Purpose: The present research aimed at finding an answer to the question of the process of influence of cyberspace on Iranian Poetry in the future, and the influence of cyberspace on various aspects of poetry such as content, its audience, the poet, the media that published the poem, the process of composing the poem, the rights of the author, and Globalization of the Iranian poetry. Method: The Delphi technique was used to carry out this research. A group of experts comprising professors in the fields of Communication and Literature was selected. The expert’s opinions were collected and analyzed through an in-depth interview, a questionnaire based on the Likert scale, and by the execution of three stages of Delphi rounds. Findings: Accordingly, considering the content, the experts predicted that due to the impact of cyberspace, the quality of the poetry will be reduced and consequently, the language of poetry will become simpler and close to prose and it will only reflect the daily events of life. Regarding the audience, they concluded that the audience’s selection power will be increased, however, we can differentiate between the public and professional audience. With respect to the sender, there will be no phenomenon of multi authors, and regarding the channel, the experts agreed upon Media Convergence besides, the poets’ agency in publishing their own poems will be increased. Conclusion: Experts believe that the spread of communication technologies will make censorship ineffective. This is the only case in which the group believes in the impact of technology on the future of poetry. The group of experts did not reach a consensus regarding the impact of technology on the phenomena such as publication of author’s poems as one’s original work and the Globalization of Iranian poetry, thus, analyzed these items in the framework of the human agency.

A prelude to couplet composing- Baba Taher Oryan (the naked), and characteristics of his poetry Fahlaviat or ancient folklores which implied fervor, dance and joy in the language of local minstrels and musicians of the ancient times. and have been mentioned in the lyrics of Hafez of Shiraz as "Golbang-e Pahlavi", has an evident manifestation in the development of the Persian Poetry. Some people believe that Baba Taher was a tatters-clothed and bare-footed man, and that's why he was called "the naked". "Baba" has been defined by dictionaries as leader and patriarch of Calendars at that time. Another group has also attributed his nakedness to his ingenuous language and innocent purport of his poetry. Baba Taher has couplets which are a model of the most immaculate sophistical thoughts and the most joyful love songs which are among the most famous poetry of the Persian language.

Débat is one of the genres in Persian poetry. The poet employs this literary form to develop and express lyrical and didactic concepts (e.g. wisdom literature) and, at times, social themes. In spite of the fact that most of the modern poets ignore or do not pay enough attention to this literary form, Shafiei Kadkani, a current university poet and researcher, makes much of its potential in some of his poetry. In this research, while discussing the differences between classical and new forms of the genre, we particularly try to elaborate on the ingenious variations of the form in Shafiei Kadkani’s poetry. Results of this research show that the poet inspires a fresh soul into the corpse of the genre by introducing new insights and using some original techniques both in form and content.

Despite the importance of the masnavi as a poetic form in Persian literature, many authors of tazkeres (compendiums of poets’ biographies) have not paid adequate attention to this form. They have been parsimonious in mentioning masnavi poems in their tazkeres. Notwithstanding the fame of some poets in composing masnavi, other forms of their lyrics are mentioned in tazkeres. This article examines masnavi form in Persian tazkeres and the reasons for the negligence mentioned above. To this purpose, the existence and development of the masnavi form are studied in twenty Persian tazkeres. The main reasons for excluding masnavi poems are their length, the unwillingness of the authors to summarize verses for its difficulty, the limits in the size of the tazkeres, the dominance of other forms, and the unavailability of the poems. In the early tazkeres (Lobab ol-albab and Tazkerat al-shoʻara), there is no reference to the lyrics, or if they are, the verses are not cited. From late 9th AH/ 15th century, restricting poems to their significant verses and the increase in poems led to noting one or some limited verses in tazkeres, and during the following centuries, the number of masnavi poems increased. The compilers of exclusive tazkeres and some later public tazkeres, such as Majmaʻ ol-Fosaha, included masnavi poems without any restrictions. Despite some verses mentioned in sources such as dictionaries, ignoring the masnavi form has caused ambiguities about the works and the correctness of their attribution, their topics, and the time they disappeared. Therefore, the two categories of sources (tazkeres and secondary sources such as dictionaries) are non-complementary.

The literary works of imprisonment is dealt with composing poems in prison and describing bitter complaints as well as literary combat with the cruelty of the rulers. This is counted as one of the rare types of lyric literature both in Persian and Arab literature. Over time, this literary type has not been significantly changed from the views of texture and context. Therefore, this hypothesis is emerged that it might have been exposed to obstruction. In the current research, four prominent literary works of Persian and Arab imprisonments composed in different intervals have been chosen. Then, the in common components of this type have been determined. For the next step, the causes and reasons obstructing its development analyzed based on an analytical-descriptive approach. The present research scrutinize a text from two different historical eras. The findings indicate that the obstructing reasons are mainly referred to the intertextual issues, equal compatibility, similar to historical pattern from static items. Moreover, this study has also evaluated the four main factors hindering the development of this type of literature.

One of the most controversial sections of Masnavi Manavi is the opening verses of   Book II that about them different views of the interpretation have been suggested. In these verses, Jalāl al-Din Rūmi speaks implicitly of the causes of disruption in composing Masnavi Manavi. Also, the commentators of Masnavi Manavi have spoken about this very disruption and analyzed these verses. The present article attempts to propose new ideas about the causes of this disruption. To do this, we consider the prose prefaces of Masnavi and compare them with the final verses of the Book I, the first verses of Book II and Book III. The results indicates that on the one hand, the reason of the delay is due to the mood of the poet and on the hand it is due to the mood which the audiences were and the content of circumstances in general. As the present research is based on interpretation of the text, we believe that this article explains the cause of delay of composing the Book III and the period of inactivity better.

Simultaneous with genesis of rhetoric in Arabian and Persian language, and with this assumption that skill in rhetoric be shown and cause a altitude for poet, some Iranian and Arabian poet, designed poetries that poet force himself to coming one or several rhetorical art in every verse of that and really present a concise collection of rhetoric by his poem. Thereafter this kind of poem named “badi’ieh” prevails first time in Persian poetry and then in Arabian poetry. In these two languages this kind of poetry has difference quality and traits. This article is explanatory of composing of “badi’ieh” in Persian and Arabian literature, historical progress and their differences and similarities.

The song literally means wisdom and fresh originated from Avestan root “Teoroneh.” This word is a general term referred to the types or forms of poetry and music, especially, quatrains and “fahlaviat”. According to the ancient origins of the song, the most ancient Persian poetry is found in this genre. Composed by Zoroaster which is recorded in the "GATT", songs are considered as the first of Iranians literary glimmer. The present study is a descriptive analysis of songs by focusing on the definition of speech, rhymes and features that songwriter applied in the constitution epoch of Iran. This paper reviews music, language and theme which can be found in songs of that period. In the eighth and ninth centuries AH the term ballad was used interchangeably with lyrics and song while it was referred as composing the music. Later, the term song was referred to words in music and singing. Song, of the tenth century onwards, refers to the poem accompanied with music containing prosodic weight and sometimes it has, more or less, rhyme. One of its most striking features of song is its aptitude of being composed. Song has been frequently consistent with prosodic lyrics until Safavid period. Song in its modern form is a reward or product of Constitutional Revolution in Iran. It has a simple and intimate language and its themes are usually popular, folk and emotional.

A controversial and yet- to- be solved issue about Mathnavi is the reasons for discontinuation of Mathnavi of Rumi meetings at the close of Book I and the delayed start of Book II. Different reasons could be found for this delay in Mathnavi and works of other poets contemporary with Mowlana. However, none of there reasons by itself seems convincing enough. Therefore, researchers, both contemporary and those living in previous centuries, have been looking for other reasons, which considered altogether prove to be convincing enough, and can often be inferred from Mathnavi.In this article, the researcher provides a background to the discussion, presents a summary of the views and ideas of the view holder in the part, explicates Mathnavis ideas and then classifies the ideas and views taking the three speaker- address- and text- oriented approaches and then draws new conclusions this new classification, rather than forvsing on the reasons for the postponement of, mostly high lights the background, reasons and explicit and implicit mystical teachings of Mathnavi. There apply to the understanding of similar cases in Mathnavi (for examples untimely and sudden silent in Book VI and other works (like the mystics interest in keepings a low profile or keeping silent) this new classification explores a number of previously unexplored reasons and factors of delay such as the role of patience and silence, Mathnavis recommendation for silence, literary and stylistics devices, the address’s role and his wisdom and will, will be brought to light.

poems syndrome is a plasmocytic dyscrasia that consists a constellation of polyneuropathy(p), organomegaly(o), endocrinopathy(e), monoclonal gammapathy(m) and skin disorders(s).Herein, we report a case of poems syndrome that was referred to internal medicine department of Masih Daneshvari hospital in Tehran with rare manifestations of pulmonary hypertension and scleroderma like cutaneous lesions and giving an overview of this syndrome.