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Lullabies are popular children's songs that are full of maternal femininity and express the mother's goals, aspirations, sufferings, sorrows and mourning, based on cultural systems and social behaviors that stimulate children's emotions. The present study examines Persian lullabies through textual signs based on critical theory of Norman Fairclough analysis at lexical level using descriptive-analytic research methodology. The corpus of study consists of 1000 hemistich whose application frequency is the basis of this selection. The results of the current research showed that different kinds of lexical classification have been used in this type of song, but the frequency of use in colloquial language is higher than that of other varieties. While the mother's speech has come to express social realities such as patriarchy, gender superiority, spouse disloyalty, poverty and critical economic conditions of the time, they are presented in the form of plaintive and linguistic words with amorphous linguistic language. Accordingly, lexical items of lullabies have an effective role in creating the poetic sense and transferring the maternal sense (fear of the future, hope for the future, repugnance, solitude, and ultimately acceptance of the audience). As the expression of the reality of society in the form of folk words, the child's full understanding of the social, cultural and political realities, as well as the influence of the word of the mother on his mind (the child), have been completely described.

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The Iranian folk culture originates from ancient time so that Iran can be considered the origin of ancient rituals and beliefs. Kermānshāh province is one of the regions rich in cultural heritage. Therefore, the beliefs of its inhabitants may well reflect the folk culture of this region. In the same vein, as an important element of folk culture and literature, the crystallization of this rich culture in these deeds is highly important and remarkable. By adopting a descriptive-analytical research methodology, the current research investigated the attributes of folk culture and literature in five deeds of Qājār Era in Kermānshāh Province. The results indicate that these texts are the best indicator to observe people's thoughts during Qājār period and can be clearly seen in the reflections of folk culture and literature. The expressions of professions, instruments, weight and quantity, titles, curse and prayer, measurement and religious rituals are among the material and spiritual elements that have been analyzed, identified and investigated in these deeds.
 

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Cognitive linguists believe that human perception is inherently metaphorical. They assign metaphor to the realm of thought, over and beyond the realm of language. In contemporary theory, metaphor refers to conceptualization of complex and intangible mental phenomena through tangible and sensory human experiences. The significance of the concept of "heart" (del) lies in its indeterminacy and transcendence in language and literature, especially mysticism. This word implies a wide range of meanings. Therefore, studying its metaphorical processing techniques is essential in identifying Sana'i's emotions and thought system. This study seeks to identify the poet's thought system and the resulting mental and expressive subtleties through analysis of tools and techniques used for rendition of "heart" sensible in Sana'i's thought within the framework of cognitive theory and its conceptualization functions. The results show that the most frequent metaphorical use of heart in the poet's work is concerned with ontology, and the most remarkable concerned with objectification, which indicate the influence of primary subjective and subconscious collective experiences on the poet's mind in his understanding of "heart". The most significant semantic function of del in Sana'i divan is implying emotional concepts, best manifested in love, grief, and joy. Other semantic functions of del include ethical concepts (patience, nafs, and worldliness), the place of manifestation of haq, thoughtfulness and knowledge, and confidentiality.
 

In the late decades of the 20th century, advances in cognitive linguistics gave rise to introduction of metaphor with new identity and function. From a cognitive perspective, metaphor is considered a device for comprehending ambiguous and unfamiliar phenomena by employing concrete phenomena around us. The grandeur of mystical meanings and experiences is so impressive that can be only perceived under the guise of metaphor.  In mysticism, “heart” always has been considered one of  the striking concepts which has a wide range of semantic functions. In both source and target domain,  it plays a critical role in creation of cognitive metaphors. To be specific, the concept of “heart” is one of the most essential phenomena for expressing mystical meanings; it is considered as a source of emotions, ethics and different mystical states. Thus, investigating its cognitive function in the Divan of the founder of mystical poems, namely Sanaei, may lead to identifying its aestheticizing tools and conceptual functions. Due to its breadth and profundity,   Sanaei has made determining and important uses of metaphorical devices to visualize the concept of “heart”. Because of the importance of the concept of “heart”, the present study is going to answer the following questions: To what extent and in which cognitive metaphors have the visualizing tools of heart used in Sanaei`s Divan? What are semantic functions of metaphorical usage of heart as a source domain?  What is the frequency of metaphorical usage of heart in Sanaei`s Divan?
 
2.Literature Review
In recent years, cognitive theory of metaphor has created new perspectives in literature. Some researches have been conducted on metaphorical use of heart. Ghaderi Najafabadi & Tavangar (2013) analyzed the metaphorical usage of heart and reported that heart is a perfect example of conveying emotions such as love or grief. Mazepova (2013) compared heart metaphor in Persian and Ukrainian literature and reported that there are some similarities between Persian and Ukrainian language systems regarding metaphorical usage of heart.
It is important to analyze the metaphorical concept of “heart” within a cognitive theoretical framework since it creates a new perspective for the poet`s mind system. To the best of
Researchers' knowledge, no research has been conducted on this topic.   
 

By applying descriptive-analytic method and library resources, the current study aim to explain the techniques of visualization of “heart” and express its semantic functions. As a result, mental subtleties, hidden layers of the mind and stylistic nuances of the poet will be identified.
 

The research findings reveal that Sanaei has mostly visualized “heart” through ontological metaphors. In this field, the conceptual domain of objectification is considered as the most striking ontological metaphor. Orientational metaphors which refer to inner situations is of high frequency. Inner situation has a key role since it convey a wide range of concepts such as love, grief, patience, happiness, wisdom, inner inspiration and secrets. Concepts like cruelty and hardness, impenetrability, affinity and dependence, decay, withering state and sorrow were conveyed through natural elements and tools of structural metaphors. The most effective semantic role of  the heart is distinguishing emotional concepts (like love, kindness, happiness, sadness, aspiration, hope, peace, restlessness, regret, fear). Other semantic roles of heart identify concepts of ethics like the place of the presence of God, thinking, sagacity and the place of secrets. As it is viewed, the effect of the mystical principles refers to the heart as the place of love. Celestial concepts consider it as the place of manifestation of God. The ancients believe that thinking, wisdom and sometimes secrecy were common characteristics of soft-hearted and pious people.
 

The current study examined cognitive functions of heart based on Lakoff & Johnson`s three categorization of structural, ontological and orientational metaphor. Sanaei`s mind selected orientational metaphor as the most prominent tools for visualization of the concept of heart. The conceptual functions of “heart” in conveying various extrasensory concepts like desires, inner feelings, personality, secrecy, thought foundations and the place of God were also explored. In the field of emotional states, the semantic function of the heart was of the highest frequency. Ghaderi Najafabadi & Tavangar (2013) examined only conceptual functions and considered heart as a perfect symbol of conveying emotional concepts.
 
6.Conclusion
In contemporary theory, metaphor refers to conceptualization of complex and intangible mental phenomena through tangible and sensory human experiences. This word implies a wide range of meanings. Therefore, studying its metaphorical processing techniques is essential in identifying Sinai's emotions and thought systemExamining the word heart in Sanaei`s Divan revealed that Sanaei has predominantly applied cognitive metaphors to personify the word heart as both source and target domain.

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This article has been written with the aim of how Rumi expresses in the face of Quranic verses and narrations and the quality of using rhetorical tricks in explaining mental concepts and mystical terms. The authors first read Rumi's Masnavi by examining verses from six books in a random manner and analyzed interpretive metaphors based on the theory of cognitive semantics, after stating the theory of semantic semantics and conceptual metaphor according to this theory, among the forms of conceptual metaphor, ontological metaphor was examined and the evidences of interpretive metaphors have been analyzed in three branches of metaphor by interpreting Quranic verses and hadiths, by interpreting mystical allegories and terms, and finally metaphor by interpreting Masnavi anecdotes. In this study, library method and content analysis were the most effective in interpreting mystical terms and allegories. This indicates that Rumi has described his mystical concepts and mystical experiences after their interpretation in order to objectify them, in the name of objective writings to convince the audience and express mystical emotions. In this process, in some interpretations, he has sometimes described one mental thing with another mental thing or an objective phenomenon with another objective thing.

1. Introduction
The current research was conducted based on the views of Lakoff and Johnson, two important theorists in the field of semantics.  Cognitive metaphors play an important role in conveying meanings and perception of abstract concepts.  Cognitive metaphors are structured in various formats, each of which in some way conceptualizes and makes the language knowledge understandable; among these structures are conceptual metaphors with its sub-branches; that is, ontological, structural and metaphorical metaphors. The authors, however, have analyzed conceptual metaphors of the ontological type in Rumi's Masnavi.
Research question:
The main question of this research is that, based on the theory of cognitive semantics, which sub-branch of conceptual metaphor did Molavi use the most in using interpretive metaphor to objectify mental concepts?  Also, what are different formats of interpretive metaphors in Mawlavi's Masnavi and which type has been most frequent?

2. Literature Review
Regarding interpretive metaphor, which is rare in the field of theorizing, we can only refer to Modiri and Malmir (2015), in which the narrative and literary aspects of the interpretations of Molavi's poetry have been analyzed.  Also, Malmir and Maleki (2014) have examined the narrative and interpretation aspects of Persian poetry. The present article, which has analyzed the interpretive metaphors in Rumi's Masnavi based on the theory of cognitive semantics, is a new and novel research, and no research was found specifically on this topic.
    

3. Methodology
This article, which was done using library method based on data analysis and description, proves the effectiveness of cognitive semantic theory and the contemporary theory of metaphor in objectifying the abstract and deep mystical concepts in Mawlawi's Masnavi.

4. Results
To make his mental concepts and mystical experiences more objective after his interpretations, Rumi described them with objective names to convince the audience and express his mystical emotions. In this process, in some interpretations, he sometimes described one mental thing with another mental thing or one objective phenomenon with another objective thing.