gholamreza kafi

The tradition of composing dah-names, or ten section works, holds an ancient history in Persian literature, particularly in mystical, didactic, and philosophical genres. In these works, various theological, ethical, epistemological, philosophical, and similar topics are often explored, primarily in the form of mathnawī (rhyming couplets) with a consistent meter and length.
The ʿUshshāq-nāmeh (The Book of Lovers) is a mathnawī consisting of 1,064 couplets on philosophy and mysticism. While it may not excel in poetic elements, it is characterized by simplicity, free from pretension or artificiality, and is successful in expressing poetic emotions. However, the attribution of this work is entangled between Fakhr al-Dīn ʿIrāqī and ʿAtāʾī Tabrīzī. Although reclaiming the work from ʿIrāqī has gained some attraction over the past fifty years, the number of supporters remains limited, leaving room for further scrutiny. This article aims to definitively determine the author of ʿUshshāq-nāmeh through rational and textual evidence, employing an analytical and argumentative research methodology. Alternatively, it seeks to inspire researchers to reconsider this attribution with greater care.

For years, and indeed centuries, the work known as ʿUshshāq-nāmeh has been attributed to Fakhr al-Dīn ʿIrāqī. It is said that “Julian Baldick was the first to question this attribution after examining the content of the work, demonstrating the inaccuracy of its association with ʿIrāqī. This hypothesis was later confirmed with the discovery of the manuscript collection Safīnah-yi Tabrīz, which contains the oldest manuscript of ʿUshshāq-nāmeh” (Pourjavadi, 2001: 28). Moreover, as indicated by the virtual library of the Islamic Consultative Assembly (accessed on 24 May 2024) and the Encyclopedia of Persian Language and Literature, Volume 4, under the entry for ʿIrāqī, “the first doubts regarding the attribution of this work arose when Blochet encountered an incomplete manuscript dated 709. On the final page of this manuscript, the scribe stated that the work belonged to a poet named ʿAtāʾī. Blochet notes that the manuscript is incomplete. On its last page, there is a note claiming that someone had heard the work was authored by a poet named ʿAtāʾī, who was a cloth merchant in the Tokat bazaar. Since his business did not thrive, he sought refuge in a mosque and composed one thousand low-quality verses, attributing them to Fakhr al-Dīn ʿIrāqī. ʿIrāqī, out of friendship with ʿAtāʾī, allowed the work to be included in his divan.” Eventually, with the discovery of Safīnah-yi Tabrīz, which explicitly mentions the name ʿIzz al-Dīn Tabrīzī, this doubt was resolved. The entirety of the claim attributing this collection to ʿAtāʾī originates from this account, which, according to the footnotes of Pakistani scholar Muhammad Akhtar Cheema, dates back to 1973. He writes, “In late 1973, Julian Baldick published an article in Studia Iranica, Vol. 2, pp. 67–78, in English, based on Blochet’s notes in the catalog of Persian manuscripts in Paris regarding Sheikh ʿIrāqī’s ʿUshshāq-nāmeh. In the article, he attributed the work to ʿAtāʾī” (Cheema, 1993: 77). An examination of the brief and unreliable references by proponents of ʿAtāʾī reveals that their claims are based on conjecture and unverified reports. How could an incomplete manuscript possess a “final page”? Moreover, the claim relies on hearsay, suggesting the possibility that ʿIrāqī’s name was misheard as ʿAtāʾī, or that the individual in question—or the scribe—forgot the actual author’s name, which could indeed be ʿIrāqī. Additionally, Safīnah-yi Tabrīz is not the oldest manuscript containing ʿUshshāq-nāmeh. As noted in Professor Saʿīd Nafīsī’s introduction to the Collected Works of ʿIrāqī, there exist manuscripts contemporaneous with Safīnah-yi Tabrīz (dated 721 AH) and even earlier, such as those dated 713 and 709, which attribute ʿUshshāq-nāmeh to Fakhr al-Dīn ʿIrāqī. Beyond what has been presented in this section, no additional claims exist supporting the attribution of ʿUshshāq-nāmeh to ʿAtāʾī. In the main discussion, we provide rational and textual evidence to determine the true author of this work.

This article is based on direct source research and employs a critical-analytical approach. In this study, we have examined the analytical works related to the ʿUshshāq-nāmeh and its attributed author. Perspectives from both sides of the debate have been scrutinized, and through rational and textual arguments, we have either refuted or validated each presented claim.
Ultimately, we have articulated our own conclusion, which is grounded in near-certainty. The significance of this article lies in its attempt to redirect attribution of the ʿUshshāq-nāmeh back to ʿIrāqī after the prior near-consensus that accepted ʿAtāʾī as its author.

Now, following the presentation of previous arguments and evidence, we aim to clarify the true attribution of the ʿUshshāq-nāmeh by addressing additional challenges grounded in rational and textual reasoning. At the very least, our objective is to prompt scholars to revisit the matter with deeper consideration.
4.1. ʿAtāʾī Tabrīzī
Is it truly possible for someone to be called “the king of poets and scholars” (Abu al-Majd Tabrizi, 1388: 509), yet neither contemporaries and companions, nor historians after him ever mention his name? If ʿAtāʾī himself were indeed indifferent to fame and of a mystic nature, the courtiers, associates, and close companions would have reflected this, and it would have been clarified that the Book of Lovers was authored by him.
4.2. Similarity Between the Book of Lovers and Lama'at
Each of the ten chapters of the Book of Lovers is directly reflected in the prose work Lama'at ʿIrāqī. Perhaps one of the main reasons for attributing the Book of Lovers to ʿIrāqī is this very fact. Additionally, the mood and atmosphere of both works are very similar.
4.3. Silence of Contemporaries
When someone like Owhadi Maraghi (670–738), who could have experienced the life of ʿIrāqī, refers to his name in his Dehnama, the claim of those who rely on the Safinat al-Tabriz, written in 721, becomes less significant as the most important version. Furthermore, these mentioned poets, more than anyone else, were aware of the poet of the Book of Lovers, which is why they referenced his work and mentioned their own following of ʿIrāqī. It is surprising that none of them make any reference to the name of ʿAtāʾī!
4.4. Inclusion of Ghazals in the Book of Lovers If ʿAtāʾī is the poet of the Book of Lovers, why has he not incorporated his own ghazals into the body of his poem? If he were not a poet of ghazal composition, why has he used only the ghazals of ʿIrāqī? Undoubtedly, two contemporary poets, in that era, would have been less familiar with each other’s works than with the works of their predecessors. This means that ʿAtāʾī, hypothetically, had more awareness of the ghazals of mystic poets such as Attar, Sanai, and others, than of the ghazals of his contemporary poet, Fakhr al-Dīn ʿIrāqī.

This article aimed to navigate the dual challenges of the topic and tilt the balance in favor of one, namely Sheikh Fakhr al-Dīn ʿIrāqī. However, even if this has not been fully achieved, it has at least encouraged researchers and those who reflect to reconsider the matter more thoughtfully. Now, the reasons and objections we present, after careful consideration of the arguments from both sides, can more effectively guide the way forward. Therefore, based on the ideas gathered in this article, the Book of Lovers belongs to Sheikh Fakhr al-Dīn ʿIrāqī. Those who oppose this attribution cannot provide any justification for the work’s connection to ʿIzz al-Dīn Tabrizi. The first flaw in the argument lies in ʿAtāʾī himself, who, with such obscurity, could not have produced a work praised by all those with refined taste and judgment.

Resistance literature expresses the pains and struggles experienced by nations or specific segments of society during pivotal historical moments. As such, it is a continuous representation of opposing forces, juxtaposing life against death and freedom against oppression. Consequently, resistance literature in each period is molded by the distinctive characteristics of that era and is influenced in form, content, and orientation by the environmental, historical, social, and political conditions of the time. Turkish resistance literature, likewise, has evolved in response to diverse historical developments and socio-political events, reflecting unique attributes and adopting new forms with each phase of its existence. The significant impact of various incidents, coupled with Turkey’s involvement in both World Wars, has lent Turkish resistance poetry considerable depth and diversity, allowing it to pass through numerous developmental stages.

Identity and its various forms are emerging topics in the fields of philosophy, history, sociology, and politics. This concept, along with the component of art, constitutes the two main keywords of this article, in which we have attempted to examine their connection in the perspective of Ayatollah Khamenei. This research, based on source research and library study, has been conducted by carefully analyzing the statements of Ayatollah Khamenei from 1989 to 2019, spanning a thirty-year period. By explaining identity and its forms, as well as defining and describing the types of art, we have ultimately explored how these two components are interconnected in this perspective. The findings indicate that national and religious identities in this perspective have significant alignment, and national interests are defined solely in the context of national identity. Cultural identity holds unparalleled dominance over other forms, and revolutionary identity serves as the language of national, religious, and cultural identities. Art is considered a divine gift and, in this perspective, carries a mission akin to the prophetic mission. One of the nuanced points in this view is the mutual service of identity and art, where art, as an effective and influential tool, must serve the element of identity.

The concept of Iran consists of multi - dimensions due to the different statesmanship rules and ancient sovereignty in Shahnameh. So this study aims at indicating the relationship between the function of concept of Iran and its name pluralism both pre- and post- Islam in Shahnameh. It is possible to reveal the total structure of all ancient governments and their statesmanship rules based on Shahnameh documentaries and poems. Ferdosi narrates anecdotes which refer to general structure of pre-islamic monarchy and their sovereignty acceptance criterion in 50 narration in the shape of story. The most significant affairs usually come in the beginning of each narration or story and among the numerous stories which are important from the political point of view. Ferdosi telles both the story and evaluates the parts that make clear the structure of pre- islamic Iranian and even non- Iranian sovereignty in one side, and their norms in other side by his own perspective. Ferdosi assesses 50 kingdom periods and appraises their actions and speeches from minor to major. Consequently, it can be inferred the kinds of structure of ancient governments and their formality acceptance through Shahnameh texts and narrations. Meanwhile, it is also possible to awaken Ferdosi’s perspective in Shahnameh. There are other samples which show the distinction sides of king’s fair and unfair by comparision.

Introduction:

The complete works of Shoorideh Shirazi, a poet from the latter half of the Qajar era, were published only once in facsimile (photo) format by his son, Hasan Fasihi, known as Ehsan, with the assistance of his grandson, Dr. Khusro Fasihi (son of Ehsan), in the year 2010 by the Publications of the Society for the Promotion of Persian Language and Literature of Iran, issue No. 23, in collaboration with the Institute of Islamic Studies at the University of Tehran-McGill, Canada. This publication was compiled into two volumes. Over the course of several years, the authors painstakingly observed and recorded poems inscribed on tombstones and epitaphs in cemeteries and sacred places in Shiraz which were attributed to Shoorideh. Furthermore, due to their interest, they also studied the poet's collection and realized that some of these poems remained unpublished. As a result, they decided to introduce these verses to literary enthusiasts in the form of a research article. Our fundamental objective in this article is to demonstrate that by studying non-written documents, one can observe verses by poets that may not be present in their collected works. This was indeed the case with Shoorideh, and we have managed to uncover 113 verses by this poet that are not found in his published collection. Although the authors could have referred solely to the two-volume printed collection of the poet, which currently encompasses the most comprehensive collection of his works, our scholarly rigor prompted us to examine all other works by Shoorideh to ensure that no poem or point escaped our attention. Similarly, this same number of verses was identified on epitaphs in Shiraz, although they were included in the published collection of the poet and their reprinting offered no additional benefit. 

Research Background:

The exploration of undiscovered verses is considered a necessary, interesting, and indeed beneficial research topic within the realm of literary studies. This aspect is particularly highlighted for poets of the past, especially those who are less recognized. However, contemporary poets can also be included in this subject. The scope of this research is broad enough to even allow for articles on poets such as Avicenna, Khwaja Nasir al-Din al-Tusi, and Amir Ali Shirnavai to be examined.Mansoor and Shamooshaki (2016) presented an article titled “Undiscovered Verses of Lamei Gorgan”. Imami, Shirmohammadi, and Dehghan (2019) published an analysis of verses by Rudaki Samarqandi. Heydarpour Najafabadi (2022) published an article on Unsuri Balkhi under the same title. Maste Ali Parsa and Kameli (2022) identified undiscovered verses from the ghazals of Jamal al-Din Abd al-Razzaq Isfahani, while Sara Saeidi (2022) discussed undiscovered verses of Rashid Vatvat in her article. Although articles can be found on other aspects of Shoorideh's poetry, no such material was found regarding the understanding of his poetry. This observation provides a promising new perspective for the present article. 

Research Methodology:

This research was conducted through direct source study, involving considerable effort over several years, mainly focusing on the tombstones of the ancient cemeteries of Shiraz, renowned as Dar al-Salam, from a historical perspective. The inscribed verses were carefully read, corrected, and ultimately compared with the available versions in the poet's collected works (Diwan). Subsequently, these verses were presented as undiscovered poetry. Additionally, the notable figures mentioned and referred to in the verses were identified to the extent possible and introduced beneath the poems.ConclusionShoorideh Shirazi is considered one of the prolific poets of the recent past, having compiled over several thousand lines of poetry in various literary forms within his Diwan. He was born in Shiraz in 1274 (AH) and became blind due to smallpox at the age of seven. Consequently, it is quite evident that a considerable number of his compositions did not reach written completion, as was the case here. In this article, we have discovered and presented 113 verses of his poetry from tombstones or inscriptions on city murals, and as mentioned, this endeavor will introduce several new faces from the cultural and artistic realm. After careful examination and exploration of the discussed inscriptions, several achievements have been made. The most significant achievement is the identification and introduction of over a hundred verses from the poetry of Shoorideh Shirazi. Additionally, the source of a colloquial expression or anecdote from Shiraz (the reason for swearing by the “two oppressed brothers”), whose historical significance was previously unknown, was identified through its narration. Furthermore, the genealogy and works of the Mazhab-Bashi family, which had been briefly mentioned in some texts before, were more comprehensively explored in this research, and even some unidentified tombs of theirs in Dar al-Salam were identified. The narrative of Saber Shirazi's prophecy regarding the reconstruction of the Taheri Mosque and its historical context was also elucidated and introduced for the first time. Moreover, the burial places of several notable figures and artists from Shiraz, along with their precise dates of death, were accurately determined, which had previously been missing from research sources. In conclusion, the importance of epigraphic reading and research demonstrates that discovering new insights and addressing some unknowns in the fields of literature, genealogy, personalities, and folklore is concealed within this domain, which undoubtedly contributes to insightful interdisciplinary research, particularly in the fields of social sciences, history, and literature

There are components in Husserl's philosophical school of phenomenology that are similar to those of mysticism. As long as the components are looked at in the position of theory, judging their similarities and differences does not seem logical. This paper is to investigate these components in the mystical-Ashuraic versified story, Ganjineye Asrar by Oman Samani. To do so, first by studying the texts related to the field of phenomenology, five components are extracted that were more similar to mystical concepts, then similar mystical components are introduced. After a close reading of Oman Samani’s Ganjineye Asrar, the evidences that indicated the Intended mystical components are collected, compared and analyzed. This article claims that although the basis of phenomenological theories and mysticism are different, both of them have followed similar paths in order to achieve genuine awareness. The components of the perfect human being, interpretation and intuition in mysticism have a divine origin, while the concept of "I" in Husserl's philosophy represents the evolution of the humanistic view in Western philosophy; The root of the term "philosophical interpretation" can be found in Kant's critical philosophy and its evolution can also be found in different philosophical traditions and theories, and the source of philosophical intuition is human intellect and reasoning. Abstraction in its mystical sense is rooted in divine beliefs, and the origin of Epoch (reduction) goes to the ideas of Greek skeptics.The nature of philosophy and mysticism is not compatible with any kind of imitation. Among the advanced Western philosophers, Plato and Aristotle, and in the Eastern philosophy, Ibn Sina and Sheikh Eshraq have reflected on the subject of present knowledge. In the end, it is not possible to go beyond the theory of similarity between the components- especially in a small part of the broad mystical concepts.

Examining Eschatological Elements in the Poems of Ahmad Shamlou IntroductionOne of the enduring and widely debated topics that has been the focal point of discussions among individuals, theorists, philosophers, religions, cultures, and nations is the concept of the world's ultimate fate. The idea of a beginning for the world implies that humanity consistently perceives the world in a linear path and envisions a destiny for it. Such a perspective leads to various cultures and nations, based on their ways of life, intellectual foundations, beliefs, traditions, and collective experiences, offering diverse predictions about the fate of the world. These predictions, at times, become influential and give rise to multiple movements on a societal level.Although eschatology is a significant topic in theology and divinity, it has also found prominence in broader fields such as literature and art, giving rise to a literary genre known as eschatological or apocalyptic literature.

Although different literary genres can be gathered into three known groups of epic, lyric, and allegory, each category also has more specific divisions and subtle and pleasant types that make literature attractive. This abundance of types has sometimes led to forgetting other genres. One of these genres is Haft Qaapi and its different forms, which we have introduced and explained its various aspects in this study. This research, which is based on descriptive-analytical and direct reference researching methods, eventually found and introduced twelve forms of this genre. The results show that different forms of this genre exist, from Chaar Qaapi to Davaazdah Qadam, and Qaapi Cheraq is prominent among its forms. In addition, Musamat Makhams is the most popular poetic form among the poets of this genre. Qaapi Soraayi is also one of the practical forms of Persian poetry. The most practical aspect of it is to visit an old man. As we found in this research, Shah Cheragh is a respectful term for Sufi, not a popular name. Keywords: Haft Qaapi, Literary Forms, Qaapi Goshayi, Ayiin-e-Solook. Introduction Literary genres and their knowledge are among the prestigious literary sciences. Undoubtedly, the pleasantness and sweetness of knowledge of literary types are due to its subtle sub-categories that are placed inside its bigger categories which consist of epic, lyrical, and allegory literature. The abundance of the genres and gathering them into bigger categories sometimes led to forgetting some of them. The books and articles which were written on this topic (i.e. literary genres) usually contain similar content, and their differences in introducing strange and rare genres are few. As a result of this, introducing uncommon genres is of high importance.One of these genres that is less noticed in Persian literature is Haft Qaapi or Haft Qadam. In the present study, we try to properly introduce this literary genre based on a few newly found examples in manuscripts. The two questions of this research are: 1) What is Haft Qaapi literary genre? 2) Which poetic forms does it use and where and when is it used? Materials and MethodsThis study is done through library research by direct reference researching methods. Considering that only a few references reflect this literary genre, most of our research has been in manuscripts, and in addition to that, we have benefited from the Solouk Name (behavior books), Maraam Naameh (Manifesto), and Fotovat Nameh (books regarding Chivalry). Research FindingsHaft Qaapi is a literary genre because its foundation is based on poetry. However, in the design of Haft Qaapi, verses of the Quran, hadiths of the infallibles, and famous sayings of mystics and Sufism are also used in it. But, as mentioned earlier, it does not necessarily use a poetic form.  According to the examples that we provided in this study, we see three content areas which are: 1) Praising the innocent imams and religious elders, 2) Praising the kings and political rulers, and 3) Respect to the sheiks and elders of mystics and Sufism. In addition, the most popular forms of this type of literary genre are Haft Qaapi or Haft Ghadam, Davaazdah Ghadam, Chaar Qaapi, Qaapi Bastan, and Qaapi Goshaayi. The poetic forms of Mokhammas and Qaapi Cheraq are more noticeable than others. Our most prominent findings in this study are as follows:Molla Zabih’s Haft QaapiCheragh Haft Qaapi (Molla Naqdi’s Haft Qaapi)Molla Saael Baqli’s Haft GhadamQaapi Bastan and Qaapi GoshayiCharQaapi (Mansoor or in English Prose)Quran Haft QaapiCheraqi Chahar sham (four candles) Haft Qaapi.Cheraqi Do Sajde Haft QaapiKaateb’s (scribe) Davazdah (12) QadamMokhamas Davazdah (12) QadamMolla Naqdi’s Davazdah (12) QadamIt is clear that each of these types is represented with descriptions and divisions. Discussion of Results and ConclusionsIt is clear that there is a deep and unbreakable connection between mysticism and Sufism and Persian poetry. In the meantime, important and well-known Sufi groups do not use any art as much as they use poetry. We cannot easily find an iconic mystic that isn’t a poet or at least doesn’t have a direct and meaningful relationship with literature and poetry. This is why special literary genres are born from this delightful connection. But because mysticism is noticeably away from selfishness and ostentation and aims for selflessness, it is not impossible that it does not aim to prove these genres. Now, the literary genre of Haft Qaapi and its different forms are also the same. Haft Qaapi, considering its vast diversity, can be a leading literary genre and also be a sub-group of mysticism. Another issue that is worth noting is that Haft Qaapi is a practical literary genre that was recurringly performed in the format of mysticism behavioral ceremonies at holy places such as religious grandees’ courts or monasteries not long ago. Many incorrupt people have memorized a good amount of these poems, and probably performed them with enjoyable voices like a ballad for interested audiences

Elegy has always been a popular genre, especially in poetry. This type of composition, due to its special subject matter, has special features and crafts to convey the message and relate to the audience. Composing poetry about Ashura, as one of the manifestations of love for the family of Prophet Mohammad (PBUH), has especially has received more attention after the victory of the Islamic Revolution, and many poets have experimented in this field. In this relation, the poems of Qaisar Aminpour as one of the poets of this group received much attention. In his Ashura poems, a cherishing and warm verbal language flows along with the clarity that can be seen in his other poems. In the present study, the element of tone was studied with respect to the sincere and indirect transmission of the message of sorrow and grief. Considering its importance in conveying the implicit message of the text, it was revealed that the poet has observed the tone and subject matter of the poem in choosing the form. He has considered the rhythm and its propriety with the sad atmosphere of the poem in order to choose the metrical pattern. He has also used rhyme and rhythm and their phonetic compatibility as an important principle to align with the audience. Aminpour has also made use of figurative language, especially metaphors to depict the poetic landscapes the musicality of sounds and the magic of the proximity and contiguity of letters as a style to create a more emphatic tragic tone in Ashura poems.

The present essay examines resistance poetry in Turkey and tries to introduce various Turkish literary trends that spread elements such as freedom, justice, anti-tyranny, nationalism, war, homeland, religion, etc. In this research, the issue of war has been discussed more due to its prevalence in the history and literature of Turkey, but along with it, freedom-loving, humanist and socialist streams have also been introduced. According to the studies carried out during the constitutional period, when the poets have not yet completely separated from the Ottoman literature, one can see the value-oriented literature that takes a heroic view of war and expands concepts such as religion, martyrdom, homeland, and victories and defeats. By the outbreak of World War II, Turkish literature changed and took on a socialist form. The changes resulting from the Second World War make the Turkish resistance literature change from a heroic and value-oriented approach to a critical and anti-war one in which topics such as society, people and politics are very prominent, poets have a humanist perspective and seek to spread anti-war poetry. Despite, such an approach in Turkish literature does not finish with the end of the WWII, but Turkish poets always go along with social developments by addressing the resistance themes.

Anti-pride or avoidance of pride is the newly found theme in this article which is the result of the accuracy and attention in Khaghani Shervani, Orfi Shirazi and Taleb Amoli’s poetry who benefited from the proudness in their poetry. By anti-pride, it means that the proud and self-admiring poets leaves this technique in some cases and vice versa, speak with humility and modesty or speak of their problems with a broken heart and mental tiredness. This article indicates that changes of the sociopolitical, cognitive and age changes led to this avoidance of the proudness. In this article, along with implying three mentioned poets’ life and the reason for their self-admiration, three situations which led to their anti-pride would be analyzed based on different evidence obtained from their poetry. Lack of obtaining the positions and internal poets’ revolutions along with their aging moved them from proudness to the modesty gradually. Also, its most frequency is seen in Khaqani's poetry, then Taleb Amoli's, and after that, in Orfi's poetry.

Apocalyptic literature is a kind of literature based on apocalyptic prophecies. This type of literature expresses what will happen in the end of the world and studies issues such as the apocalypse, resurrection, catastrophe, savior, and so on. Existing examples of this type of literature can be seen in Persian poetry today. The present article examines the themes of apocalypse in contemporary Iranian poetry. In this apocalyptic study, the emergence of a savior, death, resurrection and eternity have been studied as components of the apocalypse. Examining the poems of Ahmad Shamloo, Forough Farrokhzad, Mehdi Akhavan Sales and Sohrab Sepehri, it became clear that in most cases there is a pessimistic and despairing view among these poets about the fate of the world and the future of history. In the poetry of these poets, the tools of sleep, dream and poetic inspiration have been used for revelation. At the same time, these space discoveries are mysterious, ambiguous and mixed with fantasy.

The Mofakhereh (Self-Admiration) technique is one of the secondary epic literary types as one of the foundations of the Persian implicit poetry themes ad is considered in world literature, too. Of course, there are many poets who used this technique among which Khaghani Shervani is one of the prominent poets. By being proud of himself and narcissism about his poets, Khaghani exaggerated in self-admiration and superiority. In this article, different types of pride in his poetry would be analyzed in 2 classes and his self-admiration relative to other poets would be explained as innovative dimension of this article. In addition, speaking of the pride or suckling of the pride is a new argument which is considered in this article based on different evidence in Khaghani’s poetry. Admiration, superiority and being proud of ethical values are the frequently used honors of this poet.

The purpose of this article is to study the transformation and evolution of contemporary Persian romantic poetry under the influence of modernity. This study is a documentary one conducted through a qualitative content analysis to answer a fundamental research question. First, the social effects of modernity on love and romantic relationships are explored from the viewpoints of thinkers and sociologists such as Bowman, Giddens, Thompson, and Berman. Then, the romantic transformations of the Persian poetry under the influence of this thinking are studied and explained in the form of ten ideas. The research question is ‘how can the popular genre of love in the realm of the Persian literature be transformed in concordance with social phenomena and evolutions?’ The findings show that ideas such as relativism, assertive self-presence, two-way dialogue, equality and freedom, scientism, and empiricism proposed by modernity have profoundly transformed the lyrical and romantic genre in the contemporary Persian poetry and have presented a different mode of thinking by offering courtship and pure love. The society has affected the realm of love in the Persian literature with its ongoing potentials and changed men’s attitudes, which has, in turn, changed the nature of their personalities. This has ultimately altered the position of love as a legendary and internal sensation into a real and sometimes social state.

Persian poetry has experienced one of its most critical political eras in the contemporary history and the representation of positive and negative images of political figures is among the most significant achievements of the modern poetry. In this regard, Mirza Kuchak Khan Jangali is of particular importance, since he started a movement called The Jungle Movement and there are two distinct attitudes regarding him in a way that he’s been described either as a saint or bandit and rebel. The present research seeks to study the different attitudes regarding this political figure in the poetry of three distinct eras including Qajar era, Pahlavi era and Islamic Revolution era. The findings indicate that in most of the works, he has been depicted as a patriot, liberal, justice seeker, saint and martyr. However, the works influenced by political atmosphere, factional likes and dislikes and also inspired by foreign infiltrators described him negatively. Among many poets composing poetry regarding this movement, we can refer to Ismail Dehghan and Jafar Kushabadi as poets of Jungle movement.

Sustainability literature has been and is one of the most effective literary genres in reflecting the political and cultural conditions prevailing in society in different eras. Literature that has risen to oppression to achieve the ideal of justice and to revolt against the tyrannical rulers to restore the rights of nations."This literature; "It encourages the struggle against and resistance to anti-liberation currents and ensures the liberation, growth and prosperity of human societies." (Shukri, 1987: 11) One of the periods of Iranian sustainability literature is the period that covers from the constitutional movement to the era of the Islamic Revolution. Nowadays, we are witnessing the emergence of popular movements in the corners of the country, which are mostly based on the two axes of xenophobia and the struggle against internal tyranny and oppression of the rulers.

One of the most important popular movements after the Constitution until the Islamic Revolution is the Jungle Movement, which took place in the northern regions of the country from 1293 to 1300. This seven-year movement has a special literature, especially in the field of Persian and Gilaki poetry. In this study, we intend to examine the personality of its leader in the poetry of today.

Achieving this research shows us that the first character of the Jungle Movement, namely Mirzakoochak Khan, was quite popular and of course religious, except in terms of both the amount of poetry and the value of Mirza, the third period of the Islamic Revolution with periods. The former is very. It is different and the poetry of the forest in the Pahlavi period is small or at least less presented. Although Mirza is no different from the period of the revolution.

In sulfur recycling units (SRU), due to environmental considerations, increasing efficiency and reducing pollutants have been prioritized, and the most important factors affecting them were process design and the use of appropriate catalysts. In this study, in order to increase the process efficiency, feedback and feedforward control loops along with high percentage (85%) TiO2 catalyst have been used and economic aspects were investigated. The results obtained from SRU Unit 4 of Shahid Hasheminejad Refinery show that the new catalyst increases the temperature difference between different parts of the substrate compared to the usual catalyst and shows an increase in hydrolysis of sulfur compounds and conversion efficiency. The optimal case and the lowest error are created in the case of simultaneous use of both control loops. According to economic estimates, the return on investment is a maximum of one month, and as a result, this plan is economically viable.

The investigation of resistance components and inspecting them in literary works is one of the most common ways of research in resistance literature. What makes this similarity in researches and highly frequent articles different is the differences in viewpoints in titling the components, that is often rooted in the author’s interest and taste. Therefore, it seems that we can achieve an appropriate covergence and harmony in terms of form and appearance in researches of resistance literature by coming up with a systematic method.systematicity is of paramount importance in the scientific and academic community. The fact that scientific-literary community has shown a noteworthy attitude towards researches that are systematic and based on scientific-literary theories is caused by previously said importance. This article is aimed at proving a harmonic, identical and unified method by a suggestion for categorizing groups and components of resistance literature based on thematic foundation of the components and their frequency in different researches, basically because of the variation in titling of components.60 titles were gathered in 9 group-components. Considering these statistics, we can be convinced that every single thing that is titled a component in resistance literature researcher’s view is collected. In addition, it is emphasized that the claim about the frequency of the components in various subjects of resistance literature is not based on guesses and doubts, but the investigation of 20 issues of Kerman’s Journal of Resistance Literature has led us to this result, since there are 64 articles titled ‘investigation of Resistance components’ out of 276 published articles (more than 23%).This study with the purpose of structural unitizing of research in components has achieved:I.    Reducing the variation and discrepancy in the general title for the topicII.    Correcting variation and difference in the title of some componentsIII.    Discouraging researchers from gathering multiple components in one title General list of components as the findings of this study are as follows:  1)    Components that are based on explanation of identity 2)    Components that are based on detestation of injustice and rejection of foreigners 3)    Components that are based on chivalry and warriorship4)    Components that are based on patience and defensive readiness5)    Components that are based on benevolence 6)    Components that are based on insight and intuition7)    Components that are based on informativeness8)    Components that are based on unity and donation9)    Components that are based on generosity traditionProviding and using a systematic method in one of the most frequent subjects of resistance literature, as the main purpose of this study, is achieved to bring convergence in similar researches. This study has suggested 60 different titles in 9 group-components that we can categorize, investigate and even evaluate nearly a quarter of researches of resistance literature systematically and theoretically. This investigation on nearly 600 articles, has finally resulted in prioritizing group-components and sub-titles. In other words, the order of listing the components and the sub-titles was based on their frequency and recurrence. For example, group one (components that are based on explanation of identity), has had the most examples and approaches in resistance literature researches, and group nine (components that are based on generosity tradition) has drawn the least attention to itself in research.

Tsurezuregusa (Essays in Idleness) is a Japanese didactic  book written in the 14th century, 80 years, after  appearance of Gulistan, (Rose Garden), the masterpiece of Iranian poet and writer, Muslihaldin Sa’adi Shirazi,  and has a strong resemblance both in content and structure with Gulistan. Kenko Yoshida , the author of Essays in Idleness, was a poet and writer who unlike  Sa’adi, had the life of a recluse, and retired  himself as a Buddhist monk, from  the public life. Although Sa’adi was a writer and poet who had trained in the School of Quran and Islamic wisdom and Yoshida was a believer of Buddhist mysticism, their attitude toward the world was quite similar.  Even so, Sa’adi’ s work, is far superior to Yoshida’s, from an aesthetic and rhetorical point of view. Warning about the instability of the world, the preciousness of contentment and importance of dignity in the old age are the common themes of two books. From a structural point of view, they are also similar; for example, both have used poems within prose as  a structural feature and both consist of narrative pieces.   

This paper is based on the comparative study method in order to evaluate the content and aesthetic features of the two mentioned books and to determine the similarities and differences between elements within them. for this purpose, the researchers have tried, at first, to find elements within the two books that have some type of similarity, such as common themes. Then, the researchers have attempted to answer the following questions:  1) Had Yoshida been familiar with Sa’adi ‘s book and inspired by it? 2) Are the similarities between the two books made completely by coincidence?  

Gulistan (Rose Garden) is widely regarded as a landmark of Persian literature and one of its most influential prose works. Written in 1258, it is one of the two of Saadi’s major works, which has been proved deeply influential in both the West and the East. Structured as a collection of poems and stories (metaphorically as different types of roses), the text features minimalist plots, expressed with precise language and psychological insight. It explores the many issues and tribulations faced by humankind, employing both an optimistic and a subtly satirical tone. The book is divided into an introduction and eight chapters, each dealing with a specific subject:   chapter 1: Of the Customs of Kings        chapter 2: Of the Morals of Dervishes chapter3: On the Preciousness of Contentment      chapter 4:  On the Benefit of Being Silent chapter5 :  On Love and Youth  chapter 6: Of Imbecility and Old Age  chapter 7: Of the Impressions of Education    chapter 8: Of the Duties of Society    These chapters are composed of disjointed paragraphs, generally beginning with an aphorism or an anecdote and closing with an original poem of a few lines. Sometimes, these paragraphs are altogether lyrical. We are struck, first of all, by the personal characteristics of these paragraphs; many of them relate to the experience of the poet in some part of his travels, expressing his comment upon what he had seen and heard. His comments generally take the form of practical wisdom, or religious suggestion. He gives us the impression that he knows life and the human heart thoroughly.  On the other hand, Essays in Idleness is one of the classics in Japanese Literature, and is much read as a text book in Japanese schools. The original title of the book is derived from the opening word of the text ,Tsurezure (leisure) and Gusa, a compound variant of kusa, which means “grass”, a word sometimes used to designate anything not quite finished up, raw and rough as it were. Contrary to Sa’adi’s Gulistan, Tsurezuregusa does not have a precise order, although Yoshida had tried to separate the subjects of his book into sections, the book is, in fact, a collection of treatises on miscellaneous subjects written by a fourteenth century priest. these subjects are,  of course, very similar to Sa’adi’s Gulistan; for example, in  section 18 of the book, Yoshida notes:    “It is best  for a man to  be thrifty, to shrink from luxuries, not to accumulate great wealth, and not to covet the whole world. The great men of ancient times were seldom rich” (Yoshida, 1914, pp. 20-21). “In China once there was a man named Xu You, who owned nothing and even drank directly from his cupped hands. Seeing this, someone gave him a ‘singing gourd’ to use as a cup; he hung it in a tree, but when he heard it singing in the wind one day he threw it away, annoyed by the noise it made, and went back to drinking his water from his hands. What a free, pure spirit!” (Yoshida, 2001).  Sa’adi  in  chapter 3 of Gulistan (On the Preciousness of Contentment) narrates a story with a similar theme as below:“A mendicant from the west of Africa had taken his station amidst a group of shopkeepers at Aleppo, and was saying: “O lords of plenty! had ye a just sense of equity, and we of contentment, all manner of importunity would cease in this world!” O contentment! do thou make me rich, for without thee there is no wealth. The treasure of patience was the choice of Lucman. Whoever has no patience has no wisdom ” (Sa’adi, 2019).  On the Morals of Dervishes, Yoshida says:“Commendable is the man who, overwhelmed by calamity and sorrow, shaves his head but not because of some silly whim of his own. shuts his door so that none may know whether he is within or not, and lives from break of day to set of sun without any human desires ” ( Yoshida, 1914, p. 12). Similar to this, is the following story in Gulistan:   “They tell a story of an abid, who in the course of a night would eat ten mans, or pounds, of food, and in his devotions repeat the whole Koran before morning. A good and holy man heard this, and said, “Had he eaten half a loaf of bread, and gone to sleep, he would have done a more meritorious act.” Keep thy inside unencumbered with victuals, that the light of good works may shine within thee; but thou art void of wisdom and knowledge, because thou art filled up to the nose with food” (Sa’adi, 2019).  In section 51, Yoshida emphasizes the importance of hiring skilled persons for momentous jobs “A farmer of Oi was order to arrange a water – supply from the Oi River for the pond of the Kameyama Palace; so he constructed a water-wheel. He spend much money and worked hard for several at it, but there was something wrong with it and it would not go round. He tried all sorts of alterations, but as it still would not revolve he had at last to give it up. Thereupon a villager from Uji was sent for, who easily   fastened it and put it right, so that it revolved as it should have done and delivered the water satisfactorily. It is best in every case to employ those who are proficient at the business” (Yoshida, 1914, pp. 44-45). There is a similar story in Gulistan: “A fellow had a complaint in his eyes, and went to a horse-doctor, saying: “Prescribe something for me.” The doctor of horses applied to his eyes what he was in the habit of applying to the eyes of quadrupeds, and the man got blind. They carried their complaint before the hakim, or judge. He decreed: “This man has no redress, for had he not been an ass he would not have applied to a horse or ass doctor!” The moral of this apologue is, that whoever doth employ an inexperienced person on an affair of importance, besides being brought to shame, he will incur from the wise the imputation of a weak mind. A prudent man, with an enlightened understanding, entrusts not affairs of consequence to one of mean capacity. The plaiter of mats, notwithstanding he be a weaver, they would not employ in a silk manufactory” (Sa’adi). Regardless of the thematic similarities, Sa’adi  has used a  better artistic form  for  his stories. The plots of his stories are subtly and skillfully and fascinate the readers completely.in contrast, most of Yoshida’s stories, have poor plots.  Employing an optimistic and a subtly satirical tone are the other valuable features of Sa’adi’s stories.

Gulistan (Rose Garden), the masterpiece of the great Iranian poet and writer , Saadi Shirazi, has an astonishing resemblance to Tsurezuregusa (Essays in Idleness). In our view, Yoshida, as a reclusive Buddhist monk, had not been familiar with Gulistan, and  so the issue of plagiarism or adaptation is completely  ruled out. Then, why these two books are so similar? And because of this amazing similarity, it called “Japanese Gulistan”.   This study denotes that this similarity is based on three factors: 1) Sa’adi and Yoshida, lived nearly  in the same era; 2) Both were the wise men and Sufis of their time; with the difference that Yoshida was a recluse monk and Sa’adi, as a wayfarer , had roamed the world far and wide; 3) The resemblance between the two books is completely by coincidence. As we mentioned in this essay ,the similarities between  the two books, are not only in content, but both in content and structure; Tsurezuregusa , like Gulistan, Structured as a collection of poems and stories. But his stories are not as beautiful as Sa’adi’s. Sa’adi  has used a  better artistic form  for  his stories and the plot of his stories are subtly and skillfully. The poems of Gulistan are original and Sa’adi, as a poet, has composed all of them. Yoshida was also a poet, but in his book, he has handpicked the poems of the other poets.   Employing an optimistic and a subtly satirical tone are the other valuable features of Sa’adi’s stories, that distinguish Gulistan from the book of Yoshida. as a result ,Gulistan is structured in more artistic style and this is the reason of  classifying it as a  internationally well-known literary book.

Popular literature is called the oldest type of literature in human society even dating back to before the emergence of inscription and writing (Kafi & Ameri, 2014: 2). It can be argued that the inherent sincerity of these works and the pure and liberating spirit embedded in the elements popular literature have usually attracted great and thoughtful poets and writers. Ahmad Shamloo has also shown interest in elements of popular literature at some point in his poetic career. Shamloo's connection with popular literature, especially Koocheh as a research encyclopedia, shows the importance of suspension as will be discussed in this paper. Accordingly, this study aims to find out how this connection is represented in Shamloo's poetry and consequently making his poetry, strong, emotional, and welcome by the public.

methodology It seems that the praise of personalities such as Jamalzadeh and Sadegh Hedayat of a particular genre of popular literature along with works in recognizing the nature of popular literature and its elements such as The folk culture of the Iranian people by Sadegh Hedayat (1963) and The collection of articles of Iranian folk literature by Mohammad Jafar Mahjoub (2018) has attracted the interest of literary scholars. Besides, considering the fame of Ahmad Shamloo's conversational poems, tracing the elements of popular literature in the poems of this poet also attracted the attention of critics to the extent that the book Shamloo’s biography: Almost everything about Shamloo by Mohammad Ali Ronagh (2009) with that sub-title almost provided a full description of Shamloo and his works. However, not attention has been paid to the “application of elements of popular literature in Shamloo poetry" in this bibliography. The article “A Look at Ahmad Shamloo's Songs” by Siamak Bahrampour (2009) has also examined his three poems written in a colloquial language. It is clear that none of these works have pursued our goal in this article, namely the impact of popular literature on the linguistic development of Shamloo.

Shamloo is considered one of the most famous figures of contemporary literature and is often ranked second after Nima as an important figure of modern poetry. In Shamloo's view, “the roots of many world-famous works are popular literature, music, public art” (Shamloo, 1996: 26). The elements of popular literature have a special intimacy and sincerity, and the original and capable poets including Shamloo use these elements in their poetry to increase the attractiveness of their works, including Shamloo. However, the application of the elements of popular literature in poetry can be examined in terms of several meta-structures including language, words, idioms, tone, and onomatopoeia, as will be detailed as follows:3.1 Use of colloquial language In Shamloo's poetry, eight poems have been written based on colloquial language including fairy, the story of a man without lips or Hossein Gholi, and the daughters of Nenhdarya which are long and detailed poetic works:“I am the spring in the earth/I am the ground in the tree / I am the tree in the spring The coquetry of the fingers of your rains turns me into a garden. And I am lost in the middle of the forest” (Ibid: 455). A survey of the poems written by Shamloo in informal languages shows that there two poems written in macaronic verses and conversational language. These two poems are interestingly different from other poems. Both poems are based on parasitic dialogue; except that the poem "Pare 4 Shabaneh" is longer. 3.2 Reasons to use colloquial language There are different reasons for using the colloquial language including differentiation, time requirements, and the need of society, and the poet's connection with popular literature. 3.3 Use of popular and folk words and terms Shamloo's trick in the language is to create a hidden harmony in the discourse and to reconcile strange words with each other to create a chain of speech to provide a special context that is interpreted as "inbreeding with words" as a positive feature in his poetry (Hoghoughi, 1989: 44). The use of popular words and expressions in Shamloo poetry can be categorized to come up with a better understanding of this technique. These include the use of words from specific dialects, the use of modified forms of words, the use of words that are rhyming and often meaningless, and the use of colloquial words. 3.4 Reasons for using popular words and terms Extending the use of words to have a rich collection of words at disposal, creating a more tangible sense of colloquial words, and inducing music 3.5 Use of onomatopoeia Onomatopoeia is considered to be the first components and elements of language that are derived from the imitation of nature, and because the relationship between the signifier and signified is simple and they are not governed by a special grammatical rule, they are closer to popular literature and its elements than formal literature. In Shamloo's poetry, there are several examples of onomatopoeia, some of which are composed by the poet: bloop, dribble, drip, drizzle, splash, sprinkle, squirt, etc. 3.6 Reasons for using onomatopoeia Some reasons for using onomatopoeia include objectivity and understanding of natural music. 3.7 Using popular beliefs and myths The popular beliefs, anecdotes, and myths have been used by poems and writers for a long time as they helped them convey their meanings concisely and poetically using people’s background knowledge.  Envoutment “Destiny has buried a magic spell of you in the blood/ and you have no escape from defeat and death” (Shamloo, 2002: 872). Envoutment is a French term in witchcraft and Envoutment". The client surrenders a piece of nail, hair, or eyelash that he has seized from the conspirator to apply magic to it. Solomon’s Bagpipes, Shabgir, the legend of Sinbad, and Ashti Konan (reconciliation) alley are among other popular beliefs. 3.8 Reasons using popular beliefs and myths Creating brevity and compression in speech and a pleasant feeling of mental activity in the audience. 3.9 The use of other elements of popular literature The use of proverbs, folk songs, folk tales, and famous figures of popular literature are other strategies used by Shamloo. 3.10 Reasons for using proverbs, songs, and characters of popular literature Stimulating the audience's sense of nostalgia, the act of awareness and reconstruction of real but forgotten scenes of life.

The most important findings of this article are summarized as follows:- Shamloo's approach to the elements of popular literature and their application in his poetry is the result of an intellectual transformation in which language, in his view, changed nature from a means of conveying a message to a sacred temple. -Shamloo’s linguistic approach which is visible in his poetry has caused him to focus more on the elements of popular language and their abilities, words, and idioms. For this reason, semantic elements such as beliefs, myths, as well as theological and doctrinal points hidden in popular literature as represented in Shamloo’s poetry. -    The natural and uncomplicated state of popular language along with its more natural music is one of the important reasons for using popular elements in Shamloo’s poetry. -  In his unique poetic style, he even uses the parables and anecdotes of popular literature in favor of his political point of view and the context of some elements seeks his ideals and interprets them in line with his value point of view. - Research in popular literature has given him a great deal of knowledge of the minutes and functions of the elements of popular literature, and in the light of this awareness, he has used them with the necessary care in speech. - Despite Shamloo’s inclination towards popular literature and the use of its elements, his poetry never seems vulgar, commonplace, and popular. Keywords: Folk Literature, Shamloo, Contemporary Poetry, Fairies   

Despite any definition resistance poetry might have, its theme is influenced by   popular freedom movements. The Jungle Movement of Guilan led by Mirza Kuchak Khan Jangali is one of such movements that began at the end of the 20th century. Due to its popular foundation and humanitarian goals, the Jungle Movement has been praised by critics and artists and also found its way into the realm of poetry. Ismail Dehghan should be known as the poet of the Jungle Movement who, in addition to having organizational affiliation with this movement, had obvious emotional attachment to it. Using descriptive analytical method and aiming at  representing the place of the Jungle Movement from the outlook of men of letters, the present article seeks to study the reflection of this movement in the poetry of Ismail Dehghan. Based on the findings of this study, the noblest and deepest components of resistance that are considered as the charter of the Jungle Movement is detectable in Ismail Dehghan’s poetry. Furthermore, as a devotee of the movement, he occasionally advices and warns leaders of movements, in particular he invites them to unity and integrity and warns them against infiltrators.

 Ruba'i as one of the short Persian poetic forms is composed with a specific meter and particular structure limiting the poet in these aspects.  However, innovations have prevailed. Fars contemporary poets have attempted to use innovations in structure and meaning. In this article, some of these innovations and novel techniques applied in ruba'i by Fars contemporary poets are discussed. Some of these techniques are as follows: blank verse, narrative writing, phonetic rhymes, and change of rhyme.

Satire is a literary work that speaks about bad aspects of human behavior, moral weaknesses and social corruptions or, it shows human errors ironically and indirectly. Its sole purpose is to adjust society. Sometimes communities suffer from social, political, economic problems or governor and people of that community are involved in moral reprobation. Under this circumstance, Satire by its various functions such as political, social, etc… accomplishes its purpose by the works of poets and authors of this field. the question arises whether the production of this all work humor poetry Islamic Revolution in the Valley of political satire, social satire and of course language oriented emerged, new infrastructure and new traceable in these things, the category and the recognition of the have generated. This study, with the analysis of selected works of the Satirists of Islamic Revolution, the application of new methods in Satire of Islamic Revolution study and define. That kind of methods which has been less considered so far, and now they are worthy of attention. Methods like Ultra sonnet, Ashofte*, Ultra-modern poetry, short poems: Taranak*(short song), Anak*(short poem), local dialects, colloquial and song-like language, Tarfe kari*, all types of Parodies, word plays and …. It must be understood that make use of new satirical methods, indeed is the description of the main basis of Islamic Revolution Satire that Satirists of the Revolution according to the taste of modern society and lack of time and vice versa used and use the short forms for their satirical poems.

Sonnet is the most popular form of traditional poetry that after the revolution and especially in 80's has experienced great changes. Investigating kinds of innovations in 80's sonnet is a way of stylistics and introducing new horizons of contemporary poetry; changes and innovations in the language have been one of the most diverse and important techniques of the young poets of 80's. In this paper, by an analytical-descriptive method and with an emphasis on frequency of the different kinds of language innovations, an attempt has been made to investigate the sonnets published and also the damages it has made.
One of the findings of this study is that sonneteers of 80's have considered the choice of new words and compounds used by people, new allusions and everyday common proverbs in order to change the poetry space and get rid of stereotypes, and in some of their innovations they have tried archaism to the words of today's world by a combined approach. The use of new syntax and innovation in grammar and distinct displacement of a sentence components, as well as polyphony and tone change are other innovations that have been manifested in 80's sonnet with a distinct frequency and diversity compared with previous periods; so that they put young poetry of this period in the position of one of the most important periods of sonnet change in Persian literature history.

In this paper, a novel method of DE familiarization and norm-breaking of Amirkhani Reza in Bivatan novel has been investigated. Although , usually the novels realm have shown less interest in this language function,Bivatan's author is one of the few writers with Knowledge about the impact of this method on the audience, have used this advantage. Language Para normality has the most contribution in de familiarization in Bivatan novel. Although Text and meaning Para normality has a worthy place in Amirkhani prose. It should be said , the Bivatan novel is based on Norm-breaking and some techniques were Experienced in this book are completely new and unprecedented.

The current century has been called "heresy age" symbolically indicating lots of literary evolutions which have occurred in this era. As we can see Persian literature has also experienced its own structural evolution in this century.The basis of present paper is a type of literary evolution in a literary form named "Sur-Sonnet". Meta Sonnet, modern Sonnet or progressive Sonnet is literary form which has employed all the elegances and capabilities of the free poetry and still remains traditional. In this study an effort has been made to provide a description of Sur-Sonnet and its engagement with the scaled rhyme and its types, phonic rhyme, playing with rhyme and slip in rhyme. The results of the study can show the state of contemporary sonnet and the formation of Sur-Sonnet.