The impact of a poem relies, to a great extent, on the music of the terminology used. In effect, repetition is what engenders music in poetic language. Musical group incorporates factors such as, measure, rhyme AND rank which differentiate literary language from normal language through the use of musicALIty AND Assonance. Simin Behbahani, HOSSEIN MONZAVI AND MOHAMMAD ALI BAHMANI among the Renowned Contemporary lyricists who have brought about fundamental changes in the Measure of modern lyric. In the Present Study, the Researcher is After Investigating not only the musical group in modern lyric but also the Aforesaid Transformations by Focusing on the works of these three lyricists.

Neo-classical sonnet, created out of Iran’s classic poetry, is one of the contemporary poetic movements which have always been dynamic. The purpose of its leading poets was to make the traditional form of sonnet attuned with modern requirements. This poetic movement has benefited the poetic possibilities of which free verse has provided for Persian poetry in terms of locution, language AND literary elements AND has created new aspects in classical sonnet; for instance we can refer to the combination of lyrical AND epic literature through neo-classic sonnet which contradicts many definitions of literary types AND has paved the way for creation of a new literary movement, namely epic sonnet. The combination of lyrical AND epic literature in neo-classic sonnet would be reached in two ways; “utilization of epic symbols AND motifs” AND “epic nature of neo-classic sonnet”, which will be discussed in great details in the present research.

The mold of criticism, since Rudaki, except for its well-known poets, has etched repetitive AND stereotyped pictures of virtual love, descriptions of mundane beloved in our minds. Some poets, however, in our times have made alterations in the illustrations of the lyric poetry of whom, no doubt, Simin Behbahani, HOSSEIN MONZAVI, AND MOHAMMAD ALI BAHMANI - the three corners of a triangle - are lyricists who have undertaken to accomplish so. By taking advantage of untouched AND new images AND avoiding ordinary lyric poetry, they've created new environment in modern lyricism AND vitALIzed it. It deserves mentioning that defamiliarization of contemporary lyricist, in the images of lyric poetry, was not out of amusement AND boasting, but they did it out of necessity to have new themes; the themes which, without these innovations wouldn't be well embedded in lyricism. Entering the new images made today’s lyric poetry abundant with unprecedented innovation AND endowed the modern poets special stAND as stylists.This research is to survey the images AND methods of description based on the poetry of Simin Behbahani, HOSSEIN MONZAVI, AND MOHAMMAD ALI BAHMANI.

In literary studies, stylistics enjoys a significant status. Stylistics can express linguistic, literary AND intellectual characteristics of any literary work; AND it reveals stylistic characteristics of literary works AND it is an introduction for presenting scientific-literary criticism. A personal stylistics opens a door to many studies in literature. HOSSEIN MONZAVI used various tactics for personALIzation of his lyrical language. Thus, investigation of various aspects of MONZAVIs's lyrical language is a way for identification of his literary skills which can be a step towards identification of his stylistic characteristics. As he applied language, descriptions, imagery, AND novel thoughts in poetry, he is considered as one of the innovators in this area. This study attempts to investigate personal stylistic characteristics of MONZAVI's poetry (relying on sonnets) as one of the pioneers AND ushers of sonnet in three areas: linguistic (phonetic, vocabulary, AND grammatical), literary (simile, metaphor, irony, trope, AND figures of speech), AND intellectual (contents AND purport of poems). It should be mentioned that the authors uses MONZAVI's 'poetry collection', published by MOHAMMAD Fathi in 2009.

BACKGROUND AND OBJECTIVES: After the Islamic revolution, tremendous changes occurred in the content AND intellectual structure AND style of thinking of many contemporary poets, including lyricists. The changes that can be clearly seen in this type of literature in its all-round dimensions in the influence of political, social, cultural, economic, etc. issues. Therefore, Ghazal took a new style in the new intellectual atmosphere by distancing itself from its classical content, i. e. the mere expression of romantic themes. In this essay, we aim to achieve a comprehensive analysis of the content of these poets" poems AND the intellectual style of the Islamic Revolution"s poetry by examining the lyrical works of the most prominent lyricists after the Islamic Revolution. METHODOLOGY: The study method in this article is descriptive-analytical in the way of library studies. In order to achieve the goals of the research, fifty ghazals of six prominent contemporary ghazal poets, MOHAMMAD ALI BAHMANI, HOSSEIN Monzawi, Seyyed Hassan HOSSEINi, Hoshang Ebtahaj, Fazel Nazari AND Qaisar Aminpour, have been analyzed in terms of intellectual style, AND in order to clarify the discussion among the content indicators. AND the main idea that is expressed in the sonnets of these poets, we have also presented graphs AND statistical analysis. FINDINGS: Ghazal, as an immortal AND always-considered form, has also received a lot of attention among poets after the Islamic revolution. With the difference that the approach of contemporary ghazal writers, especially poets after the Islamic revolution, to this format is not only a lyrical AND romantic approach, but the themes of many religious, epic, social AND protest themes are reflected in the form of ghazal. CONCLUSION: Contemporary ghazal writers, especially in the era after the Islamic revolution AND events such as the imposed war, have used this format in cases other than romantic ghazals, with the basic changes in the theme, theme AND intellectual style of the ghazal. Protest AND social approaches are more visible in Qaisar Aminpour, Seyed Hassan HOSSEINi AND Hoshang Ibtahaj"s poetry, AND although poets like HOSSEIN Monzawi AND Fadel Nazari have paid attention to the social self, the individual self is still more prominent in their poetry.

deviation is the most effective form of foregrounding the language AND includes all the methods that disrupt the conventional rules of the language AND lead to defamiliarization. Grammatical deviation is used to remove familiarity from language of poetry AND includes avoiding the rules of morphology AND syntax governing the language. Every language has a specific grammatical structure, but in poetry, this structural order is ignored. In the field of rhetoric, we come across a set of methods formed in order to highlight the meaning of the poem AND lead to rhetorical innovations. The present study , with a descriptive-analytical method, aims to identify, categorize AND analyze the basic techniques that have played a significant role in the evolution of contemporary ghazal by reflecting on the ghazals of "Manochehr Neyestani", "MOHAMMAD ALI BAHMANI" AND "HOSSEIN MONZAVI" AND answer these questions "what are the commonly used grammar AND rhetorical technics that have led to the highlighting of form AND meaning in the new ghazal, AND which of the mentioned poets has played a more effective role in renewing the image of the ghazal. The findings from the study show that the common rhetorical techniques in the ghazals of these three poets, in addition to the use of other symbols, metaphors, similes, personification AND paradoxes, are due to the power of imagination AND portraying the unseen AND unheard things that have formed in the poet's mind. Grammatical metanormatives common in the ghazals of the mentioned poets in two fields of grammar AND syntax include: lexical, temporal AND syntactical metanormatives. The extent of using these methods by the mentioned poets is different. HOSSEIN MONZAVI is considered one of the pioneers of this field due to the frequency AND variety of grammatical metanormatives AND rhetorical methods, AND he has played a significant role in reinventing the image of ghazal.

HOSSEIN MONZAVI is one among the contemporary poets who has worked within the sonnets AND Nimai poetry AND blank verse AND different poetic formats, however his most fame is owed to his powerful AND influential sonnets. MONZAVI is one of the leaders of the new sonnet. His sonnets are filled with romantic themes. The political AND social themes of his poetry are more or less tangled with love. Fazel Nazari is additionally one of contemporary poets who is incredibly capable of making new themes AND pristine images. the concept in his sonnets shows three triangular sides that are: Iraqi style, Indian style, AND today's sonnet style. the employment of Indian style symbols AND signs, making new pictures AND creative themes AND a bent to Hafiz's style are among his artistries. Since the theme of the sonnet is one among the outstANDing factors that form the sonnet AND shows the orientation of the poet or writer to the topic of the work, this text makes an attempt to research AND analyze the themes of these two modern poets.

BACKGROUND AND OBJECTIVES: Following a logical course in form AND meaning causes harmony AND connection between different components of poetry, which can be extracted by identifying AND analyzing the factors used in the text. This study, while raising the issue of the issue of semantic coherence in Persian poetry from what period AND for what reason, seeks to answer these questions: What factors owe the semantic coherence of MONZAVI' lyric poems? How did these factors form the semantic structure of the MONZAVI' sonnet? METHODOLOGY: The present study, using a descriptive-analytical method, examined the factors that create semantic coherence in seven sets of MONZAVI' poems, which include four hundred AND sixty sonnets, which AND enumerated some approaches. FINDINGS: A careful AND meticulous study of the component of semantic coherence in MONZAVI' poems revealed that 55% of MONZAVI' sonnets have a coherent semantic structure. CONCLUSION: The principles governing the relationships between images or illustrative elements of MONZAVI poems are examined AND classified into five axes: word fit, pattern repetition, meaning association in terms of similarity, narrative element, AND extension of a theme or image.

Death as an absolute necessity, bound to happen, is unique AND belongs to human beings. Whatever we know of death is assured, or at least seems to be the most absolute knowledge of us as human beings. It is an inescapable reALIty that all creatures will experience it later or sooner. The humankind worldview of death is based on his attitudes towards life. Some people believe that it is attractive AND fascinating, while others find it horrible AND disgusting. It is clear that the way people try to believe in death has roots in their lifestyles AND attitudes towards life. HOSSEIN MONZAVI, aka “ The King of Ghazal” , the famous poet of 1960s AND 1970s, could revive ghazal AND made it enthralling AND romantic. Some of MONZAVI’ s ghazals are about death, AND he attempts to reveal his attitudes towards the concept of death as a bound to happen. He sometimes believes in death doubtlessly, AND sometimes fights it. Despite some contradictions in some of his ghazals about death, he doesn’ t believe in death as something absurd AND conjectural. This paper aims, through an analytical-descriptive method AND by investigating MONZAVI’ s ghazals, to study his worldview AND understANDing of death.

1. Introduction: A Myth is the narrator of the saint history AND the story which states the saint destiny of primates. Myths, are the crystallization of collective reason, the reflection of the human unconsciousness AND the symbolic manifestations of ethnic AND collective fears AND hopes AND aspirations. In the old texts of criticism AND rhetoric, there is no mentioning of the place of myth in poetry; the only topic that can be incorporated into the subject of myth is the allusion. In this research, two basic questions are considered. First, what are the attitudes AND approaches of Behbahani, Neyestani, BAHMANI, AND MONZAVI especially in the allusions contained in their newsonnets to the myths? AND what are the most important types AND styles of Modification of Myth in their new-sonnets? . . .