In some communities, tree had been revered and worshiped. Tree in its oldest vision is a giant cosmic tree, which is the symbol of the universe and Creation. With regards to the close relationship between the tree and human life, many communities have attributed a sense of sanctity to the tree.The relationship between the man, the tree and its holiness was in a way that people in some communities believed man was born from the tree. This belief affected a part of the ritual, magic and aesthetic ceremonies of some nations. On the other hand, in some images, this is the tree which has grown out of the human body.The Talking tree and WAK WAK tree are instances of legendary trees which have entered into the Islamic art and culture.The different forms of illustrations of WAK WAK which have been drawn by Iranian painters depict the blend of the decorative and imaginative compositions in a beautiful manner. In this article, we aim to find out answers to the following questions:1- What is the similarity between the tree and the man in the beliefs and legends of different nations?2- What is the relationship between the sacred tree, the tree of life, Talking tree, and WAK WAK’s forms?Hypothesis: The common capabilities of man and tree can be mentioned as fertility, growth and procreation. Tree has been posed as a symbol of fertility and procreation besides the man, thus there exists a close relationship between these two creatures, which has led to the creation of extraordinary myths. With regard to this issue, the sacred tree, the tree of life, the talking tree and the WAK WAK tree with the human and animal fruits have resulted into the formation of WAK WAK through a process.This research aims to understand the relationship between the tree and human thoughts as well as the public beliefs reflected in fictions and various forms of arts.It may be interesting to note that few studies have been carried out in this field in Iran and they mostly described WAK WAK’s forms.

The motif of “talking tree” or WAKWAK tree, derived from the stories and tales of different lands, has appeared in various shapes in artworks. This motif is the source of WAKdecorative motifs that depictcombinations of mythicalandreal creatures’ heads with arabesques and sprays, well known as one of the primary motifs of Iranian carpets depicted in different patterns such as medallion, corner, tree, etc. These patterns are evolved from talking tree and WAK tree that can be found in the carpets of 10th-13th centuries (A.H.) in four categories. This article is aimed at exploring and understanding the different manifestations of this decorative motif and its structural and formal characteristics in the carpets of 10th- 13thcenturies. The research questions developed in this article include what types of WAK patterns may be found in the carpets of 10th-13th centuries (A.H) and what are the various styles of their design, painting and connections.The research has been carried out through gathering published material and observation, using descriptive and analytical methods.We also classified and analyzed the common patterns in most of the carpets including the humans’, dragons’ and demons’ heads to clarify the connections and structural characteristics of various manifestations of WAK motif. We concluded in this project that the frontal representation of demons’ headsare always present in the form of humans or animals while the humans’ headsare drawn more naturally and from two views, and the dragons’ heads are also drawn in combination with other creatures like snakes and crocodiles.

The ancient Persian root of the word waxs is WAK- which means “to speak” and its Avestan root is vak- which means “to tell” and vaxs in Yasna 17: 44 has used as the singular female subject pronoun, but it has been used in middle Persian period as soul/spirit, and philologists have presented the latter meaning. The researcher believes that it can be defined as the talking soul, and based on Manichean texts, it should be considered as the soul in which the words of God have been planted. The word waxsur (prophet) has been used for Zarathustra in Zoroastrian Pahlavi text too. Even though this word is not found in Old Persian texts, its equivalent and associated meanings, speech and soul (The talking soul), can be found. Naser Khosrow considered speech as the food of soul and had spoken many times about the expression of the talking soul, the perfected soul, in Manichean texts. He described speech in a way that we can substitute soul for it, and they can be considered as one. Perhaps this has been derived from the word waxs.

Repetition of phonetic parts results in phonemic balance in literary works. It has a significant role in carrying the meaning and content in the poet's mind. Maurice Grammont believes that each phoneme may implicate the different meanings. The poet and writer also value this small member of the language in the creation of music and meaning, and make good use of it to induce the content of his speech. The following article seeks to examine the two poems of Al-Nasr by Abu Rish and “ Eagle” by Khanlari, based on the American School of Comparative Studies, in a descriptive-analytical manner and based on the theory of Maurice Grammont. The writer knows well the value of this small part of language to create rhythm and meaning and based on this the reader guesses the secrets of words. This is an analytic descriptive study that compares the two poems “ the eagle” of Abi Risha and Khanlori based on the American school and the Maurice Grammont theory. These aforementioned poems have many similarities in meanings and concepts; but according to Grammon's theory, there are subtle similarities and differences that are important. The similarities in the use of consonants and vowels are on the same level; that is, both poets, respectively, have assigned the highest frequency to the brilliant and cohesive echo and the lowest frequency to the dark and halfharmonic echo; but the differences are in how these phonemes are used to convey the content of the word. Abu Rish-e-Raja spoke loudly and unabashedly about his anger and rage through the shining WAK, and he turned the nation against the oppressors and illuminated the light of hope in their hearts; However, by choosing the role of narrator for himself, Khanlari uses the brilliant vowel only to describe the authority, glory and feelings of the eagle and he avoids revelation by using the dark vowel; therefore, there is a special coherence and harmony