The Verse “Spend your wealth in the cause of Allah and do not let your own hands throw you into destruction and…” is one of the Verses of the Holy Quran that jurists have cited it in various discussions (Al-Baqarah, 2:195). There are many debates in determining the extent of the prohibition and how to interpret this Verse, although the use of the prohibition of casting (throwing) from this Verse is not debatable. This paper which has been done by descriptive analytical method, seeks to answer the question: Is the criterion of the prohibition of casting into Tahluka (Arabic: التَّهْلُکَة, destruction), probability, presumption, fear with individual criterion or generic fear? This research criticizes the presented criteria after stating the meaning of the Verse and presenting the viewpoints and firstly, the presented criteria accepts the generality of casting into Tahluka (Arabic: التَّهْلُکَة, destruction), considering the criticisms of other views and considering that the case cannot limit (restrict) the general and expanded meaning of the Verse and secondly, due to the fact that rulings are enacted on titles and subjects in Islamic Sharia (Arabic: شریعة, Romanized: sharīʿa) and it is also accepted the theory of generic fear that is the customary ruling for the destruction of the person due to the improbability of jurists’ obligation to personal fear essential concomitants and due to the recension (the effective cause) of the fatwā (Arabic: فتوی; plural fatāwā فتاوی) of jurists in Verses such as the mentioned Verse. Therefore, casting into Tahluka (Arabic: التَّهْلُکَة, destruction) is forbidden, if it is from the perspective of custom for the human race.

Parody is a literary sub-genre which mocks its main genre. Considering the value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed around the question of meaning. One of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in Western literature where it is called nonsense Verse. This article tries to compare the main aspects of these two kinds of parody.

On the occasion of kings and commanders' victory over their opponents and congratulating the victory and success, the poets composed "victory Verses". These poems which were in the form of ode can be found in divans and sometimes prose texts from the early times to the present. Although the phrase "Verse of victory" has been used in various texts and some poets have mentioned it and there are several clues for distinguishing it from other types of poem, no study has been published about it and there is no trace of this kind of poems and its features and examples in dictionaries, lexicons and encyclopedias. In this paper, numerous examples of these poems, composed by the most famous Persian poets, have been collected and organized chronologically in order to answer the following questions: What are the characteristics of this kind of poem? In which form and structure has it been manifested? What is the content of it? What are its relationships with other kinds of poem like book of victory, encomium and book of war? And finally how different poets did affect and were affected by each other in these poems?

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Of modern poetry’s image has various differences till how. We can be divided it in two parts. 1) shamlouis images, 2) after70th decade’s images in a wolly look, we can say that cross center in modern poetry is much more important that classic poem and it is because of personality, free image, renew, and variation of make image elements.Shamlouis pictures, are more sensible, and they make with natural elements by knowledge.But images after 70th decade, are more sensitive, mental, which are made by unnatural elements and spacing with them are more in other types of image.

Contrary to the Verse, Poetry has rhythm, rhyme and many other things. However, it lacks the very feeling and spirit of the Verse. From this standpoint, we can rarely find distiches in the Masnavi of Mowlavi, which are free from Verse specifications. This book was basically intended to inspire excellent mystical concepts, and in such works, there is no need to employ imaginative elements and include metaphor and figures of speech, which are essential for pure Verse. The present article in a comparison with other dignified mystical works such as Hadigheh of Sanaei and Mossibatnameh of Attar, throws light on the difference of Masnavi with these works in terms of Verse and imagination quality in presenting the idea, and shows the zenith and nadir of Masnavi as well as the elements involved in these zenith and nadir.

Repetition is one technique in language of poetry through which a word or phrase has various technical implications that impress the reader. The skillful poet, who can direct the word to be worthwhile and sensuous, is able to do that work. The value of this kind of repetition rises due to its implications where the poet owns verbal and emotional originality. If there is any defect in his talent, it will lead to mediocre word and this is more important than the poet's disability to control the repetition technique completely. The great poets have been successful in using blank Verse which has powerful repetition and implications.This is true about AL-Sayyab, a pioneer - in blank Verse, has been able to use this technique skillfully to gain the verbal goals of the Verse.His power is blended with rhetorical, emotive, figurative and musical considerations in the six stations. This has been used skillfully in AL-Sayyab's blank Verse and has been able to blend the beauty of implication with the provenance and stream it to the reader's mind successfully when mixed implications. This is the status of good poetry which makes us study about the light of language and beyond it and beyond what is in the implication. The powerful implications are the inveterate part of literary interpretation.

From Nizami and Khaghani times on, there has been much discussion about new style (Genre) and concepts of this sort in the history of Persian poetry every poet tried to name himself and his Verse modern. Among all these claims, the inclination to be new and the attraction of being modern before the audience, is more outstanding. Of course, the inclination to be new stopped upon formation of the triple societies of literary-style return. But poets again, revealed their enthusiasm of being new.One of the pioneers is poet laureate Mohammad Taghi Bahar who lived during Mohammad Ali Shah, Ahmad Shah, Reza Shah and Mohammad Reza Shah reigns. He was a gifted poet with a strong memory.  His strong tendency to social and political affairs neared his Verse to the essence of contemporaneousness.Bahar claims that his style of Verse is new. In one of his compositions, he claims that modern Persian poetry is after his efforts and studies.

Subject of Palestine is neither a local nor an Arabic issue but it is an Islamic subject and all Muslims in the world assume themselves responsible for it. Disasters in Palestine have caused pain in heart of all Muslims throughout the world. This is a land that has been usurped from its owners and became a homeland for those ones who have come there from different points of the world and unlike the interest of proprietors of that land and other Muslims; they have established a government there. Amidst, it may be said that Algerians have comprehended this further and deeper than others, since they had exercised taste of occupation, transgression, pillage and plundering by foreigners. They have been under colonization hegemony for several years that was intended to eliminate their identity and ethnicity. Thus, they may comprehend better than others the Britain and Jewish plots for usurpation of Palestine land. They were victims of colonization as well while they may saw hidden hand of Britain to patronage for establishment of a Jewish government in this land. This may be well tangible in works of Algerian literati. A lot of Verses may be found in literary collections and books, which have deal with this subject from different points of view and this reflects their deep comprehension and severe interest toward this part of Islamic land and Holy Qods.

The study of similar or ambiguous Verses which has always won the attention of commentators is one of the important topics in the interpretation of the Qur'an. The Verse 172 of chapter A'raf is one of the similar and difficult Verses of the Qur'an. According to the first interpretations which have heavily relied on narrations, this Verse addresses the world of Zar. This interpretation, however was later suspected or denied by the Mu'tazilites and rationalist commentators. The present study while accepting the covenant world, examines the theories of mystics and philosophers, and the result of the research shows that the reasons presented by rationalist commentators on the denial of the world of Zar are not enough and are due to lack of knowledge of the self and its various levels. The transcendence of human soul, the collective or intellectual existence of human beings, the different levels of the soul that have different rules and conditions; can contribute in understanding the above-mentioned Verse.