One of the biggest challenges facing researchers regarding defining and describing the collection of Persian national epics is the inexact information about the date of their composition and the name of most composers of epic poetry after Shahnameh remain unknown, unsolved problem in this domain. Only stylistic and linguistic references and certain intratextual inferences come to aid to make certain assumptions. Jahangir Nameh, an epic composition is one such work. Although its composer in final couplets introduces himself as Ghasem Madeh and states the place of its composition as Herat, yet the date of composition according to researches is still uncertain and vague. However the writer of this article assumes that the composer apart from Herat, had also referred to the time of composition in a form of chronogram and thus in this way announces the year 1077 Hijra in the final couplet. The study of linguistic, historical and literary data and evidences supports the assumption that this epic work belongs to the second half of the eleventh century.

The ninth century ranks very high in Persian Literature. Many poets and writers created a great amount of poetry and prose. As this century is an introduction to the Indian Style and the beginning of prolific abstract poetical themes, there exists a variety of forms and types of poetical expressions. Poets of this century paid special attention to different literary types some of which were rarely used in the previous ages. Elegy, panegyric, eulogy, chronogram, riddle, complaint and poems on food and drink are some of these types. Most of these new deviees were used by Shiraz poets and this paper studies literary types of Shiraz poets.

1. Introduction: Arabic literature in the Mamluk-Ottoman era saw new varieties of poetry whose letters (as the smallest linguistic unit) played an important role in their production. Some of these new forms and forms include: chronogram, verse riddles and puzzles, geometric poetry, poetry whit dotted or un dotted letters, Circumlocution (mahbuk-altarafen), tatriz poetic prose, tashjir (tree form poetry) takhmis, tashtir, autimetabde and. . . . On the other hand, despite the Holy Quran, the interaction between the two Arabic and Persian litterateurs and the influence of Arabic literature on the rhetorical techniques of the Persian language are undeniable fact. Therefore, the present study have focused on five important: chronogram, tatriz, geometric poetry, poetry whit dotted or un dotted letters, and Knitted agreed poems to study the mentioned species in Arabic literature and also it is looking for the mentioned species in Persian literature to find their differences and similarities in the two literatures, if they are common. 2. Methodology: This study was carried out using library method and based on descriptive and comparative method. Therefore, the research subjects were studied separately in both literatures and after finding similar samples in Persian language, with The Arabic samples was adapted to inference their differences and similarities. And after finding similar examples in Farsi, they were matched with Arabic ones to deduce their differences and similarities. 3. Discussion: One of the types of poetry whose letters play a key role in the production is chronogram. In this way, letters are used as numbers, each letter has special number and the poet tells the story of the occurrence by letters through the poetic verse. It uses a proper word or phrase that sums the numbers of the letters making up the date. Although a chronogram was common in Arabic literature Before the Mamluk period. but in this period it was seriously considered. This type of poetry is also popular in Persian literature, influenced by Arabic literature and has a similar function, and the date of this technique in Persian back to the fifth century but it reaches peak from the middle of the first half of the eighth century. Geometric poetry is another type in which letters have the ability to play in a certain geometric form, such as a circle, triangle, square, rectangle, and rhombus. By considering in poems that are written in geometric shapes like circles and squares in Persian verses, it can determine that the basis of such poems is on the word, not on the letter. Poetry whit dotted or un dotted letters is made with the help of punctuated and non-punctuated letter. Thus, if all of its words are punctuated, the poem is dotted poetry(Mojam) and if its words are non-punctuated, the poem is un dotted poetry(Mohmal), and if the letter is punctuated and other one is non-punctuated, a poem raqta is formed. As well as in Arabic, the Artistic practices had also been common in persian Poetry industry is the epitome of poetry. The word "tatriz" means to decorate and to paint dress by colored thread in the poetic term is a kind of poem that poet arranged the early letters of the verses to form a definite name. The technique that the Persian poet uses to create a poem such as the poetic Arabic poetry is called the technique of soliloquy. In such a way that the author or poet in his writing or reading poem, inserts such a letters or words an independent word or term (whether prose or poem) is created by separating them from writing or poem. Circumlocution (mahbuk-altarafen) is a term in which all verses or a piece of poem start and finish with same letter, or each verse starts with one of the mojam letters. But studies of Persian rhetorical books indicate that this kind of poetry is not applicable in this literature. Perhaps the most important reason is its limitation in domain of vocabulary, as seen – according in the Arabic example-this type of poetry requires a huge number of vocabularies to be selected desired words by the poet as he wants. As Mohammed bin Omar al-Raduviani by studying on lipogram have pointed out this problem and he said " it is accepted in 'Arabic' more than in Persian, because in Persian letters are scant, and also words and terms. " (Al Radaviani, 1362: 108). Letters as the smallest linguistic unit, are effective in producing poetic species, including the use of chronogram, geometrical poetry, tashtir and… . Some of them which have been effected by Arabic are also popular in Persian such as the geometrical poetry, and geometric poetry. However, there are differences in geometric poetry in the two literatures. That means, the basis of such a poem in arabic literature are letter and is very diverse but in Persian it is the word that forms the basis of such a poem. And it has just appearance on round and square form. Some of poetic species have found differently usage in this language as we saw in the acrostic. And Some of them are used only in Arabic due to derivative characteristics and the ability to construct multiple words from a single root, (such as Shakib, 2005: 162-149).

In issue 53 of Kavush Scientific Quarterly, there was an article under the title "Introduction of the text of Madayeh Hosseiniyeh and examination of its prominent stylistic characteristics". This article has evaluated TazkiratBaghi in two historical and literary parts. TazkiratBaghiis about the life, praises and construction measures of Mohammad Hossein Khan Sadr Isfahani (1239-1174 AH), who was the chancellor of Iran in the last few years of his life during the reign of Fath Ali Shah.The present study is a critique of this article, which, along with its structural introduction, identifies its shortcomings and problems. It examines the article in terms of structure and content. It reveals its problems such as the name of the tazkirat and the author, date of birth, occupation, the time of Isfahan's rule, the balance of history and literature, the background of the research and other issues. TazkiratBaghi is the most important document of architectural and urban planning measures in the city of Isfahan and some other parts of Iran and Iraq during the Qajar period.It is also a source rich in chronogram, which is one of the missing items in the article.

Asadi’s Shahnameh is a great epic consisting of twenty-four thousand distiches and is attributed to Asadi or another poet of the same nickname. This work was created in the same line of development as Ferdowsi’s Shahnameh. The main theme is the old campaign of Soleyman to Iran to confront with Rostam and Keykhosrow and to repeat the pattern of Rostam’s battles with his children in a state of anonymity. The text structure is episodic with numerous central characters. The narratives are for the most part derived from oral literature. Textual evidence demonstrates that the poet is Shiite. The narrative content, chronogram as well as the literary and linguistic style of one of the manuscripts reveal that the text was written in the ninth century (probably 809 A.H.). The article first introduces the text and the origin of its narratives in oral literature; it then proceeds with the study of the narrative structure of the epic using three available manuscripts dating back to the thirteenth and fourteenth centuries (A.H.). Textology and Textual Criticism have been employed as the research methodology. The literary and linguistic features of the text have also been examined at three levels: lexical, syntactic and rhetorical.

Halimi Shirvani is an anonymous poet in the early tenth century. There is no exact information about his life except a little information obtained from various biographies especially his poetry. Due to the various and little information, biographers have made some mistakes about Halimi who has written about culture and the owner of Bahr al-gharayeb. It is clear that he was one of the Indian-style poets who was born in Shirvan in the early tenth century, traveled to Gilan and Qazvin, and then migrated to Levant in the middle of his life. Halimi's poetical works include more than 6550 verses, which have not yet been reviewed and corrected, and its only copy is kept in the Lala Ismail Library in Turkey. These poetical works include qasida, ode (ghazal), quatrain (ruba’ i), fragment (qit’ a) as well as six epistles and three poems. His poetical works show that Halimi had been able to compose artifact poem, odes without dot, mystery and chronogram. He is an iconoclastic and a norm deviation poet; as he has repeatedly called himself "the inventor" of a kind of ode or a special manner. The present article introduces this anonymous and prolific poet as well as reviews his cognitive style features and poetic themes.

Introduction: When Amir Omar Khan was ruling (1225-1238 AH/1810-1822 AD), Khoqand experienced one of the most productive historical period in the 19th century. During the ruling of this poet Amir and his poet wife Nadereh (1792-1842AD), all the literary and cultural aspects not only in Bukhara and Samarqand, but also in Khoqand improved, and a large number of poets from different areas of Transoxiana and the neighboring regions moved to the new cultural capital. These changes could be traced in Fazli Namangani's Majmouat al-Sho'ara, the poet of the Khoqand's court. Research method, background and Purpose: The main problem of this research is to investigate the role of Fazli Namagani and his biography in the anthology of Persian poetry in Khoqand and the neighboring regions. The assumption is that he was one of the court's poets in the 13th century AH/19th century AD, who could revive the declining Persian poetry after the poet Amir and the ministers supported him to write the first bilingual biography in poetry. Despite all the problems, Majmouat al-Sho'ara is a unique source in the Persian-Turkish/ Uzbak anthology which illustrates the literary environment in Khoqand in late 18th and early 19th centuries, and gives suggestions for later biographers in Transoxiana. This study uses a descriptive-analytical method for introducing Fazli Namangani and his biography. It, then, categorizes the critical views of the biographer into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic. Discussion: Abdolkarim Fazli Namangani (Death after 1822 AD), known as Fazli, is a poet, historian, and bilingual biographer of Namangan. After his education in his hometown, he traveled to Khoqand, the capital of Farghaneh Khans, and became an affiliate of Omar Khan, the art lover and bilingual poet of Farghaneh. After a while, he became the great poet of the court. However, when his supporter died, he came back to Namangan and passed away there in 1822 AD. There is no clear evidence of his dates of birth and death. In addition to some references in the anthologies and collection of poems, there is a Persian-Turkish/ Uzbek Divan attributed to him in some Uzbek, Tajik, and Persian resources. The most important work of Fazli, the biography of Majmouat al-Sho'ara in poetry, provides a short poetic review and 93 sample poems of the court poet, Amir Omar Khan Khoqandi, through a series of verses. Majmouat al-Sho'ara is a biography in poetry, written in Persian and Turkish/ Uzbek by Fazli after Amir Omar Khan asked for it. This biography is the first biography in poetry in which the names and sample poems of different scientists and poets of the Khoqand's literary environment are mentioned. It also gives reliable information regarding some related regions such as Afghanistan, Bukhara, and Khawrazm in the first half of the 13th century AH. Fazli's biography could be divided into two sections based on the content, selection, and gradation of the poets and the sample poems: Introduction: , and the main text including Bahr-e Tavil, ode, sonnet, fivefold, chronogram, among others. The language of Fazli in Majmouat al-Sho'ara is Farsi (as the poet claims), despite the fact that there are Transoxianaic accent permeating the phonological, lexical, and syntactical levels. In comparison with the other Farsi biographies in the region, Fazli's biography has a less critical feature because of its affiliation with the court and absolute imitation, condensed materials, and poetry genre. Conclusion: Fazli Namangani wrote the first bilingual, Farsi and Turkish/ Uzbek, biography in poetry in Transoxiana in the third decade of the 13th century due to Amir Omar Khan's order. There are short poetry reviews on the life and sample poems of 93 poets in the literary environment of Khoqand and the neighboring regions. The biography should be considered the only research work regarding the literary changes of the region in that time. Fazli's critical perspectives in the biography gives an opportunity to the traditional literary criticism researchers to categorize his evaluations into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic. This can shed light on the character of the great poet. Although the biography is written according to the Amir's mentality, many aspects could be found regarding the poetry anthology and Persian language in the region. This can help us sketch out the literary changes of Persian literature in the region.