Sheikh Baha Al Din Amoli was an outstanding scholar and mystic of literary taste in the 16th-century. Although Persian language was not considered to be his Native language, he composed poems and made speech in this language. For him poetry was a means for transferring feelings, ideas and emotions not for displaying art and this is the main reason why his poetry lacks poetic complexities and intricate imageries. This article aims to study simile in his poems which holds the highest rank because of its high frequency that is 45 percent among the imagination shapes. The SIMILES are not often creative; they have a touch of poetic intricacy and delicacy, though. The SIMILES are an attempt to make the elements tangible. So in Bahaii’s poems the SIMILES tend to be rational-sensible and he has chosen the majority of composing elements in his tenors from elements and the vehicles from concrete elements.

There are a group of poets, who have indulged in the use of strange and far-fetched SIMILES and metaphors in the Indian style to such an extent that the meanings of their words have sometimes become close to a riddle. Hence, they are known as imaginary poets. Asir Shahrestāni is one of the followers of this style. He has been considered the founder of this style in some biographies of poets. It must be said that he has employed SIMILES more than any other imageries to convey his desired meanings. Using a descriptive-analytical method, the current research was to investigate the effects of various SIMILES on the ambiguity of the meanings and themes of Asir's ghazalz. Based on the findings of this study, Asir Shahrestāni uses some approaches in using SIMILES that have a great impact on the ambiguity and complexity of his speech. Among these approaches, we could mention his skillful use of abstract elements, use of topics and images with numerous additions, and integration of the two sides of comparison with symmetries. In addition, the density of SIMILES in the horizontal axis of his poems was effective in the perpetuality of the themes in his poetry. On the other hand, it could be said that the creation of novel SIMILES had in many cases made the themes and subjects of his poetry outstanding and strange. Moreover, some linguistic and expressive slips could sometimes be observed in his SIMILES.

Besides recognized methods, one of the ways to classify SIMILES is identifying them according to artistic exaggerations poets employ. Depending on the artist"s talent and his/her artistic imagination, one may conceive an unlimited table for this quality. The artist may pursue various objectives by these rhetorical devices, including, among others, overcoming dejection, shedding behind clichés and de-trivializing of an existing simile to give it fresh life, all of which open new windows to poetry and its relevant imagery. With a view to recent theoretical principles, this article explores Saadi"s use of SIMILES in his sonnets and odes to exemplify as well as analyze his artistic exaggerations. By so doing, the authors establish the fact that Saadi achieved a personal style by deviating from the established norms of expression common among his predecessors.

One of the important tools that can be used to convey concepts and content more accurately and quickly to people's minds is the use of proverbs, SIMILES, and allegories and so on. The Holy Qur'an has used tools such as examples and allegorical metaphors to express guiding messages in a rhetorical and conceptual format. One of the best ways in which the Qur'an can explain rational teachings and spiritual concepts to people is by simile and allegory,Because through SIMILES and allegories, facts are brought to mind in simple and fluent language. There are about 500 verses in the Holy Quran that have SIMILES, allegories, allusions, metaphors and allegorical SIMILES. This article intends to study and analyze the allegorical SIMILES of the Holy Quran in the category of charity by adopting a descriptive-analytical method, after explaining the concept of allegorical simile and its Quranic function.

The Simile is core and axis of more imagery; and through which you can understand the artist's mentality and worldview and recognize the environment of his life. The climatic simile is a simile that its main elements, specially "tenor" and "vehicle" are climatic elements which taked from Poets' climates and environments. The problem and subject of this research is quality of the reflection of climate on climatic SIMILES of Lorestan poets, especially on their "tenors" and "vehicles. So in this article, the reflection of climatic SIMILES in the poems of 6 Lorestanian poets have analized and compared by an analytical-descriptive method. The results show that: the vernacular poets' works are richer than others in climatic SIMILES. The climatic SIMILES have notable frequency and include herbaceous covering in boath of men and women, but any of these groups notice to special sides of climate. Among the climatic SIMILES used in the works of the poets, the SIMILES which related to nature, including vegetation and trees, animals, landscapes of nature and the professions and jobs of Lorestan in the works of male poets have more prominent, and mention some natural elements. but in the climatic SIMILES contained in women's poems, the influence of Lorestan's culture and customs has become more apparent. And some of these SIMILES have symbolic dimentions.

The beautiful SIMILES of Nahjolbalagheh are made of innovational patterns, diverse coloration, deep sight, dynamic views, preciseness and delicacy, extraordinary symmetry and harmony, magical music, unity and extreme solidarity that comes from a deep and powerful sight and dynamic senses and rich and innovative thinking. One of the main artistic dimensions of Imam Ali (AS) in using simile is that he uses it to put the important concepts and human advises to heighten the understanding of the addressee. Quran, Ahlul Bayt, Islam, world, virtue and submission to God are among the subjects with the most number of SIMILES. Imam's art and literature and his literary images is not for art sake in his writings, all of his life is for serving humanity, guidance, direction and surviving human beings.

Nature, climate and ecological, social and cultural conditions of each writer or poet’s place of living are the main origins of the imagery in his (or her) work and no poet or writer can take himself completely far from their influences. On the basis of this, climate has been considered more or less by most rhetoricians and they have emphasized it for the correct analysis and interpretation of a literary work. Also authentic literary works can be studied in this regard and a brief look at outstanding literary works shows that the purest images in poetry and even prose genres are those originated from and inspired by poet or writer’s climate and environment of living. Simile is one of the main kinds of imagery and somehow can be considered as the base of rhetoric which is used for distinguishing literature from non-literature. Generally speaking, other kinds of imagery are based on and influenced by it. Like other kinds of imagery, and in some respects more than them, simile is affected by climate so that in literary text analysis we face a plenty of SIMILES which can be named as natural SIMILES due to their tenor and vehicle. In this article, after some descriptions of regional and local literature, local fiction and local simile, types of local simile in regional fictions are studied and compared.

In this article, we classify and search for Makhzan al-Asrar andTohfat al-Ahrar 's SIMILES from different point of view, topics, sides of the comparison, point of resemblance, words of comparison, etc. We show the theoretical and statistical resol utions of those two, after comparing the two poet's SIMILES.One of the purposes of this research is statistical studing the SIMILES of these poets and showing the amount of Jami 's initiative and imitation.Another purpose of this paper is to ob tain a complete view about the kind and classifications of their SIMILES.These poets have a tendency for human personalities and spiritual natures.

Simile represents the intellectual and mental essence of poets and writers, enabling access to their works' hidden layers of imagination and familiarizing the reader with their personal beliefs, life experiences, and perspectives on society. SIMILES are often influenced by the central interests and perspectives of the poet or writer, reflecting the prevailing thoughts and dominant culture of society. SIMILES are shaped by the personal and individual worlds of the poet or writer, as well as by the culture and beliefs of the community, thereby being influenced by these factors, whether consciously or unconsciously. Among the forms of imagination, simile has always been of particular interest to poets and writers. Houshang Moradi Kermani has also paid significant attention to SIMILES. A simile is the most important and commonly used imaginative form in Moradi Kermani stories. In this descriptive-analytical research, simile, the elements of simile, the objectives of simile, and the role of simile in the stories of Houshang Moradi Kermani were examined. The research findings indicate that simile is used to enhance the narrative elements, such as atmosphere, characterization, tone, dialogue, and internalization of the theme. SIMILES are harmonious with the language and tone of the narrator and the story’s characters, with the SIMILES used in the atmosphere of the story being more imaginative. The objectives of simile are primarily to express Situation of tenor, exaggeration, belittlement, and Imagination.

Hasht-Behesht is one of Amirkhosrow’s five Masnavids written in response to Nezami’s Haft-Peikar. By examining the SIMILES in this poem, we found that the SIMILES used by the poet were mostly concepts related to human and his belongings. Since this story has seven main structures and many palaces are described in these masnavi; Therefore, these places are topic. Nature and abstract concepts are sometimes used as image. images included nature, objects, cosmos bodies and animals are highest frequency. In terms of being sensory and intellectual, the highest frequency was related to sensory to sensory SIMILES. In terms of extensive simile, the analogies of explicit similitude  and brief were more used. The poet has used eloquent SIMILES and SIMILES  addition in his stories. In terms of being singular and binding, singular to singular SIMILES are more frequent than others. Beautiful compound SIMILES can also be seen in this story. In evaluating the simile, we came to the conclusion that the SIMILES in this masnavi are mostly singular, reality and non-allegorical. We also examined the combination of simile with other imagery and it was found that simile is combined with rhetorics such as simile, metaphor, allusion, allusineness and mythological concepts and added to the elegance and beauty of SIMILES. In the end, we also pointed out the SIMILES and novel and beautiful combinations used by Amir Khosro in this stoty. Amir Khosro has used almost all types of SIMILES in this poem, and this shows the breadth of the poet's imagination and his ability to create images.