In recent years, the tendency to short-term format has been considered by poets. Priskeh is one of the types of contemporary PERSIAN short poems that was officially registered by the Ministry of Culture and Islamic Guidance in 2012. Based on this research, it was concluded that Priskeh is an independent short format that has its own characteristics and has significant structural and material differences. And the goal is to recognize more and more Priske short template as a short short template and introduce its special features. Some poets take their poems haiku while none of them followed their principles. but declared to the Japanese poem that; Accordingly, sometimes, with the rules of your acquaintance, Priskeh has also made PERSIAN haiku or imitation of them.

In relation to the impact of PERSIAN literature on the west, in the 19th century, Ralph Waldo Emerson is one of the most outstanding American figures. His interest in PERSIAN POETRY, particularly that of Hafiz, encouraged him to translate some PERSIAN poems into English. He also composed some poems with oriental inclinations, inspired by Hafiz and the mystical POETRY of some other PERSIAN poets.Emerson also wrote an essay, entitled “On PERSIAN POETRY”, in which he introduced German translations of PERSIAN literature as his source of knowledge and revealed his high regards for PERSIAN poets. However, his greater admiration for Hafiz than for others in this essay is due to the fact that to him Hafiz, while being a greater poet, was a liberated minded intellectual as well.This study is an attempt to scrutinize Emerson’s observations of PERSIAN POETRY. First, the sources from which he acquired his oriental notions will be examined. Then his view on PERSIAN POETRY will be focused upon, and finally his praise for the merits of Hafiz’s POETRY including: intellectual liberty, transcendental vision, Takhalloss (his mode of copyright), the function of the hidden layer of meaning in his POETRY, etc. are going to be examined.This comparative study will finally present Emerson’s misconceptions in the field of PERSIAN POETRY. His mistakes and misconceptions might be the result of cultural differences, his lack of knowledge of PERSIAN language and different time span in which the two poets lived.

Ambiguity is a major characteristic of PERSIAN contemporary POETRY. It does not mean that the PERSIAN classic poets did not use it, but it means that ambiguity is a necessary mean for contemporary poets to discover the modern world. Though the classic poets did not feel this necessity, the contemporary poets believe that the modern world is too complicated and ambiguity is an imperative for discovering and depicting it.

Realism school is one of the schools of European literature that emphasizes on expressing objective facts of life as it is without intervening in abstract thoughts of artist and it seems that in the field of POETRY, which has more illustration capacity, expression of dreams, imagination and the metaphysical ideals – doesn’ t have any suitable efficacy and influence. But at least in Nima'i POETRY (New POETRY), the trace of the philosophy of history and also objective and Subjective facts in the society could be seen clearly and the part of the social reality of his time is depicted and showed by expressing of how and why in thinking and imagination in POETRY What is certain is that the poets of this type of Poem with a realistic attitudes tend to show real objectives of people life and socio-political events in order for promoting the awareness level, achieving receivable individual and social rights of their society. Sometimes, their poetic logic language is mixed with allegory and symbolism that with Indirect and Interpreting expression use it in order to proceeding to the poems with the aim of acquainting the thoughts. Thus, can be said Symbolism Placed in the Realism service in the Nima'i POETRY. This article reached to this entry that the social symbolism or New POETRY (Nima'i) that Socialism and Symbol-ism is the main components of that, has the nature of realism or likewise, the realistic attitude within itself.

By considering the meaning of archetype and myth, in the present article attempt is made to show the relationship between the two in some selected poems by certain PERSIAN classic and modern Poets. Then, based on Jungian concepts – conscious, unconsious and collective unconscious – the role of archetype in the works of the contemporary PERSIAN poet, Ahmad Shāmlū (1925-2000) is demonstrated.

Robinson Jeffers (1887-1962), the American poet, is one of the most typical examples of a poet who postulated his own philosophical doctrine and declared it in his POETRY. His deep acquaintance with science on one hand and his religious background influenced by his parents on the other resulted in his two-fold philosophy. While bearing in mind. Some contradictory ideas in Jeffers' POETRY, I intend to compare the most long-lasting notions in Jeffers' POETRY on man's relation to God/nature and life/death with the philosophic writings and poetic works inspired by PERSIAN mysticism in this short essay. Finally, I will explain how the notion of 'love' is introduced in the philosophy of both and what it signifies. The obvious affinities between Jeffers and classical PERSIAN mystical poets with completely separate social and philosophical contexts and in different times manifest that the great themes of love, humanity, God, death, and nature are reflected in very similar manners in both poetic traditions.  

This essay tends to study the way the Romantic POETRY of Europe influences the process of origination and development of Modern PERSIAN peorty. Contemplation on Nima Youshidges poems, as the founder of Modem PERSIAN POETRY, and thoese of other modernists after Nima indicates that the Romantic POETRY of Europe imparted a profound effect on different aspects of this era of PERSIAN POETRY. The changes considered neccessary by Hugo, de Musset, Gautier and other Romantics of France, Neoclassic POETRY so that they could release POETRY from torpor of content, form and language, were the same to be utilized by Nima and then to be of Europoean Romantic POETRY in the versified works of Nima, Tavallali, Farrokhzad, Naderpour and Akhavan shows the profound effect the European Romantic POETRY has exurted on the origination and development of Modern PERSIAN POETRY.

In this article, the function of simple vowels in PERSIAN POETRY and prose is described. By rethinking examples of PERSIAN POETRY, the author has shown that firstly, the phonetic manifestation of vowels in PERSIAN POETRY is twelve. Secondly, it is necessary to involve phonemes and phonemes in prosody. Thirdly, knowing these twelve vowels and how they work in prosody is very necessary for the proper teaching of this knowledge. The research method in this article is descriptive-analytical, and using PRAAT software, the difference between vowels has been shown accurately. The practical results of the article are the introduction and correction of errors that occurred in the teaching of this knowledge.

Studying the ancient texts can help us to obtain some information on new terms that could make us familiar with different aspects of our past life. The existence of the sometimes complex terms could face researchers with problems in understanding the exact meanings of different works of PERSIAN literature; since due to lack of accurate information on how they work, it does not seem easy for a modern audience of POETRY and prose to understand these terms. In the meantime, lexicographers’ report does not resolve any problems due to incomplete information and sometimes due to confusing information in this regard.The game of Backgammon is one of these kinds of terms. Using the inductive method and precise readout, the present research intends to study great works of POETRY and mysticism to analyze the complexities and subtleties of this game. Research results show that except for Ibn Yamin and Khaghani fewer poets had mastered this game. Moreover, the frequency of these terms is used for rare and new purposes.

There is a distinction between the commoners and people in PERSIAN literary works. In these works, the word “people” possesses the positive connotation of “human beings” and “commoners” are the ignorant, even annoying crowd. Label is the title chosen in this article to refer to pseudo names made by the mystic poets to address their opponents. The literary works which are the manifestation of the mystic ideas are full of these labels.In the present research, about one hundred and twenty titles of those labels were recognized, collected from the literary works, and compiled in the form of a wordbook. In the article, three labels “geranan, geranbaran, geranjanan” were studied, which referred to the bad-tempered, selfish, idle, hypocrite, mammonistic, tyrant, greedy, and mercenary people. The study of these labels prepares the ground for the better recognition and understanding of either the literary concepts and the characteristics of the societies they were produced in.