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Mohammad Ali Foroughi (also known as Zoka-ol-Molk) is regarded as one of the well-known contemporary Iranian men in politics, culture, and law. His political and cultural careers motivated him to correspond with many educated friends about these issues. Due to Foroughi’s familiarity with ancient literature and his attachment to Iranian culture, his letters have been influenced by the style of his predecessors in addition to the earlier literary works. By perusing these letters, one can visibly see the influence of Ghaem Magham Farahani’s Monsha’at (Letters). While imitating the style of Farahani, Foroughi had innovations in his letters. The present article aims to reveal the extent of Foroughi’s innovation and his being influenced by Ghaem Magham’s letters by considering Farahani’s letters as an example of the return style. In the current study 11 letters from Foroughi, collected in Zoka-ol-Molk’s policy book, and 11 letters from Ghaem Magham’s Monsha’at, fallen into friendship, politics, and social categories, were analyzed. It was found that although Foroughi was influenced by the letter styles, literary techniques, and linguistic features of Farahani’s letters, he made innovations in their contents and concepts. Zoka-ol-Molk’s innovations can be seen in combining the return style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the temporal conditions and people’s understanding. Therefore, besides being influenced by the return style (especially that of Monsha’at), he overcame its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the goals of attracting the attention of the audience to promoting Persian culture and literature and conveying modern concepts along with reporting on current social issues. In his political and social letters, we see him imitating demanding literary-historical texts; while his friendly letters are very tender and heartwarming due to imitating lyrical texts. Hence, reading these letters gives the reader more literary pleasure than social letters.

The themes of poetry have undergone various transformations, and what has not been completely removed are mystical themes. Since the period of literary return is one of the most important periods in the period of poetry and the link between classical literature and the contemporary period, special attention has been paid to the reflection of its various poetic themes. The purpose of this research is to determine the approaches and attitudes of the top poets of the Qajar period of the Constitution in the field of mystical themes by descriptive-analytical method The elite poets have been affected by the old styles and the eminent poets in different periods; and if even imitation is performed so masterful, it will not have the value of the original work imitation indicates a static state in on epigone. But the mystical themes are not quite far from the poetry of these poets, and they have entered their personal styles into their poetry areas. Although these themes have been applied for beauty and concept of the poetry, they are not separately considered as mystical styles poems.The elite poets have been aware of teachings in both Khorasani and Baghdadi schools. The permanent attention to accompanishment of emotion, kindness and love in the mystical steps is emphasized, and the practical mysticism is preferred the theoretical one.

Yaqub ibn Mas'ud al-Qatifi − (whose literary pseudonym was Taskine-Shirazi) − organized Falaknaz Nameh in the year (1189 AH 1771 AD) in the form of Masnavi and Bahr Hazj. In Persian literature, he is considered to be a revivalist, and therefore, his moralizing and mystical poetry reflects the linguistic elegance and social etiquette of his time. In Falaknaz Nameh, the speaker explicates some moral and doctrinal points, and advises the audience towards doing good deeds and observing virtue. Due to the occurrence of a mysterious accident, the narrative development of this simple moralizing work is interrupted, and this interruption makes the task of comprehension difficult. Falaknaz Nameh is filled with such accidents and coincidences, detailed and interesting descriptions and imageries, and romantic and allegorical episodes, making a prominent impact on lyrical poets.