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.

Can Nezami Ganjavi (1141-1209), like Sana' i Ghaznavi, Attare Neishaburi and Mowlana Jalal-al Din Balkhi, be called a mystic poet? Is he an official mystic or is he just a poet who entertains mystic thoughts beside other subjects in his works.This article, after having answered the above questions, will discuss the reflection of Nezami's mystical thoughts in his life and poems. Then, his view toward his contemporary mystic traditions, disciplined Sufi practices, piety and renunciation of the world (all of which are figured prominently in his works) are examined. Finally, it will be concluded that Nezami, unlike Sana'i, Attar, and Mowlana is not a mystic poet.

The Indian subcontinent was the home of Persian poets during the Thymorian monarchy. During that time, a group of Iranian poets had moved to that territory, settled down and passed away there. The reputation of some of them is apparent, but some are less known. One of these eloquent poets is Toghra-ye-Mashhadi who was unfortunately left unknown. He was a very talented poet using Indian style in the eleventh lunar century who traveled to India during the monarchy of Shahjahan and to accompany Prince Morad Bakhsh. He spent the final days of his life in Kashmir and he passed away and was buried there. He was an expert in poetry and prose and he had used many Indian expressions in his works. In spite of his ambitious emotions, he didn’t reach his deserved position. In this article, we are trying to make his identity known and account for his sonnets.

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.