نشریه مطالعات زبانی بلاغی
پیاپی 13 (بهار و تابستان 1395)

One obvious feature of Hafiz's style is ambiguity and among this, ambiguity of musical words has obvious usage. Among the poets that hafiz was under the influence of them; Khajou kermani and Amir Khosro dehlavi clearly use musical ambiguity too. so that some of words that make ambiguity in their poems have been used with common structures . Our main question is that in use of ambiguity, to what extent hafiz was impressed by Khajou and Amir Khosro. For this purpose, first we have extracted musical ambiguity of the three Divan, then we have separated mutual ambiguities and have written brief description of semantic and structural features of each of them, and by doing so, we have demonstrated that hafiz in his feature style, has paid special attention to khajou's poetry and Amir Khosro's Poetry.

Kashf al-Mahjub Hjvyry and Mesbaholhedayeh Kashani, At a distance of more than two centuries are written and they are mainly related to the style of simple prose . But the possibility of this hypothesis has not been thought and investigated.
In this article, we attempt to analyze structure language of Mesbaholhedayeh and Kashf al-Mahjub from different aspects and their similarities and differences that coordinate with the language in the two works and also to show that this division is not quite accurate and there is a need for further research and divisions . For this purpose, the language is divided into two groups: first, the words or morphologies = sub-collections: Keywords frequency and specific terms and the use of new vocabulary, abandoned words, synonymous and phonetics, grammatical and syntactic properties of sub-second = series: it is widely and successfully the use of verbs and their branches (past continuous, subjunctive, past doubt, the distinction between (a) the negation of the verb, present verbs, verbs prefix, delete the action, etc.) widely and successfully these letters are used with (the emphasis, means, types, kinds, "the" man Noun that, enduro, etc.) and the use of the adjective and pronoun of these collections (he abiotic, he in his place) and in the end, the effect of Arabic grammar on the language structure of these two ​​ books will be discussed.

Since a long time ago up to now there has been a short form of poem. This form which has changed to one of the species of Persian poem in present time, has been regarded more in recent years and is being independent. Disregarding names called for this form of poem before contemporary period, in present time, from Nima up to now some items such as design, ultra-modern, massage poem and… are allocated to its special one. Sometimes these special meanings integrate with general meaning of short poem and lead to some ambiguities to differentiate them. Therefore, this research studies different images from function, structure and thought level's point of view in several forms of short poem by introducing style characteristics of short poem in contemporary period while relies on two clear characteristics such as laconism and imagination and then analysis and description are used. This research aims to recognize auesthetic characteristics especially imagination in contemporary literal flows and then short form of every flow in its pioneer poem. Author finally concludes that composing short poem purposefully and especially is much different from random short poem and this difference is effective on choosing poem images.

Simile is as the most widely used means in Ruh-aharvah that the author has used it to explain his ideas and his thoughts. Most similes of Ruh-aharvah are of kind of reasonable to sensible and also of eloquent which is used for additional simile.
Since, vehicle of the elements of simile has most roles in expressing the author's worldview, this paper with an emphasis on this element is paid to analyze the similes in Ruh-alarvah and has determined that Samaani is considered the use of reasonable to sensible simile and using natural elements as vehicle as the best practices in mystical concepts and explaining mystic moods and circumstances and his officials.
Material of vehicle in Ruh-alarvah is diversified. But the nature is the most important subject that the author considered in his illustration. Of total of 2640 review similes, number 636 is related to nature and its elements. Then living devices, clothing and different locations have been used as vehicle.
Martial of art terms, animals, humans, human organs, jewelry and mining, light, businesses and food are placed in the next category.

FirouzShahnameh is the rest of the book that two of its volumes are called Darabnameh. This book was written by MohamadBighamy in ninth century, but it is clear that it has an older origin. After Samakayar and Darabname, Firouzshahnameh is one of the most important vernacular stories with great originality. Because of the prominent example of Persian simple proses that narrated and renarrated for people in this book, there are many vernaculars and colloquial expressions in this work. The wide application of colloquial elements in FirouzShahnameh had made it quite significant with regard to the criterion of colloquialism. The use of slang is one of the simplicity and popularity factors of this book. The present article interpret FirouzShahnameh and analyzes how it made use of the vernacular elements such as proverbs and colloquialism on different language levels starts from smallest language unit (i.e. phoneme) to the largest units (i.e. sentence). This study is carried out as a descriptive-analytical method. The results of this research showed that ironic expressions were the most frequent among other colloquial elements of FirouzShahnameh.

Study of the structure and form of literary works have provided a background for developing methods for growth of meaning in these texts . Tales and stories that contribute a huge part of world literature create different semantically methods and sciences with their structure .among these, narratology has created a new method in art and narrative literature arena by employing methods and principals for organizing and analyzing elements of the story .Theory of narratology in addition to attracting the attention of critics towards new methods of structural analysis has provided employment of these methods during narrative studies in the field of contemporary literature. "Gérard Genette" as one of the narratology theorists has proposed one of the most important issues of this science .He define narrative from the three levels of story, narrative and narration, with its components .The present article analyzes Sheikh Sanan story from the perspective of this theorist’s narratology .The results show that in this story levels of Genette’ s theory of narrative such as story narrative and narration and elements such as discipline, order, time duration, volume and tone exist in parts of the story and in some cases continue to narrate the story to the end with slightly different elements.

Poetry is a Kind of performance at the hands of words, more exact choose of words ,the more successful the poet is in transferring his experiences. Additionally, there are words in language and culture, which enter to a poet’s associative mind through harmony and juxtaposition, moreover, they cause harmony and meaningful music through ambiguity,… . Amongst these words are poetic couplets. These include: “sigh” and “mirror”, “stone” and “vase”, “particle” and “Sunshine”, “Khosro” and “shirin”, “day” and ”night” ,…. These have been tied together with invisible threads in lower layers, more artistically and skillfully. Amongst these poetical couplets are the ball and the baton. Using the relationship between harmony and juxtaposition, jementics and their various application, various couplets have been created. The frequency of these poetical couplets are so great that it causes every enthusiast to ask this question: how have poets and mystics made use of a game which has got nothing to do with mystical debates? The present article is an attempt to re –read mystical texts which shed light on the various aspects/ applications of the ball and the baton. It concludes that poets and mystics have conceptualised and symbolised this poetical couplet in various cases especially when dealing with the various states of the lover and the beloved.