Metter which refers to an order in utterances AND makes them more imaginative is an integral part of poetry. In spite of all efforts made aimed at ignoring meter AND at extending the poetic prose, the Persian speakers are still inclined to prefer metrical poetry.M.Sereshk-.Shafii Kadkani- theoretically believes that poetry is MUSICal manifestation of language. This statement means that meter in the main component of Shafii kadkani s poetries. With due regard to this theory, the present article is going to focus on AND analyses the EXTERNAL MUSIC or meter in Nimaic Poems by Shafii Kadkani. For doing such research, one hundred samples of Nimaic poems have been studied respectively from the first half of the book "second millennium of the gazelle"(Hazareh-ye-Dovom-e-Ahou-ye-Kouhi) AND the results have been presented by use of data analysis. Out of the result is that Shafii observed the rules AND regulations established by Nima while Shafii has done some initiatives.His choice of meter is unconscious. He has a natural inclination towards the meters such as "Ramal" AND "Mozareh" exploited by Hafez, Saadi, AND Molavi in their best sonnets. Caesuras, pauses, long syllables AND short ones are selected in the most effective manner to convey emotions AND meanings in his poems.

MUSIC of poetry is one of the best characteristics, that intrinsically denote the value AND significance of the poem. Indeed, it is the MUSIC of poetry that, while making the poetry attractive to the ears, is a way of making it pleasant in order to convey the concept AND the purpose lying in the core of the speech faster to the given destination AND intention. The EXTERNAL MUSIC of the poem which gives rise to the MUSIC of the speech AND causes its beauty is the very prosodic rhythm that is based on the length of the syllables AND stresses.Naziri Neyshabouri's divan (book of poems) is conSIDErable in terms of the EXTERNAL MUSIC AND the variety AND variation of the prosodic rhythms employed. In Naziri Neyshabouri's divan there exist 564 ghazals (lyric poems), 42 qasidas (ballads), 3 ghat'es (stanzas), 10 composites AND refrains, AND 141 rubais (quatrains), total of which becomes 760 poetic Pieces. The poet has made use of 9 meters AND 37 rhythms throughout the divan: 275 cases in the Hazaj meter including 128 ghazals, 3 qasidas, 2 composites, 1 ghat'e AND 141 rubais, 186 cases in the Ramal meter consisting of 174 ghazals, 9 qasidas, 3 composites, 134 cases in the Mojtas meter comprised of 115 ghazals, 18 qasidas, 1 ghat'e, 111 cases in the Mozar'e Meter including 100 ghazals, 7 qasidas, 4 composites, 29 cases in the Khafif meter comprised of 25 ghazals, 3 qasidas, 1 composite, 16 cases in the Rajaz meter consisting of 15 ghazals, 1 qasida, 6 cases in Monsarah meter containing 5 qasidas, 1 ghazal, 3 cases in the Sar'i meter including 2 ghazals, 1 ghat'e, 3 cases in the Motaghareb meter consisting of 2 ghazals, 1 ghat'e.

Studying the most beautiful preeminent manifestation of poem MUSIC i.e. rhythm AND meter, is a step toward the recognition of the poet’s mentalities AND thoughts.So paying attention to the various aspects of poem MUSIC is very important AND necessary. Rhythm AND MUSIC,beauty AND its subsequent influence AND also its agreement to human nature of beauty liking is the substantial condition of the durability AND eternity of poet AND poem.Bidel is one of the greatest AND incomparable poets of Hindi Style AND a unique model AND an admirable poet of this Style. Although Iranians have neglected to investigate much enough in different aspects of Bidel’s style AND his mentalities AND viewpoints, he has intensively affected his contemporaries AND followers.This brief collection tries to take a step for recognition AND introduction of this tender-imagined poet AND to pay attention to the hidden world of his works AND a small part of his world which is the EXTERNAL MUSIC AND also to introduce the rhythms AND meters used in his works.At first, a small introduction of Bidel Dehlavi is presented AND then the meters AND rhythms that the poet used in his works are discussed. Also some information is presented about the frequency of each meter.Some other information is also presented about the meters of Khizabi, Joybari, AND Dowri AND finally a couple of examples are brought up for each meter.

Nader Naderpour is the great contemporary poet in Iran whose poetry is seldom analyzed AND investigated till present. This article aims at discussing EXTERNAL MUSIC (meter) in his poetry AND illustrating the manner in which it manifests itself in his poems. In order to achieve this goal, first an introduction is given regarding poetry AND MUSIC focusing on the meter. Second all the meters employed by him are exemplified. Then all his poems such as traditional, quatrain, free verse are classified. Finally a conclusion is drawn AND discussed accordingly.

Babafaghani AND Vahshibafghi are two Iranian stylistic poets who have played significant roles in the history of Persian lyrics; hence, for thorough analysis of their lyrics, the present descriptive- analytic article has a look at the most brilliant MUSICal manifestations of poetry- rhyme, arud, AND radif- in the odes of these two great poets. It must be noted that in terms of EXTERNAL MUSIC, the poets have a lot in common enjoying close taste AND interest in choosing meters AND rhythms. All selected weights of these poets are among the most eloquently melodic AND usable weights in Persian poetry, in a way that even a disagreeable AND low use of weights is not seen in their ghazal collections. The key point is that the selected weights of both poets have a close proximity with the concepts raised in the poems. The important point is that the meter of both poets is closely linked with the concepts AND themes raised in their poems. Yet, from the lateral MUSIC point of view, it should be reminded that in Vahshibafghi, the highly frequent vowels are more melodious, whereas Babafaghani 's radifs with their lengthy combinations are MUSICally more valuable.

Majd Hamgar is one of the poets of the seventh century AH who was a contemporary of Saadi. He held a high position in the court of the Salghuri kings. A collection of quatrains of this poet-over 610 quatrains-has been written by his grANDson among the manuscripts of the Divan of four other poets in four sections. This exquisite edition, available in the British Library, has unique features; AND has been conSIDEred by researchers. In order to know the important features of these quatrains in terms of subject matter AND verse MUSIC, this version has been studied. The result is that Majd Hamgar's quatrains have been written on various subjects such as love themes, advice, herds of the world AND destiny, satire AND description of the beloved; AND the poet has given a lot of importance to inner AND SIDE MUSIC. About half of his quatrains are in rows AND a significant part of these quatrains has rhyme in four shutters, or rows AND rhymes AND in many cases, the end of the third stanza is related to the rhymes of the other stanzas united, as well as the letters, the allied, or in some way. It is a sign of the poet's attention to SIDE MUSIC. Regarding the poet's view of EXTERNAL MUSIC, it should be said that the poet paid more attention to the shajar akhrab. The weights used in his quatrains are associated with various zehaf.

Literature has boundless capacity with literary context in the form of poem, prose or both of them. The different between poem AND prose is that poem has special MUSIC feeling AND imagination that is more powerful than prose, but it doesn’t necessarily mean that prose is unfilled with MUSIC. There are different styles of MUSIC in poetry which one of them is EXTERNAL MUSIC related to poem rhythm. One of the famous AND powerful poets in Persian literature is Sanaee Ghaznavi who used this MUSIC skillfully. There are a few rhythm deficiencies in his lyrics indicating that form has an importance value in Persian poetry as well as the meaning AND content. This paper aims at analyzing the EXTERNAL MUSIC in Sanaee Ghaznavi’s poetry.

BACKGROUND AND OBJECTIVES: The MUSICal element is one of the important factors of beauty in classical poetry. SIDE AND EXTERNAL MUSIC is one of the important elements of MUSICal elements. AND the poet can contribute to the beauty of his poetry with his skill AND timely use of these two elements. Outer AND SIDE MUSIC appears in weight, rhyme AND row respectively. METHODOLOGY: In this research, using the method of gathering information (library), evidence, appropriate samples related to MUSICal elements were collected AND analyzed based on the descriptive-analytical method. It should be noted that the version that is the basis of this research is the version of Saadi"s Ghazliat edited by Mohammad Ali Foroughi published in 1995. FINDINGS: Saadi"s poetry is famous for its simplicity AND MUSICal qualities. He has used widely used AND common verbs such as ramel, mujtath AND subjunctive. Saadi has also used the brook weights, which have a quiet AND gentle resonance with a high frequency compared to the curved weights. In the analysis of Kanari"s MUSIC, he is more inclined to write poems without rows, AND in his Mirdaf sonnets, current rows have a higher frequency. All kinds of rhyming defects in his rhymed poems are also noticeable. CONCLUSION: Saadi"s poetry can be classified as balanced poetry due to the appropriate use of MUSICal elements.