Shahnameh is not only significant from a literary perspective, but it is a comprehensive encyclopaedia of age-old Persian traditions and rituals. Iranians cherish this masterpiece. Among these rituals, there are certain ones related to death such as burial and LAMENTATION ceremonies, which have their roots in human beings ritual beliefs and tendencies. Considering that missing loved ones is always a source of sorrow for survivors, people in the past tried to express their pain explicitly to alleviate the psychological pressure. So they would exhibit some samples of their pains by tearing their garment apart, pouring dust on their head, cutting their chignon, scraping their face, cutting thier hair, which are implied in Shahnameh. Also, we come across some burial rituals in Shahnameh, which, despite their superficial differences their origin is the cultural and religious beliefs of a nation. These differences in the ideology and religious teachings brought about different ways for burying the dead.

Farid al-Din Attar’s Mosibatnameh (Book of LAMENTATIONs), written in line with clarification of mystical teachings and with the aim of proximity to the Divine nature, has been founded on codes that are decoded either by the spiritual guide or directly by Attar himself. In view of Attar, all the universe, heaven and earth, are filled with higher codes that fall into three categories: The first group of codes are natural-based such as inanimate things, vegetation, animals and even the universe. In this group the sun and the sea are among the most important and highest codes as the codes of Divine essence. The second group of codes are the human codes which the messengers of Allah, as the real directors of wayfaring, lead the wayfarers toward total spiritual annihilation in the presence of the most perfect human being, i.e. The Prophet (PBUH) of Islam. The third group are the spiritual codes, hidden inside the human being. Although they are not exoteric, they contain codified meanings. In this paper, we have tried to study the collection of codes in Mosibatnameh in detail and in the three above-said levels, in order to discover new mystical concepts in the treasury of mystical views of Attar. It also intends to clarify some stages of wayfaring in the light of the triple codes.

Egyptian poet Ibn-e- Nabata is one of the poets of Mamlooki era who witnessed the death of his beloved ones including his own wife and children and composed elegies describing this event and its influence on him.Ibn-e-Nabata’selegy for children's death is true description of separation and pain for the loss of his children. So his elegy is sung with such a painful heart that is near to explode from great sadness as if he is about to die.On the other hand Persian poet Khaqani Sherwani has told Elegy for death of his darlings and relatives. Khaqani Sherwani lost his son, Amir Rashid Al-Din and his death made him to compose elegy in his elegies most famous of which being Taranom Al-Masaeb (The Songs of Sufferings).This study aims to compare the LAMENTATION and its characteristics in Khaqani and Ibn-e- Nabata’s poems based on American comparative literature school. In this regard, the below questions are discussed and responded: What is the view of two poets in their elegiac odes? Who is superior in this area? What are the similar and different aspects of their mournful poems? General result of this article shows that Khaqani surpasses his Arabic counterpart LAMENTATION singing for his son since human feelings are depicted more fully in his composition than Ibn-e- Nabata' s. In addition, he is innovative in this genre of poetry.

The Ashura event influenced the composition of some of the melodies and types of music. In this article, the beauty of Yazd's LAMENTATION, vocal music of Ashura poems, and their effects on the musical system are the subject of study. The composer establishes the theme and then makes similar themes to expand the poem. While reciting the poems on Hosseini Ashura, the singer progresses with the change of tone and modulation. As a result, in Yazd's Ashura poetry and LAMENTATION, the combination of poetry with the style of song melodies, the presentation of a specific type of music called "Bayat Yazd", the use of musical jumps, and also new melodic styles are some of the characteristics of this kind of poetry. Poetry is the music of words and phrases; this is even more important in the LAMENTATION poem because, in addition to the proportion of meter and content, it also requires the function of a music type. The music of Ashura's poems affects the word and the meter in the same way. Yazd's Ashura poems have developed in terms of the appropriate meter, theme, style, language, and music. Sometimes, according to the music and melody, the meter, form, and rhymes could be modified. All of these modifications depend on the poet's sense and experience. When he opens his mouth, he reveals his hidden meaning with his melody. If the beats create a melodic style, it is called the rhythm of the music, and if the beats represent how the words flow, it is called poetry. Singing is a sub-device. The vocal lines add a specific beauty in performing the lament. In expressing and reciting Yazd's LAMENTATIONs, knowing the beat and method of breaststroke from one, three, five, or seven, and sometimes a mixture of beats is necessary. Combining different types of external music with semantic and internal music creates a new atmosphere in LAMENTATION. The main variation of lamenting is the addition of frequent or non-repetitive sections. Poets who want to take the path of Ashura should first comprehend the song's spirit and the secrets behind it because not every poem is suitable for every kind of singing. The secret of Yazd's Ashura LAMENTATION and poetry is the novelty of the theme, the combination, and connection of the poem with the melodies, which includes the events of Karbala and recounting the emotional, moral, and cultural needs of the people of their time. But before composing a poem, the composer should consider the extent of the singer's voice, performance, and the way he expresses himself because each singer's voice has characteristics that if the composer does not consider such features, his song could not be so heartwarming and impressive. The Ashura poet can connect the geometric composition of the word with the music. He familiarizes the strings of each song with the texture of each word in creating an Ashura-Hosseini poem. In Ashura poems, melodies or selected musical sentences and meters, in addition to beauty, reveal the content of speech and express the tragic event of Ashura and the desert of Karbala. The role of music and sound in the poems of LAMENTATION is theological. The music of the lyrics complete and promote the art of LAMENTATION rituals and keep alive the Ashura culture.

The stylistic study is a modern and influential approach that emerged following the linguistic developments of recent centuries and took the basic building blocks of linguistics and mixed with its various new currents to delve deeper into the texts. Stylistics is based on the analysis of the phenomena of the text according to the familiar levels, for the whole. On the other hand, committed literature as an important branch of literature, gives poetry high goals that affect the recipient as well as the community through the dissemination of ideas and philosophies; thought has an important role in the selection of textual phenomena of the most important branches of committed literature, the desired literary texts in love Ahl al-Bayt, especially the love of Imam Hussein (p), which has been interested in poets since the earliest ages to date, including these committed poets Abu Dahbal Jamahi, the great Umayyad poet who sang a poem in the lament of the Imam Hussein (p) and chose it because of the era of Imam Hussein (p) as He was one of the first poets who inherited the mother M (p). In this regard, we conducted a stylistic analysis in the lament of Imam Hussein (AS) and how his personality reflected in this poem according to its four levels (rhythmic, morphological, grammatical, and semantic). Our study shows that the poet was so interested in the musical element that it gives it the essential role in generating the general atmosphere and creating photography, as well as choosing from morphological elements and grammatical structures that suit the memorial and inspiration of the epic space.

To study the implications of various elegies for Imam Hussein in the poetry of Arabs and non-Arabs is of great importance to many researchers of comparative literature. In this context، the main feature of the elegies is addressing the sufferings of Imam Hussein، and crying upon his pains. Sharif Razi، a poets of Arabic literature in the fourth century AH، and Mohtasham Kashani، a poets of Persian literature in the tenth century، are among Shiite poets who share characteristics regarding elegies on Imam Hussein. This study tries to compare and contrast the elegies of these poets through a descriptive-analytical method. the results are represented in charts.

Elegy is one of the literary-lyric genres that two elements of emotion and feeling have pivotal role in it. According to this, from psychological view, the root of elegy shall be sought in psychological issues and human’s will of eternity. In authors’ view, the background of this literary genre is rooted in Iran culture and literature like single couplets that are being throat-read in lak-living areas of Zagros named Mour and Hooreh. Scholars have collected info, used descriptive documentary method, and reviewed different kinds of elegy and concept of LAMENTATION from Literary-psychological analysis in culture of Lak. Results show that our cognitive gap about spiritual and psychological treasures of our domestic culture and literature caused us to face the phenomenon of “inter-generational gap” in transition of traditional society to a modern society. Thus focusing on domestic culture and literature and making a bridge between old and current societal values is an unavoidable necessity.

Research about Persian painting (generally, all objects of Art), has its own difficulties. One of these difficulties, of course, is that, how was its creation. The creation of any object of art, is a twisted problem, deals with several factors, some apparent some stealth, but never a fixed number of them existed that could act like variables. In this paper, we tried, with help of some obvious considerations, to find some of these factors. The seven factors that we consider as seven principal points of act are content patterns (stereotypes/ icons), formal patterns (formal traditions/styles), patron, social- economical- political- religious conditions, primary context, artist (whether single artist or a group of them) and audience. All of these elements have not an equal place in comparison with the others. Audience is the most important one, because it has a twosome projection, in one hand, it have an influence on formation of painting (the painting is for audience whether it is a single king or a wide range of scholars or a wider one of usual people), in the other hand, it is the audience that uses (=read, look and so on) the painting and as a user, he is the true interpreter of that. The elements of formation of paintings are not the variables that can posit in any situation they are just factors that have causal and random roles. So is their scale of influence in each painting that cannot be determined. We have tried to introduce and explain all seven elements with the case study by a painting from baysunghuri Shah name: ” lament of faramarz on coffins of his father, rustam, and his uncle, zavare.” This painting has not any special formal or conceptual elements that merits over the other painting, and just this make it a potential one R for neutral study. Of course without any special mode, this painting has some important aspect in case of storytelling. First, the story is a secondary one and has no importance in Shah name. Second, the baysunghuri Shahname is an important one and has been produced for special purpose, that is, maybe, the ambition of baysunghur for reign. In any case, this painting has some important implications that is more than telling a story. The death of rustam as a most important hero in Shah name, have not been painted, just his coffin and this is the act of de familiarization of this painting. For interpreting this factorial element, one must look for an element that conjoins form and content. In this case, the linker is Arabic phrases, who by verbal means, try to transfer the contents that mean for artist. In this case, the content is fatalism. In other word, every text has two conceptual modes. On is denotation and the other is connotation. By denotation, we mean what the object of art shows directly and by connotation, what the object shows covertly and, of course, the connotation mode can be artificial or otherwise natural. The end of paper will deal with the meaning of the painting.

BACKGROUND AND OBJECTIVES: The Eastern Qajar Divan is one of the most precious stones of the 13th century. Unique copies of this poet's divan are available in the Library of the National Assembly, the Golestan Museum Palace, Astan Quds and the Malek National Library. The purpose of this research is to analyze the style and content of this poet's divan from three perspectives: intellectual, linguistic and literary. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Qajar East is one of the poets of the return period. He has followed Hafez in composing poems. In his divan, in addition to poems, lyric poems and quatrains, he has lamented and lamented the Ahl al-Bayt, especially Imam Hussein. CONCLUSION: One of the poetic features of this poet is the poetic use of novel industries in the field of novel verbal and spiritual. Of which; Repetition in the realm of rhetoric and my imagination in the realm of spiritual novelty; Allowed among the imaginary; They are the most frequent literary arrays. Another feature of this manuscript is the use of current lines, so that a large part of the poems of the court are dead. The variety of poetic forms in the poems of this poet has caused a variety of concepts, so concepts such as; Religious and moral thoughts, love, description of beloved states, description of beloved, mysticism, praise of the Prophet, Shiite Imams and Fath Ali Shah Qajar can be seen in his poems.

So far some research and studies have been done on the history of Imam Hussein’s (AS) LAMENTATION entry to Persian poetry, and they have considered the fourth century as the starting point of this entry. Mean while, these studies have mentioned the cause of poets’ eulogy and LAMENTATION about the Holy Household (AS) were the Household’s comments and encouragement. They have stated the reasons for the delay of Imam Hussein’s (AS) LAMENTATION entry to Persian poetry until the fourth century as: the oppression of the cruel rulers of the time, the elimination of Persian Shiites’ poetry, or the negligence of Persian Shiites’ poets. In this study each of these reasons is reviewed and rejected based on some historical documents and Persian literature history. In addition, the main reason for the absence of Imam Hussein’ (AS) Persian LAMENTATION until the fourth century is explained according to historical information and the views of Persian literature experts. The real and more reasonable reason for the enthusiasm of poets to compose poems about Imam Hussein (AS) and the Holy Household (AS) in more recent periods is presented.