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Deviation from the norm, deviation from the rules that governing on the syntagmatic relations of the words, adding the rules on the standard language, displace in parts of sentence, and manipulating in accepted structure of grammar, are collection of methods that most poets use, for arriving to the language of poetry. Principally, use of methods in language that focuses on language instead of message creates foregrounding in language of poetry. Foregrounding in language of poetry, takes shape in two kinds of deviation and extra-regularity, and deviation, takes shape with displace and manipulating in parts of different areas of grammar. Adjective that has a secondary role in the structure of sentence, is so flexible, and has suitable context for deviation. Different deviations in this area, especially in contemporary poetry, create significant variety in application of adjective.
In this article, examining deviation of adjective's structure rules in contemporary literature, we have discussed importance of adjective as unessential grammatical component in deviation. In addition, we have shown flexibility of adjective to acceptance of deviation, and reviewed its impact on richness of language in Persian poetry. On the other hand, we have shown that most of deviation types in adjective structure, had been available in past literature (poetry and prose), for this reason, past literature considered as a treasures of language structures.
Adjectives are groups of words, which describe nouns and determine one or more of their characteristics such as their state, number or amount, etc. In fact, adjectives are so important that some scholars believe that they are more important than simile, metonymy and metaphor. Moreover, they state that the best way to express an image is via using adjectives. Furthermore, some have written about the structure of adjectives, which are being investigated grammatically using two different approaches: Firstly, adjectives are investigated as one of the seven parts of speech. Secondly, they are investigated within linguistic contexts, i.e. sentences. The present paper attempts to study some frequent adjective constructions, which deviate from standard linguistic rules, so that they cause defamiliarization in the poetic language.
In this paper, investigating the deviations from rules in the use of adjectives in contemporary poetry, we have considered the role of adjectives as a dependent one, which indicates the importance of other dependent roles in the syntactic construction of the Persian language. Moreover, investigating deviations from the rules of the standard language in case of adjective constructions emphasizes the flexibility of adjectives in bringing about types of deviations. This indicates the fact that how much manipulating the construction of this dependent can add up to its functional variety, increase its capabilities in the syntactic construction of the sentences, and lead to great linguistic achievements in Persian poetic language.
In this research, we analysed types of deviations in the use of adjectives such as ‘comparative adjectives’, ‘phrasal adjectives’, ‘negative adjectives’ and their subcategories in contemporary poetry. However, via introducing examples of these deviations in classical poetry, we emphasized the existence of such strategies in the history of Persian literature to indicate that using this strategy in contemporary poetry is not innovative, but it’s restructuring classical linguistic constructions.
That poets have paid special attention to the manipulation of adjective constructions indicates the importance of adjectives in foregrounding the language. Studying deviations from the rules of language in adjective constructions, which had existed in classical poetry as well, shows that some contemporary poets have been aware of linguistic achievements of the classical literature. Moreover, this is an indication of the existence of rich inventories of linguistic achievements in the classical poetry. Knowing these achievements can enrich contemporary poetry as well, especially, when this can increase the domain of foregrounding in language to give the chance to the poet to foreground the language from various dimensions.

Deviating from the norms and rules governing the collocation of words, adding rules to the standard language (extraregularity), displacing parts of speech, and manipulating the accepted structure of grammar are methods that most poets use to arrive at the poetic diction proper. Principally, linguistic strategies that shift the focus away from content to form foreground poetic diction; such linguistic strategies can be either deviation from or addition to the norms. Deviations have different types and often take place by transposing marginal and central features across various grammatical areas. For instance, personal pronoun suffixes, have particular positionalities due to their grammatical roles. Because of the high flexibility that they reveal in changing their spatial positions, personal pronoun suffixes can always provide ample space for poetic manipulation. Deviating from norms and evading rules when determining the positionalities of personal pronoun suffixes, create a remarkable variation in their usage only a part of which has been discovered and registered in the area of poetic diction.Transposition of Personal Pronoun Suffixes in Contemporary PoetryLeyla KordbachehHosein Aghahoseini Dehaqani Morteza Hashemi BabaheidariDeviating from the norms and rules governing the collocation of words, adding rules to the standard language (extraregularity), displacing parts of speech, and manipulating the accepted structure of grammar are methods that most poets use to arrive at the poetic diction proper. Principally, linguistic strategies that shift the focus away from content to form foreground poetic diction; such linguistic strategies can be either deviation from or addition to the norms. Deviations have different types and often take place by transposing marginal and central features across various grammatical areas. For instance, personal pronoun suffixes, have particular positionalities due to their grammatical roles. Because of the high flexibility that they reveal in changing their spatial positions, personal pronoun suffixes can always provide ample space for poetic manipulation. Deviating from norms and evading rules when determining the positionalities of personal pronoun suffixes, create a remarkable variation in their usage only a part of which has been discovered and registered in the area of poetic diction.

Reduction of rules of the standard language; derailment from the rules governing the association of terms; addition of outward rules to the standard language; rearrangement of the grammar of sentences and adoption of inward changes in the standard language are a string of approaches considered by the majority of poets to attain a poetic language. Reduction and addition of rules lead to prominence and distinction of the poetic language. The changes made by contemporary poets in the framework of grammatical outlines, in majority of cases lead to a return to ancient forms of language and is known as one of the subgroups in the reduction of temporal rules that has distinguished the language of a number of present day poets. This study, via adoption of a formalist approach has taken into consideration the poetic language of Nima Youshij, Ahmad Shamlou, Mahdi Akhavan Saales, Shafiee Kadkani, and Foruq Farokhzad. Sohrab Sepehri, and Hamid Mosaddeq and their focus on the ancient literary models in the framework of grammatical outlines; as well as the impact of this factor on distinction of their poetic language. The study has shown that the focus of this group of contemporary poets on the framework of grammatical outlines has usually been coupled with a tendency toward the linguistic achievements of ancient literature.

Since long ago, the predisposition to brevity has resulted in the creation of many short-written texts. In contemporary literature, accordingly, along with other social or literary factors, brevity has gained currency, leading to shortening both verse and prose. On the other hand, a considerable majority of past literature, through an aesthetics look, has always been closely linked with brevity and pose of frugality. Karikalamator is amongst the few brief prose works which not only enforces a small number of words, but also fundamentally roots from the principles of literature, and through this, utilizes the creation of brevity in two approaches that in addition to shortness, the artistic criteria are well-preserved, though rarely observed in most other short-written ones

Brevity means decorating speech from additional comments and unnecessary elements, so that the most content may be stated by the lowest number of words; this method, which is also used in oldliterature but its special consideration is one the most significant successes of Contemporary Poetry, changed the syntactical structures in addition to speech briefing. The focus of some contemporary poetsto some of these methods is practically an approach toward old linguistic structures, but some others can be regarded as the linguisticachievements of Contemporary Literature. The article reviews the methods of achieving Brevity in two main groups of brevity and deletion methods in poems of a group of contemporary poets and compares them with deletion and brevity methods in Old Classic Literature; we aimed to show the effect of Old Classic Literature linguistic structures on some part of brevity structures and the degree of innovation in some deletion methods of Contemporary Poem, in addition to identifying these methods in Contemporary Poem.