نشریه پژوهش های دستوری و بلاغی
پیاپی 23 (بهار و تابستان 1402)

One of the factors behind the complicated and abstruse nature of Bidel Dehlavi's works is the avoidance of conventional linguistic and grammatical traditions as well as ambiguous anti-syntaxes and the use of alien and defamiliarized structures leading to the formation of a personal and unique style in the heart of macro styles. One of these personal stylistic features is the presence of “specific simile pronouns” as one of the most uncommon and ambiguous features of his style. In these types of compounds, the pronoun that is used as a possessive does not belong to the possessor but is the possessor itself. In this paper, the researchers have investigated specific simile pronouns through descriptive and analytical method. The results of the research indicated that Bidel Dehlavi used separate and attached first person and second person personal pronouns in his works, unprecedently and frequently, as tenor and for objectification. The aim of using such similes is to objectify Bidel's most fundamental mystical principle, that is, the helplessness and impotence of the human kind against the eternal lover. To do this, Bidel uses elements such as dust, bubbles, dew, drops, etc. In the meantime, the use of the first person attached pronouns (=م __) and separate pronouns (= منman and maما =) have the highest frequency, and the second person attached pronouns (=__ ت) and separate pronouns (= توto) have a lower frequency than the first person pronouns.

Proverbs is among the terms that researchers disagree on both defining and determining its examples, to the extent that some believe that it can never be defined. Due to these ambiguities, some have mixed it with other realms such as irony and allegorical metaphor. It seems that the researches in this field have not sought a systematic and well-founded framework for all kinds of parables. Researchers in linguistics and literature in the 20th century tried to extract general rules for both and present them under the title of "Grammar" considering the similarities of types and literary works, analyzing their structure, and defining different types in the form of a few simple forms. One of these forms is proverb the “grammar” of which can be obtained by analyzing its structure and extracting its components, and by putting them together. It seems that one of these basic components, which can be seen in different forms in proverbs, is opposition. In this research, while categorizing and criticizing the definitions of proverb, examining the types of oppositions in philosophy and semantics, about a thousand Persian and Chinese proverbs have been classified with a descriptive-analytical method. The result of the research shows that in every proverb we are dealing with some kind of opposition, but the frequency of opposition is different, so that types of connotational opposition and complementary opposition are the most frequent, and lexical opposition is placed in the next category, although we have proverbs that have several types of opposites. Also, in the current research, there was no example of the symmetrical opposition or gradable opposition.

The inchoative aspect is made with the help of auxiliary verbs, which, in addition to showing the beginning of the action, also indicates its necessity. The inchoative auxiliary verbs such as the verbs “to start, to begin, to stand, to take, etc.”, which are the inchoative aspect of the sentence, are not used in the Persian language today but played a prominent role in the past periods of the Persian language. In the scope of inchoative auxiliary verbs, we are faced with a group of verbs that reach the main verb in the sentence with the help of creating continuous images from the secondary verb origin to create an inchoative aspect, and with this movement scheme, they show the process of the beginning of an action or verb. In the present research, an attempt has been made to extract and introduce the auxiliary verbs that indicate the inchoative aspect in the Persian language. Therefore, this research, using a descriptive-analytical method, has investigated the inchoative auxiliary verbs in the historical period of the 4th to the 12th century of the Persian language among Persian prose books. The obtained results showed that the verbs “to take, to pick up, to rise, and to open” are considered to be among the verbs that create the inchoative aspect. In the meantime, the verbs “to rise” and “to pick up” still retain their original role as an inchoative auxiliary verb, but the rest of the verbs have undergone deauxiliation and lost their use. In addition, other verbs in today’s colloquial Persian have been added to this range, such as “to pull” and “to take” which go through their auxiliation process in the construction of the inchoative aspect.

Majales Sab'a is one of the important works of Jalaluddin Mowlavi, which consists of seven sermons. This type of prose is called rhetorical prose and inspires the highest thoughts through the simplest logical forms. It has been used by great people such as Khawja Abdullah Ansari, Abu Saeed, Abul Fatah Shahreshtani, Rozbehan Baghli, Baha Ould, Mowlavi, Shams Tabriz and Saadi. The most important feature of this type of prose is its closeness to the spoken language, which is sometimes mixed with literary prose; the simplicity of the prose and lack of embellishment are among its characteristics as well. Compound verb is one of the most important grammatical topics and its correct usage makes the prose solid and well-founded. Considering this fact and the status of Majales Saba' and its linguistic features, the present article, with a descriptive-analytical method, explores the usage of compound verbs in Jalal al-Din Mowlavi’s Majales Saba'. The use of verbs in these texts helps us find the natural usage at that time and their precise grammatical analysis. In this research, we found that Rumi paid more attention to the use of simple verbs, and in many cases, he used many simple verbs from the same root or from different roots consecutively or with a short distance. Sometimes the simple and compound forms of a verb are combined. Some compound verbs are also affected by the existence of Arabic words in the structure of compound verbs, and although they are used in simple form in Arabic, they have become compound verbs in Farsi and Majales Sab'a. Saj’a (literally meaning musicality) also causes the usage of compound or simple verb.

This article demonstrates how Persian and English translators have recreated the simile marker "k'ann", as one of the most prevalent words of resemblance, in a total of 25 verses of the Quran. Simile markers are considered one of the four componants of simile, and simile is one of the literary techniques that falls under the science of meanings in Islamic rhetoric. Recent studies have used figurative images instead of simile itself, which include sensory and imaginary elements. These two types of images are among the building blocks of rhetorical images that mainly serve the Quran's religious goals. This article aims to provide a descriptive and comparative analysis of selected translations, focusing on similes using "as if" as the most common form of comparison. Persian and English translators have mostly equated these images with textual images, and therefore, have translated them into a similar image in the target language. Translators have translated this simile marker as "گویی" in Persian and "as if/though" in English at the word level. Persian translators have used present or future tense verbs after this phrase, and English translators have used past tense verbs. However, it is necessary to pay attention to the textual features of similes in translating images. Overall, Persian and English translators have translated similes into similar but sometimes more explicit similes in accordance with Yarmohammadi's classification taken from Newnark. The acceptability of the translations by the readers on the one hand and the time, and the chronological order of translation, especially regarding the English ones, on the other hand have been the basis for selecting translations. On the whole, all translators have translated this simile marker literally.

During the period known as Bazgasht ( literally meaning return ), Persian poetry imitated traditional literature in various subjects of the 4th to 9th centuries of Islamic calendar (Hijri). Writing epic poems in the style of the past was one of these subjects. Epic poets in this period tried to make their works magnificent following Ferdowsi's style or generally epic style. Religious themes were also one of the fields for writing epic poems. Fath Ali Khan Sabai Kashani’s epic poem Khodavandnameh (1179-1238 Hijri) is one of the religious epic poems of the Bazgasht period. It describes miracles of Prophet Muhammad (P.B.U.H.) and explains bravery and heroism of Imam Ali (P.B.U.H.) in Islamic conquests and battles. This article aims to describe some linguistic and rhetorical features of this epic poem using descriptive and analytical method. In examining the main linguistic indices of this epic poem, it became clear that Sabai Kashani used most of the standard linguistic indices of epic poetry, especially vocabulary, combinations, and concrete and abstract descriptions appropriate for battle scenes. In some of its aspects, such as the background music, the syntax and imagination (including metaphors and similes), while using the techniques of the predecessors, it has also taken initiative and has shown weakness and shortcomings in some cases. Being Familiar with these features can be useful in understanding the quality of language in religious epics and how epic language has evolved over time.

Mawlana Jalaluddin Mohammad Balkhi, a famous poet and mystic of the 7th century, who is most famous for his mystical poetry; He also has prose works that have received little attention from researchers. Among his prose works are "Letters" which were written in different times and with specific purposes. On the other hand, as evidenced by his works - such as Majlis Sab'a - besides being a famous poet, Mawlavi was also an outstanding orator. The hypothesis of the upcoming essay is that Mawlavi's letters, which have a direct relationship with the audience of the letters; Influenced by Mawlavi's character - as an orator - it contains signs of rhetorical elements. Therefore, with the approach of rhetorical criticism, Mawlavi's family letters - as an example of his rhetorical letters - are analyzed based on the components of Aristotelian rhetoric in a descriptive, analytical, and statistical method. Questions of this research are: based on the components of Aristotelian rhetoric , What are characteristics of Mowlavi's family letters and according to this, which components did Mowlavi- Mawlavi- use more and why? The achievements of this research, in addition to confirming the hypothesis and new things about how Mawlana communicates with each family member; It is telling that all three components of the Aristotelian rhetoric theory are used in Mawlavi's family letters, the most part of which is dedicated to the pathos component, keeping in mind the appropriateness of the subject and the necessity of the words in order to impress and persuade the audience.

Common people express mental reality with objective experience and use the substitution of a grammar tool for another tool to convey. The frequency of this metaphorical substitution can be a sign of style. This descriptive-analytical essay has analyzed the grammatical processes and metaphors of the story "The Turnip Fruit of Heaven" written by Ali Mohammad Afghani based on the theory of role-based theory. This story is one of the realistic narrative works that revolves around metaphorical language and all three types of grammatical metaphors (ideological, interpersonal and textual) are seen in it. The representation of the experience in the dialogue of the participants of this story is mostly based on the transfer of the mental process to the material because the author knows that by using the transitive system of grammatical metaphor, abstract and subjective concepts become more understandable for the general audience; However, the transfer and displacement of material to mental processes is reflected in this work in its lowest amount, and the reason for the reflection of verbs in a material form is transparency and openness, and the author did not want to interpret his experience. (Many tables are provided.) Afghani, considering the subjective meaning and the external experience of it, uses the pragmatic present which conveys the meaning of the action correctly, and in representing the states governing the actors affected by the existing conversation of the user class. Is. In this novel, the processes (verbs) have been metaphorically transformed into nouns by noun formation, which is the main form of transitive metaphor, and the author has made the message and words of the participants stand out with this grammatical transition. . In this work, the intellectual meaning also refers to the author's experiences from the outside world.

Adjective is one of the three main elements of language that play a significant part in producing and conveying textual meaning. Robert Dixon, a contemporary English linguist, has provided a semantic typology of adjectives that consists of thirteen types. Adopting a descriptive-analytic methodology, the present study investigates the semantic and rhetorical functions of adjectives in the collected poems of Qeysar Aminpour according to Dixon’s model to see how the use of adjectives in the poems is related to the evolution of the poet’s attitudes. The findings of this research show that, apart from their primary semantic functions, adjectives and adjectival phrases play various significant aesthetic and rhetorical roles in Aminpour’s poems in creating music, poetic imagery, and such tropes as metaphor, simile, pun, allusion, and synaesthesia. It is also demonstrated that throughout Aminpour’s poetic career the frequency and functions of adjectives noticeably changed in accordance with significant changes in his attitudes toward both poetry and society. According to the data collected and analyzed in this study, four types of adjectives, i.e., speed, similarity, difficulty, and age, do not serve any rhetorical function in his poems, whereas the highest number of rhetorical functions is fulfilled by adjectives of physical properties, color, human propensity, and quality. Moreover, in terms of usage of adjectives and the number of their rhetorical functions the two volumes entitled “Sudden Mirrors” and “All Flowers Are Sunflowers,” written in the middle of his poetic career, are richer than the other two volumes of his poetry and the higher rate of using synaesthesia and pun in them signals the poet’s introversion and romantic mood in that stage. On the other hand, the higher number of adjectives of color and value in his first volume of poetry (“The Morning’s Breath”) accords with the poet’s mood during the Iran-Iraq War.