مجله بلاغت کاربردی و نقد بلاغی
سال هفتم شماره 1 (پیاپی 13، بهار و تابستان 1401)

One of the prominent figures of mysticism and etiquette in the ninth century AH is Shah Dai Shirazi, who in his Masnavi, the deepest mystical issues such as (unity of existence, monotheism, desire, abstraction, taste, discovery and intuition, poverty and annihilation, etc Has expressedIn this article, we will use a descriptive and analytical method to analyze the linguistic and rhetorical structure of the six Masnavi of Shah Dai (observation, treasure, forty mornings, four grasses, spring of life and love letter) from different aspects.The results of the research indicate the accuracy of the meanings, the firmness of the words and the thickness of the words of Shah Dai in the Masnavi, and regardless of the mystical musharraf and Sufi mysticism; His passions, ecstasies and moods are a separate source of taste, enthusiasm, accuracy and tenderness. The prominent thought and theme of these Masnavi is the same as the conventional thoughts of mystical poets. The traces of mystics such as Ibn Arabi, Attar and Maulana, Sanai, Shah Nemat alHakh Vali, Qasim Anwar and Hafez are evident in her works.The style of these Masnavi is a combination of Khorasanian and Iraqi styles; In such a way that they have taken some linguistic features the Khorasani style and the subtleties, burning and melting from the Iraqi style.Punctuation and the art of repetition at the phonetic levels; The Meccan metaphor, such as the observations of Vatmih at the rhetorical level, are among the most prominent literary arrays used in these poems.

Audience persuasion, as a process used to change the audience attitude and associate him with the speaker's beliefs, is one of the main objectives of the educational mystics texts including the spiritual Mathnawi (Masnavii Ma’navi) of Jalalu'ddin Rumi, Mawlana. Mawlawi all over the Mathnawi has tried to convey the mystical and religious concepts to the audience by resorting different ways of influencing the audience and has benefited from several verbal and nonverbal or mystical and non-mystical tools for this purpose. One of Mawlawi's ways of achieving this goal is to benefiting from the storytelling ways and expressing the under considering concepts in the form of conversation and debate among the characters of the story. Among the beautiful stories of Masnavi that clearly illustrates this theme is the story of Nakhjiran and Lion. Rumi promotes this story in a conversational way and from the language of each of the debate parties using specific methods to satisfy the opposite party, deals with the expression of common beliefs and faiths in the context of strive and trust. In this debate that takes place in two major parts: Debate between Nakhjiran and lion, debate between Rabbit and Nakhjiran; each of the debate parties uses specific ways to satisfy an opponent that most important of it includes: protest to verses and narratives, mentioning the intuitive, intellectual and conscientious reasons, use of body language, allegory and ...

Hafez's language is multifaceted and artistic. Words and combinations, and consequently phrases and sentences in his poetry, are not linear and monotonous, but are multiple and expansive, and this artistic feature has caused man to lose his mind in search of meaning for his life. And find his conscience in the layers of the meanings of his verses and make him a master in the heavens. The present study, through reader-centered critique, while examining rhetorical contexts in a memorized verse, tries to infer its inference from this verse as an accepted structure of meaning towards the current function of the readers' minds, and the aspects of hidden meanings in the cover. Hariri to recite interpretable artistic words. Thus, based on rhetorical passages and elaborate meanings, none of Hafez's commentators has mentioned his glorious art in this verse. Of course, the importance of the discussion is not because this article is the first research on image density issues, but its importance is because the present study tries to describe the meanings of this verse correctly and close to the mind by descriptive-analytical method. Much has been written about it, well presented. Through the results of the research, we realized that the beauty of each image is so obvious that the secret of its creation and emergence is hidden from the audience and Hafez has done well in this sonnet.

Understanding culture and national traditions for the people of every region, express the existence,pride and proud national identity of the society and tribes of each land What has helped to understand civilization and culture is a description of the courage, bravery and eternal actions of the tribes of the predecessors The art of literature has reached us Literary study of prose texts Letters are a symbol of the passionate manifestations of Persian culture and literature Maintain a high level of literaryknowledge in different periods of history Travelogues, Divans, Interpretation of Verses and Hadiths, Poems and Historical Prose are all full of beautiful literary art.it has been considered by different generations in all periods of history The most prolific works that could be considered as literary magnificent works The texts are endowment letters that have come down to us from the pastFamiliarity with the concept of endowment which narrated with the tasteful pen of teachers and scribes It contains the highest literary concepts To date, it has received less literary scrutiny from research centers The science of rhetoric to the literary aspects of important endowment letters of one of the largest endowment institutions in the Has examined the literary aspects that contain the knowledge and richness of literature of that time

This research was conducted with the aim of reading Houshang Irani's poetry based on visual logic. In this case, the poem "Arman-Bookstore" was selected from her poetry books. The basis of this research is the author's self-development theory called the effect percent matrix, which includes several matrices in the categories of author, textTpsycology and audience. In Arman-bookstore poem's, deep images are based on random images through sensory function and visualization. In terms of the structure of the illustration, the Arman Bookstore is located in the center, which has created written poetic images using written normative. The tone of this image is based on the music of the poem, it has an uplifting and sharp tone. It is also socially functional in function, and as a critical statement, it critiques the intellectual class and its relation to society. This poem uses a cinematic image and has a rich visual richness in order to take advantage of the secondary meaning of the words. Finally, this poem uses an independent image as well as a limited range of vocabulary. Depth images are associated with the social function of poetry in terms of the application of the secondary meaning and in the direction of surrealism, by creating an embodiment in order to prove the centrality of the concept of the bookstore.

The symbol and its use is a tool to deepen the literary work. Gholam Hossein Saedi, one of the symbolic writers of the contemporary era, has symbolized in his dumb shows like his other works. Perhaps one of the reasons for this is the inevitable escape from the sharp razor of censorship. The present article tries to study the types of symbols (human, non-human, animals, mental concept, and action) in the dumb shows in an analytical-descriptive way. The results show that Saedi in dumb shows uses a symbol to try to explain his intellectual concerns to the audience from another perspective and convey his message to him. This is why dumb shows have become compact texts that reflect Saedi's views, ideas, and ideals.The results show that Saedi in dumb shows uses a symbol to try to explain his intellectual concerns to the audience from another perspective and convey his message to him. This is why dumb shows have become compact texts that reflect Saedi's views, ideas, and ideals.

Investigating into imaginary images in Manichaean Verse Texs: Emphasis on MetaphorAbstract: Among Iranian literature before Islam the Manichaean literature differs evidently from other Middle Persian works. Although the Manichaean literature has followed ancient literary traditions it has experienced other fields due to its dependence on non-Iranian literary movements such as Mesopotamian. Under the high influence of their religious leader, Mani, the Manichaean literature benefited from Aramaean literary traditions, used new literary paradigms and allegory, simile, trope and metaphor due to its mystical content; such literary devices presented a type of perfection in rhetoric and were new in Persian literature. In present essay metaphor is examined in the Manichaean literature in a way that the types of literary devices and poetic imaginations indicate a long and continuous history beyond Persian literature. The metaphor used in the Manichaean poems indicate a type of perfection in poetic imagination used by the Manichaean views and at the same time, are very important in viewpoint of Iran literature history. Having examined the metaphors in this essay the most frequent metaphors are as follows: the explicit metaphor, allegorical metaphor, Tabaeieh metaphor (When the metaphor is a verb or one of its derivatives) and antiphrasis, respectively.

Conceptual metaphor is a new term coined by cognitive linguists in the last century and is in fact the name given to the mind's efforts to understand and convey abstract concepts. In this attitude, metaphor goes beyond the framework of rhetorical sciences and is no longer a means of decorating the word but a basis for thought and a tool for understanding immaterial things. The pioneers of this theory were Lycaf and Johnson, who divided conceptual metaphor into three types: ontological, cognitive, and directional. Each of these metaphors consists of two aspects called the domains of origin and destination. In this research, which has been done in a library and analytical-descriptive manner, we have tried to examine the conceptual metaphors used in the poems of Ebrahimi and Rahmandoust in terms of the destination domain to see what are the main destination domains of their poems; That is, what concepts did these two poets use conceptual metaphors to objectify? For this purpose, 21 books were selected from the books of these two poets and after examining 122 items, conceptual metaphors were found and it was found that the poets used these metaphors to describe concepts such as: time, emotions, interest, religion and human relations. This is a major part of the destination domain belonging to the objectification of emotions.

The argument of theory and the generation of theory has archaism to out size being of the subjects on the world, and be appeared for condition of the contemplation about them and for access to the being of truth on the subjects. The searcher mind of men always be cent that first, interprets its cognitional percept of the subjects truth on the world of around then, with help language specifics them and then, presents its interpretation with hue the theory dialogue to rest. The generation of theory creates of the theory dialogue wet been the mind of men and the subjects of world against the truth of logos that creates via the structural elements.This paper attempts whilst analyses the structural elements of the theory and its relation with critic, appears them in the one diagram and analyses the condition of forming that and in the in the final, It deals with the relationship between the discourse of literature and beauty.

AbstractRhetorical sciences have long been very important among Iranians who have worked in the field of literature. Theological method is the title of one of the literary figures that has existed in the field of Badi’ for a long time. Theological method means the method of theologians (scholars of theology and principles). Although the theological method has been introduced from the third century by the works of Jahez and Ibn Mu'taz in Arabic, this title can not be found in the first books written by Persian-speakers and Iranians on the field of Badi’ and it was mentioned very briefly in the second half of the eighth century AH. And then from the second half of the ninth century AH, this title finds its way to such books in a complete and clear way. Of course, some of his contemporaries did not mention the theological method in their works. These rhetoricians mainly wrote their books on the field of Badi’ in the late 13th and early 14th centuries. From the 11th century onwards, as the debate over this figure of speech became more prevalent among rhetoricians, some more divisive divisions were added by some, which will be addressed in this research. Another point that seems to be considered is that some rhetoricians have also gone astray and have confused the discussion of theological method with another figure of speech such as Phantastic etiology. Some of them have made mistakes in defining it and others have made mistakes in providing examples.

Myth basically begins with the observation of magnificent natural phenomena. The ancient tribes described their observations of nature in metaphorical language. mythologists have gone so far as to linguistically and ontologically develop the real meaning of the names of the gods, objects, and movable stories through linguistic and etymological evolution. But the linguistic approach in mythology does not depend on lexical ontological examination, but on the method of examining linguistic symbols that are told in a layer of mythical metaphors and stories; It goes towards cohesion, not language. In the present study, the Shahnameh text was selected due to its original and non-translational context and Gilgamesh due to its ancient literary text. Since the approach is linguistic research, several paragraphs of the Italian text have also been adapted to the Persian text in order to avoid linguistic error. The present study is a descriptive-analytic one conducted in libraries. After examining the linguistic body of the research, it was found that although the symbols and symbols of the language are automatic and related to the language of the text, although in the outer and superficial layers of the text, in the textual layers of the text, with reference to the realities of life. Humanity represents the relations of language and myth and the influence of myth is greater than language.

Anvari has been called one of the stylist poets and one of the three prophets of Persian poetry due to his special style of expression and poetic style. He is best known for his glorious poems; However, in the style of lyric poetry, he has been considered the pioneer Saadi style in lyric poetry. In ode and lyric, Anwari has chosen two different official and court languages, as well as a simple and colloquial language. There is also an independent article about the language of Anwari's poetry in his sonnets and about his stylistics in poems; But no work was found to examine the different levels of language in his poems. Anwari's official language in poems is the new expression and style that starts from the field of words and combinations and continues to the field of imaginative forms and the creation of similes, metaphors, allusions and rhetoric of the image and praise.the authors have tried to analyze the syntax of Anwari's poems in three levels: formal and verbal, grammatical and semantic, in an analytical-descriptive way, and then to classify and describe his personal linguistic elements. that Anvari has acted very creatively in poems in different levels of the mentioned language, fromand music the selection of words to the composition and use of novel elements and expression. And it seems that the title of one of the three prophets of Persian poetry is due to his powerful talent and eloquent language and style in each of the fields of language.