Sultan Ibrahim Mirza (April 1540- February 1577) was the son of Bahram Mirza and the grandson of Ismail I. His father, Bahram Mirza, was the youngest son of Ismail I and along with Shah Tahmasp I, had two other brothers named Elqas Mirza and Saam Mirza (the author of Tohfe-ye Saami). Around 1562, he was appointed the governor of Mashhad and kept the position for the rest of his life. The present paper attempts to introduce his POEM (regarding the Edit of manuscripts) and have a look at his art of poetry. The only remaining work of his is a POEM is registered and being kept in the library of Kakhe Golestan under the entry number 2183 and line number 139 with its pages 337 to 340 of the first volume in the section assigned for POEMs under the name Djahi POEM (the poet's pen name). According to some scholars, his POEM included some 3000 verses (Khulasat al-Tavarikh, p 110). The POEM available now has 993 verses 859 of which are in Persian and the rest are in Turkish. It includes a prose introduction, 8 odes, 90 sonnets and 58 quatrains along with some Turkish POEMs. This POEM is collected by Sultan Ibrahim Mirza's daughter, Lady Goharshad, in 1581, five years after her father was killed by Ismail II. This selection is extracted and compiled from among all his POEMs by his daughter and her poetic taste. His POEMs are abundent with praising prominent figures in Islam and Shiite including the holy prophet, Muhammad (PBUH), Imam Hussain (PBUH) and Imam Reza (PBUH), orientating on events, caring about the beloved, mystic concepts, historical points and vainglory. His poetry is simple, fluent and effective.

Takikestan is a part of great Khorasan. Khorasan was birth place of grate men of science and literature of Iran, such as Rodaki, Naser Khosro and Roomi, and now separate from the principal, despite of all the hardship they endure the contemporary centuries, people still organize POEM, teaching classic POEM style and also lyrics, this article has attempted to examine the contemporary poetry of Takikestan and overview of development of contemporary POEM and poetry of this land considered.

The article aims to introduce the POEM “Ghazavat” (غزوات), a work by the Safavid scholar and poet Mirza Abu Taleb Fendereski. Notably, the work is an independent POEM while all the sources in the Persian literary history have identified it as Takmale-ye Bazel-e Mashhadi’s Hamle-ye Heydari (تکمله حمله حیدری). The article explains reasons depicting that it is not a complementary work ((تکمله.

In this article, with the title of "city and POEM" the author tried to present the place of city and related sciences of it in contemporary literature. The purpose of this writing is searching of some viewpoints of poets about city, structures, outputs and various revenues, because the poets like the other citizens have the right presenting of thinking and their belief about the living in the city and their settlements. Therefore, it was tried, for the basis of descriptive and analytical method, to do the composed consultation from literature and urban planning in different titles such as "city, social ecology and poets", "city, architecture and poets", "city, migration and poets" and etc. The writter is hopeful that city makers, architectures, city planners and all experts in city fields to investigate deeply in belief and thought of this group of citizens in architectural style, management and planning. The writer is also hopeful that they respect to the wishes and needs of this group of citizens whom they are the expressive language of other citizens.

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In this paper, a comparison has been made between Divine revelation and POEM. The definitions, the conceptual components and the properties of Divine revelation, and POEM have been presented and discussed. As is understood Divine revelation is essentially different with POEM. POEM can be originated from Divine inspiration, Satanic inspirations, human intuition and sensation. Further, even Divine inspiration differs from Divine revelation also. The poet's imaginations, sensations and thoughts are of essential affection on POEM. Finally POEM has been proved as something not comparable to Divine revelation. In this way, it has been made clear that there is no resemblance between Divine revelation, and POEM.  

Many critics and researchers believe that Andelos POEM is the continuation of Arabic POEM in the East. This viewpoint comes from this matter that the East was the aspiration of the people in Andelos and they searched their ideal POEM in Arabic East and considered the eastern POEM a model for the form and the contents of their POEMs.Therefore, poetical intentions in Andelos POEM are the same poetical intentions in the East, i.e. eulogy and elegy, lyric POEM and glory, lyric POEM and satire. As the contents of their POEMs were imitation of eastern concepts. Undoubtedly, the effect of atmosphere and the particular culture of Andelos was consciously or unconsciously felt in Andelos POEM.

Fire in Molana s POEM is presented in manners of Allusion, Allegory, Metaphor, symbol, Figurative language and etc.some times fire "builds" and sometimes "burns", It examines and rnelts and plags humans. We see fire, divine dimension and devilish dimension in Islamic Gnosticism. Fire reminds Molana  so many memories which could be found in his works as God‘s feeling and his manifestation, prophetss’ love, admittance difficulties, love, the fire of inner four temperaments, power of carnaldesires, the love of universe and its properties, the fire of the Hell and the fire itself and etc. Different various traces have been found in the fire as, warming, burning, making, up rising, expanding, light deffusing, chasting. Molana believes that all these features could be extremely existed in spiritual passion as well as they are more objective Fire is repeated %2.89 in ditches or verses of Shams poetical works and %1.78 in virtual verses of Molana. The synonyms of the word “fire” are used a lot by Molana but in the contents of Metaphor, Allusion and symbolism nothing could be found exactly instead of fire itself. In poetical works Masnavi, Fire is used as love of passion, power of avidity, jealousy force from literary point of view of course more than Divan. Fire can be traced as color through which the fire of wine or fire and sun or fire blood. In this present paper is presented the functions of fire in Molana s in verse works.

It seems that it’s possible to find some common rules and principles in the unitary system of the universe and then reach a holistic and comprehensive low.This article proposes that "the force of POEM" is a physical force. At first, a definition of POEM is presented and then by using the relationship between structural units of language, specially associative relations (mentioned by F.de sausure) and metaphoric pole (mentioned by R. Jackobson), the displacement of signified via the signification is explained. This displacing marks the word and turns it into metaphor. This happens by a force which can be named "The force of POEM.

For sure it is not easy to compose a POEM and a poet without having internal motivation, enthusiasm and inspiration would not be able to versify POEMs. According to modern psychology and literary criticism, the source of this inspiration and sensation is the poet's unconscious memory; nevertheless the ancients believed that other creatures from another world inspire the POEMs to the poets. The Greek called the goddesses of art, POEM and music, musae. and Arabs called these goddesses Tabe’e and old Iranian addressed them with the following names:Sorush, daena and fravhar.Since the first Persian poets who versified in Farsi language were acquainted with Arab literature and poetry and also composed in that language too, from very beginning days of ancient Persian dialect - farsi dari- a kind of belief to Tabe’e was founded in Persian poetry. ‘Am’aq Bukharayi had never explicitly mentioned anything about Tabe’e, but the trace of Tabe’e is completely perceptible in his verses and each moment is appeared in a way; sometimes it is the zephyr of the lover’s hair sometimes it is the dream of the lover and other time it is the messenger of the luck. This Tabe’e goes to the poet at night and wakes him up and the poet from the tongue of this Tabe’e starts versifying a POEM until the end. Later on this style is used by Anvari considering little changes.