مجله فنون ادبی
سال یازدهم شماره 2 (پیاپی 27، تابستان 1398)

Simile which is an important tool of literary creation can be regarded as the most significant element of expression used in reflection of experiences, beliefs, and thoughts of a lecturer. Thus, it has always been the subject of attention by the speakers as the most commonly used and popular factor. In the present study, this fantastic element is criticized in poetry of Badr al-Din Chachi, a great poet of the 8th century. The main feature of the poetry is the numerous uses of imageries, especially simile and metaphor. In this research, which is based on the descriptive-analytical method, simile is considered as an essential part in presentation of the poet's fundamental themes. The main objective of this research is to examine the role and effect of simile in ambiguity and diminution of images in Badr Chachi's poetry. Besides, the poet's innovation and initiative in presenting fresh similes are evaluated.  

The farther is the tenor from the vehicle, the more remarkable the rate of simile. On the other hand, the more similar are the tenor and the vehicle, the less remarkable the rate of simile. Obviously, in stereotypes, the tenor is easily found in both sides of the simile, so the simile has a narrow state, whereas in new and modern similes, as far as the poet has discovered a new relationship between the tenor and the vehicle, the degree of the simile is more understandable and more figurative speech is used. Therefore, in terms of imagery, the easily- recognized similes are more valuable. The similes which are fresh and unique are usually comprehensive, that is, their vehicle is also mentioned directly since the open view of the simile may divert the reader's mind from the speaker's intended purpose. Regarding Badr's poetry, it can be said that there are a number of open-angle analogues in his poetry, which is the result of the poet's genius and innovation.   Noteworthy that any new and exotic analogies may enter into literary texts in two ways, either through the speaker's invention and creation, which can be the result of his experience and direct reception of nature or various elements of his life, or through one of the ways that can be used in modernization of stereotypical and vulgar phrases. The fact that the artist has a new perspective toward his surrounding elements can somehow reduce their familiarity. One of the most important approaches in literary criticism is defamiliarization which has a broader meaning in the works of the Russian formalists and includes all the techniques and approaches the author consciously enjoys to make the world weird to the audience. In Badr Chachi's poetry, there are also cases that indicate the poet's tendency toward rebuilding some familiar and popular images.   Simile, metaphor, irony, and quintessence are techniques that can be imaginative by themselves. Now, if some of these figurative speeches are used in conjunction with one another in a verse, it will make the reader more contemplated and understandable for understanding the correlation between images. For this reason, this simile technique causes the density and sometimes interference of images. Comparative density is one of the features that is considered to be similar to rhetoric simile. Since perceiving the proportions of each image requires time and reflection, multiple similes presented within a verse will interfere with the transmission of the message of the image. Of course, it means the simile density within a verse so that the likeness is complete both in the structural and the semantic aspects of the same verse. On the use of simile in Badr Chachi's poems, it is essential to note that in most cases, the similes do not exceed two or at most three in one verse. In a few cases, it is possible to find verse in his Diwan in which four similes are used in one verse. It should be noted that the most important reason for the ambiguity of the similes is that in some cases, the simile is linked to the metaphor. Since metaphor is more vague and intriguing than other literary figures, it has had a great impact on obscurity of images.  One of the ways that can be combined along with rhetorical aesthetics to stimulate the emotions and feelings and the transference of thought and the message of the subject is to accompany the metaphor with other figures and techniques of exegesis and expression. From this viewpoint, in his poems, "Badr" has paid great attention to its arrangement through the use of a variety of innovative techniques. Hence, there is less likeness in his Diwan that with is not accompanied by one different literary figure or other forms of imagination.  

Badr Chachi is one of the poets who liked to pay much attention to simile as a way to express his content. He uses a total of 1,788 similes, which compared to the total volume of 2836 verses in his Diwan, comprise a significant frequency, that is, it has used at least a simile in each two verses. He has also taken advantage of all opportunities of creating new content and expanding the figurative meanings of words, for example, similes, simile and innovation combination, and refreshment of repetitive similes. The sharp look of the poet has helped him to add numerous new similes and innovative patterns to the collection of Persian poetry. In many cases, he has also been able to defamiliarize the commonly used and popular similes.  In dealing with similes, Badr Chachi has greater desire to use some especial figures among which the most favorite is simile. One of the highest frequency figures are singular to compound similes, compound innovative tenors, neighboring similes, as well as using new simile figures. Due to the poet's tendency to add up simile with other figurative and rhetoric techniques, especially metaphorical discourse, his poem's images are generally static and vague, and the reader needs to spend plenty of time to realize the associations and proportions between simile components.

Using new methods to analyze poems with particular language is a fundamental requirement. One of these methods is theory of "literary reading" in the process of interpretation of text, especially poetry, which was introduced by Michel Riffater, a French literary critic and professor of poetry in 20th century, in his book "Poem Semiotics". In his opinion, semiotic method helps reader in interpretation and analysis of metaphorical basis of texts, especially in poetry, and reveals hidden semantic layers for him or her. Although Riffater′s method isn′t true in all kinds of poetry especially narrative, it would be helpful in certain types of poetry, especially lyric poems, in our own literature.
Here reader travels to mental background of writer or poet through considering level of manifestation of metaphors, conventional poetry′s interpretations and beliefs, hi or her own poetry metaphors and beliefs, exploring semantic infrastructure of text and the magic of vocabulary alignments. He also finds out underlying layers of text, thereby analyzing complex and obscure text.
Because Bidel's poem is always associated with consecutive deviation from norms and systematic rules, and through accumulation of lexical and cluster combinations, surprises readers with new metaphor, interpretation of his poems can be a model for explaining poet's plan and mental coherence. This method forces reader to reflect about Bidel's poetry and find new implications of his poetry. This process advances reader mathematically and systematically, and through hypograms, he or she understands and receives final matrix of poetry. Also, by this kind of reading of Bidel sonnet, we can reach the predominant structure in most of his sonnets.

Hypogram is a picture connoisseur of poetry in minds of reader and presents central concept of poetry in colorful, widespread, strange and unfamiliar clothes. In fact, hypograms are the key issues of a poem, and poetry matrix is compiled through collecting hypograms.

Matrix is the dominant meaning of a piece of poetry and the fundamental proposition of poetry and the roots of the hypograms, which gradually develops in the reading of poetry in the mind of  audience, but practically does not exist in poetry and produces poetry hypograms . Matrix exists as an inanimate soul in semantic context of poetry and shows itself behind all the metaphors and poetic images, leading to unity and integrity of poetry.
 The process of Riffater′s interpretation can be summarized as follows: 1. reading text for regular reception; 2. highlighting elements that look unusual and preventing a conventional interpretation; 3. discovering hypograms or unclear parts in texts; and, 4. finding a matrix of hypograms that is a sentence or word and can produce hypograms and text.
By reflecting on matrix of sonnet and finding hypograms, one can conclude that all verses serve a single basis and inner meaning. With discovery of various types of hypograms, one can find a correlation between words of sonnet and unique message of poet, and it helps in interpretation of other similar poetries. In this study, for the first time, we have applied theory of Riffater in understanding Bidel Dehlavi poetry. In the process of interpreting a sonnet of Bidel, we reached hypograms such as distress, tears in the time of dawn, retreat, apologies, love and moving and understanding inner of human, all of which had a mystical meaning and thus we arrived at the matrix of "excellence and reaching God." This matrix is seen in the background of most of Bidel's sonnets.
Investigating resurrection of vocabularies in Bidel's poem would remove stain of failure from Persian language. Combining parts of a sonnet showed perfect power of Persian language and ability of Bidel in combining words. In the end, we must say that in interpretation of Persian poetry, which is an unfamiliar space, this method can be used. But, still remains a big space for such studies concerning adapting theory of Riffater to other Persian poems. It is hoped that we have taken a step in this direction.

Sharh at-Ta'arrof is a very extensive and elaborate work on Kalaabaadi's At-Ta'arrof written in Persian and is in fact the oldest Sufi text of Persian language. However, Mostamli Bokhaari himself did not assign a name on his work, and this book is known as Nur al-Moridin va Fadhihat al-Modda'in, and is briefly called Sharh at-Ta'arrof. Apparently, At-Ta'arrof, in the sense of benediction and bliss, has been the writer's model in the writing of his work and he has followed it in this work. In this work, Mostamli has fortified his words by the verses of the Qur'an and has clarified and described many of his mystical terms and ideological foundations in the epistemological field through the Qur’anic stories for the sake of more and better benefit of disciples and the seekers of knowledge and perfection. Among the stories to be considered and applied in the Sharh at-Ta'arrof is the story of the creation of Adam (PBUH), the order to make prostrations before him and the refusal of the angels and the story of Allam al-Asmaa [i. e. he taught the names]", the Satan's violation and his being cursed, Adam (PBUH)'s violation and his being driven out of Paradise, his regret and saying "zalamnaa Anfusana [i. e. we mistreated ourselves]" and the acceptance of his repent, some of which Mostamli has explored and cited from several positive negative views and has made his mystical thoughts more tangible in this way for the audience. The review of the story of Adam (PBUH) in the Sharh at-Ta'arrof shows that the writer, with an exploratory or realistic view, has considered God, Paradise, Adam (PBUH) and Satan as the actors of various parts of this story; and in this way, has described and explained the traits of God and some didactic mystical explanations, terms and principles. The most important results obtained from this review are: 1. The writer, in a positive and interpretive approach, has considered the true actor in the story of Adam's (PBUH) transgression from the order and his expulsion from Paradise, and in two cases, has explained divine affection and, in one case, has considered the reason for it as the arrangement of the journey from Paradise to the earth and its importance in austerity of the soul for Adam (PBUH). 2. The attribution of the transgression of interdiction to Adam (PBUH) is described in the Sharh at-Ta'arrof by two positive and negative approaches. In the positive attitude, Mostamli has considered the reason for the transgression as the fact that Adam (PBUH), in the state of infatuation by hearing the God's call of interdiction, has committed that violation to rehear the pleasing call of the almighty. In other words, the pleasure of rehearing the God's call has caused him to do this transgression of interdiction. According to the writer, this same state of infatuation and ignorance has caused Adam (PBUH) to say "Oh lord, we mistreated ourselves" after violating the prohibition of God and be subjected to forgiveness and divine mercy thereafter. 3. One of the interesting approaches of the author to the reviewed story is that he has attributed to Paradise the true action that led Adam (PBUH) to be expelled to the earth. In fact, in his belief, because Paradise had been proud of accommodating the Prophet of God and by this arrogance it committed an evildoing, it was punished, and God deprived it of accompanying with Adam (PBUH). 4. The most prominent act of Satan in the story of Adam (PBUH) is his violation of order and not prostrating before Adam (PBUH), which has been cited and evidenced by three negative viewpoints in explaining the negation of arrogance, negation of disobedience and necessity of piety. This negative attitude is existent, while some of the contemporary authors - including Abu Sa'id Abu al-Khair, Abul Hasan Kharqani and Abolqasem Karakaani - have a positive attitude to the story and have defended Satan and justified his actions. In the following table, based on the story and the interpretation of Mostamli, the different sections of the Qur'anic narrative of Adam's story are presented in terms of the type of attitude, the didactic inference of the writer and the actor of the deeds:   The type of attitude The didactic approach The story The actor Positive Divine zeal Being expelled from Paradise God Positive Divine love Being expelled from Paradise God Positive The importance of travel Being expelled from Paradise God Negative Special disaster Being expelled from Paradise Paradise Positive Awareness and infatuation His saying "we mistreated ourselves" Adam (PBUH) Positive Pleasure to rehear the call of the almighty Eating the forbidden fruit Adam (PBUH) Negative greed Eating the forbidden fruit Adam (PBUH) Negative Contrariness Being expelled from Paradise Adam (PBUH) Negative Selfishness Violating the order Satan Negative Desecration Violating the order Satan Negative Impiety Violating the order Satan

The study of title is the most important element in semiology. The reader enters into the next through title and gets help form it to understand. To analyze the construction and the content of story we need to have some investigation on title of it. Title has three different roles in the whole story; 1) It is as a sticker of story and it clarifies the feature of the story. 2) It has as an allegoric and symbolic role and the reader can get into the world of story through that. 3) It helps to figure the messages of story out. Categorization and the study of titles of war story in children and teenagers literature is one of the applicable approaches in story writing and processing the current study. Paying attention to the factors in choosing the titles of analyzing the construction including children and teenagers stories can help a lot. Titles are different in their simplicity or being compound or mental cases. The titles of stories in 60s are simpler. But being away of the war, we can see more compound and poetic titles. Sometimes the titles of stories especially in 60s are statement. And through this you can find out the message and content of story. The titles of stories are more identical rather than mental both in 60s and 70s. The mental titles refer to particular sites and real characters. Some of the titles of children and teenagers stories are simple and consisted of one portion. This approach was more applied in 60s than 70s. Most of the names combinations were of two or more lexemes. This tip is usually emotional. This can indicate that the willingness of writers aimed to simplicity. That’s because a child and teenager reader can get more relation whit emotional actions. Some story names are of just one statement. And the melody of the writers shows the simplicity of story is clear to readers; like existing the war lexemes in the title of story. Intra-textual and extra-textual factors have great role in choosing the titles of stories. The items that introduce the features of story and supply the background for conversation and the main text are called intra-textual elements. These elements talk about the features of text, topic and contents. The intra-textual factors which have great impact on war stories include numbers, things, themes, contents, characterization and imagery among which characterization and themes have had the greatest effect. Characterization is the most important process of creation of a story. Some of naming procedures are in relation with the story characters. There are three type of characterization in investigated stories. Sometimes the character of story is human body, sometimes animal or things. Theme and content have the specific importance in a story. Because they are not uttered clearly, based on the titles of the stories and their symbolic descriptions we can figurate out that the writers of 60s are willing to choose the names which have spiritual dimension. The most important themes which are used in teen and kids war stories are connected to war situations. We can refer to the lexemes of martyrdom, victory, hope, hometown loving, and struggling with enemy. And some events are specified to behind the war location. The usage of rhetoric elements in 70s is more than in 60s. These elements include simile, metaphor, personification, and symbol. Similes and metaphors are simple and sensible, personification is used a lot, and there is a great sing of usage of natural symbols. Extra-textual factors have indirect connection with the text. They talk about the outside world of the text. The extra-textual factors are applied in choosing titles or taken from the historical noble characters, or refer to a place or event in history. Among these factors attentive consideration to specific sites has great role in choosing the title. The outlook and approach of kids and teenager has been always positive. This tip in story titles is visible for these reasons: A) in scene decoration, there has been great attention to color and time. Caring about light colors more than dark ones. B) The content of title is specified to the war than behind it. According to titles, we can say that the willingness of writers is for these reasons: A) Willingness of writers to nature and outer matters. B) Their attention to events in war and its results. C) The usage of writers’ hometown in titles of most of stories. D) Caring about identical titles such as characters and actual places.

Simile which is an important tool of literary creation can be regarded as the most significant element of expression used in reflection of experiences, beliefs, and thoughts of a lecturer. Thus, it has always been the subject of attention by the speakers as the most commonly used and popular factor. In the present study, this fantastic element is criticized in poetry of Badr al-Din Chachi, a great poet of the 8th century. The main feature of the poetry is the numerous uses of imageries, especially simile and metaphor. In this research, which is based on the descriptive-analytical method, simile is considered as an essential part in presentation of the poet's fundamental themes. The main objective of this research is to examine the role and effect of simile in ambiguity and diminution of images in Badr Chachi's poetry. Besides, the poet's innovation and initiative in presenting fresh similes are evaluated. 

The farther is the tenor from the vehicle, the more remarkable the rate of simile. On the other hand, the more similar are the tenor and the vehicle, the less remarkable the rate of simile. Obviously, in stereotypes, the tenor is easily found in both sides of the simile, so the simile has a narrow state, whereas in new and modern similes, as far as the poet has discovered a new relationship between the tenor and the vehicle, the degree of the simile is more understandable and more figurative speech is used. Therefore, in terms of imagery, the easily- recognized similes are more valuable. The similes which are fresh and unique are usually comprehensive, that is, their vehicle is also mentioned directly since the open view of the simile may divert the reader's mind from the speaker's intended purpose. Regarding Badr's poetry, it can be said that there are a number of open-angle analogues in his poetry, which is the result of the poet's genius and innovation.   Noteworthy that any new and exotic analogies may enter into literary texts in two ways, either through the speaker's invention and creation, which can be the result of his experience and direct reception of nature or various elements of his life, or through one of the ways that can be used in modernization of stereotypical and vulgar phrases. The fact that the artist has a new perspective toward his surrounding elements can somehow reduce their familiarity. One of the most important approaches in literary criticism is defamiliarization which has a broader meaning in the works of the Russian formalists and includes all the techniques and approaches the author consciously enjoys to make the world weird to the audience. In Badr Chachi's poetry, there are also cases that indicate the poet's tendency toward rebuilding some familiar and popular images.   Simile, metaphor, irony, and quintessence are techniques that can be imaginative by themselves. Now, if some of these figurative speeches are used in conjunction with one another in a verse, it will make the reader more contemplated and understandable for understanding the correlation between images. For this reason, this simile technique causes the density and sometimes interference of images. Comparative density is one of the features that is considered to be similar to rhetoric simile. Since perceiving the proportions of each image requires time and reflection, multiple similes presented within a verse will interfere with the transmission of the message of the image. Of course, it means the simile density within a verse so that the likeness is complete both in the structural and the semantic aspects of the same verse. On the use of simile in Badr Chachi's poems, it is essential to note that in most cases, the similes do not exceed two or at most three in one verse. In a few cases, it is possible to find verse in his Diwan in which four similes are used in one verse. It should be noted that the most important reason for the ambiguity of the similes is that in some cases, the simile is linked to the metaphor. Since metaphor is more vague and intriguing than other literary figures, it has had a great impact on obscurity of images.  One of the ways that can be combined along with rhetorical aesthetics to stimulate the emotions and feelings and the transference of thought and the message of the subject is to accompany the metaphor with other figures and techniques of exegesis and expression. From this viewpoint, in his poems, "Badr" has paid great attention to its arrangement through the use of a variety of innovative techniques. Hence, there is less likeness in his Diwan that with is not accompanied by one different literary figure or other forms of imagination.  

Badr Chachi is one of the poets who liked to pay much attention to simile as a way to express his content. He uses a total of 1,788 similes, which compared to the total volume of 2836 verses in his Diwan, comprise a significant frequency, that is, it has used at least a simile in each two verses. He has also taken advantage of all opportunities of creating new content and expanding the figurative meanings of words, for example, similes, simile and innovation combination, and refreshment of repetitive similes. The sharp look of the poet has helped him to add numerous new similes and innovative patterns to the collection of Persian poetry. In many cases, he has also been able to defamiliarize the commonly used and popular similes.  In dealing with similes, Badr Chachi has greater desire to use some especial figures among which the most favorite is simile. One of the highest frequency figures are singular to compound similes, compound innovative tenors, neighboring similes, as well as using new simile figures. Due to the poet's tendency to add up simile with other figurative and rhetoric techniques, especially metaphorical discourse, his poem's images are generally static and vague, and the reader needs to spend plenty of time to realize the associations and proportions between simile components.

The first Sufi poet who versified in mystical didactic poetry, after Masnavi Sharif, was “Baha al-Din Mohammad”, the eldest son of Mawlana Jalal al-Din Balkhi. He was born in 623 Hijra in Larandeh, one of the cities of Asia Minor, and was trained in Konya and Damascus. He understood the speeches of the elders and caliphs of his father, such as Borhan-al-Din Mohaghegh Termazi, Shams Tabrizi, Salah al-Din Zarkub and Hessam al-Din Chalabi; and in addition to acquiring clergyman position, he taught some lessons during the time of Mawlana life. Sultan Valad is one of the elders of the Moulayan dynasty. He has some poetry and prose works, including “Valadname” elegies, lyrics and couplet poetical works.

The meter of poem is one of the very influential elements in the fantasy of the word and leads to the dance of words in poetry, placing the poetry in a higher position than prose. In fact, the meter is a means for the poet to choose the musical field of poetry in accordance with the intended subject and theme and to affect the emotions and feelings of his audience. One of the main frontiers of success of the great poets is the harmony between the meter and the content of their poetry. In using the meter, the poet focuses on the music and its emotional impact, because the emotional impact of each meter is different. There are a variety of meter in poetry, each of which is effective in creating an attractive structure for poetry, and the music and symmetry created in poetry are not created merely with meter and rhythm. The present research, by using librarian and content analysis method, along with statistical data, studies the external music of Sultan Valad lyrics and seeks to answer these questions; 1- Statistically, what is the frequency of the prosodic meter used in the poet’s lyrics? 2- Has the poet used low-applicable and unfamiliar meter? 3- How much is the level of coordination of meter and content in the lyrics of Sultan Valad? The use of fluent and reboant meter, the use of rhyming syllables in accordance with the word tone, and the use of nominal, verbal propositional rhythm and by Sultan Valad, had brought a soft music to his poem. Repetitions have an important role in creating music in Sultan Valad’s poetry and lead to a good melody in linear order.

It should be said that due to the importance and the base that Sultan Valad has in mystical poetry, because he benefited from Mawlana, he had not been taken into consideration by critics and researchers as it should be. Only in some researches some aspects of his life and his poetry are explored briefly, which we briefly describe below: - Burgel (1383), in the book “Moulavi Jala al-Din Mohammad bin Mohammad”, describes Sultan Valad as one of the most famous biographer of the father; the son who founded the Sama dervishes sect and followed the disposition and works of his father. In this work, the aspects of Sultan's life are also presented. - Shafei Kadkani (1387), in an article titled "The Prosodic Characteristics of Sultan Valad Divan", believes that there is still no exact academic research on Sultan Valad’s spiritual heritage and mystical and poetical position. In this article, the influence of Turkish language and the language of monastery on the prosodic Bahrs of Sultan Valad poetry is studied. - Mousavi and Hojat al-Eslami (1389), in the article “Sultan Valad and his caliphate after Mawlana” describe the position of Sultan Valad position in Maulavieh mysticism. In this article, the influence of Sultan Valad on mysticism and the introduction of his mystical position are studied. In this research, which is done for investigating the external music of Sultan Valad’s lyrics and its relevance to the content, at first some samples of the poet's poems are given in terms of frequency respectively, and the coordination level of meter and content is investigated; then all the meter used by the poet are presented in sequential tables in terms of frequency and statistical data. Referrals will also refer to the number of the lyric and its page number.

The findings of the research indicate that Sultan Valad had used 26 meter in 9 different Bahr for versifying 826 lyrics, which Hazaj bahr with 325 lyrics and 34.39% has the highest frequency. Subsequently, Ramal bahr with 133 lyrics and 10.16% is ranked second, and Rajaz bahr with 130 lyrics and 73.15% is the third. The low-applicable and unfamiliar meter used by the poet is only 3, with a frequency of 9. Most of the meter used in Sultan Valad Divan are short, lively, joyous and sinuous. The meter “Mafaeil, Maqsur’, with the frequency of 150 lyrics, has the highest frequency. Perhaps the reason for using this much is the proper environment of the Sama circle as well as the inner emotion that forms the lyrics music before its words. Also, after extracting of meter and bahr and thinking about the poems’ themes, the coordination level between meter and content in Sultan Valad poetry was investigated. It was found that he used the appropriate words, syllables, poetry options, rhymes ant rhythms to fit and coordinate meter and content. With the awareness and knowledge he had about poetry music and prosodic bahrs, Sultan Valad had chosen the bahr appropriate with the theme and subject in order to add to the effect of his speech. Among the studied poems, only in a few lyrics, fewer than a dozen, there is not much coordination between meter and content; meaning that the meter of these poems is not selected in full proportion to the content, although they can simply be neglected.

Accurate reading, morphology and analysis of literary works from the point of view of systematic functional linguistics and functional stylistics of Michael Halliday is one of the most prominent and effective approaches to understanding and explaining these texts. Functional stylistics enters into two independent areas of linguistics and literary criticism, and it recognizes, introduces and evaluates the components of these two subjects. In this different view, the social function of the language is often taken into consideration, followed by the Ideational meta-functional, interpersonal, and textual of the language of the texts being explained and interpreted. This research, has been done by collecting, describing and somewhat statistical method, aims to criticize and analyze poetry by Tahereh Saffarzadeh whose style influenced by trivial meta-functional, and explain the ways in which poetic language is used. Finally, by analyzing each of these franchises, the function of language in the form of the poet's expressions is well understood and received. The style of a literary work is how to use the language and the way of expression, the elements and components of aesthetic, and the content approach and the theme as the message of that work. Functional stylistics of Halliday is also a product of social insight into the role of language. One of the prominent features of this method is that, by examining this process, one can become aware of the inside world of the author, and, in addition, try to understand the external factors; The fact that in most of the poems of this poet, and especially in the first travel poem, reveals the true experiences of the poet in her phrases. Saffarzadeh has used the two processes of material and relative in her socio-political poetry, while at the same time she has given a more descriptive and narrative sense to her own text

In Classical literature, metaphor is a kind of deviation from the normal language, whose main role is glory and speech, so that it can be removed from ordinary language. On the contrary with this traditional thinking, the cognitive linguists conceived the new concepts and functions for metaphor. In the new perspective, language is basically metaphorical and can not be thought of without metaphor and communicating with the outside world. In a new approach, unlile the view of classical intellectuals, metaphor is a meta-language tool that emphasizes the link between language and thought. In this perspective, the conceptual or cognitive metaphor, the experience of abstract and undefined matters are in the form of tangible and descriptive issues. The significance of conceptual metaphors in understanding the system of thought and perceiving the most important mental concepts dominates in each work. One of the most important functions of conceptual metaphor is the understanding of abstract and inexpressible affairs in terms of physical and sensible things, because many of fundamental concepts in our conceptual system are usually understood through metaphorical concepts. Sayr al Ebad Elal Maad-e-Sanai is one of the most prominent mystical works in Persian poems that expresses the journey of the soul to the world, and then returns to the kingdom of the metaphorical and allegorical language. The mystical, allegorical language of Sanai has given a special distinction to his gnostic thoughts. This style prominence owes to the metaphorical attitude and meaning of the Sanai hence, the most prominent tool used by the Sanai in Sierra El-Ebad is the use of the function of cognitive metaphor to describe and understand better the mystical abstract concepts and extrasensory. Based on the above mentioned, the present study is descriptive-analytical and in the framework of the cognitive metaphor, the study of Sayr al Ebad Elal Maad-e-Sanai and the identification and analysis of the most important writings and concepts in which the poet attempts to portray and to associate them to the audience with the language of metaphor. Accordingly, these metaphors are analyzed based on the target domain and the subjective concepts of classification and some semantic functions. In the next step, another classification based on the cognitive function of the conceptual metaphors of Lakoff and Johnson (structural, ontology, and directional) has been respectively performed in the order of the highest frequency. Sayr al Ebad Elal Maad-e-Sanai is the story of the soul's journey to the world of creation and the mystical kingdom and God’s gate. In this collection, the language of metaphor is the best tool for expressing the metaphysical concepts which related to the journey of the soul and its barriers. Therefore, understanding the main and most important metaphorical writings of Sierra El Abad has a valuable role in recognizing the hidden points of the text as well as the literary style and the poet’s intellectual system.After the analysis of the most important metaphorical writings of Sanai, the most important phenomena and the metaphorical concepts are respectively the use of moral vices, wits, four elements, the world, the soul, the heavens and the earth, desire, the kingdom, the virtues, the spirit, the body , Science and the stages of man's creation. The results show that the use of conceptual, metaphorical patterns has an important and effective role in explaining the abstract and supernatural ideas of Sanaei. According to the findings, the most frequent metaphorical concepts and phenomena related to the ethical vices, which have been manifested in the metaphorical animal forms of moral vices; on the other hand, the most important semantic functions of the sensual field, savage, meanness, slander, ugliness and covetousness, blackness, poison, mercilessness, bitterness, impoverishment and destruction. The structural metaphors have the most important and the most cognitive function in Sayr al Ebad Elal Maad-e-Sanai. These metaphors have a more pronounced application in the emergence of dominant thinking on the subject. The most prominent metaphorical examples used to explain the important and often meta sensual concepts include: the types of animals, the types of instruments, the types of buildings, the governmental jobs, kinship relativity, the common occupations, prophets, plant types, and the lightening elements. The ontological metaphors have a special place after structural metaphors. In the meantime, the most frequent realm of ontological metaphors is the field of humanism. Then in the directional metaphor, the most manifested one is in the "high order", which is mostly used for positive, pleasant, and often superficial conceptual domains.

Technical prose is more than the meaning in the thought of the arrangement of the word, and uses a lot of rhetorical delusions to decorate the word. One of these linguistic and rhetorical delicacies is the guarantee of poetry during prose. Among the more than 240 verses that are implicated by Nasr ol-Lah Monshi, more than seventy percent has been chosen from odes. Abundant usage of the ode form is very common because it was the prevailing form of poetry before the seventh century. In Kalileh, which is a masterpiece of technical prose, the quote poetry has a unique position in terms of quality and quantity. Nasr ol-Llah Monshi, has quote poetries and verses in all stories of Kalileh and Demneh. The relation between poetry and prose in this book is such that the reader does not feel any jump between the prose and the quote poem. It seems that the entire work, including poetry and prose, is written in an integrated form and by a person. He has various methods that using the quote poetry does not hurt the linguistic integrity of the text. One of the most important ways that Nasr ol-Lah has utilized to create and maintain this harmony is making minor changes in the poems of the poetries. In other words, he has created small changes in some quote poetries that are not capable to quotation in the text without changes to increase the harmony between his own text and the other’s poetries to the best. Of course, all the changes in the quote poetries in Kalileh cannot be known deliberately or in order to the maintenance of the integrity of the text. Linguistic changes created in the quote verses, as compared to the poet’s books, can be due to reasons such as the difference of copies, the carelessness of the scribes, making the coordination with the prose or the presentation of the poetries from the writer's memory without referring the original books of the poets. The changes in the quote verses and hemistiches are at the level of the vocabulary and increase or decrease the conjunctions and prepositions. Nasr ol-Lah Monshi has tried to use a variety of linguistic and rhetorical techniques to maintain a strong link between quote poetry and his text. In such a way that we see less of the heterogeneity between quote verses and the text of the book. In Kalileh, the verses and hemistiches are quoted from poets such as Sanaayi, Masoud Saad, Abu al-Faraj Rouni, Amir Moezi, Farrokhi Sistani, Osman Mokhtari, Kasayi, Abu Saeed Abu al-Khair, Onsori, Masoudi Razi. Among the more than ten poets whose poems are quoted in Kalileh, Nasr ol-Lah Monshi has used the Sanayi poetry more than the other poets. Undoubtedly, there is a certain difficulty to make connections between the quote poetry and the prose. The author of the prose must be so dominant in poetry and prose that he can put them together in such a way that it is not inappropriate for the reader. Perhaps this is the reason why the authors of technical prose use most of the quote poems in the role of parenthesis in the prose sentences. But sometimes the link between the quote verses and the text of the book is such that they can be placed in various grammatical roles. Nasr ol-Lah Monshi has used quote verses and hemistiches in various grammatical roles that created the most artistic and perfect kind of the quotation in the technical prose. One of the most commonly used roles that the quote poetries in Kalileh and Demneh have, is object role. Approximately thirty of the quote verses have been used in this role and have increased the richness of technical prose. In the Kalileh and Demneh, there are quote verses that are used in adverb role. The similarity of this adverbs with many of Kalileh and Demneh verses, is that they are parenthesis sentence and their probabilistic elimination from the main sentence, does not make any problem in the concept of sentence. The adverbs that are used in Kalileh and Demneh are all adverb of state. In addition to the variety of grammatical roles of the quote verses, there is also a strong rhetorical link with prose. The types of the rhetorical link of the quote poetries with the text are very extensive. Since the enhancement of the impact of the text on the reader is one of the main concerns of the authors of technical prose, Nasr ol-Lah Monshi with full understanding of this point, has tried to adhere to rhetorical elegances in the quotation of the poetry. Hence, in applying poetry, there are many rhetorical elegances in the text. What is evident in the quote verses in Kalileh and Demneh is their rigorous selection and arrangement rhetorically. Nasr ol-Lah Monshi has followed all the principles of eloquence and rhetoric, and in addition to the great care in choosing the poetries from the point of view of content, some other points such as poems forms and even their meter have been paid special attention. From the factors of the stability of this connection can be mentioned to rhetorical arguments, confirmation and emphasis on fictional thoughts, descriptions and exaggeration. However, the dominance of tendency to the destiny in the era of the translation of the book, has decreased tendency to the reasoning. Nasr ol-Lah Monshi has often used the quote poetry to balance the arguments of the prose sections of the book. The attraction and sweetness of poetry led to exist the quotation of the poetry for attraction of audience in most of the proses. This means that a writer such as Nasr ol-Lah Monshi with full knowledge of the position of poetry in the minds and language of his audience, uses poetry to explain the artistic ideas of his thoughts and uses the effectiveness of his poetry and its great influence in verifying his word. One of the ways to extend and, of course, presentation the art of the writers of technical prose, is the usage of poetic descriptions in different positions. This feature can be used as a criterion for evaluating this category of works. This means that sometimes the descriptions have a decorative aspect and sometimes they add to the rhetoric of the text and affect to attract of the audience. Nasr ol-Lah Monshi has used this opportunity in the best way. So that the book's descriptions increase the effectiveness of the text on the audience. Exaggeration, in addition to increase the poetic features of the text, is more consistent with the spirit of works such as Kalileh, which has a general audience, and the appropriate usage of this poetic technique has a lot of impact in the accompaniment of such audience with the text; because this feature active the imagination of the audience and makes him enthusiastic about accepting the thoughts of the author, and in this way becomes more enthusiastic for companionship with the author's thoughts. This article, in a descriptive-analytical method, has tried to analysis the mystery of success of Nasr ol-Lah Monshi in the quotation of poetry and introduce the linguistic tricks and rhetorical elegances that he employed through utilizing the poetries.  The present research shows that Nasr ol-Lah Monshi has always adhered to the eloquence and rhetoric in the quotation of poetry. So that in the place of the connection between poetry and prose in Kalileh, there are many linguistic and rhetorical elegances.

Undoubtedly, simile is at the heart of literature. Since the "personification" figure of speech has a metaphorical base, addressing the various dimensions of this figure of speech is always necessary and very valuable. The past and present rhetors discussed and investigated “Tashkhis” (personification) by hook or by crook; but as literary science works, one can never come to an end in these studies and claims that the last idea is the most complete one. Therefore, the author has also integrated his views on personification (Tashkhis) figure of speech and in this article he has addressed some important and new issues including: stating the problem of choosing the name of “Tashkhis” for this figure of speech, showing the lack of being comprehensive with the word of “Tashkhis”, making new classification for the elements of this figure of speech, choosing a new label for this figure of speech, finding a new metaphor, addressing the error made by rhetors in selecting the word representing personification, giving a new definition for this figure of speech, and finally providing a new point of view about the relationship between personification and virtual predication figure of speech (esnade-e-Majazi).