چکیده:
What constitutes style are several elements of language, meaning, content, imagery, and rhetoric. In the Indian style (Sabk-e Hindi), these same elements are involved in different proportions. In the present article, the rhetorical aspect of the Indian style in the realm of visual metaphor is addressed, and a type of unknown metaphor that is one of the stylistic indicators of this school will be introduced and analyzed. This multi-faceted art, which is a blend of metaphor, allusion, and ambiguity, we call 'ambiguous metaphorical allusion.' Alongside this art and for the purpose of comparison, several other unknown literary techniques will also be introduced, some of which are related to the ambiguous metaphorical allusion in terms of their rhetorical mechanism.
خلاصه ماشینی:
) Hafez has used this technique in several instances, including: زبان ناطقه در وصف شوق نـالان اسـت چه جـاي کلـک بريـده زبـان بيهـده گوسـت (Hafez, 1369: 18) دوش بر ياد حريفان بـه خرابـات شـدم خـم مـي ديـدم خـون دردل و پادرگـل بـود (Ibid: 210) However, attention has not been paid to this artifice, except that Sa'id Shafiyun, in the book "Zolali Khansari and the Indian Style," in a discussion titled "Sensory Simile and Metaphor" (Shafiyun, 1387: 40), cites a verse that possesses this very artifice: کوههــــــا ســــــالکان خاموشــــــند ســــربه زانــــو و تيــــغ بــــر دوشــــند and in another discussion titled "Metaphor" (Ibid: 43), uses a term that is very close to the intended meaning: "isti'ara-ye makniya-ye ihami" (ambiguous implicit metaphor); however, he does not pay attention to the metonymic aspect of this artifice, and although he is not unobservant of the ambiguous aspect of the metaphor, he has completely overlooked the realism in between.
معلوم شد از گرية ابرم که در اين بـاغ جــز بــاد بکــف نيــست هــوادار چمــن را (Kalim, 1336: 92) "The admirer of the meadow (havadar-e chaman)" in this poetic inference is, in the first degree, the "cloud (abr)" itself; thus, the analysis of the rhetorical device in the verse is as follows: "Admiration (havadari)" is a human metonymy and is attributed to the cloud through implicit metaphor (isti'ara-ye makniya), yet the cloud itself possesses the form of this metonymy; because the cloud is in the air, and for example, if it is above a garden, it occupies the air there and, in other words, has control over the air there; it is evident that this natural state for a cloud has no connection to the metonymic concept of "admiration"; therefore, there is ambiguity in this word, and the poet has imagined a metonymy for the cloud whose separate necessary form exists in reality itself.
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