Arabic literature has long been blessed with a kind of poetry called lampoon in which the poet portrays ugly characteristics of an individual or a group. Gradually, the scope of this kind of poetry has been drawn to political literature, as in the works by the poets of the Umayyad Party, such as Akhtal and Meskin Daremi, and Ahwas, as well as Shiite poets. Some examples of this kind of poems can also be found in the poems of such poets as Komeit bin Zaid Asadi, Seyed Ismail Hemyari, and Da'bal Khazaee. This paper uses a descriptive method based on statistical data to study this kind of poetry in the satirical poems of Seyed Heidar Helli and seeks to introduce the various political lampoons used in this kind of poetry. It also tries to answer the question of why the poet is more inclined to use the "history-based lampoons" either directly or implicitly. The results of this study suggest that the political lampoons used in these satirical poem, either the direct or the indirect ones, can be divided into three categories: 1. Exaggerated lampoons, 2. lampoons laced with praise, and 3. History-based lampoons, the reason for the poet's desire to prefer the third category being its persuasive function because of its resort to historical data as well as the harmony of this type of lampoons to ethical and religious principles.

For a long time, the challenging issue of lampoon opposition and especially the gross political lampoon with the religious and moral values has been considered by both the jurists and the poets committed to ethical and religious principles. Accordingly, it was not thought that this kind of lampoon, which is usually associated with insulting and exaggerated expressions of ugliness, would lead to the poetry of poets who consider themselves as followers of The Household. But contrary to this notion, there are many verses in Shiite political poetry that such a lampoon obviously has been used in them. This article aims to use the descriptive-analytic method and focusing on the Daliyeh ode of Seyed Heidar Helli to examine and criticize what might be permissible for the use of this kind of lampoon by the poet. In this regard, after reviewing the principle of the use of lampoon on the basis of Islamic criteria, the criticism of the lampoon in this ode and the possible justifications for it are analyzed. The result of this research suggests that, although some of the Quran's descriptive forms, along with some Arabic rhetorical forms, can be used to justify the use of this lampoon, but given the far-fetched reason for this justification to the common audiences using it is not without difficulty. For this reason, although the poet in this ode clearly used a gross political lampoon, but in other Hawliat he tried to avoid it, and instead use other methods of lampoon.

In all Centuries of Persian poem, there are some poets which do not have much literacy but they have a great rhythmic nature. They have been named in biography. In this article, we study about one of this contemporary poets ‘Heidar Yaghma’. This essay study about Yaghma’s poem in three branches. First: literary features Of Yaghma’s poem; in This Topic we mention innovation of poet in rhetoric. Then we research about Yaghma’s various themes and some of eminent human thought is one of his themes. Many of that themes he selected for religion poem are new and creative. Other themes are about pains and affliction of hard working people in society and because he was one of them, he can reflect it very well, and in continue, we study about communication between Yaghma’s poem and the other great poems of Iran. Second: content features; the Poet always tell about not to concern to the world and about instability of this world. In some poems he talks about authority of humans. Third: Yaghma’s imagery and sentimentalist; he Hide the bitterness of his painful life within the thin imaginary which lead us to literary delight.

Resurrection and Ma’, aad are among the basic and important issues of Islamic mysticism. In different eras, mystics have spoken in some way about the truth, its types, levels, and its quidity. Accordingly, this documentary study has comparatively studied the levels of resurrection from the perspective of Seyyed Haidar Amoli and Mirsid Ali Hamedani, two great Shia mystics-eighth century AH-and has concluded that Seyyed Heidar based on trinitarian epistemology And the principles of mystical ontology and anthropology have been considered, analyzed and studied the levels of resurrection and have been divided into two types and for each type, it has been drawn twelve times. Mir Seyed Ali first draws and explains the fourfold resurrection based on the square epistemology of the secrets of point and number four, then divides, analyzes and examines the three types of resurrection based on the trinity epistemology and inner esoteric man. Amoli has a theoretical approach but Seyyed Haidar Amoli, as a great theorist of Shiite mysticism in analyzing the levels of resurrection, has a theoretical approach but Hamedani as a Murshid (Master), has actually a practical and educational approach to the issue

Getting Knowledge about hidden aspects of literary works is possible by studying how they are created. Seyed AliReza, son of Seyed Mosaed Jebel Ameli, whose pen-name is Mehri ans Seyed and known as Mehri Arab(bron 1050-died? ) is a powerful but unknown poet of 11th century. By investigation and analysis in methodology of Mehri's poems, it is possible to discover a portion of Iranian historical and cultural events besides revealing the poet's artistic and linguistic abilities in addition to his mental messages. Mehri's poems are including qualified contents meanings and literaey beauties. On the other hand, they are influenced by Iranian social and political conditions; so they are deserved of analyzing from different artistic and historical point of view. According to Mehri's innovations in the use of words, expressions, imagination and his great deal of word knowledge, we are decided to study and analyze the poet's methodical characteristics and his innovations in three linguistic, literaey and mental levels.

The path to divine wisdom and mystical closeness requires enjoying heartfelt reasoning-based light arising from the light of the lights. Seyed Heydar Amoli believed that mystical closeness was dependent on the spiritual travel of the soul. Creatures of the universe take benefit of the divine grace who is the light of the heavens and the earth, surrounded by His grandeur. This light glow when the servant becomes a mystic and says Labbeik (Here I am) to take a mystical path towards the divine light. Describing the divine path, MirHeidar discusses the Prophet Mohammad’s ascension who saw Allah through the heart as he ascended to the sublime positions. Spiritual observations of the ascension night have been illustrated by the painters, and the MirHeidari’s illustrated Me’raj Nameh, also called Shahrokhi, is one of them. An important point to attend to in Me’raj Nameh paintings is the selection and quality of the visual elements including golden clouds, which also poses the following questions: What are the illustrated and spiritual position of golden clouds as regards the prophet’s mystical closeness in ascension? And which embodiment qualities do they involve?This research was descriptive-analytical which maintains that golden clouds are a blend of embodiment of divine path for the prophet. In this connection, the painter has created golden clouds as airing from the holy glowing of the prophet as he believes that these golden clouds are the brightening embodiment of the prophet’s soul.

Introduction: In literary terminology, a flash poem refers to a poem that suddenly sparks in the poet's mind, and then he expresses the perception in highly condensed phrases. This ultimately surprises the reader with a multitude of meanings conveyed through a limited number of words. Arab literary critics have varied perspectives on the definition of flash poetry, but Ezz al-Din al-Monasra, a pioneer of this poetic genre, seems to have provided a more comprehensive definition. According to him, it is "a short and condensed poem with a paradoxical structure and a surprising ending to express fleeting poetic moments". Najat Abdullah is a contemporary Iraqi poetess who portrays her poetic experiences as fleeting moments in the shortest form possible. Given the type of poetic form that she presents to her audience, she has been considered "a modernist poetess in mapping the poetic landscape of women". Her anthology in the field of flash poetry attests to the fact that she is always seeking creativity in terms of worldview, themes, and techniques. In the first encounter with her poetry, the reader clearly finds that she pushes the frontiers of creativity in each of her poem collections and thinks of new techniques. Methodology: This research is based on the descriptive-analytical method and employs a critical approach to study Najat Abdullah's poetic works in order and ultimately examine the most important artistic techniques for depicting conciseness of flash poetry in each of her collections. In addition, the study does not overlook the analysis of the content of her "poetic flashes" in each collection. The questions to answer are as follows: a) What are the artistic techniques for depicting conciseness in the flash poems of Najat Abdullah? b) What is the content of the flash poems in Najat Abdullah's works? Results and discussion: Ezz al-Din al-Monasra believes that flash poetry has grown out of the legacy of the past Arabic literature and that it dates back to the art of 'toqi'at'. As Taha Hussein believes, however, the origin of this type of poetry lies beyond the borders of the Arabic literature and, in terms of brevity, it is reminiscent of ancient Japanese poetry (haiku). This type of poetry is a new topic in the contemporary Arabic poetry, and a number of researchers have addressed and examined its hidden aspects. What most researchers agree on is that a flash poem has three important characteristics,if it lacks one of these characteristics, it cannot be called a flash poem. What is certain is that the poem must lead to the reader's surprise. The characteristics are compression, contradiction and opposition, and surprising ending. This research seeks to address the most important artistic techniques of flash poetry in the element of conciseness. each of Najat Abdullah's poetic works is analyzed and examined, starting from the publication of her first poetry collection (1996) until today. The poet has used three poetic forms in her collections: long poem, medium-length poem, and flash poem, with the most common form in all flash type collections. In order to convey a kind of surprise to the audience with the fewest words (conciseness), the poetess resorts to artistic techniques for further differentiation of this type of poetry. These techniques in her collections are imagery, neologisms and linguistic renewal, visual signs, blank verse, hypothesizing, internal monologue, inversion, focusing on words, and dual oppositions. Conclusion: Najat Abdullah is a contemporary Iraqi poetess who has a beautiful set of flash poems. From the very beginning, she found this type of poetry to be the most suitable form for expressing the short moments of her life, and she achieved unparalleled success in this regard. The flash poems in each of her collections have been written with a different experience. In order to adhere to the element of conciseness in poetry, the poetess uses different technique to express her experiences. In her first collection, she uses the technique of imagery to express the wars of the 1980s in Iraq and the resulting events. In the second collection, she expresses her new understanding of life with the technique of linguistic renewal. The third collection, which is the result of the events of the 1980s in Iraq, is closer to visual poetry. The fourth collection, influenced by a severe sense of alienation, is written with the technique of blank verse to express this influence. The fifth collection is written about the events resulting from the occupation of Iraq, and the poetess asks the audience to participate in her anxiety with the technique of hypothesizing. The sixth collection has the flavor of supplication, which reveals her spatial alienation and being intertwined with the technique of internal monologue. The content of the seventh collection addresses the inhuman crimes of ISIS, and the best technique to express these crimes is inversion. The eighth collection, with individual and collective memories and the experience of bereavement, is written with the most suitable technique, namely focusing on words. The last collection addresses the issues surrounding the Iraqi Teshreen Revolution, and the poetess relies on the technique of dual oppositions.

Religious bequest is an important foundation of the poems and it is also a rich source of poet’s revelation to represent their innate feelings and thoughts. The holy Quran is the most valuable religious source for Moslem poets and literary writers, due to its deep implications, rich words and exclusive features of art and statement as they connected their poems with revelation words and enjoyed from this galore fountain in different levels of concepts, statements and manners. “Safi-al-Din Helli” is a poet who is famous because of his Quranic statements and concepts. In this inquest, the intersexual usage of the descriptive-analytical approach and the comments of western and Arabic critics in “Safi-al-Din Helli” poems were evaluated. Intersexuality possesses seven different types including complete texture, complete adjustment, partial words, manners, revelation and symbols. Results of the study showed that there is more frequency in the relationships of prophet’s panegyrics and poet’s elegy. On the other hand, complete adjustment, symbols and partial intersexuality had been introduced by Safial- Din Helli.

Comics is created as a type of criticism literature from long ago in order to express complaints against the problems and to represent the obscenity and disadvantages and inefficiencies of the phenomena and relations dominating the social lives aiming at notifying, reforming, and removing the faults and chaos by the elite poets and writers and in order to express the suffocation and despotism using different literary tools. The climax of this literary tool could be observed in works of poets and writers in 7 th to th 9 centuries through which Mongolians and Teymori Kings ruled the country. Therefore, in the present study and using a descriptive-analytic method and with the help of observation of different texts composed and emphasizing at different literary tools such as simile, allegory, irony, paradox, … , we have tried to investigate about this type of literature in poems composed by Abdolrahman Jaami, who has been one of the most outstanding poets during the Teymori era. Findings showed that language techniques has had a great functional role in creating works of this poet. Regarding the content techniques utilized in poems by Jaami, we can observe the following items as the mostly used techniques: contradiction, stupidity, diligent and funny reasoning.

The Constitutional Revolution considered women's issues as one of the most central social issues. Turkish poets, along with Persian poets, published social problems related to women. Poets such as Mojez Shabestari and Seyyed Ashrafuddin Gilani are in this category. This study examines the commonalities and differences of the two poets' thought lines in issues related to women based on the comparative-descriptive method to analyze and evaluate the issues reflected in the poetry of the two poets and their social stance on the issue of women. Education of women, establishment of schools for girls, struggle against religious people against education, comparison of Iranian women with women of other countries, struggle against superstitions and raising awareness for women, freedom of women by observing hijab, women's jobs and their marriage are the most central themes in poetry of both poets. Both poets emphasize the education of women and object to religious opposition to the education of girls. Mojez emphasizes the employment of women, but Syed Ashraf al-Din does not clearly state his position on women's employment.