Among the artistic styles of language, satire and its derivations, with objecting and criticizing approach, have been popular in the language and literature of different tribes and nations since a long time ago. The satire, humor and lampoon, each with a different quality, is the result of the behavior contrasts between the society and the individuals. Each of the linguistic elements and expression styles is tangible and perceivable in the consecutive warp and woof of the poetry and literature of Iran. In the classic Persian poetry, a considerable volume of the works of some poets, especially between the 5th and 6th centuries, is consisting of humor and lampoon. One of these poets is Sanaei Ghaznavi, whose poems with veins of criticism and objection have been seriously impressed by humor and lampoon and veins of satire. The nervosusness and social objection of Sanaei's satire is reflected in his odes and other poems with flavor of lampoon and humor and even his Hadighah, which is the climax his ideas and thoughts with divine view and Gnostic themes, is not deprived from the flavor of satire, humor and lampoon and a considerable amount of Chapter 9of this book, is smeared with obscene and chastity lampoon and humor. The fact that what has been the background a paradoxical approach, is the question which is being answered in the present article.

For a long time, the challenging issue of lampoon opposition and especially the gross political lampoon with the religious and moral values has been considered by both the jurists and the poets committed to ethical and religious principles. Accordingly, it was not thought that this kind of lampoon, which is usually associated with insulting and exaggerated expressions of ugliness, would lead to the poetry of poets who consider themselves as followers of The Household. But contrary to this notion, there are many verses in Shiite political poetry that such a lampoon obviously has been used in them. This article aims to use the descriptive-analytic method and focusing on the Daliyeh ode of Seyed Heidar Helli to examine and criticize what might be permissible for the use of this kind of lampoon by the poet. In this regard, after reviewing the principle of the use of lampoon on the basis of Islamic criteria, the criticism of the lampoon in this ode and the possible justifications for it are analyzed. The result of this research suggests that, although some of the Quran's descriptive forms, along with some Arabic rhetorical forms, can be used to justify the use of this lampoon, but given the far-fetched reason for this justification to the common audiences using it is not without difficulty. For this reason, although the poet in this ode clearly used a gross political lampoon, but in other Hawliat he tried to avoid it, and instead use other methods of lampoon.

Arabic literature has long been blessed with a kind of poetry called lampoon in which the poet portrays ugly characteristics of an individual or a group. Gradually, the scope of this kind of poetry has been drawn to political literature, as in the works by the poets of the Umayyad Party, such as Akhtal and Meskin Daremi, and Ahwas, as well as Shiite poets. Some examples of this kind of poems can also be found in the poems of such poets as Komeit bin Zaid Asadi, Seyed Ismail Hemyari, and Da'bal Khazaee. This paper uses a descriptive method based on statistical data to study this kind of poetry in the satirical poems of Seyed Heidar Helli and seeks to introduce the various political lampoons used in this kind of poetry. It also tries to answer the question of why the poet is more inclined to use the "history-based lampoons" either directly or implicitly. The results of this study suggest that the political lampoons used in these satirical poem, either the direct or the indirect ones, can be divided into three categories: 1. Exaggerated lampoons, 2. lampoons laced with praise, and 3. History-based lampoons, the reason for the poet's desire to prefer the third category being its persuasive function because of its resort to historical data as well as the harmony of this type of lampoons to ethical and religious principles.

Satire shares such common ground with other types of humor like lampoon and farce that it is very unlikely to consider an exact borderline between them. Moreover, satirists do not agree with each other on this realm. Adopting such an approach, in present article, we consider the Khaghani’s works, especially his Divan, and evaluate his attitudes about Satire regarding his poems. Nonetheless, the main part of our discussion is based on Khaghani’s techniques of satirizing because he used specific methods to create satire, depending on the atmosphere and conditions he confronted to and also for the sake of the stability of his words. Since it is impossible to investigate various examples separately and minutely, it sufficed to mention just few verses.

Non-serious literature is based upon jest, lampoon, satire, humor, parody, disturber, joke, pleasantry, mockery, jeer, wit, epigram, dirty joke, teasing, caricature, mockery, and alike -- most of which are subdivisions of jest, lampoon, and satire.During Iran’s different political, social, and literary changes, non-serious literature has constantly witnessed waxes and wanes, which reflect changes in governments and people’s moods and living conditions, as well as natural and historical incidents.In fact, one of the main reasons for spread of such literature can be sought in public’s social divergence and moral diversions. In other words, as the Farsi saying goes, “What pours out of a container is but what it contains”.

Literary Restoration style, one of the most long-lasting periods of Persian literature, begins from early years of Safavid era till the Constitution. The outstanding feature wide spread in poetry of the time is vulgarity in words and concepts and inattention to ethics and morality. Such vulgarity can be found poems lampooning the rulers, mockery of women, mockery of people of the city, smut, witticism and facetiousness. This study first mentions examples of topics from poetry of Literary Restoration period and then explores the etiology of outbreak of such topics by presenting the historical, political, social, cultural and psychological background. It is argued that a return to style of poets like Anvari, Souzani, and Khaqani on the one hand, and consequences of political instabilities and social and individual collapse of ethics on the other hand found its way into the poems.

The most current meaning of Irony in Persian literature is to reproach, fault-finding, guy and criticize. Irony is one of the expressions which has been common in the life of the ancient Iranian people with lampoon, syllable, and satire, humour and … and upon which some parts of the literature works have been concentrated. The nature of irony in Persian literature lies in most cases on the contradiction between term and meaning in discourse. Hence, it can be classified almost as figurative sense. In most cases the irony written works have been associated with lampoon, humour, witticism and epigram. So it can be mentioned that irony is a kind of profound thought and providence and refers to a type of revolution and internal transmutation change. The word "epigram" has also been associated with a type of irony and wit in the history of our literature. The only difference is that jest, enjoyment and entertainment are regarded as the dominant essence of epigram but, while the speaking trend is apparently jests and quizzical and non-serious in irony, finally it is resulted in conception, discipline and policy. So, irony can be termed as the preaching literature in Persian literature

The content of Hassan’s Islamic poetries in comparison to his pre-Islamic works has altered both in terms of quality and quantity. In some of his Islamic poetries new concepts and interpretations could be seen whereas in pre-Islamic ones such thing is not encountered. Hassan also put away themes such as anacreontic verses and romantic odes and instead defended Islam, the Prophet and his disciples. In eulogy and elegy he applied his previous pattern of the pre-Islamic era and once again he repeated his formerly themes and concepts. His eulogies and elegies in Islamic period outnumber the pre-Islamic ones this in turn illustrates the poet’s reluctance towards the two literary devices in the Islamic era.

Iran and Iraq have had a common destiny according to their political, geographical and religious situations during the twentieth century. They are known as oilfield countries and the foreign and west countries have always had a covet look to them. During the past century, the intelligentsias of these societies have started to criticize the political and social situation of the country which has been caused the combination of social criticism and political issues. Great poets and literati were emerged in that era who have expressed their reforming messages with a new form regarding the mentioned issues. Mozffar Al Navab – an Iraqi poet – and Ali Akbar Dehkhoda – an Iranian poet – were two of these literati and intelligentsia.