The notion of the ideal city is a seductive vista, beckoning from the realm of aspirations and dreams. It stands as a realm untouched by pain, suffering, or illness a symbol of a flawless and utopian reality. In contemporary poetry, poets often turn to the imagery of this ideal city within their verses, seeking solace from the tribulations and yearnings of their time. This research, employing an analytical-comparative approach, delves into the conceptual origins of the ideal city within the poetry of Fadavi Taqvan and Zhaleh Esfahani, following a brief exploration of their life narratives. The study aims to unravel the shared themes and distinctive nuances embedded in their poetic renderings.This research holds significant value as it pioneers a comprehensive exploration of the ideal city concept within the works of these two female poets. Such an in-depth comparative analysis has been notably absent in existing scholarly pursuits. A key revelation of this study is the tendency of both Fadavi Taqvan and Zhaleh Esfahani to seek refuge in the ideal city through select verses, allowing them to transcend political challenges and personal tribulations. Their poetry breathes life into this utopian city, framing it within contexts such as revisiting childhood, reminiscing about ancestral lands, experiencing absolute tranquility and envisioning a dreamlike homeland.

Color is not only a natural phenomenon, but also a linguistic, aesthetic and psychological one. Studying its significance and the ways in which it can be used play an important role in the study of language and literature. Color has had different manifestations in Persian nomenclature and old and contemporary Persian literature. In poetical language, colors have had various semantic and even grammatical functions. Figurative use of colors has caused many original descriptive constructions to emerge. Symbolic meamng, synonYmY, antonymy, homonYmY and connotative meaning are other important considerations in the study of this linguisticphenomenon.

Satire appears in the poet or writer's work only when he has a source of commitment and responsibility in his thoughts. Of course, true satire, remote from its critical approach towards the related affairs, doesn't materialize and as we know criticism is itself a manifestation of commitment. In responsible and meaning-biased contemporary literature, it becomes more ethical, so it little approaches to lewd, ridicule and comic poetry and rarely integrates with them. Here, the sphere of a satirist covers the ideological, religious, political, social, moral, literary and even economical problems.The writer has tried, in this essay, to investigate the kinds of satire briefly in the contemporary literature.

Since myths are created by man s creative mind and literature is created by the writer"s or poet"s mind, mythology and literature may be said to have a common source. As a literary manifestation, the contemporary Persian poetry draws on myths as an additional source. This article is concerned with this aspect of the contemporary Persian poetry.

After the constitutional revolution and especially after the movement of Nima Yooshij in interpretation of the fundamental Persian poet and the various streams since the twentieth decade such formations have been emerged with approximately different components and indices, however, since the formation and style of his works have been different, the language and contents could not be distinguished via any boundary generally not finalized.Such streams often take place in the content of the poets, as the most famous streams include: new wave, pure poet, volume poet, movement poet, post-Nima poet as well as the Ghazal, modern, postmodern, form, word, pen, etc. format and eventually due to the divergence with the poet of Iran and the interest of Iranian people into the feasible achievement.In the present article, such streams and features and their poems have been discussed.

Khuzestan Arabic poetry in contemporary age has continued its progress and dehiscence. In spite of following old poetry, it shows the changes and renewal in the form and poetical objects and style. This poetry has been influenced by contemporary Arabic poetry and its poets followed great Arabic poets such as Mahmood Sami al-Barodi and Ahmad Shoqi. They have composed the poems while frequently comparing them with particulars of literary schools like classicism, romanticism, symbolism and realism and realism.We can see manifestations of this change and renewal by young poets as Abd al-aziz Hemadi, Foad Ashore, Hosin Torfi, etc. They could enrich their poetry by two old and new cultural heritages.

Ambiguity is a major characteristic of Persian contemporary poetry. It does not mean that the Persian classic poets did not use it, but it means that ambiguity is a necessary mean for contemporary poets to discover the modern world. Though the classic poets did not feel this necessity, the contemporary poets believe that the modern world is too complicated and ambiguity is an imperative for discovering and depicting it.

Nations have created legends and myths in their lives which were acceptable for them and they had deep belief in them. These myths are more colorful among some nations. Arab poets, also, have used Arabic and even other nations' myths in their poetry, and regarding the environment and conditions have used their thoughts by implementing these ideas. We have tried, in this essay, by describing the vocabulary and mythical expressions and brief familiarity with some of the most well-known Greek, Mesopotamia, Ancient Rome and Egypt myths, deal with the contemporary Arabic poetry and investigate some of their poetry in their distinguished ones to know the reasons of the application of myths in the modern poetry.

If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Sepehri. The post-modernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Post-modernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.      

Literary influence is the discovery and study of intertextual relations in literary works and the analysis of the influence of earlier texts. Undoubtedly, in the field of poetry and literature, it is not possible to create a new poem without using the poems of previous poets, For centuries, the culture and literature of our country have been influenced by Hafez's lyric poems. Utilizing the specific interpretations and themes of her sonnets and the frequent use of poetic quotations in the structure of contemporary poetry, both in terms of form and content and guarantee, are some of the effects of this influence. In this article, the clearest evidences and the most widely used themes of Khajeh's lyric poems in contemporary poetry have been discovered and studied. The results show, The connection of contemporary poetry with Hafez's lyric poems can be seen in all types of poetry, from traditional, Nimai, Sepid and speech. The contemporary poet, while being influenced by the specific themes of Hafez's poems, strives with the goodness of novel analyzes and changes in expressive and novel industries such as ambiguity, brevity, simile and metaphor, Create new images. Borrowing from the range of words and weights of his sonnets, expressing his present, describing his beloved, or criticizing society. And in a few cases, with a verse or hemistich quotation, to convey the same or different message to the audience.