نشریه مطالعات زبانی بلاغی
پیاپی 8 (پاییز و زمستان 1392)

By comparing nominal-appositive group in Persian and noun-appositive clauses in Arabic concerning definition, structure, usage, divisions, arrange of parts, grammatical function, being definite and indefinite, we see parallelisms and parallelisms.The nominal-appositive group in Persian and nominal-appositive clause in Arabic are like each other in: 1. having two component including appositive converted part, 2. the ambiguity of appositive and disambiguation of converted part, 3. having no intermediator between the two part, 4. having the same antecedent and referring to the same referent. In addition in both languages, the converted part is benefited from appositive. The nominal-appositive group or clause can take most of the parts of speech in grammar too.The difference is that unlike Arabic language, there is special pause between converted part and appositive in Persian language. In Arabic these two parts get the same role. It means appositive have the main role and converted part have the subordinate role. But in Persian language these two have a common grammatical function. In addition in nominal-appositive group in Persian, at least one of these two is definite, while in nominal–appositive clause in Arabic, one of these two components is not definite necessarily.

The changing of Nima’s way from romanticism to social symbolism, which was associated with refining and mixed with deep poetic meditation, caused to form this new movement (social Symbolism) in new Persian poetry. Following Nima, some of his disciples who, in reason of the entrance of artist’s ambiguity in the poetry and his depth and polysemy, had no interest in expressing their understanding and interpreting political and social questions with frankness, resort to symbolization that means going away from objectivity and getting close to subjectivity. Magnificence and greatness of Akhavan and the inflorescence of his artistic talent was synchronizing it with such delicate historical and literal period. He could recognize the border between device and the secret of eternity of the artistic works because of his acquaintance with Nima’s innovations and creativities. In conclusion, he tried to expose the social questions and effects so, with a symbolic expression, he avoided his poetry from falling in to abyss of routine.The composing of old Khorasani language with colloquial language and mysterious and symbolic expression has language and mysterious and symbolic expression has high affect an Akavan’s praise of the manifestations of culture and past civilization of Iran and critique of new intellectual society and also, his hatred of the atmosphere that was made after the defeat of National Movement. In Akhavan’s symbolic poetry, whether narrative intuitive, the artistic ambiguity and symbolic expression cause not only the name of poems and its elements, but also the whole poem has the ability of interpretation. Meanwhile, we should not neglect high frequency and also the essential role of the elements of nature, popular stories, myths and historical heroes informing symbolic poetry.

“Nafthat-o-Almasdour” book is one of the excellent examples of technical and stilted prose in the seventh century. The author of this work with complete mastery and benefit from a variety of literal and spiritual figures of speech has revealed his art in the word processing. One of the literary arrays which Zaydri has benefited greatly from it is amphibole. The amphibole in this work is used more in the domain of a word rather than a sentence of a phrase and due to the significant proportion which is revealed between the words of the text, proportion amphibole considers as obvious industries in this secretary prose. In this paper, in addition of amphibole and proportion amphibole, paradox amphibole and immediacy amphibole and opacity of the conflict which are a subset of proportion amphibole are discussed. Total amphibole and syllepsis amphibole are cases which are discussed too.

The theory of the conceptual metaphor is related to the cognitive, linguistic which studies the manner of the conception and the cognition in the human mind. Based on this theory, metaphors are not lingual function in the service of the being literary of the context, but the fundamental instrument for conceptualizing the abstract and intangible matters. The circle of their influence and function is not vocabulary, but the concept and meaning.Since the proverbs, the most common and widely considered part of literature, review them, according to the theory of conceptual metaphor, promote understanding provides cultural and intellectual foundations.In this essay, we have surveyed both historical and new attitudes to the metaphors and compared them with each other. Then, we try to study the Persian proverbs according to the theory of the conceptual metaphor and to find the circle of their important sources, so we can indicate the main manner of the Iranian's thoughts.

“Sohrab Sepehri“is a researcher, pensive and stylist artist. and The “Eight Book’ is the product of his thoughts, reflection and his interior and exterior movement. The stylistic approach of any work is the way by which one finds the inner layers and thoughts of the author’s work. In this regard, this essay, with an emphasis on the library studies and with reference to the inductive manner, based on the definition and the analysis, tries to clarify the stylistics’ components of the “Hajme Sabz” the work of Sepehri within the different phonetic, lexical, syntactic and the eloquent and mental layers, so as to find the state of the poet’s thoughts and his special style, by using the study’s achievements. To achieve this important target, it tried to emphasize the evidences of the remarkable poems of Sohrab. In the phonetic layers, evidence of the alliteration and repetition could be seen however rare cases of pun is used.At the lexical level, the majority of the words are sensual and accompanied by the natural elements’ impressions and the nature, while the vulgar terms have been used in the poet’s discourse.At the syntactic level, Appling verbs in the form of the present and the past time, has the highest frequency than the future time. At the eloquent level, he could be called the poet of the personifications, that for the creation of his poetic images, he has aided the metaphor more than others did. At the mental level, Sohrab, complains solitude more than anything else. God in his view is very close, and with the high frequency of mentioning the nature, he researches God, within its context. It’s also seen the favor of the type of a special theosophy in his poem.Finally, Sohrab is a poet, with a simple and nice and sometimes ambiguous language, who could attract a group of readers that have different preferences.

Metonymy is the most important notion in rhetoric and exquisite and even, as seen by some scholars the whole of it. In rhetoric and exquisite, one part of metonymy, individual metonymy, falls into rhetoric and the other part, compound metonymy, falls into requisite.Individual metonymy is mainly semantic and rarely imaginative. On the other hand, compound metonymy, mainly neglected in rhetoric books, is strongly poetic and imaginative.Ignoring many details, this article uses the old and new rhetoric resources to gather the basic notions related to individual and compound metonymies. It is hoped that future rhetoricians change their method of compiling rhetoric resources and gain a more general view of metonymy and its imaginative and poetic aspects. In the present books, like the previous ones, semantic aspects are mainly focused.

Paradoxes in poetry, both in language and the meaning domains bring about defamiliarization and bumps. This technique has long been considered by poets and factors such as evolutionary development of literature from simplicity into intricacy and the combination of mysticism with Persian literature played a role in its emergence and spread. Paradoxical elements are being applied in the form of combination or paradoxical image and sentence or expression used by paradox In this article in addition to defining paradox and its history and the fields of its emergence …a comparison had been made between different kinds of paradoxes and their substrates in the fields of semantic and aesthetic and in two interpretative and composite structures in the collection of lyrics by two mystical poet Attar, Sanai. Although the paradox of images and poems begins by Sanai an his lyrical poetry; so its growing trend must be deliberated in the Attar lyrics and the graph results indicates that in paradoxical interpretations both in aesthetic and conceptual fields we are faced with the frequency range of 15 to 20 percent compared to the Sanai lyrics; While it can be seen almost equally a small percentage of paradox in the collection of the lyrics of two poets. This two mystic poets who seek to express mystical concepts and ideas had a tendency towards interpretations. Interpretations accompanied by concepts which cause to ……..and guide his accustomed and away from the truth mind to the truth