Analysis and detection of stylistic elements can only be achieved by detailing the frequency of exit from the soft language. This detail requires an examination of the literary, linguistic, and intellectual details of a literary text. The element of color is one of the
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Analysis and detection of stylistic elements can only be achieved by detailing the frequency of exit from the soft language. This detail requires an examination of the literary, linguistic, and intellectual details of a literary text. The element of color is one of the cases in which the quality of its rhetorical and semantic use varies in different literary styles and periods. By examining the functions and rhetorical developments of this pictorial element, a stylistic metamorphosis can be shown. Since stylistic developments are not very accurate and possible except by considering a wide range, so by considering five styles of Persian poetry and three prominent poets from each style, the subject has been addressed. The results show that in Khorasani style, descriptive compounds resulting from colors are in sensory matters and often with elements of nature. The predominant tricks in this style are the use of metaphor. in the Seljuk style, the frequency of abstract compounds is higher and the functions of irony, allegory and symbolism are higher in the field of mysticism and social issues (with the emergence of Sanai). In the Azerbaijani style, the rhetorical and expressive industries reach their peak, and the color "bleu" becomes a means of creating ambiguity, metaphor and irony with high frequency. In this style, “haft peykar” has a special place because it also uses the symbolism of myth (in colors). in the Iraqi style, too, most sensory combinations are used to explain mental concepts.
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