Manuchehri Images; Khorasani Style Lover (A comparative study of the components of Manuchehri's images with several Khorasani style poets)

Reflection in the rhetorical structure and geometry of Manochehri's images reveals the distinct distinction and the extent of his aesthetic distinction from the other Khorasani style artisans, and extends this range to the boundary of a literary genius and to the brink of a single poet Raises. Examining the rhetorical tools in the poetry language is one of the most accurate ways to understand and illustrate the evolution of poetic images. In this method, the study of the number and manner of expressing literary elements for the transfer of modern mental forms is important, and therefore the "frequency" discussion is prioritized. This essay, written in a descriptive analytical method and using the resources of the library, reviews the statistics of individual behaviors (likenesses, curses, metaphors, and mecca, and ehama), and syntactic rhetorical techniques The axis (the metaphor of metaphor, the metamorphosis of the abyssal, and the metaphor of the abyssal allegory) in 500 bits of the images of 6 Khorasani style poets (Roodaki, Ferdowsi, Anasari, Farokhi, Manouchehri and Naser Khosrow). The result of this study is the distinction between the geometry of Manuchehri's poetry and other poets of this genre. While most of the efforts of the poets of this genus are to use singular techniques and to create simple and complex images of images, Manuchehri is unique in the use of combined rhetorical instruments for creating poetic images in all Khorasani style. In this perspective, he is the vanguard of Azerbaijani, Iraqi and Indian style poets.