نشریه جستارهای نوین ادبی
سال پنجاه و یکم شماره 4 (پیاپی 203، زمستان1397)

One of the prominent literary theories that have enabled a new reading of texts is discourse analysis theory. This theory has its roots in linguistics, and its term was first coined in 1952 by Zellig Harris. Following him, discourse analysis was divided by linguists into two parts: "Spoken Language Structure Analysis" and "Text Analysis". The discourse analysis theory, by Fairclough, named "Critical Discourse Analysis" took a new direction. Critical Discourse Analysis seeks to expose the ideologies hidden in the text, in the audience’s mind, and in the context of the text and the relation of the three to each other. For its theory, Fairclough provided an analytical model that is considered one of the most comprehensive analytical models. It examines discourses at three levels of description, interpretation, and explanation, and this way, it explores and explains the relationship between text, power, and ideology. Travelogues and memoirs are among the highlights of the critique works whose keywords are power and ideology. The present article attempts to assess and analyze "Constitutionalism" as one of the major discourses in "Haj Sayyah’s Memories" book based on Fairclough's theory.

In its model, Fairclough combines three analytical methods and traditions: 1. Inclusive textual analysis in the context of linguistics (Halliday's applied grammar); 2. Social practice analysis in macro context (Foucault's theory); 3. Social practice analysis in micro context (conversation analysis). In order to apply his theory to the text, he presented a model that examined discourse in three stages of description, interpretation, and explanation. In the description stage, he examines the language of the work at two levels of vocabulary and grammar, and at each level, he considers three types of empirical, relational, and expressive values. In the grammar section, in addition to the aforementioned types, the link values ​​are also of interest. In the interpretation stage (contextual knowledge or ideological aspect of common sense-based assumptions), two sections of contextual interpretation and textual interpretation are considered by Fairclough. And in the explanation stage, social implications and determinants of discourse are examined.

The method of this study was based on Fairclough's theory. The main purpose of the theory under consideration was to examine the relationship between text, power, and ideology. Every text had micro-discourses and macro-discourses that made up its content. Constitutionalism was a macro-discourse in the memories of Haaj Sayyah that was studied in this research in three stages of description, interpretation and explanation. At the descriptive level, linguistic features were extracted and analyzed at two levels of vocabulary and grammar so that their interpretive function would help to analyze the context and text at a higher level. Finally, the interplay between text and social factors at the explanation stage was reviewed.

In the description stage, it was observed that in Haj Sayyah's Travelogue, the empirical values revealed at the lexical level the text content, knowledge, beliefs, and ideology of the author mostly by the selection of the synonym words, the use of vernacular pronunciation of certain names, and the use of social indicators. In the commentary stage, the author dealt with the story, participants, their relationships, and the role of language in advancing the story. One of the most important issues in this work was the events related to the Iranian constitutional movement in the late Qajar period. The narrator in this section of his book described the self-devotions and sacrifices of the constitutionalists and the atrocities of the antagonists.In the contextual interpretation stage, the discourse participants' interpretation of the situational and intertextual context, the type of discourse, and the differences in the participants' response to them were examined at four levels of word appearance, word meaning, local cohesion, and text structure.
At the explanatory level, discourse was examined as part of a social process. The social situation or environment that led to the development of the constitutional and freedom seeking discourse in Iran during the Qajar era was rooted in the oppression and inadequacy of Qajar rulers. During the reign of Nasser ad-Din Shah, Iran had become a backward and poor country that was increasingly favored by the arrogant powers such as Russia and Britain. Taken together, these factors caused deep discontent among the masses, especially the new intellectual class and the traditional middle class.

The author's being on the side of the constitutionalists made use of all levels and layers of language and semantic to support this sociopolitical trend and to repress the opposition and oppressors. Studying this work at three levels of description, interpretation and explanation, showed the unity of all linguistic and non-linguistic elements in highlighting the constitution macro-discourse and expressed his view in advocating the constitutionalists and freedom seekers. At the descriptive level, the words used contained empirical values of constitutional and freedom seeking discourse, and he used a variety of semantic relations to this end. In this work, the words were used to denounce and criticize the opposition rather than being an indication of euphemism. Conceptual metaphors were also used to praise the constitutional revolution. At grammar level, the narrator, the constitutionalists, and the despots were triple contributors to the work in which everything fits into and becomes meaningful in this triplex. The high frequency of the indicative mood reflected the knowledge of the writer/omniscient narrator of current affairs. And finally, at the interpretation and explanation levels, we observed that the constitution macro-discourse gave the different contexts of the text the color of constitutionalism and freedom seeking and drew all the audience’s attention to it.

Feminism, which is the belief in equality between men's and women's rights, is a political, social and cultural movement that has invaded the world for the past two centuries. The main demand of this movement is to address the gender inequality caused by the patriarchal system and the realization of women's rights, first emerged in Western literature, and expanded to political and social issues by literary and artistic works. After the Constitutional Revolution, with the emergence of writers such as Sadegh Hedayat the phenomenon emerged in Iranian art and literature. Poetry and storytelling became a domain for expressing feminist ideas and.

The idea of feminism is based on having equal rights and opportunities regardless of gender. Mary Wellston Craft was the first woman who protested for women's rights in the Enlightenment era. After that, Virginia Woolf, along with Simone de Beauvoir and Julia Kristeva, had the most influence on feminist literature. In a woman-centered critique, Virginia Woolf, by writing A room of one’s own in 1919, takes the first step in the field of literature and declares that even feminine identity is portrayed by men. In 1949, Simon de Beauvoir revived the feminist movement by writing “second sex”, stating that in Western societies all writers were men and women were always ignored as the "other sex".
The first movements of defending women's rights in Iran occurred after the Constitutional Revolution. Men who were narrative of women's lives were never able to portray a woman's true self regarding women’s desires, feelings, and emotions. As a result, when women started writing and creating brilliant works about themselves, a new era began. One of the women who started writing of women was Shahrnoush Parsipour.

As Iranian literature is generally made up of men, woman-centered criticism can make an effective contribution to women's equality. The purpose of this study is to examine feminine effects and to find signs of feminism in Touba and the meaning of night novel that proves in a descriptive-analytical way that the novel can be considered a purely feminist work for many reasons. For the writer is a woman herself and the protagonist of her story is a woman, she cleverly portrays Iranian women’s issues, concerns, and oppressions in Iranian patriarchal society from the Qajar era to the outbreak of the Islamic Revolution. For this purpose, Touba and the meaning of the night were analyzed regarding feminist aspects and some extracted parts were provided.

The study shows that Parsipour deals with all the components of feminist novels in this work, such as forced and traditional marriage, heterosexuality, polygamy and male infidelity, demonstration of women's depressing lives, feminine feelings and emotions, patriarchy and ignoring women's rights, fantasies, humiliating and insulting women, wrong traditional beliefs and superstitious beliefs, homelessness, and loneliness over a 100-year. The novel illustrates how women with education, self-awareness, and transitions from tradition to Modernity in Iran's patriarchal society have overcome many problems. The characteristics are contrary to that of traditional Iranian woman who were obedient, devoted, unaware and that obeyed men's desires and orders. Virginia Woolf calls woman a “domestic angel”. She can be a knowledgeable, literate and wise woman who, in addition to fulfilling her home and parenting responsibilities, participate in social and political affairs and decide for her fate and future.
Parsipour, examines the role of women in the historical developments of society from the constitutional period to the 1979 (Islamic Revolution). As a feminist writer, she accurately describes the life and feelings of female characters in her story. She tries to show the oppression of women. Therefore, it can be said that efforts to revive women's rights and show their oppression are a common feature of Parsipour's work and all of Iranian women writers, and can be regarded as expression of women’s situations who have a different  cognition of themselves and their position in society

Parsipour chose "Touba" as the protagonist of the story and as an example of an Iranian woman and tells all the events of the story through her eyes. Generally, in processing a woman's personality, she tries to create a woman whose existence is essential to the continuance of others life.. The whole novel emphasizes the transition from tradition to modernity, which first takes place in society and then leads to the internal and external transformation of the female characters in the story., Parsipour  represents all kinds of insults, humiliations and cruelties by creating characters like Adib (Father of Touba), Haj Mahmood (Touba's first husband), Fereydoun Mirza (Touba’s second husband) and Prince Gil as the Iranian men’s representative to emphasize Iran's patriarchal system and the oppression of Iranian women. In the end, she shows how women with great patience and overcoming many obstacles and hardships released from the old patriarchal cocoon that has been woven for so many years, and realize their feminine identity like a free butterfly and achieve freedom, self-awareness, open-mindedness and self-reliance.

Following the birth and flourishing of modernism and postmodernism in the literature and arts of the West, Iranian fiction writers have variably been affected by these movements and have produced works following their leads. One such work is the novel Farhad’s Body by the contemporary writer, Abbas Maroufi. As this novel presents some of the postmodern features, it is worth being studied in the light of McHale’s (1887) theory of postmodernism. McHale’s theory is mostly a philosophical one, yet our approach here is to apply a practical method based on evidence from the text and answer the following questions: is it a modern or postmodern novel? Is the dominant in this novel ontology or epistemology?

Brain McHale is one of the theoreticians who believe that postmodernism is a continuation or a step further than modernism. Three key concepts of his theory are “the dominant”, “ontology” and “epistemology”. McHale maintains that in modernist literature, the dominant is epistemology, while in postmodernist literature, it is ontology (Payandeh, 2009). Based on this theory, in postmodern novels ontology has a higher position than epistemology does and ontologically, the story creates and describes a world or worlds. In this new world or existence, the text does not care whether its perceptions are correct or not, rather it tends to experience and explain the reality. That epistemological aspect is sent out to the margin in postmodernist novels means that they can also be considered in terms of their modernist qualities, yet they are less important than the ontological aspects. Therefore, based on McHale’s theory, a novel can be considered in terms of both its modernist and postmodernist orientations (Payandeh, 2011).          

The study is descriptive-analytic method that used content analysis and library documents. After carefully studying the novel, and collecting and classifying the necessary data, the postmodernist features and related indices were analyzed based on McHale’s theory.

Holding a sort of epistemology based on the theory of possible worlds (various levels in epistemology) for the different narratological  levels of Gérard Genette, McHale makes a new design and maintains that the intersection of narratological levels \ by involvement of those levels, cause ontological considerations (Bameshki, 2014). The novel Farhad’s Body presents certain ontological questions by applying such techniques as intertextuality, lack of ontological certainty and some meta-fictional features. As such features bring about the ground for the intersection of narratological levels, they intensify this process. These features are studied and the various sorts of narrative intersection and their instances in the text of the novel are shown for justifying the stance that we have taken in analyzing the text. Evidences show the presence of both kinds of intersection in the novel:
Movement from meta-fiction to fiction: in the intersection of these two worlds, the presence of real and historical characters in the novel and also the presence of fictional characters from the previous works is an example.
Movement from fiction to meta-fiction: examples of intersection at the level of narration are characters addressing the reader, narrator addressing the reader, or the interaction between the narrator and the reader.

Another intersection presented in the novel is the changing of the narrator to a character.
In Farhad’s Body, existence and being are shown in the form of a multidimensional concept. The writer has tried to personify the real in imagination, and has presented the amalgamation of reality and imagination as a major motif so that the reader may contemplate on their own existence with a new outlook. A major question that is usually posed is how much human being is real and how much it is unreal. This is the major question incorporated in this novel and is explored by three techniques of “intertextuality”, “lack of ontological certainty” and “meta-fiction”. We are also faced with multiple and overlapping worlds and stories within story whose interaction with each other is evident within the novel and this opens five ontological layers of worlds to us:- World of reality (the reality that the author and the reader have in it)
- The fictional world of the novel Farhad’s Body by Abbas Marrofi.
- The fictional world of the novel The Blind Owl by Sadegh Hedayat.
- The world of peripheral worlds like Shirin and Farhad
- The world of dreams of the painter.
Through creating parallel and intersecting existential beings, Marrofi sets his characters with distinct and even contradictory identities moving and fluctuating in multiple worlds so that the reader would be wandering confusedly among these fake worlds not knowing them from each other. Therefore, the borderline between the world of reality and imagination is destroyed, and this is a method in postmodern fiction which emphasizes the ontological nature of the novel. One can see that the creation of intersected worlds in this novel corresponds to the change in the dominant element. In fact, change is that of epistemology in Modernism to ontological postmodernism which highlights the ontological questions of the story. This is because rather than depicting the intuition of the characters from the world around them, this novel explores the parallel worlds made out of the reality and imagination. In reading this novel, we are to be faced with this fundamental question: which world and with what features is presented in it?

Through intersecting ontological levels and challenging our usual perception about the separation of the reality and imagination, the novel Farhad’s Body implies that this novel can have roles and effects similar to those of reality. Analyzing the novel based on the theory of McHale, we concluded that the dominant element in the novel is ontology because its world is a reflection of multiple and overlapping worlds. These worlds well represent the existence of reality and imagination whose borderline is not always clear. Also, we can see two kinds of intersection in the narrative level of the novel which are from fictional to meta-fictional and vice versa. The instances of such intersections are the presence of real and historical characters in the novel, and the interactions between narrator and the reader, the character that addresses the reader, moving from one milieu and being to another and the restricted movements of fictional characters among the real and imaginative beings in the novel. The text shows that reality and imagination can have interaction and influence each other. Finally, it can be said that Farhad’s Body is a modernist novel in certain respects and postmodernist in some others.  

Multiple character is a disintegrated character made up of bits and pieces of other minor characters to form a unified fictional personage. The present study focuses on the emergence of such a character, its characteristic features and its function in the modernist novel Let Your Ruddiness Be Mine (sorkhy-e to az man) and postmodernist novel Azade and her Writer (Azade khanoom va nevisandehash). This techniques in characterization is a popular one in modernist and postmodernist works. However, there is one main difference: while in the modernist novel the aim is to reveal the disintegrated nature of the character’s mind, in postmodernist novel it tries to probe into the ontological nature of the character. The focus in modernist novel is on the mind of the character using interior monologue and stream of consciousness techniques. In other words, each minor character in the novel tends to represent one of the mental features of the protagonist. In postmodernist novel, however, reality and fiction intermingle: fictional and real characters are treated in the same way.     

The main concern in the present research is examining the notion of multiple character in the two novels namely the modernist Let Your Ruddiness Be Mine and the postmodernist Azade and her Writer.  Previous studies on these novels do not refer to multiple character. In addition, our search before the study did not show any reference to the same concept. Hence this study seems to be unprecedented in this respect. It should be noted that the technique of introducing multiple character is mainly found in modernist and postmodernist novels and can be considered as playing an important role in epistemological frameworks of these novels. Azade and her Writer (1995), a postmodernist novel by Reza Baraheni, has been the subject of many critical analysis.   
Among the works written on the subject, one can refer to the following: “What is postmodernist novel? Examining narratological features in Azade and her Writer”, “Reversing the

Postmodernist Creativity in Azade and her Writer” both by Hossein Payandeh. The same writer has also written a critique on both Azade and her Writer and Let Your Ruddiness Be Mine in his book Unveiling the Novel. Tadayyoni and Sadeghi have also discussed Azade and her Writer in “The Emergence of the Last Literary School in Iran with an Emphasis on Azade and her Writer” and “Functions of Silence in Reading Persian Literary Texts” respectively.   
Other related works include: “Examining Postmodernist Elements in Azade and her Writer”, by Pirooz, Moghaddasi and Fotovat; “Examining Postmodernist style in Iranian Novels” by Rhimbeigi, Barati, and Nasr-e Esfahani; “Documentary Features and Blurring the Borderline between Reality and Fiction in Postmodernist Narratives with an Empahsis on Azade and her Writer” by Yaghoobijanbehsaraee and Mohammadi; “Society as Reflected in Secrets of my Land and Azade and her Writer before and after the Revolution” by Azadarmaki and Zamanisabzi; “Myth and Demythification in Azade and her Writer” by Shahpar-rad in French; “Having the Future World Ring” by Gooran; “Of a Different Kind” by Hajizadeh as well as Sangi’s “Contextual Analysis of Persian Metanarrative” in her Ph.D. dissertation. Farzad Karimi devotes one whole chapter to Azade and her Writer in his book Postmodernist Fiction in Iran.       
The second novel studied in the present research is Let Your Ruddiness Be Mine by Sepideh Shamloo published in 2006. Our search for related studies yielded two hits: “Feminine Writing Features in Let Your Ruddiness Be Mine” by Ghasemzadeh and Aliakbari and “Identity Analysis in Let Your Ruddiness Be Mine” by Oskouee.
The abovementioned works have shed light on the dark points of the novels especially Oskouee’s article which has fully addressed the psychological aspects of one of the novels. The article by Yaghoobi Janbeh Saraee and Mohammadi has also proved to be of great help in studying the blurred borderline between fiction and reality.
 

The study deals with the concept of multiple character and the way minor characters have contributed to the formation of the protagonist. The results show that the fragmented parts of the multiple character are mental figments. In postmodernist fiction, the multiple character mingle reality and fiction and divers personality features are borrowed from other texts and are intertextually linked to one another.   

Possessing other character features in modernist and postmodernist novels, the multiple character contributes to epistemological and ontological features of modernist and postmodernist novels respectively. Multiple character can be viewed as an innovative way used for characterization among other modernist and postmodernist features. 

Based on the present study, introducing multiple character into Persian modernist and postmodernist novels can enhance the stylistic features of the work. The multiple character in Let Your Ruddiness Be Mine is imaginary in nature resulting from disintegration of the identity. The mental problem can happen in reality although it is not a common one. However, in the mentioned novel it turns out to be a reality and contributes to the dominant epistemological aspect of the work. In Azade and her Writer the multiple character is intertextual in nature. The borderline between reality and fiction is blurred and the real world of the novel has been treated the same as the fictional worlds of other texts. The multiple character here contributes to the dominant ontological aspect of the novel.

Shafiie Kadkani suggests the “matn e penhan”in Persian for the Christova’s theory of intertextuality. In his idea when the trace of a work is trackable in another text we call it intertextuality. This phenomena has roots in our traditional rhetoric which has been cited in the 13th century by Rᾱzi (2001) when discussing plagiarism. He believes that if a person gets a concept or a sentence from another person and develops it in a better way, and then expresses it eloquently, actually the concept belongs to him and it does not mean plagiarism. In The Indian literary style (Sabk Hindi) the expression “She’r Zamin” (Zamin means ground, land) somehow expresses the basis of the intertextuality which is a part of literary criticism. In Russian formalism and structuralism, we see expressions like motivation and defamiliarization and restoration of others’ motifs; the theory from which Miss Christova derived her theory of intertextuality. 

Intertextuality theory has come from Russian formalism and structuralism. It also appears in Christova’s work in the form of an independent theory. In defamiliarization, the poets and the authors use the old concepts, stimulates them and make them alive again. In Ishkolovski’s theory of Russian formalism this restoration of ancient words is interpreted as the word’s resurrection.  In this article we want to introduce some cases that Hafez has been influenced by an old text. A text from which Hafez has even integrated a verse into his own ode. This is the first paper that shows show such a phenomena and we also show that Hafez has been clearly influenced by this work. We have shown an intertextuality in Hafez’s poems to know his work more effectively. Hafez as Shafii Kadkani emphasizes hasn’t expressed or invented any new ideas of his own in his Ghazals, but by his defamiliarization and vitalizing the vocabulary and the concepts, he has recreated the poems and the speech of others artistically in the peak of the Persian poem pyramid.
Isfahᾱni went to Shiraz court in Mongol invasion and wrote his book there. Hafez commuted to Fars court in the next century, so it was possible for him to have access to Dastoor-Al-Vezᾱreh.

 Our method in this article is analytical-descriptive. We mention a work which Hafez liked a lot according to the witnesses. By reviewing it several times, we have figured out that the book was of great importance for him. It is in the type of political book. We can prove our claim by saying several points: First, Hafez has directly quoted (tazmin) a line from Isfahani’s praise ode. Second, understanding Khaje’s interest in studying euphuistic texts, given his other influences from texts like Kelile va Demne and  Marzbᾱn Nᾱme. He was also influenced by other simple proses such as Samak-e Ayᾱr and  Jᾱme-al Hekᾱyᾱt. Discovering an intertextuality, as Shafii Kadkani interprets, hunting the themes, is a great step in recognizing the poem, the poet’s vision and his line of studies. And this is of course much more important in the poems of a poet like Hafez who has indicated his interest and ability in reading books and also his dominance in speaking.

 In the field of literary criticism, in ancient times Shamse Gayse Rᾱzi in Almo’djam under the topic of plagiarism has clearly recognized the poet’s use of each other’s works. In contemporary literature, the subject has also been mentioned in works like the translation of the book Intertextuality from “Alen” and other books from the writers such as Nᾱmvar Motlaq we can see the discussion about intertextuality. In our century, Zarin Koub has emphasized the subject when he spoke about literary criticism. In the western literary criticism, in a significant work like Literary Criticism in the chapter named Archetypal Criticism it has also been mentioned specifically. In an analysis by studying the art and literature in the west, Northrop Frye has enviably adumbrated that the artists have been affected and have influenced each other from Ancient Greece. However, for the most serious discussions in this field we must refer to the articles and the books of Shafii Kadkani. In a practical sample he has published several basic works and intertextuality before publishing the edited text from Tazkaratol Awliyᾱ Attᾱr. He published an amazing book Bᾱ Cherᾱgh-o Ᾱyene to find out the inspiration of the famous contemporary artists from the cultural works, the reflection of the western poem, and the translation in the new poetry. In Rastᾱkhiz-e Kalemᾱt, he has discussed the philosophical and theoretical foundations of intertextuality and also the poets’ usage of the others’ motifs. And he has completed the discussion by talking briefly about Hafez and introducing some of his intertextuality in his three- volume book named Kimiyᾱe Hasti.

In this article, we have tried to represent a sample of Hafez’s poem intertextuality Dastoor Al Vezᾱre of Isfahᾱni, and by studying the details we want to demonstrate Hafez’s inspiration from this book. His first use of this text is the run-on line (quote) a verse from Isfahᾱni Ghaside, keeping its rhythm, rhyme, and epiphora unchanged, the same ode and the same vocabulary. After that the application of Isfahᾱni combinations and concepts in Khᾱje’s Ghazals shows that he has studied that book fully and deeply. Using defamiliarization and stimulation in his poems, Hafez resurrected the Isfahᾱni’s concepts artistically. One of the surprising points about Hafez’s poem is using the other’s tales inside Ghazal; not in the sort of a tale-Ghazal, but in the form of beautiful Ghazal concepts. In this article by mirroring the Isfahᾱni’s vocabulary and the expressions, in a story, we have indicated the effect of this story in Hafez’s Ghazal. Combinations such as guisooy-e chang a historical story has supported a field for creation of the most beautiful Ghazals. After that we have followed up several motifs and we have clearly shown that Hafez has been influenced by the Isfahᾱni’s texts and by the other texts as well.

Introduction In Persian, there are two basic processes to convey the syntactic structure of discourse according to the applied situation and the appropriateness of the addressee: the process of moving components and the process of transformation in structure and form. "Inclusivity" is one of the concepts that by using the process of change in structure and form, the preliminary and simple expression of discourse is converted to emphatic construction. Normal and simple expression of "inclusivity" is or it may be accompanied by signs such as "any" and "all". This simple form is created in situations where it is necessary to emphasize the subject and to make it understandable for audience, with syntactic mechanisms, modifying the basic and simple structure of the sentence that results in another syntactic structure expressing the intended opinion with emphasis. Review of Literature Change in the structure of a discourse is one of the syntactic capacities in Persian that is used for rhetoric purposes. Sometimes the difference between two sentences that express the same concept is not due to the displacement of the components and the lexical arrangement. It is caused by changes in the type and form of the components, such as the affirmation or negation, change in the form and time of the verbs, and in the type of sentences. By moving the components of the word, only different forms of a syntactic structure are obtained, in which the lexical arrangement is different, but the purpose of changing the syntactic structure is to change the nature of the structures without altering the conveyed meaning. Therefore, change in the type and form of the components is thus considered as one of the syntactic capacities of the Persian language in rhetoric. The subject of this research is in the field of syntactic rhetoric and there are many articles and books written in the field, all of which somehow go back to the "theory of semantic knowledge" of Jorjani, known as "syntactic theory (Elm-olMa’ani)", in other words, "the poet's and literary awareness of the syntactic uses of language and the role of each structure in any case" (ShafieiKadkani, 1997, p. 31). Therefore, what is directly related to this research, and the research literature on this subject needs to be pointed out is merely the work on the concept of inclusivity and the process of 'change in structure and form'. In this regard only in the book "an introduction to Persian rhetoric based on Sa’di's speech" on the one hand, there is a brief discussion on "change in form" as one of the contexts of rhetoric in Persian (Mohammadi, 1977, p. 31) and on the other hand, in one discourse, the syntactic structure of articulation has been examined, where both its metaphors are limited and some of its main points have been ignored (ibid., pp. 185-188). Of course, in the third volume of the book "History of Persian Language", Khanleri also mentions sentences made with the semiotic signs of "every" and "everybody" (Nathal-Khanleri, 1987: Vol. 3, pp. 426-436), with the exception that he did not discuss the topic by way of inclusivity and addressed it only from a grammatical point of view. Except for these two cases, no other material has been written on sentences with the meaning of inclusivity. Much research has also been done in relation to the emphasis, which is implicit in the present subject, such as Khosrow Farshidar's articles which have examined the emphasis and curtailing in the Persian language in detail which were published in several editions. His work focuses more on the use of methods such as synonyms, partial repetition of the word for emphasis, the use of accentual terms, and the use of adjectives (Farshidvard, 1975, p. 387). None of the work on the emphasis has been made on the capacity for change in the form and structure of a sentence. Method This article analyzes literary works by citing examples of nature and the underlying structural status of inclusivity. To do this, we examine the concept of inclusivity through a practical approach concerning the change in the syntactic structure of rhetorical expressions to explain the process of converting the simple expression of this concept into an emphatic structure. Results and Discussion The linguistic sign in the basic and ordinary form of expression is that the sentence is accompanied by, or may be accompanied by "any" or "all". In addition to the linguistic sign, there is also a semantic sign, such that the sentence is semantically embodied in a general sentence or in a pervasive concept. The following table illustrates the status of a simple sentence for the notion of inclusivity in both normal and accentual modes to reflect its changes during the transformation of ordinary structure into an emphatic one:  Ordinary form of inclusivity Emphatic form of inclusivity A sentence with an affirmative verb A sentence with a negative verb A sentence with a negative Verb = Negative Inclusivity = Global Negative Note: The attributive verb added to the emphatic structure is always negative   The state of the verbs in the compound sentences of the notion of ordinary and emphatic expression is also shown in the following table:  Ordinary form of inclusivity Emphatic form of inclusivity Follower sentence = positive + Base sentence = positive A) No use of negative attribution: Both negative sentences   B) Use of the negative attribute verb: follower sentence = positive; base sentence= negative Follower sentence = negative + base sentence = negative   A) No use of negative attribute verb: follower sentence= negative; base sentence = positive (unusual and impractical form)   B) Use of the negative attribute verb: follower sentence= negative; base sentence= positive (common and applicable) Follower sentence = negative Base sentence = positive   A) No use of negative attribution: Both negative sentences   B) Use of negative attribute verb: Both negative sentences Follower sentence = positive + base sentence = negative   A) Non-use of negative attribute verb: follower sentence = negative; base sentence= positive   B) Use of negative attribution verb: Both positive sentences As a comparison, it should be noted that the use of negative attributive verbs in the emphatic structure is more applicable and appropriate than the one not used. Conclusion From this study, it can be seen that the change in form and structure is one of the syntactic-rhetorical capacities in Persian language through which rhetorical expressions are expressed. In this study, it is practically illustrated by examples of how a simple and ordinary expression of the concept of inclusivity becomes a subliminal structure, and with what syntactic mechanism. In situations where there is a strong construction of inclusive expression, the addressee is in a position to deny or doubt the subject of the speaker. In such a case, the purpose of the speaker is no longer the expression of the essence of the news, as in the original form, but the speaker uses this construction to prove the reality of the subject. From this perspective, it is suggested that other constructs and concepts, such as the concept of inclusivity discussed here, be explored to better illustrate the extent to which this linguistic capacity is applied. This will identify how the ordinary expression of concepts is and how the ordinary structure of the concepts is altered, as well as how the rhetorical function of each of the ordinary structures will be understood by the target audience.