Alkaafi fil AROOZ-e-val Ghavaafi written by Khatib Tabrizi is quite familiar for the students and researchers of the area of prosody and meter. Khatib Tabrizi is a sixth century scholar. The main characteristic of his Age in writing books was to adapt from the texts and works of the predecessors and little use of creativity and innovation. Considering the bibliography and the methodology of this great scholar in compiling the above mentioned text, the author of the article has concluded that Khatib Tabrizi like his other contemporary scholars could not avoid this characteristic of his Age and has emphasized on adaptation in his work very much. In his adaptations the main focus of Tabrizi has been on the books of Saaheb Ibn-e-Abbad and Akhfash. However he has also adapted from the books and works of the other scholars too.

Nima’s free meter is as the same as traditional AROOZ meter and dividable with the retention of quality of traditional AROOZ and the probability of change in it’s quantity. It can be considered as new form and more complete than the traditional Persian form of poems which is accompanied by innovation in its rhyme and meter.The difference between free poems from traditional ones is the variety of half – verse, written form and the structuring which is formed from combination and inspirathon of Mostazad, Mosammat, Bahre tavil, Tarkib band and Tarjie band.Ahmad Shamlou is the first Nima’s follower and learners. He didn’t agree with Nima on AROOZ and after a sheer imitating from Nima’s free poems and also after being petrified Nima, he made himself free from traditional AROOZ meter and free from Afaeil.Shamlou considered the meter as an external fact, forsed and adjunct factor. He believed in type of music as a nature and inseperable factor from the poem, s structure and he replaced AROOZi meter by a type of rhythms and also by using different internal and side rhythms and also by spontaneous application of words.

In Divans and versified works we face poems, particularly lyrics and odes, which Radif (or repeated words) in their opening verse is spread but from the second verse on, it becomes shorter so far as it ends in one word and vice versa. In other words, Radif is short in the opening verse but in subsequent verses it gets longer. There are other kinds of Radif which are clear in the opening verses but undergo changes in subsequent verses. Sometimes Radif in lyrics is only used in even verses and we can find verses in which Radif has been placed in Sadr (the beginning of the first line of a verse) instead of taking the place of AROOZ (the end of the first line of a verse). In some cases, Radif and Rhyme are blended in a way that the last letter of rhyming word replaces the first letter of Radif.This does not seem to be coincidental; rather it can be said that this kind of application and escaping from the common traditions and rules used in poems is a kind of innovation and variety which has not been mentioned in the books dealing with rhyming. Enough evidence is presented to support the claim of the researcher.

“Mat’la” is one of the rhetorical and prosodic works of the seventeenth century in Iran which was written by a literary minister called Razi-al-din Mohammad Ibn Mohammad Shafii Mostofi. He wrote the book by order of Caliph Sultan Mazandarani, one of the Safavid ministers and dedicated to him. The topic of the book revolves around figures of speech including rhetoric, prosody and rhyme. The author of the book has been influenced by the previous works on this subject, including “Me’yar-al-Ash’ar”, ” Meyar-e-Jamali” and “Hadayeq-al-Sehr”. This study can clarify the missing link in between Teimouria and Qajar Period rhetoric in Iran. It can also be a contribution to the direction that rhetorical books have taken.