Vision in analyzing the rhetorical figure and its impact on the hearer

The literary image is a forest of symbols and intertwined artistic relations in an aesthetic style that reflects the vision of the creator and influences the recipient. The poet's imagination, passion, ideas, dictionary, the vision for the causes of the universe, the human being and the society around him are all meshed in the weave of the image; this image may dance with the mind of the recipient and deceive him, and adorn him with various artistic shapes. The science of eloquence studies some of these artistic shapes (metaphor shapes like Tashbeeh, Istia’ra, and Kinnaya). The problem that this research addresses is that if some of the literary critics (poetry, prose, and the Holy Quran) stop at the rhetorical images, they analyze them in a traditional school way, and their analysis of the picture is based on the information found in the later books of the rhetoric scientists like Al-Sakkakkie, Al-Qazwini, and Al-Teftazanni, who categorized their books for educational purposes; In other words, when they see a metaphor in a literature text, for example, they study it in standardized grammatical, as if it was a mathematical equation, and then give it the appropriate name or term according to what came in the terms of rhetoric scientists, yet they ignore the aesthetics added by this metaphor on the text, and do not look at the real artistic value of this metaphor; they forget the impact of the context in which this metaphor is presented, since we know very well that the word itself may change its connotations according to the context in which it comes. This means that the literary image is also influenced by the context and the place in which it comes in. The biggest problem is that they look at the picture in isolation from the surrounding values, ideas, music, imaginations, emotions, and feelings that beats in the heart of the poet or writer. This research seeks to simply say that those types of metaphor shapes (i.e. Tashbeeh, Istia’ra, or Kinnaya) are not an isolated island, but rather is an integral part of the fabric of the literary text in which feelings, emotions, imaginations, visions and ideas have intertwined so much that we get an integrated literary text right before our eyes, so it is not permissible in any case to analyze the rhetorical image truncated from its artistic, intellectual and cultural context; because the literary text is one body, or one organic unit, and the literary image is the heart beating with the life of the literary text, and analysis of the image in isolation from the context is misleading and will not lead to accurate