In this article a distinctive SIMILE in rhetoric is represented as negative and positive SIMILE neglected by rhetoric scholar until now, while it has been influential in the formation of figures of speech. In negative and positive SIMILE, a poet first rejects similarity of a topic to someone or something, and then immediately proves the similarity of the same topic to someone or something in the opposing point of the previous image. Author of the present article has described the quality of the type of SIMILE relying on a number of instances in Persian literature. The oldest case of such SIMILE is seen in an ode penned by Naser Khosrow. The aim of negative and positive SIMILE, like any other SIMILE, is describing a topic or exaggerating on it, but these rhetoric intentions are achieved through novel ways. By providing a kind of contrast and distinction between two images, a poet focuses on their similarity leading to stronger impression and sentiment. Such contrast gives a pictorial basis of meaning. In addition, employing negative and positive SIMILE, poets establish connections between dissimilar individual and entities and make their readers surprised.

Shahnameh is the greatest epic work of Iran. Ferdowci versified it during thirty three or thirty five years. He composed this work in fluent persian language. In his acount and description about heroes, historical and ancient events he used SIMILE. By studying and comparing these SIMILEs with these in next centuries, we nealize the chenges and development of imagery in this field. In this research we examine, explain all SIMILEs and classified them.

The poet laurate Am'agh Bokharaei is among the poets in the early sixth century. The themes of his poems are different in accordance with the time, panegyreic and sometimes satire, lyricism and description of nature.His poetic work includes odes, quatrains and some stanzas. Most of his odes are in panegyric for Shams-almolk; but while panegyric, he does not trample on the nature magnanimity and intellectual and spiritual excellence through oriented and voracity.He is skilled at SIMILE and almost half of his verses contain SIMILEs. Therefore, he should be called a SIMILE-oriented poet stylistically. Most of his SIMILEs are unique and tangible. The brief, but efficient, SIMILEs are fictional, imaginary; plural, compound, superlative, and tangible. The SIMILEs in his poetic work indicate that he has adorned his words apparently and inwardly. That is why Anvari calls him a locution master. Since Am'agh is among the poets who contribute to changing the Khorasani style to Iragi style, we seek to study the SIMILE elements; its types and objectives, its closeness to eloquent and inspired resources in his poetic work and his style through referring to the statistical table of the poet's SIMILEs.

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 use of figures of speech is the distinctive characteristic of the poetic expression as it reveals and fabricates the aesthetic vision of the artist and creates a sense of wonder in the reader through defamiliarization. The study of the figures of speech enables the readers to get familiar with the artistic vision of life as depicted in a poet’ s works. It is through the use of figures of speech that a poet creates a unique vision and image of life in his/her poetry; this poetic recreation of the world sets a poet apart from mere versifiers. The present study focuses on the use and the structure of SIMILEs in Zolalili Khonsari’ s Odes to bring this unique feature of his poetry into spotlight. It must be mentioned here that the use of SIMILEs as a major topic of prosody fabricates the idiosyncratic features of a poet’ s style.

SIMILE as the main element of imagination has a leading function in the creation of various types of poetic images. Seif Farghani is an image maker poet who, via the aid of this element, takes step in the field of innovative and fantastic image making. In this research, the SIMILEs of Seif Farghani's odes, are investigated from different aspects like types of SIMILE, materials of SIMILE, new SIMILEs, SIMILE instruments and their static and dynamic nature. Finally their statistical analysis has been presented so that, in addition to knowing how to employ expressive instruments to create poetry and their impact on the poet's style and language, the basic criteria of Seif Farghani's poetry aesthetics would be presented to the reader.This study proves that, though Seif has made use of all forms of imagination, the SIMILEs of his odes are of a different type, concerning the frequency and innovation, so that, regarding 3019 SIMILEs found in 125 odes, it is claimed that Seif Farghani is an image maker poet who has employed this element more than other elements of imagination in making imagery. In order to achieve a specific speech and style and creating novelty in imagery, he generates novel SIMILEs and, with a commitment to difficult nominal rhymes and placing them as one of SIMILE sides, innovates new images.Variety of elements used in Seif's SIMILEs shows the breadth of the poet's scientific and intellectual scope in various fields. Comparing all parts of tenor and vehicle in respect to SIMILE materials indicates that, in vehicle, the highest frequency has been dedicated to spiritualities and the lowest frequency to the historical and mythological elements. Similarly, in the investigation of vehicles of his odes, the highest frequency is devoted to objects and the lowest frequency to this world and hereafter.High frequency of singular to singular SIMILE denotes brevity and innovation as well as rich, smooth and delicate language of the poet. The frequency of bound SIMILE is not infrequent. This may indicate the point that the poet, in order to reflect his own poetic images and also renew his trite and banal SIMILEs, has bounded the tenor or the vehicle to give emphasis to them. And, in fact, he makes his SIMILE more prominent that is of special techniques of powerful poets especially those of Seif Farghani.Although the employment of compound SIMILE in the poet's poems signals their high power of combining and simulating several images, its trivial use in Seif's poet is not the result of his inability.However, it shows that he has a simple mind and prefers to utilize artistic SIMILEs and innovative images away from complexity and extreme ambiguity so as to achieve his mystic and social purposes. But this very low frequency of the poet's compound SIMILEs is also innovative, new and nice. Seif's extensive SIMILEs have a higher frequency than his intensive SIMILEs. Among the extensive SIMILEs, the detailed tenor has got the highest frequency.Since Seif wants to convey eminent messages and concepts to the audience, he avoids what causes ambiguity and complexity in form and meaning, unless discourse requires it. The frequency of eloquent SIMILE, particularly analogous SIMILE (intensive SIMILE), is enormous in Seif Farghani's odes, so that we sometimes encounter immense number of images which, in turn, requires us to name him as the most image maker among the poets.Despite the fact that Seif Farghani lived in seventh and early eighth century, depending on the poetic template of the ode, the frequency of sensory to sensory SIMILEs is more than his other SIMILEs. Since his odes is composed of social, moral and mystic themes as well as advice, as a result, the frequency of rational SIMILEs exceed that of sensory SIMILEs compared with other two types. The SIMILEs of sensory to rational and rational to rational are of low frequency. Because receiving the point of resemblance is understood sooner than the sensory vehicle and occurs easier. In this regard, his poetry is like other poets following Araqi's style.As to the formal structure, the poet has more tendencies towards reduced SIMILE. This form of SIMILE, because of the number and contention of the images, is considered as the most imaginative and artistic type of SIMILE. The images in his poems are more static rather than dynamic. Due to the angle of SIMILE and their novelty and obsolescence, the innovative and strange SIMILEs (the SIMILE with open-angle) allocate around one-third of Seif Farghani's SIMILEs. And the rest are repeated SIMILEs, a sample of which is found in works of other poets before him.

Shahriyar has used imaginary imagery to understand his poetry's thoughts and styles. He links the elemental force of the elements in the universe through the likeness of the relationship, thus creating attention to sensory elements, especially nature, after expressing the human qualities in the form of mosque, are the most common themes of martyrdom. A great part of the human attributes of Shahriyar's poetry is also due to his lyrical theme. His romance narratives, which are other narrators of the narrator, are experienced by his master, so his images, thoughts and emotions are the result of his special life and his special experiences, and is beyond his control. according to the plurality of poems, the diversity of themes and poetry templates of Shahriyar, sometimes poetic pictures, shows the poet's thoughts to readers. Among the types of likenesses, the Singular Singularity has the highest poem frequency in the singular and extravagance. This research, in a descriptive analytical manner, examines the types of SIMILEs in terms of the forms of likeness of eight, the content (imaginary and illuminated), the pillars, the compound and the singular, the sides of the analogy (sensory and rational) and the theme in all the cases of the Shahriyar. And will provide statistical and scientific analysis of each of the SIMILEs to explain the essential aesthetic criteria of Shahriyar poetry.

Saeb's poems are full of miscellaneous and various poetic images. The fantastic image is in fact the collection of the artistic diction which is - mentioned is his poems and its major domain consists of different kinds of SIMILEs, metaphors, ambiguities, figurative forms and subjective images. He has mostly employed these poetic images to infuse emotion or meaning. SIMILE is one of the various poetic images. It appears in different and various styles in speech and can be studied from different points of views. Moreover, we can classity a poet's SIMILEs based on their subjects. In this paper, an attempt is made to study how and for what purpose SIMILEs are used in Saeb's poems.

BACKGROUND AND OBJECTIVES: SIMILE is one of the prominent elements of imageries and its investigation has a significant effect on recognition of the poet's style. This study deals with a linguistic-grammatical method i. e. Brook-Rose categorization method for deriving Khaghani's SIMILEs in order to answer these questions: what are the prominent structural features of SIMILEs in Khaghani's odes based on Brook-Rose categorization method? What fields are included in basic realms of vehicles in Khaghani's odes? METHODOLOGY: This study applied descriptive-analytic method. FINDINGS: Upon using Brook-Rose quintet categorization method for Khaghani 's SIMILEs, the findings demonstrated that copula-attributive, genitive and pointing enjoy the highest frequencies respectively. Then, the genitive structure (concise SIMILE) enjoys the highest frequency,Brook-Rose considers the usage of preposition 'of' (an equivalent for 'اِ' in Persian language) in Khaghani's odes as a method for establishment of this relationship. Khaghani used some methods for creating novel, concise and prominent SIMILE in many cases,then, the third most frequent method is pointing method. Allegory method enjoys the highest frequency among other methods. Attributive method has the lowest frequency by using verb 'making' among Brook methods. The things realm is the widest realm of vehicles in Khaghani odes. CONCLUSION: Regarding Brook-Rose categorization, Khaghani used SIMILE in most verses for the praised, its appurtenants, and self respectively. The highest usage of attribute and transformation is for 'The Praised',then the poet's 'self' and his appurtenants are boldly present in the categorization.

This article deals with nature and aesthetical functions of Reverse SIMILE. First, three different types of Reverse SIMILE are distinguished and then studied in detail. The central issue of this research is the study of third type of Reverse SIMILE (Arabic Reverse SIMILE). If the relation between tenor and vehicle is well-known, the similarity of them is clear, the difference between them in characterization of the similarity is little and attribution of similarity to tenor and vehicle has previously numerous uses, then the Reverse SIMILE would be acceptable and beautiful.Reverse SIMILE may have functions such as poetic exaggeration, to avoid poetic banality and to make the vehicle subject of assertion.