Simile

Social justice is a fundamental issue in Persian literary texts, effectively expressed in the works of many prominent poets, including Nasir Khusraw. This article analyzes the rhetorical structure of social justice concepts in Nasir Khusraw's works using both classical and contemporary rhetorical approaches. The aim of this study is to examine how rhetorical tools such as metaphor, simile, contrast, and irony are employed to elucidate social justice concepts in Nasir Khusraw's poetry. The findings of this research indicate that Nasir Khusraw, through the use of these linguistic tools, effectively conveys complex social and ethical concepts, particularly justice, oppression, and corruption. Additionally, given the historical and social conditions of Nasir Khusraw's era, these concepts specifically address the critique of social injustices and promote order and justice in society. This study also emphasizes the importance of language and rhetoric in influencing the minds and emotions of the audience, showing that Nasir Khusraw, as a reformist poet, utilized rhetorical tools to establish social justice. The results also reveal that Nasir Khusraw expressed social justice concepts in a tangible and artistic manner using images such as the "tree of justice" and "the path of light."

According to romanticism, there are aspects of human existence, especially aspects of inner life, which have been completely ignored. For this reason, the orators of the school of romanticism used inner feelings to create literary works. From the point of view of the romantic poet, the duty of poetry is only to influence the audience, not to convey a message, explain and arrange thoughts. Considering the introspection and pictoriality of Nizami's works, especially the Repository of Secrets, he can be considered an Iraqi style poet with romantic aspects. The main goal and problem of the current research is to investigate the prominent aspects and coordinates of the school of romanticism in the military secret repository, to show which aspects of the romanticism school are more effective in the military secret repository and what is the context of the appearance of these aspects?In this research, with analytical-descriptive method, based on library study, the analysis of Makhzan al-Asrar was analyzed based on romantic aspects and dimensions, while expressing the contexts of romantic thought such as; Naturalism, love, discovery, and intuition, etc., have been investigated in Makhzon Al-Asrar, with an emphasis on images such as similes and metaphors. The result of the research shows that some aspects of romanticism such as naturalism, love, freedom, etc. are reflected in this work. In fact, Nizami has been able to create vivid images by using the elements of nature and imagination. Also, Nizami has used metaphor with high capacity to erase the boundaries between man and nature, thought and object, and to erase the boundary between language and the real world, just like romanticisms. .

Epic literature around the world describes the bravery of warriors. Homer"s Iliad and Ferdowsi"s Shahnameh are among the most famous epics in the world. In this research, descriptions and similes of animals used in battles for victorious warriors, up to the 15th hymn of the Iliad and the first book of the Shahnameh, have been compared. These animals included lion, leopard, wolf, boar, hound, cow, ram, horse, elephant, rhinoceros, whale and dragon.

This research was done with descriptive-analytical research method.

Examining the two epic works under research shows that both works have used a lot of likening warriors to animals and sometimes they have used similar methods to describe and compare warriors to certain animals.

In examining the animal descriptions of brave warriors, we found three groups of wild animals (predatory and non-predatory), domesticated animals and mythical animals. wild beasts, lions, leopards, wolves and whales (crocodile); non-predatory wild animals, boar, elephant and rhinoceros; Domesticated animals were dogs, gowers, rams, and horses, and the only mythical animal was the dragon. Among the predatory animals, lions, leopards and wolves are common in both epics, and whales are unique to the Shahnameh. The non-predatory wild animals are the boar for the Iliad and the elephant and the rhinoceros for the Shahnameh. Domestic animals are all specific to the Iliad and mythical animals are specific to the Shahnameh. Both epics describe lions, leopards, boars, and wolves. These animals are known everywhere with the same behavior, and for this reason, they have been used in both epics as descriptions. Peel and rhinoceros are native to Asia and Africa, that"s why they are only used in Shahnameh. The use of domestic animals was due to cultural differences, and for this reason, such descriptions were not used for warriors in the Shahnameh. Such a simile of a warrior to a dragon exists only in the Shahnameh.

Simile understanding requires two distinct pragmatic skills: understanding the intended similarity and deriving a scalar implicature (e.g., “Nina is like a rabbit” normally implies that “Nina is not a rabbit”). However, the second skill has not been studied yet by Iranian researchers. The aim of the present study was to investigate the ability of mono-lingual Persian-speaking children aged 3 to 7 years old and adults in understanding scalar implicature. To this aim, 50 Persian-speaking children, 3, 4, 5, 6, and 7 years old were selected through a semi-random method and were compared with 10 adults. The groups were investigated and compared in the first experiment which was a form of similarity judgment task and in the second experiment, which was in a form of a game. In the first experiment, subjects should understand “x is like a y” as an expression of similarity. In the second experiment, the subjects received metaphors (“Nina is a rabbit”) and similes (“Nina is like a rabbit) as clues to select one of three images (a rabbit, a girl, or a rabbit-looking girl). The results showed that 3-year-old children could understand the implicature “x is not a y”, whereas 5 years old children performed like adults. The results showed that children from early childhood were able to understand and derive scalar implicature, and the literal meaning of simile and metaphor decreased with increasing age.

In this study, the formalism of the ecological orientation of the novel Sayeh Malakh is based on the element of simile and using the technique of content analysis. Sayeh Malakh is one of the realist novels in the field of sacred defense literature, the realism of which is depicted in a comparative and tangible linguistic expression. The results of this study show that the simile in this novel is a key element in realizing the events of the story and since the events of the novel have taken place in a rural setting, most of the comparisons are about nature and the environment around which the main narrator lives and his epistemological world is quite familiar with. The environmental comparisons in this novel have played a major role in creating spaces, characterizations, and creating an environmental discourse and calling the environment to the center of attention and preventing it from fading. Most importantly, the analysis of the environmental discourse in this novel is based on three types of fear (fear of starvation, hunting, and darkness) that form the basis of human interaction with the environment.

Simile forms the deep structure of many innovative crafts, and in the rhetorical books of the early and late generations, various types and types of it are mentioned, each of which plays an artistic role in different ways in depicting and reflecting poetic imaginations; The efforts and careful analysis of rhetoric scholars in categorizing and classifying all kinds of similes are praiseworthy, however, sometimes in studying the literature of poets and digging into the imaginations of Persian speakers, we come across similes that are found in books. Rhetoric has not been investigated in a separate and scientific way; One of these similes is a simile with a completely independent syntactic structure and purposes, which is opposite to preferential similes. The present essay seeks to analyze these types of similes in the works of speakers of different periods in a descriptive-analytical way. The obtained results show that this type of simile has been used since ancient times and its oldest use was found in Ferdowsi's Shahnameh. These types of similes have different types, in some cases, the speaker portrays the simile - the opposite of the preferential simile - as inferior and less than the simile, and sometimes the speaker of the praise industry is similar to blame. takes advantage and uses the simile in a way that looks suspicious of it, while the purpose of the simile was to praise the simile, and finally, sometimes the purpose of the simile is not in the sides of the simile, but in the element of the simile. The third one, which is outside the pillars of simile, searched that the poet uses this type of simile structures to bow down or express its condemnation.

Elegy about Imam Hussain (AS) and Ashura poems are very important in Arabic and Persian literature to some extent that the poets have addressed its various aspects and the mourners have dedicated the most impressive part of their poems to it. Focusing on the principle of coherence as the most important criterion of text formation, the present article tries to examine the coherence between the elements of the text by Mura'at al- Nazir. Seyyed Bahrul Uloom and Mir'aza have used this literary array a lot so that its abundant and appropriate use has made their poems coherent. This article, with a descriptive-analytical method, examines the coherence resulting from Mura'at al- Nazir in the poems of these two poets in a comparative way. In this way, firstly, the theoretical topics, the definition of coherence and compliance are presented based on library resources. This thesis continues to discuss Mura'at al-Nazir in Hosseini's elegies (a comparative study of Seyyed Bahrul Uloom and Mir 'aza's poems and at the end, it examines and analyzes the coherence of Mura'at al- Nazir by relying on the examples extracted from the poems. One of the achievements of the research is that both poets use Mura'at al-Naz through combination with other figures of speech such as: simile, antonym, metaphor, and allusion for more harmony and proportion according to different themes. Both poets have a coherent text, but Mir'aza's poems, considering that the audience of his poems is common people, therefore his poems have a sadder emotion and also, his poems seem simpler and smoother.

The concepts of Ahura Mazdā and Ahriman in the Zoroastrian religious culture are intertwined with the concept of Mainyu, such that Ahura Mazda holds Spenta Mainyu within himself, and Ahriman is another verbal form of Angra Mainyu. In addition to these two antagonistic deities, Mainyu also applies to other concepts in Zoroastrian scriptures. These three concepts are still ambiguous and confusing, despite ongoing research, due to factors such as antiquity, semantic multiplicity, abstraction, and changes that have occurred over time in their meanings. The authors of this article have attempted to analyze and demonstrate these concepts from the perspective of the similes that have been formed around them, using a descriptive-analytical method and by extracting data from Zoroastrian scriptures. This is to show how simile, as one of the most important tools of cognition, has been used to visualize these abstract concepts and what visual and semantic characteristics have been explained for them. The results of the study show, firstly, that the authors of the scriptures under discussion have consciously used similes to relate the intellectual to the sensory as well as the tangible and the popular to bring these three concepts closer to the understanding and perception of the general public. Secondly, using simile to compare the concept of Mainyu to martial art terminilogy has defined a role for it beyond mere personification, identifying it as the agent and combatant soul of the world of Asha. Thirdly, while the similes referring to Ahura Mazdā maintain aesthetic criteria, the images associated with Ahriman have been chosen from among the most terrifying and striking phenomena in the view of that era.

Simile in Gholamreza Borousan's poems is one of the most important and practical tools of expression. In this research, similes of this contemporary poet have been analyzed and investigated. The scope of the research work is three notebooks of his free poems and the work method is descriptive-analytical based on statistical data. The analogies found based on the types of similes are based on the validity of the parties (sensual or intellectual, singular, binding or compound and multiplicity of parties), on the validity of similitudes (detailed or comprehensive, close or improbable, singular, multiple or compound and investigative or imaginative). It is divided according to the validity of similes (sentient and emphatic) and finally according to the number of similes (separate and ambiguous) and examples are mentioned for each case, and at the end of each discussion, the frequency of each simile is presented in tables. At the end, the frequency of the elements of his similes is given. The results of the research show that he is an allegorical poet and has followed a creative and original process in choosing and processing these allegories. So that most of these similes are of a strange type with a pseudo-imaginary aspect. His similes are mostly of the sensual type in which man and his belongings, nature and its manifestations, and objects and tools have a strong presence in them.

Simile is a straightforward method of creating imagery extensively discussed by rhetoricians. However, comparing something to itself is a rare form of simile in rhetoric and has been deemed unjustifiable by scholars. They argue that this simile lacks imaginative properties, requiring little effort for comprehension. Nevertheless, examples of self-comparison can be found in Persian literature, particularly in the works of poets, such as Attar, Nizami, Masoud Saad, Jamaluddin Esfahani, Molana, Zahoori Tarshizi, Akhwan Taalih, and Aminpour. Indian rhetoricians, including Mirza Khan Bin Fakhruddin Muhammad, Sirajuddin Ali Khan Arzoo, and Azad Belgrami, have provided detailed reflections on this simile. While simulating something to itself may not be entirely devoid of literary value, it can serve a creative purpose in certain contexts. In this descriptive-analytical article, we investigated the various dimensions of self-comparison. Initially, we reviewed the perspectives presented in different rhetorical books regarding this rhetorical technique and subsequently delved into its intricacies. Finally, we outlined the purposes behind employing this type of simile with a primary focus on poets and writers aiming to emphasize and express the perfection of Mamdouh's majesty. 

Color and image, which provide the main part of the beauty of an artwork, are effective in conveying the concept to the audience; therefore, the analysis of its components can be considered an indicator of the poet's special use of language and the distinction of the literary type of each work. Of course, beauty here is not only the use of literary arts. Poetry can also be beautiful without them. Here, the poet works on strengthening other tools in his hand and compensates for the lack of poetic beauty. In this study, structural and aesthetic factors are discussed, which play a different and deeper role in distinguishing the literary genre. Therefore, it has been tried to avoid as much as possible the mention of descriptive concepts that have been mentioned many times in various literary works. The considered works are the story of Sheikh Sanaan by Attar Nishaburi, the story of the Shah and the Maid of Rumi, and the poem Salaman and Absal by Jami. The main achievement of this research is to clarify the fact that the rhetorical and linguistic elements in Ramzi's romantic works, on the one hand, help to strengthen their lyrical dimension, and on the other hand, they have a great effect on the formation and opening of the identity of Ramzi. 

is paper investigates the aesthetics in Qeysar Aminpour's Resistance Poems. The library method has been done. The main concern is the poems related to the holy-defense war. The poem is a great art and each work is inherently beautiful, so it can be studied on the basis of aesthetic perspective. In poetry, emotion and feeling can linguistically be represented and influentially inspired through coordinated music. So the beauty of language like music and imagination in surface structure; the beauty of content in deep structure are the basic buildingblock of the beauty of poetry. All the aesthetic principles with various examples can obviously be shown in Qeysar 's works. The analysis of his poems showed that he has used many innovative and rhetorical tricks in creating artistic poems. 

Malek osh-Sho'arā Bahār is considered to be one of the masters of Persian ode, but his masnavis were a strong means for him to depict various personal, social, political, historical and critical concerns. Since Bahar's masnavis constitute a significant volume of his poetic works (348 pages), his artistic personality and poetic performance cannot be properly evaluated if these masnavis are neglected. In the present research, while discussing the poet’s art of masnavi writing, fourteen of his masnavis are briefly introduced and his "Prison Poems", which are the most detailed Persian prison poems, have been examined and analyzed using descriptive and structural analysis method. This research attempts to show that Bahar has expressed his interest for innovation in poetry in masnavi writing. Moreover, in his use of a language influenced by street language and terms and phrases of spoken language, he created a moderate level of literary elements such as simile, allegory and allusion in these masnavis. However, description, narrative, simile, allegory and its types, especially proverbs, irony and allusions, are the most important literary elements in his "Prison Poems". Apart from their literary value, “Prison Poems” contain first-hand information about political strife and arrests of opponents and critics of the government and the state of Iran's prisons; in general, they are historically and sociologically valuable for the study of Iranian society in the previous century.

Yaghma Jandaghi is one of the most famous and prominent poets of the Qajar era who has written significant sonnets with moral and romantic content. Since the beginning of Persian poetry till now, rhetoric has always been taken into special consideration by poets, and one of the fundamental issues of rhetoric in any language is poetic imagination forms, including four general topics, namely simile, metaphor, irony, and metonymy, the thoughtful and appropriate use of which can add to the imaginative aspect as well as the richness of poems. Yaghmai Jandaghi's sonnets are highly important in terms of the inclusion of rhetoric, especially rhetoric and the use of poetic imagery. Yaghma’s sonnets contain moral and romantic themes, written in different meters and mainly in a style similar to that of Hafez’s poems. Since little attention has been paid to the issue of imagination forms in Yaghmai Jandaghi’s poems, in the present research, an attempt has been made to analyze the imagery techniques used in the sonnets of Yaghmai Jandaghi with an in-depth view and with respect to the poet's taste in using them as an aesthetic approach and expressive and artistic technique so that a manifestation of his poetic merits can be presented to the audience.

Hasan Ali Mirza Shuja al-Saltaneh, with the name Shekete, was the sixth son of Fath Ali Shah and one of the princes of Ghazal poets and scholars of the Qajar era. He is one of the poets of the second period of the return and literary revival movement, who tried to keep alive the memory of the old poets. Simile is one of the foundations of the science of expression and one of the most important differences between literary speech and non-literary speech. Examining and analyzing the realms of simile will lead to the discovery and recognition of the lyrical works of this era and the level of creativity and understanding of the poet's worldview. In this essay, the simile structure, as the main element and creator of the image in Shekaste Qajar's poetry, and the process of literary creation and stylistic developments of the rhetorical device, have been reviewed.

This essay has been reviewed based on analytical-descriptive method and things like similar elements and components; Types of similes based on singular, binding or composite validity of the simile parties; types of similes based on mentioning or removing the elements of simile; Types of analogies based on sensory or intellectual aspects of the analogies; Types of similes based on shape; Combining analogy with other industries; innovation in analogy; simile in simile; And the unconventional simile is analyzed.

Divan Sheskete contains five odes, 75 quatrains and 353 sonnets, in total, the poet has used 731 similes to present themes. He has had a great interest in combining similes with some imaginative techniques such as metaphor, simile, simile, allusion, contrast, repetition, allusion, irony, and employment; However, there is not much complexity and ambiguity in the structure of his metaphors.

The most similes in Shekaste Qajar's poetry are human beings and their parts and belongings, and the similes are usually chosen from among natural phenomena and human artefacts. In many cases, he has succeeded in defamiliarizing them by introducing a new element into familiar and well-established Persian similes and making them new; However, in general, his similes have still and static images.