Author
Abstract
One of the most common and appealing issues grabbing the attention of the critics of contemporary Arabic literature is innuendo and its applications which are not much attended to by Persian speakers. In this paper we have focused on innuendo and its applications. The questions we have raised and have attempted to respond to include: what is niq?b (innuendo) and where do its roots lie? What is the relationship between classical figures and the technique of innuendo? When using innuendo, what principles the poet should consider? How can we illustrate the process of using a classical figure and putting innuendo on his face? When did Arabs get to know this technique and with what mechanism did they turn to this technique? And most importantly, what is the function of this technique in contemporary Arabic poetry? The researcher found out that solely referring to a figure does not mean using innuendo, but it is only the first stage, the second being placing the innuendo on the figure’s face. Innuendo generally concerns classical figures rather than imaginary characters or natural elements. Using the technique of innuendo makes an enormous contribution to indirectly stating ideas and results in a work with a mysterious quality.
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