---

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.

---

The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.

---

Many researchers in the field of socio-linguistics, sociology and feminism have done research on the principle of language showing that there are some differences between the language of men and women. The question is that whether gender plays any role in literary language(poetry) and besides phonetic, lexical and syntactic levels of language ifimages, such as simile and metaphor, are gender-oriented and are influenced by the mentality of women poets.In this researchthe influence of gender on the use of simile and metaphor in the poetry of ten contemporary Iranian women poets have been studied. First, one or two collections of the poetry of these poets have been randomly chosen, and secondthe two main figures of simile and metaphor have been analyzed in respect of gender. It is concluded that due to differences between men and women, such as their social and biological background, women poets use gender-oriented similes and metaphors. Moreover, they use these types of similes and metaphors to express their romantic and sensual-emotional tendencies.

---

Simile, which appears in different modes, is one of the major subjects of a branch of rhetoric called Bayan. Some of these modes, such as intellectual-intellectual and sensible-intellectual are not in harmony with the illuminating   role of simile; therefor, the books on Bayanhardlyhave positive attitudes towards these modes of simile, but contrary to this attitude, such similes appear with a high frequency in some literary ages and some Persian texts. By critiquing and analyzing the intellectual similes in Tarikh-e-Vassaf, this article tries to study the reason why these similes were widely used. This research shows that Vassaf’s tendency for this mode of simile was because of his penchant for breaking with tradition and departing from the literary norms, widespread desire for innovation, the limitations of creating simile’s by the restricted views of ancients, general inclination for circumlocution, and a tendency to use the exaggerated forms of imageries. By using artistic elegances,the author of Tarikh-e-Vassaf has tried to elude the negative consequences of these similes, yet he has not been successful in all his efforts. Moreover, one of the important reasonswhy the text is abstruse and obscure, is the high frequency of intellectual similesin this text.

---

Through a rhetorical system, poets’ and writers’ worldview is reflected in their literary works. One effective factor in forming or changing these viewpoints is the happenings and changes of the world poets dwell on different levels. Simile is an important structure in the rhetorical system. In this piece of research the writers have tried to show how structure of simile in Bidel reveals transformations in the texture of situation on different levels through establishing relations with other rhetorical structures. Moreover, the research also investigates how vivid or subdued transformations in the current period affect the horizon of expectation of previous ages resulting in the formation of new horizons. In this article, the poems of Bidel are regarded as a field the intrinsic transformations in which can be attributed to other fields such as Hindi style of poetry. Through this study, it became obvious that not only the poet (Bidel) sometimes creates new structures out of old similes, but also he establishes new structures by creating chains of similes networks, resulting in the abundance of syntactic images, or  several images using multidimensional words, etc. In the following article, situational texture of Safavid era, linguistic texture of Hindi style, its common simile structures, and at last, new simile structures and their features in Bidel’s poems are studied.
 

---

Simile and allusion are two rhetorical aspects that have been taken into consideration by the scholars of rhetoric since long time ago. Some of the Iranian poets have used the capacities of the Persian language and integrated these aspects to create a modern rhetoric which in this study is introduced as rhetorical simile. The objective of the present study is the investigation of this rhetoric in 1340s poems and some of early 1350s works of Shafiee Kadkani. For this purpose, “a mirror for sounds” including “whispers”, “night reading”, “from the leaf”, “in the garden alleys of Neishabour”, “like a tree in a rainy night”, “from existence and singing”, and “Booye jooye moolian” are studied. The objective of this study is to introduce the features of this rhetoric such as defamiliarization, highlighting, succinctness, non-translatability, validity, and assigning them to Farsi, which is done in Persian literature for the first time. Introducing the implicit relationship of these similes and the themes of Shafiee Kadkani as well as his capability in employing the rhetoric constitute another objective of this study is investigating the use of descriptive and analytical method and content analysis. Placing mythological, religious, mystical, and scientific personalities in these similes show the awareness of the poet regarding rhetoric. This justifies the frequency of such similes in his poems, his innovations, and observation of the semantic-thematic proportion of the poems with these rhetorical aspects.