A Comparative Study of Irony Versus Farsi Literary Figures of Eloquence

Language is a collection of conventional symbols. Although these symbols do not have any natural connection with what they their purport, their constant usage has made rendered them natural symbols. So the authors of literary work, in order to attract their listeners, resort to this strategy and change the ordinary form of language. This change can be implemented in the structure of sentences or words; like manipulating sentence structures; deleting part of the phrase or repeating the other parts or making changes in meaningful bases of the word such as applying them in an unusual and awkward position. Sometimes, changes are materialized ignoring the principles of language use. Irony is also one of the noticeable language devices. Irony makes natural language structures unnatural by making changes in the field of implications. Predominating via use of irony is done by displacing the known structures and changing valuable bases of words. So the message is narrated by a part of the text which is not implicitly said. In other words, the author relies on the listener psychic suggestions. In Farsi eloquence, the word”irony” is not applied, but its definition is vastly used in Farsi language; although this usage is sometimes like the usage of other Farsi figures. All in all, it is known as a single type and different from the other eloquent figures. Since, in Farsi writings, these differences and similarities have not been examined yet. Accordingly, this paper addresses the similarities and differences of irony with other eloquent figures. Irony can enter Farsi eloquence with the same subject; of course not as an imported array because ironic words and methods have already been common in Farsi literature. In most cases, however, no title is determined for it. So, it is argued that irony is a kind of dichotomy in word and meaning or face and content which is based on opposition or antithesis and is built on an unexpected and sometimes ridiculous form.