Introduction and Analysis of Persian and Arabic Onomatopoeias in Nafthat al-Masdur

Onomatopoeia, a type of word that originates from the concept of nouns, encompasses both natural and artificial sounds that surround humans. It represents a dynamic element of language and is relevant to any community or nation that utilizes language. Shihab al-Din Muhammad Zaidary Nasavi, the author of "Nafhat al-Masdur" (7th century), extensively employs linguistic features, particularly onomatopoeias, along with a wealth of rhetorical devices in this work. Due to its integration with the Arabic language, "Nafthat al-Masdur benefits from numerous Arabic onomatopoeias in addition to Persian ones. This study begins by introducing Persian onomatopoeias, followed by Arabic ones, and then analyzes their impact on the text. The aim of this research is to explore the influence and significance of Persian and Arabic onomatopoeias in a literary-historical context, considering their remarkable frequency. Emotional and non-emotional onomatopoeias in this text are employed to depict historical events, personal grievances, and social complaints, significantly enhancing the visualization, concretization, and communication of concepts filled with discontent. Non-emotional onomatopoeias include animal names, their sounds, natural phenomena, objects, and sounds produced by humans. The arrangement of Arabic onomatopoeias featuring human-origin sounds highlights the author's emphasis and the effectiveness of this linguistic tool. 
Introduction:
Onomatopoeia refers to the natural sounds produced by humans and their surroundings, including the sounds made by human limbs. Examples include expressions like and the sounds made by people or animals. One of the features of language that assists humans within the linguistic system is its effective role in facilitating communication and conveying messages. For example, consider the phrases “In confrontation with this natural phenomenon,” “autumn,” “waterfall,” and “the wind and storm,” as well as onomatopoeic expressions like “Khes khesh,” “Shorshor,” and “Hoo hoo.” These descriptions cannot be used as intelligible conveyances without the maximum effect that is required. The meanings of these phrases are common and lack onomatopoeic qualities. To convey a more specific meaning and enhance its impact, it is essential to utilize words that serve as names, thereby achieving the intended goals of employing onomatopoeia. Zaidari, the author of the book, has greatly benefited from the diverse Persian and Arabic onomatopoeias relevant to the content. From the outset, he has enhanced his work not only with literary devices but also with this linguistic richness. Analyzing the Persian and Arabic onomatopoeias in Zaidari's work provides a deeper understanding of the connection between language and the sensory and perceptual experiences conveyed in the text. We can understand how onomatopoeic language serves as a crucial element in conveying emotions, imagery, and experiences. These studies also foster a deeper appreciation of various languages and cultures. The purpose of this research is to introduce Persian and Arabic onomatopoeias and examine their impact on text, as well as to explore the temporal and spatial experiences embodied in Zaydri's works from past centuries. Additionally, this research aims to understand sensory experiences such as fear, anger, and sorrow during the author's time, while also expressing the cultural and social nuances present at the time of the book's authorship.
Method:
The present research was conducted using a descriptive-analytical method based on the text of Nafthat al-Masdur. Initially, Persian onomatopoeia was introduced, followed by Arabic onomatopoeia, focusing on the origin and reference of sound production. Subsequently, the study examined and analyzed their effects on the text and the audience, as well as the reasons for their inclusion.
In the analysis of Persian onomatopoeias and their classifications, Vahidian Kamyar's Dictionary of Onomatopoeias serves as a foundational resource. For the study of Arabic onomatopoeias, Mujam al-Aswat by Muhannad Munzir al-Hajj Yasin, along with Arabic phonetics dictionaries and related texts, has been utilized as references.
Results and Discussion:
"Linguists and scholars of literature and poetry use the term 'onomatopoeia' in a broader context, defining it as any word that possesses a natural or intrinsic relationship between its form and meaning (Vahidian Kamyar, 1996, p. 10).  "In the Persian language, the names of certain animals and their distinctive sounds serve as a source of onomatopoeia—words that have not been created through linguistic rules, but whose sounds have naturally, rather than conventionally, integrated into the vocabulary."
"The discussion of onomatopoeic words (asmāʾ al-ʾaṣwāt) in Arabic holds significant importance alongside linguistic studies. Linguists and grammarians have not overlooked its classification, origin, and the various theories proposed in this regard. In this context, they have expressed differing views on the topic of onomatopoeic words and their origins, leading to the presentation of numerous theories regarding their grammatical inflection.
Onomatopoeia used in the text can be categorized into emotional and non-emotional sounds. Emotional sounds are utilized in a limited manner. The names of non-emotional Persian sounds, derived from objects, animals, humans, and nature, respectively, exhibit the highest frequency. Non-emotional Arabic onomatopoeias are frequently employed in succession. A sequence of these onomatopoeias is utilized to evoke an effect that transcends the conventional meanings of signifiers and signifieds, guiding the audience toward a deeper understanding and appreciation. The origins of non-emotional onomatopoeias commonly found in Persian and Arabic include animals, objects, nature, and human sounds. "Among Persian onomatopoeic words, those derived from animals, such as 'kalaagh' and 'kaagh'; from human sounds, like 'joosh' and 'cheshchesh'; and from nature, such as 'khas-o-khaashaak,' can be mentioned—all of which the author has skillfully employed in the text to enhance its impact." In Arabic onomatopeias, the author uses all kinds of human sounds: (weeping: boka, Awil, Ranna, anin, noha, zahak: gahgaha...In a row and a variety of natural onomatopoeias: tlatom, rash, qatra, Sarsar, Saeqah...) the most It has had an impact on the transfer of the author's desired concepts. The place of onomatopeias in the historical-literary text with the content of complaint and complaint, according to the special atmosphere of the text, has caused the induction of thought, the ease of the hadith of the writer. Atmospheric creation, objectification of descriptions of battle scenes, creation of musical, acoustic and foregrounding effects are the results of the author's choice of various and numerous Persian and Arabic onomatopeias. The author deliberately and consciously employs Persian and Arabic onomatopoeic words as a means to penetrate deeper into the reader’s perception of historical events such as the Mongol invasion, to depict scenes of battle, and to express his own laments about the indifference of various social groups.
Conclusion:
The role of onomatopoeias in historical-literary texts that convey themes of complaint and grievance, in accordance with the specific atmosphere of the text, has led to the induction of thought and facilitated the writer's narrative. The creation of atmosphere, the vivid depiction of battle scenes, and the generation of musical, acoustic, and foregrounding effects are the results of the author's selection of diverse and numerous Persian and Arabic onomatopoeias.
"The author has intentionally employed Persian and Arabic onomatopoeia to deepen and enhance the understanding of historical events, such as the Mongol invasion, the depiction of battle scenes, and his own laments regarding the indifference of various social classes.".