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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.

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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.

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By the crowning of Fatali Shah Ghajar, poetry found a better position and status compared with the previous periods of Zands and Afsharids. The Ghajar king who was a poet himself and whose pen name was khaghan began to support poets and with the formation and establishment of the new center of restoration movement in Tehran, many poets directed their steps from around the country toward the capital of Iran, Tehran. Khavari Shirazi is one of the poets who immigrated from Shiraz to Tehran and by relying on his inherent talent and practicing letter writing and historiography, and poem recitation in the literary circles of the capital, turned into one of the relatively known poets and writers of his era and left many complete poetical works embracing more than seven thousand couplets of different forma such as elegy, ode, compounds of stanzas , mathnavi, quatrain and poems stanzas. In this paper, after providing a brief study of poetry status in Afshar era , up to the end of Fatali shah's period , the  biography, the works, the Divan of the poetry and the compilation of the Divan and style of Khavari shirazi are analyzed in details.

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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. 

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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.

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Norm-breaking in the field of literature, like other areas of human knowledge, is the province of the talented. Norm-breakings Hafiz undertook in his ghazals came to be the source of a movement with a good many imitators. His norm-breakings took place in form, meaning and/or in the possible relationships between the two. Critiquing the social mores was one of his trademark iconoclastic practices in the realm of content. Another norm-breaking was inventing rhetorical subtleties whose novelty was particularly conspicuous in the realm of pun. It was an innovation in creating varied links of signs on the horizontal axis of poetry—an innovation resulted from Hafez’s contemplations on the emotional meanings of words conjured up in various cultural aspects. The harmony of meaning background and emotional background with the general music dominating them—a linkage created by meter, rhyme and juxtaposition of words—is another feature in Hafez’s poetry. The impressing value and emotional intimacy of these elements are palpable in his poetry. The most remarkable norm-breaking in Hafez’s ghazals may be the way in which the scattered meanings clandestinely interact through a ghazal; this has caused most scholars to regard it as polysemous and lacking in terms of logical relationship among couplets. These couplets, albeit distantly related with each other, are connected deep inside. Besides demonstrating Hafez’s rhetorical, artistic as well as semantic norms-breakings, the present paper shows that in spite of his poetry seeming scattered, which is a result of distant and far-reached associations in Hafez’s culturally and experientially loaded mind, there is an inner relationship among them that can be understood by transforming the norm-breaking propositions to norm-enforcing ones. A ghazal by Saadi is juxtaposed to one by Hafez to illustrate the issue at hand.

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Zeidari Nasavi’s Nafsat al-Masdoor is one of the few works which are written in technical prose and mainly aim at conveying meaning rather than affection. Considering the emotional strain of his literary text, Zeidari believes music has the highest effect on conveying the feeling, and in various ways, including the use of elements of prosody, literary figures, and the selection and arrangement of the terms in Paradigmatic and syntagmatic ways, he creates a musical effect in his text. Thus, by working on his style and manner of writing and by employing different diction not only he created music in the text, but also because of the dominance of music, the meaning has changed. This method of writing made him to be more careful in choosing his words, for the changes he affected in the standard language have been the effect of vocal arrangements and defamiliarization. This has also made his work on history more imaginative and closer to lyric literature and poetry.

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The novel Malekan-e- Azab is the latest published work by Abu Torab-e Khosravi. The significance which is always assumed by Khosravi for words and writing is conspicuously seen in this novel as well; however, the author’s attempt to develop novel atmosphere and techniques has added a new dimension of complexity. To fully appreciate this complication and to gain an understanding of the discourse, we will investigate the deep structure of the novel and its affinity with the author’s technique, drawing on non-narrative elements, the implication of the signs and the binary contrast involved in the process of signification. The theme of the novel is a battle against Time. The technique of narration is multi-dimensional which is compatible with its deep structure. Given the significance of the association between words and creativity, the author has endeavored to develop a close connection between words and creativity and writing. In doing so, the author provides a circular portrayal of the characters. The realization of the characters by words and literary elements has induced a vivid image of the narrator by exploiting new indexicals which are constituted by the characters. The author’s novel technique to battle against Time is metamorphosis; the characters are realized as narrative indexicals and lead their lively life throughout the narrative. The symbolic elements of the narrative are closely interweaved with the circular structure of the characters and are so formulated to develop the deep structure of the narrative within a transformational framework.

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Since human soul seeks excellence, he continuously hunts for answers to his questions. Therefore, he works towards tools to help him achieve a better life, create a dream world (Armanshahr) or utopia; a nowhere; his desired world. The Sufis has been more attentive to the local realities of their society, and they saw the society full of shortcomings and sought to lead their people into a desirable world by knowing the existing society and understanding its shortcomings and failures. The mystic understanding of Sanaei, Attar and Rumi of utopia is different from the perception of philosophers and scholars. In this way, scholars, poets and writers attribute some features to utopia, and although these features share some commonalities, they are different in some aspects as well. In this research, we have tried to study the main literary works of the 6^th and 7^th centuries through descriptive-analytical methods to, on the one hand, explore the evolution of the concept of utopia in the works of the elders of Persian mystic poetry, and on the other hand to explore the characteristics of their utopias and their differences according to the socio-political characteristics of that period.

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Paradox is one of the literary techniques in the poetry of the Safavid poets. Hazin-e Lahiji, like so many other poets of that age, employed this technique in his pursuit and showed that "unfamiliar meaning". Paradox is used in the poetry of Hazin-e Lahiji for the purpose of defamiliarization and exoticism. The poet in order to create new implications and subtle and insightful points and also to express mystical notions, Love, free thoughts and ethical arguments has used this literary figure. This article is comprised of some parts. At the beginning and in the theoretical section and literature review, Paradox is defined and its difference from other literary terms, and the state of this literary trope in literature and literary glossaries in the past and present have been discussed. In the practical part, the different kinds of paradox, such as verbal and semantic paradoxes, descriptive and relational compounds have been explained and the features of paradoxes in Hazin’s poetry and synesthesia as a kind of paradox have been discussed.
 

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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.