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In modern aesthetics, the form of a poem is not enough to explain its artistic beauty. Therefore, a there is a comparative tendency to study the effect of the social environment on the personality and the taste of the poet, which leads tothe study of literary works on the basis of psychology and sociology of literature.

The researchers in this paper followa descriptive-analytical approach and employsome interdisciplinary sciences, such as psychology, sociology, anthropology and linguistics, to study the aestheticelement of color in the poetry of one of the most prominent Modernist poets of Tajikistan, FarzanehKhojandi. It is concluded that the poet is influenced by the colorful social and cultural environment of Tajikistan and employ color to describe his ethical views in the best way. Moreover, besides using the dominant symbols in Persian poetry, he introduces new symbols and diction in regard of colors and thus enriches Persian language and poetry

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There are some words and phrases in Hāfez’s Diwān (Book of Poems) which merit careful attention as this brings us closer to the world of his poetry and thought. One of these words is “Jām” (“cup”) and its synonyms. The frequency of this word and its synonyms is indicative of its significance in the mind of the poet. To investigate Jām in Hāfez’s Diwān, the importance of Jām in Persian literature and Hāfez’s Diwān, and the opinions of the old and contemporary exegetes regarding the meaning and function of Jām in Hāfez’s Diwān were explained in this paper. The body of the paper contains two distinct parts: the first part deals with Jām in the tradition of poetry prior to Hafez. There are three kinds of Jām or “Mey” (wine): earthly, mystical, and Khayyamian. The second part is concerned with the display of the artistic skills of Hāfez in dealing with Jām in the following subheadings: 1. The repetition and foregrounding of the word Jām and making it a symbolic motif, 2. Creating opposition by Jām and using it as a tool for political and social struggle, 3. Mixing the various and opposing meanings and functions of Jām, and 4. Making paradoxical expression with Jām to create masterpiece couplets. The conclusion of this descriptive-analytical research is that Hafez intentionally repeated Jām to make it prominent and symbolic and mixed its Islamic and Iranian senses to create a prism of which any reader based on their background knowledge and experience could get various meanings.    
 

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If we go to the past texts with the help of grammar, we will find that it definitely plays a significant role in understanding and interpreting our texts. The "Genitive cases" may not be far from these problems. Of course, the main aim of this article is to know the genitive case and analyze it from the perspective of historical grammar based on the Masnavi in order to determine the style and register properties and to identify the secret of its charm and its distinction from other works.  The genitive case, connection between the possessed and possessor, and the manner of connection between and formation of post-modifiers are topics that have been discussed in detail. The method employed in this research is descriptive-analytical of a case study type. The target population is the Six Books of Masnavi and the data has been collected based on library studies. Although the method of this research is descriptive-analytical, and the writer provides a clear and accurate picture of noun phrases with post-modifiers in the Six Books of Masnavi and presents a meaningful report of its linguistic features, by its nature it is a qualitative research; because the researcher has tried to present novel points in this categorization and repeat many parts so as to reach a correct and logical result. In summary, in the light of this study, the use of the genitive case, its case markers, and forms are determined in Masnavi sentences; the various connections between the possessed and the possessor with Rumi's special and favorite vocabularies and combinations are clarified; finally, the manner of affixing and the patterns of noun phrases are among the cases that show the style and register of Masnavi and Rumi.