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Simile is one of the main forms of imagination in any literature serving other forms of imagination because the principle in such images is of “the sameness” kind. Likewise, this figure is used in different forms of imagination such as metaphor, variety, expansion and freshness in the poems by Sepehri. This paper examines various views on the quantity and quality of his images, having or not having frames and classifies the allegories employed by him through reviewing a corpus of his well-known samples. The paper is based on different types of simile in terms of bases, sensibility and wisdom of the parties, variety of the parties, etc. in order to categorize the samples. Nevertheless, in his review of the samples, the author has not limited himself to the traditional views but has also studied the new European schools of thought. One way to recognize the ideas of poets and uncover the corners of their minds is to explore the images in their poems. Accordingly, the present research has tried to examine the underlying thoughts of the poet as well as his attitudes.

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The language philosophy theory of “speech acts” is one of the text analysis theories on the basis of which we can analyze rhetorical and literary concepts in smaller linguistic units (utterances). This article analyzes Sepehri’s "Seday-e Pay-e Aab" according to this theory. This poem has been analyzed according to the revised model of J. R. Searle’s five “speech acts," and the author’s three affective methods. After defining the expressions and the principles of the speech act theory and specifying the concept of the three effective methods in line with this theory, under each of the five acts (assertive, directive, commissive, expressive, declarative), some examples of the lines of the poem have been analyzed. Sepehri has used assertive and expressive acts in all the parts, directive act in most of the parts, but no commisive or declarative acts in any parts of the poem. To intensify the effects of his words, the poet has used strategies like repetition, intensification, and linking of the acts in his poetry. Using the directive, assertive and expressive speech acts, on the one hand, Sepehri describes and criticizes the past and present of the world; on the other hand, by delivering his poetic view and his ideal world, he coaxes his readers into living a specific lifestyle. To achieve this, he uses three affective methods creatively. Due to the specific features and applications of commisive and declarative acts, Sepehri has not been able to use them in this poem.
 

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As one of the most famous philosophers of the twentieth century, Heidegger has proposed significant ideas about ontology. The undercurrent of his philosophy is the question of being in the world or Dasein. He believes that human is the only creature for whom being in the world is a question and only human is capable of asking about Dasein. Heidegger thinks that authentic poets with their particular use of language are the rightful peoples that can perceive and reveal the truth of being. Sohrab Sepehri is a contemporary poet who has a systematic frame of mind. In his poems, especially in his late works, consciously, continuously, and varyingly he speaks about the true being of things. In this analytic-descriptive article, the authors study Sohrab Sepehri's philosophical perspective towards the ontological state of being. Similar to Heidegger, in order to understand being in the world, he refrains from any stereotypical and utilitarian outlook on it, and ignores the presuppositions. In his final Collection, Sepehri's earnest endeavors to understand the reality of existence are evident. Yet, although he eventually confesses that he has not completely understood the meaning of existence, he never despairs.

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Poetry and painting are two different ways to create works of art, and their close correlation has always been the consideration of art history researchers and literary critics. Sohrab Sepehri is an artist who has tested his taste in both the fields of poetry and painting. Therefore, the present research, targeting a select collection of paintings of trees and Hasht Ketab (Eight Books) of Sepahri, in the light of the theory of Panofsky's Iconology, deals with a comparative and interdisciplinary study of these works. It also focuses on the image of trees in both poetic and painting media to analyze and explain the various structural and semantic aspects of common icons in order to discover the characteristics and connections between his poetic world and the art of painting. The main question is why and how the image of a tree acts differently in two linguistic and visual systems. Sepehri's approach to the element of tree in both poetry and painting contrasts with such concepts as dynamism and static, life and death, rootedness and rootlessness, fertility and infertile, openness, closure, and junction and disjunction whereas it sometimes gets very close to each other in such themes as strangeness and the sense of suspense. Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is basically contracted, dark, and desperate. That's why the trees in his works act mostly in the direction of rupture. They move in the direction of disjunction from the world and the essence of existence which can be an allegory of Sepaheri's objective world.  However, the image of the tree in his poems is in line with the dominant concepts - a symbol of growth, freshness, and vitality - at the usual level far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is in fact an explanation of the ideal world of the poet.