The symmetry of pronunciation and meaning is one of the techniques that the Paris school of semiotics addressed, and by Joseph Curtis, a French theorist, in the aspects of illustrating the hidden and inner parts of speech and poetry texts, which make words the way to reach meaning.  Therefore, among the reasons for choosing Diwan's «Harf Men Ma'a, Qhessatah Hobben Tawila» by Adeeb Kamal Ad_Deen, an Iraqi letter poet, for Curtis's pronunciation theory, in this research, is the depth of meaning hidden behind his words, which is the texture of his tone. The application of the semiotics of this divan was done by using descriptive analytical approach. which were considered the three divisions presented by Curtis «time, place, and characters», to the topics of poetic discourse and divisions. Pronunciation and pronunciation, and its superficial and deep level should be determined. The results indicated that most of the poems of Adib Kamal Ad_Deen have the combined power of discourse, which can have that deep level of meaning even with the presence of one letter and one or two lines in each part of the poem. Despite the brevity and brevity of the words, full of tenderness and simplicity, in order to reach those depths of meaning and strong meaning, but are full of beautiful interpretations. Also, this research found that the selected verses, as analytical examples, have those advanced attributes that Curtis considered in the vocabulary section, these semantic necessities were revealed during the intersection of the verses

Khaqani is one of the most prominent and paramount ode-writers in the history of Persian poetry. In his poetry, known as one of the pre-eminent of the Azerbaijani style of Persian poetry, he has a unique distinction according to the requirements of this school in expressing various virtues and knowledge, and his Divan has become a poetic encyclopedia of numerous sciences. As a significant part of the Iranian religious culture, the topics related to religious sciences form a fundamental part of the religious allusion and references to his Divan. Since the Hajj pilgrimage is one of the basic principles of Islam, Khaqani has made pilgrimages to Hajj twice based on his interest and love as well as his firm belief. He has mentioned the essential manifestations of this religious obligation in the form of particular references. He brought it into the Divan and wrote poems, especially for the Hajj pilgrimage called Ka’ba Setayi. Considering that one of the most crucial parts of Hajj is held in the last three days of the first decade, i.e., the eighth to the tenth of Dhu’l-Hijjah, this study aims to examine these effects and examples in Khaqani's poetry.

Sufi literature is a kind of transcendent literature that contains sublime meanings as well as high spiritual attributes and characteristics. Mahmoud Hasan Ismail inspired by the Sufi experience, which represents a special stage in the evolution of his poetry has represented transcendental themes in his work Soot Min Allah (The Voice of God), which is the manifestation of his thirsty soul in reaching the absolute divine essence. This study through a descriptive and analytical method represents the components of the Sufi discourse in the poetry of Ismail and examines its brightness and visions through his collection "The Voice of God". The most important finding of the study is that the poet in his mystic speech exceeded the limits of intertwining with the ideas and references of Sufism. This is reflected in the construction of his poems, images and compositions, turning it into a mystical vision where the soul flew in new worlds and rid the body of its material. On the other hand, an absolute self-love is the basic principle in “The Voice of God”, whose spirit is emancipated from the flesh of the flesh, so he goes to the ends of existence and calls it towards union with the divine self and its annihilation. In linguistic terms, the Sufi language of Ismail was characterized by the employment of some mystical symbols that have visible and hidden connotations, including flute, light and wine, which abound in his poetry compared to other symbols, in a manner that has increased the meaning of beauty and splendor.

Adnan Al_Sayegh is one of the dominant poets of the war who is belong to 80 decade of Iraq. He spent a lot of his time in challenging with death in war time and because of this he is very averse of it. He has several collects of poems and most of the subjects of his poems are about political and social issues in Iraq. He is the most complete instance of current poem in Iraq. He writes free poem and some of his poems alternates between poem and free poem. The way of research in this one is descriptive-analyzing، because it survey the poems of Adnan Al_Sayegh and find the thoughts pearl from its poems sea، and after that it presents a politic and social analyze from it.

Poetic symbolization based on past symbols in order to create a romantic situation is one of the important poetic evolutions. Abd al-Wahhab al-Bayati is one of the modernism strongest poets in this field who could express his poetic approaches in the most effective way by applying different symbols of dream. This article – which is done in descriptive – analytic method – studies symbolization and its importance in al-Bayati's poetry in general as well as analyzing Hallaj symbol. He has applies this symbol in many different poetries such as "Hallaj's Torture". The common points in two characters caused forming mask technique in the best way.

Ghazali Mashhadi is one of the poets who migrated to India in the 10th century for some reason. He has some works in verse and prose, one of which is his Divan of poems known as Asar al-Shabab. This Divan includes an introduction in prose and some poems in the form of Ghasideh (ode), Tarkib-band (poem of several stanzas of equal size), Tarji’-band (strophe poem), Ghazal (sonnet or lyric poem), Mathnavi (couplet poem), Qet’eh (an elegy consisting of only two lines and rhyming in the last hemistiches), and quatrain, which were published with Hossein Qorbanpour Arani’s corrections by Elmi va Farhangi (Scientific and Cultural) Publications in 2009. In this edition, despite the mentioned correcting efforts in the introduction, many errors have found their way into different parts of this Divan. Most of the errors were related to punctuation. These slips could cause the wrong reading of the poems and might even cause misunderstanding of the poet’s intention. Another problem that could make the reader’s job difficult was that the references given to Ghazali's poetry or even to other scholars’ works were incorrect both in the introduction and notes of the Divan in many cases. In addition, the mistakes and carelessness in the steps of typing the poems had sometimes caused (an) extra letter or letters or a sign to enter the words or be omitted from them in the texts. Also, in the section of notes, the honorable editor had only explained the literal meanings of the words or terms, which had nothing to do with the meanings intended by the poet in many cases.

There has not yet accomplished a comprehensive research on the details of Khāqānī's life incidents and his relationship with the courts of the kings and the lords ruled during his period, so a very vague image has remained of the faces of his praised ones. It would be undoubtedly impossible to get a minute understanding of the poems of this great poet of 12th century or even to try to correct them carefully and academically without suitable information on his time situation, historical points on his works and realizing the identity of his praised characters. One of Khāqānī's celebrated poems is a ballad with the word “namāyad” as its rhyme which can be briefly called “namāyad ballad” or Shāhed-e-jān (the soul-mate). Who is the one has been admired in this ballad? There is a fierce controversy between the experts and of course the manuscript versions of Khāqānī's Divān about the quantity and the identity of the admirer(s). We are going, in present paper, to make this historical ambiguity clear via existing historical documents and taking the analysis of contemporary Khāqānī experts in to consideration. Additionally, it would be proved that the above mentioned ambiguity and the controversies surrounded the praised character in this ballad are all the result of a fundamental problem in the version of Khāqānī's Divān available in British Museum (on which Sadjadi had edited).