Document Type : applied research
Authors
1 Assistant Professor, Department of Persian Language and Literature, Payame Noor University, Tehran, Iran.
2 Assistant Professor, Department of Persian Language and Literature, Kermanshah Branch, Islamic Azad University, Kermanshah, Iran.
Abstract
Introduction
Ahmad Mahmoud is one of Iran’s most prominent contemporary writers, skillfully employing imagery to craft a compelling and impactful style. The novel *Zamin-e Sukhteh* (Scorched Earth) offers a harrowing account of the Iran-Iraq War and its devastating impact on the lives of ordinary people—particularly the lower classes—in Ahvaz. What distinguishes Mahmoud’s works is his social commitment and narrative authenticity. Focusing on simile and metonymy, this research uncovers the hidden layers of his writing style.
Key Questions: (1) What is the structure of similes in the novel *Zamin-e Sukhteh*? (2) How are the novel’s metonymies categorized in terms of clarity and signification? (3) What role does imagery play in depicting the atmosphere of war?
Previous scholarship has addressed characterization, regional elements, and onomastics in this novel; however, there is no independent study dedicated to its use of imagery. The present study aims to fill this gap.
Methodology
This is a descriptive-analytical study based on library research. The primary source is the text *Zamin-e Sukhteh* (Mahmoud, 1982), and the theoretical framework draws upon Shamisa (2004), Kazazi (1989), and Jorjani (2010). The qualitative analysis relies on a close reading of the text to identify, categorize, and analyze similes and allusions.
Similes are classified based on the explicit mention of the point of resemblance (*mufassal* vs. *mujmal*), the presence of a simile particle (*mursal* vs. *mu'akkad*), and their structure (simple, qualified, or compound); the concept of the "angle of simile" is employed to assess creativity. Allusions are categorized based on the intended meaning (referring to a noun, adjective, verb, or verbal noun), the degree of explicitness (hint, implication, symbol, or innuendo), and the ease of comprehension (proximate vs. remote). The influence of the wartime atmosphere and colloquial language is also examined.
Findings
The atmosphere of war plays a decisive role in shaping the similes, which are predominantly epic in nature. Examples include the sound of anti-aircraft fire likened to thunder and the roar of airplanes to a thunderclap. These similes are typically classified as *mufrad* (simple/single-term), *mufassal* (detailed/explicit), and *mursal* (unabbreviated), as both the point of resemblance (e.g., "roar") and the particle of comparison (e.g., "like") are explicitly stated.
The angle of comparison is often narrow and immediate, making the connection between the two elements of the simile easy to grasp; this characteristic reflects the use of colloquial and unadorned (or even commonplace) similes, aligning with the author's realistic style. Examples include: "The humid heat has settled over the city like a nightmare-demon," "Khomeini Street was always as bright as day," "Mohammad the mechanic [moved] like a shooting star," "Rumors gnaw at the townspeople like a canker," "Phantoms chase [enemy planes] like sparrowhawks after flies," "Mina has turned as yellow as straw," "The sun [blazes] like a furnace," and "People swirl about like a shapeless mass." Colloquial similes reflecting the language of the marketplace and the street also enhance the story's plausibility: "I toss and turn like a feverish dog" and "He has seated the passengers side-by-side like date pits." Some epic similes directly reference battle scenes, such as "people falling to the ground like autumn leaves due to the explosions."
Although simple and qualified similes constitute the majority of the imagery, the author has occasionally created novel images using compound similes—such as likening the lights of the Mahtabi Bridge to lanterns suspended from the sky, or comparing the state of "Khaled" on the verge of martyrdom to "an acquaintance cast into strangeness" and "a stranger seeking familiarity." The novel’s metonymies are primarily colloquial and rooted in folk culture; they belong to the "near" (*qarib*) category and the "gesture" (*ima*) sub-type, typically signifying an action or verbal noun. Examples include: *lulehang-e ab bordan* (carrying a water pitcher), implying the possession of prestige, power, or wealth—a "remote" (*ba'id*) metonymy of the *talvih* (allusion) type; *be zamin-e garm khordan* (hitting the hot ground), implying misfortune and despair—a "near" metonymy of the *ima* (gesture) type; and *dast az pa deraztar bargashtan* (returning with one's hand longer than one's foot), implying failure or lack of success—also a "near" metonymy of the *ima* type. In terms of signification, most are "near" metonymies of the *ima* type, representing an action or verbal noun.
Discussion and Conclusion
The findings align with the general understanding of Mahmoud’s style as a social realist writer. The frequent use of epic similes and colloquial allusions reflects the impact of the wartime atmosphere and the author’s commitment to portraying the lived experiences of ordinary people. The simplicity and accessibility of the similes harmonize with a realist aesthetic; they represent not a lack of artistry, but a stylistic choice prioritizing clarity, emotional impact, and authenticity. Compound similes, though few in number, reveal the author’s capacity for poetic imagination during moments of emotional or physical crisis. The allusions are functional in nature, conveying character traits, social relationships, and cultural values.
Ahmad Mahmoud is a prominent contemporary author, and the majority of his works fall within the genre of social realism. *Zamin-e Sukhteh* (Scorched Earth), which deals with the Iran-Iraq War, portrays the suffering and anguish of a people who resisted with valor. The author has enriched the work through his use of imagery. Findings indicate that the atmosphere of war has led to a predominance of epic similes. Structurally, the similes are categorized into three types: simple (*mofrad*), qualified (*moghayyad*), and compound (*morakkab*); similes qualified by a genitive modifier (*ezafe*) appear most frequently, while those qualified by an adverbial state (*hal*) appear least frequently. In terms of their nature, most similes are colloquial, simple, and devoid of complex imagery. Regarding sentence structure, since both the point of resemblance (*vajh-e shabah*) and the particle of comparison (*adat*) are explicitly stated in most instances, they are classified as detailed (*mofassal*) and explicit (*morsal*). The metaphors used are primarily transparent and suggestive (*ima*), often taking the form of verbs or verbal nouns; these characteristics reflect the deep connection between Ahmad Mahmoud’s language and the folk culture and colloquial speech of the people of southern Iran, thereby enhancing the work's realism.
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