نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 17 (پاییز و زمستان 1387)

So far, metaphors have been talked about just in poetry. This study tries to find out that how the mystic, Abdolfazl Rashidoldin Mibodi has used metaphors in his mystical prose, in the third section of the interpretation of kashfoulasrar to convey his determined connotations. To clarify the argument, its functions have been defined in two different levels, namely recognition and aestheticism. The functions of the recognition metaphors in Mibodi’s mystical prose are: giving an intuitive and imaginative soul to the vague and segregated meanings, making the unknown meanings and phenomena recognizable, creating meanings or semi-meanings, clarification of the segregated meanings, giving life to meanings and phenomena, convincing the addressees, description, expressing the feelings, expression of intuitions. The aesthetic functions of metaphors are: creating images, consistency of images, succinctness of meanings in words (conciseness), vividness of the images, ambiguities, pregnancy to interpretations, multi connotations.

Molavi has always been considered as an innovatine Poet. The base at his innovation is moreobvius in Shams’ghazals rather than his other works. So a large number of his ghazals in teams of structure and content is different to other Persian ghazals. one of the Molavi's special styles in conpartion to athr sreat is the inclusion at story content in hos ghazals including story in ghazal. His ghazals some times tell a whole independent story. In many cases, the poem is more like to lacouplet_poem than a ghazal. The poem that has been examined in this articleis takenfrom in Shams’ ghazals,whichin terms of number of verves (45 verses) is like to ode and in tern content is like to couplet_pome. Molavi in this recalled ghazal has used characterization and story in story method. His breakcustom in making story has brought near the included narrative in this poem to stories with modern figures of speech. In this article, it is tried to examine structural analysis of ghazal as well as narration structure and story output is presented.

"Kenayeh" is one of the most important devices for transferring meaning and concepts in persian language which has a crucial tou in rhetoric.Irony as well, in English language and in western rhetoric enjoys a special position to convey the message.In dictionaries of literary terms,"kenayeh" has been referred to as a synonym for irony; evidence shows that what westerners call irony is much different from Persian kenayeh though similarities can be seen between these two words. Persian "kenayeh" is usually categorized as adjective "kenayeh", substantive"kenayeh", verb" kenayeh" as well as near or remote "kenayeh". Or it has been divided to "eama, talvih, ramz and tariz" and this categorization is often used in short phrases of statements. While irony is mostly categorized with respect to the structure and content and concerns generalities such as verbal irony, structural irony, dramatic irony, Socratic irony, cosmic irony etc. In this paper similarities and dissimilarities of these two concepts will be briefly discussed.

Khosro and Sheerins romantic has been drawn to attention from the past till now and also has been reported in different ways by different people including Dainoori, Jahez, salabi, Tabari and Ebn Nabate. Nezami Ganjai cayabilities in versifying the work have been admired by other versifiers like AmirKhosro Dehlavi, Saleemi Jarooni, Shahab Torsheezi, hutefi Kharjardi, Vahshi Bafeghi, Orfi sheerazi, Vesal sheerazi and Nami Esfahani. as Nezami's mather was a Kurdish, Bistoon was in Kurdish area, Ghasr-e-sheerin was located there as well as the dominama of the folklore amony the peoplein the area, one may ask to what extent Nezami's mather culture had in fluence upon him to versify Khosro Sheerin. since Sheerin & Farhad s of Almas Khan Kandoolie had been made with respect to an oral narration that exsits in this area, the study tries based on the to answer the question comparison of this work with Nezami s Khosro & Sheerin. Also purpose of the article tries to make the readers to. become familiar with the work of Almas Khan kandoolie & to understand Khosro & Sheerin s Nezami better, to become familiar with other narration of this tale through the study of common distinct points between two works.

Iraj Mirza is a descendent of the Ghajari Fath-ali Shah whose poetry is, on the one hand, a mixture of tenderness and beauty, and, on the other, replete with vulgarity and obscene words. However, his poetry has always been tied to Islamic and Arabic themes which runs like blood in the entire body of his Divan. In addition, his poems are often composed in relation to religious themes in which Quranic concepts abound.In addition to verses from Arab poets like Abu-l-Fath Basti, Mohlebi, Ibn Qalaqes, Sharif Razi, and others, one might also explore traces of poetic themes related to Ibn Rumi, Motenabi, Abu-l-Atahiyeh, Bashar, Ibn Hajjaj in the depth of his Poetry. Thousands of Arabic proverbs are also implied using their lexicon or alluding to them in the form of short comments. The present article attempts to explore some of the themes at issue, identifying the Arabic sources and their Iranian counterparts which existed in the pre-Islamic period.Since Iraj Mirza might have been influenced by previous Iranian poets,the study also refers to some relevant evidence in the footnotes.

Shahab Addin `Am`aq Bokharayi (542-440 Hegira, A.H) is one of the poets of 5th and 6th Hegira century who was the chief of the poets in the Court of Khezr Khan, one of the kings of Ilk Khan. Not many poems has been left by him, but one can figure out his poetic capability and skill in utilizing simile and metaphor and inventions of live and dynamic images from among those a few poems left.The most drastic changes were in language eloquence and the least in language syntax through the evolution of Persian poems and emergence of modern poetic styles. Among elements of eloquence, simile, which has been known as the essence of literature from the view point of ancient Greek and Iranian scientists and is also the substructure of the instruments of eloquence such as metaphor and allegory, has undergone drastic changes more than others. Changes such as emergence of new ideas and ideologies, development in science and political, social and religious changes occurring in the real world and living environment of a poet affect his way of thinking hence cause a change in literary level of a poem.Examination of figures of speech in the poems of `Am’aq reveals that he is interested in simile more than other figures of speech and sensory similes more than other kinds of similes. However, the increasing and upsward use of rational similes is considerable in his poems. Am’aq’s second best interest is in metaphor, specially metaphor of mosarraheye mojarrade, metaphorical documents have been among the most important poetic instruments used by Ama’agh that made his poems dynamic and energetic. Among different kinds of irony, the frequency of verb irony is more tangible than others. He has also used majaze morsal but not in a prominent and distinctive way. `Am’aq chooses in his imagination figures from among religious and aristocratic elements; therefore, we can see some kind of sanctity, luxury, and scintillation in his images. There is a complete consistency and agreement between poetic images of `Am’aq and elements and components of his poems.

In Persian lyric poetry, “the beloved” plays a, fundamental and decisive role.In fact, one of the themes which has always been the focus of attention in Persian lyric poetry is” the lover and the beloved”.It has been a theme which, for long ages, and in each period of Persian literature, has been witness to a certain different attitude towards it, as well. The present article investigates the above-mentioned poets’ imaginative descriptions of “the beloved”; the poetic names and epithets they have given them (the beloved) For instance, the names as, Mehrab (the alter), Namak (salt), Gandil (icicle);given to the "beloved", are they the matters of imitation and innovation in giving names and epithets; which are the most frequently used figures of speech in their poem; and what is the frequency of the utilized figures of speech in their poems? A quick glance would indicate that the names and epithets are most often the same; however, the intended meanings of their identical similes are different. As a matter of fact, the delicacy of the poets’ creative imagination arises from their uniqe, capabilities, and tactfulness in handling of the issue.In this study only one citation has been offered for each of the poetic names and epithets given to “the beloved “. Since compared with Khaqani and Sa’di Nezami has fewer lyrical poems, it has been attempted to keep the amount of each poet’s lyrical poetry in mind and give the citations in proportion to the percentage of their contribution to lyrical poetry. In the conclusion, these names and epithets have been compared and graphically charted, which can be also studied from a stylistic perspective.