One of the important aspects of the era of Constitution is the emergence of political literature and poetry. In contrast to the few poets who still persevered in the school of Return to Classics, many poets composed poetry in the language of the common people mingling their voices with the constitutionalists to show their love of freedom and hatred of foreigners and whatever was considered foreign. Ashraf al-Din Hosseini Qazvini (1313-1274 AS), known as “Nasim Shomal”, considered children as an important part of his addressees and wrote for them in a collection entitled Golzar Adabi (Literary Flower Garden) which includes 33 poems in rhyming couplets with a sweet and satirical diction. Therefore, Nasim Shomal can be considered as one of the founders of poetry for children. He is one of the poets who had an important role in opposing ignorance, autocracy, Russian and British colonialism thus enlightening the public to reject any injustice and oppression. To him, enemies of the country are superstition and ignorance, foreigners, and those who rule with the help of gold, oppression and deceit. This study analyzes Nasim Shomal's collection of poetry and specifically his poetry addressed to children in which he presents poetical imagery of the enemy.

One of the prominent contemporary poets of Iran, who compiled creativity and originality along with research and survey, and was indeed taken seriously by both the literary associations and the academic personalities during his lifetime, was the late Qeysar Aminpoor. Works such as All Flowers are Sunflowers, Sudden Mirrors, etc along with his last poetry book entitled as The Grammatical Structure of Love, prove the high value of his works; while one can discuss the significance of his works from a variety of perspectives and approaches. The researcher dares say that after studying Aminpoors’ poetry collections and books, he realized that Aminpoor was as a matter of fact one of the greatest poets of the last three decades concerned about human and its related concepts including the pain and suffering a man goes through. He was actually involved with these issues in his artistic life and social life as a reality and concept. In this article the author initially surveys the diverse dimensions of this issue as related to the essence and concept of pain and suffering which ruled over Aminpoor’s thoughts and language. Then the collection of his poetry is surveyed and analyzed within four categories; conceptual, existential, teleology, and the moral statue of pain and suffering.

The interest in flowers and plants and the use of natural elements in poetry do not belong to a particular period. Most poets have tried to use natural phenomena and new combinations to address their favorite concepts and ideas. However, the tendency in classical poetry to nature, flowers and plants is somewhat different from that of contemporary poetry. In contemporary poetry, nature, flowers, and plants are represented through several characteristics such as breaking tradition, new language, and special worldview. Hossein Manzavi (1325-1383 AH) is one of the romantic and influential poets of the contemporary period who has an objective and clever approach to man, society and nature around him. And as we move away from the early period of his poetry, his pleasure from nature and natural elements becomes deeper and more structured. Furthermore, the poet's early emotional and romantic poetry rises to social and political one leading to invention of new words, images, and combinations. The purpose of this descriptive-analytical study is to investigate the functions of flowers and plants in Hossein Manzavi’s poetry. The result of the research suggests that the poet, with creative attitude and expression, has used significant frequency of flowers and plants to express poetic ideas, poetic beauty, harmony, and to create balance among the components of speech use. This has enhanced his poetry thematically and linguistically.

Kaiser Aminpour poetry which has been compiled in eight collections consists of live and dynamic poems. In these poems particular personality traits have penetrated into objects, natural phenomena and abstract concepts, creating a sense of personification. There is a kind of correspondence between personification and the idea of "pre-operational child". Based upon the study, the following conclusions can be drawn: 1. One of the widely used figures of speech in Kaiser Aminpour poetry is personification. 2. Personification is mostly used along with symmetry. 3. In the two works of "To quote swallow" and "Such as spring, such as river", the poet makes use of the reviving of nature in spring in order to attribute this feature to natural phenomena. 4. The two works of “Flowers all Sunflowers” and “Morning respiration” involve the most instances of personification. 5. Earth, sky and wind among natural phenomena and heart and love among abstract concepts constitute the most cases of personification.

During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and birds are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and birds is the presence of two visual elements of flowers and birds in nature. Artists of different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, and wooden door decorations. This research tries to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The research results showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, and they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are significantly concentrated regarding composition structure, form, and color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, and repetition are the visual components of this painting.

Each literary convention has some thematic as well as stylistic features that differentiates it from other conventions. Khajavi Kermani is one of the poet who pays particular attention to the epic as well as didactic aspects in his lyric poems. This descriptive-analytical study seeks to answer the question to what extent the narrative structure of Khaji Kermani's poem "Flowers and Nowruz" is compatible with the components of lyrical literature from the point of view of linguistic and literary approaches? Findings indicate that in the textual context of this system, the "poetic and literary function" of the text shows the dominance of the role of "emotional language" over its "referential" role. There are many factors that can be enumerated in this collection that have been proposed in order to strengthen the "lyrical element" of the text and have put its "narrative dimension" in the next place. Factors such as "lyrical compositions and interpretations", "soft and delicate descriptions", "sad and isolationist atmosphere", "loving and beloved action", "lack of complex extra-textual reference", "simple syntactic structure of sentences", and "fragment" The main expressions of the main character","multiple uses of expressive elements such as metaphor and simile","description of battle scenes and feasts" are the most important manifestations of the crystallization of this role in the poem" Flower and Nowruz". In addition to this type of processing of characters such as "hero", "villain", "helper", "princess", "benevolent and advisor" and the theme of the narrative such as "dreaming", "journey", "existence of obstacles" "In the path of carpentry", "conflict with the dragon, etc.", have also been used with the aim of strengthening the lyrical element of the text.

Mohammad Taghi Bahar is a national poet of Iran and one of the prominent figures in our contemporary literature and culture. His poetry Collection, which has been prevalent in the scientific and literary environment of the Persian language for decades, has been the basis of various studies. Recently another Poetry Collection of Malek Al-Sho'ra has been published that compiled by the Sayed Mahmoud Farrokh Khorasani - a very close friend of Bahar. This Farrokh collection took about sixty years. This collection of Bahar poem which has not yet been published, Remains immune to many censorship changes, deletions, and manipulations in the publishing process. Now by comparing this Poetry Collection - which should be considered the original writing of Bahar poetry - with other printed Collections and analyzing their poetic variations we can analyze the evolution of Bahar poetry and thought. Then we can show how meaningful changes have occurred in the process of production and publication of the Poetry Collection of Malek Al-Sho’ra. In this article, we try to analyze the process of Bahar poetic ideological evolution by mentioning some examples of his poetic changes.

Royaee invented and introduced a style in Persian poetry which he named Spacement Poetry. His poetry renewed debate about the relative value of form and context in modern Persian Poetry. The present article is a semiotic study of narration in his poem named “Sokoot Daste Gol-I Bood” (Silence seemed a bouquet of flower in my larynx), from his Sea Poems. The findings of the research show that he has employed an implied narration; narration occurs using repetitive spacements in short lines, without using any explicit narrative elements. This differentiated his poetry from the prevailed poetry of the time- symbolism, and romanticism.

Copying, collecting and compiling poems of poets in previous centuries was done in several ways. Sometimes the poet wrote his poem in his notebook during his life and over time, and after his death, that notebook remained the same. Sometimes the poet himself would collect his poetry collection and arrange it according to his own taste. Sometimes his friends and supporters compiled his poetry collection after his death, and sometimes in later centuries his poetry collection was compiled by a scribe according to himself taste. In each of these methods, the order of the poems (especially the sonnets) has been specific. In this research, we intend to deal with the methods of arranging poems in the books of poets and see which method is more logical, and what are the advantages and disadvantages of each method.The results of this study show that the alphabetical order of the poetry collections is by no means based on stylistic studies and research related to the evolution of Iranian thought and art, and the best method is the way in which poetry books are compiled today.

The environment is the main factor of nature description. Nature description and its manifestation such as gardens, flowers and etc. were waster and wider in Abbasid era rather than Omavid’s. In Abbasid era the civilization and development manifested suddenly. Thus the explanation and description had been done with applying metaphors and similes; and this states the Abbasid era’s dreaming. The Persian poetry might be called nature poetry in Manoochehri’s period in which he was of beginners of that kind of poetry. He imitated the Arab poets because he was affected by Arabic literature. Ibn-e Rumi’s poetry is a brilliant and vivid image of gardens and greens. Personification of things in most parts of his poetry.