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Sadi is one of the few Persian poets whose fame and eternal presence in the Persian culture rests mostly on the effect of his works. This study is an effort to investigate the relationship between his didactic, rhetorical, religious and ethical poems and the principles of the Ash'ari school of rhetorical thought. To this end, we will define the discipline of rhetoric and mention its characteristic features as well as the reasons for its emergence and development, and also the probable weaknesses and failure of the Mo'tazele and Ashare. The two dominant schools of rhetoric in the Islamic civilization will be given special treatment. However, in the final section of the project, entitled "Sa'di's school of Rhetoric" the historical background and the reasons for Sa'dis tendency toward Ash'ari school will be explained.  Finally evidence for this tendency and reflections of his Ash'ari thought samples will be extracted from his poems and will be classified and explained under the common rhetorical topics such as "divine sight", "divine justice", and "determinism and free will

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According to Ferdinand de Sossur- the well-known linguist- the philosophical-intelectual tradition of the west from Plato and Aristotle’s age, and even before them, up to the 20th century has been influenced by a polarity approach that preferred speech to writing. Accordingly, the complete transfer of meaning was considered to be possible through speech, Meanwhile, writing was considered as a branch and a substitute for speech. A brief look at Islamic Iranian history and culture may indicate that despite the differences in the basics and methods, we find a clear preference for speech in the discourse of thoughts of the classcal languge and literature. More specifically, Nasser khosroo established and organized the important theoreical principles so that the dominant mechanism of speech prevailed in the fields of Islamic rhetorics in  general and Persian rhetorics in particular for many centuries. This article will elaborate on this issue.     

             

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This study attempts to indicate that ‘exclusivity’ is not organized adequately in semantic books. In these books, there is not a clear- cut boundary between different kinds of literary exclusivity; moreover its categorizations are based on the reader^,s’ mastery over the speakers or the addressees’ intentions. After analyzing and categorizing the three groups cited in semantic books, the author concludes that the real non- claiming exclusive sentences should be analyzed in the realm of language studies, and unreal daiming sentences in the realm of literature. Furthermore, a change in the tone of reading or the stress in pronunciation determines the adjective and noun or the noun and adjective. In order to clarify exclusivity of ‘singularity, metamorphosis and identification’, accurate identification of the addressee is highly necessary. Finally, the position of exclusive sentences and implications is not clarified. It is suggested that when teaching or analyzing ‘exclusivity’, the five fields of discourse analysis, literature, knowing the addressee, sentence recognition and implicatures must be taken into account.

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Daqayiq al-Shi’r is a Persian rhetorical book which was composed in the eighth century A.H. This book was published by Mohammad KazemEmamsome years ago. However, investigating its different manuscripts, a new version of the work was found which includes some different and new parts in comparison with the published version. Given the genealogical discrepancies of the manuscripts of the work and some other old resources, this article attempts to present some new information about the composer, his patrons and the place of composition of the work

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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.

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One of the stylistic features of Hafez’s sonnets is the repetition of a part of the meaning of the first line in the second line. His knowledge of the rhetorical and semantic relations of vocabularies enabled him to repeat the meaning with the least verbal repetition. One of the ways that has helped him to achieve this goal is replicating the concepts in two parts of the couplet based on rhetorical relations between them. The replicated concept, in addition to referring to the first concept or a part of the meaning of that, retains its original meaning. We call this method "Rhetorical Replica" (Badal Bilaqi). In this research, based on the three traditional offices of rhetoric, we have categorized different relations existing between the two sides of the replica. In Hafez’s poetry, methods of arranging the “rhetorical replica” vary. Sometimes Hafez substitutes a few concepts for each other in a verse and creates several rhetorical replicas. Sometimes he creates several rhetorical relations between two concepts, and extents the domain of significance. Also, occasionally he replaces a concept with multiple references which generate numerous significance and ambiguity in the poem. In what follows, through examples from Hafez, the authors of this paper categorize and explain the multiplicity and diversity of rhetorical replicas in his poetry. The frequency of rhetorical relations on the two sides of the rhetorical replica in the three different offices of rhetoric is as follows: invention, 3%; arrangement, 69%; and style 28%. About one third of Hafez’s poetry contains rhetorical replica. And, the high frequency indicates that this is a stylistic feature in Hafez’s poetry.
 

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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.
 

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 Niẓāmī Gandjawī’s “Ḵosrow o Širin” the poem is one of the most prominent works of genius and fiction in Persian literature. Although the articles on the structure of the narrations of this poem have already been written, But in using rhetorical instruments to persuade the audience and, as a result, to suspend, No particular research has been done on this fiction. In this article, First, we have defined the persuasion in various sciences and its role in the history of philosophy and rhetoric And then a brief glance at the definition has been suspended to clarify how rhetorical practices can serve to suspend the story. Suspicions in the story of Khosrow and Shirin are largely the result of the poet's use of the rhetorical techniques used to persuade the audience. This suspension, which in fact causes the coward and the distance between lover and beloved at different intervals of the story And on the other hand, it creates expectations in the reader, there are many stories in different sections. In this article, two sciences of meaning and expression have been used to examine the role of persuasion in creating suspense. It was enough from the meanings of science of meanings only to the secondary meaning of the word, namely encouragement, perseverance, warning, blame and blame, and reverence and bow and from expressions to similarities, metaphors, and parables, because their role and effect seem to be more tangible to achieve the desired result.

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Verse and prose have had proponents and opponents in the literary tradition throughout history, and each group has argued for or against the other. By overcoming this dual opposition without taking the side of poetry or prose and adopting a philosophical and aesthetic approach, Abū Hayyān al-Tawhīdī revealed other aspects of the relationship between verse and prose. Quoting the opinions of the advocates of poetry and prose, the present paper objectively analyzes the monotheistic meta-dualism approach in Al-Imtāʿ wa al-Mu’ānasa using a descriptive-analytical method. The results indicate that by rereading the works of the proponents of verse and prose, Tawhīdī believes that the final word cannot be stated about poetry and prose. Moreover, after explaining the nature of speech and its types, he mentions the advantages of verse and prose in the words of their advocates: e.g., verse is creation and the general public does not attain it, while prose is realized faster and attracts the general writer for its convenience; prose needs poetry for adornment, but poetry does not need prose; the poet has an infinite horizon ahead while the writer has a limited field, and prose is the foundation of speech but poetry is its derivative; prose is free of obligations while poetry is full of poetic requirements; prose borrows from wisdom but poetry borrows from emotion; and despite the formal beauty of verse, prose is more original and noble. Finally, he concludes that both verse and prose have undeniable virtues and the best type of speech is one that its form is something between verse and prose while it is neither verse nor prose.
 

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