Rhetorical function of sentence moods in Garshaspnamehpoem and the story of Bijan and Manizheh from Shahnameh

In the rhetorical and discourse studies of literary works, the study of the moods of the sentences is of great importance. The mood of the sentence expresses the poet's certainty in his words and exposes the extent of his relationship with the audience. The subject of the sentence and the effect of its cognition on the writer-reader relationship in traditional rhetoric and semantics has been considered by great rhetoricians such as Abdul Qahir Jorjani, Sakaki and Qazvini in the field of statement and composition. In western linguistics, modern critics and linguists such as Michael Halliday and Roger Fowler have also introduced the mood of the sentence more extensively than traditional rhetoric, examining it as the most important element in the interactive function of language. In this research by descriptive-analytical method, we examine different types of sentence moods (imperative, interrogative, conditional along with vocative, benedictory and descriptive moods) and analyze each one’s situation and function within about 3000 sentences in Garshaspnameh poem from Asadi Tousi and the story of Bijan and Manijeh from Ferdowsi's Shahnameh. In this regard, first we have analyzed the different moods of the artworks in the mentioned range, then we have entered the statistics obtained from the studies in the tables representing the distribution in terms of number and percentage so that by referring to numerical statistics, an accurate comparison between the artworks can be established. The results show that the main burden of information flow is on the dialogue atmosphere and because the variety of moods throughout the narrative has disrupted the monotonous framework, unparalleled dynamics can be seen in the artworks. Knowing the effect of dialogue on the expression of emotions, Ferdowsi has purposefully used it. The large number of sentences with interrogative, imperative, benedictory and vocative moods compared to Garshaspnameh will prove this claim. Although the use of imperative, descriptive and especially interrogative moods is considered as the textual values of the two artworks, but the story of Bijan and Manijeh can be considered more challenging than Garshaspnameh due to the greater dispersion of sentences with interrogative moods.