From plagiarism to rhetorical figure: Examining of allusion in rhetorical resources

Allusion is one of the most commonly used rhetorical techniques in Persian literature and especially Persian poetry. This research reviews the allusion figure of speech in Persian rhetorical sources comparatively. Research questions are: 1) What is allusion? 2) What is the position of allusion in Persian rhetorical resources? 3) Why and how has allusion been commingled with other figures of speech? 4) How does the role of allusion aesthetics in poetry become apparent? For answering these questions, relevant information to allusion from forty different Farsi and Arabic rhetorical references was collected based on inductive method. Obtained data was investigated based on descriptive-analytical approach. Results of the research indicate that Farsi rhetorical sources to comply with Arabic resources just rounded off with allusion definition and by categorizing it in a subset of plagiarism does not clarify its position as an independent rhetorical figure. Because of unlimited conceptual boundaries, allusion has comingled with other figures of speech and therefore analysis of its impact and aesthetic role in Persian poetry has been ignored.
In present times, by quantitative and qualitative development of studies based on modern literary theories, rhetorical studies has been quite dim. Farsi rhetoric sources mainly to comply with Arabic references has discussed each figure of speech separately, defined and given examples but has not talked about their relations. Allusion is one of figures of speech. In this article has been tried to clarify allusion definition, position, its beauty-creation role and its relevance to contemporary literary theories in Farsi rhetorical sources.
1. At first, literal and figurative meaning of allusion was investigated. Precise definition of this term was explained and borders between it and other figures of speech was drawn. According to this investigation, acceptable definition of allusion is: when an artist in his/her text hints to other story, proverb, poetry or another work on condition that this hint and referral is covert, temporary, indirect and story-based.
2. A dual and paradoxical vision dominates allusion position in Farsi rhetorical sources. In rhetorical works dependent on author`s view point, the term of allusion has been defined and interpreted. Sometimes it is considered as a kind of plagiarism and sometimes it is regarded as a kind of rhetorical figure and technique.
3. Allusion has been merged to other figures of speech. Since the conceptual area of the term allusion is not clearly distinct in rhetorical sources, it has been mingled with other figures such as quotation title, gnomic verse (proverb), interpolation, prose paraphrase and adaptation. Authors have tried to make clear the borders among these figures and separate the conceptual area of allusion from other rhetoric figures.
4. In rhetorical sources, there is little focus on the role of allusion in highlighting and beauty- creation. Allusion in Farsi poetry and prose often occurs with other literary figures simultaneously and this density and interrelation of figures doubles its beauty and influence power. The hidden conciseness and prolixity in allusion joins this figure to pragmatics and in the field of rhetoric, connection of allusion to other figures strengthens imagery effects in the literary work.
5. Allusion is linked with some of the contemporary literary theories and is one of the fields of intertextuality emergence in a literary work. This intertextuality connection is sometimes apparent and obvious and sometimes hidden and obscure. Therefore, to avoid repeated allusions and releasing from influence anxiety of the previous text and misreading of it, orators have used the allusion figure.