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.

Akhavan's life and poems can be studied in three stages: The first stage (the pre-coup period); the middle stage (from the Coup to 1965); and the last stage (from 1966 to his death). Arghanun as well as some of his pre-coup poems, all in quatrain and classical style, are materials for the study of the first stage. The middle stage, Akhavan's most creative period, produces Winter, The Ending of the Shāhnāmeh, and From This Avesta. In this period, Akhavan is the greatest Iranian poet in writing social epic poems in symbolic style. Winter, The Ending of the Shāhnāmeh, The Tale of Sangestān City, and some other poems, written under the impact of 1953 Coup, are the outcomes of this period. The last stage, during which Akhavan writes In Autumn' Small Yard in Prison, Life Dictates: Still We Must Live, Hell but Freezing, and other poems, is the poet's decline period. At the end of this stage, by writing O You Ancient Land, I Love you, once again, the poet comes back to his early classical style.