17 research outputs found
A research on metamorphosis of symbols in Tahere Saffarzade’s poems
No full textAbstractSymbolization or symbolic language is an ancient and effective way to communicate among people. Understanding this symbolic language has shown new aspects of symbols in different literary works. In Europe it has formed a new doctrine of symbolism. Symbolism in Persian literature has not been as strong as Europe, but it can be seen in even oldest literary works of mythology. In mythological stories, symbols usually appear as unnatural people or objects. The best example of these symbols in Persian literature are mythologic symbols of Shahname by Ferdowsi like Rostam, Keikhosrow, Fereidun, Zahak and objects like Seven episodes of Rostam and Esfandiar and so on. In modern era of literature of Iran symbolism and symbolic literary language has been used a lot because of political and social causes. This various use of symbolism among contemporary writers has formed new symbols and also some metamorphosis of older symbols with new meanings. In a brief look, we can mention these causes to spread large use of symbolism in contemporary literature: A: Suffocation and despotism of Pahlavi regime and its negative effect on literatureB: Affection from world known doctrines line symbolismC: Creation of ambiguity and deepening older meanings of symbolism to create new symbols from older onesD: Enriching meaning and creation of polyphony of literature arts by symbolism (Khosravi Shakib, 1387: p.148)Tahere Safarzade is one of the well-known poets of contemporary literature in symbolism which faced a new world by using symbols in a new and creative way. SAFFARZADEH uses multiple objects and characters to symbolism in her poems like mythological or ritual or even ordinary characters. Symbols in her poems that vary in meaning sometimes from a partial to full metamorphosis. In this Research we try to clarify symbolism of these characters and their metamorphosis concerning the majority of use of symbols in her work and understanding her literary language and also her world view. In a brief and overview we can divide symbolic characters of her books to religious, historical, mythological and ordinary characters.The outcome of this research shows that some symbolic characters of poem like religious characters are very bold, because of poet's religious world view, so sometimes they boldly effect poets’ whole work sometimes and make it symbolic. One of the best examples of this type of symbolism is the long poem of "Safar Zamzam" in which poet has shown the main character as an outstanding symbol. As much of these religious characters has been used in poets’ works, metamorphosis is not significant because of holiness of religious beliefs by the poet, but in other symbols we can follow the order of metamorphosis.Reading historic symbols also shows that there is no significant metamorphosis in symbols and it’s because of simultaneity of some of these characters with poet herself. About mythological characters in some symbols there are whole changes from a positive to negative character and in some symbols there are no changes. The most outstanding change in symbols metamorphosis is seen in ordinary characters and symbols. These symbols are used in her works widely and are mostly new symbols or new aspects of look to older ones. In other words it seems that poet has created a big list of private symbols in her art work to express her feelings and thoughts in special political and social condition of her era and endured Persian literature with these new symbols.Finally, by deliberation in her works we can deduce that Tahere Saffarzade is a poet who has preferred to create new symbols instead of creating metamorphosis in currently used symbols in Persian literature and made her own unique literary language
A research on metamorphosis of symbols in Tahere Saffarzadeâs poems
No full textAbstractSymbolization or symbolic language is an ancient and effective way to communicate among people. Understanding this symbolic language has shown new aspects of symbols in different literary works. In Europe it has formed a new doctrine of symbolism. Symbolism in Persian literature has not been as strong as Europe, but it can be seen in even oldest literary works of mythology. In mythological stories, symbols usually appear as unnatural people or objects. The best example of these symbols in Persian literature are mythologic symbols of Shahname by Ferdowsi like Rostam, Keikhosrow, Fereidun, Zahak and objects like Seven episodes of Rostam and Esfandiar and so on. In modern era of literature of Iran symbolism and symbolic literary language has been used a lot because of political and social causes. This various use of symbolism among contemporary writers has formed new symbols and also some metamorphosis of older symbols with new meanings. In a brief look, we can mention these causes to spread large use of symbolism in contemporary literature: A:Â Suffocation and despotism of Pahlavi regime and its negative effect on literatureB:Â Affection from world known doctrines line symbolismC:Â Creation of ambiguity and deepening older meanings of symbolism to create new symbols from older onesD:Â Enriching meaning and creation of polyphony of literature arts by symbolism (Khosravi Shakib, 1387:Â p.148)Tahere Safarzade is one of the well-known poets of contemporary literature in symbolism which faced a new world by using symbols in a new and creative way. SAFFARZADEH uses multiple objects and characters to symbolism in her poems like mythological or ritual or even ordinary characters. Symbols in her poems that vary in meaning sometimes from a partial to full metamorphosis. In this Research we try to clarify symbolism of these characters and their metamorphosis concerning the majority of use of symbols in her work and understanding her literary language and also her world view. In a brief and overview we can divide symbolic characters of her books to religious, historical, mythological and ordinary characters.The outcome of this research shows that some symbolic characters of poem like religious characters are very bold, because of poet's religious world view, so sometimes they boldly effect poetsâ whole work sometimes and make it symbolic. One of the best examples of this type of symbolism is the long poem of "Safar Zamzam" in which poet has shown the main character as an outstanding symbol. As much of these religious characters has been used in poetsâ works, metamorphosis is not significant because of holiness of religious beliefs by the poet, but in other symbols we can follow the order of metamorphosis.Reading historic symbols also shows that there is no significant metamorphosis in symbols and itâs because of simultaneity of some of these characters with poet herself. About mythological characters in some symbols there are whole changes from a positive to negative character and in some symbols there are no changes. The most outstanding change in symbols metamorphosis is seen in ordinary characters and symbols. These symbols are used in her works widely and are mostly new symbols or new aspects of look to older ones. In other words it seems that poet has created a big list of private symbols in her art work to express her feelings and thoughts in special political and social condition of her era and endured Persian literature with these new symbols.Finally, by deliberation in her works we can deduce that Tahere Saffarzade is a poet who has preferred to create new symbols instead of creating metamorphosis in currently used symbols in Persian literature and made her own unique literary language
Investigating the Phonetic Balance of Salman Savoji's Sonnets of Jamshid and Khorshid
No full textMusic is one of the most significant factors in the beauty of poetry. This factor shows itself quantitatively (meter) and qualitatively (phonetic balance) using phonetic balance. Salman Savoji has achieved it well in his sonnets (47 sonnets) as he composed Masnavi-e Jamshid va Khorshid. In these sonnets, he mostly uses meters that have a manner of rising intonation and beat. In the section on qualitative phonetic balance, we can see various types of repetition in his sonnets. Salman Savoji has given a special effect to the music of his poetry using all kinds of vowels and consonants. In this study, we have examined different types of short and long vowels, initial, middle, and final consonants, and repetition of the whole word. The highest frequency in the section of vowels is related to the vowels /a:/ and /e/, and the lowest frequency to the vowels is allocated to /u/, /a/, and /u:/. In the consonant section, the consonants /s/, / x/, and /∫/ have the highest frequency and the consonants /p/, /? /, /q/, and /n/ have been repeated less. This study has been conducted through the analytical-descriptive method. The statistical population is forty-seven sonnets of Masnavi-e Jamshid va Khorshid. First, the topics of phonetic balance in sonnets are identified, and then each of them will be analyzed by drawing graphs and tables. Keywords: Phonetic Balance, Salman Savoji, Sonnet, Masnavi-e Jamshid va Khorshid, Music of Poetry. IntroductionMusic is one of the basic foundations of Persian poetry. The coherence and strength of a poem depend on its relevant possession of music. Thus, the closer it is to music, the stronger it becomes (Shafi'i Kadkani, 2004, p. 374). Eliot also believes that the music of poetry originates from the poets’ conscience, namely the place of words, which shows their goodness and badness. The composition and structure of poetry have a great effect on the beauty and delicacy of words (1996, p. 67).One of the topics that is essential in the musical analysis of poetry is phonetic balance. Phonetic balance itself is one of the topics of adding to the rules. Repetition of phones can appear in the form of repetition of one phoneme, several phonemes within one syllable, and syllable and word in speech. Chomsky also believes that language competence is related to three groups of rules such as phonetic rules, syntactic rules, and semantic rules (as cited in Bagheri, 1996, p. 159).Salman Savoji has composed Masnavi-e Jamshid va Khorshid in 763 AH. One of the characteristics of this Masnavi is that Salman has included some sonnets with different meters along with the Masnavi verses so that he has compensated for the musicality of Masnavi-e Jamshid va Khorshid in terms of meter. Therefore, it can be said that phonetic balance is a significant aspect in Salman Savoji's poetry.Materials and MethodsThis research has been conducted using the analytical-descriptive method. The statistical population is forty-seven sonnets of Masnavi-e Jamshid va Khorshid. Research FindingsThe following diagram is a summary of the analysis of phonetic balance in Salman Savoji's sonnets: Figure 1. Phonetic Balance in Salman Savoji's Sonnets Quantitative Phonetic Balance (Meter)Formalists, as contemporary theorists, emphasize music and phonetic elements a lot. They believe that music and meter are the building blocks of poetry. According to Richards, “Meter is a device that allows words to have the greatest possible impact on each other. In rhythmic works, the accuracy, clarity, and the state of expectation, which is usually unconscious in most cases, increase” (1996, p. 117). Qualitative Phonetic Balance (Phonemic Balance)Phonetic balance is “a set of repetitions that can be investigated at the level of phonetic analysis” (Safavi, 2014, p. 167). Phonetic repetition can occur from the repetition of one phoneme, several phonemes within one syllable, and the harmony and repetition of consonants and vowels.Repetition of the Initial ConsonantsSome scholars interpret phonetics and homophones as inducing harmony. "Nowadays, what is called ‘inducing harmony’ is an effect that the poet achieves by choosing words whose constituent phonemes are in proportion with his/her mental images or thoughts" (Qayoumi, 2004, p. 9). Khajeh Nasir al-Din Tusi has talked about the inducing harmony before Western scientists (Heidari, 2015, p. 82). Vowel RepetitionShamisa calls the repetition of a vowel "assonance" )2002, p. 80). Phonetic balance arises from the repetition of a vowel in several words. Safavi emphasizes the repetition of vowels for the two different types of repetition (vowels and consonants) since it may be assumed that “consonants have no sound” (2014, p. 189). Discussion of Results and ConclusionMeters, beat, and rhythm are the most basic tools of poetry, and without them, poetry loses its reality. This point is evident even in Nimai's poetry as well as Blank poetry.By examining and analyzing the meters of Salman Savjoi's sonnets, it is concluded that Salman has benefited more from the rhythmic, sharp, and active meters. In an investigation of 433 sonnets, Salman Savoji used 22 meters, among which 8 meters are the most frequently used ones as follows: the meter of ‘Faalatan, Faalatan, Faalatan, Faalan’ has the highest frequency with 85 sonnets. The meters of ‘Fa’oolan, Fa’oolan, Fa’oolan, Fa’oolan’ and ‘Motafaelan, Motafaelan Motafaelan Motafaelan’, each of which with having one sonnet, has the least frequency. It is understood that Joybari’s meters and Kader’s have received less attention. In fact, it can be concluded that Salman Savoji was familiar with music and knew happy and pleasant songs completely.Salman Savoji's familiarity with music has enabled him to be very careful in choosing vowels and consonants so that he uses phones that have special music and beauty. In the analysis of the diagram of vowels and consonants, the vowels /a:/ and /e/ and consonants /s/, /x/, and /∫/ have the highest frequency in Salman Savoji's sonnets. The three mentioned consonants show inner feelings and emotions, and Salman has used them well
Algorithmic Approach for Learning a Comprehensive View of Online Users
No full textAbstractOnline users may use many different channels, devices and venues for any online user experience. To make all services such as web design, ads, web content, shopping, personalized for every user; we need to be able to recognize them regardless of device, channels and venues they are using. This, in turn, requires building up a comprehensive view of the user which includes all of their behavioral characteristics - that are spread all over these different venues. This would not be possible without having all behavioral related data of the user which requires the capacity of connecting the user all over the devices, and channels, so to have all of their behavior under a single view. This work is a major attempt in doing this using only behavioral data of users while protecting the user's privacy
Recommendation System Based on Complete Personalization
No full textAbstractCurrent recommender systems are very inefficient. There are many metrics that are used to measure the effectiveness of recommender systems. These metrics often include “conversion rate” and “click through rate”. Recently, these rates are in low single digit (less than 10%). In other words, for more than 90% of times, the model that the targeting system is based on, produces noise. The belief in this work is that the main problem leading to getting such unsatisfactory outcomes is the modeling problem. Much of the modeling problem could be represented and exemplified in treating users and items as member of clusters(segments). In this work, we consider full personalization of recommendation systems. We aim at personalization of users and contents simultaneously. Recommendations using baseline approach are inaccurate and targeting based on similarity-based recommendation (collaborative filtering) suffer from many disadvantages such as the neglect of interactive correlation. In this work, similarity based targeting has been combined with baseline approach and latent factor models and has been treated with adaptive regularization allowing complete personalization with respect to both users and items
Experimental and Numerical Study of Pile-to-Pile Interaction Factor in Sandy Soil
No full textAbstractIn structures to support large vertical and horizontal loads, piles are usually used in the form of closely spaced group. The piles in a group are not only affected by their individual loads transmitted from the pile cap, but also by additional loads transferred through the soil from the interference of neighboring piles. This group interaction influences the group stiffness, load-transfer mechanism and group settlement. In order to predict the response characteristics of pile groups, the interaction factors calculated using Mindlin's solution based on the theory of elasticity has been widely applied. The pile-to-pile interaction factor is defined as the ratio of displacements or rotations of an unloaded receiver pile to those of neighboring loaded source pile due to soil deformation. In this paper, a series of centrifuge model tests were carried out to examine the effect of soil relative density and pile spacing and pile tip condition on the interaction factor between two adjacent piles. Based on the results, soil relative density has a significant effect on the interaction between piles and thus it must be considered in the calculation of interaction factor. For this purpose, a correction to the Randolph and Wroth equation based on the test results was proposed in which the effect of soil relative density is contemplated. With an increase in the pile spacing, the value of interaction factor for all cases decreased. Compared to the effect of pile shaft, pile tip condition has a little effect on the interaction factor. The obtained results were also compared with those from a three-dimensional finite element analysis and a good agreement between the measured and the calculated results was observed
Morphology-induced spin frustration in granular BiFeO3 thin films: Origin of the magnetic vertical shift
No full text© 2018 Author(s). Pronounced room temperature vertical shifts in the magnetic hysteresis loops of granular, highly polycrystalline and ferromagnetic-like BiFeO3 thin films are observed upon field-cooling from a temperature above the Néel temperature of bulk BiFeO3. This is ascribed to the interplay between the preferential alignment, established by the field-cooling process, of the net magnetic moment, which arises from uncompensated antiferromagnetic spins, and the pinning of a fraction of these spins at the particle boundaries. Conversely, field-cooling of an epitaxially grown BiFeO3 film results in no vertical shift, confirming the effective role played by the particle boundaries (i.e., morphology) of the granular-like BiFeO3 films in the process of spin frustration.sponsorship: This work was financed by the Research Foundation-Flanders (FWO) and the KU Leuven Concerted Action (GOA/09/006 and GOA/14/007) programs. E.M. acknowledges the European Union's Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie Grant Agreement No. 665919. M.L. and M.G. thank the Deutsche Forschungsgemeinschaft within SFB 762 "Functionality of Oxide Interfaces" for financial support. The authors thank the ESRF, Grenoble, France (Proposal No. HC-1586, BM20 beamline) for the allocation of SR beam time and C. Bahtz for the assistance during the experiments. The authors also extend their gratitude to Kerstin Brachwitz and Peter Schwinkendorf for the atomic force microscopy measurements. (Research Foundation-Flanders (FWO), KU Leuven Concerted Action|GOA/09/006, KU Leuven Concerted Action|GOA/14/007, European Union's Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie Grant|665919, Deutsche Forschungsgemeinschaft within "Functionality of Oxide Interfaces"|SFB 762)status: Publishe
Overview of the Factors Music Making in Tamhidat by Ein al-Ghozat Hamedani
No full textAbstract
Figures of speech in addition to their aesthetic functions have different effects on words. Internal music is one of the effects of figures of speech which can play an important role in beautifying the word and its effect on the audience. The internal music comes with the use of verbal figures of speech. Figures that make words related by similarity or uniformity of vowels and consonants and create sensible alliteration. Categories of palilogy, alliteration, parallelism, pun and riming prose are among the figures of speech that play a major role in creating internal music of the poem. In this study, with a descriptive-analytical approach, we discuss the roll of music making factors in Tamhidat as an example of prose poem. The language of Ein ol-Ghozat in Tamhidat is preachy and didactical and in an addressing mode. Despite the intensity and sharpness of his speech, he speaks simple language with his audience. However, his words are in some cases melodious that influences audience and increases its penetration in the listener. The music of his words is natural so the listener can feel it with his spirit and takes its effect. Well syntagmatic arrangement of words is one of his language features that is based on music and phonemes' melody. This music gives words importance and predominance and makes Tamhida's prose a kind of prose poem. Applying some of the subtle and tiny musical elements such as parallelism (paronomasia /pun) makes the music of book more effective and catching. In other words, harmony of sounds and synchronization through which prose becomes rhythmic and melodious is one of the aesthetic aspects of the mystical prose of Ein ol-Ghozat that arises from his word's music and special intonation, so as human nature accepts it and enjoys reading. This word music is found in the form of alliteration, pun, repetition, and meter in important parts of his speech that sometimes becomes close to prosodic meter. In Ein ol-Ghozat's prose without feeling prosodic meter by listener, a wave of intonation and meter dominates resulted from alliteration and rhyme, and proximity of the number of syllables in every symmetry and perhaps likeness and nearness of the number of syllables in all or parts of the symmetries.
Repetition as a key element of the internal music is one of Ein ol-Ghozat's stylistic characteristic. Repetitions are seen in three forms in Ein ol-Ghozat languages. 1- Alliteration, this group consists of various kinds of pun, rhyme, repetition, etc. 2- Parallelism: Repetition of words or phrases. 3- Palilology: Repetition of word: This form is one of the most important and aesthetic repetition in Tamhidat that in addition to making prose integrated, is effective in conveying the concept and content of the message of Ein ol-Ghozat, as repetition of the words "Alas," " O’ Friend," and "O’ Dear" in several phrases has a great influence in stimulation of feeling and inculcation emotion in the reader.
Alliteration: One of the most important aspects of aesthetics in the mystical prose of Ein ol-Ghozat are sound harmony and alliteration that can be mainly found in pun/ paronomasia and riming. Usage of rhyme in all Tamhidat is not in the same level. Wherever discussion is didactic and reasoning, it is not generally riming, but where the subject is stories and anecdotes and analogies or becomes emotional, usually is riming. One manifestation of this figure is short sentences and aphorisms, whether the word is quotation of an old or an important person or whether the author expresses his own word.
Apart from these, Ein ol-Ghozat has worked other ways to enrich his word's music. The most important of these methods are:
Bringing words that at least their initials are co-voiced. Such as: "Ebtela" and "Emtehan"
Phonemes processing: a kind of internal music is repetition and sameness of consonants and vowels. This figure in some cases, with creating a specific internal music, highlights the phrases and helps to conveying the message and gives pleasure to the audience.
Bringing together words that make a pun is another species of alliteration in the language of Ein ol-Ghozat. This figure of speech is one of the best examples of creating and enhancing music in words or sentences.
Bringing together the co-meter terms is one of other species of alliteration in Tamhidat.
Repetition of words or phrases, are of those categories that is used in the mystical prose of Ein ol-Ghozat and is one of the stylistic features and music making elements of his Word. Repetition in Ein ol-Ghozat's language, sometimes have artistic and rhetorical aspects that helps his prose being rhythmic and is effective in conveying the meaning and intention of the speaker. Ein ol-Ghozat while repeats thoughts and beliefs of the mystics, repeats words and combinations in the various types, so that he not only raises the words' musical level and makes it melodious, but also increases the rhythmic role of his own speaking. Sometimes this repetition in the form of word or phrase in the end of sentence comes symmetrically, it functions like radif in hemistiches and if in the terms of syllables number be long, makes an intonation in the words too
Overview of the Factors Music Making in Tamhidat by Ein al-Ghozat Hamedani
No full textAbstract
Figures of speech in addition to their aesthetic functions have different effects on words. Internal music is one of the effects of figures of speech which can play an important role in beautifying the word and its effect on the audience. The internal music comes with the use of verbal figures of speech. Figures that make words related by similarity or uniformity of vowels and consonants and create sensible alliteration. Categories of palilogy, alliteration, parallelism, pun and riming prose are among the figures of speech that play a major role in creating internal music of the poem. In this study, with a descriptive-analytical approach, we discuss the roll of music making factors in Tamhidat as an example of prose poem. The language of Ein ol-Ghozat in Tamhidat is preachy and didactical and in an addressing mode. Despite the intensity and sharpness of his speech, he speaks simple language with his audience. However, his words are in some cases melodious that influences audience and increases its penetration in the listener. The music of his words is natural so the listener can feel it with his spirit and takes its effect. Well syntagmatic arrangement of words is one of his language features that is based on music and phonemes' melody. This music gives words importance and predominance and makes Tamhida's  prose a kind of prose poem. Applying some of the subtle and tiny musical elements such as parallelism (paronomasia /pun) makes the music of book more effective and catching. In other words, harmony of sounds and synchronization through which prose becomes rhythmic and melodious is one of the aesthetic aspects of the mystical prose of Ein ol-Ghozat that arises from his word's music and special intonation, so as human nature accepts it and enjoys reading. This word music is found in the form of alliteration, pun, repetition, and meter in important parts of his speech that sometimes becomes close to prosodic meter. In Ein ol-Ghozat's prose without feeling prosodic meter by listener, a wave of intonation and meter dominates resulted from alliteration and rhyme, and proximity of the number of syllables in every symmetry and perhaps likeness and nearness of the number of syllables in all or parts of the symmetries.
Repetition as a key element of the internal music is one of Ein ol-Ghozat's stylistic characteristic. Repetitions are seen in three forms in Ein ol-Ghozat languages. 1- Alliteration, this group consists of various kinds of pun, rhyme, repetition, etc. 2- Parallelism: Repetition of words or phrases. 3- Palilology: Repetition of word: This form is one of the most important and aesthetic repetition in Tamhidat that in addition to making prose integrated, is effective in conveying the concept and content of the message of Ein ol-Ghozat, as repetition of the words "Alas," " Oâ Friend," and "Oâ Dear" in several phrases has a great influence in stimulation of feeling and inculcation emotion in the reader.
Alliteration: One of the most important aspects of aesthetics in the mystical prose of Ein ol-Ghozat are sound harmony and alliteration that can be mainly found in pun/ paronomasia and riming. Usage of rhyme in all Tamhidat is not in the same level. Wherever discussion is didactic and reasoning, it is not generally riming, but where the subject is stories and anecdotes and analogies or becomes emotional, usually is riming. One manifestation of this figure is short sentences and aphorisms, whether the word is quotation of an old or an important person or whether the author expresses his own word.
Apart from these, Ein ol-Ghozat has worked other ways to enrich his word's music. The most important of these methods are:
Bringing words that at least their initials are co-voiced. Such as: "Ebtela" and "Emtehan"
Phonemes processing: a kind of internal music is repetition and sameness of consonants and vowels. This figure in some cases, with creating a specific internal music, highlights the phrases and helps to conveying the message and gives pleasure to the audience.
Bringing together words that make a pun is another species of alliteration in the language of Ein ol-Ghozat. This figure of speech is one of the best examples of creating and enhancing music in words or sentences.
Bringing together the co-meter terms is one of other species of alliteration in Tamhidat.
 Repetition of words or phrases, are of those categories that is used in the mystical prose of Ein ol-Ghozat and is one of the stylistic features and music making elements of his Word. Repetition in Ein ol-Ghozat's language, sometimes have artistic and rhetorical aspects that helps his prose being rhythmic and is effective in conveying the meaning and intention of the speaker. Ein ol-Ghozat while repeats thoughts and beliefs of the mystics, repeats words and combinations in the various types, so that he not only raises the words' musical level and makes it melodious, but also increases the rhythmic role of his own speaking. Sometimes this repetition in the form of word or phrase in the end of sentence comes symmetrically, it functions like radif in hemistiches and if in the terms of syllables number be long, makes an intonation in the words too
The Factors Music Making in ''Tamhidat Eyn Ol Ghozat Hamedani'' in a glance
No full textInnovative industries In addition to their aesthetic functions have different effects on words. Endogenous music is one of the Innovative industries effects which can play an important role in beautifying the word and its effect on the audience. The Endogenous music is the music that comes with the use of verbal Innovative industries. Industries that are caused words by similarity or congruence of vowels and consonants more related to each other and created sensible phonetic relationship between them. Categories of frequency, phonology, pun and rhyme are among the Innovative industries that play a major role in creating the endogenous music of poem. In this study, with a descriptive - analytical approach the roll of music maker preparations as an example of a prose poem are discussed.The language of Ein ol-Ghozat in lingual preparations is of preacher and educational that has a addressing mode. He speaks with unadorned language with his audience. However, his words are coupled in some cases with rhythmic language that influences audience despite the intense and sharp in speech and makes his word penetration double in the listener. His Words music is natural music that the listener can feel it with their lives and takes effect of it. One feature of this language is order in the arrangement and companion construction of words that based on music and phonemes music. This music The Music gives importance and Individuation to each word and making preparations prose to a kind of prose poem. Applying some of the thin musical nuances such as the balances (Incrustation and puns) makes the music of book more effective and welcome catching. In other words, coordination of audio and verbal and synchronization that through them prose becomes rhythmic and melodic is one of the beautiful aspects of the mystical prose of Ein ol-Ghozat that arises from his words music and a makes special song, as nature accepts and enjoys its reading. This word music is seen in the garb of the phonetic and pun, repetition, and rhythm being in important parts of speech that close sometimes to prosodic weight. In the prose of Ein ol-Ghozat without feeling prosodic weight by listener, a Wave of song and weight dominates that is a result of phonetic and rhymes, and being Near a number of syllables in each mirror to each other and perhaps in all or part of the mirrors, the number of syllables is the same or close.Replication as a key element of the endogenous music is one of Ein ol-Ghozat 's stylistic characteristic. Replications are seen in three forms in Ein ol-Ghozat languages. 1- Phonetic repetition, this group consists of repeating the pun, rhyme and phoneme layout and etc. 2- Repetition of words or phrases. 3- Word Repetition: The Repetition is one of the most important and beautiful art repetition in preparations that in addition to give the integrated to prose is effective in order to better instill of the concept and content of the message of Ein ol-Ghozat, As repetition of the words "Alas," " O’ Friend," and "O’ Dear" in different phrases has a great influence in stimulation of feeling and induction emotional state to the reader's.Phonetic Repetition: One of the most important aspects of beauty in the mystical prose of Ein ol-Ghozat are voice and phonetic coordination that its peak can be found in a pun and rhyme and Incrustation. The using of rhyme in preparations is not the same. In a place that discussion is education and reasoning generally speaking, is not a poem, but in where that speaking is about stories and anecdotes and analogies or become emotional; usually poems used. One manifestation of this item is short sentences and aphorisms, whether in a place that the word is quote by an old or an important person or whether the author express his own speaks.Apart from these, Ein ol-Ghozat has worked other ways to enrich his words music. The most important of these methods are:•Bringing words that at least their initials are co-voiced. Such as: suffering and testing •Phonemes processing: a kind of endogenous music is repetition and consistency of consonants and vowels that in some cases, with creating the specific endogenous music cause highlighting the phrases and helps to conveying the message and delight of the audience. •Bringing together words that together make a pun is another species of Repetition in the language of Ein ol-Ghozat. This innovative array is One of the best examples of musical creating and growing in vocabulary or sentences. •Bringing together the co-Weight terms is one of the species of phonetic repetition in preparations. Repetition of words or phrases, are of those issues that is used in the mystical prose of Ein ol-Ghozat and is one of the stylistic features and music making elements of his Word. Repeat in Ein ol-Ghozat language, sometimes have artistic and rhetorical aspects that helps to being rhythmic of Ein ol-Ghozat prose and is effective in conveying the meaning and intention of the speaker. Ein ol-Ghozat meanwhile of repetition of thoughts and beliefs of the mystics, repeats words and combinations in the various types, while raising the words musical level and its making it melodic, increase the unilateral obligation role of his own speaking. Sometimes this repetition in the form of word or phrase in the end of sentence comes symmetrically, such that is in the order of the rows is hemistich and If in the terms of syllables number be long, makes a song in the words to
