Combining the word “Habl” with other words, especially “umm,” has led to relatively critical metaphorical interpretations in the Arabic language and the Narrative literature. Achieving the exact meaning of these Narrative Allusions is complex for the audience, and sometimes, the apparent meaning of the phrases is unusual. Therefore, we should choose the correct semantic equivalent of these interpretations. This study aimed to find the modern match of the phrase "هَبِلَتکَ أمُّک" (habelatka ummuk) and “similar meaning,” by examining the ancient Arabic texts, scholars’ views, the discourse space of earlier texts, the issuance contexts of Narrative texts, and analytical comparison of data. The results indicated that using these terms in Arabic literature is different from common languages such as Syriac, Aramaic, and Hebrew, the monopoly of this interpretation in curse and guilt is not prevalent, these metaphorical interpretations have various uses, different expressions of wonder, warning, praise, benevolence and reprimand instead of guilt and curse in the Narrative conceptology are applicable.

Allusion is one of the oldest and most used rhetorical figures that enriches the semantic and linguistic beauty of poetry. However, in contemporary literature and poetry, the growth of literary knowledge and the development of literary criticism studies has led to variety and complexity of the use of this literary figure in poetry whose examination and analysis of structural delicacies and their mechanisms require more accurate studies with new approaches. Therefore, the present study seeks to investigate structure of Qur’ anic-Narrative Allusions in poems collection of Shafiee Kadkani in a new approach through descriptive-analytical methods in order to find out based on which form techniques, Shafiee Kadkani has used Qur’ an narrations in his poetic Allusions and therefore, what types of allusion can be seen in his poems? According to the results, Shafiee Kadkani is a poet who in his Narrative-Qur’ nic Allusions has used different parts of famous and well-known Qurchr('39')anic stories innovatively with varied and complicated structural and artistic transgressions which has created different kinds of simile, structural, ironic, multi aspects, combinational, echoic, and Proper naming allusion in his poems.

This article examines Lord Byron’s Allusions to Persian literature, history, culture and its ancient religion. The influence of Persia on Byron is considerable. Byron was greatly influenced by orientalists such as Sir William Jones and their translations of Eastern literatures. After examining Byron’s Allusions to Persia, one realizes that Byron’s attitude with regard to Persia appears to be ambivalent. Byron dismisses the Persian king, Nader, as the “costive sophy”, but reveres the Persian poet, Hafiz and mentions other Persian poets such as Ferdowsi with great respect. Sometimes he refers to Zoroaster’s religion as “devilish” and sometimes Zoroaster figures as a good person in his work. Byron makes use of the Zoroastrian Janus-like philosophy in explaining some of the predicaments that his characters face in life. Zoroastrianism provides Byron with a metaphor for the two confused sides of his characters’ nature, the one which struggles towards the light, and the one which, at the same time, involves characters in darkness and destroys them.

Khaqani (520-595 A.H.) a famous Persian poet has precious odes (qasideh) and meaningful, complicated poems and is considered as an outstanding poet in Azarbayjani style during 6th century.His poems are full of scientific subjects, religious terms, and can be considered as an encyclopedia of Koranic education and hadith (the words and deeds of prophets and Imams). His mastery in various sciences and application of them in his poems in addition to his creative mind has made his works more complicated. He includes plenty of piousness and moral terms in his poems by using ahadis and the verses of Koran. Undoubtedly mastering Koran and explicating it is a key to solve the complexity of this magic poet. This article studies how he has used Koran and divine meanings in the second odes of khaqani. It should be mentioned that a brief explanation about the poet, his relationship with Koran and an introduction to the second odes are given.

This paper tries to explain the mystical Allusions in Hafiz’ s sonnets according to Islamic thoughts, exclusively in NahjulBalaghah, in descriptive analytical method and use of index cards in library searching, out of various source books, as well as the personal implication of the writer. Some of Hafiz’ s sonnets taken into account in this paper relate that the spirit of humankind is captured in the cage of body, and of liberated, it will ascend to its authentic source with this idea that the material world is a barrier for itself to get into the world of spirituality and the divinity. In addition, with reference to NahjulBalaghah and verses of the Quran, the sonnets draw a picture of the process in which the spirit returns to its divine source with a more rational and intelligible explanation to the reader; moreover, grown out of the Quranic school and affected by its cognitive teachings, Hafiz reminds the reader of the detachment of soul from its everlasting source by a very heartfelt narration.

William Shakespeare is an allusive poet. His Allusions include not only Western but also Eastern history, culture, and mythology. The present paper deals with Shakespeare’s Allusions to Persia and its history and culture. His Allusions deal with both pre-Islam and post-Islam Persia. In comparison to Shakespeare’s references to “others” (e. g. Turks, Jews, and Moors), his Allusions to Persia both pre and post-Islam are general, succinct and superficial. The present paper tries to show how Shakespeare came by his contemporary Persia) the Safavid Persia on the one hand, and tries to contextualize Shakespeare’s knowledge of Persia, on the other hand. Concerning pre-Islam Persia, Shakespeare got his information from two main sources. One, from the books written by Greek historians which an English translation was available and the performed plays that dealt with pre-Islam Persia at his time. Other, he received his knowledge about post-Islam Persia (especially the Safavid Persia) through travel-books notably written by Richard Hakluyt,  Anthony Jenkinson and the Shirley Brothers.

Shahnameh is counted one of the numerous literal masterpiece in the world with regard to it's rich content from one side & its importance in the Persian language on the other side. It also is the oldest work that has been reached to us thoroughly & having a great impact on Persian literature.in this unique work Firdausi has used the power of imagination to pose his thoughts, opinions. also various kinds of imaginations has an artistic reflection in his parturition like. In addition he has used the irony as the most natural and powerful way to express the meanings in comparison with other forms of imaginations. This article is a historical part of Shahnameh on gathering and setting the existanced ironies that is along with witness. The result is that the most of extracted ironies in the mentioned part of the current ironies i.e Allusions in it are usable in today's life & some of them are just specific for Shahnameh that can be applied in other poetical & heroic works.

Shahname is regarded as one of the literary masterpieces In the world with regard to its rich content on the hand & its importance in the Persian language on the other. It is also the oldest work that has been reached to us thoroughly & has had a great impact on Persian literature.in this unique work Firdausi has used the power of imagination to express his thoughts and opinions. Also various kinds of imagination have an aristic reflection in his work. In addition, he has used irony as the most natural and powerful way to express meanings in comparison with other forms of imagination. The article aims at collecting the ironies along with examples in the historical part of shahname.the results show that most of the collectes ironies in the hidtorical part are verbal ironies and Allusions which are used in contemporary works and some of them which can be allpied in othe poetical and heroic works are just specific to shahname.

Many books and articles have already been written on the beauties of the Hafiz poems.Dealing with some new ambiguities and Allusions in Hafiz poems, the author explains the traces of such literary devices in Badr-e Chachi, a poet from 8th century AH.