مقالات رزومه دکتر احمد رضایی جمکرانی

Proverbs is among the terms that researchers disagree on both defining and determining its examples, to the extent that some believe that it can never be defined. Due to these ambiguities, some have mixed it with other realms such as irony and allegorical metaphor. It seems that the researches in this field have not sought a systematic and well-founded framework for all kinds of parables. Researchers in linguistics and literature in the 20th century tried to extract general rules for both and present them under the title of "Grammar" considering the similarities of types and literary works, analyzing their structure, and defining different types in the form of a few simple forms. One of these forms is proverb the “grammar” of which can be obtained by analyzing its structure and extracting its components, and by putting them together. It seems that one of these basic components, which can be seen in different forms in proverbs, is opposition. In this research, while categorizing and criticizing the definitions of proverb, examining the types of oppositions in philosophy and semantics, about a thousand Persian and Chinese proverbs have been classified with a descriptive-analytical method. The result of the research shows that in every proverb we are dealing with some kind of opposition, but the frequency of opposition is different, so that types of connotational opposition and complementary opposition are the most frequent, and lexical opposition is placed in the next category, although we have proverbs that have several types of opposites. Also, in the current research, there was no example of the symmetrical opposition or gradable opposition.

Following the primary epics, another type of epic was formed, which is called secondary or artificial epics; A type of epic that is formed by imitating the original epics is religious. They describe the heroism of one of the most prominent figures in the history of Islam, who held a high position among most Muslims. The composition of such poems began in the fifth century, shortly after the time of Ferdowsi, but in the Safavid era due to political and social conditions has been narrated and continued and the attention of poets in later periods to this literary form has been much. In the period between the 11th and 14th centuries, more than twenty religious epic poems have been counted in the Isfahan region alone, which have not yet entered the realms of research.The present study, while explaining the various aspects of religious epics with a descriptive-analytical method, has analyzed and criticized the various areas of the three collections (manuscripts) Ordibeheshtnameh, Shahanshahnameh, Maghamat-e-Hosseini as examples of religious epics. The result of the research shows that the poets of the works did not pay much attention to the linguistic and rhetorical system in such a way that sometimes the epic and lyrical elements are mixed; The semantic and content system has been highly regarded by poets and they have tried to use the text as a means of expressing their religious and doctrinal perceptions, which is a mixture of history and the Poetic preparations. In the meantime, Ordibeheshtnameh and Shahnshahnameh have been very much influenced by Ferdowsi's Shahnameh, but Maghamat-e-Hosseini, apart from rhythm, seems to lack many epic components.

Drinking Song is a kind of lyric that dates back to the Anacreontic verse. It seems that social developments have also affected the function of this type of literature and transformed it from a lyrical function to a social function, which can be shown by using a systematic tool. One of these tools is the knowledge of semiotics, which tries to identify the origin of the text through the sub-images that are spread in it and to achieve the internal coherence of the text, in spite of the existence of inaccuracies, through the exploratory reading to the post-exploratory reading. The present study has compared and analyzed the semiotic semiotics of Houshang Ebtehaj and Razi-al-din Artimani from two different periods. Exploratory and retrospective reading and focus on descriptive systems and hypograms of the two texts show that the mentioned texts, despite paying attention to the prominent themes of the literary type of the drinking song, have changed their content. Accordingly, Ebtehaj, using mythological codes, conveys deeper diversity and messages and gives another meaning to its main elements; The butler has found a new meaning in his drinking song and the social approach of this butler, according to the events of the society, has made the text more prominent. According to the analysis of the matrices of the two texts, while Artimani thinks of annihilation and God to get rid of tyranny and oppression, Ebtehaj seeks a savior who will awaken the dormant society.

"Dominant" or "dominant element", as one of the main concepts of formalism, is a prominent component of any work of art that affects other components and elements and causes their transformation.One of the most important elements of postmodernism is the recognition of text identity, which has been multiplied due to postponement and lack of fixation of meaning.The text and the author, as the main subjects, always try to present different readings according to the textual nature and identify the unique identity of the tex and recognizethe unique identity of the text. Therefore, it can be said that written identity is one of the characteristics of postmodern fiction.Abu TurabKhosravi is one of the writers who can be considered the postponement and non-establishment of meaning as the most important "dominant element" of his works.It seems that the metanarrative, the subjectivity of the text, the author's dialectic with the characters, the numerous recreations of an event,deviation from logocentrism and instability of meaning are the characteristics of his works.The result of the research shows that in his works, the narrator and the narrative are both influenced by the importance of the text and its subjectivity, which leads to the instability of the signifier and the signified, and consequently to the uncertainty of the meaning.

With the Mongol invasion of Iran, many of their words entered the Persian language. One of these words or compounds is "Teb tengri" which has been used in various texts as Bot Tengri. In this study, we use the descriptive-analytical method and  corpus stylistics (especially in the analysis of mentioned narration) to analyze “tengri” and “teb/bot tengri” especially in Mongolian and Chinese languages and the narrations related to these words. Then, we show that the first part of this word combination should be read as "teb", which in the Mongolian language is a prefix that means exaggeration and it can be seen in other words. The combination of "teb Tangri" is known as the special title of one of the Shamans with whom Genghis Khan strengthened the foundations of his power. When he seeks his share of power, he was killed by Genghis Khan. It can be said that among the Persian historical texts, the Vassaf’s history has presented a narration with the most elements related to the beliefs of the Shamans.Introduction The Mongol invasion, along with its very destructive effects, led to various exchanges, including cultural exchanges between East and West. From a stylistic point of view, the cultural effects of this incident are manifested in the first place in linguistic structures that are not normally separated from intellectual structures, especially in words and lexical structures. One of the salient effects of the Mongol invasion was the spread of the Turkish language, especially Mongol Turk, more than was common in the sixth century. Thus, some words found in Persian became so common that they are still used today.Among such words, the word "Tengri" can be mentioned This word, which has been used in some texts before this period, is not very problematic in terms of meaning. With the same structure, there is no special semantic ambiguity, but this word is combined with another part, which is the first part. It has been recorded in Persian texts in various forms, such as "Teb/Bot tengri", "TebetTengri" and "Teb". In addition, the exact pronunciation the word is not found in dictionaries. In addition to pronounce this structure, the narratives themselves have used "Teb Tengri or Bot Tengri" which are disturbed or repetitive.In this study, while paying attention to the readings of this word and its correct pronounciation, we have studied the first part of the composition and criticized its various forms according to some sources in Mongolian and Chinese. We have also examined the narrations that deal with the story of "Teb Tengri/Bot" in the form of historical figures, and have shown their metamorphoses.Materials and Methods   Using a descriptive-analytical method, the present study first examines the composition of "Teb Tengri or Bot Tengri" in Chinese and Mongolian texts from the perspective of phonetic and lexical structure. It then analyzes its application in various texts of Persian prose and poetry. Finally, it reviews and criticizes the narration related to this structure in six texts of Persian prose.Discussion of Results and Conclusions    In the famous book of Mongolian grammar, there are grammatical rules for some Mongolian words, which by exaggerating the teb (teb) as a prefix, the meaning of the word is exaggerated. In other words, the function of the prefix "teb" is to exaggerate the meaning. The "Teb" section in the word "Teb Tengri" is also subject to the same rule, which can be translated as "divine" or "drowning in God". Of course, the literal translation of Teb Tengri, according to the structural rules of the Mongolian language, can be considered a very wide and deep sky. In other words, the combination of "Teb Tengri", which is one of the two components of "Teb" for exaggeration in the Mongolian language, and "Tengri" meaning God and collectively meaning "immersed in God", in Persian texts is often referred to as "Tengri Bot". Based on linguistic and historical evidence, this usage is completely incorrect. Combining various texts, it can be said that the combination of "Tengri Teb" was the title for one of the famous Mongol shamans who was very deceitful and Genghis used his position and of course his deception in his participation in the government structure, with complicity. He draws a heavenly position for himself among the simple-hearted people, and Tengari Teb justifies his actions. But when he sees that Genghis does not involve him in the government and does not give him a share, he opposes him. Eventually, Teb Tengri is killed by Genghis Khan (son, brother, or one of his relatives). Among Persian texts, the narration of the Vassaf's History is considered to be the closest to the main narration due to having most of the features related to shamans.

Onomastics is a science that encompasses a wide range of disciplines. This knowledge studies the letters from different social, historical, geographical, linguistic, etc. angles. It also help explain the significance of the names from different aspects. In the realm of language, too, the structure of names can be studied and analyzed from different angles. In the present study, we have examined the names of the main books in the field of rhetoric from the perspective of semantic core, clarity, and opacity in an analytical-descriptive manner. The results show that in names that "Balaghat" is the center of the title of a work and the title has an additional structure, the second component should be considered as the core of the work. this feature is also seen in works in which "Badie" is used; but in many nouns, which are preceded by "She’r", the core of the compound is the first part. What is very noteworthy in this study are the Arabic names, many of which can be considered as compound adjectives, although these adjectives do not reveal much about the subject or of the rhetoric. In addition, we are dealing with names in this field that should be considered to have no specific core. But in terms of transparency and opacity, it must be noted that in the name of books that have an additional structure, it often overshadows the core, or in other words, the whole combination, and affects it. Even in descriptive combinations, a word is often found that affects the whole structure. In general, the words "Balaghat" (rhetoric), " Sh’er" (poetry), "Adab" (literature), "Nazm" (verse), etc. are very prominent in these names. However, none of them seem to have made the name transparent; what makes the name transparent is the thematic context of the name or its situational context.

Historical texts including texts that claim to report reality, when seen from this perspective, are close to scientific texts. Among these texts is Beyhaghi’s history. It seems that grammatical metaphors can be effective in assessing the validity of this work. In this study, to investigate Beyhagi's claim, we examined the story of Hassanak-e- Vazir in terms of grammatical metaphor. The results of the research show that material processes are the most important components of this text. Also, the declarative mood that represents the actual report is dominant in this work, but besides that, the subjunctive mood, which is the opposite of the declarative mood, is seen in many processes, such as nominal grammatical metaphors, alternative meanings, the use of sentences in unusual roles, the application of processes to each other in interpersonal meta-function, the elimination of the agent or the process actor, and some additional results of this research. The use of the active verb in the sense of the passive in order to remove the process actor can be considered a new type of grammatical metaphor most frequently used in this section. Based on the findings, we can say that Beyhaghi, while emphasizing the facts, does not report the reality completely. He tells a part of the fact that is safe or low risk, but he also eliminates some parts or does not explicitly state them, especially in the constructions concerning how Massoud Ghaznavi is a true actor in the process, using various forms of grammatical metaphor to keep his name.

Today, different theoretical and research domains of literature each try to analyze literary works from a different and, of course, systematic perspective. It can be said that the development of the theoretical framework, methodical analysis, presentation of codified results, and avoidance of taste-based opinions are the basis of many literary types of research of the present day; one of these domains is semiotics. Semiotics is related to many aspects of life, especially literature in the broad sense and poetry in the specific sense, because of its essential function of "examining something that represents something else." The system of semantic connection in literature, or the connection between signifier and signified, or what should be discovered in literary texts on the basis of existing signs, has been a significant vehicle for semioticians to enter literary texts from different angles. In this paper, Moalavi’s Neynameh and Aminpoor's Fasl-e- Vasl, which pay attention to the subject of “union”, according to Riffaterre’s view, were analyzed and compared. The present study, by drawing descriptive systems, hypo gram, and matrix, shows that these two texts, despite their similar content, have expressed two opposite views.The narrator of Neynameh, complaining of parting and getting along, does not seem, Joiner, while the narrator of Fasl-e- Vasl, by motivating others and … has reached its optimum. Although descriptive systems in Fasl-e- Vasl are less, have greater diversity; Hypo grams of this poem is also widespread. In addition, ungrammaticality and neologism in Aminpoor's poem compared with Neynameh are much more impressive.

Rhetoric and eloquence are among the terms that have attracted for researchers since the beginning of rhetorical works. In different periods, while discussing these terms, rhetoricians have tried to provide criteria for them. What is obtained through rhetorical books shows that after the early centuries in Islamic rhetoric, we are faced with tasteful criteria in this realm, criteria whose acceptance and application today are not without many flaws and such criteria cannot be used as measures for different texts, especially modern texts and new formats or types. In the present study, while examining, analyzing and criticizing the rhetoric and eloquence and categorizing the opinions of predecessors, we have tried to explain the terms with other component; components that can provide a clearer picture of the concepts of eloquence and rhetoric. It seems that to get a clearer understanding of such concepts and to avoid exploitative views, one can use the opinions of linguists about context types of context, as well as Roman Jacobson's communication theory and the six roles of language based on this theory; In other words, with the help of linguistic studies, the components of rhetoric and eloquence can be redefined in other ways which in addition to clarifying terms and avoiding aspects of taste, it is more inclusive. Accordingly, the various context of speech along with the roles of language can be considered as the central elements of rhetoric and eloquence. At the same time, according to Van Peer, literary and sacred texts are always "making context”, they make their context based on the situation in which they are located; In other words,literary and sacred texts do not have a closed and unchangeable context. In addition, in this redefinition, we must consider the various textual, situational, cultural, and social contexts, along with a new understanding of communication theory and language roles, as components of rhetoric and eloquence.

After the formation of the first foundations of the rhetorical sciences, at a later stage, researchers in this field classified the different boundaries of this knowledge. The metaphor is one of the first realms that has always been the subject for researchers in this field, since the beginning of this science. When the rhetoric entered the classification stage, naturally, metaphor was no exception to this rule. The study of various rhetorical works in Arabic and Persian rhetoric shows that the classification of metaphor has passed different periods in Arabic and Persian rhetoric. his research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetorical works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century has been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them his research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetorical works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century has been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them This research has examined the evolution of the metaphor classification in Arabic and Persian rhetorical works from the earliest to the present day. Accordingly, three stages can be considered for categorization of metaphors in Arabic rhetoric works and six stages in Persian rhetorical works. The result of the research shows that the classification of works of Persian from the eleventh century have been fully influenced by the works of Sakkaki, Khatib Qazvini and Taftazani. However, some of the rhetorical works have made criticism of these classifications. In our day, some of the rhetorical works, while criticizing these categories, have considered the past categories to be useless and some researchers while criticizing these classifications, have added new issues to them.

The genre theory or generic criticism is an important issues of literary theory that has been considered on literary studies since Aristotle. This is so considerable that much of the aesthetic principles of the great literary schools have been influenced by it, and the critics studying these movements have devoted part of their studies to the genre theory. Among literary schools, the contrast between the classicism and romanticism is very important in the generic theory. Previous studies addressing this have described classicism’s approach to the literary genres as technical and prescriptive and in contrast the romanticism's approaches as philosophical. However, philosophical components of the genre theory in romanticism have not been thoroughly explained. This research seeks to explain and analyze the components of this philosophical approach and the factors that influence its formation. In other words, what are the components of romanticism’s philosophical approach and what are the factors affecting that? This study shows that the classicism's approach to literary genres was questioned due to Kant's subjective philosophy and Herder's historical relativism and also the social, intellectual, and cultural changes of the Renaissance, such as the industrial revolution and humanism and factors such as historicism, consistent unity theory, attention to the poet's ingenuity in the creation of literary work, individualism, and subjective and phenomenological view led to the formation of a new genre theory in the school of Romanticism.

The study of the evolution of literary schools and comparing the principles and characteristics of different schools is one of the important fields of research in the  comparative literature.Meanwhile, the contrast between classicalism and romanticism in the theory of literary genre and their different approaches to this category, is very significant. The authors believe that there are both intellectual and social principles in these two schools that theory of the literary genre of the schools, in spite of the plurality or apparent differences, is based on these principles and a large part of the contrast between these two schools is also the result of the opposition of these principles.This research is based on an analytical-descriptive approach and want to explain the principles and foundations in the context of intellectual and social conditions, its impact on the theory of literary types and, ultimately, the comparison of these schools. The results of this research show that the theory of essentialism and different perceptions of the theory of mimesis including belief of fixed and unchanging laws of literary genre, the purity of literary genre, as well as the belief in the existence of hierarchy among literary genre and the superiority of types of narratives such as tragedy and epic ,is the basis for the formation of the general principles of the theory of classical literary types of classicalism. In contrast , the components such as historicism, attention to the genius of the poet in the creation of literary work and the tendency toward individuality has led to the formation of a new theory of genres in the romanticism which it is based on the rejection of rules  governing literary genre, the combination of existing literary genre, and the consideration of other literary forms, especially the lyric literature , novel, and the creation of new genre.

In today's meaning (whether written or non-textual) the texts are influenced in the form of pre-texts and influence texts after themselves; in other words, the texts are in conversations with previous and next texts; the Intertextuality seeks to reveal how their influences, impacts, and different practices and diverse functions. It can be said that in addition to the fact that texts have an Intertextual relationship with each other, on a larger scale, literary types also have such a function, or at least it can be claimed that inter-text relations are also seen in some literary forms; this is more significant when it would be possible that two different literary types have such a degree; Accordingly, in the present research, it attempts to explain the issue, and examine the inter-text relations (or generic) of some Persian literary types; hence, we will try to explain inter-text relations of epic and Lyric literature, with the emphasis on the ode form in Persian poetry, also we show that the structure of the Persian ode in various devices is influenced by the epic literary structure. This influence is more evident especially in the rhetorical system of ode.

One of the controversial issues related to metaphor is implicit metaphor. There is no evidence of this metaphor in the first rhetorical works. Later, Jurjani discussed this type of metaphor but didn’t give a name to it. Since this term was coined, there were argues whether it is right or not. Some did not accept it as a metaphor; some recognized it
as a kind of implicit simile, and some just repeated other’s views. Some researchers tried to solve the issue by considering it a kind of personification. However, they have finally admitted that the implicit metaphor is broader and more inclusive than personification. In
addition to studying and reviewing this term chronologically in rhetorical works, in this paper, it is shown that rhetoricians were more interested in lexical aspects of this term rather than the definition of metaphor and focus on the implicit metaphor from a terminological aspect. While based on the definition of Sakkaki and some other rhetoricians, this structure is considered "metaphor", terms such as being “imaginative” can not be accepted. Personification, submerged metaphor, and animism must be recognized as branches of the implicit metaphor, not as alternatives for it.

Metaphor is one of the major topics of Rhetoric which has been a subject of permanent research. In our days conducting researches on metaphor is even more developed: some combine metaphorical and rhetorical dimensions, and some others do nothing but to repeat the already discussed ideas. One of the known combinations is allegorical metaphor which, in many cases, is wrongly taken for allegorical simile. This article through distinguishing between allegory, allegorical simile and allegorical metaphor, examines the different aspects of them in rhetorical books and finally proves that although they have some features in common, in essence they are distinct from one another.

Structural Stylistics, based on linguistic methods, is stressing that understanding of any text depend to comprehend its components and its relationship with context. This school tries to organize relationship between structure and theme in literary works. In this method, first of all, the phonetic, lexical, syntactic and rhetoric systems are analyzed, then its influence in literary context will be investigated. Based on this approach, In this study we have focused on two sonnets of the Kaiser Aminpour and Ali Reza Qazveh with Holy Defense topic. The conclusion of the study indicates that: the surface and deep structure have coherence with its theme in this two texts and all of the phonetic, lexical, syntactic and rhetoric systems, parallelisms and deviations suggest the same emotional influences.

Drinking Song (Saghi-Nameh) is a kind of lyric that dates back to Anacreontic verse. Researchers disagree about the first drinking song. Verses of Nezami’s Sharafnameh and Eghbalnameh that addressthe butler (saghi) are mainly consideredas the first drinking songs. Other researchers believe that Khaju Kermani، Salman Savoji، and Hafez، are the first poets. In this genre، the poet addressing the butler wants to composea song and give him wine. The content of drinking songs، issermonsas well as moral and sometimes legalpoints. Such them esare frequently observedin drinking songs. One of the drinking songs that can beconsidered different in themeand content from previous examples is Bahar’s Drinking Song (Dithyramb). According to his poetic and social context، Bahar composed a drinking song that shows his creativity by analyzing its features and structures. In this paper، along with attending to the process of drinking song، we analyze different systems of Bahar’s drinking song and consider its elements. We also demonstrate that Bahar، using a social context، has applied an entirely lyric form for social aims. It can be said that various devices contain favorable coherence in presenting this issue.

The book BaCheragh-o-Ayene is second separated work of Shafiekadkaniaboutvarious aspectsof contemporary Persianpoetry; According tothe author، thisbookCompletes another his book: Advar-e- sher-e- Farsi. Thebook، is a collection ofLiterary history، literary criticism and comparative literature. This book was formed from five main sections، fourjoined،apartnamed final wordindex andresources. Inthisstudy، we haveexamined various aspects of thestructure and contentof this book including: Someprominentfeaturesand someits possibleshortcomings، such as title، itsshortcoming criteria and ambiguity ofcontemporary. The shortcomings،Iftheauthorremovethem،the book will also be useful. Finally، some caseshave beensuggested

Mohammad HosseinNaziriNeyshaburi is one of the Iranian poets who have lived the most part of their life in India. He has imitated, in his poems and his style, many of the famous poets as Hafez, Sa’di, and Babafaghani. Anvari is one of the most important poets who were imitated by Neyshaburi. Analyzing and comparing this imitation will reflect the manner and the level of his mere imitation or his creativity. In this study, we analyze one of Anvari’sQasidas(68 couplets) and Neyshaburi’s imitation from it based on Halliday’s Method in systemic-functional linguistics. Also, the phonetic, lexical, and syntactic systems are analyzed to discover the similarities and creativity. The conclusion of the study indicates many similarities in different parts such as: surrounding elements, subjects, objects, transitive structures, and so on which can be considered as the poet’s fondness for Anvari’s poetry.

In most of the cases، commentators of Mathnavi have first explored the context، especially historical context، and then the other aspects of the text. It can be said that one of the reasons behind compiling the tales of Mathnavi by Foruzanfar was to explain such context. However، not paying attention to the techniques of Molavi with regard to the context، commentators have sometimes made mistakes in recognizing the historical context and explaining the text. On the basis of this، this research investigates the historical context of one of the shared tales of Mathnavi and Fihe Mafih، that is، Nazar Kardane Peighambar be Asiran، and proposes this idea that commentators are divided into three groups due to their negligence of Molavi’s techniques: 1) those who consider the battle of Badr as the historical context of the tale، 2) those who consider the battles of Bani Nazir and Bani Ghorayze as the historical context of that tale، 3) those who are silent on this issue. While analyzing the ideas of commentators، the reasons behind their mistake in two issues are explained: 1) similar tale in Fihe Mafih، 2) the structure of the tale and the creativity of Molavi.

The first ode in Farrokhi Sistani’s Divan is a poetic description of clouds. It has been imitated by many poets. The authors of the present research have studied the first part of the ode (Taqazzol), which has been imitated by three poets close to Farrokhi’s time- Azraqi, Masoud Sa’d, Amirmo’ezy- comparing them with Farrokhi’s own poem, in the framework of systemic–functional linguistics. Since Azraqi is known for his poetic innovations and Amirmo’ezy is accused of sheer imitation – if not literary theft – of Farrokhi’s Divan and Onsory’s, the research can also provide a scientific and objective analysis of creativity, innovation or sheer imitation. No doubt many literary artistic beauties and fine points cannot be explained through linguistic analysis. However, most linguistic approaches, methods, and tools are useful for understanding literary texts preventing subjective evaluations and judgments.

Literary researchers and critics have long been obsessed with the discussions on eloquence and rhetorics of various textual structures such as lexical, syntactic, rhetoric structures, and so on. The point is that the speech should be stated to the addressee in its most eloquent form and away from any ambiguities to the possible extent. Contemporarily, many critics have taken an interest in the issue of ambiguity in literature and studied it in the different areas of literature, especially semantics. Reviewing the issues of eloquence and rhetorics in Persian literature and investigating the perspectives of the contemporary researchers on ambiguity are what the current research studies. The ambiguities occurring through rhetorical structures, particularly simile, are shown while citing instances. The study reveals that many of the ambiguities of the rhetorical structure of the contemporary poetry result from the ambiguity in the structures of similes.

One of the basic religious characteristics of the ninth century is the propagation of shiism and the public inclination of people towards it. The Teymoori policy of religious freedom which was the continuation of Mongol's policy provided a setting for a clash of opinions. In this developed exceedingly, and the preliminary steps for the formation of peace made available after Teymoori's victories and his respect for the great Sufis caused the formation and flourish of monasteries and Sufi centres. The great Sufis in this period were either shiites themselves and founded their works on shiite teachings or if they were Sunnis they were less fanatic and inclined to shiism. Also, the shiite feature the movement of imam Hosein in Karbala founded several Sufi movements against injustice and the corruption of the society. So kings and rulers who were aware of this hidden power tried to tolerate and treat grat Sufis with caution.

The Prophet Mohammad's praise and ascension are among the topics of concern to most poets and writers; in a manner that in our literary tradition these two issues are counted as the major themes of classic works. Attar Neishabouri, who followed this tradition, has discussed these two topics in detail at the beginning of his four versified works; “Elahi-Nameh”, “Asrar-Nameh”, “Manteq-Al Tair” and “Mosibat-Nameh”. This research has studied the mentioned themes in the four works. The result of the research revealed that the praise and spiritual ascension found two different structures in these works. While in Elahi-Nameh and Manteq-Al Tair these two parts are intermingled, they are quite separate in Asrar-Nameh and Mosibat-Nameh. Still the praise of the Prophet have one structure in all the four works; yet the story of the Prophet's ascent is more reliable in Mosibat-Nameh. These two parts do not possess much poetical parts and one can only regard the story of the Ascent as the most poetical part in Elahi-Nameh. Ambiguity was Aattar's most favorite literary figure. Within the linguistic domain and its related features, the repetition of words and the repetition of a linguistic phrase at the beginning, are the most significant linguistic features in these two parts.