BACKGROUND AND OBJECTIVES: The present study has been conducted on the place of mysticism in the literature of sacred defense poetry. The main purpose of this study is to answer the question of whether mystical terms and teachings have been used in the literature of the sacred defense system or not; If so, how did poets use mystical terms? METHODOLOGY: This research is of theoretical type, relying on qualitative content analysis. The research method is a library method based on the study of books and articles related to the subject, which has carefully extracted and evaluated the required data from sources using the method of taking notes. FINDINGS: Among the studied poems, those that had a mystical approach were extracted, and based on this, it was determined that the poets of the Holy Defense often used mystical teachings and terms in their poetry, and it was also determined that the poets were mystics. Practically and theoretically, they have also taken different positions in dealing with mysticism. CONCLUSION: What is the result of this research is the certainty of the connection between mysticism and its concepts with the literature of sacred defense (poetry) and also the fact that the diversity of views and diversity of usage in relation to mysticism, combined with intensity and weakness, in the poems of observation poets Has been.

Poetic location (place) is of the main elements in the poetic design of Mozaffar Navvab, the contemporary Iraqi poet. He spent most of his life in exile away from home in countries such as Syria, Egypt, Lebanon, Sudan, Algeria, Greece and France as he was struggling against dictatorship by poems and defending the oppressed. Therefore, his poems are enriched with places and implications of the locations. The research intends to analyze the role of dimensions and places in Mozaffar Navvab poems. This descriptive-analytical study concludes that the locations in Mozaffar Navvab poems are not limited to Iraq; rather, they embrace Arabic, western and Iranian areas. He passed beyond geometrical and geographical dimensions of the location in his poems and assigned them new roles and connotations of political, religious, social, mental, historical, national, natural and aesthetics. Once he complains about deportation and homesickness, a psychological role is assigned to the place; and the national role of the place is manifested through expressing passion, love and dream of returning to home. Negative and positive social characteristics, accent, and scientific groups give the social role to the location. Political prisoning, the issue of oil and Arab politicians, as well as Palestine make the political role of location appears. Calling for historical and religious locations and characters leads to the religious and political character for the location. The aesthetics role of the location is manifested through nature; further, the symbolic and mythical role of the location is appeared in places like dessert, mountains, and tomb.

Poetic story is a kind of art firmly connected to poetry and story and is a sign of restoration in Arabic poetry; furthermore, it is an artistic field for presenting poets’ ability in putting poetry and tale together. This genre has included many current poetic works. Abu-Mazi as a poet with sublime human tendencies and like many other Mahjar (migration) poets has poetic stories with humanistic motifs, but the span of his art is wider, so it contains many themes like history, legend, teaching and preaching, society, sentiment, conscience, fatherland and nation. Since he is a social poet, in his poetic stories he finally gets to human and his noble life. Among themes of preaching he goes through human borders and sings the anthem of sublime life. We can see vividly the honesty of his soul which tries to transfer a collection of social thoughts to the audience, some of which are his personal experience but some are not. These thoughts have dominated his work and are inserted into social subjects. Teaching as well as preaching is another theme with which the poet is discovering an instrument to bring him near the love of all creatures. Meanwhile, he is not inattentive toward themes regarding nation and fatherland and narrates some tales which are impressed with homelessness and separation from Lebanon. Explicitly he ends most of his themes with stories and wise sayings which are concerned with human and his society and teach human patience, cooperation, correlation, and help and encourage him to continue his life.

There are at least two viewpoints upon the poetry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the poet existence, 2- inspiration is a power originated from the poet unconscious self. Theorisians and poets have spoken a lot on these two theories to accept for and against them. As the human being mind structures are not the same, naturally their treatments toward and conceptions about the same experience, be it objective or abstract, will be different. In other words, each poet, in special situation, understands the message more or less ambiguous. He does not know the origin of it. These new and to some extend ambiguous messages are mixed with the poets presuppositions in such a way that separation of “God given inspirations” or “mind made ones” is generally impossible. In this article tries to study this mind complex procedure which was generally subject of a lot of poets and art theorists’ discussion.

Due to their various applications in Iranians’ life, Musk and Nafeh (aroma) have been marvelously reflected in Persian literature. For instance, those poets who paid more attention to their surroundings, applied musk and Nafeh like many other items in their verses in order to illustrate their own imagines as well as creating fantastic images so for this reason they found unreal similarities among some of main features of musk and Nafeh and some of human characteristics and attributed a few poetic features to them. Such type of employing musk in poetic and literary applications varies in different eras and with respect to poets’ style. In addition to explanation of these cases in this study, we have dealt with description and depiction of musk and Nafeh shapes and some of their applications which are also effective in making such poetic uses.

A survey of stylistics of literary works as a means of discovering relationships between text construction elements would be effective when the relationships between the work and artistic mentality of the poet on one hand and sociocultural situation of the time in which the work has been created come under close scrutiny. Late 9th century and early 10th century (AH) is considered in the history of Iran as an era which enwombed with great revolutionary changes as far as socio-political issues are concerned. The monarchy of Safavids Dynasty and accepting Shiism as the official religion in the country provided the poets with such a pleasing cultural condition which they did not have before. Babafaghani Shirazi, a well-known poet lived in the second half of the 9th and early decades of 10th century. His lifetime coincided with the time of fall of Iraqi Style of poetry and flourishing era of a new style which is now called the "Indian Style". Faghani Shirazi is among the few poets that most critics and other poets have had a biased judgment against him. Few critics can ever be found who have not opened up a hostile language to reprimand or admire Faghani in their critical discussions or comments. Simply put, there is no medium point in judging about Faghani. Poets and writers either have praised or humiliated him and his poems. These kinds of attitudes towards Faghani have made us consider him as an influential figure. His exaggerative adherence to Hafiz and his attempts to devise a new style in sonnet made the present writer to examine his stylistics in his Diwan (collection of poems) and report it in this piece of writing.

Poetic measures are among the most beautiful literary figures of modern poetry. “Poetic Measures” has been first introduced by the author under the serial number of 197 in the college of literature of Tabriz University in winter 2006.This article is to study scientific identification, investigation and analysis of poetic scales in modern poetry. Having studied the works of the selected modern poets and gathering and investigating the typical examples, we come to the conclusion that modern poets have also used this literary figure, and innovation in the structure and content of this figure is more conspicuous in our times. The usage of this figure in the works of Simin Behbahani, Hamid Sabzevari, Mehdi Akhavan Sales, and Shahriar has been more than the other selected poets.

Poetic Scale' is a figure of speech which has still remained unknown and few have tried to deal with it.This figure of speech has attracted the attention of grammarians who have referred to it as 'Numerical Complement', 'Modifier', 'Compound Numerical Attribute', 'Verifier', 'General Numerical Conjunction', and so on.This study attempts to study the 'Poetic Scales' which were used by the Poets in Khorasani and Hindi from 5AH to 12AH.The figure has been frequently used by Saeb Tabrizi and Bidel Heravi who represent Isfahani and Indian poetry from 11AH to 12AH.

Muhammad Al-MaQut is considered as one of the most important pioneers of blank verse in Arab world. His literary works include different forms such as novel, drama, blank verse, movie script and diary.Simplicity, pragmatism and sadness are characteristics of his works. This article attempts to study the language used by Al-MaQut in “Badvi Al-Ahmar”. The simplicity of the terminology applied by Al-MaQut and avoiding difficult vocabulary is a characteristic of his poetry. Repetition of the pronoun “I” is another characteristic of his poetic language. Also is using vocative cases and interrogative forms.