modern poetry

The pragmatic theory represents a group of theories that have enjoyed academic prosperity in the fields of literature and linguistics, and language and its actions have been the subject of their analytical tests. In fiction or poetic literature, studies and research have been carried out to a large extent on many literary works, and the Arab academic field has been affected by this theory “pragmatic theory” and Arab academic forums encouraged it, and this theory is not far from the past of deep Arabic textual analysis, which takes the language Space for script analysis. Based on the foregoing, this study has taken the pragmatic theory approach to analyze the level of discourse and its tools in the Diwan of "The Horses and Ashes" by the poet “Hessa Al-Badi”, using the mechanisms of the curriculum to which the study has devoted several elements, which are as follows "Semantics" and "Speech Verbs", “Direct and Indirect Actions”. The analytical study aims to analyze the poetic discourse through actions, the social, psychological and political conditions that revolve around the discourse, and the degree of compatibility of these conditions with the writer’s sentiments in general.The study was able to record a wide presence of semantic verbs in the Diwan “Hessa Al-Badi”. These verbs refer to comprehensive and general events that are in harmony with the general reader, as the verbs direct to the reader Its comprehensive discourse, which greatly helps in building communicative perceptions between the poet and her addressee.

The foundation of classical Kurdish literature is rooted in the Hawrami (Gorani) divans composed by notable poets such as Besarani, Mawlawi, and Seydi, among the most renowned figures in this tradition. Before the establishment of Sulaymaniyah, Hawrami (Gorani) served as the primary written language of Kurdistan. However, with the rise of the Baban Dynasty to power, the Sorani dialect supplanted Hawrami as the standard language. As a result, Hawrami literature lost its prominence after a thousand years and underwent a late reform. During Seydi’s era, Hawrami poetry gradually incorporated prosodic forms in addition to the ten-syllable Masnavi meter, and after Mawlawi, classical poetry underwent significant changes in both form and content. Following the emergence of the Ruwange and Kifri literary schools, Hawrami poetry began to evolve, breaking free from the constraints of meter and classical structure. This research attempts to analyze half a century of renaissance in Hawrami poetry. The results indicate that in the 1970s, a new wave of poetry emerged in free form, influenced by Sorani Kurdish new poetry. Furthermore, classical poetry, characterized by the 5+5 syllabic meter and prosodic meter, has experienced notable changes in content. Among the prominent features of contemporary Hawrami poetry, one can identify the breadth of themes, the representation of lived experiences, the increasing presence of women poets, and the emergence of literary criticism alongside this movement.

The present study examines Eliot's influence on the poetry of the Iraqi poet, Badr Shaker Al-Sayyab. The main question of the research is which intellectual origin of Eliot's thoughts has influenced Al-Sayyab's works, and what is T.S Eliot's expressive and imaginative influence on Al-Sayyab’s poetry? The research method of the present research is descriptive and analystical and the comparison of signs and its theoretical framework is based on the comparative theory of influence of the French school of Claudio Guillen in "The Aesthetics of Literary Influence". According to Claudio Guillen's theory, literary influence gives birth to other literary works and literature produces literature. The results of the study show that under the influence of Eliot's thought, al-Sayyab turned away from romantic poetry and became an adeherent of modernist poetry. Thus, he turned to themes similar to those of Eliot's poetry and therefore his poetry reflects the despair and hopelessness that prevailed in Iraq and describes Iraq as a wasteland which is reminiscent of Eliot’s wasteland; Al-Sayyab indirectly criticized the dictators and autocrats of Iraq, and like Eliot who condemns unreal cities that lack humanity in his poems, al-Sayyab too condemned Baghdad as an unreal city that is a wasteland and without water that nothing will grow from it, as Eliot believes that nothing will grow from the waste land. In the field of expressive effects or imagaries, under the influence of Eliot, through the artistic use of the myth of Tammuz and Ishtar, Al-Sayyab attacked the causes of the Arab wasteland. Influenced by Eliot Al-Sayab, used Eliotique metaphors like personification of night to show the tangible dominance of darkness over light, the same method used by Eliot in depicting the chaotic and dark situation of the wasteland. Although Eliot influenced Al-Sayyab, Al-Sayyab's poetry is not an imitation in any way, and he wrote poems that make Eliot's influence seem insignificant.

Shawqi Bzai’ is a Lebanese Shi’ite and an Arab contemporary literature modernist poet. Although he is one of the leading figures in modernism, he has not done away with the ancient heritage and has skillfully tied modernism to the ancient heritage. In his poets, he has made use of various types of deviations, particularly ancient or archaistic ones. The present paper seeks to investigate his poems to analyze the various aspects of archaism and antiquity-centered attitudes and thereby demonstrate the extent to which he has been successful in combining ancient heritage components with novel poetical purposes as well as express what he has been in pursue of by taking advantage of such archaistic methods. Based on the findings, archaism has been manifested in Shawqi Bzai’s poem in four forms. Firsly, he has used mythical and historical characters from Iranian, ancient Roman and ancient Arabic cultures, for instance, Shahrzad, Phoenix, Alexander, Zarqa’e Yamame. Secondly, he has taken advantage of the characteristics of religious-historical figures, especially the divine prophets, including Noah, Jesus and Moses. Thirdly, he has introduced historical subjects and incidents like the story of the birds called “Ababil”, the story of “the queen of Saba’” and Salomon and the events pertaining to Andalus Rock. Finally, he has applied archaism to his poems through making use of ancient words, jargons and word combinations like Amma Sabahan, Dagger, Hadi Al-‘Eys and so forth.

Death and life have always been two prominent and significant concepts in the view of thinkers, and many contemporary poets of Persian language and literature have looked at the issue of life and death from different perspectives. Among these, the point of view of three prominent female poets after Nima (Simin Behbahani, Forough Farrokhzad and Tahereh Safarzadeh) is of special importance. The main goal of the upcoming research is to explain the views of these poets on the concept of life and death and the impact and evaluation of the qualitative content of their thoughts and feelings in evaluating this issue.

The research method in this article is descriptive-analytical, based on library studies and document analysis. The statistical community of the research includes a selection of the poems of all three poets, in which the categories of life and death are considered.

The research findings indicate that the individual, social, belief and ontological components and propositions are in complete relation with the viewpoint of each of the poets regarding the issue of life and death.

The research results indicate that the concept of life for Forough Farrokhzad with all its charms and beauties is sometimes absurd and meaningless. After being disappointed in love, being away from his child, being dissatisfied with the patriarchal and discriminatory society, Forough must somehow suffer from life and review its boring images every day. Simin is also pessimistic about life and this pessimism is the destruction of individual and social hopes and ideals in the poet"s mind. Safarzadeh is opposed to life and its sufferings, but he considers life and death with religious viewpoints, and this is the reason why he considers death as a kind of holy transcendence and life as a source of happiness.

Trees have special importance in Persian poems. Cultural, religious, mythical, ethical, mystical, and political elements have propositions influenced by trees. Following water and the sun, the tree is an important phenomenon from which special literary elements and situations are created. The creative ways of connecting natural phenomena with human elements have been highlighted by the emergence of various political events in the last century on the one hand, and the creation of many artistic ideas and styles on the other hand. The tree image has found a new and multifaceted effect in modern poetry. Modernist poets give special roles to non-human elements and among these, the tree is a human-like mirror image that shows the evolution of human society in its stature. Using the library method and based on an analysis and explanation of poetic evidence in the thoughts of selected poets the current research revealed that the tree could be an image of personal failures, love, a medium of perception, an indicator of freedom, a representative of an ecosystem, a symbol, a sign of death and nonexistence, and a reflection of tyranny and a denial of human existence under the rule of tyranny.

The debate over literary theory and Nima’s poetry has a long history. Literary critics have interpreted Nima from their own perspectives, offering various interpretations. The issue of this research is a critical re-reading of the views of Pournamdarian and Barahani in the 1990s as representatives of academic and non-academic criticism. This research showed that Pournamdarian and Barahani have occasionally been excessive in their understanding of Nima. As a result, despite Pournamdarian’s efforts to understand Nima’s poetry anew, he remains trapped in the stereotypical traditions of literary criticism, which leads him to define modern poetry under traditional poetry. On the other hand, Barahani has neglected the historical process of theorizing and Nima’s poetry, by going to extremes in some of his views and speaking of a crisis that we witness in the poetry from the 1990s onward. In other words, tradition and modernity are clearly at odds in the views of these two critics. Pournamdarian wants to blend modern poetry with traditional criticism, while Barahani becomes dogmatic in his criticism.

One of the most significant subjects to have entered the social-political sphere, as well as the literary sphere, in the past100 years is the ideaof Salafismasa realist phenomenonthat hassince developed intoadiscourse.This concept understood idiomatically, is the outcomeofa historicaltrend in Islamthatviews itselfassubmissivetothe virtuous predecessor(Salaf-e-Saleh) interms of religious observanceandemulates the Prophet of Islam(pbuh), his companions, and subordinates indeeds and beliefs.The Salafi movements however,whicharethe result of IbnTaymiyah's misinterpretations ofthe ideas of monotheism, polytheism, tradition, and heresy, are what we witnesstoday in the political andsocial spheres.the current study examined the Salafi discours in AhmedMuharram's political court, an Egyptian nationalist and Islamist poet using Fairclough's critical discourse as a guide.The study's findings suggest that the threeaxes of Islamism, nationalism, and ethnic-Arabictendencies are consolidated in Muharram political poems based onIslamic philosophy.Thesethree axes have beenused t guide theselection ofwords and expressions at the levelof description.The reformist Salafi discourse in Ahmed Muharram's poetry is influenced bythe Salafi inclination of Seyed Jamaluddin Asadabadi and Muhammad Abdo toward issues like the establishment of the Islamic society, returning to true Islam andthe Qur'an, inept rulers, ignorance, neglect, and a lack of willpowerin the people, as well as the struggle againstcolonialism. The solitary identity found in this poetry hasonly one significant source: Islam. This sense of identity segregation demonstrates the poet's mentality tobe heavily influenced by Islamic thought. On the other hand, opposition to the traditional andsecular discourse of Egyptian society, as well as references to thepast and the ideal society, are ideas thathave cultivated and developed the poet's Salafi identityof resistance.

In general, allegory has various definitions. Because the use of allegory makes poetry more beautiful and shows original roots & resourse, poets who have more innovation in creating allegory; They create more lasting works. In this research, we intend to examine the types of allegory in Ahmed Boroujerdi's poems which has not been researched. In order to analyze this feature in the poem of the poet – Ahmad Brujerdi- in question, according to the structure of Ahmad Boroujerdi's compositions, the need for further explanation was felt, which with further exploration of these stages accepted.
There have been few researches about this poet's poetry, and dealing with various effects in his poetry can be an idea for other researchers' researches. In this article, which has been done with a descriptive analytical method based on the library method, the question has been answered that what methods of innovation did Ahmed Borujerdi use in his poetry?

The magic of proximity is one of the methods and tricks of creating beauty in formalism, which causes highlighting and artistic expression of words. A method that pays attention to the artistic balance between the sounds and phonemes of words. Due to the hidden music, the magic of proximity increases the ability to absorb the message hidden in the words and pays attention to the phonetic harmony and balance between the words with a new look. The main purpose of this essay is to investigate the magic of proximity as an artistic technique in the book of the Hezare dovom-e- ahoo-ye- koohi of Shafi"i Kadkani.

The study method in the upcoming article is descriptive-analytical based on library studies and document analysis. The scope of the research is the collection of poems of the Hezare dovom-e- ahoo-ye- koohi.

The magic of proximity in Shafi"i Kadkani"s poetry is expressed in the form of artistic arrays, including phonemes, puns, and metaphors.

According to the results of the research, the maximum amount of use of the magic of proximity in the collection of the Hezare dovom-e- ahoo-ye- koohi is reflected in the phonology and the semantic dimension of inducing feelings and strengthening the musical aspects of the poem.

The formation of the idea of a school called Imagism in the early 20th century in Hulme, after studying Bergson, and Pound, after getting to know Fenollosa and studying Japanese poetry, created a leap in European poetry and paved the way for a new kind of poetry that after Arthur Rimbaud and Charles Baudelaire drew careful attention to the specifity of images and language. Imagism focuses on a specific object or image as the main subject of the poem with clear and concise language. This school is a subset of modernism that focuses on the skillful presentation of objective images, does not waste time talking about the subjects behind the images, and lets the image speak for itself. Examining the imagistic solutions of Hulme, as the father of Imagism provides a suitable opportunity for researchers of modern poetry. Bijan Elahi, a contemporary Iranian poet, due to his translations of modern European and American poems, was able to reflect the features of this school in his poems. The simultaneous analysis of the artistry of these two poets in their poetic style leads to the clarification of their intellectual, philosophical, and cultural backgrounds. Elahi and Hulme were successful poets in Imagism, and the difference between these two poets, in addition to their cultural context and mental background, was that Hulme, as the pioneer of this school, adhered more to the framework of its ideas, but Elahi, having passed through She’r-e-no and Moj-e-no, was faithful to the tenets of the school only partially and in certain periods of his development. Hulme’s mental background was philosophy, old laws, and a new point of view towards the world, whereas Elahi was more influenced by eastern mysticism.

As a result of the revolution and the war, Persian poetry underwent changes that mainly occurred in the field of meaning and themes. However, also in the field of images, the poetry of these poets has differences compared to the poetry before the revolution. In this research, the authors investigate the influence of the Islamic Revolution and war on the change of the network of images in Nimai's poetry by examining the imagery of Nimai's poetry after the revolution and its constituent elements.

The current research was done with a descriptive-analytical approach and library method. In this method, the researcher, in addition to familiarizing himself with the research problem, describes and explains the reasons for how and why the situation of the problem and its dimensions.

In Nimai's poems of revolution poets, since message delivery is the priority, the use of imagery is more limited. On the other hand, the imagery used in Nimai's poem of the Revolution is more at the service of thought than it wants to be considered an independent thing that creativity revolves around.One of the obvious characteristics in the depictions of revolution and war literature is its simplicity and transparency. The requirement of the principles of rhetoric was that in these poems, images and artistic structures are used so that their meaning can be understood quickly and easily; Because the audience of this type of poetry were ordinary people. Also, another feature of Nimai's poetry has a faint presence in the new poems of the poets of the revolution, and that is poetic ambiguity and the possibility of multiple meanings in the poem.One of the other basic features in Nimai's poem of the revolution is the lack of elements of romantic imagery in it. It seems that the social-political excitements and the war-torn atmosphere of those years in those years did not allow romance.In their imagery, poets of the revolution use new issues and themes in the content of their imageries, which has a significant frequency in their images. These new elements include the following: 1. Elements related to light and illumination: The event of the revolution in the eyes of the poets was like the sunrise and the morning that happened after a cold night; 2. Elements related to growth: In the opinion of the revolutionary poets, the Islamic Revolution was a harbinger of growth and a season of prosperity. 3. The everyday issues of the lower classes: In the depictions of these poets, we see elements that exist in the lives of the deprived classes of the society. 4. Religious elements: Religious elements play a significant role in the images of poets of the revolution. 5. War: the revolutionary poets' addressing of war introduced new themes and images into Persian poetry.Another issue that should be paid attention to when examining poetic images is the issue of color and the poet's use of this element. In the reviewed collections, there is a perfect harmony between the frequency of the colors used and the elements of illustration that we have already mentioned.

Imagery, as one of the most important elements of poetry in Nimai's poetry of the revolution, has had different appearances than before. The poet uses poetic and rhetorical artistic device forms in a way that is familiar to the audience. Images, along with the literary and aesthetic aspect, mainly serve ideological ideas and thoughts. The image-creating elements in these poems have often undergone changes under the influence of the atmosphere of the same era. Finally, it should be said that the influence of the Islamic revolution on Nimai's poetry can be traced in addition to changing the topics and themes of the poems in the field of Imagery, and this issue indicates that the revolutions and socio-political events that cause changes in the styles and types of poetry, only affect the content field of the poems. They do not change, but they also make fundamental changes in the images and the chain of images.

The entry of postmodern poetry to Persian Literature, led to some poets of the seventies making some modifications to the statistics and literary rules. Ali Babachahi has decided on the clarification of some features by presenting a postmodern poem scheme. The features read as uncertainty, free verse reading, death of the author and paradox all if which being fully traceable in poem collections called “Drizzling” and “ Mind tortures me” .It ‘s been meant to analyze the weaknesses and strengths of this kind of poetry by perusing the stylistics studying them in three aspects of linguistic, content and literariness in this research .

In the contemporary era, the language of poems is transformed from a tool of expression to a language for innovation with its idiosyncratic framework, and aims at clarifying the relationship of a poet with the surrounding world and her attitude concerning the phenomena. The language of poems comprises the words, their combinations, and literal figures of speech. Furthermore, with the aim of being in coordination with the contemporary conditions of the society, the language of the poems is transformed followed by the attempts the poets have made in revolving their language in this respect. Yousef-Al-Khal and Hossain Monzavi are among the poets of modernist poetry in Arabic and Persian, throughout the poems of whom, the modernity traits in different language are explicitly exposed. This article is an attempt to assess and compare the two poets’ languages of poetry aesthetically via conducting a descriptive-analytic methodology which addressed the most important elements in this respect. For instance; repetition in Al-Khala’s poems, in addition to creating a kind of rhythm, is utilized to focus upon the meanings, while Monzavi’s purpose is mostly creating rhythms than meaning purposes. Furthermore, Al-Khalal’s social commitment has led him to use the plural forms of speech. In contrast, Monzavi uses the single form to express his emotions. Assessing the textual implications, the close relation of the words implications and the forms of the text may be demonstrated in the poems of both. The visual irony in the Al-Khalal’s poems has caused the literal development and complexity, while this figure of speech has improved Monzavi’s poems aesthetically. Monzavi managed to combine various senses and then their implications are linked to abstract conceptions. One of the most outstanding specifications of Al-Khalal’s poetic language that makes him more prominent than Monzavi is the salience of the forms derived from icons which encompasses all elements of his poems.

The image, which is one of the four pillars of poetry in literary criticism, is a linguistic structure that the poet uses it to visualize his abstract thoughts and complex modes.This concept plays a prominent role in the resurrection of the word, both in the old literary criticism, which considers imaginary forms as an essential element in its formation, and in the new literary criticism, which includes all means of expression and breaking the linguistic norms. Mohmmad Al-Qaisi has spent his entire life in exile and he has always imaged the sorrow of Palestine through the suffering and exile and displacement.According to the investigation, the bitter experience of Qaisi’s life made sorrow as a steady and unseparable element in Qaisi’s poetry. As a result of enduring song of sorrow in his poems,he was named “sorrow full poet” Considering that the issue of Palestine is reflected as a central social issue in Arab literary works, image analysis plays an essential role in the representation of the issue of Palestine.On the other hand, sadness is one of the important trends in contemporary Arabic poetry so the representation of sorrow in the Qaisi’s poetry is an issue on which study by descriptive and analytical and Semiotics and statistical analysis approach in this research to discovering and decoding how represent the suffering and sorrow of Palestine as a part of the Islamic world,in Qaisi's poetry,the resistance poet of Palestine.The results suggest that Qaisi use the technique of metaphor and simile in visualizing his sad experience.he presents two different and contradictory images of sorrow that have a same origin. This conflict in the representation of sorrow indicates that the poet suffers from a kind of internal conflict In his poetic experience that arises from the conflict between the ideal and the reality of the poet.

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.

Persian poetry in the 2000s, like many literary and artistic texts, has hidden meaning and reason the enjoyment of discovery of which is met by the criticism process method. One of the methods of studying poems of this decade is to look at the mutual contradictions, which indicate some parts of meaning, because if a poet accepts the historical evaluation of contradictions, he shows his alignment with classic beliefs and if he criticizes it, he represents the intellectual and cultural changes in personal or social level. In analysis of text contradictions, one of the items to be studied is the type of relation that the author or poet connects between two sides of contradiction, and in this case, poets in the 2000s indicated many intellectual infrastructures and type of evaluations changed to them. Among 20 poets studied in this research, 7 poets (Sare Dastaran, Majid Rafati, Garous Abdolmalekian, Abbas Saffari, Sara Mohammadi Ardehali, Shahab Mogharrabin, and Hafez Mousavi) obviously introduced invalid the goodness and badness of two sides of contradiction; i.e. the positive and negative aspects or vice and virtue of parties to the contradiction. The research findings show that the poets in the 2000s make doubt on the known and general contradictions, and also include in their works the new visual fields suitable to the language and time for invalidating the vice and virtue aspects of contradictions.

Each literacy work shows that each phenomenon directly or indirectly refers to the specific aspect of individual, social, cultural, political, and so on streams in a society based on the worldview and thinking manner of its creator. Obviously, others’ effect on an individual needs his/her mutual relationship with them. Therefore, social psychology is known as a study of human interaction or the science of studying human beings. It includes many components of community orientation (social influence), aggression, attraction, persuasion, imitation, prejudice, etc. What studied in this research are Parvin Etesami’s poems which is viewed and then analyzed by descriptive-analytical method from the “prejudice” aspect as a social-psychological component in the mentioned personality in her poems. This is to indicate what Parvin Etesami’s view is toward prejudice of personalities in her poems? The results show that Parvin mentions people's prejudices with a critical and poignant view.

The concept of social and human commitment in the modern sense has been introduced into contemporary Persian poetry through constitutional literature and the same concept is considered as one of the ways of distinguishing Nima Yooshij's poetry from classical Persian literature. In a sense, Nima is literally a humanist and socialist poet and thinker. Because his poetry is seriously and comprehensively departing from the individuality and enters into social and human realm. There are several fundamental questions regarding this topic that form the basis of this article. 1. Is Nima a humanist and socialist poet? 2. What is the difference between Nima's poetry and classical poetry in content? 3. What are the components of humanism in Nima's poetry? In the present study, which will be done through descriptive-analytical method and content analysis of existing data, we will try to explain the components of humanism and its social role in Nima's poetry. Belief in humanism, rejection of authoritarianism, human agency in social destiny, humanistic view of nature and humanism in social and human symbolism are some of the components of humanism in Nima Yushige's poetry.

The main issue in discourse analysis is the transition from explaining linguistic data to effective processes in discourse formation. The effort is on to investigate the characteristics and protest aspects of two contemporary poets, Shamlou and Kasraei, based on the descriptive-analytical approach and based on the model of Laclau and Mouffe's discourse analysis. As a poet, Shamlou does not accept the established social order, His political and social goals gradually lead to a simple philosophical and revolutionary worldview. However, Kasraei is not as disappointed with social change as poets like the Third Brotherhood, nor is he as pleased with philosophical and social propositions as Shamlou, but he is a committed poet in every sense of the word.Based on the elements involved in Laclau and Moffe's discourse theory, it can be said that Shamlou was inherently a poet incompatible with the spirit of his time. Shamlou's poetry considered all the vital elements of society to be a distorted construction of the ideological realms of political sovereignty, Therefore, protest in such a society is considered a sacred movement. On the other hand, Kasraei's allegorical and symbolic initial approach, and finally his revolutionary and guerrilla poetry, made him a supporter and encourager of a socialist and popular revolution. Based on this, the present study tries to study of Laclau and Mouffe's analysis discourse, namely articulation, identity, conflict and alienation, hegemony and mythology in the poems of these two important poets of contemporary Iranian history.