MOHAMMAND TAGHI BAHAR, Malekoshoara (the poet laureate), was an erudite scholar, a great poet, a committed journalist, and a considerate politician who spent much of his life in political turmoil. Because of his familiarity with and mastery of Classical Persian literature, he was influenced by other poets like Masood Saad Salmani. BAHAR, like Salmani,' spent many days of his life in prison, under torture, and in exile. The present study is an attempt to investigate, from an aesthetic perspective, the similarities and differences between BAHAR's and Salmani's habsiats (poetic chronicles of one's life during imprisonment) in terms of prison context and problems, the conduct of prison guards, persecution, torture, depression, frustration, and the poet's chronicles.

Constitutionalism is one of the most important events in Hong history of Iran. Desire for freedom, justice and peoples mastery over their destiny and enjoying the law and parliament and living according to it, are among the reasons which Iranian welcomed this determining movement. This change took place under a great endeavor and had effects on all aspects of society including poetry and literature. The Poets too accompanied people through newspapers and public and political association and encouraged and stimulated the awakened people. malekal shoar BAHAR as distinguished politician, researcher, and poet is considered as on of the fruits of Iranian constitutionalism that used his word and pen as an effective weapon in the direction of freedom. He showed his Sensitivity to the social events and enjoyed his genius for awakening the people and the; has been effected by social and political events and as a poet, political activist, and intellectual, has emphasized the leading of the society in direction of freedom and progress. In this paper with a look to the life and works of this poet by using library method we study his effective position in constitutionalism movement of Iranians.

Custom and Razavi Poems and devoted Poets who are interested in Ahl Beyt are manifestation of increasing torch of loving messenger's relatives. Mohammad TAGHI BAHAR's poems, the well known constitutional poet abounded with emotions, the mirror of people's pains who were harassed by dominating cruel government. The poems of his Divan poems are devoted to Imam Reza's praising and BAHAR's Razavi poems are intertextual of language, reflection, figurative imaginary and emotion due to descriptive-analytical method, because after examining the elements, it is better to say the kind of his approach and his resistant thoughts of Razavi poems are visible. The conclusions show that movement of pictures, the un-continuous figurative imaginary of Razavi poems refer to the career concerning with simile, metaphor, allusion, hyperbole, metonymy. The poet's emotion changes due to time, therefore, the theme of his poems, his emotions of Razavi poems including; praising, Imam-based, criticism of present time, fighting with enemy, encouraging pathriatic feeling, defending land in front of strangers, to fear of common people of cruelty, mocking cruel, pity for cruelty.

BACKGROUND AND OBJECTIVES: Sustainability literature is a reflection of the reactions of oppressed nations and their dissatisfaction with the current situation; Therefore, the literature of stability, in spite of linguistic, temporal, cultural, religious, geographical and similar differences, pursues a single mission, and that has been the awakening of the masses of the people and their incitement against the occupiers of their land or its oppressive rulers. The subject of the present study is the analysis of stylistic components in the poems of Mirzadeh Eshghi and Mohammad TAGHI BAHAR. METHODOLOGY: The research method is descriptive-analytical; The data were collected in the form of libraries and analyzed by content analysis. FINDINGS: The poetic motifs of the constitutional era are almost common in the poetry of the poets of that era, but the approach of each of them is different from the other and indicates his own worldview. This is also true of the sustainability motif. CONCLUSION: Mirzadeh Eshghi's extensive use of the manifestations of folklore in expressing the concepts and issues of sustainability has caused folklore to play a prominent role as a stylistic feature in such poems. The reflection of folk beliefs and the use of idioms, allusions, similes and proverbs are the most important manifestations of folklore in the poems of Mirzadeh Eshghi. In contrast, BAHAR has not used much of the effects of folklore in his poems on sustainability and has expressed the concepts of sustainability more in harsh and literary language. Intellectually, love is more radical than spring. In the beginning, BAHAR's discourse, regardless of his linguistic maturity, is like a love with a cracking language, and it represents an unyielding discourse and all the protests in Ahmad Shah's period until the beginning of Reza Shah's period. But very soon after his imprisonment, this discourse changed and criticism gave way to praise of Reza Shah. In other words, stability in spring poetry gives way to submission and silence.

Malek al-Sho'arai BAHAR and Hafez Ibrahim are two literates that homeland and patriotism are so obvious in their poems. Therefore, in this research, it is tried to make a comparative study of the patriotic and national poems of these two poets about the homeland, relying on the American school of comparative literature which does not consider the condition of adaptation as just the existence of fields of influence and regret. A comparative study of the poems of these two poets shows that patriotism and love to homeland are prominent manifestations of their ideas. The patriotic approach in his poems is so wide that it has become a stylistic and decisive element in the content and linguistic level of their poetry. The most important common themes that the two poets express about homeland and patriotism are: love and affection for the homeland, nostalgia for the homeland from which they are far away, struggle against colonialism, pride in the history and background of the homeland and effort to restore authority and past honor, condemnation of the rulers who do not pay attention to the affairs of the country.

By writing several books during three decades, Mohammad TAGHI Ghiasi can be said to stand among those who have tried to make the Persian speaking community acquainted with the French New Criticism. He has thus had an undeniable role in creating the Iranians’ first reception of this movement, particularly, in the context of universities. In so doing, he has introduced himself a translator, a researcher, and even a writer although in most of his books, he is no more than a translator of works of French authors. The present study is on the belief that the quality of Ghiasi’ s work in this domain has been progressively declining. This falling trend has gone so far that he has sometimes provided his audience with an incorrect, vague, and even misleading image of some new movements in criticism. The origin of such distorted image of literary criticism can be found in his lack of loyalty in translating French texts and in introducing fundamental changes in them. The Persian speaking reader also faces texts which have little similarity with Ghiasi’ s so-called books and the introductions he has written to them.

Though under a command, a corporal body can be imprisoned, but a soul can never be turned into servitude, so was the case with M. T. BAHAR, the poet laureate, who on the offence of truth-seeking and because of the backbiting of the enviers was kept in jail for some years, but even then his tender temperament never hesitated from darting into the vast expanses of literary firmament. His confinement-songs were the outcome of his imprisonment-pre-occupations, however, the songs have been composed on the pattern as adopted by Masood Sa'ad, Khaghaani and Naser Khusroo.  The research in hand has attempted to briefly review the odes composed in prison by BAHAR with regard to their literal and content characteristics, and the pictures emerging from the conception of the night, the bird, the flower, the musical instruments, and the interests and detestation of BAHAR on this account.

In this research two kinds of critical approaches are introduced and then some examples of these two approaches are selected and discussed. The aim of this article is to consider the critical fields in Constitution period in Iran, which is counted as the turning point in passing from tradition to modernity. The first approach, in-group criticism, is criticism among the members of one group; the second approach, out-group criticism, is done among the members of two different groups. The example selected for the first approach refers to the “Association of the Faculty” and its two members Mohammad TAGHIBAHAR and Abbas Eghbal Ashtiani, who stand for Neoclassicism. The second example refers to the “Association of the Faculty” and BAHAR in particular and Tajaddod-e Tabriz Journal and TAGHI Rafat at its heads. The latter group represents revolutionary Romanticism. The method of this research is based on textual analysis. The analysis of the content of these two approaches shows that the in-group approach in Constitution period was more moderate compared to the out-group approach and sometimes personal prejudices had a role in the process of criticism. There has been difference in taste in the first approach, and in the second approach the difference is in thought and ideas. If approaches like these could have changed into movements, they could have been useful in criticism of literature and also in widening the field of criticism. These two approaches, however, had been stopped gradually. Moreover, out-group criticism is considered as the opposition of Neoclassicism and Romanticism in Iran.

Mohammad TAGHI Qiasi has been researching in different fields of French language and literature. In addition, he has provided numerous translations from French to Farsi, particularly about the translation French works. Among his translations, two books are dedicated to the translation of French poetry. Initially, the translation of forty four pieces of Paul Eluard’ s poems entitled Oh Freedom by Mohammad TAGHI Qiasi was published in 1978. Later, French Poetry in Twentieth Century was published by Nahid Publications. However, the reasons for the inclusion of some nineteenth century poems have been explained in the introduction of the book. In fact, the French poetry has been only sparsely translated into Persian language, and therefore, it has got a different course in comparison to French prose works. In this way, those who adore poetry have not got the opportunity to get familiar with the rich and influential French poetry. In the present paper, we review the book of French Poetry in the Twentieth Century. We aimed to analyze the reasons for the selection of poems, the method for the introduction of poets, and the classification of the history of French poetry to different periods, as well as the translation methods. In this review work, we aimed to demonstrate to which extent this book may aid those who adore literature, to get familiar with the French poetry