From ancient times, poets and writers have used rhetorical techniques and indirect expressions to convey their concepts. The use of these techniques is one of the fundamental differences between artistic language and other common language types such as scientific language, that is the language that tries to convey the concept to the audience with the most explicit terms and far from ambiguity. In cinema as a modern art, which has a deep and inseparable relationship with literature, FIGURES of SPEECH always help cinematographers to convey the concepts. The cinematographers, knowingly or unknowingly, supported by the linguistic and literary culture in which they have been raised, use these devices to illustrate their purposes. The role of literature in cinema can be examined at three levels of language, image, and content. This study, focuses on the images and the case of “Taste of cherry” directed by by Abbas Kiarostami as one of the most prominent Iranian artists in cinema in order to use the images, their role in conveying the concepts and FIGURES of SPEECH used in the film. Investigating FIGURES of  SPEECH in the image of a cinematic work makes the audience closer to the intellectual world of the filmmaker, reveals how his works interact with written literature, gives a deeper understanding regarding the link between the two arts, and shows the influence of the past written legacy in the cinema, as the most recent human art.

FIGURES of SPEECH have been considered by many of poets and writers since many years ago. Despite obvious differences that happened in the rhyme and rhythm’ Modern poetry and it’s emotion and epigrams with the past and Nima’s explicit statements based on the inefficiency of Badi, the presence of FIGURES of SPEECH in the Modern poetry cannot ignore.The study of Badi in the poems of four contemporary poets shows that FIGURES of SPEECH in the Modern poetry have lost its artificial aspect and have emerged in natural form and based on a variety of the association.What is in this field in their poetry more seen that group of the FIGURES of diction which they have effective function in creation cohesion moreover verbal music.The FIGURES of thought are not a lot in modern poetry. The cases where are seen often in this part base on antithesis and taxis. In this paper the differences between modern poetry and classical poetry is expressed and FIGURES of SPEECH in examples of poems’ mentioned poets are studied and compared with each other.

Hafiz owes a lot to his predecessors; yet a distinguishing feature of his poetry is the ambiguous language he has employed. Thus, the most essential thing would be to analyze his language skills which are manifested in syntactic, semantic and rhyme maneuverings as well as in his choice of words and their relevant phonetic significance. This articles intends to show the poet"s literary talent in applying such FIGURES of SPEECH as puns, D"insinuation de la Convenane, congeries, paradox, quibble, and oxymoron, to name but a few. Prior to presenting such proofs, however, the paper examines seven books either by Hafiz"s predecessors or by some contemporaries to show how varied views are on such definitions and to make it clear that there are no unanimously specific set of rules governing the whole definitions, their variety and their divisions in different periods of Persian poetry.

No doubt, one way of getting acquainted with different nations and ethnic groups and knowing their sciences, thought patterns and cultures is to translate their works.Jame’a al‐Shawahed, a literary work of Qajar period, by Mohammad Baqer Sharif, is a translation of an anthology of poems. The present article investigates the translation method used in this book. First, literal translation which is the method used by the translator is being dealt with. Then, after discussing the deficiencies of this method, suggested translations are provided.

Congeries is the most effective figure of SPEECH that is created by the poet through choosing approp riate words. Also called “taxis,” congeries makes other FIGURES of SPEECH take an active role in the literary work. However, literary-terminology books do not give a comprehensive definition of the term “congeries”; thus, they need to be reviewd. This paper is an attempt to offer a correct definition of “congeries” through various examples.

Pictorial FIGURES of SPEECH, also known as visual poetry, concrete poetry, pattern poems, shaped poems, altar poems, is the FIGURES that join painting and literature. The poet is going to have a pictorial communication with his audience in addition to verbal one. So he uses written aspects of the poem in order to make a painting not by the affinities of painting art, but by the language and its components, with his versification talent. The lines in such poem are written in a way that their printed shape is in the outline of the subject of the poem. The authors in this essay intend to describe lingual signs in a linguistic, especially semiotic point of view and then represent formalists view about poetic rule of the language. We study the phonetic and written deviations as the ways of pictorial versification and show that these FIGURES has been used by Persian poets many years ago, and visual poetry is not completely a western phenomenon, although some recent kinds derived from the western literature. Unfortunately the authors of Persian rhetoric books didn’t pay much attention to visual FIGURES of SPEECH. So we try to represent a complete outline and division of these FIGURES in this essay and the next part. The term image in this essay does not necessarily means in its terminological meaning of poetics but it means picture.

In Talkhī ṣ Buṭ iqā , Averroes has his own innovations. In this book, he expresses the most poetic rules according to the characteristics of Arabic language. Now the question arises: What is the purpose of these innovations? This essay tries to examine one of these innovations and answer the above question. In this study, the ethical Objective of religious SPEECH from Talkhī ṣ Buṭ iqā are divided and expressed into two parts: the importance of using FIGURES of SPEECH and the ethical objective of Religious SPEECH. In these subjects, he follows ethical purposes. In his view, most Arab verses, while can be praised due to their aesthetics and exalted FIGURES of SPEECH, at the same time should be reproached because of their humiliation and frivolity. He believes that, because Arab poets are far away from ethical education they cannot overtake young people education. According to Ibn Rushd, every action is drawn to either goodness or ugliness, virtue or vice by simile and other FIGURES. Moral virtue is well illustrated in religious discourse, especially in the story of Prophet Yusuf (AS). Cruelty towards him by his brothers leads to more virtues by changing the self and creating fear and mercy towards the brothers, thus achieving happiness and showing the status of morality. Therefore, the end of morality in Talkhī ṣ Buṭ iqā is literally completed with the verses of the Qur'an and the Shari'a, because it provides a complete tool for human education.

Recognizing the FIGURES of SPEECH in understanding religious texts is of great importance. The infallibles are the great lecturers who expressed their views and beliefs through this channel, i.e., using FIGURES of SPEECH. if these FIGURES of SPEECH be violated or do not fully understand, misunderstanding of the sayings of infallibles will be happened.In this essay, the role of FIGURES of SPEECH in understanding the sayings of infallibles are reviewed and some examples especially from al-Kafi are given.

FIGURES of SPEECH are substance of poetry and the criteria for evaluating it. The term poetic style of the period of Islamic Revolution and Sacred Defense (the 1980-81 war between Iraq and Iran) is new, about three decades. This labeling is somehow ambiguous; it may be more accurate if we call it the style of Republic, following the style of Constitutionalism. Studying the works of the poets of Revolution and Sacred Defense, such as Farid, can help better know the characteristics of this style. In the present article Farid’s poetry is being studied regarding FIGURES of SPEECH used in his poem collections of ‘Pari-Setare-ha’ (fairy stars), ‘Pari-Bahane-ha’ (fairy excuses), and ‘Pari-shode-gan’ (turned into fairies). The result is shown in tables and diagrams. His use of Simile, metaphor, irony, and symbolism is remarkable in them. The use of similes here not only serves to concise writing in the field of imagination, it also approaches to identification, and causes some kind of exaggeration in the field of simile.