and Shari'a al-Tariqah, divan of Parvin Etesami, Siyasatnameh or Seyr al-mulû k, Chahar Maghaleh, Roze Khold, Latayef al-tavayef, Nasihat al-Molû k, the judges ' position and their influence on the society around them and a competent definition of a competent judge, who is endowed with funds, is permitted to offer a presentation to the audience, avoiding the air of air and adorned with ethical ornaments, away from the risks of corruption and etc. the method of work in this study has been analysis of content based on library resources; so that the texts have been read, then the results of the judgment are extracted and classified according to the subject. According to the research, there is an average of 3/873% of the content of the literature examined by the judge’ s manners and ethics. In the meantime, the letters of the Siyasat Nameh, Latayef al-Tavayef and Gulistan of Saadi have devoted more to this story. Of course, 25/81% of the teachings are related to the social ethics of the judges and only 75/18% of which are subject to their personal morality. And meanwhile Bustan of Saadi, divan of Parvin Etesami, Chahar Maghale and ghazzali’ s Nasihat al-Molû k the highest share of social ethics and Masnavi-i Ma'navi and Latayef al-Tavayef have the greatest share of the use of individual morality.

One of the tricks used by warriors in battle to defeat their opponents is reciting epopee. It is exchanged in the form of a conversation between the warriors of the two armies, and ultimately weakens the morale of the other side and strengthens their own moral. It is based on the self-praise of the warriors and the expression of their deeds and honors, and it is often used during war (Sarrami, 2011). Therefore, Mukhtarnamehs in prose and poetry, whose theme is Mukhtar Thaghafi's wars in revenge for the martyrs of Karbala, are among the epic works, and in these two works, epopee and its recitation are used as one of the war tactics. In epopee, the warrior or fighter pursues two main goals: one is to weaken the enemy's morale, and the other is to strengthen town moral. There are various purposes, the most important of which are: boasting about race and ancestors (paternal and maternal family), boasting about one's power, work, and possessions, creating terror in the enemy's heart, threatening and warning the enemy, humiliating one's neighbor, encouraging soldiers and inviting them to fight, etc. As in any epopee, there are four main elements: the reader (the sender of the message); the listener or listeners of the message (the receiver); the message; and the purpose of the message (the message). In this research, this war tactic is analyzed in two Mukhtarnameh in prose by Attaullah bin Hessam Vaez Heravi and in poetry by Mohammad Hossein Khan Biglarbeigi Qajar Dulo Motkhals Shoua'i.   Methodology The method of this research is descriptive-analytical, and the method of data collection is documentary. The statistical community in this research is the prose Mukhtarnameh by Vaez Heravi and the manuscript version of the poetic Mukhtarnameh by Shouai.   Discussion 3.1. Epopee’s function in Mukhtarnameh 3.1.1.Boasting One of the obvious manifestations of epopee is boasting. In this way, the reciter boasts about the capacity, strength and physical strength, special works, race and ancestors, property and wealth, abundance of companions and troops, religion and religion, etc. In the review of Shoua'i's Mukhtarnameh and Vaez Heravi's Mukhtarnameh, two types of boasting have been used: A) race boasting: In this type of boasting, the reciter shows off his superiority in terms of race, ancestors, and ancestry by mentioning his race and lineage. In the Mokhtarnameh of Vaez Heravi, in the war between Ibn Ziyad's army and Warqa, Tariq Amesh is proud of the fact that his grandfather is a prophet (Vaez Heravi, 2007). In Shahnameh, in the story of Rostam and Akvan-e Div, Rostam proudly mentions his own race and lineage (Ferdowsi, 2010, Vol. 3: 24). B) boasting about one's own strength and ability: when Musab sends Abdullah to battle with Ibrahim Ashtar, in Abdullah's conversation with Ibrahim Ashtar, both sing epopee (Shoua'i, 1718). In Shahnameh, Rostam, in the battle with the dragon (stage III) proudly refers to his strength and fighting ability (Ferdowsi, 2010). 3.1.2. Threatening and causing terror One of the important goals of epopee is to create fear in the heart of the enemy. If the one who is reciting epopee succeeds in this matter, he increases the probability of his victory. In Mukhtarnameh of Vaez Heravi, Suleiman Sard does this in the war with Ibn Ziyad acts like this (Vaez Heravi, 2007). In Shoua'i's version, Ibn Anas and Hijaz Ibn Hur wrestlers threaten each other to death during their conversation (Shoua'i, 1718). In Shahnameh, during Sohrab's campaign to Dej-e Sefid (white fort), in his conversation with Hajir (guard of the fort), the two threaten each other (Ferdowsi, 2010). 3.1.3. Humiliating the opponent Humiliating an opponent is one of the goals and functions of epopee, during which the epopee singer despises his enemy, and for this purpose, he sometimes humiliates his religion, sometimes his lack of race, etc. In Shoua'i's Mukhtarnameh, when Ebrahim Ashtar, Abd al-Rahman Qays Hamadani is humiliated for his lack of race. In Shahnameh, in the story of the battle between Rostam and Sohrab, Sohrab humiliates Rostam in several ways. Once, he compares his face to a donkey and his hands to straw, and then considers him ignorant (Ferdowsi, 2010). 3.1.4. Summon the counterpart One of the primary goals of epopee is to summon the counterpart. In Vaez Heravi's Mukhtarnameh, Abd al-Rahman calls for a fighter in the war with Ibn Ziyad's army (Vaez Heravi, 2007). In Shoua'i's version, when all the commanders of Rabi'a's army are defeated, Rabi'a himself enters the field and chooses Warqa Gharib as his counterpart (Shou'a'i, 1718). In Shahnameh, due to the frequency of battles, we deal with this component a lot. For instance, the summon the counterpart by Homan (Ferdowsi, 2010). 3.1.5. Warning the opponent Another purpose of the epopee is to warn the opponent. That is, the fighter warns his opponent about the actions he has taken while reciting the epopee. In chapter five of Mokhtarnama of Vaez Heravi, Abd al-Rahman stops Ziyad son from cursing and disrespecting the Prophet's family (Vaez Heravi, 2007). In the conversation between Warqa and Harith bin Abdullah, Warqa reminds him of the right to bread and salt (see: Shoua'i, 1718). In Shahnameh, Khosroparviz warns and frightens Bahram from the afterlife, saying that Bahram is to blame for all the blood that has been shed (Fardowsi, 2010).  2.1.6. Battle of leaders A wise measures of the military on both sides of the army is to accept the battle between the leaders of the army. This causes less bloodshed and reaches the final result of the conflict, which is peace or accepting failure. This type of battle can be seen in the natural epics of the battle of leaders, a clear example of which is the twelve-faced war in Shahnameh (Ferdowsi, 2010, Vol. 4: 162-4). In the war between the armies of Musab bin Zubair and Mukhtar, Mukhtar during epopee, advises Musab and asks him to end this battle between themselves and not cause many people to be killed (Shoua'i, 1718: 271). 3.1.7. Name mentioning and name asking Sometimes a fighter who goes to the arena introduces himself so that a fighter of his level comes to the field or asks the name of his opponent to know who he is fighting with. As we all know, the name contains both spiritual and physical powers. The sensitivity of this point can be seen in the battle between Rostam and Ashkobus, where Ashkobus insists on knowing his name, but Rostom refuses. In Mokhtarnama of Vaez Heravi, Shaddad intercepts Muhammad Hanafiyya and his companions on the way, and attacks him, but when he learns the identity of Sayyid, he throws the spear on the ground (Vaez Heravi, 2007: 335-361). In Shoua'i's version, Warqa asks the name of his opponent before the battle (Shoua'i, 1718: 168). 3.1.8. Encouraging soldiers Sometimes the soldiers lose their morale due to successive defeats or increasing number of opposing armies, therefore do not see any hope for war. In Vaez Heravi's Mukhtarnameh, Suleiman Sard, when he realizes that the soldiers are afraid of enemy armies, uses the heavenly superiority of the believers over the hypocrites to strengthen their desire for war and martyrdom (Vaez Heravi, 2007: 154). In Shahnameh, in the battle between Rostam and Shengal (King of India), Rostam encourages the troops and encourages them to fight (Ferdowsi, 2010, Vol. 4: 243). 3.2. Aesthetics of epopee in Mukhtarnamehs In the verses containing epopee, in the two reviewed Mukhtarnamehs, literary techniques such as simile, metaphor, irony, exaggeration, etc. can be seen. Most of these figures belong to the poetic Mukhtarnameh of Shoua'i Qajar. The simile is noteworthy in the studied Mukhtanamas, because it is used in the service of the brevity of the text and solving ambiguity and complexity. Metaphors are also simple and most of them are explicit metaphors of warriors and heroes. Allusions and proverbs are among the most used figures in Mokhtarnamas, which increase the effect of satire and humiliation. Exaggeration is completely related to epopee; therefore, this figure can also be seen in the illustrations of the religious epics of Mukhtarnameh.   Conclusion Reciting epopee by warriors and army commanders is one of the prominent and important parts of epic stories, which can be seen not only in national epics, such as Ferdowsi's Shahnameh, but also in religious epics, such as Mukhtarnamehs. In the poetic Mukhtarnameh of Biglarbiegi's and the prose Mukhtarnameh of Vaez Heravi's prose, all the elements of Mukhtarnameh (Mukhtarnameh, epopee reciter, epopee listener and its purpose) were available for a purpose. Among the goals of epopee in these two works, boasting about the power and ability of oneself and the race, threatening and creating terror, humiliating the opponent, summon counterpart, battle of leaders, name-mentioning and name-asking, persuasion and encouraging the soldiers were available. In Biglarbegi's Mukhtarnameh, there was no boasting about the race and encouragement of the soldiers. On the other hand, the owners of the Mukhtarnamehs have made use of imaginary features to make the verses more beautiful and attractive. In Biglarbeigi, he has tried to be imaginative and attract the audience by using simile, metaphor, irony, exaggeration and proverb in his poem. However, only four cases of irony and one case of exaggeration have been seen in Vaez's Mukhtarnameh.

Roozbahan Baghli Shirazi is one of the most prominent mystics of 6th century. Abhar-ul Asheghein is one of his highly valued persian works, which is notable not only for its significance in the realm of mysticism, but also due to its rich prose. The present paper is aimed at dealing with the style of prose used in Abhar-ul Asheghein from the view point of music and order, as well as language of expression, and imagination, which are the three most significant elements of the poetic expression. The paper also introduces its readership to some forms of artistic expression created by the poets.Based on the findings of the present paper, various manifestations of imagination, rhymes, deep affection, are all reflected by the mystic experiences of the autho; moreover, the magnificent language employed by the author, as well as ambiguities deriving from this kind of language, are among the elements of defamiliarization which turn Abhar-ul Asheghin into a poetic prose; and this feature distinguishes it from all other mystic types of prose ever existed.Employing these elements, Roozbehan enhances the usual norms of the standard language, so as to express certain aspects of his spiritual experiences, which are not compatible with the logical norms, nor can they be expressed. Moreover, Roozbehan appears to have always been in search of beauty of the Persian prose, in his mind and soul.

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.

Purpose: The present research aimed at finding an answer to the question of the process of influence of cyberspace on Iranian Poetry in the future, and the influence of cyberspace on various aspects of poetry such as content, its audience, the poet, the media that published the poem, the process of composing the poem, the rights of the author, and Globalization of the Iranian poetry. Method: The Delphi technique was used to carry out this research. A group of experts comprising professors in the fields of Communication and Literature was selected. The expert’s opinions were collected and analyzed through an in-depth interview, a questionnaire based on the Likert scale, and by the execution of three stages of Delphi rounds. Findings: Accordingly, considering the content, the experts predicted that due to the impact of cyberspace, the quality of the poetry will be reduced and consequently, the language of poetry will become simpler and close to prose and it will only reflect the daily events of life. Regarding the audience, they concluded that the audience’s selection power will be increased, however, we can differentiate between the public and professional audience. With respect to the sender, there will be no phenomenon of multi authors, and regarding the channel, the experts agreed upon Media Convergence besides, the poets’ agency in publishing their own poems will be increased. Conclusion: Experts believe that the spread of communication technologies will make censorship ineffective. This is the only case in which the group believes in the impact of technology on the future of poetry. The group of experts did not reach a consensus regarding the impact of technology on the phenomena such as publication of author’s poems as one’s original work and the Globalization of Iranian poetry, thus, analyzed these items in the framework of the human agency.