Introduction: Gathic texts are a collection of religious songs of Zarothustra who lived about 1200 BC. Of the seventy two hāts (stanzas) of Yasna (one of the five chapters of Avesta), seventeen hats belong to five Gāthas. These seventeen hats have been classified into five categories based on their syllabic meter and the number of the song: 1) ahunavaiti, 2) ushtavaiti, 3)spanta.mainyu, 4) vohu.xsheara, and 5) vahishtoishti.Method: This study is a text analysis based on modern definitions of FIGURES of speech, so explication de text is used to analyze the translation of Gathas. Discussion: Fourteen different FIGURES of speech were analyzed in this paper such as: congeries, oxymorons, rhetorical questions, conglobation, apostrophe, allegory, debate, invention, allusion, decorum, and conceit. Most of the stanzas of the first four Gāthas are addressed to Ahura Mazda invoking and glorifying him, and communicating with him about both spiritual and worldly subjects, such as the elimination of evil in the world and the freedom from evil in the after-world. The nature of the Gāthas is mystical but formal poetry plays an essential part in them. The fifth Gātha shows the nature of Gāthas as didactical poetry.

Much of poetry of Iran in middle period has been composed by Manicheans in middle Persian, Parthian and Sogdian languages. These poems are praise and liturgical or mystic hymns that narrate the story of strangeness of light in the prison of Matter. In the latter, because of more connection with human, the emotion and imagination element are clearer, and the poetic art can be better observed in them. The FIGURES of speech, both FIGURES of word and FIGURES of thought have been greatly used in these poems. Apart from existing the FIGURES that are expected in every poem and are in the nature of poetry, the specimens can be seen that they are correspond even with the definitions of rhetorical books in Islamic period. The FIGURES of speech in Manichaean poems can be divided in two groups; the sound music (FIGURES of word), and spiritual music (FIGURES of thought). It has been used in the FIGURES of word field, the repetition (words, sentences and phonemes); and in the FIGURES of thought field, the FIGURES such as antithesis, amphiboly and apostrophe. It has been attempted in this article to show the quality of use of FIGURES of speech in Manichaean poems surviving in Middle Persian, Parthian and Sogdian languages, along with citing the specimens.

Language is a collection of conventional symbols. Although these symbols do not have any natural connection with what they their purport, their constant usage has made rendered them natural symbols. So the authors of LITERARY work, in order to attract their listeners, resort to this strategy and change the ordinary form of language. This change can be implemented in the structure of sentences or words; like manipulating sentence structures; deleting part of the phrase or repeating the other parts or making changes in meaningful bases of the word such as applying them in an unusual and awkward position. Sometimes, changes are materialized ignoring the principles of language use. Irony is also one of the noticeable language devices. Irony makes natural language structures unnatural by making changes in the field of implications. Predominating via use of irony is done by displacing the known structures and changing valuable bases of words. So the message is narrated by a part of the text which is not implicitly said. In other words, the author relies on the listener psychic suggestions. In Farsi eloquence, the word ”irony” is not applied, but its definition is vastly used in Farsi language; although this usage is sometimes like the usage of other Farsi FIGURES. All in all, it is known as a single type and different from the other eloquent FIGURES. Since, in Farsi writings, these differences and similarities have not been examined yet. Accordingly, this paper addresses the similarities and differences of irony with other eloquent FIGURES. Irony can enter Farsi eloquence with the same subject; of course not as an imported array because ironic words and methods have already been common in Farsi literature. In most cases, however, no title is determined for it. So, it is argued that irony is a kind of dichotomy in word and meaning or face and content which is based on opposition or antithesis and is built on an unexpected and sometimes ridiculous form.

Educational methods have always been one of the most important subjects for human societies. Among Iranian scientific and LITERARY FIGURES there are some, who have been closely involved with the process and the goal of educational ideas. Thus, it is necessary that their ideas be taken into account by methodologists for educational and training systems. We will take a look at the opinions of Farabi, Ibn Sina, Ibn Miskawaih, Saadi. This research aims to study ethics, education and training in the works of Iranian scientific and LITERARY FIGURES in relation to the efforts of Russian scientists. There are firstly some explanations on analysis of educational ideas related to ideas of Russian LITERARY FIGURES and orientalists in order to improve educational methods, content and form, then the opinions of the master of Speech, Saadi, has been studied. Focusing on the role of educational opinions of Iranian LITERARY FIGURES and applying a comprehensive research of ideas by Russian orientalists and LITERARY FIGURES, this research attempts to analyze the educational and cultural origin and principles effective on literature, and finally concludes that it has played a crucial role in recognizing the power of rich Iranian culture and literature on other societies.

Bist-o-Si news program has been our houseguest via channel 2 for years. The news headlines are the significant and sensitive section of this program. The present study tries to answer the questions “ What are the most important LITERARY usages in the headlines of this news program? ” and “ What is the purpose of LITERARY practice in the news? ” Thus, the present study first clarifies the concepts of ‘ new’ , ‘ news headlines’ , ‘ Bist-o-Si news program’ as well as the news structure and then proceeds to explain the research answers. Due to the importance of “ sentence” in the headlines of this news program, it is introduced along with the rhetorical points associated with and hidden in it. The second part of the study discusses the instances of oration and rhetoric as well as the FIGURES of speech existing in the headlines. The research has been performed through a descriptive-analytic method and by the extraction of over 800 sequential pieces of news broadcast from October 23, 2013 to November 21, 2017.

Ferdowsi, s Shahnameh, as an Iranian epic poem in its position as a cultural text, is capable to go beyond its LITERARY ground and influence a variety of different fields including visual arts. This autonomy has created a space that has been illustrated in several versions in a historically continuous trend. The artistic manifestations of the illustrated manuscripts of these Shahnamehs have been influenced by various factors. The LITERARY structure of Shahnameh, particularly the imaginary imagery, has the potential to be one of these factors. According to the authors investigations, Shahnameh of Shah Tahmasp (Tabriz II – 1537 AH) has considerably utilized the imaginary imagery (simile, metaphor, metonymy) in its visual expressions and, thus, is considered as a noticeable instance in this regard. Shahnameh of Shah Tahmasp contains 258 FIGURES among which six FIGURES that indicate the use of simile, metaphor, and metonymy as their theme were selected for data analysis. The main goal of investigating and comparing the stories of Shahnameh with visual elements in the FIGURES in Shahnameh of Shah Tahmasp was to introduce the imaginary images as the factors that influence and push forward the procedure of visual narration. The library method was used to obtain preliminary material. However, to obtain part of the data, the visual elements of 6 FIGURES – as the version, s representatives – were compared with the imaginary images of the same story in Ferdowsi, s Shahnameh and other LITERARY texts, following which the «comparison and content analysis» method was used to investigate and infer the technique applied for the graphic translation of the story’ s texts and FIGURES of speech. The research questions are: Do the visual elements in the above-mentioned FIGURES have any relation to the imaginary imagery in the relevant story and other poems in Ferdowsi, s Shahnameh? How have the imaginary images of Shahnameh been used in these FIGURES, and what is their function in the visual narration? Here, an example of the imaginary images used in a story of Shahnameh is recited. Zal, an Iranian king of Shahnameh, proposes to marry Princess Rudaba, daughter of the governor of Kabul. Her parents, despite their dissatisfaction, finally agree with this marriage. To express this event, Ferdowsi has utilized simile and metaphor. In some verses of Shahnameh, Rudaba is likened to a tree that her parents, like gardeners, have endeavoured to grow and breed and now, right at the time of her fruition, they are surrendering her to someone else. In the figure entitled «Sindokht talks to Mehrab about Rudaba» (Figure-12), the artisan, considering these verses, has used graphic simile and metaphor very delicately. To create the atmosphere and background of the figure for representing the intended subject, the artisan has used the three agricultural stages of planting, growing, and harvesting. The gardener, s working on the budded tree has been used as the representation of the hemistich «we bore so much suffering to plant and irrigate it» and picking the buds from the tree represents «only the wind can count all of our sufferings», the resultant consequence of which is a visual metaphor. The gardener irrigating the budded tree as the breeder is a simile of Sindokht and Mehrab (Rudaba, s parents who are present in the figure). The budded tree and the act of picking the buds are the metaphors of Zal and Rudaba who are not present in this figure. An indicative point that enhances the assumption of the artisan, s attention to such visual similes and metaphors is the use of the following verse above this part of the figure (Figure-13): »Though not yet come to fruition, we have to give up and surrender her to the enemy / only the wind can count all of our sufferings». Findings of the present work indicate that the imaginary imagery, as a constituent of the LITERARY structure of Ferdowsi, s Shahnameh, is the common point of the poems of the story and its illustrated FIGURES in Shahnameh of Shah Tahmasp. In order to provide a more complete visual representation of the story, the artisan has utilized the association of the imaginary imagery. The analysis of the FIGURES, the results of which are presented in Table (1), showed that all of the six FIGURES have used the imaginary imagery. In total, there are five visual similes including the FIGURES of «a dragon amidst the cloud», «the fight of the lion and the male zebra», the cypress tree and the budded tree», two cypress trees», and «the working gardener». Besides, there are 6 visual metaphors, including «the hawk and the phoenix (Simurgh)», «the river and its surrounding green area», «the fight of the lion and the sheep», «two cypress trees beside each other», «the cypress tree and the budded tree», and «picking of the buds». Moreover, the visual irony of «fastening the waistband» has been used once.

Rhetorical FIGURES have been the focus of rhetoricians' attention since the ancient era; they have also classified these FIGURES differently. Even before division of rhetorical devices into three branches of meaning, expression and rhetoric, this attention has been prevalent. Among others Ibn-e Motaz, Qodamat, Ibn-e Rashiq and Ibn-e Sanam Khafaji did some studies in this area. After differentiating Sciences of Rhetoric from one another, in the 7th century, Sakaki divided rhetorical FIGURES into FIGURES of speech and FIGURES of thought. In the contemporary era, there are other classifications which are based on the past ones, except for some additional points which is the outcome of recent linguistic discoveries. Modern poetry, and the FIGURES of speech employed in it, has drawn our attention to another classification that is the division of FIGURES of speech on the basis of their associations (similarity, contiguity, and opposition).After studying the historical classifications, this article attempts to classify the FIGURES of speech on the basis of various classifications of associations.

Hafez is considered to be one of the most well-known Iranian poets in German culture. Although there are many translations of his Divan (Anthology and complete translation of Poems), the question is do we need a new translation? Hafiz was obliged to compress all his knowledge in words, which is why his poetry is so enigmatic. Reading his poetry is like entering a labyrinth from where it is difficult to exit. Although knowing a language is mandatory for translation, it is not enough to arrive at a complete one. This paper studies the various translations of Hafez's Divan to decide which one covers both the poetical and aesthetical aspects of his poetry, and moreover introduce the best available translation(s) to German readers. The study arrives at the conclusion that we still need better translations of Hafez's Divan.

What is the difference between style and LITERARY school? They are closely related from one point of view. However, they are also different. The oldest and newest description of LITERARY school have been made according to the most reliable English sources and some comparisons have been made between them. All the branches of stylistics have been accounted for too. For instance, I have tried to elaborate on the description of Mohammad Taghi Bagher's definition of stylistics. The major difference is in the analysis of meaning and we want to explain whether it is a component of LITERARY school or not. Is the main difference between them in this component or not? If the task of LITERARY style is the analysis of language and meaning, then there won't be any difference between them. Because school covers both the area of language and the area of meaning. But, if the meaning analysis of texts isn't considered as the LITERARY style, then there will be a wide gap between them. It seems that other notions show personal style and impersonal school. However, some believe that school has a wider meaning than style. But neither of them have any fixed foundation.