There are at least two viewpoints upon the POETry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the POET existence, 2- inspiration is a power originated from the POET unconscious self. Theorisians and POETs have spoken a lot on these two theories to accept for and against them. As the human being mind structures are not the same, naturally their treatments toward and conceptions about the same experience, be it objective or abstract, will be different. In other words, each POET, in special situation, understands the message more or less ambiguous. He does not know the origin of it. These new and to some extend ambiguous messages are mixed with the POETs presuppositions in such a way that separation of “God given INSPIRATIONS” or “mind made ones” is generally impossible. In this article tries to study this mind complex procedure which was generally subject of a lot of POETs and art theorists’ discussion.

Based on his substantial and intensified motion, man is created in such a way that he attains a level that is prone to receiving divine INSPIRATIONS or evil inductions and all kinds of dangers. "khavᾱ, ter" are of two types, which are divine categories and enter the human heart from God, which is called "inspiration", and a category descends from the devil into the human heart, which is called "induction". Sometimes divine INSPIRATIONS are mediated and sometimes unmediated. The mediators of inspiration are called the angels. The opposite of inspiration is induction by the devil. Tazkirat al-Awliya is a mystical work on the biography of the great saints, written by Sheikh Farid al-Din Muhammad Attar Neyshabouri. The research method of this essay is analytical-descriptive. Because the subject of this article is presented for the first time, it is important in this regard. In the book Tazkirat al-Awliya ', the INSPIRATIONS are more than the instincts and are mostly done by listening. In this article, the authors try to discuss examples of INSPIRATIONS and inductions from the book Tazkirat al-Awliya.

For many years, and especially nowadays, much attention has been paid to Arabic literature from different perspectives in Iranian studies.Although there are many great Jordanian authors and POETs, less attention has been paid to them in these studies. This research, therefore, has tried to introduce and survey Jordanian literary figures and works as has been done with Egyptian, Lebanese, and Syrian authors before. The researcher also focuses on the literary life and works of one of the great Jordanian POETs, i.e. Yusuf Al-Azm, a POET of Quds. In this way, the Iranian reader will be able to perceive his literary resistance and activity against the various enemies of mankind, humanity, and peace.

By Declining of glorious and honourable of the empire of Baberi in India and the Safavid in Iran, the Indian style had lost its credit and value and its golden age came to the end.- The last POET who used this kind of Indian method and changed the boaring period at the end of Teymorian era, was Qaleb Dehlavi the skillful POET. By dominating over persion language, Qaleb, by use of words and vocabularies, could bring into harmony the structure of his poem with spritual and emotional states.

This paper introduces Abaskhan Afshar pen named as «Parishan», his works and the way he deals with the poem, which no attempt has been conducted in the context of his POETic style. Abaskhan Afshar (Parishan) is the Persian POET of Zanjan province during Qajar–NaseredinShah –and the mostimportant of his «Jahan shah Nameh» is the latest historical epic of the Persian language, which isrepresentative of the social situation in Iran in Time of POET's life.This paper has attempted to introduce briefly the circumstances and works of «Parishan» including Jahan shah Nameh, POETical works, Faraghnameh and some of his poems to make familiar Iranian literary with poems which are unknown sample of poems remaining of literary renaissance in constitutionalera.

Background and Aim: Farid al-Din Mohammad Neyshaburi (1146-1221 AD) known as Attar, is a pharmacist and Iranian POET in the 6th and 7th centuries AH. Attari meant a set of activities related to medicine including pharmacy, selling medicine and treatment. The purpose of this study is to introduce Attar as a physician and pharmacist and the effects of these sciences on his works. Materials and Methods: This is a descriptive-historical study based on library resources. By referring to the compilations of Attar and using the keywords Attar Neyshaburi, POET of physician and POET of pharmacist the desired materials were collected and presented after analysis. Findings: The use of words related to medicine and treatment in the works of Attar indicates his interest in pharmacy and medicine along with writing poems. Some great people have introduced Attar as greatness man in their works. The title of Attar has been attributed to him because he had a large pharmacy, made and sold medicine and treated patients. Ethical Considerations: This research has been done only by relying on library resources and the principle of fidelity and honesty of citing the used texts, the originality of the sources and avoiding bias in referring to texts or analyzes have been observed. Conclusion: Attar is one of the POETs who has had enough information about the pharmaceutical knowledge of his time and knew the medicinal plants well. Therefore, we can consider him as a POET of pharmacy who is the pioneer in the phytotherapy. However, his name is not mentioned in the list of Iranian physicians but it is suggested that more research can be done on his POETic and prose works getting to know better of the high position of this great POET.

Fasihi-yi HiravI is one of the POETs of 11thcentury A.H (17th century A.D). He was born in 987 AH (1579 A.D)in Bokhara and died in 1049 AH(1639 A.D)in Hirat. FasThIis one the pioneers of the style in POETry which is known as Hindi. In composing gazals and ghaszdas (sonnets and odes) he follows the POETs of sixth century and onwards, especially AnvarI, Khaqani, Sadi and Hafiz. His style is simple and stands between in Iraqi and Hindi schools. He has tried various forms in his poems, but we must place him among the best gazal composers. His gazals are full of tenderness and wondrous images, but not as much as what we see in the Hindz school. Certain gazals of his are as simple and beautiful as the best of the Iraqz school. In such gazals, his style is clear without complexity, like the style of Sadi, which is called sahl-i momtani (easy yet difficult to imitate).

Abulala Maarri (363-449 A.H) POET, Philosopher, Literary man, and linguist, is an outstanding figure in the Arab world. His multi dimentional character in the last ten centuries has constantly been the subject of much controversy and dispute among the authorities in the above fields, but about his philosophical nature there is disagreement. Some regard him as a sage, and some as a philosopher.Taha Hossein in this article has attempted to introduce him as a philosopher. To support his point, he combines philosophy with art, hence he calls philosophers artists, and artists, philosophers, and finally he has given Maarri the title of “philosophers’ POET” and  “POETs’ philosopher”.

Kalandari POETry is a branch of mystic POETry whose formal emergence is from Sanaie's POETry. From then on the domain of expansion of its is so that Kalandari concepts seen in the poems of the POETs like khaghani and Anvari. Examining Sana’i and Attar's Ghazals as the most prominent instances of Qalandari poems illustrates major features of Qalandari thoughts as well as these POETs characters and the language of Qalandari poems. Observing these terminologies which is the result of a serious investigation in this field will in any way show the degree of imitation of some 8th century POETs.

Mansur Ibn Zebarqan Ibn Salmeh, the POET, was living in Baghdad in the second century of Hijra-the dark and oppressive era in which Harun Ul-Rashid reigned.In the time when Alavian and Ahlul Bait-the Prophet’s descendants-had been severely suppressed, it was he who voiced the oppression the vicious Abbassid dynasty inflicted on Ahlul Bait in his poems. He also managed to popularize their virtues in his eloquent poems of eulogy.On the basis of the Islamic principle of Taqiyeh-dissimulation-Mansur Namerri managed to approach himself to Harun’s Court, but before long, his preceptor, called Attabi, revealed his tendency toward Shiism, and accordingly, Harun ordered to his death. Due to dread of the then dynasty, no attempt was made to collect and preserve his poems after he was stain, and his Divan was burnt, and thus, few of his poems remained. As a result, it is deemed necessary to take effective steps so as to study the sublime character of this mentioned POET and then introduce it to the political Literature of the Islamic World. The present study attempts to achieve this end through making reference to the authentic sources, including literary books, translations, etc. and hopes to take a step to revive the committed Shia political literature.