Khaghani is a poet, who was not committed to a certain framework in his imaging styles. Thus, imaging materials are not specific phenomena in his Similes. From the greatest creation affairs through the tiniest particles and seemly insignificant phenomena might be observed in his Similes since his objective is to create beauty and embossment of those affairs, which exist objectively and subjectively in world of materials and to some extent in spiritual world as well. In this course, he has release himself from any kind of framework and or abidance, which the poets had made ones and others committed to them for imaging and aesthetic expression during past times. At any case, Khaghani has not sought for a pretext to flaunt oneself ostentatiously. In this paper, it has been tried to deal with one of Simile topics that is imaging materials in Similes, which reflects type of Khaghani’s insight and idea toward natural and metaphysical affairs and this may serve special position as one of stylistic characteristics in Khaghani’s odes.

In this article a distinctive Simile in rhetoric is represented as negative and positive Simile neglected by rhetoric scholar until now, while it has been influential in the formation of figures of speech. In negative and positive Simile, a poet first rejects similarity of a topic to someone or something, and then immediately proves the similarity of the same topic to someone or something in the opposing point of the previous image. Author of the present article has described the quality of the type of Simile relying on a number of instances in Persian literature. The oldest case of such Simile is seen in an ode penned by Naser Khosrow. The aim of negative and positive Simile, like any other Simile, is describing a topic or exaggerating on it, but these rhetoric intentions are achieved through novel ways. By providing a kind of contrast and distinction between two images, a poet focuses on their similarity leading to stronger impression and sentiment. Such contrast gives a pictorial basis of meaning. In addition, employing negative and positive Simile, poets establish connections between dissimilar individual and entities and make their readers surprised.

Shahnameh is the greatest epic work of Iran. Ferdowci versified it during thirty three or thirty five years. He composed this work in fluent persian language. In his acount and description about heroes, historical and ancient events he used Simile. By studying and comparing these Similes with these in next centuries, we nealize the chenges and development of imagery in this field. In this research we examine, explain all Similes and classified them.

The poet laurate Am'agh Bokharaei is among the poets in the early sixth century. The themes of his poems are different in accordance with the time, panegyreic and sometimes satire, lyricism and description of nature.His poetic work includes odes, quatrains and some stanzas. Most of his odes are in panegyric for Shams-almolk; but while panegyric, he does not trample on the nature magnanimity and intellectual and spiritual excellence through oriented and voracity.He is skilled at Simile and almost half of his verses contain Similes. Therefore, he should be called a Simile-oriented poet stylistically. Most of his Similes are unique and tangible. The brief, but efficient, Similes are fictional, imaginary; plural, compound, superlative, and tangible. The Similes in his poetic work indicate that he has adorned his words apparently and inwardly. That is why Anvari calls him a locution master. Since Am'agh is among the poets who contribute to changing the Khorasani style to Iragi style, we seek to study the Simile elements; its types and objectives, its closeness to eloquent and inspired resources in his poetic work and his style through referring to the statistical table of the poet's Similes.

Rhetoric is the knowledge dealing with different ways of expressing meaning. Simile is one of the techniques of it. Various definitions of Simile have been offered that all of them are based on the notion that Simile indicates the affinity between two things or persons. Particularly, it is said “ Simile in rhetoric means showing the similarity of one thing with another thing in sense” (Erfan, 1395: p. 46). Simile is regarded as the most significant element in reflecting experiences, beliefs, and thoughts of a rhetorician. Hence, it is considered as the commonest literary figure because it is “ the core of most of poetic imaginings. The different types of Simile found their origin in similarity that imagination discovers and expresses in various forms” (Pornamdaran, 1390: p. 214). Simile assists a poet to make the abstract concrete through looking at tangible phenomena from fresh angles. A major part of discussion concerning Simile turns round the point of similarity, a common feature that establishes the similarity between two things. The best type of Simile shows the most amount of affinity between the two sides. There is scanty biographical information about Sanjar Kashani. In Tazkareh Riyaz Ashoara, Aligholikhan says “ he was an artist of his time, came to India, and prospered (p. 666). Amin Ahmadrazi believes that “ in his speech and poetry he surpassed his father” (p. 1032). Sanjar died when he was returning to Iran after being summoned by Shah Abbas. 2. Methodology To approach Sanjar’ s poetic style, this study investigates all the Similes employed in his collection of poems. This study is done in a descriptive-analytic method. 3. Discussion Sanjar was so interested in using Simile with other literary figures. It causes the reader to discover the claimed similarities and to enjoy fully the artistic pleasure in his poems. In addition to Simile, Sanjar uses irony, metaphor, syllepsis. It is required to note that every new Simile can be used in one of the two ways in a literary work. First, reintroduction of stereotypical Similes. Second, creation of new Similes by the poet himself. There is no doubt that the second type of Similes are more valuable. 4. Conclusion Snajar Kashani was a great poet o Indian Style in eleventh century who employed plenty of Similes in his poetry. There is a wide range of things compared in his Similes. He was inclined to use to choose abstract ideas, human beings, and their parts of their bodies as his tenors. His vehicles mostly include objects, tools, and natural phenomena. More than half of his Similes are structurally eloquent and they have major role in the richness on images in his poetry. Though Sanjar associates Simile with other literary figures and it has caused compression of literary images, it has not led to vagueness and ambiguity in his poems. Some of the methods for using Similes are personalized by Sanjar and he connects them by symmetry. Besides, Sanjar had special interest in in words such as “ grass” and “ store” and has created many Similes using these terms. He also defamiliriazes some of common Similes by adding a new element to them. It must be noted that the images offered by his Similes are mostly static and fixed.

Simile is one of the main forms of imagination in any literature serving other forms of imagination because the principle in such images is of “the sameness” kind. Likewise, this figure is used in different forms of imagination such as metaphor, variety, expansion and freshness in the poems by Sepehri. This paper examines various views on the quantity and quality of his images, having or not having frames and classifies the allegories employed by him through reviewing a corpus of his well-known samples. The paper is based on different types of Simile in terms of bases, sensibility and wisdom of the parties, variety of the parties, etc. in order to categorize the samples. Nevertheless, in his review of the samples, the author has not limited himself to the traditional views but has also studied the new European schools of thought. One way to recognize the ideas of poets and uncover the corners of their minds is to explore the images in their poems. Accordingly, the present research has tried to examine the underlying thoughts of the poet as well as his attitudes.

BACKGROUND AND OBJECTIVES: Simile is one of the prominent elements of imageries and its investigation has a significant effect on recognition of the poet's style. This study deals with a linguistic-grammatical method i. e. Brook-Rose categorization method for deriving Khaghani's Similes in order to answer these questions: what are the prominent structural features of Similes in Khaghani's odes based on Brook-Rose categorization method? What fields are included in basic realms of vehicles in Khaghani's odes? METHODOLOGY: This study applied descriptive-analytic method. FINDINGS: Upon using Brook-Rose quintet categorization method for Khaghani 's Similes, the findings demonstrated that copula-attributive, genitive and pointing enjoy the highest frequencies respectively. Then, the genitive structure (concise Simile) enjoys the highest frequency,Brook-Rose considers the usage of preposition 'of' (an equivalent for 'اِ' in Persian language) in Khaghani's odes as a method for establishment of this relationship. Khaghani used some methods for creating novel, concise and prominent Simile in many cases,then, the third most frequent method is pointing method. Allegory method enjoys the highest frequency among other methods. Attributive method has the lowest frequency by using verb 'making' among Brook methods. The things realm is the widest realm of vehicles in Khaghani odes. CONCLUSION: Regarding Brook-Rose categorization, Khaghani used Simile in most verses for the praised, its appurtenants, and self respectively. The highest usage of attribute and transformation is for 'The Praised',then the poet's 'self' and his appurtenants are boldly present in the categorization.

Saeb's poems are full of miscellaneous and various poetic images. The fantastic image is in fact the collection of the artistic diction which is - mentioned is his poems and its major domain consists of different kinds of Similes, metaphors, ambiguities, figurative forms and subjective images. He has mostly employed these poetic images to infuse emotion or meaning. Simile is one of the various poetic images. It appears in different and various styles in speech and can be studied from different points of views. Moreover, we can classity a poet's Similes based on their subjects. In this paper, an attempt is made to study how and for what purpose Similes are used in Saeb's poems.

The use of figures of speech is the distinctive characteristic of the poetic expression as it reveals and fabricates the aesthetic vision of the artist and creates a sense of wonder in the reader through defamiliarization. The study of the figures of speech enables the readers to get familiar with the artistic vision of life as depicted in a poet’ s works. It is through the use of figures of speech that a poet creates a unique vision and image of life in his/her poetry; this poetic recreation of the world sets a poet apart from mere versifiers. The present study focuses on the use and the structure of Similes in Zolalili Khonsari’ s Odes to bring this unique feature of his poetry into spotlight. It must be mentioned here that the use of Similes as a major topic of prosody fabricates the idiosyncratic features of a poet’ s style.

Shahriyar has used imaginary imagery to understand his poetry's thoughts and styles. He links the elemental force of the elements in the universe through the likeness of the relationship, thus creating attention to sensory elements, especially nature, after expressing the human qualities in the form of mosque, are the most common themes of martyrdom. A great part of the human attributes of Shahriyar's poetry is also due to his lyrical theme. His romance narratives, which are other narrators of the narrator, are experienced by his master, so his images, thoughts and emotions are the result of his special life and his special experiences, and is beyond his control. according to the plurality of poems, the diversity of themes and poetry templates of Shahriyar, sometimes poetic pictures, shows the poet's thoughts to readers. Among the types of likenesses, the Singular Singularity has the highest poem frequency in the singular and extravagance. This research, in a descriptive analytical manner, examines the types of Similes in terms of the forms of likeness of eight, the content (imaginary and illuminated), the pillars, the compound and the singular, the sides of the analogy (sensory and rational) and the theme in all the cases of the Shahriyar. And will provide statistical and scientific analysis of each of the Similes to explain the essential aesthetic criteria of Shahriyar poetry.