One of the issues raised in the Psychological Review is "nostalgia", sadness due to homesickness. The term means: feeling of homesickness and regret over the past and the things which are lost now and is usually associated with regret, sadness, and pain. This is manifested in most poems of the Persian lyric poets with a certain reflection in the contemporary poetry due to reasons such as political and social circumstances and life changes. This research is centered on nostalgia in the poetry of Mohammad Reza Shafiee Kadkani, and in the present paper we cover the definition and etymology of the word nostalgia, and its divisions and components. Then, related topics such as memory, nostalgia, utopia, archaism, myth, and the Romanticism School along with the comments made by researchers in this field are reviewed. In a general classification, in the poetry of Shafiee Kadkani nostalgia is divided into two groups: 1-past-oriented personal nostalgia 2- past-oriented mass nostalgia. In either of these categories, a number of factors including distance from home, being away from the beloved, returning to Childhood and youth as well as to the history and myth have been covered.

Shafiee Kadkani the Iranian poet and writer discusses the Persian poetry’s periods in the last century. He divides these periods in to seven sections and begins with the poetry’s perspective before the Mashrooteh (parliamentary) revolution and then after reviewing the 1953 coup, finishes the discussion with the Islamic revolution.In his instructive method he uses a combination of the literary history and criticism along with offering some samples from various epoch's poetry and at the final stage the author provides a chart of the Persian poetry in the recent 100 years.He speaks of the poetry leaders at each era plus the political, economical, social and other relevant backgrounds as well as their impacts on the currents and trends which have affected the present Persian poetry.

Structuralists believe that The basis of poem is structure and structure Considered to be a set of interrelated elements Constituting a total. One of the major structures of literary language Has long been And prosperity in the new literary criticism in the literature about the West has been considered, is phonetic structure. In other words, The new structural studies, Superstructure is of more importance. In this study to investigate the superstructure (phonetic structure) and the exact classification of all methods of forming the structure of the poem deals with Mohammad Reza Shafiee Kadkani and Mentioned to Literary industry that have a role in shaping the phonetic structure. Shafiee is one of contemporary poets that has Classical and nimaee form of poems. the colection Hezare dovom ahooye koohi is indicated that he use the Multiple language capabilities could be strengthened The musical aspect of poetry. The phonetic construction of three levels: phonetic balance, Lexical balance and syntax balance is very interesting in Shafiee poetry. application in various industries such as types of repeat procedures, Rhyme, Pun and using the elements of music (Outer, inner, aside ...) has added a beautiful of phonetic structure Shafiee Kadkani’s poem. He looks at the special features of different components forming the word –Phoneme to sentence- has outstanding aesthetic and artistic beauty of the poetry.

Allusion is one of the oldest and most used rhetorical figures that enriches the semantic and linguistic beauty of poetry. However, in contemporary literature and poetry, the growth of literary knowledge and the development of literary criticism studies has led to variety and complexity of the use of this literary figure in poetry whose examination and analysis of structural delicacies and their mechanisms require more accurate studies with new approaches. Therefore, the present study seeks to investigate structure of Qur’ anic-narrative allusions in poems collection of Shafiee Kadkani in a new approach through descriptive-analytical methods in order to find out based on which form techniques, Shafiee Kadkani has used Qur’ an narrations in his poetic allusions and therefore, what types of allusion can be seen in his poems? According to the results, Shafiee Kadkani is a poet who in his narrative-Qur’ nic allusions has used different parts of famous and well-known Qurchr('39')anic stories innovatively with varied and complicated structural and artistic transgressions which has created different kinds of simile, structural, ironic, multi aspects, combinational, echoic, and Proper naming allusion in his poems.

Semiology one of the findings of recent literary semiotics, which along with other literary theories such as formalism, structuralism, post-structuralism and developed and influenced philosophy and linguistics. Semiotics of literature is one of the characteristics of semiotics to analyze literature, especially poetry. In this study literary signs, special signs lightness, love signs, symptoms and signs of cultural, social, spiritual and moral Shafiee Kadkani, Ebtehaj and Monzavi examined and compared with each other. This study seeks to answer the following questions: 1. The frequency of literary signs in his poems like? 2. The frequency of symptoms romantic, cultural, social, spiritual and moral symptoms in poems like?

Music is considered as one of the primary elements of poetry both in Arabic and Persian literature, and it has been the focus of many critics due to certain language bonds. History of music signifies the responsiveness of Persian poetry to that of Arabic in its musical principles. With the advancement of music along with other sciences, it has encountered different revolutionary changes and viewpoints in both languages. In this respect, some critics explain the past principles while others, especially in the contemporary era, resist the traditional rules of music in poetry and invented new ones. Mohammad Reza Shafiee and Kamal Abodeib are two notable contemporary critics with similar and independent literary works such as imagery and especially music. A comparative study of the two critics' approach, their innovation in the field of music, and their interactions with traditional and western theories in "Music of Poetry" and "Metrics in Arabic Poetry" are the aim of this paper. The major difference in the approach of the two critics is their dealing with the issue of music and innovation and Abodeib's innovation in opening various angles in metrics are the results of the present paper.

literary text has a unique capability. the reason for this is the presence of some of the characters in the text. the present article attempts to analyze the two literary industry of symbols and paradox in Shafiee Kadkani ''s poetry that they have meaning in permanent deterministic and semantic suspension and also as two literary industries that create a deep gap and gap between ordinary language and rhetorical language. the main question of this research is: how much does the symbol and the paradox contribute to the creation of different semantic layers in our poetry and the contribution of each of these two arrays to create gap and gap between the common and rhetorical poles of language and create a sense of the meaning of the text? the findings and evidence in the text indicate that the symbol element has more important position compared to paradox in fluency and uncertainty, negation and suspension of meaning in Shafiee poems and paradox also has novelty, beauty and usefulness in comparison with less frequency symbols. accordingly, Shafiee Kadkani gets a literary and deep gap between the normal language and the idea of text - that the result of which is the breaking of the normal structure of language and the passion of emotion. the research method is descriptive and analytical. Introduction Literary text has the ability to be multi-layered and interpretable. That''s because of the presence of some images in the text. One of the main elements of poetry that every poem should have without any doubt is imagination, which has also been considered as "part of the essence of poetry and the assessor differentia of poetry" (Shafiee, 2001,p. 94).Of these imaginary elements, groups such as symbol and paradox do not have a single meaning and groups such as sensory descriptions and sensory similes produce a single meaning. In other words, some elements of imagination engage in the deconstruction of text and are deconstructive. Accordingly, deconstruction theory has an important place in literary criticism. Basically, images, depending on their inherent frankness or ambiguity, create a gap between ordinary language and rhetorical language, in which symbolism and paradox are more prominent and produce the most space between text and idea.These two rhetorical images and figures of speech cause a double multilayerity of meanings in the rhetorical system in that they do not accept the fixed and permanent meaning. That''s why any text with these two virtual elements brings a suspension of meaning, multilayerity and interpretability with itself. Accordingly, Shafi''i Kadkani, based on his true understanding of the power of symbol in dynamism and transtemporality, creates a deep literary gap between ordinary language and the idea of ​​the text, which results in breaking the normal structure of language and the passion for emotion in meaning. This article tries to analyze two figures of speech of symbolism and paradox in Shafi''i poetry in terms of their role in permanent, definite suspension and the multilayerity of meaning and also as two figures of speech that create a deep gap between ordinary language and rhetorical language. The main question of this research is: To what extent symbolism and paradox play a role in creating different semantic layers in Shafi''i poetry? And what is the contribution of each of these two figures of speech in creating a gap between the two ordinary and rhetorical poles of language and creating a multi-layered meaning of the text? Findings and evidence in the text show that the symbolic element has a more important place in Shafi''i poems than the paradox in fluidity and uncertainty, concealment and suspension of meaning. And paradoxically, despite the novelty, beauty, and its dramatic usage, it has less frequency than the symbol. Research Methodology This research has been done by descriptive and analytical method and by presenting evidences and figures and drawing diagrams and tables and the theoretical sources of research are based on Shafi''i Kadkani poetry books.Content analysis is a method that can be applied to various types of messages contained in literary works, articles, official documents, etc (Daniel, Rife and Lacy Stephen, 2009, p. 23) or any technique by which the specific characteristics of the message are methodically and accurately identified for scientific inference. Accuracy and objectivity ensure that the analysis is based on specific rules to enable scholars to achieve the same results from research (Taleghani, 1390, p. 95-96). Discussion Rhetorical metaphors such as symbolism and paradox have a profound effect on the emphasis of the text. These two figures of speech, on the one hand, create a halt in the immediate acceptance of the text, and on the other hand, do not accept a single meaning and induce ambiguity and interpretability. These two figures of speech, by disrupting the logic and habit of language and the displacement of meanings and signs, disrupt the normal and semantic system of language and make the concept multi-faceted and multi-layered for the audience. The text itself, with the help of these two rhetorical figures of speech, directs the mind and its structure beyond these meanings and signs and makes it difficult to understand the text instantly and momentarily. This initial ambiguity, which is the result of a deep gap between ordinary language and rhetorical language, provides a basis for thinking so that the reader can go through the initial reading and after reflection and pause in later readings, through the interpretation and ambiguous structure of the text, receive and realize the text, according to his understanding and power of criticism and textualism. Poets, depending on the type of symbolism - innovative, imitative and organic - and the degree of its presence and frequency, paradoxicality, their consensus and accompaniment with emotion, give extra-temporal and transhistorical meaning to their poetry, which plays an important role in fascination and effectiveness of the text. Shafi''i poetry has this approach due to the high presence of symbols, which are generally innovative and new and that his poetry is simple, but participates in several concepts and readings, is due to the presence of these various symbols that deepen the gap between ordinary language and virtual language, and using this feature to create interpretability and multilayerity in the idea of the text. The use of symbolic images in Shafi''i Kadkani''s poetry and thought is a way to express and raise issues and themes that he has not been able to express directly and explicitly, and is a way of entering into issues and expressing the pains that society and the authoritarian atmosphere have not allowed to approach. This approach, which can be clearly seen in all the poet''s books and the world of Shafi''i poetry and thought is full of it, is a burden that the poet, in addition to the literary and artistic richness of his poetry, uses to design religious, mythological, historical, national and ethnic ideas. And Iranians and Muslims have benefited and put them in the service of the language of poetry. It can be said that the symbol has added to the artistic and intellectual richness of Shafi''i poems and has given them a special dynamism and movement. The symbolism in his poetry is not only an artistic and literary technique, but also a necessity that gives the poem unique features such as semantic expansion, interpretability and emotional consensus. These symbols create the feeling of pleasure and the floating of meaning in the reader, and the audience finds a different depth in the text while reading these images. Regarding the presence and quality of the paradox in Shafiee Kadkani''s poem, it can also be said that although Shafi''i paradoxes are beautiful, vivid and innovative, M. Sereshkk''s mind did not take the desired action in carrying out these imaginary forms or at least in terms of quantity, it does not have a high frequency, and if all Shafi''i Kadkani''s poetry books are viewed and examined from this particular perspective, it becomes clear that this figure of speech does not have high power, dynamism and multilayerity in comparison with symbolism and types. Conclusion Symbolism , which is an important and basic element of imaginary forms in Shafi''i Kadkani poems, has had the highest action and consensus with the poet''s emotions and ideas. The artistic presence of this image in Shafi''i Kadkani''s rhetorical apparatus, with the most frequent use, which is the result of Shafi''i''s view of innovative forms of imagination, has not only distorted the logic of ordinary language to make polysemy and multilayerity in his poetry but has provided the greatest experience of textual freedom for interpretability. It can be clearly said that this image has the highest harmony with Shafi''i emotions and the culmination of all the artistic and rhetorical tricks of Shafi''i poetry that has produced scenes, images and emotions that are harmonious and lasting. On the other hand, the presence of a special type of symbolism called the symbolic symbol has given a special characterization and prominence to Shafi''i poems. This particular type of symbol is not only aligned with the emotion of Shafi''i poetry, but is also woven into it, creating spectacular, astonishing and inseparable images in his poetry. Images in which an object (word) is placed as the center of the rhetorical and ordinary center of poetry are intertwined until the end of the poem, and this has led to the creation of pure literature that avoids accepting the final meaning. This image, with its multi-layered meaning and lack of emotional one-dimensionality, has made the poet''s poems historical and transtemporal. Shafi''i symbols are important depending on the gap they create between ordinary language and virtual language, and they interfere with the interpretability of the text. Analyzing the rhetorical element of paradox in Shafi''i Kadkani''s poems, it can be concluded that although he does not use this figure of speech much in drawing and depicting his emotions and thoughts, the examples used in his poetry are all in rhetorical freshness and semantic depth and is a strong evidence to his ability to apply paradoxes. In other words, the paradoxes of Shafi''i poetry are beautiful, lively and innovative, although the presence and the appearance of this figure of speech in comparison with the symbolism is less and has less dynamics and multilayerity features. It can be said that the lack of presence of paradox -compared to the symbol - in Shafi''i Kadkani''s poetry is due to his attention to the image of the symbol and its beauties and functions. An image that the poet, by using it intelligently and artistically, takes a good step towards identifying the multilayered nature of his text and provides the reader with the pleasure of interpreting and discovering the concept. References 1- Assyrian, 2002. 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Liberation and freedom are of the themes of this century lyrical poetry which deserve more attention regarding their social background. Social poetry which was started and nourished with constitution (Mashrotiat) penetrated the spirit and mind of people so that it has been used as a suitable means for the requisites of society.The role and effect of poets in struggle and conflict with absolutism and despotisms and stimulation and awareness of society cannot be ignored. Mohamad Reza Shafiee Kadkani is one of the most influential poets who poured his ideas–Absolutism, Despotism, liberality–into poetry so that a big amount of his works has been dedicated to such kind of poetry. In this essay the share of Shafiee Kadkani's poem in alertness and vigilance of society and Islamic revolution will be discussed. It is obvious that there is a mutual relationship between oblique and ambiguous language with motifs like liberty and freedom in the totalitarian society. 

Pondering on any poem makes us familiar with the poet' s mentality. Language structure, musical pattern, and other elements involved in the production of poetry make us close to the internal state of the poet's mind. In other words, internal state of the poet's mind affects the poem's superstructure. This paper analyzes the concept of ' motion' in the poem s of Mohammad Reza Shafiee Kadkani, (M. Sereshk). Shafee is one of the contemporary poets whose poems are prominently dynamic in nature. This fact is especially manifest in his two collections "Az Zaban e Barg", and "Kooche Baghhaye Neyshaboor, revealing his revolutionary ideologies during the time he was writing them. This study tries to show the motif of ' motion' in Shafiee's two collections from the perspective of language structure, musical patterns, and imageries. The results of the stud y reveal that all of the elements have been strongly under the influence of the concept of motion. The language is rich in the usage of action verbs and adjectives extended by the poet's use of natural symbols. On the other hand, the music of the poems is very rich so that all four types of music (inner, outer, spiritual and nearby) can be found extensively. The poet also uses various literary techniques such as personification, and extended metaphor through which he has added to the poems' mobility and dynamic nature. Shafiee 's poems are poems of hope, freedom, and movement. Such dynamism reflects the poet's restless spirit effectively manifest in his two collections, "Az Zaban e Barg", and "Dar Kooche Baghhaye Neshaboor".

"Repeat" plays an important role in the aesthetics of contemporary poetry and this rhetoric technic has been made a non-breakable link between contemporary poetry with music and thought. The purpose of this paper is to examine the repetition and its functions in explaining and teaching moral poetic thoughts of Shafi' i Kadkani on his collection of “Shabkhani” and “In Alley-gardens of Neishabur”, and also how much the element of repetition and its functions help didactic subjects to be induced in the word of Shafiee Kadkani. Repetition in these poems has occurred in four areas: consonants and vowels, syllables, words, sentences and phrases, and this factor in creating ethical implications has had a great role; concepts such as: Calling to fight with oppression, patriotism, expressing exclusion and oppression, attention to the culture of martyr and martyrdom, empowering the spirit of hope in the hearts of the audience and rebellion against oppression and tyranny. Shafiee Kadkani in a best way has benefited from the repetition element to convey and teach moral, national and religious beliefs and social issues.