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Azraqi Heravi is one of the great poets of the fifth and sixth centuries who is ranked often as a minor poet. In this paper, the researcher reports a study of the data related to this poet and his life, and, discussing the style of his writing and the innovations he introduces in his poetry, he tries to show that because of these very innovations Heravi is equal to some of his contemporaries if not superior to them. This paper discusses different aspects of his poetry such as his thought, imagination, emotion, language, music and form and gives some evidence to illustrate each of these elements and technical aspects.

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Fantastic Realism is a genre which remind us of Russia and its great writer Dostoevsky. This genre has been developed in Iran among Iranian writers who have been familiar with the books of world literature, especially Russian literature. Fantastic Realism employs and combines reality and imagination, and while it concerns the reality related to human beings, it pictures that kind of reality which is internal. That is why the reader has some difficulty in finding the true meaning in such novels. Among the Iranian writers, Khosro Hamzavi is more inclined to this genre and the novel The City which Died under the Cedar Trees is one of the best novels of this writer which is written on the basis and reflects Fantastic Realism. The City which Died under the Cedar Trees is discussed in this paper based on Fantastic Realism using a descriptive-analytic method.

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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.