مجله فنون ادبی
سال یازدهم شماره 4 (پیاپی 29، زمستان 1398)

Sentences are classified into four main categories in terms of message and content by most grammarians: statement(declarative), interrogative, imperative, and exclamatory sentences ; but these sentences are often used for other functions based on their contextual positions which are rhetorically considered and examined as secondary meanings of sentences in the semantics and in a branch of linguistics known as pragmatics. These types of sentences seem to be structurally extra elements in the context of the main sentences so their omissions do not interfere with the syntactic structure of the sentences and phrases in which they are used. This is considered the reason why their importance and functions have been neglected and have not been dealt with appropriately in the literature. Such sentences are important in terms of discourse analysis, transliteration and narration since they are considered as the position of the narrator's discourse in retelling the narrations. Parenthetical sentences can transform the narrator's position from an impartial and indifferent narrator to an interpreter and even in some cases to an interferer. Dealing with the role and significance of such sentences, analyzing Bayhaghi’s discourse in the historical narrations of these sentences, better understanding the history of Bayhaghi, better understanding the functions of the parenthetical sentences, improving and correcting the mostly inaccurate view points of the rhetoric and syntax experts and helping to make these sentences be considered more appropriately in their main positions are among the purposes of this survey. The results show that these sentences in Bayhaghi's History are not restricted to the sentences used for the sake of the prayer and appositional purposes, contrary to the common sense and perspectives, but rather these sentences are considered to be transnational explanations that are used by the narrator deliberately to interrupt the mainstream of the narration and to present some explanation about the previous episodes. They also illustrate the view points of the narrator (Bayhaghi) and his discourse in this regard. These sentences consist of about 354 sentences that have been located at the beginning, in the middle and at the end of the other sentences in different structures such as interpretations, clauses, statements, interrogatives, exclamations, commandment, poetic verses, Persian and Arabic phrases, Quranic verses and so on. These sentences serve to introduce and improve 21 kinds of important functions, in addition to setting up more communication channels to communicate properly with the audience.

In Persian literature, creating contents with Persian alphabets has a special place. Ever since, creating images, contents, interpretations, and syntaxes thanks to shape and state of Persian alphabets attracts many writers and poets. Nearly all poets and writers have dealt with this subject. Letter "Jim" is one of the letters that attracts many writers and poets along with other letters. Among the alphabets, letter "Jim" is one of the most useful letters for creating contents, poetic areas, and fine and delicate syntaxes and interpretations of Persian literature after letter "Alef" which attracts many poets and writers due to its shape, state, and special literary, religious, and theosophical place, and some of its unique properties. Although other Persian letters play the role of creating the pristine and delicate contents, letter "Jim" with some of the unique properties has special importance rather than some of these letters. Letter "Jim" is sixth letter of Persian alphabet, the fifth letter of Arabic alphabet, third letter of Abjad letter, and the representative of number three in "Jommal" calculation due to its appearance and writing form, labyrinth hair, line of face, and also because of having dot by the hair, parotid line, and tight and small mouth, and it plays its role as one of the most important content-creating letters in making poetic and double-entendre images of face and its beauties. The letter "Jim" of hair and "Jim" of ear with letter "Sad" of eye and "Ein" of eye and letter "mim" of mouth and "Ya" of lip, and "Sin" of teeth and "Alef" of ear, altogether show a beautiful image of the letters' role on the face. Due to its ring-like, narrow, and curved shape, letter "Jim" is the symbol of bending, humility, lowliness, disability, shame, and frustration, and it is the origin of creating many contents in this context. Regarding this attention of the writers and poets to the letter "Jim" in creating literary contents and important place of this letter in creating poetic areas, it is very important to address the role of literary and rhetorical language of letter "Jim" in Persian literature and analyze the poetic and prosaic evidence in this context, so it paves the way for understanding the artistic and literary beauties of images and contents made from the Persian letters, specially letter "Jim". Studying the obtained literary evidence shows that most writers and poets have benefited letter "Jim" and its special properties in creating literary contents, and in some cases religious and theosophical contents. Although the range of contents, interpretations, and syntaxes made from state, form, and properties of letter "Jim" is very limited, most poets and writers have confirmed the content-creating role of letter "Jim" in Persian literature, even by presenting one content. Most of them have used the properties of letters such as alef, be, te, the, jim, he, khe, dal, zal, re, ze, sin, shin, sad, ta, za, ein, fe, ghaf, lam, mim, nun, vav, he, and ye as the content-making complementary role of letter "Jim", but they haven't used the letters zhe, pe, che, zad, ghein, kaf, ghaf in this way. Artistic and literary contents made from letter "Jim" have literary elegance, and in some cases, they have special artistic complexities due to the creation of poetic areas and pristine contents. The writers and poets have benefited the various literary arrays and artistic beauties, specially metaphor, allusion, assimilation, and amphibology for creating contents, syntaxes, and interpretations of letter "Jim". Molavi and Attar are the most active poets in the arena of creating delicate and pristine contents of letter "Jim". Literary contents, phrases, and syntaxes made from letter "Jim" in Molavi's and Attar's poems which are one of the most artistic structures of Persian literature rather than other poets have special novelty and elegance. "Farrokhi Sistani", "Fakhroddin Asad Gorgani", "Sanaie", …, are the poets who have created the most literary and artistic contents thanks to the properties of letter "Jim" after Molavi and attar, respectively.

 For a long time, syntax and morphology have been taught in many traditional schools by the scholars and poets. This method has led to the reflection of the related terminology, in an artistic and literary form, in Persian poetry. So, in this research, it was assumed that Persian poets have also shown their innovation in the use of those terms. Therefore, the questions in this study are the following: What kinds of literary arts, these terms have been reflected in? What are the relationships between imaginary and syntactax terms? Which poets have enjoyed this advantage? The research method is analytical-descriptive based on the study of poetry books inserted in the Dorj software. This research shows that the syntactical terms has been widely used in Persian poetry. The range of the names of the poets who used these terms was also broad and consists of a wide historical range from the fifth century to the contemporary period. Looking at these names, the subject is better understood: Amir Moazzi (12th and 5th centuries), Sayyed Hassan Ghaznavi (12th century), Massoud Saad (12th and 6th centuries), Abulfaraj Rooney (12th and 6th centuries), Saadi (7th century). Seif Fergani (7th and 8th centuries), Rumi (14th century), Khajavi Kermani (14th and 8th centuries), Jami (16th century), Orfi Shirazi (17th century), Fuzuli (17th century), Faiz Kashani (18th century) , Hazin Lahiji (19th century), Qaani (20th century), Farahani (20th century), Iraj Mirza (20th and 14th century), etc. Concurrence of the inspired images of Syntax is one of the most contemplative points in the studied poems; often three images including equivoque, fantastic etiology, and congeries are combined. The circle of rhetorical vocabulary is also relatively wide in terms of diversity. That circle consists of technical terms such as simile, metaphor, kenning, equivoque, fantastic etiology, allegory, symbolic allegory, exemplum, and riddle. Thanks to the syntax regularity feature, poets have achieved what they need, such as showing the impossible things as possible, linking the unrelated things, proving the impossible, and so on. The shape of letters and words, their different meanings and the assertive and derivative features have provided a context for simile, metaphor, irony, and ambiguity.

In order to transfer the themes to his poetry reader, Fazil Nazari has created great images by means of two rhetorical arts, that is, simile and metaphor, utilizing elements of nature around. The authors in this study have tried to examine the poetic images of Nazari and the elements used to make these images, and analyze the various areas and themes of his poetry in rhetorical terms. Fazil has used many natural elements in imagery creation. These elements can be categorized into different domains. To this purpose, he has used metaphor and simile in a same range in his illustrations.Elements of nature, which he used to depict his inner thoughts and emotions, have transformed his poetry into an articulation and manifestation of phenomena that have helped him express the poet's insights, such as living beings and possessors of spirit and emotion. The most important poetic and artistic images that Nazari created by means of metaphor and simile are the following: Elements of nature, which he used to depict his thoughts and emotions, have transformed his poetry into an articulation and manifestation of phenomena that have helped him express his insights, such as living beings and possessors of spirit and emotion. The most important poetic and artistic images that Fazil Nazari visualized and depicted by means of metaphor and simile are the following: sea, wave, rain, fountain, marsh, sky, moon, moonlight, night, mountain, fire, mirror, window and so on. Sometimes he has used a few elements in a bit and blended multiple images together to express themes. Fazil Nazari's poetic images can be classified into several groups. Each group includes several illustrating elements as follows: Elements associated with water and its essentials, such as sea, rain, wave, river, pond, marsh, bubble, drop, fountain, vortex, beach, mussel, etc. Elements related to light, such as flame, fire, volcano, candle, ash, etc. Elements associated with the sky, such as clouds, moon, moonlight, sun, night, etc. Elements associated with soil, such as mountains, stone, pebbles, rocks, terrain, deserts, etc. Elements related to plants, such as seedlings, trees, gardens, etc. Elements that fall within the range of fruits, such as apples, pomegranates, wheat, etc. Elements of the group of animals and birds such as fish, butterfly, yak, pigeon, etc. Elements that are objects and inorganic matters, such as mirrors, cages, walls, windows, trains, straws, etc. A statistic survey shows the quantity of poet's use of imagery in those fields as follows: water domain %28, sky and objects jointly %17, plant domain %13, light field %8, soil domain %7, animal domain %5 and fruits %3. These statistic results suggest that the contemporary innovator poet has used elements existing in the field of water, sky, objects and material more than other natural elements in making and processing his own poetic images. Among these elements, the contribution of animals and the fruits were less than other areas. That’s totally obvious that the poet's skill in using illustrative elements and conveying mental and intrinsic concepts in the form of various metaphors and similes is one of the factors of the popularity of the poet among the readers. So his poetry in this term is both metaphor- and simile-bound.

Grotesque is a kind of literary-artistic genre with a variety of intricate meanings. However, most scholars and researchers have consensually acknowledged its most conspicuous components as follows: transformative, ridiculous, disgusting, and horrifying. Grotesque is a compromise between paradoxes -laughter and what is not aligned with laughter which ultimately results in a comedy-tragedy situation that provokes the audiences’ paradoxical response. Research on grotesque in Western art and literature is very extensive and has been addressed by many theorists and artists. Kaiser and Bakhtin are two great theorists with two different views in this regard. In art and literature of Iran - both classical and modern - many instances including prominent components of grotesque can be mentioned though they are not recognized as the grotesque genre as research studies on this subject is very limited in Iran and are restricted to recent years. The present study aimed at addressing grotesque in the words of one of the greatest poets of classical Persian literature, Mawlana Jalaluddin, whose speech is a brilliant idea with a depth that has not yet been reached. Rumi's Mathnavi-ye-Ma'navi is a raging and boundless sea of transcendent meanings that opens the gates of truth to the thirsty seekers of knowledge and sweetens the wishers of truth with the nectar of knowledge. In Mathnavi, Rumi chooses the form of storytelling to express his thoughts and beliefs and uses a variety of techniques to express his purpose to not only sweeten the bitter advice but also intensify the charm and appeal of his speech. One of these techniques is the use of satire in the narratives, which is a bitter and black humor and has a meaning far beyond the ordinary humor. Rumi is an illustrator of a truth that not only lies in the surface layers of the upside-down, contradictory, deceptive, and wandering world but also has been forgotten for the sake of the cyclical repetition of everyday life. These two aspects of the world - a deceptive appearance and a full-of-truth reality- create a contradiction, whose purpose cannot be described by humor. In this regard, the mysterious world of grotesque is the only means helping us unravel its mystery. Humor is present in most of Masnavi's anecdotes. In some of these anecdotes, the humor is accompanied by the structure, concept, and elements that assimilate it to the concept of grotesque, are no longer intended to make the audience laugh, and are a bittersweet in case of occurrence. Rumi deals with the inner world in humorous anecdotes, confronts these evil forces and powers by depicting the contradictions and dissonances in the inner and outer world, and teaches human the way of self-control and emancipation to attain his true nature and humanity. The present descriptive-analytical study examined the function of this genre in Rumi's thought and beliefs and concluded that the presence of grotesque in Rumi’s anecdotes is indisputable. By contrasting and centralizing personality and situation, using obscene words and erotic literature, realistically expressing the imaginary elements, linking the human and animal elements, and using the elements and themes of grotesque, Rumi illustrates the story of the fall of man into this mortal world and regards it as an initiation toward conscious ascending. Moreover, Rumi contradictory not only expresses the limits of human understanding and his inability to deeply discern the reality but also considers human as a creature of the creator that shares in the good of His essence, can achieve the truth that lies under the guise of sinfulness and has created a rust on the face of godliness with the awareness and disguise of evil, and can ascend to its original position with a wise and wicked love. The use of numerous functions of grotesque in Rumi’s words expresses the profound and insightful mystical notions that lead to true love and human evolution. Among these individual and social contradictions, inconsistencies, and anomalies, Rumi strives to attain salvation and save the human soul from pollution and uncleanness and informs his audience regarding the lack of insight that leads to misunderstanding of the truth.

Simile and metaphor as fundamental tools in rhetoric are the two most beautiful and highly used imagination forms that sometimes lose their novelty through time. As a result, they are removed from the list of imaginative forms and become dead similes and metaphors.  So distinguished poets rewrite the similes in new forms by innovations in wording techniques and by making changes in repeated images to attract the reader's attention. By using his artistic techniques, Hafiz is one of the poets who used the best sentimental images in his poems by making some changes in common and repeated similes and metaphors. This research uses the content-analysis method to examine the different aspects of the rhetorical techniques that Hafez used to renew the similes and metaphors in his poems. This research also tries to find answers to these questions: 1. what resources does Hafez use to renew the repeated similes and metaphors?  2. Why don’t repeated similes and metaphors in poetical works of Hafiz cause boredom to the reader? 1. Rhetorical techniques of Hafiz Hafiz has used a lot of similes and metaphors so that imagination in his poems is in a high frequency. Most of these artistic images, not only in past works but also in poetical works of the poet, are repeated and have been used a lot. These images have been used too much that Shamisa calls them dead similes and apparent metaphors, and Homaei refers to them as rejected similes but with his active insight, and keen sensitive sight, Hafiz used his great imagination power to create new pictures from among repeated and common similes and metaphors. He also impressively combines literary terms to create special artistic textures that make his poems illustrative and dramatic; In a way that repeated images in his poems are not only by no means cliché and vulgar but rather present a new style and form that touch the readers’ heart.  He uses all the resources of language and art in his depictions and has different unique methods in using these images and depictions. The following are nine rhetoric methods that Hafez used to renew the similes and metaphors: 2.1 Renewing simile by point of similarity 2.2. Renewing by implicit simile 2.3. Simile with saying the reason. 2.4. Plural simile. 2.5. Comparative simile 2.6. Enjambment simile 2.7. Bound simile 2.8. Renewing useful metaphors. 2.9. Gathering of literary terms. 2. Results The results show that with purposeful attention, Hafez designed different types of points of similarity in repeated similes from points of similarity like comparative and dual to discover new relations among vulgar and repeated similes. In this way, he renewed the images which affected the reader. He also makes the readers' mind to search for the meaning by using types of implicit similes in the form of bound and limitation, and by using rhetorical appositive which causes ambiguity in the poem; In this way, the images of the poem are not repeated, and by searching for the hidden semantic meaning between the words, the reader enjoys reading the poem more. Using justifying, plural, enjambment, and bound similes are other rhetorical devices of Hafez in renewing and reviving his similes by which any of them created new atmospheres and poetic images.  By using a lot of comparative similes in different structures and also using implicit, negative, rich, bound and justifying similes and also personification, etc., Hafiz not only renews repeated similes and changes the point of view but also creates new atmospheres so that the reader revels in reading the poem. Poet's genius is completely obvious in renewing common and repeated metaphors by using innovative and familiarized attributive compounds and sometimes by using rhetorical appositions and also explaining adjectives in the form of a sentence in a way that the metaphors are not vulgar and repeated but eloquent. It seems it is the first time they appear in his poem. Moreover, by combining several literary terms, the poet makes a strong relation and a deep link in the artistic texture of the poem. This issue shows the profundity, creativity, and unique art of the poet. By doing this, common similes and metaphors from among all those images seem innovative, new, and beautiful.

The literature of any nation is influenced by its culture and social beliefs, and the impact of society on literature is certain. Women as half of the body of human society in various forms such as a woman in her own kind, mother, daughter, beloved, and praising of GOD, reflected in the literature, and many speakers for this the article have paid. Hence, one of researcher areas is the views of poets and writers about woman and examining the way they look in this category. From this perspective the article aims to examine the verses that spoken about woman. It has been concluded that there are many verses in the Shahname that do not have a positive view about woman, and in contrast to the verses that some scholars have considered to be philogynic, indeed it’s not the fact and Firdawsi has considered the epic atmosphere. One of the most basic accessories is an exaggeration. Some women had to be talked about in a way that made them look unusual and so-called super-female. Another part of the verses from which the women were thought to be praiseworthy is, in fact, a description of the beauty of her mistress. Mentioning this point in our literature, a lover is described in the expression of beauty, not philogyny; the praiseworthy women were in verses called as suspicious. Another pathetic feature of the verses about the philogynic verses is the selective view and not paying attention to the totality of the woman. In the present study, contrary to the opinion of some researchers, it has been concluded that looking at a woman in the Shahname is a negative view. In the book of The double study of praise and condemnation of language in Shahname by Hussain Sajjadi, he has chosen adventures in which language plays an active role and verses have been written about them. Sajjadi has more described the verses or it is batter to say that solved the versification. In the book of The origins of misogyny in Classical Persian Literature by Maryam Hosseini, she examines the poems of several poets, Firdawsi, and at the end, despite the existence of many verses that do not have a positive view of a woman, she has concluded that Firdawsi is in favor of philogyny, not misoginy. The article of misogynic verses in Shahname by Abolfazl Khatibi: A useful 8-pages article that adds 8 misogynic episodes and confirms 10 more with authenticity and originality, they consider them misogynic. Article of ”Personality analysis and language role in Shahname stories” by Ali Naqi Hussain in which the author states that the purpose of the article is to analyze the personality of the women and their role in advancing the story.   Discussion and Research The misogynic sections of the Shahname can be divided into several categories: -Verses that refer to women as type: in other words, women in ensemble and general desired; in this group wife, daughter is located. -Bad traits verses for women counted. -Verses in which women are weak and in children row and old considered. -Verses that have been used as tools by women. In this study verses that are considered praiseworthy also reviewed and concluded that some of those verses are necessary for one epic poem and not in the direction of women praise; another part is the symmetry of selective tastes that have not been considered in the whole narrative; as a sample of surrounded narration speaks of her bravery and brilliance but her betrayal with husband and his murder not mentioned in words, or they talk about it, but they silence the released child in the water for fear of seizing the throne. Other praiseworthy female sections in Shahname include the following: -Praiseworthy created special women like shahs relative and like national hero’s. -Stories of praiseworthy women taken by the literature another nation. Both groups in this study example of praiseworthy women not considered, but in Shahname praiseworthy women verses existed; for example, a Gazer woman pulls her baby out of the water; Description that about Sindokht spouse water has come; and even about Soodabeh which is one of the worst faces of Shahname, the existence of anti-feminist verses and Soodabeh before the story of Siawash, in faithful with her husband praised. But if we want to put both anti-feminist and praiseworthy women verses on the pan scale, the praiseworthy women are lighter and third lyrics anti-feminism will be higher. In Short words, we should say Shahnameh's work had a negative view of women.

One of the frequently-discussed issues in narratology is the analysis of the structure and the plot of the novel which embarks on deconstructing the old texts. Anchored in the ideas of Tudorv and Grimas, this research endeavors to analyze the narratological structure of Tengsir penned by Sadegh Choubak. Tangsir develops linearly on the temporal storyline; therefore, the events occur consecutively in a chain-like fashion for Zayer Mohammad. At the starting point, the situation is depicted to look normal in that Zayer Mohammad is a hardworking man working at Dehkan Harbour. Then, the situation changes with an incident. Karim Hajj Hmzayi borrowed all Zayer Mohammad's properties and refused to return them, pervading a sense of imbalanced situation throughout the novel. All the incidents being unfolded, the narrative ends with a balanced state in the novel. Zayer Mohammad kills Karim and his accomplices and then escapes to Bushehr. According to the pattern of Grimes, Zayer Mohammad is an identifier and the subject of identification involves taking his right from others. In the same vein, Zayer Mohammad is also the receiver and his internal emotion plays the role of a sender. The helpers are portrayed to be Shahro and Asator as well as his feelings. The opposition is comprised of Karim Hajji Hmaze, Sheikh Abu Torab, Mohammad Gonde-Rajab and Aqa Al-Kachal. Regarding data collections, the present study is a descriptive-documentary one conducted using content analysis. Analyzing the elements of narrative design in Tangsir, it can be said that the structure of the novel is in line with the theory of Todorov and Grimas.

Tangsir develops based on a linear storytime (chained). The events of Zayer Mohammed's personality arise one after another in that, initially, the situation appears to be normal. Subsequently, this equilibrium changes and the imbalanced situation dominates the atmosphere of the novel. Being the events unfolded, the novel's storyline turns to a well-balanced situation, and the fate of the character gets disclosed. Chubak introduces Zayer Mohammed's character to the reader in a mixed manner (direct and indirect descriptions by actions and behavior). This study attempts to analyze the narrative design of Tengsir novel based on structuralist theories such as T. Todorov and A. Grimas.

Based on what Tudorff theorizes, the narrative scheme of Tengsir consists of a series of sequences. The storyline in this novel is that the events are consecutively chained to Zayer Mohammed in such a way that the situation is initially depicted as balanced (introduction) within which there are a variety of events. In the aftermath, the construed balanced situation is disturbed by an event (episode 1), and an imbalanced situation dominates the narrative context; Karim Hajzamzah and his allies borrow and invest all his wealth and assets. At this point, to accomplish his goals, Zayer Mohammad lives various hazardous experiences, including the killing of Karim Haj Hamzah and his allies, as well as coming to grapple with government officials. This creates an upward spiral of events. Describing these incidents comprises the middle of the narrative. Thereafter, with the final incident (chapter 2), the narrative text (story) comes to an end. The story of the novel returns to a well-balanced state of affairs; ending with killing Karim and his allies, Zayer Mohammad escapes from Bushehr with his family. In what follows, we shall examine the narrative elements in Tangsir based on the theory of Grimes. Identifiers (active, hero): Zayer Muhammad; value-bearing object (the subject of identification): Taking his (own right) property back from Karim and his allies; agent: Zayer Muhammad and the patient: His inner sense; Assistant: Shahro, Asator, His Feelings, the People and ... ; the Anti-agent: Karim Haj Hamzah, Sheikhabotrab, Mohammad Gonderajab and Aqa Ali Kachal and government officials (vice). In the novel, according to the schema mentioned, there are six narrative elements.

The narrative process in this novel is shaped in a way that the events are chained one after another for Zayer Mohammad (the main character), in such a way that at first the situation is represented to be balanced (introduction) and this situation involves a variety of events. In this situation, while the agentivity is introduced, a value-bearing object (target) is also identified for the identifier. Furthermore, the character is described in this part of the narrative. Zayer Mohammed (recipient and recogniser) is construed as a hardworking man who sells oat and is regarded as a value-bearing object (money and preservation of honor). In the aftermath, (chapter 1), this balance becomes chaotic an event and an imbalanced situation dominates the narrative environment. Karim and all his allies borrow and spend all Zayer's properties. At this stage, the activist welcomes various dangers such as killing Karim Hajzamzah and his allies, struggling with government officials to achieve his goals (value-bearing object). This leads to the formation of action and reaction on the part of the patient and anti-agent causing an upward trend in the story-line. Mentioning these events as such constitutes the middle of the narrative and includes the actions and reactions of Zayer Mohammad's personality. At this stage, the identifier is examined and assisted by the assisting forces to overcome the anti-agent forces. At this point, with the final incident happened (chapter 2), the narrative (story) gets to the final phase. Being supported by Shahro, Asator and the people (the supporting forces), he succeeds in regaining his right (his money; identification) from Karim and his allies by shooting them. The novel's story-line returns to a well-balanced state of affairs and the character finds his fate. After the events narrated, the narrative anchors in a calm shore; he escapes from Bushehr with his family after killing Karim and his allies. In the end, the general (destiny) status is determined in the event of victory or defeat, and the story obtains a new stable state that is the product of the patient and past events interplay. Finally, we can draw the following diagram for the structural analysis of the narrative plot of Tengsir: Initial balance (introducing the agent and Value-bearing object) + disturbance of the equilibrium (episode 1) - introduction the imbalanced status (examining the patient and his battle with anti-agent and the use of supporting forces) + latest confront of the agent and anti-agent (…..2) - Middle; re-occurrence of the balanced status (the final phase the materialization of the patient's destiny) that a new stable state comes to the surface.

Rouhani's travelogues are examples of literary works in which the author travels to another world as a result of a dream, dream or ascension, and expresses the results of her observations after returning from this journey. This type of work is considered one of the oldest literary genres and there are examples in religious works related to Zoroastrian and Jewish religions. This example of works, like other works, in addition to having literary and rhetorical effects, has other significant manifestations and effects. In addition to rhetorical and literary functions, the functions of these works can be divided into four categories. These four categories include the following:1) mystical functions; 2) religious functions; 3) socio-political functions and 4) psychological functions. Regarding the mystical function of these works, it should be said that these works are the product of an inner and psychic process reflected in the form of a literary work. In the process, the spiritual traveler must clear her sensual dust and reach the level of "emptying," that is, emptying herself of the ungodly. This discharge is sometimes in the form of crying and drinking wine, which are symbols of emptying. This evacuation prepares her to ascend to the higher world. After the first stage, the spiritual traveler fills the empty container of her existence with the truths of the higher world in the same spiritual world and reaches the "beauty" world. After this stage, the spiritual seeker finds the necessary conditions to understand the true lover, and the beloved appears to her, and sometimes the seeker remains in the place of annihilation and does not return to the world of the body. However, regarding the religious function of these works, it should be said that most of these works are written at a time when the religious items that the spiritual traveler believes in have become worthless. For this reason, the authors try to revive and propagate their religious foundations; a religion whose principles are not observed in the author's intended society. Another thing that is religiously evident in these works is the Evangelism and warning of the readers of these works. Describing hell and the torments in it is to frighten those who do not observe religious matters. Mentioning the atmosphere of the heaven and its joys is also good news for those who believe in religion and its principles. The socio-political functions of these works are also noteworthy. In many of these works, the authors critique the social, political, cultural foundations, and customs of their society and consider the causes of society's misery in the same mentioned factors. Sometimes the factors of power and government are criticized. In general, political suffocation is one of the main reasons for the emergence of spiritual travelogues. Mentioning the corruption of government elements and criticizing and punishing them in these works is sometimes reflected. Another important function of these works is the psychological functions. The traveler uses psychological mechanisms to get out of this closed space due to the closed social or political space. She uses both "escape" and "displacement" mechanisms to separate her closed space. On the other hand, these works indicate that the authors of these works seek their suppressed desires and aspirations in dreams or spiritual journeys. In the end, it should be said that the study of aspects other than the literary aspects in these works can be examined and useful.

 "Simile" as one of the figures of speech and a type of semantic deviation, promotes the form and the aspects of poetry and also creates a tender and artistic atmosphere in the poem. It makes the atmosphere of a poem more tangible for readers and due to this fact it makes the poem eloquent and attractive. “Fereidoon Tavalloli” knew this important matter and used it very well; in a way that among other semantic deviations, he has chosen simile two hundred and ten times. He used an abundance of sensory similes rather than the other kind of simile that shows his tender and extroverted soul. It is absorbing that his personal life is vividly noticeable in similes of his poems; however, his job as an archaeologist has no straight aspects. He regards the Baroque period and he might have a deal with the Oedipus complex. Using a descriptive-analytical method, this study concentrates on different kinds of simile and the domain of tenors and vehicles that had been used in Tavalloli’s poems. Also, this study can be a presentation of the poet's mind and sensation.