Rhetoricians have introduced five criteria for the identification of allusion. The aim of this study is to verify the fourth and fifth criteria and to examine their efficiency since they have caused obscurity and confusion in recognition and identification of allusions and created inconsistency between the definitions and the nature of allusions. Regarding the correctness and effectiveness of the fifth criterion, it can be said that allusion is not realized in the form of words or compound words since it involves a compound image that is essentially embodied in an ALLUSIVE PROPOSITION. This PROPOSITION enjoys a prime meaning with an actual or imaginary instance and hence it paves the way for the connotative meaning. Allusions, therefore, should be called ALLUSIVE PROPOSITIONs. Regarding the efficiency and correctness of the fifth criterion, it can be argued that due to the imaginary and pictorial nature of allusion, its surface or prime meaning cannot always be realized in external world. Therefore, the prime meaning of allusion has sometimes an external instance and sometimes an imaginary one. Hence, according to the nature of prime meaning it could be said that there are three kinds of ALLUSIVE PROPOSITIONs: pictorial ALLUSIVE PROPOSITIONs whose prime and connotative meanings are realizable in the external world; imaginary ALLUSIVE PROPOSITIONs whose prime and connotative meanings are imaginable or recognizable in imaginary world; and POETIC ALLUSIVE PROPOSITIONs which contain metonymy, simile and metaphor and their prime meaning is realizable after uncovering the metonymies and metaphors. The prime and connotative meanings of this kind are realizable in the external world or imaginary world.

“Subjective PROPOSITION” is one of the terms that are introduced in Islamic Logic and used in Islamic Philosophy. In this paper, I investigate the term’s history and show that the subjective PROPOSITION has had many meanings in different times and had been associated with many different kinds of PROPOSITIONs. This variety and changes in meaning have caused the subjective PROPOSITION to encounter many ambiguities both in Islamic Logic and Islamic Philosophy. In this paper, I have tried to formulate the meanings of the subjective PROPOSITION by Symbolic Logic, and thereby to provide the possibility of assessing the term. In this process, we can have a better device to test the accuracy of the claims on the subjective PROPOSITION and the correctness of its use in Logic and Philosophy.

Khaghani is the great poet in twelfth century. His huge POETIC collection comprises various groups of religious, theological, philosophical, medical, astronomical, literary and mystic sciences and teachings. In versification, he was influenced by Sanaei and versified a lot of poems about admonishment, hermetic, mystic and research topics like him.Although like Molana’s Spiritual Couplets (Masnavi-E-Manavi) and Attar’s Conference of the Birds (Manteq-Al-Tayr), Khaghani’s POETIC collection is exclusively a mystic work, but in this book, Khaghani has been benefited from mystic implications, concepts and terms. Poet’s utilization technique is influenced by his individual style; namely, in this work, he has innovated ALLUSIVE case compositions with new and pure implication. In this technique of innovating composition and implication, poet’s effort has been focused further on verse horizontal axis and ode and it has not interpreted mystic concepts linearly and widely like other theosophical POETIC collections. In addition to deterministic expedience of ode form, this is derived from poet’s individual style where he tries to make rhetoric compositions by mystic concepts, terms and interpretations and draw audience’s attention toward his personal art, submerging him/ her in it.

Aristotle in his logical works, in addition to the statement, introduces the concept of PROPOSITION and defines it based on affirmation and negation in Prior Analytics. There are two issues about Aristotle's view of preposition, i.e., the interpretation of its definition, and its relation to the statement. In this article, first, three interpretations of preposition, including Alexander of Aphrodisias' and classical ones, are discussed and criticized. And because Aristotle points to the relation between contradiction and PROPOSITION, first, the definition of contradiction from Aristotle's point of view and, then, its relation to PROPOSITION are discussed. Finally, my interpretation of PROPOSITION is explained: PROPOSITION is a statement which its relation with contradiction is considered and the attention to this relation leads to the acceptation of the rule of contradiction which is the foundation of each deduction. The linguistics meaning of PROPOSITION is compatible with this interpretation: PROPOSITION is to propose one side of contradiction, and because of this, the dialectical PROPOSITION has two forms: question form the answerer and its replay as a premise in dialectical deduction.

Allusion is one of the styles of covered expression, and is one of the basic elements of illustration in the History of Vassaf. Vassaf al-Hazrah tries to make the prose closer to the POETIC prose and add to its effect by using expression elements and especially illusion. The lack of an edited copy of the History of Vassaf and its obliged and created prose has been the reason that this work has been kept away from the researchers. In this research, allusion and their artistic uses is examined, broken-down and analyzed, as one of the elements of imagination. Through the usage of the description and analysis method, firstly the ALLUSIVE illustrations of the History of Vassaf are examined from the perspective of the main words from the traditional point of view, and then allusion is reviewed as one of the factors of creation of ambiguity in the History of Vassaf. The conclusion of the given research makes it clear that Vassaf’s usage of ALLUSIVE illustrations is one of his colloquialism methods, which includes greatness of the word, which at the end brings it closer to POETIC prose.

POETIC story is a kind of art firmly connected to poetry and story and is a sign of restoration in Arabic poetry; furthermore, it is an artistic field for presenting poets’ ability in putting poetry and tale together. This genre has included many current POETIC works. Abu-Mazi as a poet with sublime human tendencies and like many other Mahjar (migration) poets has POETIC stories with humanistic motifs, but the span of his art is wider, so it contains many themes like history, legend, teaching and preaching, society, sentiment, conscience, fatherland and nation. Since he is a social poet, in his POETIC stories he finally gets to human and his noble life. Among themes of preaching he goes through human borders and sings the anthem of sublime life. We can see vividly the honesty of his soul which tries to transfer a collection of social thoughts to the audience, some of which are his personal experience but some are not. These thoughts have dominated his work and are inserted into social subjects. Teaching as well as preaching is another theme with which the poet is discovering an instrument to bring him near the love of all creatures. Meanwhile, he is not inattentive toward themes regarding nation and fatherland and narrates some tales which are impressed with homelessness and separation from Lebanon. Explicitly he ends most of his themes with stories and wise sayings which are concerned with human and his society and teach human patience, cooperation, correlation, and help and encourage him to continue his life.

In his various works, Ibn Sina has referred to different meanings of "All J is B", which his followers have called "ḥaqīqī" and "khārijī" PROPOSITIONs. Ibn Sina's examples for "khārijī PROPOSITION" are sometimes only related to the present time, sometimes related to past and present times, and his followers have extended these meanings to all three tenses: past, present, and future. To distinguish these three meanings, which have arranged from specific to general, I call them "specific," "intermediate," and "general" khārijī PROPOSITIONs. In this article, I show that for each meaning of khārijī PROPOSITION, its relation to a more general meaning of khārijī is similar to its relation to ḥaqīqī PROPOSITIONs, in that mixed khārijī-khārijī syllogisms (mixed of two kinds of khārijīs) have exactly the same rules as mixed khārijī-ḥaqīqī syllogisms.

There are at least two viewpoints upon the poetry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the poet existence, 2- inspiration is a power originated from the poet unconscious self. Theorisians and poets have spoken a lot on these two theories to accept for and against them. As the human being mind structures are not the same, naturally their treatments toward and conceptions about the same experience, be it objective or abstract, will be different. In other words, each poet, in special situation, understands the message more or less ambiguous. He does not know the origin of it. These new and to some extend ambiguous messages are mixed with the poets presuppositions in such a way that separation of “God given inspirations” or “mind made ones” is generally impossible. In this article tries to study this mind complex procedure which was generally subject of a lot of poets and art theorists’ discussion.

Due to their various applications in Iranians’ life, Musk and Nafeh (aroma) have been marvelously reflected in Persian literature. For instance, those poets who paid more attention to their surroundings, applied musk and Nafeh like many other items in their verses in order to illustrate their own imagines as well as creating fantastic images so for this reason they found unreal similarities among some of main features of musk and Nafeh and some of human characteristics and attributed a few POETIC features to them. Such type of employing musk in POETIC and literary applications varies in different eras and with respect to poets’ style. In addition to explanation of these cases in this study, we have dealt with description and depiction of musk and Nafeh shapes and some of their applications which are also effective in making such POETIC uses.