Type and modality of ‘description’ has always had significance and special manifestation in the poetry of different periods of Persian Literature, so that study and analysis of descriptions is highly instrumental in stylistic trends of literary works. In contemporary poetry also analysis of descriptions in many cases demonstrates norm-breaking and innovative approaches of poets, in consequence of their regarding affairs from a novel viewpoint.Due to significance of descriptions and their sublime position in literary works it is necessary to investigate these works in this regard. The present study firstly seeks to investigate types of description in Forough Farrokhzad’s poetry on the basis of some definitions in Arabic language and literature, and also the tropes the poet has practiced in this regard such as simile and personification as the most frequent ones. Secondly, epithets are analyzed in terms of grammatical concerns. These epithets are categorized according to Dr. Ali-mohamad Haghshenas’ Persian grammar and treatment of each epithet considering their grammatical structures is examined statistically.

Deliverance of self at Forugh Farrokhzad’s poems is the fundamental issue at this article. This concept like other affections and sentimentalities of mankind is the main theme portions of the contemporary Farsi poetry.At two portions, the writer has attempted to manifest the concept of deliverance from self passion at Forugh’s poems. At the first portion the writer explains manifestations of her poems, which is transfiguration of this concept by the discussion of five specifications: the sense of consensus, knowledge or insight, doubts, unprejudiced and the refraining of expressing individual sentimentalities. At the second portion the writer enumerates eight important factors as factors making deliverance of self at the poet which are: love, idealization, commitment for life, God- believing, loneliness or reclusiveness, pain and suffering, death demand, versification.The aim of the article is that the reader by deliberation at poetical samples of Forugh and other lateral discussions - which are presented in various parts of the article- be able to figure out the approach and attention of Forugh on the concept of deliverance of self and can analyze this kind of approach by other poet’s point of view.

Death is an undeniable truth which has obsessed man thronghout history. Poers have treated the idea of death in myriad delicate, imaginative ways. In Forugh farrokhzad’s poetry death and decline figure as central recurring motifs this cast of mind is related to dIfferent stages in the life and thought of this poet. For instance befor and after “ tavalodi digger” (Another birth) her view of death as something personel shifts to a social one her fear of death turns into acceptance and also paradoxically, resi sting it and struggling to remembered after death.Generally, as the poetry of a poet is a manifestation of his/ her life and character the idea of death in Farrokhzad’s poerry cannot be sepatared from these, hence its dynamicity.

As women entered to different economic, educational, didactic and the other arenas, especially in the second half of 20th century (after World War II), the limited activities of women expanded and "Feminism" advanced as a researchable subject. The women's literature created of the process which is even known as "global motion". Now the feminism opinion is one of the researching topics about women that deal with the expression the basic traits of social life and human experience in feminism's view.However, in recent century yet we see a huge distance between male and female's performance, but the result of female's general motion and effect in regard to removing this unequivalences and changing the views about them is considerable. The perspicuous the identity and reality about women and the reflection of their experiences in literature is of the most basic subjects in the critical literature which is exigent us to study about the most indicated womanish poet "Forugh Farokhzad" in Iran.This survey is done on expressing some opinions and concepts about "Forugh Farokhzad" in a new view, and certainly by a glance on emersion the academy of originality of woman (Feminism) and its specialties.

One of the features of modern art, especially poetry, is the focus on semantic meanings and ambiguity, and one of the most important ambiguity tools is using the words’ polysemy capacity. In art, polysemy consists of some rhetorical and literary techniques of classic and modern literature such as metaphor, trope, irony, symbol and amphibology. The quantitative and also qualitative study of how to apply these elements have a major role in determining the poet's authentic style to create ambiguity. Thus, the researchers of this article – acknowledging that Forugh Farokhzad is one of the distinguished apprentices of Nima Youshij's doctrine in the modernization area in whose poetry many modern art features can be found – have tried to explain her poetry style with a stylistic approach, based on two of her poetry collections, namely Another Birth and Let’ s Believe in the Cold Season. This study focuses on her use of polysemy elements, explaining the level of application of these elements to create ambiguity in her poetry.

Forugh Farrokhzad's explicit and lucid diction has had an extraordinary impact on her choice of prosodic meters. The present article is aimed at looking into the most important manifestations of prosodic meter in one of Forugh Farrokhzad's poetry collections called “Another Birth”, attempting to answer the following question: What are the most important prosodic innovations in “Another Birth”? Using a descriptive-analytical method, this article first examines metrical patterns in “Another Birth” and then by presenting graphs and analyzing statistics, it comes to the following findings: Forugh has beautifully drawn upon the potential capacities of prosodic meter and therefore has created an original and innovative poetry. Forugh has managed to display her mastery and adeptness not only by presenting her individual and personal experiences commensurate with her audience's moods but also through manifesting the facets of external music in her language, a language that suits the taste of her contemporary audience. Unlike the poems of her predecessors, her poems occasionally give the reader the opportunity to experience various meters in segmentation, and the reader encounters several meters in one single poem, two meters in one hemistich or the application of partial elements at the end of a hemistich; the reason is that words and content-and not form- are important to her. Moreover, we sometimes come across some hemistiches in her poems that have extra-long syllables which indicate the independence of her hemistiches from other hemistiches on the one hand and on the other hand she displays her ability to employ poetic options, especially “Taskin”, to her readers. Metrical patterns such as Ramal, Mujtath, Muzare' and Rajaz are the most frequently used ones in her poetry.

Nazar Qabbani and Forough Farrokhzad are great contemporary Iranian and Arabian poets who are shirked from Romanticism to social Symbolism school under the impact of intellectual developments and political-social situation... Farrokhzad's poem "someone who is like nobody" and Qabbani's poem "waiting for Gudu" have considered the Savior concept under the influence of the Samuel Beckett's famous play. In this article, we attempt to concern with the importance of these two poets in Persian and Arabic literature and value of comparative literature at new criticism by comparative view and comparative analytical approach to the similarities and differences between the two works, and how to deal with influences from Beckett's plays. The findings show that Forough and Nazar have considered this issue with a similar vision, so that the rhetoric, symbolization and poetic image in the poetry of the poets is close to each other and the difference is that the language and poetic words of Forough is more subtle than Nazar words as well as the life expectancy and emerge of the redeemer savior is more manifested in her poetry.

The present study is a cross-cultural survey of American Sylvia Plath’s and Iranian ForughFarrokhzad’s poetry in the light of Showalterian feminist viewpoint. Elaine Showalter believes that analyzing women’s works according to the male-constructed theories would result in mere imitation of male discourse and consequently mere silence of women even in evaluating their own works. Thus, she presents a female framework i.e. Gynocriticism. The present writers are to scrutinize some Plath’s and Farrokghzad’s poems according to the above-mentioned framework and come to the conclusion that both poets reject the pre-established norms of patriarchal literature. As two avant-garde poets, they create a literature of themselves on the basis of their female entity and experience.

In the second stage of her poetry, Forugh Farrohkzad has used figures of speech to lead language to its literary state. Among her influential literary techniques in poetry, symbolism is prominent. In her poems many words are used as symbols in various positions. They convey different meanings. One of the most attractive symbols of Forugh’s poems is water, and in this paper we will deal with it.