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Parrot is a well-known bird in Persian poetry, and various features of it have been implicated in literary themes and poetics. Scrutinizing literary works represents how Persian poets, living in different geographical regions, knew the natural and biological features of parrots closely and utilized them to create literary images, similes, and rhetorical associations. However, the bird is not native to Iran. In this article, by examining Persian poetry, we show how much the natural features of the parrot are helpful to study poems, enlighten their elegance and minutes, and help to unravel the text difficulties. Perusing cases found in Persian poetic texts shows that among the natural features of parrots, physical and visual ones play a significant role in constructing rhetorical images based on similarity. Meanwhile, the green color has created one of the strongest and most diverse networks of associations around parrots.Keywords: Ancient Zoology, Green Color, Parrot, Rhetorical Association. IntroductionAnimals have always been present in Persian folklore, fiction, didactic and mystical texts. Thus, there have been many possibilities to deal with them in literary research. In these studies, animals are usually treated with mythological, symbological, and genre approaches. Meanwhile, birds have had a particular place in allegorical-mystical interpretations due to their relationship with some mystical texts called Risala-ut-Tayr. Among the birds, the parrot is one of those that has received specific attention for some reasons. Here, we intend to distance ourselves from such literary research by focusing on the natural and biological aspects of the parrot, to show how Persian poets have been able to create delicate and accurate images by using their innate knowledge about this bird. Some of the knowledge has become so familiar due to repetition, as if it were free from explaining and clarifying its origins. One of our goals is to show these origins and document them with literary evidence. Showing step by step how a natural feature in a parrot brings the poet to create complex images helps to solve poetic problems and understand the intricate imagery of poets.These are our two main questions: How does scrutinizing the nature of parrots help the researcher to better figure out the images and rhetorical associations in which the parrot plays a role? And, is it possible to recognize a pattern or a procedure in the rhetorical depictions related to parrots? Literature ReviewAs we mentioned in the introduction, due to the role of animals in a significant category of narrative, didactic and mystical literary texts, many types of research are relevant to animals in different ways. As one of the prominent examples in this rich background, we can point to one of the chapters of the book Ramz va Dastan-ha-ye Ramzi in Persian literature by Taqi Pournamdarian (1364), which deals with the treatise about birds (Risalat-ut-Tayr). In this chapter, he speaks of birds as the codes of the sublimation of the human spirit. Another piece ofresearch about animals is An Investigation of Animal Stories in Persian Literature Up to the 10th Century, written by Mohammad Taqavi (1376). In this book, Taqavi has divided and analyzed the stories told in the language of animals as a type of literature, considering their relationship with didactic literature. Apart from such works that have generally dealt with animals or birds in allegorical or genre approaches, some studies focus specifically on parrots, i.e., texts in which parrots are the main characters. Yet, these studies are mostly restricted to structural or narratological studies. For example, we can refer to two articles: "A Discussion in Folk Literature: A Brief Analysis of Parrot Tales" by Reza Anzabinejad (Journal of Persian Language and Literature, 1354) and "A Narrative Analysis of Parrot Tales" by Mohammad-Reza Haji-Aghababaei (Literary Text Research, 1396). Fatemeh Mehri, in her paper "Role of Parrots in Indian Storytelling and Creating Mystical Themes in Persian Literature" (Kohan-name-ye Adab-e Parsi, 2019), shows that the root of some mystical and fictional themes about parrots in Persian literature could be traced to the sacred figure of the parrot in India.As can be seen, in this research, the examined texts are often narrative and mystical. So they comprehend the parrot, more than anything else, as a symbolic and allegoric figure. In the works related to animals in Persian literature, no place for independent research clarifies the relationship between literary images of animals and their natural and biological image. The present article examines the literary role of the parrot by considering its innate features. This new arena requires us to focus on various texts to clarify the roots of images and rhetorical associations about the parrot. In this way, this research explores a new field in terms of the examined texts. MethodologyWhen we talk about rhetorical association, we refer to discussions related to "associative" relationships between the elements of language. Saussure (1378: 180-180) was the first who talked about it in the field of linguistics. Later, this "associative" relationship became the basis for talking about the conceptual metaphor in literary studies. In linguistics, this relationship refers to the relationship between linguistic units, which can be used interchangeably. In the works of theorists such as Jacobsen, who used linguistics to study literature, this associative relationship, or as it was called later, the relationship in the axis of substitution (see: Safavi, 2010: 2/26), is the basis of "choice" in literary language, which is based on "similarity" and forms similes and metaphors (ibid., 2/147). Examining the literary choices, it becomes obvious that there are other components beyond mere similarity that play a role in literary choices. These components usually come from outside the language and may differ from one society to another. Safavi (ibid., 2/151) refers to these components as a "cognitive system" and explains it by citing an example: "For a system like the color system, we can imagine two layers: a language system where black is black because it is neither white, nor green, nor blue, nor red, nor anything else; and a layer as a cognitive system beyond the language system for colors, where black evokes sadness and mourning." Now, with this explanation, we can return to the main topic of this article: The parrot in Persian literature is the source of many imagery and rhetorical associations. To find aspects of "similarity" in the rhetorical associations related to the parrot, one must first have a close observation of the bird and then understand the cognitive system surrounding it. It is clear that we have general knowledge about parrots, so at first, talking about the cognitive system around themseems trivial. But we aim to scrutinize the subtleties of poetry and to show the elegance and accuracy of poets who have created rich images by carefully observing birds. We organize this article by focusing on the historical recognition of the parrot, which can be inferred from ancient zoological statements. ConclusionOur research shows that, from a rhetorical point of view and compared to other natural characteristics of parrots, appearance and visual characteristics have played a leading role in imagery and associations. Among these characteristics are many images centered on colors: the colors of feathers, beaks, and tongues. Although the green color is more frequent in these images, we also have pieces of evidence that show that Iranian poets, even in the Western regions, were very likely familiar with the rare or less-known species of this bird in colors other than green. The most important network of associations related to the green color is accompanied by plants (/growing), sky, poison, rust, Khat (round hair on the face), Khezr the Prophet, and wax protecting the mirror. Although the basis for choosing them is color similarity, sometimes other similarities, including shape, have also been involved in these choices. Among the poets who have dealt with the image of the parrot with more frequency and have made the network of associations more complicated is Saeb-e Tabrizi, who spent years of his life in India. However, we can see other poets were also well acquainted with the parrot's characteristics because it was not only popular in its native habitat, but also in other countries.

The paper presents the results of the contrastive semantic analysis of the Polish lexeme zielony ‘green’ and its Lithuanian equivalent žalias. The research based on the methodology of R. Tokarski and K. Waszakowa is aimed at comparing the collocability of Pol. zielony / Lith. žalias with names of various objects and phenomena (both in the literal and figurative senses) including the identification of the prototype references and connotative meanings. The analysis has illustrated that in both languages, ‘green’ is interpreted primarily as the color of grass or other plants, but for some shades of green, the color of certain minerals (such as emerald or malachite) can be considered a prototype pattern. Common prototypical references clearly motivate similar symbolic and cultural values of Polish and Lithuanian terms. Pol. zielony / Lith. žalias have similar ranges of use and develop quite convergent connotative meanings, of which there are slightly more in Lithuanian. In both languages, the prototype association with the green of young plants creates the following connotational meanings: ‘young’, ‘fresh’, ‘unripe’, ‘immature’, ‘inexperienced’, ‘healthy’, ‘ecological’. Both in Polish and in Lithuanian, some shades of green can connote not only positive but also negative characterizations, based on associations with the chthonic world or with disease and death. However, such connotations as ‘raw, uncooked’ and ‘nice, pleasant’ are more typical for the Lithuanian language, since in Polish they are rather sporadic. Only in Lithuanian there is the connotation ‘strong, powerful’. Therefore, it must be recognized that the semantic spectrum of the Lith. žalias is wider than the semantics of its Polish equivalent.

Problem definition: Colored symbols are one of the most prominent signs affecting the human beings psyche. Colors have special meanings in relation to the nature, culture, religious beliefs and life experiences. However, they are affected by the temporal and geographical locations, thought, culture, politics, religion and traditions of the people. Artists and poets have also used colored symbols to make their poetic and mental images tangible and to explain inexpressible concepts. The audience can achieve the thoughts and emotions of the artist as well as the subject and theme of the work through analyzing the colors in an artwork. The present study seeks to answer the question that what is the symbolic expression of green color in Iranian culture and art? Objective: The purpose of this study is to investigate the symbols of green color and analyze the concepts behind it in Iranian-Islamic culture and art and finally acquire better knowledge of Iranian symbolic concepts. Research Method: The current research has been conducted on a descriptive-analytical manner and comparative methods have been employed for the data analysis. The required information has been collected through searching in the library and internet sources Results: The green color in Mithraic thought and ritual is sometimes considered as a symbol of sky, moon and water and sometimes that of justice and angel. It was also a symbol of the peasantry in the class system of pre-Islamic society. This color in Islamic thought is also considered as a symbol of heaven and heavenly beings, prophets and imams while being as a stage of mystical behavior in mysticism and Sufism. Nature, faith, wisdom, youth and vitality, etc. are other symbols of the green color.

Sunflower extraction meal (SEM) is an economically interesting protein source. During alkaline extraction of proteins, the presence of chlorogenic acid (CQA) in the meal gives rise to the formation of o-quinones. Reactions with nucleophiles present in proteins can lead to green discoloration. Although such reactions have been known for a long time, there is a lack of information on the chemical nature of the reaction products. SEM and model systems consisting of amino acids and CQA were subjected to alkaline treatment and, for comparison, to oxidation of CQA by polyphenoloxidase (PPO). Several green trihydroxy benzacridine (TBA) derivatives were tentatively identified in all samples by UHPLC-DAD-MS/MS. Surprisingly, in alkaline-treated samples of particular amino acids as well as in SEM, the same six TBA isomers were detected. In contrast, the enzymatically oxidized samples resulted in only three TBA derivatives. Contrary to previous findings, neither peptide nor amino acid residues were attached to the resultant benzacridine core. The results indicate that the formation of TBA derivatives is caused by the reaction between CQA quinones and free NH2 groups. Further research is necessary to elucidate the structure of the addition products for a comprehensive evaluation of food and feed safety aspects.