one of the concepts of "even", which is the reporter of human experiential work, has been found in the Qurchr an, is to explain its impact on Quranic conceptualizations, hence, among the various roles of the letter, even of attention to the texture and Various applications are obtained, the role of which leads to the transmission of a route from the state, position or rank to another state and order. This is described by descriptive-analytic method and by explaining the main and focal meaning of the letter and extraction of verses in which even the abstract concept of "transference" is explained in a metaphorical way, provides a more detailed analysis of the function of this verse in the verses and The basis for constructing this concept, which is shaped by the physical and human experiences, is to illustrate the methodological importance in the more actual interpretation of the Qurchr anic words, including the letters.

The phrase “ḥattā idhā” in the Qurʾān has not been interpreted in the same manner by grammarians, exegetes, and experts in the field of ‘pause and continuation’. According to the scholars of syntax and rhetoric, when “ḥattā” comes before “idhā”, it is no longer
possible to interpret the combination as a term denoting purpose (ghāʾiyyah), but from the viewpoint of the exegetes, the denotation of purpose is not detached from “ḥattā” even if it follows the particle “idhā”. Scholars in the field of pause and continuation [in
recitation] also, in most cases, regard the sentences that commence with “ḥattā idhā” and its semantic syntax as denoting purpose and take the subsequent sentence as being related to the preceding one. Those exegetes who have a tendency towards syntactic discussions in interpreting Qurʾānic verses consider this phrase to be inceptive (ibtidāʾī) in terms of grammar and conclusive (ghāʾī) in terms of meaning. Additionally, for each instance of “ḥattā idhā” in the Qurʾān, they have defined the referent of the purpose, whether it is mentioned explicitly, as a pronoun, or implicitly. However, the way “ḥattā idhā” has been used in the verses of the Qurʾān confirms the opinion of the exegetes, as in most cases it is used to indicate the ultimate action or incident that has been stated in the preceding verses as having commenced. The mention of these actions or incidents may be explicit or implied. Therefore, when the reciter of the Qurʾān comes across this phrase, it is better for him to connect it with the related sentences that come before and after it, and if he suffers from lack of breath, he should employ the intonation of expectation or choose the most appropriate point to pause the recitation after “ḥattā idhā” in order to demonstrate this connection to the listener.

The aim of writing this article is to probe the meaning of the word “hattā” in Farsi by the use of existing cognitive facilities presented in cognitive linguistics. To do this، first، current Farsi dictionaries were studied in order for the semantic deficits to be crystal clear in providing the meaning for the word “hattā”. Then it was examined in the structuralist and generative semantics and the weakness of both in providing the meaning for the word “hattā” lead to using a cognitive analysis on the word “hattā”. Cognitively studying more than one hundred daily contexts containing the word “hattā” in Farsi resulted in emerging two contradictory meaning out of it; namely the adverbs “in addition to” and “only”، having the notions of “grouping” and “partitioning” respectively. Tested by seventy educated subjects who were more than eighteen، the semantic hypothesis was confirmed.

Difference in readings of the disconnected letters (al-ḥurûf al-muqaṭṭa‘a) is an issue unattended to except in the sources of the early scholars. Among the outcomes of paying attention to this category are discourses such as exploring into the causes of difference in readings, the number of the verses, and even legal rulings such as regarding some disconnected letters as comprising one or two verses. Also, the difference in dialects can be the main factor in reading the disconnected letters in different ways.

In ancient Iran, many groups, sects, and even some guild owners and craftsmen used to invent a particular language over time that was sometimes difficult, if not impossible, to be understood thoroughly or even generally by others. Qalandars were considered one of the most important social classes in Iran that had their own thought and consequently their own language, and some clear indications of them are still present in Iranian culture. In spite of all the valuable efforts that have been made to gain sufficient knowledge about Qalandars, many aspects of their lives have remained unseen or unknown. Their constructed language or the Qalandari Lutr is one of the topics deserving attention. Qalandars’ letters to each other are among the works left by them which are replete with jargons and terminology specific to this class. In other words, they represent the way they thought and lived. The most important of these letters are included in The Generalities by Obaid Zakani. Some scholars have been skeptical about attributing these works to Obaid. In Obaid Zakani’s The Generalities, the manuscript kept in Raghib Pasha Library which has previously been neglected by the editors of Obaid's works, these two letters were found along with a third letter, which is very similar to the previous two letters. The present paper initially presents the background, and subsequently examines the texts of all three letters regarding the handwritten manuscripts, prints, stylistic features and some equivalence references, and tries to provide a more accurate edition of the first two letters while presenting the new-found letter. Finally, this paper presents the correct form of some jargons and terminologies, some of their semantic aspects, and the researcher’s reading of them.

Epistolary or letter-writing is one of the important genres of prose literature which reached new glory in Safavid time and numerous works have been written about this. Amongst these، Nameh Nami by Khandmir is of much significance، though it has been discussed less than other epistolary texts. This work is a collection of letters and correspondences gathered from previous official and court letters and correspondences by Khandmir as an instruction of letter-writing for secretaries. He has written these letters during the years 925-926 (A. H) while he was 46 or 47 and resided in Hirat. This book consists of a preface and nine chapters each of which consists of some sections named as “Satr” or “Lafz”. This work is one of the historical texts of Timurid and early Safavid times and، in addition to literary aspect، is significant historically. The prose of this work is not uniform; it has a plain and simple prose in describing historical evens whereas in the preface of the work، the opening section of letters and eulogy of princes and senior figures all poetic and literary delicacies have been used and a beautiful example of rhythmic epistolary prose of Persian language has been created.

The unique Moshef of the Qur'an has a special semantic divan which is shown in the meaningful diven of Arabic literature and the grammar of this word is the alphabet of this expression, and the syntax of the word includes the solidarity and coherent communication of the Qur'an, which is even a rhetorical meaning that guides the fulfillment of the correct meaning. According to the lack of semantic independence, but the deep centrality in this semantic dependence with its own art, Jareh letters play an important role in establishing the correct meaning. Jareh letters can convey the communication bridge of meaning transfer to the addressee according to their identity card. Now, this dependence of meaning plays role on the domination of belonging and its relation with the Jar letters, especially in the third and fourth parts of the Holy Quran, and its main and virtual meaning, which is in the caravan of rhetoric, that accompanied to the Jar letter. This rhetorical event creates a semantic art image between the belonging and the Jareh letters.

One of the great figures of Timurid period is Moin-al-Din Mohammad Zamji Esfazari Heravi، the famous letter-writer، poet، calligrapher and historian of whom a number of works have remained. The only published work of this writer is the book Rozat al-Janat fi Osaf Madina Harat and his other works have been forgotten throughout time. One of his outstanding works is Tarassol. This work consists of an introduction، four letters and a conclusion and it is one of the works which became famous even in the time of its writer. At the beginning of this work، the writer mentions the theoretical basics of epistolary and letter-writing and then he includes the letters he wrote as a letter-writer on behalf of Sultan Hossein Bayghara. There are various types of formal and informal letters in this work such as: Amsale، Manashir، orders، symbols، Soltaniat، Ekhvaniat، Ojubeh etc، and Esfazari has tried to make his work not only a comprehensive list of letters in Timurid period but also an example for letter-writers and، probably due to this reason، this work became so popular. The style of this work is elaborated and the structure of its letters is very similar to common structures of other epistolaries of Timurid and previous periods. However، there are a number of letters like Ketabeh، Vaghfnameh، introduction، epitaph، As’ale etc، in this work due to which this work does not simply consist of governmental letters like symbols، charters and Soltaniat; something which is absent in the works of Esfazari’s contemporaries. This article tries to introduce the content of Esfazari’s work، state his ideas about letter-writing and investigate structural characteristics of this work.

Repetition in level of letters and words, which is one of the methods of creating and or increasing the music of speech, can be reviewed from two perspectives: first, from musical values and second from rhetorical values. The study uses descriptive and analytic methods to review the different kinds and methods of letter repetition in Farrokhi Sistani poem. The findings show that Sistani orator applied all repetition methods in widespread amount in his speech. Continuous repetitions of letters, words, syllables, phrases and even hemistich with different methods filled Farrokhi poetry with Musical bunches of phones. In some cases, he created new methods of repetition which increase the musical richness of his speech. These repetitions are so valuable from rhetorical aspect that there are many evidences in Farrokhi poetry that letter repetition or word proportionate to poetry theme serve the semantic transfer and poetry content and sometimes help in inspiration of given emotion of poet.

In the recent decades, rhetorical criticism has been recognized as a method for the assessment of the letters in the Holy Book and many critics have applied this critical approach in studying Christian epistles. Apart from the communicative structure of the epistles – which is, naturally, fit for rhetorical analysis – another reason for the application of rhetorical criticism in studying the letters seems to be the fact that in their composition, the Christian epistles have been influenced by the principles of ancient oratory. Nowadays, some scholars believe that due to the influence of the instructions of oratory teachers, the principles of letter-writing in the ancient times were regulated in a special style and this has caused similarities between orations and letters in ancient times. Even though this view is not completely accepted in academic circles, it has motivated some scholars to attempt rhetorical analyses of the epistles of the Holy Book following the principles of ancient oratory. The present article first introduces the most important methods that, based on the principles of ancient oratory, have emerged in the rhetorical criticism of the Holy Book and, then, assesses the existing challenges in applying these methods in studies on the rhetorical criticism of the Epistle to the Hebrews.