Allusion is one of the most commonly used rhetorical techniques in Persian literature and especially Persian poetry. This research reviews the Allusion figure of speech in Persian rhetorical sources comparatively. Research questions are: 1) What is Allusion? 2) What is the position of Allusion in Persian rhetorical resources? 3) Why and how has Allusion been commingled with other figures of speech? 4) How does the role of Allusion aesthetics in poetry become apparent? For answering these questions, relevant information to Allusion from forty different Farsi and Arabic rhetorical references was collected based on inductive method. Obtained data was investigated based on descriptive-analytical approach. Results of the research indicate that Farsi rhetorical sources to comply with Arabic resources just rounded off with Allusion definition and by categorizing it in a subset of plagiarism does not clarify its position as an independent rhetorical figure. Because of unlimited conceptual boundaries, Allusion has comingled with other figures of speech and therefore analysis of its impact and aesthetic role in Persian poetry has been ignored…

Nowadays, the fundamental role of having a purpose for life in physical and mental health has been confirmed. According to victor frankl, presence of a purpose in life gives life a meaning and increases resilience against pains and traumas. The importance of the purpose in life construct reveals the need for a reliable and valid tool to measure it. Crumbaugh and Maholick's purpose in life questionnaire is the first and one of the most applied tools for the assessment of life's purposefulness. The aim of this research is to determine the factor Structure of purpose in life questionnaire. The questionnaire was administered on 206 students who were selected through random stratified sampling at Ferdowsi University of Mashhad. Exploratory factor analysis showed that there are two factors "comprehension" and "purpose" and this finding were confirmed by confirmatory factor analysis. Altogether results of this research showed factor validity of the purpose in life questionnaire with a two factor pattern

A real understanding of meaning power (ability) and structural sensibility of a speech which is basically an Allusion is depended on both the meaning and concepts and recognizing the Structures of an Allusion and the ways are used. It is necessary to study the styles and techniques of deepening imperssion and mental, virtual and cultural extension of Allusions and their Structures for a better comprehension of new lyrics abilities and sensibilities to create a literary enjoyment. In this article to answer the question "How are the Allusions made in new Sonnet? " by descripting and analyzing the text, Structure and types of Allusion extension in Simin Behbahani, Manouchehr Neyestani, Mohammad Reza Shafiei Kadkani, Mohammad Ali Bahmani, Hossein Monzavi and Qeisar Aminpour's new lyrics vertical axis are studied. Results show that the Allusion used in new Sonnet have dofferent Structures and they are represented in fifferent ways such as parallel Allusions, all-Allusion poem, structural Allusions, all-Allusioned poem, conversational Allusions etc. some of which are rare and unexampled especially in vertical axis of imagination. Simin Behbahani, in comparison with other mentioned poets, has applied a variated Structure to the Allusions. After Simin, Monzavi's creativities are noticeable.

There is a semi-proverbial expression in some Persian literary texts that has not yet indexed in none of Persian dictionaries –such as Loqat-nameh or any other proverb references and has been totally neglected. Accordingly it seems necessary being explained. It has been mentioned under different topics such as Ibn-e Hâjib’s lamb, Ibn-e Hâjib’s sheep, Ibn-e Hâjib’s ewe in Divans of Adib-ol-Mamâlek, Ghâ’âni, and Taghi Dânesh. The present essay is to explore the historical-fictional roots of the subject and to show that Ibn-e Hâjib in the story related to this proverb is the Arabic grammarian who lived in 6th and 7th centuries AH (12th -13th centuries AD) who linked to al-Dīn Tūsī in a legendary story. On the basis of the story, after the conquest of Baghdad and fall of Abbasid caliphate by Hulagu Khan, Ibn-e Hâjib was hiden for fear of Khawaja Nasīr due to a history of animosity with him, and Khawaja could find him using a special trick entrusting sheep to each household in Baghdad. It has also been made clear that the story is fabricated according to the reasons mentioned.

Poetic figures of speech are among the factors which their prominence in a poet’s poetry makes up his/her specific style. One of the figures of speech and poetic techniques is allusive figures of speech or amalgamated Allusions. As the name entails, these are types of figures in which Allusion is located at the center and amalgamates with other figures. Such amalgamation brings about a novel complicated figure of speech.One special type of allusive figures of speech is an Allusion which is occasionally amalgamated with metaphor and ambiguity, and at times in addition to metaphor and ambiguity with simile. The origin of this figure, which is recently referred to as “metaphoric ambiguous Allusion, is traced back to Hakim baz in Persian literature.Although, poetry of Hafez is replete with metaphoric ambiguous Allusion, it is considerably ubiquitous in Indian style in a way that its ignorance especially in Saeb’s poetry implies the denial of one of its foremost stylistic qualities.

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.

The topic of this research is study and analysis of Allusion in the Ferdowsi's Shahname. The aim's author for that, the answer has been to this question: "What are Allusion and its artistic and rhetorical aspects in Ferdowsi’ s mind and language? " The method of investigation in this paper has done analysis of content by librarical tools. The eduction of this research shows an eloquent similar Ferdowsi has been very erudition in the creation and originationu of generic and especial Allusions because he has been acquainted intelligently of rhetorical and glossal aspects and specially of creation of the image in the Allusion. Accordingly he has created generic Allusions or attractive complex este'ares in Shahname and has remained to memento the kinds of the generic Allusions such as: Implication and Symbol for persian speakers in the part of epical. Incomparable Allusions such as: "Despatch the mattress to the Gehenna", " Someone's cow to be in the leather ", " The head of the sword not to see the pod ". In this path the ascribable approach is identifying the matchless Allusions in innovative-epical genera in Shahnameh by utilizing the critique of Allusion (relinquishing explicitness theory) and explanation of rhetorical characteristics of Allusion in sixteen entries grounded in authentic sources in rhetoric. Ferdowsi is quite successful in exploiting this art to express his purpose, which is creation of an epical and literary work, and in this path has left a great asset behind him to Persian language.

Among the outstanding works of Sufism and Islamic mysticism, Matsanavi Manavi has a unique place. So that it can be stated that this book is clearly an encyclopedia of Islamic mysticism and Sufism. In Sufism, Mulana mixed servitude, self-decipline, worship, and notion with love, enthusiasm, passion, ecstasy, dance, and hearing, and he made love and illumination the primary supply of his mysticism. Mulavi's message and his presence are a heavenly present and a sign of mercy that even today, every time and anywhere man wishes, he can expose his life to its life-giving rays and adapt himself to its unchanging standards. Mulavi as a holy individual and an artist with unconventional greatness and comprehensiveness, was precise about it's spiritual effect and beauty of reality that always opened a door to divine secrets for him. He saw beauty to be the direct manifestation of God on this corrupted world, and taken it into consideration as the most direct method of awakening and connection to spiritual world. This article investigates the placement of Allusion in the third book of Masnavi with the technique of content analysis.

One of the elements through which a poet can raise the effect of imagination is Allusion. Hossein Monzavi and Behbahani are two of the contemporary lyricists who have made frequent use of Allusions in their works, which, in turn, has led to enrichment of allusive imagery in their poems.These two lyricists, have enhanced fantasy in their poems by resorting to different kinds of Allusion and by so doing have created novel meanings. Thus, what the current research aims at, is a probe into the different kinds of Allusion in the poems composed by the above – mentioned lyricists.