LITERARY ARTS
Year:2012 | Volume:3 | Issue:2 (5)|Papers Count:9

This study is a research about rhythms and poetical works which are used in Persian literature odes in of forth century up to now. Firstly, this research, 50 odes of the poetical works of celebrated poets are considered in all periods of Persian literature and the types of rhythm and contents which they are interested in are specified that the results of this research formed the following assay. In this article 1632 odes are considered, it observed that most common poetical works in Persian language is considered by the writers of odes and they have composed long poems in these rhythms. Also from the viewpoint of content in the primary centuries of Persian poems, the poets paid attention to the contents of Arabic poets but the new contents gradually entered the Persian literature by the growth of odes in Persian literature which will be referred to next.

In the Old Persian literature, ambiguity is of little importance. Only when talking of the figure of paradox, always along with two other synonymous terms i.e. Towjih and zoowajhein, at times ـ and not very often ـ they refer to ambiguity which is a fourth term for the very unusual figure of speech in Persian and Arabic literature. This is while in the old literary texts up to now ambiguity is considered one of the most frequent figures of speech, which goes hand in hand by simile and metaphor. Firstly, This paper intends to give an exact definition of ambiguity, and then to provide a literature review on the previous research papers relevant to the subject and, finally along with clarifying different types of ambiguity determine the importance of the impact of four fundamental elements of text, reader, environment, and author ـ four basic pillars of the structure of a text-on ambiguity.

Compound simile (antapodosis) is a kind of simile in which two things are likened to each other. The vehicle in this type of simile is more than one part and the image resulting from the simile is compound. In compound simile different parts of vehicle are intended by the poet to mix with each other and create a unified whole and link to tenor. It has been said that the image created by compound simile can be made into a painting. This type of simile has surpassed Khorasani style and eventually materializes in a compact form in the poems of Iraqi and Hindi styles. Farokhi Sistani and Manoochehri Damghani are among the significant poets in Khorasani style who have made use of simile and in particular compound simile to create images and imagination. In Farokhi’s works, compound simile has more of an aristocratic and military side to it and involves praise and description of loyal families. But Manoochehri who is a naturalist poet whose poems are complicated, compound simile is used to create natural images. In this respect he has dealt with image-making in a more artistic manner. In the works of the two poets certain structures with compound simile can be found.The first type of such structures is allegorical simile. This study investigates and analyzes the structure of couplets and closed couplets with compound simile in the works of these two poets.

The Joveinis’ jahangosha history is the most embossed historical work in the Mongul period, that has the literary and historical importance. Many of the Historian in seven century and even today scribers in all of the world have specially regarded to this book. Joveini with his attractive speech has presented the exact and pure imagination of three historical period of Mongul, kharazmshahian and Esmaelian. Joveyni for explaining Exppansion of the Social Situotion and Fect, historical fact, in addition to clear expression and integrated of historical facts, that has. Happen for Iranian people, set out to repeating this materials with creation of the clear imagination until to be able to draw as a skillfull painter, the pain and sads of the Iranian in the mind of reader. In the fact he has reached to highest in his obligation or responsibility. In this study by to extractioning of similes and metaphors from the first volume of joveini ’ s jahangosha history, Has been try to classifying them of diffrernce of simileis and them has indicated the assigned words and compounds to creat of similes and metaphors.

The three topics "brevity, prolixity, and equality" are Important discussions in Persian rhetoric, books which has long been so much in the focus of the attention of scholars of Persian rhetoric such that they sometimes regard them as making the hardcore of hetoric. Therefore, various views have been expressed in explicating types of prolixity and equality, leading sometimes to contradictory remarks. This haracteristic has been more explicit in the literature produced on prolixity. In this study, with reference to the most important rhetorical books, a perfect definition of different types of prolixity is presented and by criticizing and analyzing these types and the factors of their formation, the confusion of this subject has been reduced and the circumstances of the practical and easy application of prolixity in criticism of rhetorical texts have been provided.

Imagery is indirect expression of covert meaning beyond the words and classic poets are informed of the valve of the appropriate, timely and suitable image processing. Seyyed Hossan Hosseini's is work from the point of view of Imagery. In this paper, it is tried to be analyzed imagery in poet' s collections, on the basis of elements including: similie, metaphor, symbol, metonymy, figure, paradox, synaeshesia.In the simile part, in seyyed Hassan Hosseini’s works, detailed and eloguent simile, works detailed, eloguent simile and sensational have much frequency. On the basis of topic, tenor is often the poet, himself/herself, the poet’s hero/heroine and abstract elements and from the point of view of vehicle, natural elements, objects, animals, religious, national elements and nearly abstract elements are rarely used. Among the various kinds of metaphors, ironic and explicit metaphors have high frequency and also, in personification, the poet has noted the abstract concepts and used them increasingly. His constructive elements of imagination, from the point of view of vehicle, are generally natural elements, objects, animals, and images related to eternal God, poet and his/her characteristics, religion, prophet and the hosehold of the prophet of Islam, the images related to revolution, war and martyr that organize the constructive elements of imagination from the point of view of tenor. The poet in all of his works has used the figurative documents.In the part of the symbols, Seyyed Hassan Hosseini, has used the three sources of symbol, that is, nature, national, mythological customs and religion, but more than all he has used nature for presentation of images and expressing of his feeling. The applied symbols in his poetries are generally conventional and customary. The application of elements of nature in the position of symbol has led to forming of social symbolism in his works. Almost all of the available metonymies in poet’s works in the point of view of vehicle, current metonymy and from the point of view of clarification and hiding, are kinds of indication. Figure is used in different interest indication. Figure is used in different interests in his poetries that figure to organic and imperative interest is seen more than other kinds. Paradoxes are expressed in two forms, expressional and documental, that their numbers are set in a medium level. Also, about synaesthesia, some times, two external senses are assigned to each other and sometimes an external sense to a mental case; whereas, the first one is more frequent.

In Most of the rhetorical book, lost of points and debates are mentioned about Metaphor and its various forms. also, Metaphor is classified based on different views. one of the most controversial debates is allegory which is sometimes defined as compound Metaphor, figurative language or irony. In these books, these three topics are represented under the same definition for which there mentioned some common proofs. but, thinking deeply in these books and considering more details, the scope of each topic can be determined, therefore, more adequate definitions are obtained. In this study it is attempted to make a comparison between the definition of allegory which are mentioned in rhetorical books, while the differences and similarities of these definitions would be analyzed and criticized. fur theremore, the scope of the abovementioned items (Compound Metaphor, Figurative Language and Irony) will be determined so, they can be distinguished as much as possible. this can be result in providing more precise definitions for them and conducting a fair criticism of their proofs.

Rhetoric such as prosody, semantics, etc have important role to form mysticism language. By attention to methods and rules of semantics, is explained effect and importance of sentences in speech. This science divides speech to predicate and request and studies their second meanings. Rhetorical sentence is one of the important elements of effect on mysticism language. Mystics for educating and explaning of their mysticism experiences use rhetorical sentences with their primary and second meanings. Rhetorical sentences in Persian works of Aynolghozat have important role in teaching and explaning of mysticism experiences. Imperative and negative imperative are important topics of rhetorical sentences and deliberates to transferring massage to effectually addressee. In this study it is tried to define and study imperative and negative imperative: their rhetorical specifications and their role on Aynolghoza's texts are investigated.