JOURNAL OF LITERARY CRITICISM AND RHETORIC
Year:2014 | Volume:2 | Issue:2|Papers Count:7

The pure imagination draws a new and different world in front of the eyes of the rhetorician, who has to avoid the ordinary norms of language and create new words to name the world. He does not always have the capability to create new words; so he uses the simple ordinary words to deliver his newly found concepts. He also makes imaginary and word structures to expand his lingual treasury. One of the main lingual-artistic ways to enrich the word complex of a language is image-making which means creating exquisite metaphors. The most important function of image-making and mainly literary language is creating name-images that are the opposite point of the real names made by the normal language. A name-image is created according to certain pictorial and lingual structures and can be greatly extended. It is important for the enrichment of the language, cultural interests, proper analysis of the artist personality, to make a lexicon of name images for the Persian literature. This essay tries to explain necessary aspects of this cultural objective through the images ontology.

Khosrow va shirin is the best romantic Mathnavi of Nizami and the old Persian literature. The kind of Nizami's use of story elements in this work is one of its triumph secrets. If we compare this book with the other romantic mathnavis, the value of Nizami's work will be appreciated. The relevant use of the tone element is one of the positive features of using the story elements. Using verbosity and terseness is one of the main examples of the tone element. In this essay we are going to study the extended verbosity and two of its technics in Nizami's khosrow va shirin; furthermore, we compare the use of this element in Nizami's work with Amirkhosrow's khosrow va shirin.

Fakhr-al-din Ali Safi is an outstanding author of the 10th century and the writer of the book “latayef-al-tavayef”. This book merely concentrates on debates and discussions narrating a collection of jokes belonging to various social levels in simple prose and has numerous historical and literary advantages. Safi has collected the contents of this book from his predecessors. He also added other advices belonging to his own era. The book is divided into various parts with different political, social, and religious contents. What distinguishes this book from the other book with similar content is using humorous narrative tales which has more influential impact on the minds of the audience. It is worth noting that due to Arabic nature of his tales and the audience, he has sometimes referred to Arabic sources. Here, the researchers intend to investigate Arabic references of the part four of the book, titled “Humorous quotes of the leaders, their relatives, Ministers and Supreme Lords”; in that chapter he has named no references except Samar-al-Ghloub Salaebi.

Soroush Esfahani is one of the most outstanding poets of the Qajar Period and a follower, in style of poetry, of Farrokhi Sistani. One of the most prominent subjects of his poetry is “the virtues of Ahl-e-bait, peace be upon them. The manner of expression and its style in these poems indicates the presence of a particular type of thought in Naser-e-din shah court. This essay hopes to demonstrate this particular court style.

Verbosity is one of the techniques of decorated and artificial prose texts that plays major role in the book called Dorraye Nadireh. Mirza Mahdi khan Astarabadi (1175 H.G) tried in this eminent book to use the various kinds of fine writing like verbosity till the ending events of Nadir period (1160); he likes to show off his masterly in writing technique by using Arabic words and various synonyms. This essay is going to consider verbosity method and it’s classification in Dorraye Nadireh and will demonstrate Mahdi Khan’s fine writing styles in creating this eminent book. The result shows not only verbosity is the most effective way for telling events in the book, but it is also effective in delivering the message.

Exaggeration is a rhetoric picture which is often used to arrange the speech and to attract the audience. In exaggeration, the poet, shows his meanings by the use of two methods, to make the subject greater or smaller, and in fact he develops his speech by the use of these rhetorical devices and emphatics in order to make the meaning more understandable.Most rhetoricians, as they introduce the exaggeration, emphasize that it is in fact a kind of lie mixed with superstitions and therefore they sometimes have praised it and they have considered it as one of the basic elements of poetry and heightened speech and they have sometimes rejected it and considered it separate from the real poetry.Based on a different approach, in this paper we have answered this question that what is the esthetic value of exaggeration and to what extend the use of exaggeration in heightened speech should be allowed.

Ambiguity is one of very important techniques in Persian rhetoric, but in spite of its importance, it seems there is not enough accuracy in its definition and types. The present essay tries to redefine the concept of ambiguity. We will begin by analyzing the definitions of ambiguity and amphiboly according to the old and new Persian sources; then we presents a new definition and review and analyze various types of this technique. Based on Linguistics, new types of ambiguity in Persian rhetoric will be discussed; these include, for example, lexical ambiguity, syntactic ambiguity, structural ambiguity, elimination ambiguity, reading ambiguity, and supra segmental ambiguity. This article presents a new method for analyzing ambiguity in literary works, especially poetry.