From the beginning of literary studies, rhetorical techniques have been considered a literature grading tools. Although the functions of these aesthetic techniques are defined according to the audience, many techniques were considered as equal to literary techniques without having a true literary value to prove the beauty of the literary work due to the lack of purposeful and accurate explanation of the basics of aesthetics. In the present study, the definitions and different names of the congeries, as one of the main embellishment techniques in literature, were investigated via analyzing them, and other related literary techniques. In identifying the functions of this literary term, its role in traditional embellishment as well as in modern literature, such as criticism and stylistics, has been addressed. This is achieved through formulating the following questions “ What literary techniques were mixed with congeries in terms of definition and literary role? ” , “ What is the relationship between redefining this literary technique and new fields of study, such as Linguistics? ” and “ How can new tasks be assigned to improve the function of congeries through redefining it? ” Accordingly, the definitions of congeries were examined from the beginning. Then the techniques that have commonalities with congeries in function and definition were recognized. In addition, the term collocation is also evaluated as a suggestion for completing the meaning, subdivisions, and tasks of congeries.

Translation, ipso facto, is an understanding and a transferal of meaning from one language into another. Therefore, it may be fitting to conclude that a suitable semantic theory should underpin any attempt to that end. This paper advocates implementing Systemic Functional Linguistics (henceforth SFL) which subscribes to a view of language as a ‘ meaning-potential’ . In fact, Halliday and Matthiessen (2004) place a high premium on the notion of function (meaning) as the fundamental building block of language and state in no uncertain terms that texts and the individual clauses comprising texts are carriers of multidi-mensional meanings, namely Ideational, Interpersonal, and Textual and representations of three strands of meaning rather than vessels of propositional content. However, as Halliday (2001) puts it, equivalence in translation has largely been characterized ideationally to the exclusion of interpersonal and textual mean-ings. This research was an endeavor to examine how effectively the latter two are handled. In order to test this, 15 M. A. translation students were selected randomly and were given the text State-Sponsored Horror in Oklahoma to translate. In the data analysis, each clause of the English text and its translation were ana-lyzed to both identify the ideational, interpersonal, and textual meanings and classify the errors in accord-ance with their nature. To achieve this, recourse was made to Halliday's SFL which offers a rich reper-toire of metalinguistic tools for text analysis from an analytical angle. The results of the study were con-gruous with Halliday’ s statement.

This study intends to investigate the realizations and Functional patterns of shell nouns in Applied Linguistics research articles. To this end, fifty research articles in the field of Applied Linguistic were selected from Journal of English for Academic Purposes and journal of English for Specific Purposes published by Elsevier. The articles were analyzed for the realizations of shell nouns based on the list suggested by Hinkel (2004). As to the Functional patterns, Schmid’ s (2000) classification of Functional patterns of shell nouns was also adopted. Findings reported that some shell nouns are used more frequently while some were put aside. Findings also reported that writers of research articles in the field of Applied Linguistics used Functional patterns suggested by Schmid (2000). Findings of this study could have implications by raising the awareness of writers of Applied Linguistics research articles, especially in EFL contexts, concerning the use of shell nouns and Functional patterns in which shell nouns are used.

The study of the prominent poetic debates in Persian literature can make significant contributions to genre and stylistic studies. Given the importance of debates in classical texts and their relation with public discourse, the present research studied eight prominent poetic debates from the fourth to the seventh centuries. Considering the situational context of the texts and the contexts in which they had been formed, Halliday's systemic Functional approach was used to explain the debates. A descriptive-analytical method was adopted to study the debates in terms of the ideational metafunction: the process of actions. The findings of the research indicate that the analyzed poetic debates had undergone transformations with regard to the ideational metafunction. The material processes were the most frequent in the prominent debates of the fourth and seventh centuries though with a different function in each century. Moreover, the relational processes had the highest frequency in the prominent debates of the fifth and sixth centuries. Such transformations show that, from the fourth to the seventh centuries, the debates have shifted away from objectivity and extroversion towards subjectivity and introversion. In other words, how to use debate processes has considerably evolved over these four centuries.

Anvari Abivardi and Saadi Shirazi are prominent poets in the field of lyric poetry, both of them are famous for composing love lyric poems. However, given the 100-year gap between the two poets, it is important to examine their lyricism from a sociological perspective. Therefore, In the article based on Functional Linguistics Halliday which has given to language an important role in the representation of the real world and social phenomena, the semantic changes of the lyric form in Anvari and Saadi's poems have been analyzed and how the individual and social situational context is reflected In transitive language system in the structure of Anvari and Saadi's sonnets, the subject of research has been included. For this purpose, first the frequency of each of the current processes in the first 100 lyric poems of each of the two mentioned poets is extracted, then the type of function of each process in relation to the interpersonal role and textual scope of each is compared. The study show that Anvari's sonnets are often based on personal romantic experiences and lyric in every sense, while Saadi's sonnets have various individual, social, moral and educational meanings and concepts that are implicitly and implicitly metaphorically. Introduction Love is the main theme of the Persian Ghazal. Undoubtedly, Anvari can be considered as one of the prominent poets of the romantic Ghazal belonged to the 6th century. Dignifying of Ghazal form by Anvari and also his numerous Ghazals has made him different from the others poems, so that he has been named as the second most prominent Ghazal composer in the mentioned century, after Sanai. Making close the language of the Ghazal to the spoken language and its evolutionary effects on Saadi (Mahgub,1971: 582). also are the aspects of the Anvari’s importance ( Saboor, 2005: 341, Shamisa, 1983: 66). In spite of the Anvari’s influence on Saadi’s rhyme and rhythm, presentation of the romantic experiences (dashti, 2002: 133) in their poems are different, because there is a space of time about hundred years between their periods of lives and in this time the poetic meanings have been promoted and also, the social and cultural contexts have been changed. Actually Saadi’s Ghazal is an artistic description of love. It is not an experience or a personal emotion. Also, it is not an abstract and total matter. Saadi’s art gives inclusiveness and general emotion to his subjects. Because,the emotion and the love described in his works is an emotion which has been mingled to the humankind attributes.The beauty described in Saadi’s Ghazal is an ideal beauty which includes the humankind attributes (Ebadian, 1993:98). Considering the history of Ghazal in several centuries, the significant changes have occurred in both format and content of Ghazal which makes it necessary to research in this field. Research Method According to the Halliday's Functional grammar, language has various functions in society and social phenomena. The Functional approach are supposed to explain the language nature and its relationship with the structures such as culture and society. ( Leech and Short, 1981: 76).Halliday has mentioned three functions for the language: the ideational, interpersonal, and textual metafunctions. The ideational function is classified into two functions: experiential and logical functions. In experiential function, the ability of representing the experiences in language is called transitivity system. Transitivity system is a feature of a sentence which is used for specifying the various processes in the sentence (these processes are presented in the verbs).Therefore, determining the processes and their frequencies by studying the verb kinds makes it is possible to aware of the experiences and the thoughts of a poem. In analyzing the text using experiential approach, the kind of the process which (is) being done is significant. A process is an event, action, emotion, speech or existence (and inexistence). The process contains three key elements chosen by the transitivity system from among the available options in the language system. The elements of the process are as follows: 1. the process itself 2. The participants 3. The circumstances related to the process The participants are the involved elements which determine time, place, method, causes and the circumstances of a process. The processes, the participants and the context of the events usually are represented in grammar in the form of the verbal, the nominal or the adverbial groups. Halliday introduces three main processes called material, mental and relational process and also, three subsidiary processes called behavioral, verbal and existential processes. Discussion Comparing the use of the material process in Anvari’s Ghazals via Saadi’s one considering the extent and the method of the text shows that in Anvari’s Ghazal the text extent is enclosed to the romantic trades. Since the participants in the material process are usually the lover and the beloved, the mood of the verb is mostly the first person (related to the lover) or is the second or the third person singular (related to the beloved). But in Saadi’s Ghazals the text extent isn’t enclosed just to the romantic trades and he also presents his experiences and social trainings in the way that sometimes the interaction between lover and beloved is presented for training an ethical matter and not just for mentioning the romantic relationship. Also, about the material process and the interpersonal function of the language it could be mentioned that Saadi has mostly used the second person.Comparing the use of the mental process in Anvari’s Ghazal via Saadi’s one considering the textual metafunction of the language (the connection between the ideational metafunction and the context) shows that the emotions and the thoughts of Anvari is in the scope of the quiddity and the nature of love. Considering the interpersonal metafunction it could be said that Anvari has mostly used the first and the third person (lover and beloved). Therefore, the personal feelings of the lover/ the poem for the beloved and her actions and her ethical characteristics are mostly presented. The mental processes which address generally have been mostly used in Saadi’s Ghazals, because he is not satisfied with presenting just his personal feelings, he also uses the love for presenting his social critique. By comparing the verbal processes of these two poems, it reveals that the speakers in the Anvari’s Ghazals mostly presents their desires and their romantic dialogues, but in Saadi’s Ghazals the way of loving is also mentioned by the lover or the advisers.In Anvari’a Ghazal because of existing the thematic coherence and the vertical constant cohesion in the verses, the subjects mostly are the lover and the beloved which their behavioral reactions depend on love. But in Saadi’s Ghazals because of the subject extension, there is not a vertical constant cohesion in the verses. So, the subject can contain the other social subjects, besides lover and beloved Conclusion Sociological analysis of Anvari’s Ghazal and Saadi’s one considering the present processes shows that the processes usage are considerably different in these two poems’ works. The action extension of the material process in Anvari’s Ghazal is enclosed to the romantic trades done by two actives means lover and beloved. But the action extension of the material process in Saadi’s Ghazal is not enclosed just to the romantic events, he presents his experiences and social trainings in the way that sometimes the interaction between lover and beloved contains an ethical training.The mental processes in Anvari’s Ghazal contain the feelings and the thought of the poem in the scope of the quiddity and the nature of love. But in Saadi’s Ghazal, love is used for presenting political and social critique.Also, considering these poem’s usage of the verbal process shows that the speakers in the Anvari’s Ghazal mostly presents their desires and their romantic dialogues, but in Saadi’s Ghazals the way of loving is also trained to the lover by the advisers.In Saadi’s Ghazal, proportional to the behaviors variety, the behaviors contain the whole of the social relationships, but in Anvari’s Ghazal, the biological behaviors are more personal and limited. The existential process usage in Anvari’s Ghazal determines the existence or inexistence of what happens in the world of love, but Saadi thinks about what should exist as the necessity of loving.The relational process in Anvari’s Ghazal has been mostly used for describing the beauty of the beloved, the romantic statuses and the situation of the lover, but in Saadi’s Ghazal, a considerable amount of this process describes the way of loving which shows the didactic aspect of his works. References 1- Aghagolzadeh, Ferdows and colleagues,2011, Stylistics of Story Based on Verb: A Stylistic Approach, Journal of Spring Literature of Shiraz, Year 4, Number 1, pp. 254-243. 2- Amirkhanloo, masumeh. 2915, the stylistic of Hafez's Ghazal base on the verb, Functional approach, Adab farsi magazine , 5 years, 2 number, autumn and winter. P.P 169- 186. 3- Anvari, Oohud al-Din Muhammad ibn Muhammad. 1985, Divan Anvari Correction and Introduction Saeed Nafisi, Third Edition, Pirouz Publishing. 4- Dashti, Ali ,2002, Sāḍī territory. Tehran: Amir Kabir. 5- Dehir Moghadam, Mohammad,2013, Classification of Iranian languages. Two volumes Tehran: Samt. 6- Ebadian, Mahmoud , 1993, The Development of Ghazal and Saadi's Role, Tehran: Hoosh and Abtecar. Journal of Lyrical Literature Researches, Vol. 20, No.39, 2022 |160 1 6 7- Halliday, M. A. K & Hassan, Ruqaiya ,1989, Language, Context and Text: Aspects of Language in a Social Semiotic Perspective, Oxford University Press, Oxford. 8- Halliday, M. A. K, 2004, An introduction to Functional Grammar, London, Edward Arnold. 9- Hassan Lee, Kavos, 2001, dictionary of Saadi Research. Shiraz: Publications of the Foundation of Farsi and Center of Sa'adi shenasi. 10- ishani, Tahereh and Narges Nazif, 2015, The Stylistic Analysis and Analysis of the Verb in Saadi's Sufi Syllabus with the Linguistic Approach of Functional. Journal of Educational Literature, Volume: 7 Issue: 25, Pages: 85 – 108. 11- khoramshahi, Baha'uddin, 1992, Hafez-name, Tehran: Elmi and Farhangi. 12- Leech, Geoffrey N. and Short, Micheal. H. 1981, Style in fiction: a linguistic introduction to English fictional prose. 13- Mahjob, Mohammad Jafar, 1971, Khorasani style in Persian poetry. Tehran: Ferdows. 14- Mashhoor, Parvin Dukht and Mohammad Faghir. 2015, A Survey of Types of ideational Processes in Saadi's Ghazalite. Journal of Gonai Literature, Vol. 13, No. 25, pp 168-153. 15- Mohajer, Mehran and Mohammad Nabavi,2014, Toward Linguistics of poetry, Tehran: Agah. 16- Motaghed, Ehsan,1971, What does Saadi say? Tehran: Press. 17- Rastegar Fesayi, Mansour,2004, Shiraz: Sa'adi cultural symbol. Journal of Sa'adishenasi. 18- Sa'adi, Mosleh al-Din, Sa'adi General. 2006, Correction of Mohammad Ali Foroughi, Tehran: Hermes. 19- Saboor, Dariush , 2005, Persian ghazal horizon ,Second print, Tehran: Zavar. 20- Shamisa, Sirus, 1983, The Song of Ghazal in Persian Poetry (from the beginning to the present day). Tehran: science. 21- Simpson, P, 2004, Stylistics: A Resource Book for Students (Routledge English Language Introductions). London: Routledge. Cite this article: Journal of Lyrical Li

The first ode in Farrokhi Sistani’s Divan is a poetic description of clouds. It has been imitated by many poets. The authors of the present research have studied the first part of the ode (Taqazzol), which has been imitated by three poets close to Farrokhi’s time- Azraqi, Masoud Sa’d, Amirmo’ezy- comparing them with Farrokhi’s own poem, in the framework of systemic–Functional Linguistics. Since Azraqi is known for his poetic innovations and Amirmo’ezy is accused of sheer imitation – if not literary theft – of Farrokhi’s Divan and Onsory’s, the research can also provide a scientific and objective analysis of creativity, innovation or sheer imitation. No doubt many literary artistic beauties and fine points cannot be explained through linguistic analysis. However, most linguistic approaches, methods, and tools are useful for understanding literary texts preventing subjective evaluations and judgments.

In Michael Halliday’s Systemic Functional Linguistics, metafunction is a suitable tool for examining the worldview and the discourses in a text.  It is also one of the literary and rhetorical tools which can best help to explain the symbolic and allegorical language as well as the complex concepts of a poet-mystic such as Farid-Al- Din Attār Nishābūrī. Therefore, among metafunctions proposed by Hallidays’ in his systematic order, this study examined ideational and interpersonal metafunctions in Attār’s The Conference of the Birds (Manteq-Al-Tayr-e), using a descriptive-analytical method. A number of 2900 verses in The Conference of the Birds were selected and analyzed. The results of the research show that among the 6 ideational metafunctions, the material process has the highest frequency and the behavioral process has the lowest frequency in this work. Material processes play a significant role in concretizing the spiritual evolution illustrated in The Conference of the Birds. Among the material processes, the objective and involuntary processes respectively show the highest and the lowest frequency. In the interpersonal metafunction, the high frequency of the statements indicates the poet's adherence to the truth of the propositions. As the study demonstrates, most verses have a positive polarity. Qualitative terms that express an opinion, orientation, description and justification of a claim, have a high frequency. Hence, employing Halliday's metafunctions, it is possible to recognize how Attār stands out from the other poets.

Fereydoun Tavallali was among the most significant contemporary artists who established a new genre in Persian satirical writing. Due to such innovations, he maintained a decisive and influential presence in the literary and political circles in Iran for almost a quarter of a century. Despite the passage of time and the obsolescence of the sociopolitical events of that era, Tavallali's satire has maintained its charm for the Persian speaking audience. Seemingly, a crucial reason for the fineness of his satire is his command of text-based and Functional Linguistics. Regarding Functional Linguistics, text coherence is considered as a crucial component of literary works. Michael Halliday's theory of lexical coherence and Ruqaiya Hasan's theory of cohesion and cohesive harmony are among the most practical contemporary theories through which one can acknowledge the degree of coherence and magnetism of a work such as Al-Tafasil by Tavallali. This research uses a descriptive-analytical approach to investigate Tavallali's satires, with an emphasis on Halliday and Hassan's theory of lexical coherence. The results show that Tavallali has utilized the elements of lexical cohesion to create the satire in Al-Tafasil in a way that such elements have enhanced the coherence of structure and content of his satire and given more depth to his intended concepts. He has employed word repetition to enhance the coherence of the overall context in a novel way and has also used Saj' (rhymed prose) to create coherence and cohesion among successive sentences. Tavallali’s use of paronomasia, morphological derivations and alliteration has also merged the successive sentences in a solid sequence. Regarding the harmony of words, he has also made an innovative use of congeries, contrasts and synonyms; the use of contrasts is very proportionate and synonyms are used less often. Instead of using -congeries in one sentence, they are used separately in short sentences, which brings about the higher frequency of verbs and conjunctions in the text. Tavallali has thus deepened the internal coherence of the text with an enhancement of musicality and tone and has aligned the language with his political, critical and revolutionary goals.