simile is the most basic element of rhetorical devices which metaphor and metonymy are making based on it. There are almost no poem which does not have a simile. By this way we can survey poet's skill rate and many stylistics changes. simile is the most important images among different images of fantasy that Rudaki likes it. Essentially, rhetorical devices of Rudaki's poetry is based on simile, metaphor and metonymy… and have little place in his poems. His similes are most sense to sense (about eighty percent) and similes which are rational to rational are less attention (about three percent). Most of similes are morsel namely in most cases the elements of simile are mentioned. The elements of simile that are known in Persian poetry and morsel are: cho, chon, hamcho, hamchon, chonan, chenan ke, kerdar, bar kerdar, be kerdar, be mesl, rast and asa. According to the form in simile, absolute simile has the highest frequency after subtrahend and compound. The abundance of these structures would be one of this level's properties. Respectively, similes form of Rudaki's poetry implies to trait and state, color, motion and meaning. Because the elements of simile are related to familiarity to nature and its manifestations, it causes to making most images of objects and natural elements In this paper, the author outlined the statistical analysis of simile on parties, structure and form.

In fact any new thought or idea is originated from a new perspective or experience and to express a new thought, a new language is needed and simile is the manifestation of thought and the way of thinking, imagination and the experience of poet, the representation of his ability in creating a harmony between parts, the internal and external nature and also the relation of creatures with the environment. Thus, simile in its comprehensive meaning is the cause for the changes in styles in all artistic fields specially the poetry so its analysis can represent the personal style of the poet. Attar used various expressive elements, especially simile for the expression of thoughts and spiritual concepts. According to authors of this paper, this work hither to, has been analyzed from different aspects. But few if any have done research on the simile and its various structures in this work. This study while making the readers familiar with various forms of simile in Asrarnameh, aims to investigate the status of simile in the expression of Attar's thoughts. The basis of this paper is presenting a structure according to the introduction and analysis of different kinds of similes and their structures in terms of used elements and materials, sensory and intellectual sides, compression and expansion of the structure, single and complex structure, form structure and vehicle, and methods are based on the description and analysis of the data, from the perspective of rhetorical modes. Is also at the end, based on statistical samples, the status of simile types have been shown in Attar's Asrarnamh. Doing this research we find that simile at Asrarnamh is an important expressive element for the expression of Attar's ideas and is used in a variety of forms and structures.

Emraolgheis, known as the king of the lost is one of the poets of Yemen and is considered as the pioneer of the first poets of the Pre-Islamic time. His book of poems includes 25 odes and some literary pieces. His most famous ode is“Mo’allaqa” and some individuals like Zoozani and Khatib-Tabrizi have explained it together with other Mo’allaqas, it has been published several times. Emraolgheis is the first person who has begun his odes with crying over the relics of the beloved’s tent. He is also the first to speak of love delicately, the first to use beautiful images in his poems imitated by others later, the first to skillfully use short and meaningful descriptions (image of woman, hunting scene and descriptions of horse, camel and night). His numerous travels and continuous companionship have flourished his literary talent and filled his poems with new meanings. Of all literary devices, Emraolgheis admires simile most of which are sensory. He takes his similes from nature, wine drinking and pleasure making.In general, simile and its different types are of great role in pre-Islamic poetry. Imagery is the main literary device of such poetry and no poem of this time is devoid of imagery.Emraolgheis surpasses every poet of his time in creating simileand his Mo’allaqa overflows with nice and new similes. In fact, he is the father of simile in the pre-Islamic era. That is why his similes have been imitated by Arab and Non-Arab poets.

The Joveinis’ jahangosha history is the most embossed historical work in the Mongul period, that has the literary and historical importance. Many of the Historian in seven century and even today scribers in all of the world have specially regarded to this book. Joveini with his attractive speech has presented the exact and pure imagination of three historical period of Mongul, kharazmshahian and Esmaelian. Joveyni for explaining Exppansion of the Social Situotion and Fect, historical fact, in addition to clear expression and integrated of historical facts, that has. Happen for Iranian people, set out to repeating this materials with creation of the clear imagination until to be able to draw as a skillfull painter, the pain and sads of the Iranian in the mind of reader. In the fact he has reached to highest in his obligation or responsibility. In this study by to extractioning of similes and metaphors from the first volume of joveini ’ s jahangosha history, Has been try to classifying them of diffrernce of simileis and them has indicated the assigned words and compounds to creat of similes and metaphors.

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.

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.

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.

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.

Examining imagery is a way of recognizing the similarities and differences of literary works and clarifies the style and artistic value of the work and determines the extent of the poet's power of innovation and use of the heritage of the past. Also, the attractiveness of works of art is due to the way they are structured, and this structure shows their distinction and superiority over other literary works. Rhetorical figures are the most important literary language figures in which the process of literary creation is more prominent than other language figures.simile, is the most fundamental pillars of rhetorical figures such as metaphor, metonymy and characterization are caused by it. In this study, imagery in Xosrow and Ŝirin, from various aspects such as the Modal analogy, sensory and intellectual, singular and complexity, morphology, frequent use of metaphor and simile common are evaluated, classificated, and compared, and after adjustment for a variety of similes, a scientific and statistical analysis is presented. The main focus of this study was to compare the types of similes, in terms of the aforementioned characteristics, to determine the rate of innovation and imitation of Nizami.The story of Xosrow and Ŝirin, is 5300 bits, which in 1005 bits (19 percent), the simile is used. The highlights of this research, is a new and innovative imageries in the Nizami's similes which shows initiative and creativity in bringing new meanings and themes.