دکتر علی صباغی

Badri Tondari (1996-1911) is one of the contemporary women orators. His collection of poems is about two thousand verses. She has written poems on topics such as homeland, pride in national history, freedom, peace and topics related to women. In this research, Badri Tondari"s poetic style has been described and analyzed in linguistic, rhetorical and intellectual domains.

In this article, the data collection method is complete induction and the research method is descriptive-analytical. First, the information obtained from Badri Tondari"s poems will be described, and then stylistic analysis will be presented in three linguistic, rhetorical, and intellectual domains. The data collection method will be complete induction, so all the poems have been examined.

Badri Tondari has used all kinds of repetitions (consonant and vowel) and additions in the phonetic layer to make his poems melodious. In his lexical layer, she has benefited from sensory and objective words, religious, national, patriotic and political words, words of war and peace, feminine words, etc.. Shifting sentence elements is one of the tricks of the syntactic layer of Tondari poems. Tondari does not have any particular innovation and prominence in using rhetorical techniques. But on the occasion of speech, she has used rhetorical techniques such as simile, irony, metaphor and allusion. Badri"s ideological style revolves around homeland, pride in national history, freedom, peace and women issues. Badri talks about the equality of men and women and emphasizes that these two sexes are correlative. It is not an intellectual feature, it is related to the rhetorical axis like an allusion, that is, the poet"s look at Iran"s honorable past and reminding them for today"s audience of being religious is not inferred from historical and mythological names, but rather shows nationalism and love for Iran.

What is more prominent in Badri Tondari"s poetry and is outstanding in terms of stylistics is the intellectual axis of his poetry, which revolves around the axis of homeland, pride in the national history, freedom, peace, and issues surrounding women. Badri Tondari"s poetry does not have a stylistic identity in the linguistic and rhetorical axis. And she has observed the norms and rules of traditional and classical Persian poetry. In general, the prominence of Tondari"s style is in the intellectual layer, and in terms of language and rhetoric, she has used linguistic and literary possibilities to usual extent.

Kings and generals used to issue a letter to announce the victory and conquest of the new territory with their own handwriting or the composition of their court secretary after the end of the war or the successful conclusion of the military campaigns in other lands. This letter is referred to as the Fatḥnāme (book of conquest). This study seeks to investigate the process of development, evolution, and independence of prose Fatḥnāmes in the Persian literature. The study's questions are when did Fatḥnāmes become popular as an independent type of court and sultanic writing and which Persian literary genre do Fatḥnāmes belong to? To answer the questions, the process of development and independence of Fatḥnāmes is first examined using a descriptive method. Then, the position of Fatḥnāmes as a literary genre is explained in terms of form, structure, and function using an analytical method. The results shows that Fatḥnāmes were initially implicit and secondary writing in the historical texts written in news language and gained independence and were gradually written in literary and artistic language since the 6th century (AH). The principles and manners of their writing were then developed in the books of Monša'āt and techniques of letter writing. In terms of literary genre, Fatḥnāmes are literary and short narratives of victory in war, which have an epic aspect and are written to legitimize war and preserve the power and rule of kings.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions:  euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story.

The abstract concepts and experiences in the mystical understanding and cognition field has led the rhetorician mystics to seek help from the concrete and objective concepts of "words" to understand and express the intangible world of "present". This skill of the rhetorician mystics can be proposed and investigated in the framework of the theory of conceptual metaphor. According to what is proposed in this theory, metaphor is not just a lingual method for creating beauty, but a method for thinking and understanding the universe. The present study will examine the ontological metaphors, one of the conceptual metaphors, with the origin of water domain (such as sea, water, rain, and...), in framework of conceptual metaphor in Masnavi Manavi, and to answer the question that: in the Masnavi, the origin of water domain and its related words are used to express which areas of the destination? To answer this question, the authors have first investigated the text in question and extracted the evidence related to the present study, and then analyzed the research data in a descriptive-analytical method. The result of the research shows that Maulavi has presented many and varied abstractions such as the mercy, soul, intellect, and heart and sometimes by using words related to water has tried to explain the different attitudes and perceptions of these abstract matters.

Since there is no accurate information about the life of Taj ad-Din Mahmoud Oshnuvi, researchers have just speculated about the details of his life. Accordingly, publication of any document that can clarify some aspects of his life is of great importance. In this article, besides examining the opinions of the researchers about Oshnuvi's life and works, a newfound letter by Majd ad-Din Baghdadi is introduced; the content of which reveals that Oshnuvi lived around the years 597 to 602 A.H. in Herat. While staying in Herat, he guided his disciples, taught, and preached in an old monastery. At that time, his status and reputation were so high that the people around Muhammad Khwarazmshah, fearing his spiritual influence, tried to defame him. They attempted to alter Sultan's opinion about him. As soon as Khwarazmshah besieged Herat, he imprisoned Oshnuvi. At last, a great mystic like Majd ad-Din Baghdadi, who respected and honored him, exploited his great influence in Khwarazmshah’s court to free Oshnuvi from captivity.

The grammatical argument of contention means playing two functions by one word or phrase in Persian language sentences. There is ambiguity and disagreement in Persian grammar articles and books about contention or the appositional function. In the present study, the contention in Persian grammar has been studied and an attempt has been made to answer the following questions: 1) How is the contention in Persian grammar sources explained in different sentences? 2) What is the connection between the discussion of contention and the categories of ambiguity, suprasegmental units, deletion (reduction), and deep structure of language sentences? 3) With which grammatical issues and rules does the belief in contention in Persian language sentences lead to contradiction and conflict? The result of the research shows that in Persian syntax, each word or phrase plays only one function in the syntagmatic axis in the sentence, and the cause of the contention is the combination of the form with the meaning, and considering a compound sentence as two independent sentences, therefore the contention has interfered with the categories of deletion, compound sentence interpretation, ambiguity, and dependency. IntroductionIn Persian grammar articles and books, the discussion of contention or the appositional relation (dual function of a word or phrase in the sentence structure) has been raised according to the Arabic syntax and is generally defined as follows: contention is when one of the components of the word in a compound sentence plays a different function for each of the verbs. There is disagreement about the issue of contention in Persian grammar. Some of the factors that have caused this disagreement are: the newly established writing technique of Persian grammar, the imposition of grammatical rules and categories of other languages ​​in Persian, the combination of historical grammar with contemporary grammar, and so on. Due to this disagreement, the present study investigates the issue of contention in Persian grammar. The authors will continue the issue according to the hypothesis that there is no contention in Persian sentences and the belief in contention (i.e. two functions for a word or phrase in the sentence structure) will disrupt and ineffective other rules of Persian grammar, especially in teaching Persian grammar will create an unnecessary challenge. Materials and MethodsIn this research, first, the outlooks of Persian grammar scholars about contention are presented using a descriptive method. Then, using an analytical method, based on the evidence of the same sources, the contention in various sentences of the Persian language is examined and criticized. Finally, the analysis and suggestions of the authors in this field are presented. ResultsAn examination of the views of Persian grammar scholars shows that the category of contention has occurred due to ignoring the structure of the compound sentence, the category of omission, subordination, and emphasis on deep structure and sometimes the form of sentences. Accordingly, the authors suggest that based on the basic rules of grammar, including the definition of the sentence, one function of a noun and a noun phrase in the sentence, the principle of the economy (omission or reduction), and subordination, there is no need to raise the issue of contention in Persian grammar. Therefore, the evidence related to appositional relation or contention in Persian grammar sources can be described and explained based on other grammatical rules. ConclusionContention in Persian sentences has been discussed according to the syntax of the Arabic language and in a variety of simple, basic, and compound sentences. In the sources that have considered the occurrence of contention in Persian sentences, several factors underlie this view. For example, referring to the deep structure of the sentence, ignoring the post determiner of the type of explanatory relational sentence, considering a compound sentence as two independent sentences, and relying on the form and formal structure of the sentence have caused a word or group in the sentence structure to have two functions that sometimes are repetitive but the same and sometimes different from each other.Belief in the occurrence of contention in Persian sentences interferes with the categories of omission and its types. Contention also conflicts with the interpretation of the compound sentence and the resolution of the dependent clause (dependent) in the form of a noun or adjective phrase in a compulsory or optional function in the sentence. Also, the occurrence of contention in Persian sentences is not possible because each word or phrase in the structure of a larger unit (i.e. the sentence), has only one function. Since the compound sentence is also considered an independent sentence in Persian grammar, a separate analysis of the compound sentence as two independent head and dependent sentences is not necessary and justified. It seems that believing in contention in Persian is in some way imposed by the Arabic syntactic rules and insisting on matching another language category with Persian.

Shahnameh is the most prominent epic work of Persian language and literature and one of the literary masterpieces of Iran and the world. Correction, description, critique and analysis of Shahnameh is one of the fields of study of Persian language and literature researchers. There have been many and valuable efforts in the field of correction of the Shahnameh text and its description. According to the Shahnameh researchers, the correction of the Shahnameh by Jalal Khaleghi Motlagh, along with the precise recording of other manuscripts in the footnote, is a complete and perfect correction in this filed. In addition to this correction, Shahnameh's photographic prints, scholars' access to other corrections of the Shahnameh, as well as commentaries on the Shahnameh are very helpful in opening up some difficulties. In the light of the foregoing efforts of the Shahnameh researchers, in this study i will indicate the suggestion to record and to give a meaning of the verse from the story of Forud based on San. Joseph's version, which he did not have this verse at the time of correcting and describing the Shahnameh. The author will attempt to review the correctors and commentators opinion about the so called verse and also by referring to manuscripts text, in-text evidences of the Shahnameh, out-text evidences of contemporary and near-Shahnameh texts and the sequence of verses in the context of the story propose their suggestion based on manuscripts and consequently the meaning and sense of the verse with the help of recordings and obtained evidences.

There has been an old and new confrontation in the field of poetry and speech since very past to the present. The present article intends to compare Hassan Vahid Dastgerdi’s (1258-1321) Viewpoint as a pro-traditional poetry critic and Yadollah Royaei (1311) as a pro-modernist critic in Persian poetry, about poetry and poesy by applying inductive method and studies Yadollah Royaei and Vahid Dastgerdi’s articles and comments in Armaghan magazine The result of the research shows that Vahid Dastgerdi considers poetry as a medium for conveying high moral and mystical concepts by adhering to traditions. In contrast, Yadollah Royaei emphasizes the intelligent use of image, language and the coherence of poetic elements. For Vahid Dastgerdi, it is important to enjoy rhythm and rhyme, but not for a Royaei; but both poems are considered linguistic art.

In literary texts, some sentences are more important than others and are thus, highlighted through emphasis. The current study aims at reviewing 3000 verses from Shahnameh to extract the methods and techniques of emphasis. The researcher seeks to find out what structural, rhetorical, or semantic devices are used in the Kamoos Keshani story to show emphasis. The data was collected deductively, and the data analysis was descriptive-analytic. This study categorized the emphasis in Shahnameh into two types: general emphasis and specific emphasis. General emphasis consists of reiteration, apposition, description, hyperbole, contrast, opposition, and limitation. Reiteration is an artistic repetition of the exact words, meanings, synonyms, and a combination of words and meanings. The combination occurs in the repetition of nouns, noun phrases, adjectives, adverbial clauses, and objects. The repetition of meaning or synonym consists of a semantic synonym of two verses. The emphasis of apposition happens through a series of consecutive words. In this study, the words such as 'many', 'hard', 'much', and 'numerous' are known as descriptive. These words function as adjectives if they follow a noun and function as an adverb if they follow a verb. Hyperbole and other related terms such as exaggeration have an implied usage in epics. In Shahnameh, other devices of emphasis are usually along with hyperboles. The second type of emphasis is the specific emphasis which happens through using nouns, inclusion, connecting pronouns, verbs, propounding the verb, prosody, sentence emphasis, sounds, rhetorical questions,  interjections, redundancy,  condition, omitting connectors, emphasis without devices, as well as emphasis through analogy and irony. Also, a transition of the sentence constituents can affect emphasis. The noun emphasis in Shahnameh happens through appositive pronoun, and the inclusion emphasis happens through words such as 'purity', 'thoroughly', 'all', 'anybody', 'anything', 'every', and 'everyone'. The exemplar connectors, in Shahnameh, are only 'particular' and 'in particular'. The techniques of pronoun emphasis are similar to those of noun emphasis. The verb emphasis happens through the verbs with the comparative and superlative adjectives, adverbs, and swears. Moreover, propounding the verb is one of the main techniques of emphasis in Shahnameh. The prosodic emphasis in Shahnameh mostly occurs with the word 'remorse'. Adverbs such as 'correctly' and 'inevitably' are used for the sentence emphasis, and 'never' and 'no' for emphasizing verbs such as 'prohibit' and 'forbid'. Redundancy is also another technique that occurs in Shahnameh based  to show emphasis.

Paradox is a proposition that logically seems incompatible and absurd, but can be meaningful by interpreting. Almost all poets have occasionally used it (see Abrams, 2005:244), as Shafiei Kadkani states "paradox is an image the two sides of its combination contradict each other conceptually like monarchy of the poverty" (Shafiei Kadkani, 1992:54). He believes that paradoxical images can be found in all periods of Persian poetry (Ibid: 57). Undoubtedly, in different periods of Arabic poetry, examples can also be stated: او ابعد بعدنا بعد التدانی / وقرب قربنا قرب البعد (Al-Mutanabbi, 1988, 2: 78) (does it close our distance like keeping out our nearness and being far and nearness like closeness of separation?).
Among the poets who had a high frequency of this literary method in their poems are Abd al-Wahhab al-Bayati (1926-1999) and Mohammad-Reza Shafiei Kadkani (1939), who are considered as powerful poets in the field of modern poetry. These two poets began their poetry with a romantic approach and then after moving from social realism, reached the symbolization phase. Social - political concerns with words that express sadness, a reason for common thoughts the two poets.  Their acquaintance with each other is undeniable; contemporaneity and attendance at one of the international congresses of poetry provided the opportunity to know each other. On the other hand, Al-Bayati really interested in  Persian poetry and Shafiei Kadkani  is completely familiar with  classic and contemporary Arabic literature; attention to Khayyam, Attar, Sohrawardi, and Hafiz are manifestations of Al-Bayaty's attempt to Iranian culture and about Shafiei Kadkani relation to the Arabic literature there is abundant evidence that does not need to be cited; since by a brief looking at his research works, translations and poems, his mastery can be found, and here it is not possible to deal with it. However, this does not mean that these two poets were influenced by the method and stylistic characteristics of each other, so it is possible to examine their stylistic properties within the framework of American School of Comparative Literature. In this paper, using descriptive-analytic method, only those poetry evidence will be examined that is in common between two poets in terms of style or implication.

In this study, by criticizing and analyzing similar and contradictory prominent examples in the poetry of two poets, we can examine the implications or constructs based on the American School of Comparative Literature and descriptive analytical method of applying paradox in their poetry.

Since paradoxes lead to a new recognition of the artwork, so Al-Bayati and Shafiei Kadkani, by leaving familiar meanings and creation of concepts seemingly the opposite of the fact, tangible to us a  world of realities. Paradoxical expressions and compositions in their poems can be divided into two types: linguistic and literary, and analyzed their similarities and differences as the paradoxical limitations of language is the most difficult of the paradoxes in terms of arrangement and construction of words, but many paradoxes in the grammar part of these two poets can be found. The paradox in the poetry of these two poets is found in the composition and document.
Paradoxical compounds are purposely used to influence rhetoric, by combining contradictory words and creating exquisite images (Fotouhi, 2015: 328). These compounds are sometimes concise of one or more sentences with a contradictory meaning that are expressed in the form of adjectives (adjective and noun) and (Annexation and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poet and Annexed) in the poetry of two poets. Using the elements of nature in these contradictory combinations is a striking resemblance to the poetry of these two poets.                                                      Predicative paradox (predicative paradox (documentary   paradox)) is another type of linguistic paradox that arises in the proposition of predicate and subject and can be examined in the poetry of these two poets at the level of two sentences or in the same constructions. These two poets sometimes use paradox at the level of two sentences using coordination of "and" or "no". The coordination letter of "and" is the most commonly used subordinated conjunctions. When several structures are linked together with "and" and construct a new structure, its artistic device find an alignment grammatical value. For this reason, two poets connect the contradictory words with "and", and affect the semantic and interpretive structures of the poem, as the reader suspects that he is confronted with a subject that is inaccurate because he is received the feeling of parallelism from the subordinating conjunction of "and". These two poets express their meaning and intention of paradox in a coordinated structure with the help of adverb of manner that shows different states or through a proposition.                                                                                 
Another way to construct a paradox in the poetry of these poets is using figures of speech such as simile, metaphor, allusion, and tard va axe, which is referred to as literary paradox. The purpose of simile is to prove a trait (an adjective) from vehicle to tenor. So the tenor is the purpose of the word and vehicle is an instrument to help the desired purpose. Whenever, in a paradoxical image, the expressive purpose of the metaphor is considered, the vehicle should be conceived in such a way as to be incompatible with a word in the poem, then by eliminating the vehicle, the paradox will be remov. (Vahidian Kamyar, 1997:  284).
 In the metaphorical paradox, the vehicle must be such that it makes a paradox with the word in the poem and by removing the vehicle, the paradox will be disappeared. One of the most important elements of imagery techniques in the poetry of these two poets is recognition. By using the recognition, they strive to give life to all phenomena and objects. Therefore, to translate their feelings, they use implicit metaphor. In addition to applying the implicit metaphor, explicit metaphors are also found in the poems of two poets. Another paradoxical style in the poetry of these two poets is using irony. In this figure of speech, the vehicle (superficial words) is such that make contradictions with the words of the language, and then this contradiction is removed by eliminating the vehicle.
Another literary style in applied paradoxes of the poets is using chiasmus and shatah, that is, the poet uses the combination of opposing words and then by subordinating conjunction of "and" and moving the arrangement of words, make a monotonic relation with the elementary composition. This artistic device in an impossible setting, and then movement of the words, and finally the coherence between them, first arouses an ambiguity that will be feasible by contemplation and discovering the main idea of the poet.

A Part of Al-Bayati and Shafiei Kadkanie's insight is related to paradoxical images that in its structure, has poetic anxiety. Choosing vocabulary, deviation of norms, and paying attention to aesthetic aspects of the word are important features in the poetic contradictions of these two poets. The paradoxical application of their pomes can be analyzed on the basis linguistic and literary construction. Paradoxical expressions are observed both in the form of predicate and combination in their poems, with a higher frequency of predicate. In many of the paradoxical images of these two poets, it can be possible to observe clear imagery which shows a similarly emotional space, which is what led us to perform this literary study . One of these images is lightness-darkness and the other is the image of death and life in which they reflect hope. Two poets use the elements of nature in paradoxical terms for symbolic expression of concepts whose frequency is higher in Shafiei Kadkani's poetry due to his ruralistic spirit. If al-Bayati expresses his paradoxical poems in the form of death, homeland, prison and fire, Shafiei Kadkani reflects those ideas by the nature and subtle words. In some Shafiei Kadkani paradoxes, in particular, "the black light of devil", a kind of shatah can be seen that cannot be considered a place for this perspective in Al-Bayati's paradoxes. In the paradoxes of Al-Bayati due to socialist beliefs, sorrow and sadness can be felt more than Shafiei Kadkani, although the veins of hope are often obvious in the poetry of the two poets. These two poets do not try to hide the content for the reader, but it can be understood with a little contemplation and searching meaning in the ambiguity and layers of the word. Therefore, paradoxical images can be one of the reasons of acceptance of their poems.

The revolutionary poetry is a product of the strife amongst various discourses which had suffused the Iranian society’s literary arena from the late 40s till late 50s. In the present research, the topic of the struggle in between secular literary discourse and Islamic literary discourse, has been delved into. In order to conduct this study, discourse analysis Theory (from the standpoint of Ernesto Laclau and Chantal Mouffe) has been applied. While Foucault discourse opinions have also been used. The strife between the two mentioned discourses has mainly been over their meaning and their attempts to reform ate the concepts of revolutionary poetry. Historicity and phenomenology of literary have not been dropped out either. the process of conceptual formation named revolutionary poetry has been analyzed through there conflict. According to this study, the poetry of the Islamic Revolution resulted of some epistemological breakdown (in Foucault words) of the previously stabilized process with its find exclusion. As a result of this struggle, the revolutionary poetry adopted a new formulation with the hegemonic intervention of the new political institution, having emerged from the revolution. This different current brought about a type of political poetry, called the Islamic Revolution's poesy.

The essential part and core of the predicate in Persian grammar is the verb, i.e. one of the pivots of stylistic analysis in the syntactic layer of language. This research analyses the role and stylistic function of verbs in Rubaiyat of Omar Khayyam. The questions that are going to be answered in this essay are, firstly, what are the pivotal characteristics of the verb in Rubaiyat of Omar Khayyam?, secondly, how is the frequency of the features of the verbs in Rubaiyat of Omar Khayyam?, thirdly, how the important characteristics of the verb is united with the style and content of Rubaiyat of Omar Khayyam? In the first place, in order to answer the research questions, the verbs in Rubaiyat of Omar Khayyam were extracted inductively. Then, the pivotal characteristics of the verbs were described in terms of grammar. Finally, the link between verbs and speculative style of Rubaiyat of Omar Khayyam was analyzed. The result of this study indicates that, in terms of time, the verbs in Rubaiyat of Omar Khayyam are attached to the present time, and they are in line with Khayyam who gains ground. In terms of the verb moods, in the first place, indicative mood is mainly to express the certainty of the message of the Rubaiyat and secondly, the imperative mood is to invite the addressee to live blissfully. In terms of the subject, mostly third person is used to attract the addressee to see the reality of essence and the surrounding world and referral to the external world. Most of the verbs are transitive and the collocation of the sentence structural components aims at a clear-cut and direct representation of the sentence message.

Rudaki is one of the greatest figures Persian poetry in the third and fourth century AH. From Rudaki’s poems remaind about thousand Verses for us، these verses were obtained among other works. Lack of original manuscript، the duration، changes Persian language، various recordings in secondary sources… were caused that the reading and concept of Rudaki's poetry be difficult. In this essay، Has been investigated various readings from a famous couplet of Rudaki. This study is based on historical grammar and Persian stylistics، the textual evidence، and extra-textual evidence show that reading of the poetry of Rudaki is incorrect. Finally، this research has proposed a edition of the poem، and describes its meaning and its interpretation.

Multiple - Poem «yad ar ze sham'' e morde yad ar»، composed by Dehkhoda، is one of Persian modern poems which has caught attention of critics of contemporary literature. This article seeks to use Transtextuality (one of new approaches in literature critics) to criticize and interpret the poem. The questions raised in this article include: What makes the pearl-stringed poem a modern work? How are the connections between Dehkhoda''s poem and old and contemporary poetic traditions are reflected? How have Dehkhoda''s notes born upon criticism and reading of the poem? Was Akram Rajai Zadeh’s poetry the only inspiration for Dehkhoda''s or was he under the impression of others? In order to find the answers، Dehkhoda’s pearl-stringed poem was studied in five distinct perspectives based on descriptive-analytical methods and Transtextuality. Result of research shows that Dehkhoda''s poem is intertextual drawing from older poets and had effects on contemporary poets and those who succeeded him and thus، the search for a single inspiration is irrelevant. The chief inspiration for Dehkhoda''s pearl-stringed poem is Persian classics. He represented his modern and progressive mind in form of a pearl-stringed poem، categorized as elegy.

The Constitution Revolution (Mashrute) is considered as one of the most crucial reasons of change in the entire political، social، cultural and literary domains of our time. One of the outcomes of this move is the division of the Iranian society into two traditional and modern epochs. This classification has been clearly represented in Mashrute and contemporary literature. And the interaction between the traditional poetry and modernist poetry lead to the appearance of the so called “Nimaee poem” keeping step with classical poetry till present. This article studies and compares the ideas of two contemporary poets، Bahar، the last representative of the classical poetry، and Nima، the first outstanding figure of modernist poetry، to show the conflict between traditional and modernist poetry originated from the context of that time. This article tries to show how much Bahar and Nima have been affected by classical and modernist poetry. As the study shows، Bahar has a conventional and conservative look at poetry and his novelty is seen solely in the content of his poems. But Nima who is acquainted with Western Literature and Western literary schools and who knows the necessity of being fresh and novel in Persian poetry gradually gets far from traditional poetry and turns completely towards modernist poetry.