نشریه پژوهش های دستوری و بلاغی
پیاپی 21 (بهار و تابستان 1401)

Resalat–ol-Toyour, written by Najm-od-din Razi (573-654 H.Q.) has a mystical, allegorical prose and is among the technical prose and metaphorical texts in sixth century. To render the events tangible and to report them from the best perspective, the author uses literary techniques such as simile and undermines them with mystical and allegorical content of his stories. The similes intensify the beauty of the text and the pleasure of the audience. The technique is skillfully extended all through the text. Most of his similes/imageries include extended, detailed, allusive and descriptive ones. He benefited from best types of imageries to express his ideas innovatively. He has made use of Qura’nic Ayyahs, the stories of the prophets, allusion, making abstract concepts tangible through terms of astronomy, war, court and geography. Embellishing this type of expression with other techniques such as symmetry, conflict, exaggeration, allusions, mental imagery, and metaphor, he has managed to improve language and imagination.

Taking a different approach from traditional rhetoric, Cognitive linguistics examines metaphor from a new and different perspective. In the cognitive perspective, metaphors are tools for understanding which are closely associated with one’s ideology and way of thinking. The semantic relationships between the words in conceptual metaphors make the process of understanding intangible things easier. The two areas of origin and destination on which conceptual metaphors are based have a significant place in literature. The way the trigger areas are selected and the implied meanings resulting from them represent the mentality of the speakers and their way of knowing the world. In this research, the conceptual metaphors in the poems of Ashoora poets are analyzed based on the conceptual domain of Ashoora, Imam Hossein, and the semantic domains related to these concepts. Extracting and analyzing the mappings of the domain, the widely used trigger areas, ideology and dominant discourse in poems, worldview of poets and cultural constructions in relation to the chosen areas are discovered. Among the results of the research is that various trigger areas such as “religion”, “valuable jewelry”, etc. are marked with a positive meaning to describe the conceptual areas of Imam Hussein and other related concepts have been used. Implicit meanings arising from the trigger areas express meanings such as “valuability”, “sanctity”, “resistance”, “righteousness”, and “vitality”. Also, different semantic areas such as “autumn”, “demon”, “Iblis” etc. have been chosen with negative meaning for the enemies of Imam Hussain. Finally, the strengthening of the discourse of right and its confrontation with oppression and injustice can be seen in the poems.

Review and introduction of some effective suffixes in making Amplification in Persian language Based on a case study of Rumi's poems Amplification is very important in Persian language and literature. But unlike many other rhetorical elements, little attention has been paid to it, and the methods of its construction have often been limited to the same old views. In the classical view, Amplification is divided into three types of Amplification, hyperbole, and Bombast based on the limits of magnification, but no importance is given to the methods of its construction. Accordingly, in this research, the suffix is considered as one of the effective methods in making Amplification and is the basis of research. The main question is which extensions can be effective in creating amplification. The research method was such that in the first stage, Rumi's Masnavi and Shams Ghazal Divan were studied based on the form and use of amplificated elements and then the hypothesis was strengthened that Rumi used suffixes in a special way to make amplification. This study, in addition to finding and inventing some unique and innovative words of Rumi, showed that a range of suffixes are effective in amplification. Suffixes that make the place amplificated include "lan", "kadeh", "stan". Suffixes that amplificate the possessiveness of an adjective include "nak", "bareh", "mand" and "gin". Suffixes that have been linked to the topic of amplification with the help of the simile and the amplification in the simile relation; Like "Wash" and "Anne" And suffixes that combine the adjective with the concept of plurality and abundance Constructions such as "eh" and the suffix "gray" which expresses a behavior, work or adjective that is associated with abundance And finally, the suffixes "-K" and "-Ki", which are used for miniaturization and its special use, show that, at least in the world of poetry, it can be used indefinitely with different attributes and names.

Forugh Farrokhzad's explicit and lucid diction has had an extraordinary impact on her choice of prosodic meters. The present article is aimed at looking into the most important manifestations of prosodic meter in one of Forugh Farrokhzad's poetry collections called “Another Birth”, attempting to answer the following question: What are the most important prosodic innovations in “Another Birth”? Using a descriptive-analytical method, this article first examines metrical patterns in “Another Birth” and then by presenting graphs and analyzing statistics, it comes to the following findings Forugh has beautifully drawn upon the potential capacities of prosodic meter and therefore has created an original and innovative poetry. Forugh has managed to display her mastery and adeptness not only by presenting her individual and personal experiences commensurate with her audience's moods but also through manifesting the facets of external music in her language, a language that suits the taste of her contemporary audience. Unlike the poems of her predecessors, her poems occasionally give the reader the opportunity to experience various meters in segmentation, and the reader encounters several meters in one single poem, two meters in one hemistich or the application of partial elements at the end of a hemistich; the reason is that words and content-and not form- are important to her. Moreover, we sometimes come across some hemistiches in her poems that have extra-long syllables which indicate the independence of her hemistiches from other hemistiches on the one hand and on the other hand she displays her ability to employ poetic options, especially “Taskin”, to her readers. Metrical patterns such as Ramal, Mujtath, Muzare' and Rajaz are the most frequently used ones in her poetry.

The poets and writers of Persian literature have decorated the beginning of their poems and prose works with the name and memory of God since long ago. This tradition, which is basically rooted in the religious and theological emotions of the authors, seems to have faced some limitations. One of these limitations is the observance of the style of the beginning of the speech which has always been associated with the praise of God since the previous covenants and the authors of prefaces have followed the footsteps of their predecessors over the years. But the main limitation lies in the unique characteristics of the main subject of the word, that is, the divine essence. A lot can be said in describing God, but not every tool can be used for this description. Praise of God writing has a wide content, but it has the possibility of limited options and language arrangements. This article will try to introduce some of the linguistic features of praise of God writing while briefly mentioning the belief bases of it. With this aim, the praise of God of eight works from the period known as technical prose have been examined at two levels of rhetoric and grammar, and the commonalities between the texts, while analyzing and etymology, will be presented as the results of the research. Based on the obtained results, the language of praises of God has a solid quality that does not allow to any rhetorical element the possibility of role-playing, and permitted rhetorical elements such as Saj'e, Jenas, Movazene, and Taghabol don't have enough ability to break the difficulty of this language. This strong feature can also be seen in the grammatical replacement of words, as if in prose introductions, the structure of sentences is fixed and the authors only put variable words in predetermined positions.

The discussion related to the phenomenon called "parables" is an old and extensive debate, and a review of classical sources shows that the ancients paid more attention and precision to the nature and construction of parables and provided more precise definitions. However, because in classical Islamic rhetoric, literary language is considered a particular and separate field from vernacular language and is separated from the vernacular language with terms such as "rhetoric", "eloquence", etc, the efforts of Islamic rhetoricians and also In the definition of a proverb, contemporary rhetoricians have been pushed in such a direction that the phenomenon of the proverb has been considered as something meta-rhetorical and their efforts to divide proverb have not led to a precise result. First, by reviewing the definitions of the past and contemporaries of the term parable, the article placed its types under the three expressive techniques of simile, metonymy, and metaphor, taking into account the simile structure, and identified the fourth category as wisdom, which does not have a simple structure. This result It has been reached that in terms of considering the allegorical infrastructure of all kinds of parables, something called a parable that has an infrastructure other than the infrastructure of simile, metonymy, and metaphor is only placed under the wisdom and does not include a parable. The reason for the emergence of the term proverb, which is considered to be something meta-rhetorical, is firstly due to the multi-conceptuality of the word "proverb," which conveys the meaning of other phrases and sentences, and then it is due to the focus of lexicographers on collecting other sentences, which always have two aspects. "Being different" and "the presence of implicit meaning" are essential and have been recorded. Investigations show that most of the entries in proverbs are phrases with the structure of metonymy, and the stories that have emerged around some of these entries, in most cases, are around the entries with the structure of metaphor.

This article discusses the persuasive function of literary figures in Nasir-i-Khusraw’s odes. Among the factors influencing the communication process, the emphasis on the message creates poetic and literary role of the language; therefore, some poets such as Nasir-i-Khusraw use poetry to convey their message and thought. Nasir-i-Khusraw poetry is an attempt to persuade his audience by explaining his rational facts and his religious beliefs. The present article uses a descriptive-analytical approach, to answer this fundamental question, that if, according to the scholars, Nasir-i-Khusraw used the language of poetry to communicate with the audience and convey his thoughts what would be his purpose of abundant use of a variety of literary figures in his odes? The article seeks to prove that Nasir-i-Khusraw is using various literary figures, especially verbal figures, such as repetitions, allusion to Quran and Hadith, adaptation, contradiction, tangible similes and understandable metaphors looks for persuading his audience and for reinforcing and completing its message and not to seek to adorn his poetry.

“Ghazal 3” from the book “Akhare Shahnameh” by Mahdi Akhavan Sales have considered as one of the best contemporary lyric poems by researchers. What are the reasons for its superiority? And why has this poem found such a place in contemporary poetry? Using descriptive- analytical method, this research shows that this poem in four areas including language, music, rhetoric and content has moved beyond the boundaries of poetry and has achieved a new area of harmony and artistic unity. Linguistically, the connection with the past linguistic elements at the levels of vocabulary and syntax has created temporal abnormality or archaism and a multidimensional linguistic atmosphere that is unimaginable. The innovative rhythm of the poem is in harmony with its romantic and tragic theme, and along with the alliteration and repetition, it has filled “ghazal 3” with internal and external music. Rhetorically, the author's attempt to take advantage of the innovative form of rhetorical and novel arrays and to avoid common and vulgar stereotypes, has promoted rhetorical images in the direction of the lyrical content of this poem. Conceptually, the representation of nostalgia of the presence of the beloved in the best moments of the poet's life, describing the greatness of her existence in the alleys of love and enduring the sorrow of her distance, fills the poetic space with the intimacy and tenderness of a real and experienced love. The combination of the mentioned factors has turned “ghazal 3” into a successful model for modern Nimai love songs and contemporary lyrical poetry.

The folk tale of Amir Arsalan, like a stage, depicts all the spirits of the people of the Qajar period with all its misfortunes and unfavorable conditions, and shows the mentality, thoughts and situation of the people of that era. For this reason, folk tales can be considered the mirror of the whole period of their writing. By examining the grammatical structure of these works, the style of the period or the author can also be obtained. Examining the structure and frequency of the grammatical class of adverbs can also lead to understanding the linguistic part of a person's style and the style of his period. The purpose of this descriptive-analytical article is to study the types of constraints and groups of constraints in the story of the famous Amir Arsalan and its signs in the personal style of the narrator. It is assumed that the use of adverbs is limited, but the findings show that the frequency of using common and specific adverbs and adverb groups in this work is significant and high. The multiplicity of events and speeches, dramatic and reciprocal arrangements in Amir Arsalan, which was formed by the narrator and the narrator-like performance of the narrator. The most important point is that the use of different types of constraints in this work has resulted in accurate spatializations and prominent descriptions.

Persian poets have made use of gladiole in their poetry and paid attention to particulars and descriptions of gladiole. The purpose of this study is to investigate numerous and various images of gladiole. The evolution of this image in different periods at the vertical axis of Persian literary history is studied as well. All images for gladiole are classified and studied in 53 poets and, according to the factor of initiator and imitator poet, original and imitative images are presented. Tables and charts are used to show the frequency and images of gladiole. The results of the study indicate that more than 753 various images and 396 original images appear in these works, and that images referring to relation between gladiole and flower, gladiole and cedar, gladiole and liberally, gladiole and face, gladiole and narcissus, gladiole and language, gladiole and smell, gladiole and ten languages, gladiole and silence and etc are respectively more frequent. Mavlana Rumi, Amirmoezi, Hassan Qaznavi, Qatran, Farokhi and Jami peresent the more original images of gladiole.

Investigating the topic of double contrasts in literary and artistic works for a better and deeper understanding of these works has attracted the attention of contemporary linguists and narratologists. In this research, by looking at Saadi's works and ideas, we have paid attention to the investigation of double confrontations or mutual couples as one of the main pillars and elements in the components that Saadi has expressed the themes and themes related to health and mental health. According to the nature of the components studied in this thesis, the paradigm of the present research is descriptive-analytical and the method of representation is done through qualitative content analysis. The field of study and the scope of the current research, which was selected through a targeted sampling of Saadi's works, were determined based on the principle of sufficiency and sufficiency of evidence. The results of the research show that the contrast of words with opposite and opposite meanings covers a significant part of Saadi's poems and writings. With a structuralist look at the investigated examples, we find that these signs give attention to the real and objective explanation of practical solutions to obtain peace and comfort based on moral, mystical and educational teachings from the artistic and semantic point of view, and in the form of semantic, implicit, A structure in the sentence unit and literary contrasts are presented in Saadi's speech.

Salimi Jeroni is one of the 9th century poets and a follower of Nezami-Ganjavi's good taste. His poems are full of , Figures of thought and original beauties; ambiguity is one of the Figures of thought and a means of avoiding norms in speech, which has a significant contribution to the illustration and composition of Salimi's speech. This research tries to investigate this artistic technique in Shirin-Farhad Salimi's masnavi using a descriptive-analytical method and to demonstrate the poet's ability in this field. The results of the research show that out of a total of 697 cases of ambiguity has the highest frequency with 338 cases and a frequency of 48.5. His ideas are pleasant and have been used elegantly and in the form of new images and structures. The choice of idiomatic words in the axis of coexistence and substitution is very artistic in such a way that the change of each of the parts of the verses causes disturbance in the words. He has tried to innovate by using words related to some aromatic substances, fruits, diseases, calendar terms, plants, adjectives, verbs, prepositions, pronouns and breaking the link of simple words in the field of all kinds of ideas. It seems that Salimi, with the conscious use of all kinds of metaphors, along with other Figures of thought: recognition, puns, contrasts, irony, repetition, sensibility, similes, allusions, and used this Figures in the service of visualizing and creating multiple meanings of the word.