جستجوی مقالات مرتبط با کلیدواژه « صور خیال » در نشریات گروه « ادبیات و زبان ها »

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels.

A person has the potential to convey a message in different and appropriate ways and can use symbols to intelligently interact with any type of audience. When the poet is not able to speak clearly for any reason, in an upward channel, his thoughts fly from description to simile, then to various metaphors, and finally to symbolization in order to build a way to communicate with the audience and convey his message. The current research aims to study the poetic style and themes of Forough Farrokhzad; to achieve the evolutionary process of his poetry and the degree of use of all kinds of similes, metaphors and symbols in different periods of his life and using the theory of symbolic interaction to show that contemporary and external changes in the poet"s desire for What has been the effect of using the capacity of symbols.

This research has investigated the evolution of Forough"s poetic style by descriptive-analytical method and based on documents and library sources.

Based on the findings of this research, it can be said that in his first three poetry collections, Forough was unaware of the function of symbols and had no desire to create symbols. But in his last two books, he used symbols in an amazing way and started inventing new symbols. In the first three books, Forough has used more simple similes and descriptions than in the last two books. Also, his first three books have limited use of metaphor, and over time in the last two collections, this industry has been used abundantly. Forough"s language becomes symbolic in the last two books. In general, his poems in the last two collections have progressed towards evolution and he has used more and more complex literary tools than the first books. The comparison of Forough"s symbols with Bloomer"s three principles shows that in acting based on nobles, he used more natural nobles and less abstract nobles in his poems. In his social actions, the poet wanted to move towards freedom and liberation as well as suing for the oppressed. He has interpreted the situation of the society with symbols, that is, with the symbolic language of his poetry, he has tried to react against the inactive society, and the language of his poetry has depicted the worthlessness of life in the eyes of the poet and the problems of modern society.

By analyzing the collection of Forough"s works, it became clear that he has consciously expanded the process of using symbols in his works to the point where he himself has become a special symbol. With his fearless behavior in the period when modernity and majesty have been in conflict; Through symbolism, he tries to push the field of direct speech to impossible limits. I am grateful for the guidance of my respected teacher, Dr. Mohammad Qadri Moghadam.

The alternate versions of the Šāhnāma unveil a mesmerizing realm to the reader, illustrating how scribes applied various manipulations during the transcription of the Šāhnāma. Several Šāhnāma scholars, including Noshin, Khaleghi Mutlaq, and Davis, have been deeply immersed in the discussion and examination of these manipulations, subjecting them to various inquiries and explanations. In this essay, the author has identified and scrutinized a particular type of these manipulations, hitherto unexplored by Šāhnāma scholars: the manipulation of imagery whitin the Šāhnāma. To accomplish this undertaking, the author has selected the term of ‘Afsar-e Māh’, which recurs 13 times in the Šāhnāma, as an illustrative example of this type of manipulation. The author has proceeded to extract, categorize, and analyze the various approaches of the scribes in handling this term. One of the notable findings of this research is that, in the verses containing this term, the scribes have refrained from altering it in only 5 instances (%38.46), while the remaining cases (%61.54) have not been exempt from their manipulations. These manipulations reveal five distinct approaches. Consequently, the outcome of these manipulations has been the diminishment of the elegance and profundity inherent in Ferdowsi's words. Another significant observation is that recognizing Ferdowsi's original wording amidst these manipulations involves moving in the opposite direction of the scribes' modifications; they have simplified it. Hence, one can access the essence of Ferdowsi's words by adhering to the principle that "the more difficult reading holds greater validity."

Critical study of Iranian children's literature has not yet found its proper place, and it is necessary to critically examine all its constituent elements. In this relation, the 1990s is very important in the history of Iranian children's and adolescent literature from various aspects. For this reason, three hundred pieces of poems of age groups A & B and B& C of the Center for the Intellectual Development of Children and Adolescents, published in the 1990s, were selected for the following research. Then, the techniques of image creation and imagination processing were extracted in these works, in terms frequency. The result of this research indicates that, in the children's poetry of the 90s, the poets have most used repetition, both in form of alliteration and word repetition), followed by proportion, contrast and description. The use of similes is more prevalent than other figures of speech, offering deeper meaning as the age of the targeted audience increases. Personification, synesthesia, and metaphor take the next positions, and poetic etiology has not been practically much used for image creation.

Simile in Gholamreza Borousan's poems is one of the most important and practical tools of expression. In this research, similes of this contemporary poet have been analyzed and investigated. The scope of the research work is three notebooks of his free poems and the work method is descriptive-analytical based on statistical data. The analogies found based on the types of similes are based on the validity of the parties (sensual or intellectual, singular, binding or compound and multiplicity of parties), on the validity of similitudes (detailed or comprehensive, close or improbable, singular, multiple or compound and investigative or imaginative). It is divided according to the validity of similes (sentient and emphatic) and finally according to the number of similes (separate and ambiguous) and examples are mentioned for each case, and at the end of each discussion, the frequency of each simile is presented in tables. At the end, the frequency of the elements of his similes is given. The results of the research show that he is an allegorical poet and has followed a creative and original process in choosing and processing these allegories. So that most of these similes are of a strange type with a pseudo-imaginary aspect. His similes are mostly of the sensual type in which man and his belongings, nature and its manifestations, and objects and tools have a strong presence in them.

As one of the founders of free poetry, Nazz Al-Malaika is considered one of the theorists of new poetry as well as one of the poets with style in contemporary Arabic literature. In his poem, Naz used rhetorical elements to highlight the theme and have a greater impact on the reader. Simile is one of the pillars of rhetoric from which other rhetorical forms are derived. In expressive topics, the first image-creating factor is the simile array; in such a way that it can be considered the simplest and most basic type of fantasy; Because it is easier for the mind to understand than other imaginary forms. Nazul Al-Malaika has used rhetorical tools efficiently and effectively in his poems. He has conveyed his thoughts to the reader in various ways by using similes and made the simile compatible with special images and performances. This research has investigated the function of simile and its types in Nazq al-Malaika's poems in a descriptive and analytical way and with library tools. Also, it has been divided from different passages in terms of sensory or intellectual sides, in terms of elements, etc., and the subtleties and subtleties of this artistic image have been analyzed. The results of the research show that after metaphor, simile is the most used literary technique in thin poetry, and among the types of simile, eloquent simile is the most frequent type of simile.

The prose of Islamic mystical meetings in the fifth century has characteristics that distinguish them from other literary prose. Features that can be investigated in both verbal and spiritual fields. Due to the fact that most of the audience of mystical gatherings were from the middle class and the common people, the need to use some rhetorical categories such as allegory, simile, symmetry, personification, and use of ironic compounds is inevitable. Meanwhile, some imagery techniques have a special place and importance in mystical works. In this article, an attempt has been made to explain and examine the rhetorical elements in the prose of the mystical preaching of the fifth century and to mention the importance of using them in the path of teaching mystical concepts, by bringing examples from prose books in the field of mystical preaching, and to discuss and examine how the Sheikhs benefit from these techniques.

Elegy has always been a popular genre, especially in poetry. This type of composition, due to its special subject matter, has special features and crafts to convey the message and relate to the audience. Composing poetry about Ashura, as one of the manifestations of love for the family of Prophet Mohammad (PBUH), has especially has received more attention after the victory of the Islamic Revolution, and many poets have experimented in this field. In this relation, the poems of Qaisar Aminpour as one of the poets of this group received much attention. In his Ashura poems, a cherishing and warm verbal language flows along with the clarity that can be seen in his other poems. In the present study, the element of tone was studied with respect to the sincere and indirect transmission of the message of sorrow and grief. Considering its importance in conveying the implicit message of the text, it was revealed that the poet has observed the tone and subject matter of the poem in choosing the form. He has considered the rhythm and its propriety with the sad atmosphere of the poem in order to choose the metrical pattern. He has also used rhyme and rhythm and their phonetic compatibility as an important principle to align with the audience. Aminpour has also made use of figurative language, especially metaphors to depict the poetic landscapes the musicality of sounds and the magic of the proximity and contiguity of letters as a style to create a more emphatic tragic tone in Ashura poems.

Imagination is the essence and the main substance and constant element of poetry and it is something that comes from the power of imagination. Imagination is the measure of artistic value and validity of poetry. If we accept that poetry is the entanglement of thought, emotion and imagination in a melodious language, and that imagination is the main element of poetry, then we will realize the importance of imagination in the field of poetry. One of the most beautiful elements of imagination is metaphor, which has many types but In this article, it is tried to be investigated in general under the title of Masraha metaphor and Makaniyeh metaphor and to determine the amount of imagery with this element in the poems. To express his feelings, the poet chooses the most general element of imagination, i.e. metaphor. Based on this, three romantic poems which are similar in terms of theme, situation and romantic images have been chosen to examine the element of metaphor in them in order to know that in these poems, in different situations that occur in the story, To what extent have the poets decided to use the element of metaphor to convey their meaning? In this research, three love poems have been studied in a descriptive-analytical way, and the evolution of the images of fantasy from the 4th century to the 8th century has been examined. Also, a statistical chart of imaginary elements has been prepared,

As a result of the revolution and the war, Persian poetry underwent changes that mainly occurred in the field of meaning and themes. However, also in the field of images, the poetry of these poets has differences compared to the poetry before the revolution. In this research, the authors investigate the influence of the Islamic Revolution and war on the change of the network of images in Nimai's poetry by examining the imagery of Nimai's poetry after the revolution and its constituent elements.

The current research was done with a descriptive-analytical approach and library method. In this method, the researcher, in addition to familiarizing himself with the research problem, describes and explains the reasons for how and why the situation of the problem and its dimensions.

In Nimai's poems of revolution poets, since message delivery is the priority, the use of imagery is more limited. On the other hand, the imagery used in Nimai's poem of the Revolution is more at the service of thought than it wants to be considered an independent thing that creativity revolves around.One of the obvious characteristics in the depictions of revolution and war literature is its simplicity and transparency. The requirement of the principles of rhetoric was that in these poems, images and artistic structures are used so that their meaning can be understood quickly and easily; Because the audience of this type of poetry were ordinary people. Also, another feature of Nimai's poetry has a faint presence in the new poems of the poets of the revolution, and that is poetic ambiguity and the possibility of multiple meanings in the poem.One of the other basic features in Nimai's poem of the revolution is the lack of elements of romantic imagery in it. It seems that the social-political excitements and the war-torn atmosphere of those years in those years did not allow romance.In their imagery, poets of the revolution use new issues and themes in the content of their imageries, which has a significant frequency in their images. These new elements include the following: 1. Elements related to light and illumination: The event of the revolution in the eyes of the poets was like the sunrise and the morning that happened after a cold night; 2. Elements related to growth: In the opinion of the revolutionary poets, the Islamic Revolution was a harbinger of growth and a season of prosperity. 3. The everyday issues of the lower classes: In the depictions of these poets, we see elements that exist in the lives of the deprived classes of the society. 4. Religious elements: Religious elements play a significant role in the images of poets of the revolution. 5. War: the revolutionary poets' addressing of war introduced new themes and images into Persian poetry.Another issue that should be paid attention to when examining poetic images is the issue of color and the poet's use of this element. In the reviewed collections, there is a perfect harmony between the frequency of the colors used and the elements of illustration that we have already mentioned.

Imagery, as one of the most important elements of poetry in Nimai's poetry of the revolution, has had different appearances than before. The poet uses poetic and rhetorical artistic device forms in a way that is familiar to the audience. Images, along with the literary and aesthetic aspect, mainly serve ideological ideas and thoughts. The image-creating elements in these poems have often undergone changes under the influence of the atmosphere of the same era. Finally, it should be said that the influence of the Islamic revolution on Nimai's poetry can be traced in addition to changing the topics and themes of the poems in the field of Imagery, and this issue indicates that the revolutions and socio-political events that cause changes in the styles and types of poetry, only affect the content field of the poems. They do not change, but they also make fundamental changes in the images and the chain of images.

Personification is a kind of literary devices which is used in literary work for the creation of imagination and affection. Moslem rhetoricians earlier – in discussion on metaphor – have precisely noted that why and how it occurs; but they have not pointed to its derivatives. The experts of this field, repeating their ancestors and in affection of their western counterparts, tend to believe that metaphor comprises multiple types of personification. Our supposition is that we can find manifestations of personification and animism by examples from Persian and Arabic literatures in metaphors too. Conclusions of this research change the dimension of imagination and perspective of writers and critics of literary works and after that emerge the changes in classification and investigation of literary devices. As the results claimed, metaphor has capacity to reflex the animation and the most important kinds of it are: evident metaphors based on resemblance of things, plants or subjective affairs to human and animal.

The use of imagery forms the attraction and mental involvement of the audience to understand the purpose of the poets. It is likened to the most important imagery from the beginning of Persian poetry in literary works. From the third century and the beginning of Persian poetry, the poets, with the help of likeness, induced their thoughts and mindsets to the audience, which is apparent at first in a primitive and stereotyped way. With the start of the fourth century, the likeness of its original path begins, and the poets of the century, in the simile application, travel through two distinct paths. The first group uses the similitude of the lower and lower frequency stereotypical path and the second category of innovation in the similitude with more frequencies. With the onset of the fifth century, the likeness of the instrument becomes an important tool for the creation of imagination in the eyes of poets, until the end of this century, it is likened to a stereotypical form, and those like Nasser Khosrow apply novels to their poems, and this procedure With the start of the sixth century, it is evolving with poets such as khaqani and military, and end the similitude of traditional thinking. In this study, by bringing examples of famous poets, we mapped the likeness of the form by analyzing and describing the abysses, and drawing the diagrams, we depict the simulations of each course comprehensively for the audience.

Poets innovate in fixed and repetitive images by using a variety of linguistic methods, distancing their language from vulgarity. In formalist critique, linguistic and semantic aberrations are among the main methods of literati to turn words away from vulgarity and common linguistic habits and are thematic tricks. In his works, especially Layla & Majnun, Amir Khosrow Dehlavi has prevented verbal vulgarity with purposeful and conscious aberrations and has created an innovative poem with new themes. Thus, this descriptive-analytical paper investigated the main differentiating techniques of Amir Khosrow to escape from the rules and conventional relations of everyday language in the Layla & Majnun. The research results show that the main manifestations of abnormality in this work are: "simile", "metaphor", "personification" and "irony". With the help of simile, the poet, by creating a conscious instability in the meaning of the signs, has increased the dynamics of linguistic signs in his poems and has drawn his own independent literary policy towards Nezami Ganjavi. Also, through the use of metaphor and personification, referential and explicit meanings of words have been discredited and new literary meanings have been replaced. In addition, Amir Khosrow has often used the irony which has been effective in reducing literary creativity and the role of the audience in reading the text and his position in the process of discovering abnormal relationships.

Introduction :

This research aims to investigate the concept of objectivity of Almighty, which is the consequence of manifestation status not the essence one, in mystics’ poetry such as Attar of Nishapur, Rumi and Abd-alrahman Jami by using imagery techniques like simile, metaphor and allegory. Therefore, by explaining simile metaphorical, allegorical and patterns and ideas, the author seeks to know the mentality and ideology of mystics in relation to the objectivity Almighty. The result of this study shows that the objectivity of Almighty in the manifestation status is defined in three general images: "human", "phenomenon and object", and "the universe and its beings". These general images have referents, some of which can be interpreted by simile and metaphor techniques and others by allegory.Given to extracted points of similarity, it can be concluded that evidences indicate the objectivity of Almighty with human or object in the form of simile-metaphorical images as well as evidences imply to objectivity of Almighty with the universe in the form of allegorical images have heterogeneous and diverse points of similarity. However, evidences in the form of simile images refers to objectivity of Almighty, have equal points of similarity.

literature review and purpose (206) This research has been done by descriptive-analytical method, and has been compiled by library method. Similar studies which have been done in this field are: In "Ontological and epistemological aspects of simile and purification in Jami's poetry and its adaptation to the views of Ibn Arabi" (2016: 141-168), Farhangi and Farhanizadeh studied the simile and objective characteristics of Almighty in relation to existence and the possibility of knowing it, From the perspective of Ibn Arabi and Jami. Malamiri and Zafari in the article "Objectivity at the same time with otherness of Almighty and creatures from the perspective of theoretical mysticism" (2016: 33-47), provided a vivid comprehension of this relationship by explaining the teachings that have caused the objectivity of Almighty with creatures.Vahedjavan and Nikkho in "Analyzing the issue of objectivity and otherness of Almighty with creation in Islamic mysticism with the approach of evaluating the criticisms of critics" (1397: 111-125), considered the meaning of the objectivity of Almighty and creation in the manifestation status not in essence one and based on it, have responded to the critics' objections. This study aims to recognize the intuitive world of some mystics about objectivity of Almighty in the manifestation of existence through relying on a set of imagery techniques.

discussion :

This study examines the concept of the objectivity of Almighty in the poems of Attar of Nishapur, Fakhr-Al-Din Iraqi, Rumi and Jami. However, this objectivity does not mean unity of eternal essence with temporally creature. It means the manifestation of Almighty in creatures through mirror of attributes and operation in the images of possible creatures. Based on extracted evidences from poems of mentioned poets, this study divided the concept of Almighty’s objectivity in three forms.First part is dedicated to objectivity of Almighty in human form. Proposition “Almighty is the same human” has been studied from different aspects such as “objectivity of Almighty with human in beauty attribute”, “objectivity of Almighty with human in speech attribute”, “objectivity of Almighty with human in terms of being visible in the mirror”. It is worth mentioning that this kind of objectivity is manifested in both ways of reasonable simile to the tangible and also hidden metaphor. Extracted points of similarity from mentioned propositions in this section are different and heterogeneous.Second part is dedicated to objectivity of Almighty with phenomenon and object. The objectivity of Almighty with a specific object and phenomenon is considered in this part. For example, “the objectivity of Almighty with the sun (light)”, “the objectivity of Almighty in the mirror” and “the objectivity of Almighty with treasure”. Extracted points of similarity from mentioned propositions in this part are different and heterogeneous.The third part is dedicated to the objectivity of Almighty with the universe and its beings. This kind of objectivity is manifested in two forms. In the first form, simile technique is used to show objectivity of Almighty with beings of the universe. Extracted propositions have analogous points of similarity. In the second form, allegory technique is used to show objectivity of Almighty with the universe. Some of these allegories are like “allegory of number one”, “allegory of sunlight”, “allegory of sea, wave and foam”, “allegory of wine and chalice” and “Allegory of the person in the mirror”. Extracted points of similarity in all these allegories are different and heterogeneous.

conclusion:

After analyzing extracted evidences in poems of Attar, Iraqi, Rumi and Jami, it is said that the concept of objectivity of Almighty can be interpreted in three forms as objectivity of Almighty with human (using simile and hidden metaphor technique), objectivity of Almighty with phenomenon and object (using simile technique) and objectivity of Almighty with the universe (using simile and allegory technique). Therefore, better comprehension of imagery techniques has helped the audience to better understand the concept of mystical objectivity. As a result, applying rhetoric techniques is beyond aesthetic aspects and is considered as a special approach to discover the mystical world.Based on extracted points of similarity from simile, metaphorical and allegorical propositions, evidences related to the objectivity of Almighty with human, phenomenon and object have dissimilar points of similarity. Furthermore, evidences refer to the objectivity of Almighty with the universe have points of similarity which are different from allegory technique and similar with simile technique. Finally, although extracted points of similarity refer to the objectivity of Almighty with human, object and universe, differences and unique figures among them show that mystics use imagery techniques not only for describing objectivity of Almighty but also to show different aspect of this objectivity. These differences are the result of different mystical and intuitive experiences of mystics.

Describing and illustrating is one of the most important abilities of a poet in creating a poetic work; Because he does this by using his mental and scientific resources and using linguistic and expressive possibilities. Ferdowsi Shahnameh is one of the poems that has a high status from this perspective. Hakim Toos has finally described the artist using novel images and arrays of situations, people, conversations, scenes and events, and has created original, attractive and lasting images. In this article, an attempt is made to examine the position of imaginary images in describing the human elements of Shahnameh, which include body parts, physical and moral characteristics of human beings. This research has been done by descriptive-analytical method and the information has been collected based on library studies. A study of the imaginary descriptions of the human elements of the Shahnameh indicates that Ferdowsi described the characters in the best way by using metaphors, metaphors, allusions and metaphors, especially similes, artistically and creatively.

The purpose of this article is to study the process of converting the language of phrase into reference and the function of imagination in one of the Quranic verses which has been a forum for discussion, interpretation and interpretation of mystics and Sufis for centuries. Verse 54 of Surah Ma"idah contains verses that mean the good news to the friends of God. In order to study the evolution and transformation of the imaginary in the interpretation of this verse, some interpretations from the fourth century AH to the eighth century were selected, which are: Tafsir Abdul Razzaq Kashani known as Tafsir Ibn Arabi.

These interpretations were examined descriptively-analytically.

Salma in the facts to express his interpretations, adorns his speech with similes and uses poetic evidence in his interpretation. After that, Qashiri uses many similes in Latif al-Asharat to express his allusions. Meybodi in Discovering the Mysteries offers the most literary interpretation of the verse of love and connects allusive and mystical words with artistic and adorned words to the artistic industries. Roozbehan is at the peak of mystical interpretations, both linguistically and figuratively. In the interpretation of Gharaib Al-Quran, in explaining the verse of love, only a few mystical interpretations are sufficient and there is no obvious point in it from the point of view of linguistic aesthetics. The last interpretation in this research is the interpretations in which attention is paid to the hint interpretation more than the artistic use of language and the turning point of this interpretation is that it deals with the verse of love with a different point of view and expresses hints that are unprecedented until then.

The language of these mystics is in allusions. They crossed the usual boundaries of language to express their mystical experiences. The richer their mystical experience, the richer it becomes in their language.

Poets have long used various terms and elements to convey their meanings and themes according to their level of knowledge. This application has sometimes led their poetry to difficulty, misunderstanding and ostentation, and sometimes has led to its beauty and literary richness. Akhavan Sales is one of the great contemporary poets. His poetry is informative and this awareness is the product of his study, his knowledge and expertise. Music is one of the arts the Akhavan Sales has called it. In many of his poems, he refers to musical instruments and expressions of music, sometimes making music a livelier for his poetic imagery. The main question of this research is whether Akhavan Sales had a poetic approach to musical instruments and terms? The purpose of this research is to investigate the imaginary imagery in the musical usage of the terms, words and instruments of Akhavan Sales poetry. Studies have shown that Akhavan Sales has well-conceived meanings and concepts with the use of the terms of music, and these applications have given credence to his poetry. In this research, the author has extracted and reviewed abstracts containing the terms of music. These verses are important from the point of view of imagination and poetic point of view. This research shows that the subtleties that the Brotherhood uses in its poetic use of instruments and terms have breathed new life into the body of words and musical words. Evidence of this claim is the themes and images he has created in the poem "Avaz Chegor". The imaginary forms used in his poetry using musical instruments and terms are natural, expressive and full of dynamism. Wherever Akhavan Sales has combined a musical term with imaginary, it has created a meaning beyond its lexical meaning and identified it with that term.

This paper aims to investigate the commonly used, symbolic and visual metaphor “Chang” (Persian Harp) in Persian poetry. After reviewing the works of Persian poets, written from the 4th century AH to the present day, we found out that the word “Chang”, which originally refers to a musical instrument (Harp), has taken on different connotations throughout the history of literary styles and movements. Some of these connotations have been internalized by Persian poets and widely used by different historical schools of poetry and are still used in the works of contemporary poets. Among the various connotations of “Chang”, the concept of “senescence” is applied mostly. Using the cognitive theory of contemporary metaphor, in this article, the multiple related meanings of the literary term “Chang” and its visual schema in verses with analogical or metaphorical phrases will be analyzed.

This research was conducted using a documentary analysis method and the qualitative analysis of the documentary. The data were collected through a desk research method. Also, the sample sentences were gathered from anthologies of greatest poets from the 4th century to the present day. In this regard, the various conceptualizations of “Chang” were examined and then, their metaphorical connotations were extracted and classified. It is worth noting that the literal sense of the word “Chang” (the musical instrument) is not considered here and the analysis is limited to the analogical or metaphorical aspects of the aforementioned term.

The musical instruments, as represented in literary works of different cultures and ethnicities, convey certain cultural codes and represent various symbolic meanings. By studying the use of musical instruments in the literature, myths or folklores of a culture, one can understand what beliefs it represents and what messages it transports to future generations. Persian poets have portrayed the word “Chang” through dynamic images and figures of speech. For Persian poets, “Chang” was not an inanimate object, but rather an animated creature. Due to its curved shape, Persian Harp (Chang) is also recognized as “arched Harp”. This exceptional aspect of Iranian harp, has inspired great Persian poets to create countless numbers of similes and metaphors. “Synesthesia”, as Europeans call it, is a rhetorical device through which one can describe a sense in terms of another and is capable to convey a wide range of meanings (Shafiei Kadkani, 1991, p. 271). Among senses engaged in “synesthesia”, the sense of sight (visual perception) has a high potential to express the figure, size and color of the objects. The point of resemblance between “Chang” and the hunchbacked elderlies has to do with its appearance: Persian “Chang” is curved and because of this quality, many Persian poets have made a resemblance between this musical instrument and the elderlies’ curved back.Also, the concept has been used in opposition to the upright posture of the young. Furthermore, the curvature of “Chang” has been applied as a metaphor to describe the imaginary resemblance between the elderly and firmament. Percepting time as an object is another example of metaphorizing a metaphysical idea (Golfam and Zafaranloo, 2009, p. 124). Here, Chang is an object which, due to its curved structure, bears a resemblance to an old person (time as an old experienced elderly).Also, the concept has been used in opposition to the upright posture of the young. Furthermore, the curvature of “Chang” has been applied as a metaphor to describe the imaginary resemblance between the elderly and firmament. Percepting time as an object is another example of metaphorizing a metaphysical idea (Golfam and Zafaranloo, 2009, p. 124). Here, Chang is an object which, due to its curved structure, bears a resemblance to an old person (time as an old experienced elderly).Making a comparison between the curvature of “Chang” and the curved elderly, was started in the course of 6th AH. There are hardly any examples of such comparisons in poems from 4th and 5th century AH. The first generation of the Persian poets, such as Rudaki and Ferdowsi, used “Chang” in a literal sense and the figurative usage of the term was rare during this era. It is noteworthy that during 5th century, poets were more inclined to use metaphors and similes, but using “Chang” as a figure of speech was still infrequent. However, in the course of the 6th and 7th AH centuries, analogizing “Chang” to senescence became popular among poets and emerged to be the source of several splendid literary images. Khaqani Shervani, one of the greatest poets in 6th century, is well known for creating splendid Chang-related images. During the 8th and 9th centuries, sonneteers like Hafez and Jami invented novel metaphors and in doing so, they added more creative concepts to the old image of “Chang” as an old person with a hunchback. In fact, by mapping the curvature of Chang to the concept of old firmament, they coined a new metaphor. Persian poets of the 13th century reproduced the same metaphors and similes in their works.For the 7th century poets, “Chang” played the role of a spiritual advisor, a concept that was replicated in the poetry of the next generation (for example in Hafez’s sonnets). Traditional Persian poets claimed that the stature of “Chang” is arched because it is sad and because it has been mourning for it’s separated beloved for a long time. Such conceptualization started from the poetry school in the 5th century. The other poetical cause attributed to the curved structure of “Chang” has to do with its humiliation and its posture that brings to mind a servant who is bowing to his master or is bowing respectfully. These concepts have been frequently used in Sanai and Saadi’s poetry. In several Persian works, “Chang” is depicted as a company for wine. In some couplets, “Chang” is described as a sincere person who contrasts hypocritical piety. In order to play a “Chang”, a musician should embrace it. Many poets mentioned this unique characteristic in their poems and described it as a characteristic which distinguishes “Chang” from other musical instruments.

In this study, the polysemic functions of a literary concept (i.e., Chang) and its schema were analyzed through a contemporary approach to cognitive metaphor. In Persian poetry, “Chang” is portrayed as an animated creature and even as human being. To transfer this imaginary interpretation, poets have utilized similes and metaphors. These concepts have repeatedly appeared throughout the history of poetry style and have reoccurred in the contemporary poetry discourse. Similes and metaphors for “Chang”, are generally related to human’s sense of sight.The schemas of “Chang”, represented throughout different eras of Persian poetry, are divided into three categories. Among these, the most important one is the resemblance between the arched structure of “Chang” and the curved stature of an elderly man. The concept of “Chang” as an old person, has given rise to other imaginary concepts including: “Chang” as an old firmament and as an elderly who gives advice to the young.The other similes or metaphors that are stemmed from the concept of the curved “Chang” are as follows: the curvature of a sorrowful lover that is far from his beloved; the curvature of a humiliated person; the curvature of a servant; the curvature of a servant who is bowing to his master or is bowing respectfully. Other figures of speech about “Chang” have to do with other characteristics of this musical instrument; for example, the resemblance between the strings and the beloved’s lock of hair or vise versa, the resemblance between the poor material of its horizontal foot with the ragged garment of a poor dervish, the opposition of the poor material that covers the columns of a “Chang” and the silk strings which represent an image of two faced or hypocrite people.Also, there are several examples in Persian literature that depict the truthfulness of “Chang” against the insincerity of the pious people. Persian literature is replete with images in which the aforementioned musical instrument is depicted as somebody whose hair is tonsured. Finally, Persian poets have referred to the way a musician holds a “Chang”, claiming that this quality shows the superiority of “Chang” over other musical instruments.

Beauty of demand is one of the literary figures in which a need or request for something is expressed in a pleasant and effective way for the audience based on the speaker's state. This literary figure is expressed in different kinds of poetic formats based on certain characteristics such as the need, type of pleading and the audience. The core of this targeted language is demand, and the elements of structure of a poem such as words, imagery, tone, emotion, tone, poetic format and word setting, embellishing it with beauty, influenced by the factors such as the character of the poet, poetic style, audience type, political, social and economic condition of the poet's era lead to expression the demand in a way that, in this paper, it is analytically and statistically referred to as beauty of demand, and application of each method relating suitability of this literary figure is stated, as well. Then, the characteristics of each method are analyzed. It's worth saying that dividing the artistic tips used by poets in employing the literary figure and entitling each method based on the definitions of beauty of demand has no preceding.