This paper presents a detailed analysis of the development of mystic poetry through dividing its evolution into three eras. To this end, initially, the first era signifying the age of creation and growth of this trend is briefly examined . The paper, than, proceeds to discuss the second era with particular emphasis on the three prominent poets of that interval, Shah Nematollah Valli, Mohammad Shirin Maghrebi, and Shah Qasem Anvar.

More specifically, the stimulus behind this section of the paper is to pursue why this trend in mystic poetry faded away, despite its heydays when those poets lived. Finally, to be more objective, a corpus including ten lyric verses from each of the abovementioned poets is analyzed at linguistic, rhythmic, and rhrtorical levels.

Mirror is a well- known symbol with deep roots in the world of literature. In Socrates' art, mirror reflects the real world. This distinctive feature of mirror has prevailed through history. This article attempts to trace and scrutinize the symbolic presence of mirror up to Rumi's age. Our discussion incorporatates a subsection on chang, the famous musical instrument, and closes with a hint on the equal and associating role of mirror and chang in Rumi's language.

Azraqi Heravi is one of the great poets of the fifth and sixth centuries who is ranked often as a minor poet. In this paper, the researcher reports a study of the data related to this poet and his life, and, discussing the style of his writing and the innovations he introduces in his poetry, he tries to show that because of these very innovations Heravi is equal to some of his contemporaries if not superior to them. This paper discusses different aspects of his poetry such as his thought, imagination, emotion, language, music and form and gives some evidence to illustrate each of these elements and technical aspects.

Sayed Mohammad Reza Ishghi is considered one of the constitutional poets in Iran and a forerunner in the case of literary modernism. The concept of   literary modernism is closely related with romanticism and its expansion from constitutional literature onward. Ishghi is the most outstanding poet of romanticism in his contemporary time. While his romanticism enjoys lyric elements; it is more concerned with social and revolutionary issues. Referring to ups and downs in Ishghi' life and highlighting romantic aspects of his works, this article analyses some of his works including "Maryam's three painting". Also, the romantic features of his works in terms of form and content will be presented.

Geometry, norm, and exact and contemplated plot/form are considered as distinct features of Hafez's poems. The manipulation of these features will entail the loss of some grace. A part of these poems which can be improved is geometry and bihanbaz norm. That's the continuous attempts and deliberations made by Hafez to revise, manipulate and improve his own poems. The revisions and manipulations resulted in various versions and revised scripts all of which can be found in his Divan. Thus, those editing Hafez's Divan should necessarily recognize and include in the texts the versions derived from the revisions and manipulations on the basis of accepted norms.

In this article, first these developments will be presented by showing some revised scripts and versions. Then, an attempt will be made to delineate some of Hafez's manipulations in his poems for the purpose of accomplishing geometry of such exactness and contemplation.

Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima ,as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition  of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.

A subject of great concern in Persian poetry of the Constitution Age is the concept of 'Nation'. The correct understanding and interpretation of the message of this age, to a great extent , depends on an understanding of its position. There is a sharp difference between what the poets of this age stated and those of their predecessors.  In this article, the concept of 'Nation' is examined under the two parts of Pre-Islam and Post-Islam. The Pre-Islam Iranian were well familiar with such concepts as nation, and race. However, quickly after their acceptance of Islam, their attitudes towards the concept of 'Nation' changed drastically. In general, the major meanings of 'Nation' comprise Islam world, Restoration world, place of birth, and nation world.   The results of this study reveal that the conceptualization of 'Nation' in the Constitution Age Poetry must be different, even though some traditional senses of the concept prevail. 'Nation' in its new sense subsumes  elements like a shift in the role of the government and people, racial and national dependencies, and Iranian identity with all its features.

In Sufi terminology, Shat'h is a series of aesthetic words expressed involuntarily by mystics during the mystical experiences. There have been multifarious interpretations and judgments concerning these paradoxes ranging from linguistic and epistemic interpretations to religious ones. The Sufis and their opponents have also voiced their diametrically opposing views on  this issue. The present study addresses the traditional Sufi doctrines as well as what has been suggested about the various aspects of  Shat'h including its ambiguity, its relationship to poetry, and its paradoxicality as argued by the contemporaries. The central issue of concern  is whether these aesthetic words carry more emotional or epistemic content. Another impetus behind this research is to probe whether the linguistic expression of these words is indeed a representation of a special form of life. A deep understanding of these words requires a certain affinity and empathy with this form of life without which it's hardly possible to see the hidden meanings of the words. Thus, it is argued that the justification of Shat'h is more importand than its explanation.

Iranian scholars like Allame Ghazvini, Foruzanfar, Khazaeli, among others, have attempted to look for the main motifs of Sa'di's ideas within the old Arabic poetry. In a detailed study, Hossein-ali Mahfuz claims that the main themes of sa'di thought should be sought in the poetry of Arab poets like Motanabbi. It is understood here that the role of the Iranian ancient culture and literature has been ignored. In the meantime, defenders of Sa'di   have tried to account for the claim mentioned above by appealing to factors like the accidental occurrence of a thought to two different poets unknown to one another, competition at composing a single theme, and by mentioning humane and lofty intentions in Sa'di's texts. Adopting a different approach, the present article attempts to go further back beyond the Abbasids to the Old Iranian culture and literature in the quest for the origins of Sa'di's thought. It will investigate thirty such texts not mentioned in the studies available. These are presented as samples, to demonstrate that our researchers, instead of looking into old Arabic texts, should search Sa'di's thoughts in the ancient Iranian culture.

This article presents a critical study of two groups of Hafiz’s poetry commentators who have introduced   him as Malamati or as a poet inclined to the customs of Malamat. Due to the wide time gap between the mallamat epoch and the time Hafiz lived, the first group’s emphasis on Hafiz as being a Malamati is doubtful. This article seeks to refute the claim made by the second group that Hafiz was inclined to mallamati thoughts by adhering to their doctrines. The same group has charecrterised gafiz's Erfan as a Malamt one.To this end; this article discusses seven cases of agreement and disagreement between Hafiz’s poetry and Malamatis’ opinions in order to highlight contradictory interpretations in his poetry and the lack of such   interpretations in the discourse of Malamati proponents. Then, this study has attempted to find a reason compatible with his linguistic logic and poetic construction for agreements and disagreements between Hafiz’s poetry and Malamatis’ opinions. Eventually, according to the reasons presented, it is concluded that Hafiz is by no means a propagandist for any official or unofficial thought. He is a freethinking poet who doesn’t fit any sort of mystical or nonmystical doctrines, and his art is of the highest value to him. Nevertheless, his poetry’s interpretability and, on the other hand, commentators’ efforts to present a response more compatible with the current expectations have led to attributing the title Malamat to him.

Dominance is one of the most vital and creative key terms which bounds up with the linguistic approach to formalism. According to critics’ definitions, “Dominance” has the potential to govern the elements of structure.  It is palpable to that the consistency of structure and coherence is indebted to “Dominance” so that we can argue that  comprehensiveness of this element is a kind of guaranty for understanding the elegancy of form and structure of poems. This dominance rules over other elements of language poetry and locates them in the right position. We can maintain that  “dominance” emerges in the exterior aspects of structure through symbols, repetition of lines, and mottos, proverbs, and other kinds of repetition. Furthermore, “Dominance” has some crucial functions which are extremely imperative for recognizing external aspect of pomes. To enrich the orchestration, making a skeleton for structure, monotone, fragmentation of structure, open end ness of poem, reasonable the verse and another important function. In this article, the functions of Dominance which is an essential element in the surface of contemporary poetry in Iran, will be fully discussed. 

The presence of Arabs in Iran and continuation of this presence for almost 3 centuries in this country has had fundamental effects on Iranian language and literature. Most of researchers have analyzed this fact form the negative view point. In this study we try, by making use of sufficient reasons and from a positive point of view, to show that despite lack of Iranian literature in this era (early Hijri centuries), it can't be construed that we had absolute silence of Iranian literature, yet Iranian language and literature in a dynamic and complex way passed a progressive period in a way that it paved the way for growth of Iranian poetry and literature in the following centuries. Although Iran lost its Pahlavi writing system in this era but with passing of time and along with capabilities of Iranians, Farsi language was born and with widespread use of  Arabic writing system  as an effective and simple  instrument (in comparison with other writing systems)  which thanks to  acceptance of Islam  and wide spread use nationwide , Farsi language  became Iranian national language with the support of independent  rulers. In fact in this era the relation of Iran and Arabs by passing many ups and downs in a bilateral benefit, in one hand caused the unity of language among Iranians and their use of a modern language and its spread and in the other hand, with presence of Iranian elites in expansion of Arabian poetry, valuable services has been paid to Arabic language and Arabic language has passed a progressive era.

In verse 172, Aaraf Sura, God covenants with its thrall (servants); but this verse expressed a general concept and did not discuss the details. This resulted in suggesting different views and comments by mystics, scholars, theologians, commentators and jurists. They explicitly pointed to some of the cases of this eternal covenant, such as testament of Adam, confession of people to God and saying "yes" by Adam to God; but commentators and mystics had different and contradictory perceptions. This study analyzed the process of concept formation and different thoughts of "eternity" from the first commentator to the books of Persian literature mystics, and offers a comprehensive and detailed discussion of the issue

Critics’ includingVimsat, Brooks, Pen Waren and Renewelek, in their evaluation of poems have focused on differentiating features of classical poetry and modern poetry.Compared with the North branch of literary criticism, the South branch of New criticism has explored the formalistic and structural features of poems. Brooks in his book entitled modern and classical poetry maintains that the formalistic nature of poem stems from an array of intricacies of the corresponding society. Further, he adds that critics should delve into literary works in order to capture the details. Brooks in juxtaposition with narrative system of classical poem tries to establish four categories of formalistic system including categorical, rhetorical, abstract, and associational in the modern poetry. Brooks assumes that non- narrative systems are more complex than narrative ones and sometimes they can be integrated. This results in more density and difficulty in poems. This article probes the possibility of criticizing the contemporary poetry of Persian literature accoding to non- narrative forms.

In contemporary Poetry, especially in Gheisar's poems, various political, social and economic factors are included. Moreover, the content of these poems is closely related to revolution, war, martyrdom, and the regret of being left from martyrs' convey. However, there is a pressing need to investigate literary factors from a formalistic and objective stand point. One of the formalistic aspects in analyzing poems and literary texts in general is foregrounding which includes deviation from norms and establishing norms. Deviation from norms, as a new perspective in literature and poetry, is among the most substantial aspects of contemporary Poetry. Putting These techniques into practice, the degree of a poet's success becomes clear in developing a deep sense of freshness, more coherence and systematization in a poem, as well as reinforcing the musical dimension and leaving deeper impression. This paper attempts to answer the question whether Gheisar as a poet and artist has indeed created a piece of art in his poems in terms of deviation from norms. If so, in what dimensions has he used this artistic technique more frequently?  A follow-up question is an evaluation of his work from this perspective. Since Gheisar's poems can be discussed adequately from this perspective, in terms of deviation form norms, their style, dialect, terminology, syntax, written format, semantics, temporal and phonetic aspects are also investigated.

Quranic tales have always been used by Persian poets in order to create beautiful and unique themes and images. One of these tales is the tale of Adam and Eve and their Fall from Heaven due to eating the Forbidden Fruit. Following most Islamic commentaries, wheat has been considered as this fruit in classic Persian poetry, but the reading of contemporary poets of this tale is different. Sometimes, their reading is similar to classic poets but in other times, following the Old Testament, they consider the apple or the tree of Knowledge of Good and Evil as this fruit, and still in other times they have a mixed reading of Islamic and Jewish traditions. Also, some contemporary poets have proposed a symbolic reading of this tale. This article, initially provides a history of the tale of Forbidden Tree in the Quran, Old Testament and their commentaries. Then, this issue is investigated in the poems of twenty outstanding contemporary poets (from Nima to the present time) and their poems are compared with Quranic and Biblical narratives. The results show that those contemporary poets which have traditional views, have paid attention to Islamic narratives whereas modern poets have often used Biblical narratives

Using indirect explanation and symbolism has a long history in Persian literature. Classic poets have used many symbols to explain mystical concepts. In contemporary periods, however, the insight of the poets is deeper than that of traditional poets as they pay more attention to political and social issues. Accordingly, the symbols have changed so that in contemporary poetry they are used for expressing political and social thoughts. Political and social symbolism is a new phenomenon in Persian poetry that begins with Nima and is developed by his followers, especially Ahmad Shamlu. Shamlu was not interested in explicit words, so in order to disseminate the clusters of meaning in his poems he used symbols and symbolism. In his deep and significant symbolism Shamluhas attempted to change the repeated and old symbols of classic poetry and to give them new meaning. This comparative study attempts to look at the different meanings of symbols in Shamlu’s poetry and to explain how the poet has used them.

Some of the scribes of manuscripts of the poems of Hafiz, including the scribes of the ninth century AH, due to their haste or because they thought little of the importance of diacritical points in the words, did not care for the right position of point in writing or even sometimes omitted it.For the editor of the poetry of Hafiz, especially in his reference toand use of the manuscripts, the problem is that when a word whose first letter, for example, has no pointhe can neither put the word among those manuscripts that take the word as a positive verb nor among those where the word is written as a negative verb.The three examples given in this article show that the editors of the poetry of Hafiz could not come to an agreement regarding the writing of the word in question on the basis of a certain meaningor interpretation of some of the verses of Hafiz. Indeed interest in one reading or following one editionhave made this agreement impossible.

The slaves had an undeniable role among the different social classes regardless of sex, race and color. In this respect the significant presence of Zangi slaves is remarkable. At first, they were only slaves and they had a very hard living and social life. Gradually, they achieved an intellectual and social status with their presence in other communities.They confirmedtheirpresence in the mind and language of the Farsi speakers and entered Persian poetry and poetic allegories. The proof of this claim is the various allegorical tales and proverbs that are based onthe life of slave characters. In this article the importance of the presence of slaves and the structure of lexical-grammaticalaspects of the term slave are discussed and then their race andorigin, sociallife and their entry into the politicalarena are considered. The socio-political presence of the slaves led to their presenceinthefieldofpoetry. The pleasantandunpleasanteffects of the presence of the slaves in Persian poetry have been analyzed and then the numerous evidencesinpoetry have been noted. In the main part of this article, allegorical anecdotes aboutslaveshave been investigated to show various effects of their physical and mentalcharacteristics. Some of theseanecdotes have traditional background,but some others have escaped traditionand, therefore, give a differentimage ofthe slaves

Payandani (intercession and mediation) is one of the main theological topics in the opening centuries of the Islamic era. Theologians have haddifferent views on this issue, which along with other theological issues, such as determinism and free will, destiny, justice, and the vision of Allah, was widely discussed by Muslim scholars, and fiercely debated by the Mutazilite, the Asharite and later the Shia. The aim of this paper is to discuss in briefthe formation of Payandani and compare the views of the major Islamic schoolson this topic. Moreover, the researcher attempts totrace this subject in Persianpoetry, especially in the poetry of the distinguished Sufi poets of the sixth and seventh centuries, such as Sanai, Attar, Rumi and Saadi.