Syllepsis and the determination of its types have not been a subject in some of the earlier RHETORICAL books. Mirza Abootalib Fendereski, the author of the treatise Bayanolbadi’ , is the first person who defined and explained it in Persian rhetoric, following the Arabic rhetoric. After him, other people have discussed how and why those arts have been used and determined the boundaries of this art. The results of the comparison between these definitions and opinions are as follows: A. Syllepsis has three sub-categories: metaphorical syllepsis (verbal and nominal), non-metaphorical syllepsis, and pronoun syllepsis; B. The use of pronouns is most usual in Arabic language and LITERATURE not in Persian; C. There may be several A and B’ s (two sides of a simile) in syllepsis; D. In metaphorical syllepsis, the form has a concrete and real meaning in one of the parts of the syllepsis and is conceptually rational, abstractive compared with the other. To clarify the issue, we provided examples for each of these types of syllepsis.

The Aeneid is one of the master pieces of the epic LITERATURE in the world and, without doubt, the most precious model of latin epic.In spite of the fact that this book could be considered an artificial epic, but even in this case, the truth is mixed with the fantasy, and the mythology of the poet is based upon the neglected historical facts. This article has tried to contemplate the RHETORICAL aspects of the Aeneid, using the epical text of the archaic Latin poets who were influenced by Grecian poetry. Thus, after giving a brief biography of each author, the major stylistic character which has affected the Aeneid will be illustrated. It is considerable that the classical Latin grammar with its evident difference from the Vulgar Latin had a crucial role in the formation of the RHETORICAL style in the Aeneid.

Abstract Persian literary prose represents an independent stream from the domain of Persian poetry. While it bears clear artistic and social responsibilities, it also possesses an autonomous aesthetic system. In classical Persian LITERATURE, prose has generally been overshadowed by the artistic and cultural dominance of poetry, and in traditional rhetoric, its aesthetic nuances and principles have been less thoroughly examined. This lack of attention has been so pronounced that even a clear and widely accepted definition of Persian literary prose and its works is not available within the literary community. This mode of expression has, on one hand, been the primary vehicle for thought and the principal instrument for conveying religious, philosophical, political, historical, and other concepts. On the other hand, it has assumed, and continues to bear, the significant responsibility of narration and storytelling to a greater extent than poetry. Therefore, defining its frameworks and recognizing its unique capabilities in creating literariness, and consequently influencing the audience, is of paramount importance. It appears that the rhetoric in syntax, as the most comprehensive RHETORICAL tool, alongside the balanced application of figurative primes, as well as an understanding of narrative poetics (which is independent of conventional rhetoric), could be the key to uncovering the beauty of ancient Persian literary texts. These are texts whose distinguishing literary qualities, in comparison to poetry and contemporary narrative beauty, remain unrecognized. Our hypothesis is that through the combination of RHETORICAL LITERATURE and narrative LITERATURE, one can arrive at a noteworthy criterion for assessing the literariness of ancient prose. In this fundamental research, we have endeavored, using a library-based method, to analyze three samples of Persian prose texts utilizing RHETORICAL and narrative tools to arrive at a reliable measure for distinguishing literary prose texts from non-literary prose texts. Based on the findings, the prose of Seyar al-Moluk [Rules for Kings] is literary from both RHETORICAL and narrative perspectives. The History of Sistan (both in its initial and final sections) possesses a literary narrative, but rhetoric does not predominate, and it cannot be termed RHETORICAL-literary. The prose of Zabān va Tafakkor [Language and Thought] is considered neither RHETORICALly nor narratively literary.

In order to understand the rhetoric of the Persian language and to discover its rules and principles, it is necessary to study and analyze its syntactic structures. By this manner, the order of syntactic structures in normal status can be recognized the changes that happen due to RHETORICAL purposes could be distinguished; because the syntax structures, which are the various orders of the components, are forming according to meaning and RHETORICAL purposes. Any kind of "change in the grammatical position of the components", "change in sentence form" and any "deletion or addition" in the word are the result of RHETORICAL purposes. This article focuses on Sa'di's work as a prominent example of Persian rhetoric, examining the most important fields of rhetoric through which the transfer of meaning and the induction of RHETORICAL goals take place. The purpose of this research is to identify the general fields of Persian language syntax in inducing RHETORICAL goals, each of which can include many instances. It also attempts to show what meanings and purposes are usually expressed with each of these capacities. The results show that "displacement of word components", "change in structure and formation of sentences” and "syntactic increase and decrease" are the main means used to express RHETORICAL purposes in Persian syntax.

LITERATURE, by breaking common rules in the form of RHETORICAL techniques, brings an artistic form for language and it deviates from the standard form. This can make it difficult for non-Persian speakers. The purpose of this study is to show "the aesthetic functions of RHETORICAL techniques in Persian language teaching" and "the introduction of appropriate literary arrays for Persian learning" by adapting these arrays to the results of the research in the field of language teaching, so that we are faced less likely to the deletion or simplification of literary works in Azfa's works. We showed how the literary language emerged from the perspective of Shafiei Kadkani and Safavi, then we studied the aesthetic functions of these techniques in the discussion of AZFA. After that we introduced the appropriate literary arrays in the Persian teaching, which in accordance with findings in the field of language teaching are similar to the principles of language learning, and they are: 1. verbal or musical (including phonetic parallelisms (poetry, repetition of phoneme and syllable), lexical (Radif and Tashabuh al-'Atraf) and syntax, and 2. semantic or linguistic (including metaphor and trope, metonymy, proportionality or (symmetry) and hyperbole). The result of this research, emphasizing the necessity of accurate and correct knowledge of literary language, specifies that LITERATURE despite being an artistic language and different from the standard language type, can be used as a secondary source in addition to language education in Azfa's works,because the mentioned literary arrays not only do not hinder language learning, but are in line with its goals and can help language learning.

New rhetoric and contemporary RHETORICAL criticism have so much potential to create useful and effective points of view in criticism with an educational approach. This research, using a descriptive-analytical method based on collecting library data, explained the necessities of the rhetoric of education, described new rhetoric and contemporary RHETORICAL criticism, and analyzed the efficiency of their features in response to the rhetoric of education needs. According to the results of this research, new rhetoric and contemporary RHETORICAL criticism with features including attention to both the text and the audience, moving the adjective ‘RHETORICAL’ from describing the type of the text to describing the method of criticism, borrowing from other disciplines, being unlimited in using of methods and tools and approaching to create formulas, are the most appropriate theoretical backgrounds to shaping a scientific model of criticism with an educational approach. The use of these backgrounds has requirements the most important of them is preparing the RHETORICAL matrices that relate text elements to the audience aspects.

The term "Balā ḡ at" in Islamic LITERATURE and its equivalent in the literary tradition of the West, the term "Rhetoric", has had three main meanings up to the present time: the first meaning is the Aristotelian understanding of rhetoric, which is condoned with the which relates to the Rhetoric and techniques and means of the audience's persuasion; Second, is the aesthetic or literary meaning connects rhetoric with poetry and techniques of imagination; and finally a new approach to rhetoric that tries to extend the scope of this science in such a way that the two previous concepts are combined together. "Allegory" is one of the RHETORICAL tools that have taken into account all approaches in the history of rhetoric. In other words, the aesthetic and persuasive capacities of allegory have led to pay attention to the works of rhetoric with various contributions to the concept of rhetoric. The purpose of this research is to redefine the various rhetoric's definitions and perspectives on allegory and explain its RHETORICAL power in the light of various approaches to rhetoric.