The poetic element of “Radif” is a significant Iranian innovative achievement and has a deep-rooted presence in Persian poetry. This element, which has multiple functions, has been utilized across all forms and eras of Persian poetry; however, it has been employed more extensively in the ghazal form, particularly during the Isfahani style period. Hakim Shafa’i Isfahani is one of the well-known poets of the Isfahani style period, who, in accordance with the poetic requirements of his time, composed the majority of his ghazals- 1066 out of 1127 (94.59 %)- in a “Radif” manner. This descriptive-analytical research based on library sources has been shaped by the frequency occurrence of “Radif” in the ghazals of Hakim Shafa’i Isfahani and aims to identify and analyze the functions of this element within his ghazals. The findings of the study reveal a multitude of functions and great diversity of “Radif” in his ghazals. The 11 most notable of these functions and in alphabetical order are: 1. Foregrounding  specific concepts, themes, or images, 2. Evoking inner feeling of the poem, 3. Providing coherence to the poet’s thoughts and imagination, 4. Providing a foundation for imagery and innovative combinations, 5. Expressing the poet’s ideas, 6. Concealing flaws in rhyme, 7. Determining quality and quantity of ghazal imitation, 8. Fostering unity between audience and the poet, 9. Serving as a domain for preserving the Persian language, 10. Enhancing musical aspect, 11. Providing visual enjoyment. 
Introduction
The radif is a poetic element that was invented by Iranians and is commonly used in Persian poetry. This approach of imitation has also been utilized in poetry of other languages, such as Arabic and Turkish. An examination of the antiquity of the radif element in Persian poetry reveals that Persian-speaking poets have been incorporating this element into their poems since the inception of Persian poetry. It is important to note that the radif element was present in Iranian popular poetry even before the rise of official Persian poetry, adding to the rich history of its use among Iranians. The radif, which consists of a repeated word or phrase with the same structure and meaning placed after the rhyme at the end of verses, serves as a musical element in Persian poetry. However, beyond its musical function, the radif element serves various other purposes in Persian poetry. While the use of the radif is not confined to a specific poetic form, it is most commonly found in the ghazal form, where it has significantly enhanced the quality and prominence of Persian poetry. Throughout the different periods of Persian poetry, poets have consistently utilized the radif element, adapting it to suit the stylistic developments of each era. In the Isfahani style period, the use of the radif element was particularly prevalent, with poets considering regular and challenging radifs as essential. Hakim Shafa’i Isfahani, a renowned poet from this period, extensively incorporated the radif element into his ghazals, showcasing its importance in his work. This research focuses on identifying, examining, and analyzing the functions of the radif element in the ghazals of Hakim Shafa’i Isfahani. The research question is as follows:

What are the functions of the radif element in the ghazals of Hakim Shafa’i Isfahani?

Materials & Methods
The current research utilizes a descriptive-analytical method, with all data sourced from library documents and resources. The most up-to-date source used in this study to access the poems of Hakim Shafa’i Isfahani is “The Complete Poems of Hakim Shafa’i Isfahani”, compiled in two volumes by Mohammad Siasi. This source was first published in 2019 by Mahmoud Afshar Publications. The statistical population and research sample, limited to the ghazal section, consist of the complete poems of Hakim Shafa’i Isfahani, totaling 1127 ghazals with 8136 verses. By identifying and counting the ghazals among his 1127 total, the functions of the radif in this category of Hakim Shafa’i Isfahani’s ghazals have been identified, examined, and analyzed.
Research findings
According to the findings of the research, Hakim Shafa’i Isfahani, in the field of using the radif element in ghazals, was in full compliance with the literary norms of his period, because most of this poet’s ghazals were created in the radif form. The statistical report on this issue is that out of a total of 1127 ghazals that are included in the general collection of Hakim Shafa’i Isfahani’s poems, 1066 ghazals or 94.59 percent have radif. This is while the ghazals of this poet without radif are only 61 cases or 5.41 percent. The lines in the Mirdif ghazals of Hakim Shafa’i Isfahani also have a remarkable diversity in terms of grammatical typology, and they are in order of frequency (from most to least): verb lines (694 cases) (65.10 percent), sentence and quasi-sentence lines (186 cases) (17.45 percent), pronoun lines (57 cases) (5.35 percent), letter lines (36 cases) (3.38 percent), noun group lines (35 cases) (3.28 percent), noun lines (27 cases) (2.53 percent), adjective lines (19 cases) (1.78 percent), and adverb lines (12 cases) (1.13 percent). The findings related to the functionalism of lines, which are the most important findings of this research, emphasize the abundance and diversity of the functions of this poetic element in the ghazals of Hakim Shafa’i Isfahani. Among the numerous and diverse functions of the radif in the ghazals of Hakim Shafa’i Isfahani, 11 of the most important have been examined and analyzed in the text of the research, which include, in alphabetical order: 1. A tool for highlighting a specific concept, theme, or image, 2. Inducing the inner feeling of the poem, 3. Cohering the poet’s thought and imagination, 4. Creating figurative forms and new combinations, 5. Expressing the poet’s thought, 6. Covering the defects of rhyme, 7. Determining the quality and quantity of ghazal parallelisms, 8. Creating the basis for unity between the audience and the poet, 9. Preserving the Persian language, 10. Increasing the musical dimension, and 11. A source of visual pleasure.
Discussion of Results & Conclusion
A brief report on the process of identifying, examining, and analyzing the eleven functions of the radif element in the ghazals of Hakim Shafa’i Isfahani, which was carried out in the text of the current research, can be presented as follows:

A tool for highlighting a specific concept, theme, or image: Hakim Shafa’i Isfahani highlighted many of the specific concepts, themes, or images that he had in mind by using the radifs that he chose for his ghazals.
Inducing the inner sense of poetry: In the ghazals of Hakim Shafa’i Isfahani, various types of emotions and feelings of this poet are represented and induced to the audience in the form of the radif element.
Coherentizing the poet’s thought and imagination: A significant part of the thoughts and imaginations of Hakim Shafa’i Isfahani in his ghazals are organized and coordinated with the support of the radif element.
The basis for the creation of figurative forms and new compositions: Inventing and creating new and numerous literary images and compositions by utilizing the element of radif is one of the most important functions of this element in the ghazals of Hakim Shafa’i Isfahani.
Expressing the poet’s thought: The element of radif in the ghazals of Hakim Shefai Isfahani is, in many cases, a guide to understanding the poet’s thoughts and beliefs.
Covering up the defects of rhyme: In many ghazals by Hakim Shafa’i Isfahani, some of the defects of rhyme, alliteration and repetition of rhyme, have been kept away from the audience’s view due to the presence of the element of radif in those ghazals.
Determining the quality and quantity of ghazal parallelism: The radif has been an important and fundamental element in many ghazal parallelisms by Hakim Shafa’i Isfahani.
Creating the basis for unity between the audience and the poet: The lines in the ghazals of Hakim Shafa’i Isfahani, especially those of the sentence and quasi-sentence type, have a great impact on the rapprochement of the audience and the poet and establishing unity between the two.
The field of preserving the Persian language: Most of the lines used in the ghazals of Hakim Shafa’i Isfahani are related to the Persian language in terms of linguistic affiliation, which is itself a strong evidence of the high manifestation of one of the important functions of the line, the field of preserving the Persian language, in the ghazals of this poet.
Increasing the musical field: The line in the ghazals of Hakim Shafa’i Isfahani has expanded the scope of all four types of music in poetry: external, lateral, internal and spiritual.

11. The element of visual pleasure: The visual pleasure arising from the element of radif in the ghazals of the Isfahani sage Shafa’i is usually more noticeable in the sentence and quasi-sentence radifs found in this poet’s ghazals, which also have a high frequency.