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The Nahj al-Balagha (Arabic: نهج البلاغة‎ Nahj ul-Balāghah) (“Way of Eloquence") is the most famous collection of sermons, letters and narrations of Imam Ali. This book is Known for its eloquent content and considered a masterpiece of literature in Arabic language and literature. This valuable book many times has been translated into Persian by capable translators and scholars. One of the most famous Persian translations of Nahj al-Balagha was done by Sayyed Jafar Shahidi, distinguished scholar of the Persian language and literature and a renowned historian of Islam. Nahj al-Balagha employs many stylistic, linguistic and rhetorical features, and this use of linguistic and rhetorical features such as simile, metaphor, irony, challenges the translators of Nahj al-Balagha. Meanwhile Shahidi’s translation of Nahj al-Balagha has been a faithful translation in a way that he has tried to convey it faithfully on the one hand, and to find the exact Persian equivalents on the other hand. Using the descriptive and attributive method, this article analyzes the diction, figures of speech, and literary graces of the 114 elementary sermon of Shahidi’s translation. Shahidi has carefully translated figures of speech of Nahj al-Balagha into Persian, to some extent that, the eloquence of this translation draws everybody’s attention.  Shahidi has benefited from the Baligh simile and Makniyah Metaphor frequently. He has also used different types of figures of speech and rhetorical features such as rhyme, symmetry, contrast… which makes this translation more valuable and precious. And finally the authors have come to this conclusion that the rhyme is the most striking feature in this translation.  

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From ancient times, poets and writers have used rhetorical techniques and indirect expressions to convey their concepts. The use of these techniques is one of the fundamental differences between artistic language and other common language types such as scientific language, that is the language that tries to convey the concept to the audience with the most explicit terms and far from ambiguity. In cinema as a modern art, which has a deep and inseparable relationship with literature, figures of speech always help cinematographers to convey the concepts. The cinematographers, knowingly or unknowingly, supported by the linguistic and literary culture in which they have been raised, use these devices to illustrate their purposes.
The role of literature in cinema can be examined at three levels of language, image, and content. This study, focuses on the images and the case of “Taste of cherry” directed by by Abbas Kiarostami as one of the most prominent Iranian artists in cinema in order to use the images, their role in conveying the concepts and figures of speech used in the film. Investigating figures of  speech in the image of a cinematic work makes the audience closer to the intellectual world of the filmmaker, reveals how his works interact with written literature, gives a deeper understanding regarding the link between the two arts, and shows the influence of the past written legacy in the cinema, as the most recent human art.

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The relation between human being and the world, has become the center of attention since the appearance of the Romanticism movement in 19^th century. By the second half of the 20^th century, the science of geography developed and the human aspect of the geographical space was studied more.
Maurice Merleau-Ponty, the phenomenological philosopher of 20^th century, believes that the relation between man and its environment is based on his sensitive experience which inspires poetical ideas. In his point of view the human body can be considered as the common point between the consciousness of the author and the world around him. He also thinks of the physical aspect of the language, as the exceptional style of the writer. In fact the language incarnates the idea of the author’s viewpoint and indicates his relation with the world.
 Michel Collot, inspired by Merleau-Ponty, propounds the concept of “landscape” in the literature. He claims that the description of a landscape depends on the spiritual attitude of the writer as well as on his physical situation. He declares that the language and the style of the writer are highly influenced by the emotions he receives from the world around him. The man who is situated in a landscape, is related to the world by all his senses with whole body.
 Here in, we study the confluence of human body and the world within the novels of Julien Gracq, the 20^th century French writer. His descriptions of landscape represent the human aspect of the space. With the help of figures of speech such as personification and metaphor, he tries to find the relation between human being and the world.
In this paper, the main problem is how the interaction between the human being and the world around him is manifested in the novels of Julien Gracq. Indeed by the help of literary devices he tries to connect the human roots to the earth; this relation is based on the sensitive experience of the artist in the world and represents the triangular unity of me (the artiste), the world and the words which is mentioned by Michel Collot inspired himself by the phenomenology of Merleau-Ponty.