Many researchers in the field of socio-linguistics, sociology and feminism have done research on the principle of language showing that there are some differences between the language of men and women. The question is that whether gender plays any role in literary language(poetry) and besides phonetic, lexical and syntactic levels of language ifimages, such as simile and metaphor, are gender-oriented and are influenced by the mentality of women poets.In this researchthe influence of gender on the use of simile and metaphor in the poetry of ten contemporary Iranian women poets have been studied. First, one or two collections of the poetry of these poets have been randomly chosen, and secondthe two main figures of simile and metaphor have been analyzed in respect of gender. It is concluded that due to differences between men and women, such as their social and biological background, women poets use gender-oriented similes and metaphors. Moreover, they use these types of similes and metaphors to express their romantic and sensual-emotional tendencies.

Simile is one of the most widely discussed topics in eloquence, the emergence of which in early human speech has coincided with the creation of the man. To express complicated and vague concepts, early humans needed different figures of speech as well as a strong imagination. The use of simile has played an important role in achieving this aim. It is wrong to assume that the use of rhetorical devices has been specific to a certain ethnicity or era. The use of figures of speech varies among poets and authors under different circumstances.
Rudaki is the father of Persian poetry and one of the greatest poets in Samani epoch, who has done a great service to Dari Persian in the early centuries of Persian literature and with the aid of his genius used exquisite imagery in his poetry. The question in this research is that for what purpose Rudaki used simile and to what extent he has used different kinds of simile?
This article reviews different kinds of simile and attempts to extract and review different kinds of simile in Rudaki’s poetry. To reach this goal, in some instances the similes used by Rudaki are compared with those used by poets of following eras.

SaadiShirazi is one of the most didacticpoets of Persian language who has assigned significant part of his works to education and morality.BesidesBoostan and Golestanthat areconsidered as his didactic works,Saadi has allotted some of his odes to expression the aphorism and maxim. He uses the rhetoric images to teaching the moral points. Simile is one of these rhetoric images which he has extremely usedit to impart his didactic views. His literary Similes have different kinds and associate with elegances and tender points in his poems. Allegory as a kind of simile is abundant in his works and he uses it in different methods.He changes the place of likened with something is likened to it in his didactic allegories. Anotherfeature of his similes is that he resembles the differentbad and good personalities of man to the sensible things to explain them for audiences.Therefore, withregard to special place of simile in Saadi’sdidactic poems, in this paper we will survey different kinds of simile in his works.

The application of "حرث" to women in verse 223 of Surah Al-Baqarah brings up the issue of objectification of women and instrumentalization of them for the interests of men; Because based on the appearance of " نسائکم حرث لکم…", it is addressed to men that women are your fields. The idea that a woman is a parasite of a man from the view of Islam is incompatible with many evidences in Islam that emphasize the high dignity of women and consider their piety as the only criterion of human superiority between men and women. the question is to examine the point of view of lexicographers and commentators, This research considers the creation of the mentioned doubt to be due to the lack of sufficient knowledge of rhetorical points, the eloquent simile in Qur'an, which can be defended not only by using ancient literary perspectives, but also from the perspective of modern semantics. it is approved and admired in a favorable way. Because from this simile, prominent concepts such as the position and vital role of women in the survival and growth of the human race and the necessity of a man's special attention to her are learned scholarly.

BACKGROUND AND PURPOSE:

The simile is the core and infrastructure of poetic fantasies. Through simile, especially by contemplation on resembleds and faces of simile, one can understand the poet’s mentality and worldview and recognize his or her living environment. The climate and living environment of poets, willingly or unwillingly, are reflected in their poetry, specially in their similes. Climatic simile is a simile whose elements, specially resembled and face of simile, are often climatic and indigenous elements and are taken from the natural elements and cultural, social and climatic conditions of the poet’s living place. The issue of this research is how the climate affects on the faces of simile and resembleds, of the poets of Lorestan.

This research is done by descriptive-analytical method and by referring to the in-text evidences, examines, analyses and compares the climatic similes contained in the poems of men and women of Lorestan, those who write poetry in native language and those who write in Persian.

The poetry of native-writer poets of Lorestan is richer in climatic elements than Persian-writer poets. Climatic elements are significant and frequent in both women’s and men’s poetry of Lorestan, but each group has its own views on certain aspects of the climate.

Among the climate similes used in the poetry of the poets on question, similes referring to nature, including vegetation and trees, animals, nature landscapes and the jobs and works of Lorestan, have become more prominent in the works of men’s poets, but in the climatic similes in women’s poetry, the influence of Lorestan culture and customs has become more visible. Some climatic and indigenous elements in this similes have symbolic and nostalgic dimensions.

Abhar-Al Asheghin is full of imageries. The active mind of Roozbahan has rendered the work with a chain of connected similes .
In this paper, inspired by the conceptual metaphor theory and in a framework called as “ Domain Simile” these similes were studied. In “ domain Simile” , the elements of one domain or category are in concordance with elements of another domain;a simile is considered as the main one on the top and other similes which are in fact the very parts, means or features of the two domains would undergo contrastive analysis as subsidiary similes.
After analyzing the simile combinations , phrases and sentences about love in Abhar-Al Asheghin, it was concluded that many of these similes are connected in the whole workand therefore, the domain simile structure is a good ground for analysis of similes. Forty four domain similes about love were derived from it and went through analysis. Moreover, the factors involved in creating and innovating domain similes were classified into two categories: 1) analogies and adjuncts 2) parts and elements of the object of simile 3) the obtained results of the object of simile, 4) the features and attributes of the object of simile.

Simile is one of the most obvious and fundamental ways of expression that has a major role in imagination and effect of poet’s speech. In this article in a descriptive – analysis and comparative method, similes have been surveyed in theosophical poems of Boostan and Motanabbi’s theosophical poems from different aspects such as: mutual of simile, perceptual simile and conceptual simile, singular and compound, point of resemblance and … and statistical analysis of them is presented. The results of research reveal that, Saadi and Motanabbi, have used different types of similes including: singular, compound, absolute simile, implicit simile, shortened simile, emphatic simile and …, but in the application of simile they are statistically different. As among 311 images that were extracted from theosophical verses of Boostan, 97 of them were similes (%31) and among 112 images that were extracted from theosophical verses of Motanabbi 43 were similes (%38) and this fact shows that Motanabbi,s power or trend to simile is more than Saadi. The second result is that Saadi,s similes are often singular, shortened and obvious, but Motanabbi,ssimiles are compound, implicit and complicated.

One of the essential points in dealing with ancient texts, especially religious texts, is to pay attention to words that have not been used in the literary industry in the literal sense; Rather, the theologian has intended to use them in a virtual sense, in accordance with the common speech culture of his time. One of these industries is simile, the use of which has sometimes led to the elaboration and complexity of meaning in ancient texts such as Nahj al-Balaghah. Proper equivalence of some of these metaphorical propositions, especially those that are less commonly used today and have distanced themselves from their ancient meaning, requires double precision; Because not paying attention to the permissibility and discovering the ancient used meaning will lead to misunderstanding of the audience and incorrect interpretation of the word. The issue of why it is used is the issue of the present article, which is used in a library style and by inferential descriptive method, by referring to Arabic literature and using this interpretation in original texts and paying attention to the context of utterance and context and using the spoken features of early Arab culture.

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.

The question addressed in the present paper is how similes are treated in Rawzatol Anwar. They are studied in terms of structural, thematic elements of simile, aspect of simile, quality, being single and in combined form, etc. An attempt has been made to review the statistical and frequency of Khajou similes. As it is shown RawzatolAnvar contains 1827 verses and 839 similes, which is determined by comparing the number of verses and similes. Almost two verses contain one simile.Khajou’s similes include 7.5 of human quality type, 8.24 of abstract concept type, 5.32% of objective type and 5.18% of natural type. Similes are repetitive and stereotyped. Fresh similes are few.Kjajou is also more willing to use singular similes and has made little use of complex similes.