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Sayed Mohammad Reza Ishghi is considered one of the constitutional poets in Iran and a forerunner in the case of literary modernism. The concept of   literary modernism is closely related with romanticism and its expansion from constitutional literature onward. Ishghi is the most outstanding poet of romanticism in his contemporary time. While his romanticism enjoys lyric elements; it is more concerned with social and revolutionary issues. Referring to ups and downs in Ishghi' life and highlighting romantic aspects of his works, this article analyses some of his works including "Maryam's three painting". Also, the romantic features of his works in terms of form and content will be presented.

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The Poetry of the Constitutional period in Iran has been a turning point away from encomiums and mystical poetry of the prior ages. This shift is primarily characterized by a poetry dealing with socio-political issues such as freedom, homeland, etc. Contemporaneity of the Jadidieh Period in Tajikistani Poetry with this era in Iran paved the way for the maturation of the Constitutional Poetry in Iran. The method of the research is analytic-comparative and aims to investigate how this two interact in terms of subjects and contents. This study classifies the poets into three categories of “patriots” (like AdibulmamalekFarahani and Irajmirza in Iran and Fitrat in Tajikestan), “revolutionaries” and “elegiast” (like NasimShomal and MomenGhena’at in Iran). Studying the poetry in this period shows that the title “Motherland” is the first shared subject of Iranian poetry (Constitutional movement period) and Tajikistan (Jadidieh) which replaced the romantic lyrics of the previous age. The poets in the era of “Awakening” and modernism speak in their poems of their love of homeland, “freedom”, “prosperity” and “progress”. The topic of “homeland” both reveals the universality of the subject in the literature of this era and also indicates the changes in their essence and tones. Of other common thematic issues are 1- Fighting with dictatorship inside the country and defending motherland against foreign threats, 2- human rights, women’s rights and gender equality, 3- freedom and law, 4- acquiring modern sciences and education, 5- reforming and modernizing poetic topics and using colloquial terms, 6- fighting with religious superstitious ideas and ignorance.

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The entry of the legal terms and subjects of the Constitutional era into poetry’s domain caused the confluence of two types of speech, i.e. two areas of legal and literary discourse in that era’s poetry.Public law discourse organized the dominant content of the Constitutional poetry and the particularly weak presence of the element of imagination turned into its characteristic of structure and form.The main question raisedin this research is the explanation of public law discourse’s role in the relationship between form and content in Constitutional poetry.Using a descriptive-analytical method, and based on numerous poetic evidence, this study investigates the issue from the standpoint of a procedure which has emerged through the innate characteristic of legal discourse and its incompatibility with imagery and can be interpreted as “The transition from imagination to emotion” in this era’s poetry. The process based on which the dominant form of Constitutional poetry was organized with a focus on social and revolutionary sentiments in the absence of imagery.In the present article, the compatibility of this narrative with the point of view of literary modernity was investigated and the effects of the research claim on the famous areas and structures of Constitutional poetry were revisited.