زهرا نادعلی

According to rhetoricians, metaphor is more eloquent than other expressive tricks and techniques such as simile and metaphor.Because in metaphor, simile is forgotten and is claimed to be vihicle same tenor. European speakers have considered it the queen of virtual similes and the main form of permission. Exaggeration in simile and illustration and creating an important purpose of any metaphor.Thus metaphor is at the highest level of rhetoric.In the present article, which is provided by a descriptive-analytical method, a corner of the functions of metaphor in explaining and depicting the resurrection and its circumstances was shown.This article seeks to answer the question of whether metaphor is useful in explaining the verses related to the resurrection.Based on the findings of this study,the God has used metaphor for purposes such as visualization in order to guide human and to better explain and influence the word on hearts.Among these, the use of submerged metaphor and allegory is more.

In every language, there is always a consistent relationship between sound and meaning and the way phonemes are used in inducing concepts. In the science of linguistics, there is a field called "phono-semantic" based on the coexistence of the phonetic structure of words and the correspondence between sounds and meanings. And in translation as an inter-linguistic and communicative act, it is very important to pay attention to the form of the source text to convey the meaning. The prayers of Imam Sajjad (AS) in the blessed book of Ṣaḥīfah Sajjādīyah are full of pure concepts for worshipping God and have a pleasant and soulful music that has been translated by translators into different languages. In the supplications of Ṣaḥīfah Sajjādīyah, the details of the phonetic level are difficult to translate due to the special features of listening. Therefore, in addition to conveying the meaning, the translator should also pay attention to the phonetic features of the words. In this literary essay, with the analytical descriptive method, the author has criticized four levels of phono-semantic: alliteration, minimal pairs, word plays and rhythm in three translations by Sayyid ʿAlī Mūsawī Garmārūdī, Ilāhī Qumshiʿī and Abdul Muḥammad Āyatī.