In this paper, we have examined Knmal-Esmail"s artistic creativity in the area of personification. Regarding structure, the literary figure of personification is categorized into intensive, semi-intensive and extensive. By the same token, with respect to the two sides of personification, other taxonomies have been presented. Towards the end of this article, the cluster image of Narges throughout Esmail"s poertry has been schematically presented through an image network.

Personification is one of the most important figures of speech that are manifested in poetry in several forms. Personification usually accompanies figures of speech such as ambiguity, pun, simile etc. Personification as a kind of metaphor or simile has got two bases; 'person' and 'thing', i.e. inanimate object. Whenever we attribute a human attribute or activity to or project a spiritual state and human activity into inanimate objects, the result is personification. Personification is one of the most important dimensions of beauty in Hafiz's poetry. Hafiz personified in different ways and in numerous forms and, in fact, his skill in doing so was excellent. The most important devices in Hafiz's personification include simile, metaphor, and ambiguity that occur in the ground of metaphor.

Story is one of the important and influential literary genres that deserves to research on its structure and content. By study and analysis of a story, the reader could comprehend the contextual messages and change his attitude toward life and different issues. After defining of the social novel, the author tries to analyze plot and personification in novel of Tehran Makhuf and respond to the questions on the method employed for plot and personification by the author and analyze it from plot and its components such as conflict, suspension and resolution and compare the differences and similarities between old tales and modern novels.The plot of Tehran Makhuf is not so complex due to its subject and content and natural order of events dominates on artificial discipline and it has open plot. Of main elements of plot, conflict is more outstanding here. This novel is full of emotional and moral conflicts and there is no similarity with historical novels that describe good and bad conflicts. Cause and effect relationship is main element of plot that shadows on the story events. InTehran Makhuf, sometimes the author violates the principles and causes to imbalance in natural sequences of events, discomposing rational and experiential relationship, and takes action toward artificiality and unnatural suspension. In creating suspension by emphasis on incidences, Kazemi extremes in some cases and tries to found the story based on the considerable sequence of events and this conduct reduces quality of the story significantly and leads to imbalance in rational and acceptable discipline.Kazemi employs direct or reporting personification mostly. This novel lacks diversity in personage considerably. All characters speak in similar style and there is no particular speech style. The personification of Kazemi in Tehran Makhuf is interdependent in style of old tales and novel in European account. In some cases, he approaches to story characters specifications and in other cases, he distances from traditional personification due to familiarity with western countries particularly Russian and French writers. Indeed, it can be said that personification in Tehran Makhuf is passing from traditional to modern and western style. The characters of Tehran Makhuf are classified in two categories: the first category involves aristocrats and their purpose is power and wealth and prevention of any social shift. They are identified by traits like “reveler”, “hypocrite”, “stingy” and “rich”. The characters like Siyavash Mirza, F. Saltane, ShazdeK. and Ali Ashraf khan are in this group who are absolutely evil. The second category is identified by traits like “noble”, “loyal”, “sufferer “ and “patient” and they are common people. Characters like Farrokh, Javad, servant of Farrokh, Mahin and Efat are in this group and they are noble, humanely and good. The main and secondary personages are constant and static in this novel. They attend in the story without changing. All characters introduced by Kazemi in Tehran Makhuf are real and they reflect society realities. All the characters of this novel reflect historical and social realities of particular place and time.

Kaiser Aminpour poetry which has been compiled in eight collections consists of live and dynamic poems. In these poems particular personality traits have penetrated into objects, natural phenomena and abstract concepts, creating a sense of personification. There is a kind of correspondence between personification and the idea of "pre-operational child". Based upon the study, the following conclusions can be drawn: 1. One of the widely used figures of speech in Kaiser Aminpour poetry is personification. 2. Personification is mostly used along with symmetry. 3. In the two works of "To quote swallow" and "Such as spring, such as river", the poet makes use of the reviving of nature in spring in order to attribute this feature to natural phenomena. 4. The two works of “Flowers all Sunflowers” and “Morning respiration” involve the most instances of personification. 5. Earth, sky and wind among natural phenomena and heart and love among abstract concepts constitute the most cases of personification.

Personification is one of the most important ways of creating imagination through which we can personify objects, elements, and abstract concepts. This method is called in the literature terminology personification. This study, this imaginative element has been analyzed in several aspects in the book of Nafsat al-masdur written by Shihaboddin Mohammad Khorandezi Zeydari Nasawi that is known as one of the famous Persian prose texts. It should be noted that Zeydari paid much attention to using personification, so that he considers all the concepts, elements, objects, and natural entities in the eyes of a living organism. The writer in addition to creating imaginative and innovative images could largely be successful in conveying emotions and inducing his feelings to the reader. In the meanwhile, he benefited from abstract elements more that the other things in making personification. It should be noted that all the pictures presented in this book through the personality, apart from the two cases, are rigorous and persuasive.

As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled "the people of Saba and looting their godsends". This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished. Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events. Personification by Molavi in Masnavi for the characters is of three following methods: A) Direct method in which he explicitly expresses his ideas upon the persons. B) Indirect method in which he not only expresses the characters behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence. C) Mixed method which is an integration of the two previous ones. The tools for personification by Molana, the characters features in Masnavi and classification of the persons names in the Masnavi stories are scattered through the study

The distinction between traditional theories and cognitive semantics theory in the study of personification of objects and phenomena is that in the former this process is a linguistic one though in the latter, it is a conceptual process and a kind of ontological metaphor. Furthermore, in Cognitive semantics, the cognitive mechanism of personification and the relevant conceptual mappings are accounted for both extensively and in great detail.Considering the second approach to personification-that is, cognitive metaphor theory, this paper tries to have a linguistic analysis of abstract/non-human concepts' personification in the Holy Qura’n. The main research question is which non-human concepts of Quran are expressed with meaning components of HUMAN. Moreover, how a unique model can be found to explain the conceptual relations of Human/non-human in the language of Quran. The research data include all Qur' anic expressions of the Holy Quran in which, according to the principles of Lakoff-Johnson' s cognitive theory (1980), some non-human phenomena are conceptualized as human. The research findings show that to express some of its abstract religious concepts, Qura’n language has used concrete concept of HUMAN or PERSON. Moreover, in all NON-HUMAN AS HUMAN conceptualizations, the data confirm the principles of Cognitive Metaphor Theory.

The prayers of Imam Sajjad (AS) have a special artistic style that contribute to a great body of our religious literature. Therefore, it is essential to pay due attention to this aspect of the prayers also known as the prayer literature. In this paper, we try to analyze the imagery created through personification in the prayers of Imam Sajjad (AS) with the aim of portraying emotion, movement and dynamism. Findings from the review suggest that emotion and dynamism proceeded from personification hasn’ t been limited to human but also is used to from other animals. Personification not used in these prayers as a rheotic but it has been employed in agreement with the moral relationship with the Creator which is the very purpose of the prayers and this makes the audience find a kind of dynamic prayers and better relationship with God. In addition to brief personification, extended personification has also been used in the prayers. The elements that are personified in the prayers are beyond the mundane world and exist in the form of abstract concepts such as praise and Ramadan etc. which could be argued that they have received more attention in the religious literature and the prayer literature, in particular.

The Holy Qur’ an has in different forms given human attributes to certain objects, which greatly help the audience in a more effective grasp of meaning. The abundant occurrence of personification in the Holy Qur’ an, the various styles it is employed in and the weighty meanings conveyed through it, which are some of the requirements for a full understanding of the Revealed Word, demanded the present research that aims to find the types of personifications employed in the Qur’ an by adopting a descriptive– analytical approach and to investigate the different semantic aspects, the methods of application and the rhetorical mysteries and motives of this device. The results show that in order to communicate the meaning, certain objects are endowed with human attributes in many ayahs in different ways. In this regard, the culture, experience and life circumstances of the Arabs as well as their popular literary tradition such as employing similes, metaphors, and current metonyms are beautifully manifested in the Qur’ an. The important point is that the personifications used in the Qur’ an transcend time and place, which is in and of itself one of the causes of the inimitability of the Qur’ an.

Attributing human traits to non-human is the traditional definition of the term personification. This article goes beyond the limits of this definition. It is hypothesized that personification is a process which is formed by many factors in a context, and without considering these factors, one cannot get into an appropriate conclusion that matches up with the real nature of discourse. A short Persian story, Blind Owl, written by Hedayat, a famous Iranian writer, is chosen to be studied on the basis of discursive-semiotics, in order to show how the process of personification forms. It was estimated that the socio-cultural factor and mythical, ecstatic and nostalgic functions affect the formation of the process of personification. Moreover, discontinuity is a crucial factor that can change the subject to an object and make another kind of personification. Finally, the results confirmed our hypothesis indicating that if attributing human traits decreases, the process of personification leads to its minimal side.