PERSIAN Poetry TRADITION, till Safavid Dynasty and the appearance of Hindi style, had existed for seven hundred years. The characteristics of Hindi style poetry are generally researched from the perspective of external variables (e.g. society, culture, and economy) and its aesthetic transformation has been surveyed using the frameworks of the common poetic devices of that time. In addition, the characteristics of the poetry of this time can be discussed in comparison with its past poetic legacies and TRADITIONs.The results indicated that the inclination to use this motif was rare in the early time (till the end of the fifth century) of PERSIAN Poetry. The use of this motif increased in the sixth century and in the seventh century a new approach to the use of this motif in combination with another motif or allusion in a couplet is seen. In Hindi poetic style, this new approach to the use of motif in combination with another motif or allusion is realized when a motif is used in the first couplet and then mentioning the other motif or allusion in the second couplet. This type of allegory is called Oslub-e Moadele.The use of this motif in the poetry of that era has a high frequency and has significantly increased. In addition, most of the time the poets of Hindi Style have both removed common motivation of this motif and has replaced the common motivation with a new motivation in the PERSIAN Poetry.

Ghazal (SONNET) is one of the major forms in the PERSIAN Poetry. Still, the foundation, development, and its various types constantly invite and encourage the researchers towards further studies and contemplation.This research initially offers a new definition on poetry and the narrative Ghazal. Then its various types are recognized and divided within two approaches; the formal-structuralism and the contextual-conceptual approach which are the old literary divisions and forms. The other part of the research is devoted to the origin of the PERSIAN Ghazal and the varieties of opinions are discussed.According to the findings of this research which are supported by some of the PERSIAN poems, the origin of the narrative Ghazal can be surveyed with two attitudes; both in lyrical and also the SONNETeer's field of approach. Its different types can be divided on the basis of structure (with the three genres including the narrative, the dialogue, and description in mind), and the content (with social, historical, mystical-cognitive, elegy, trip journals,  life stories and etc which are among the subdivisions of the structure of narrative).At the end, the positive points and functions of the narrative Ghazal (such as the poetry's cohesive structure, finding the contents easy to understand, making a better communication with the audience, dramatization, and gaining pleasure and joy) have been pointed to.

In ancient PERSIAN and Arabic literary criticism, two different approaches were followed. One calls for a return to the ancient origins of poetry and literature and the other promotes change and innovation in this area. So in the literary domain, an incomplete image of conflicts appeared between followers of these two trends. In modern era, these conflicts intensify between the followers of renewal and supporters of TRADITION. That's because of the impact of the opening of the Arab communities and the Iranian society on western cultures. Some call to forget the past and to care about the western culture. Whereas others refuse everything related to the West. At the same time some follow the path of moderation. But the victory at the end goes to the followers of renovation. This paper broadly gives a general picture of the reality of the relationship between the followers of both directions and trends.

Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of PERSIAN poetry belongs to the lyrical type, a considerable number of PERSIAN debates are also included in this type of literature. In these debates, the poet creates a dialogue or a give and take between the lover and the beloved, and each side tries to convince the other or force him/her to accept his/her opinion by showing his views as superior. Contemporary poets have also used debate extensively in their poems,but instead of boasting and competing with their opponents, they have talked, interacted, and tried to create an argumentative atmosphere. The present study through a descriptive-analytical method tries to discuss the differences between romantic debates in Iraqi-style SONNETs and the romantic debates in contemporary SONNETs as well as the reason for these differences. It has been concluded that contemporary SONNET, due to the political and social changes in Iran and changing views of poets, have moved towards dialogue and conversation,furthermore, it has undergone fundamental changes by altering the position of the beloved and his/ her individuality,In a way, it can be said that contemporary debate SONNETs are different from Iraqi-style debate SONNETs in structure, subject matter, content, gender of the lovers and the beloved.

The main aim of comparative literature is to recognize the intellectual sources and its reflection in literature, and also to discover the common points between human minds. To achieve this, it is not enough to consider the subjective aspect of the works; yet, one needs to pay attention to different literary genres and their criteria. This paper tries to examine, comparatively, how SONNET changed and the way it penetrated into the literature of the German-speaking countries. It also attempts to find out the reasons of the German-speaking poets’ interest in this genre.

Shortly after gulf war (G.W) thousands of war veterans referred with sign and symptoms of an unknown disease called G.W illness. Despite multiple studies undertaken by several non-governmental and governmental centers this illness remains unclassified and can not be coded by international classification of disease (I.C.D). The etiology has not been found and the illness appears to be multifactorial and basically related to use of depleted uranium (D.U) weapons, chemical warfare (C.W) and biological agents. This article reviews this illness and the adverse effects of D.U and B.c.W agents in the G.W battlefields.

A real understanding of meaning power (ability) and structural sensibility of a speech which is basically an allusion is depended on both the meaning and concepts and recognizing the structures of an allusion and the ways are used. It is necessary to study the styles and techniques of deepening imperssion and mental, virtual and cultural extension of allusions and their structures for a better comprehension of new lyrics abilities and sensibilities to create a literary enjoyment. In this article to answer the question "How are the allusions made in new SONNET? " by descripting and analyzing the text, structure and types of allusion extension in Simin Behbahani, Manouchehr Neyestani, Mohammad Reza Shafiei Kadkani, Mohammad Ali Bahmani, Hossein Monzavi and Qeisar Aminpour's new lyrics vertical axis are studied. Results show that the allusion used in new SONNET have dofferent structures and they are represented in fifferent ways such as parallel allusions, all-allusion poem, structural allusions, all-allusioned poem, conversational allusions etc. some of which are rare and unexampled especially in vertical axis of imagination. Simin Behbahani, in comparison with other mentioned poets, has applied a variated structure to the allusions. After Simin, Monzavi's creativities are noticeable.

Mowlana’s poetry is significantly different from PERSIAN poetic TRADITIONs and the works of other poets. His works convey complex and wonderful meanings especially when they address the experience of disappearance and unawareness. This experience, together with the experience of a revelational context in the opening of speeches in Mowlana’s Diwan, makes some of his dramatizations extremely wonderful. Meanings sometimes become so complicated that one cannot assign a definite meaning to a piece of his work. Unfelt and emotional meanings are sometimes so rich that one confuses the addressor and the addressee. Mowlana’s perplexing mystic experiences have given rise to poems unparalleled in works before and after him. This paper distinguishes two semantic and syntactic forms in Mowlana’s SONNETs and analyses their characteristics. It also attempts to uncover deep meanings in some of his selected poems.

Monzavi is a one of the main innovators of new Lyric considering the values, outstanding and unique capabilities of classical poetry, he has ornamented his poetry with the techniques and delicacies of the modern Poetry. In composing his SONNET, he has used the techniques and innovations which distinguish the appearance of tradional Lyricisin and created lyric poem in a new Way of singing. This article intends to review innovations and special features of his poems.