نشریه مطالعات زبانی بلاغی
پیاپی 7 (بهار و تابستان1392)

Allusion (Talmih) is a usual and ancient rhetorical technique in literature of Iran and the world. In this article, Hafiz's approach to fictional allusions is studied. Hafiz reconstructs celebrated allusions into different and essentric styles. Hafiz frequently considers stories in a different way, or uses amphiboly and symmetry to do complex indicational and accociational structure of allusion. He further mixes different traditions with reference to their allusions.

The aim of this article is to review the material, structure, features of metaphor and tropology techniques as the most important element of imagination in Naser Khowsro’s poems. Human organs, various classes of people, nature, the world and sky are the most important elements which Naser Khowsro’s uses as metaphors in his poems.Naser Khowsro resorts to imaginary elements including metaphor to describe and explain his various notions and for this purpose he has employed abstract stipulated metaphor which is easier to comprehend, more than other types of metaphor.Naser Khowsro usually first employs an analogy for tropology and in the following verses, by eliminating the simile or adding to it, changes analogy to metaphor; another technique is that he firstly expresses a subject in a verse about a subject, person, thing or a group and in the following verse expresses the metaphor in relation to that subject; among metaphors in Naser Khowsro’s poems, there are metaphors which are used in conundrum, and by the descriptions presented by Naser Khowsro about that conundrum, finding the simile is easy.

Rhetoric and eloquence are among literary sciences which help the critics in reviewing texts. Rhetoricians have special rules for words and speakers which may change during the period of literary history along with the changing taste of scholars and critics. A literary text as having the characteristics of the rhetoric and eloquence may be reviewed at any period of history in a different way. In the Safavid era with the fusion of Persian poetry and the taste of Hindi poets, further developments of this sort happened. In that era the biographers by changing the standards of Rhetoric and eloquence have used some terms. Studying these terms helps to understand their perspectives towards rhetoric and eloquent texts.

Molana has used expressive and rhetorical figures of speech in his artistic pictures of Masnavi Ma’navi. Irony as a very useful means has attracted the attention of Molana as such that he has declared most of his speech in the form of this method. In this research, irony and its pictorial function have been investigated with the analytic-descriptive method. We made an attempt to investigate the relationship between Masnavi’s ironies and defined Arabic ironies as well as to find the similarities of this issue in mAsnavi and Arabic Literature. The result of the study shows that ironies in Masnavi have similarities with Arabic irony; and as each culture has its own specific irony so this commonality shows the deep historical and cultural connection of these two Literatures: Arabic and Persian. Other evidences depict that at least eight of the ironies mentioned in this article are Iranian. In contrast to general insights, we can’t claim that the rest of ironies are Arabic.

This article deals with balance and its variety in Anvari’s divan. Balance is one of the verbal devices in rhetorics that creates more music in a poem and results in its charm and charisma. Balance forms from the contrast between the balanced and sometimes parallel rhymes. In this study, we observe other kinds of balance in the Anvari’s divan, which have been dealt with in few rhetorical books; and by that we mean the balance in two consecutive distiches, in the way that the first verse of the first distich is in balance with the first verse of the second distich, and the second verse of the first distich is in balance with the second verse of the second distich. The third type is also the case that only the first two verses or the second two verses in the two consecutive distiches are in balance with each other. In this study, we tried to explain them by providing evidence for each of these types.The results suggest that this literary device and its variants in Anvari’s divan are among the most frequent literary arrays which were used. And since Anvari is a panegyrist poet, he took the advantage of using this literary device to have more impact on his audience.

Abd al-Qahir al-Jurjani (400 – 471 AH / 1078 AD), the celebrated Persian rhetorician and grammarian, inaugurated the Arab linguistic revolution through his seminal works, namely Asrar al-Balaghah (The Secrets of Elucidation) and particularly Dalail al-Ijaz (Intimations of Inimitability). In the recent century, after efforts of Muhammad Abduh in Egypt to revive the Islamic scientific thought, editing and printing of Jurjani’s scripts was prospered. Immediately after, the novelty of his ideas drew the attention of many scholars, and initiated a widespread quest to find the similarities of his ideas with modern linguistics, in theory and practice. This endeavor which perhaps is in its midway, led to find many equivalences and has produced remarkable results.It is the aim of this article to analyze some ideas of Jurjani from Dalail al-Ijaz which collectively are known as “The Theory of Nazm”, and deliberate those equivalences with structural linguistics and the new criticism. Word (lafẓ) and meaning (maʿānī), the syntagmatic and paradigmatic axes, and differences of langue and parole; are the most important topics that inter-relate Jurjani with contemporary linguistics. The principal equality of Jurjani and structural linguistics is his perception of language as a system of communication.