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Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

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Due to their deviation from the principles and rules of formal written literature, nonsense are the poems driving from oral and popular literature, and are a mixture of verbal and musical games that seem to have no message. Although seemingly meaningless, nonsense are full of movement and events. The interconnected notions of nonsense and their imaginative images portray a world full of enthusiasm for children, a world without rules, like the imagination that makes up for everything it wants. In order to analyze nonsense, this study uses data collection by the library method and is based on data analysis, primarily qualitative and inductive reasoning, by examining "aesthetic rhetoric," including linguistic and syntactic deviation, synesthesia, rhythmic pattern, unusual imagination, image inversion, surreal imagery, personification, animation without any temporality and spatiality, the aesthetics of deviation even with the conflict of meaning and repetition of content. The results show that nonsense are dynamic and living poems in the field of folk literature that change and adapt to temporal and spatial conditions and that their aesthetic and semantic rhetorical traits are more expressed in linguistic structures and forms. It should be noted that the semantic deviation is their proper and inseparable character at syntagmatic and paradigmatic levels.