Ali Ashraf Naobati, kermanshahi poet, penname to "Parto"and known as “Parto Kermanshahi”, has a collection of poems called "Kooche Baghiha". Among the six odes in this collection two called “Paraw " and "Dyare ashna" are composed following "Damavandieh" and "Sepidrud" by Malek O Shoaraye Bahar. In this study, using "text stylistics methodology" provided in Cyrus Shamisa’s general stylistics, COMPARISON of the mentioned odes has been done in three verbal, literary and content levels. The exact investigation and COMPARISON of the rate of criteria and elements in verbally and literary levels and the difference in the rate of these criteria in the above poems has shown that at least in the four mentioned odes, the language of Malek O Shoaraye Bahar is more like Khorasanian style and Parto’s language is more like Iraqi style. Bahar’s odes have proposed social, political and cultural contents and in Parto’s odes social, patriotism and anti oppression contents are proposed. The research has shown that Parto has been successful in following Bahar and in some cases has been even better than him. Also in terms of RHETORIC and imagery elements Bahar is in higher order for use the metaphor and simile, and in legal and leading Partao is vanguard.

One of the main themes in the history of Persian literature is praise which has been used by poets in different ways. RHETORIC scholars have considered praise as a technique with unique characteristics. This research investigated the technique applied in the RHETORICal works of the Persian language by using a descriptive-analytical method. There were a total of 13 arrays of RHETORICal techniques assigned for praise themes, all of which were regarded as RHETORICal semantic techniques. Among them, 3 techniques of Ebdā’ (innovation), Ta’kid alMadh bemā Yashbah al-Dham (emphasis on praising, which is like blaming), and Estedrāk (paradoxical praise) had greater RHETORICal values because of the equivocalness they created in the reader's mind. Still, the technique of Ta’kid alMadh bemā Yashbah al-Dham had been further the focus of RHETORICians and mentioned in all the RHETORIC books. Among the RHETORICal works, the book of Badāye’ al-Afkār fi Sanāye’ al-Ash’ār mentioned more praise techniques than others (i. e. 9 techniques). What was clear in this regard was the RHETORICians’ diverse and sometimes disparate opinions in terms of naming, defining, and mentioning examples of the techniques. Introduction One of the main themes in the history of Persian literature is praise which has been used by poets in different ways. As it appears from the history book of Sistan, the first Persian poem has also had a praise theme. Even one of the researchers believes that the history of praise poetry goes back not only to the time of establishing the courts’ power but also to prehistoric times. According to (Shamisa, 2004, p. 256) “praise poetry is somehow rooted in the prayers, praises, and hymns that have been written about the gods and their manifestations in ancient times". The subject of praise is one of the first critical themes in the field of literature and has been the focus of writers and critics. Qudāma ibn Ja’far considered praise as the first goal of poetry in his famous book entitled Naqd al-She'r (critic of poetry) written in the 4th century and has assigned particular characteristics and conditions for praise poetry. “Madiha (eulogy) has several parts as desired by the praisers and it is necessary to focus on the special meaning of each of these parts of praise” (Qudāma ibn Ja'far, n. d, p. 174). In this research, various ways of praising were examined in the authentic RHETORICal works, from Tarjomān al-Balāgheh (RHETORIC translation) to present a new look at RHETORIC. The main goal of the present study was to find out what techniques the court poets had innovated in order to express praise themes and how successful they had been in creating literary beauties. The basis of this research was referring to Persian RHETORICal works though in some cases, the Arabic RHETORICal scholars’ opinions were cited as well. In most of the Persian praise poems, the praised one was one of the persons related to the court, especially the king. For this reason, there were several praise techniques that were dedicated to praising this group. Methodology This research uses a library approach and a descriptive-analytical method. It could be considered the first attempt made in the field of categorizing, criticizing, and analyzing the ways of praising in Persian RHETORIC. Discussion and Results Due to the importance of the subject of praise in the history of Persian poetry, poets have used various methods to praise the praised ones. RHETORIC scholars have considered each of these methods as a separate technique and mentioned some evidence for each of them. It should be said that in this study, only the techniques related to praise themes were taken into account as there were some techniques, which were dedicated to praise and the poets could also express other themes through them. For example, San’at Moghāyira (technique of paradox), which was mentioned in Dorreh Najafi, was believed to be applied for both praising and blaming, or the technique of ‘Edmāj’ that was mentioned in the book of Abda’ al-Badāye was defined as “a technique by which the speaker addresses another issue during conveying his meaning of praise or blame or any other meanings, whether it is related to the first issue or it is of a different kind” (Gorkani, as cited in Ghasemi, 2010, p. 38). Such techniques were not regarded in this research. On the other hand, the characteristics and styles of some techniques, such as Towsim (marked praise) or Hosn-e Takhallos (well-delivered praising) are only used in poetry (although praise has been used in both poetry and prose). Therefore, since RHETORICians’ dominant focus in providing the related evidence has been on poetry, the approach taken in this study was based on poetry. The analysis of RHETORICal works showed the following 13 arrays or techniques to present praise themes,: 1) Ta’kid al-Madh bemā Yashbah al-Dham (emphasis on a type of praise, which is like blaming), 2) Madh-e Movajjah (excusable praise), 3) Ebdā’ (innovation), 4) Towsim (marked praise), 5) Ettefāq (coincidence), 6) Etterād (successive ancestral praising), 7) Estedrāk (paradoxical praise), 8) Madh-e Mothannā (doubled praise), 9) Tarjih (preference), 10) Hosn-e Takhallos (well-delivered praise), 11) Tasallof (adulatory praise), 12) Jam’e Mo’talef va Mokhtalef (collective and distinctive praise), and 13) Do’ay-e Ta’bid (eternal blessing). Of course, some of these arrays were more focused on by RHETORICians. Conclusion Out of the RHETORICal techniques, 13 techniques were found to have been used by the speakers presenting praise themes. All these techniques were considered to be RHETORICal semantic techniques. Among them, the 3 techniques of Ebdā’, Ta’kid al-Madh bemā Yashbah al-Dham, and Estedrāk had more RHETORICal values since they created equivocalness in the reader's mind. Accordingly, it could be claimed that the speakers had added to the treasure of RHETORICal techniques in the Persian language by presenting praise themes while creating literary beauties. These 13 techniques were different from those like Edmāj or Moghāyereh (contradiction), which were associated with other themes besides praise. Two techniques of Ta’kid al-Madh bemā Yashbah al-Dham and Madh-e Movajjah were found to be used by RHETORICians, the former was mentioned in all the RHETORICal books and the latter was used except in Al-Mo’jam. On the other hand, the 3 techniques of Madh-e Mothannā, Tarjih, and Tasallof were mentioned only in one book. Among the RHETORIC scholars, Wā’ez Kāshefi, the author of the book Badaye’ al-Afkār fi Sanāye’ al-Ash’ār paid more attention to these techniques by mentioning 9 of them. The least attention was paid by Shams Qais Rāzi, who mentioned only the 2 techniques of Towsim and Ta’kid al-Madh bemā Yashbah al-Dham. In the meantime, what seemed to be more prominent was the RHETORICians’ disparity of opinions for naming and defining these techniques. For example, they mention even 5 terms for the technique of Madh-e Movajjah.

The brevity of modern poetry has emerged with new direction and different structures. Contemporary poets to make approach to symbolism as a factor for the development of brevity and compactness of art and with this artistic and RHETORICal trick broaden the scope of their poem’s meaning. Then the disturbance and visual density away from their.Poems that it was a deficiency of the lyrics predecessors.In this paper, by studying brevity characteristics of symbol such as lack of symmetry, union of pictures and thought, immensity and vague message, the nature of paradoxes, total reflection in the details, gloss and interpretation, we demonstrated symbolism in COMPARISON with other types of imagery, in the concentrated expression and indirect is dedicated to the highest level.

The present article, in eight chapters, deals with one of the newest discourses on methodology of economics. After giving thanks to his colleagues in economics, the writer examines the RHETORIC of economics as a disciplined conversation. Then, the official methodology of economics has been deliberated in this article. On next chapters, the paper suggests that modernism and unofficial RHETORIC of economics are obsolete. That the RHETORIC of economics is a literary and a metaphorical matter, and that the alternative to modernism is not irrationalism, and finally the good of RHETORIC are the last discourses of it.

Literary Favoritism (Special positive intention) is one of the main characteristics of Holy Quran. At the current survey and by perfectly introducing of this literary style and review its development trend in Arabic and Persian RHETORIC books since beginning, author has tried to indicate that to what quantity and quality, three poets (i.e. Khaghani, Molana, and Hafez) have been benefited from this Quranic literary style and then demonstrated and proved by statistical and qualitative survey and analysis of some samples excerpted from Holy Quran and verses of these poets that Molana and Hafez have been approached further to Quranic style respectively while by COMPARISON among these three poets, Khaghani was farther from Quranic style in adoption of Literary Favoritism (Special positive intention).

In this paper, having examined the differnces between classical and modern text, we compare the audience"s position in these two categories of discourse. It is a truism that parallel with changes in factors governing discourse, RHETORIC takes new meanings too. Modern RHETORIC is dominated by "interpretation"; in classical RHETORIC however, exposition is the overriding element and writer RHETORIC gives place to reader RHETORIC. Here, following some relevant theoretical discussions, Persian poetry is examined with respect to the reader"s relation with the text. It is argued that understanding "Gnostic" and original modern poetry requires reader RHETORIC. Overall, based on this perspective, the contemporary Persian poetry can be divided into three classes: 1. Single-meaning poems which are often easy for readers to communicate with them. 2. Explicable poems which have one explanation. 3. Interpretable poems which have extensive ambiguity of meaning.

The ease and perseverance of Sa'di's words in the first encounter with each poet is very appealing and pleasant, especially when it becomes more apparent that Sa'di's attention to artistic practices in exploiting the RHETORICal RHETORIC in his sonnets. One of the topics discussed in the science of meanings, bound and limitation. In fact, this method is one of the factors of the emphasis in theology used to highlight and influence.The RHETORIC scholars of Arabic have pointed to various ways to create a falsehood, which in the Persian language, like other topics of semantics, has been referred to in the same way, regardless of the specific structure of the Persian language, while many of these are not compatible with the structure of Persian language. There are other things that are not at stake. In this research, we tried to investigate the linguistic structure of the false poster created in Saadi's lyrics, in Persian, what methods exist to create a confinement in the word which is considered from the point of view of the aesthetics of art, RHETORIC, and applied semantics siege of cases and generalizable laws, thanks totheartand interest Saadi, speaking in the trick also pointed out that the language and found that the language persian RHETORIC measure of artistic speech in Saadi poem lyric.

In the contemporary era, many efforts have been made to update the knowledge of RHETORIC. Therefore, the two terms "modern RHETORIC" and "RHETORIC modernization" are two of the most comprehensive terms among contemporary Arab scholars, which have occupied a significant part of contemporary RHETORICal discourse from the late nineteenth century to the present day. RHETORIC modernization refers to a series of efforts that re-examine some or all of the issues of traditional RHETORIC and make suggestions for its improvement. For the first time, Sheikh Muhammad Abduh from Al-Azhar called for updating the sources of RHETORIC, and al-Jabr al-Zumt in his writings called for RHETORIC modernization. The discourse of RHETORIC modernization has always been challenged by the discourse of traditional RHETORIC, and the beginning of RHETORIC modernization has been accompanied by a critique of theoretical foundations, methodological issues, and the analytical approach of traditional RHETORIC. From the beginning of the call to modernize RHETORIC to the present day, criticism of traditional RHETORIC has increased,therefore, reading the works done in the field of modern RHETORIC, we encounter a significant amount of criticism that requires independent scientific research to provide a basis for avoiding excesses in judging and evaluating the RHETORICal achievements of predecessors. This research has tried to examine and critique the criticisms of traditional RHETORIC through a descriptive-analytical method and has achieved the following results by examining and criticizing the critical views of RHETORIC modernization experts: The greatest criticism of contemporary scholars is the influence of RHETORIC on Greek philosophical thought and the evaluation of texts. In a sense, their most important weaknesses are summarized in the incorrect COMPARISON of traditional Islamic RHETORIC with traditional Greek RHETORIC, which have different socio-historical contexts, as well as incorrect COMPARISON of RHETORIC with contemporary critical schools that have different approaches and practical functions.