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Diction as a primary means of writing poetry is the poet’s medium to express his ideas. Analyzing the title of the poems as a part of diction can be a way to appreciating the aesthetic features of poetry. On the other hand, titles are usually the most important chosen words of the poet and, therefore, by studying the poet's titles one can understand the poet's thoughts. This research is a statistical analysis of the titles of The Mirror for Sounds by Mohammad Reza Shafiy Kadkany (M. Sereshk). It attempts to analyze the titles from different perspectives, namely lexically, linguistically and semantically. To this purpose, the seven chapters of this book were analyzed statistically and the relationship between the titles and the poet’s thoughts was investigated. In addition, in a diagram the significance of the role of the titles in different periods of the poet’s life was indicated. No doubt M. Sereshk had a wide repertoire of Persian words that he employed properly in his titles and, therefore, he has used his titles in their full literary and lexical capacity.

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The entry of the legal terms and subjects of the Constitutional era into poetry’s domain caused the confluence of two types of speech, i.e. two areas of legal and literary discourse in that era’s poetry.Public law discourse organized the dominant content of the Constitutional poetry and the particularly weak presence of the element of imagination turned into its characteristic of structure and form.The main question raisedin this research is the explanation of public law discourse’s role in the relationship between form and content in Constitutional poetry.Using a descriptive-analytical method, and based on numerous poetic evidence, this study investigates the issue from the standpoint of a procedure which has emerged through the innate characteristic of legal discourse and its incompatibility with imagery and can be interpreted as “The transition from imagination to emotion” in this era’s poetry. The process based on which the dominant form of Constitutional poetry was organized with a focus on social and revolutionary sentiments in the absence of imagery.In the present article, the compatibility of this narrative with the point of view of literary modernity was investigated and the effects of the research claim on the famous areas and structures of Constitutional poetry were revisited.
 

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Roman Jakobsen considered the difference between linguistic roles to result from the prominence of some communicational elements (Addresser, Addressee, Message, Content, Contact, and Codes). He believed that every message has several linguistic roles, usually one of which is more prominent. In literary texts, due to the complexity of the text, the multiplicity of layers, and the fluidity of signs, we are not only faced with a literary role. But, in addition to the formal enhancement of the text, rhetorical figures also interact with other linguistic roles and an intelligent use will cause proportion and conformity in the form and meaning of the text. This study has analyzed the interaction of form and content in Attar's Mantiq-ut-tayr using a descriptive-analytical method and concluded that Attar established a balanced relationship between rhetorical figures and the moral-mystical content of Mantiq-ut-tayr. He has used them to express specified themes and concepts based on their essence and literary function. For example, he has used “Poetical Reasoning” to explain educational and mystical issues, “Literary Collocation” to create thematic unity and textual coherence, and “Oxymoron” to illustrate the contradictory nature of mystical experiences and internal and external conflicts of mystics. The proper use of rhetorical figures according to the subject matter and content of the anecdotes of the Mantiq-ut-tayr has created a lot of beauty, influence, interaction, and harmony of form and content.