● Birthday: 10 October 1939
● Birthplace: Kadkan – Torbat Heydariyeh

Biography
He was born in Kadkan, a village between Neyshabur and Torbat Heydariyeh. He never went to elementary school and high school and learned Arabic language and literature from his early childhood with his father who was a cleric and Muhammad Taqi Adib Nishaburi (Adib Nishaburi II). At the age of seven, he retained all of al-Fiyah Ibn Malik and learned jurisprudence, theology and principles in Sheikh Hashem Qazvini, known as the Jurist of the Azadegan. But after the death of Sheikh Hashim, until the final stages of extracurricular studies he studied with Seyyed Mohammadi Milani and during this period he was with the supreme leader of the revolution, Ayatollah Khamenei, leader of the Islamic Republic. He enrolled at the Ferdowsi University of Mashhad at the suggestion of Dr. Ali Akbar Fayyad and went to the Faculty of Literature that year to obtain his undergraduate degree in Persian Language and Literature from Ferdowsi University, and a doctorate in the same field. University of Tehran. Dr. Shafiei Kadkani, along with his secondary and university studies, also studied Arabic and literary sciences at the Mashhad Seminary, and taught Arabic literature to the great masters of the field. While studying in Mashhad, he was one of the most active members of literary societies and from his early teens, his work in the Khorasan press was nicknamed: M. The rosemary was being printed. In the years after 1932, he formed a literary association with the collaboration of several young poets and adolescents, most of whom were adherents of modern poetry and fictional literature and translator of the literature, including Dr. Ali Shariati. After leaving for Tehran, Shafiei completed her master’s degree at the Faculty of Literature at the University of Tehran and then completed a doctorate in Arabic language and literature. He worked for the Iranian Cultural Foundation and the Senate Library and then worked as a master in the Faculty of Literature in Tehran in the field of stylistics and literary criticism. He also spent some time teaching and researching at Oxford University in England and Princeton, USA and Japan. He is one of the prominent masters of contemporary Iranian literature and a great scholar who is well known for his criticism of Persian poetry and poetry and has a high reputation in poetry and poetry and has a particular style and style that has always made him a poet. Leading the way.

Dr. Shafiei’s personality traits are that he rarely appears in literary circles and is mostly in solitary confinement. He wrote poetry and poetry as a teenager, and his nickname: M. He chose Sarak and, during his acquaintance with Nima Yushij, chose a new style of poetry. M. Sereshk started the poetry with the sonnet and in year 3, with the publication of the book Whispering and later in other collections, he showed his ability to compose the sonnet and other formats. The whisperings of the Indian style are sung and convey the poet’s belonging to the Khorasani poets. Poetry: In the Alley of Neyshabur, which was published in year 2, he made him famous. Poem: The millennium of the second millennium, one of the purest poems. Sarshak is considered to be one of the most enduring contemporary Persian poems. In Shafiei Kadkani’s poems, there are several features: the poet is fond of Iranian and Islamic folk traditions, and this fragrance is best reflected in his poems. Secondly, the nature and the natural environment of Khorasan province brought in his poems, and most of his poems are social in color and also the situation of Iranian society in the forties and fifties, in his poems, in his poems, in pictures. Dr. Shafiei Kadkani is certainly a distinguished figure in Iranian literature in the field of authoring, proofreading, translation, criticism and research. Books: Tire of Imagination in Persian Poetry, Music of Poetry, Secrets of Al-Tawhid, and dozens of other books and articles today are among the reference works.

Since 1969, he asked the University of Tehran, a master of the university. Badiozzaman Forouzanfar wrote under his job offer:disrespect for his virtue. Shafiei, including close friends of Mehdi Akhavan Sales, is counted as the poet of Khorasan and has not hidden his attachment to his poems. He left Tehran on Thursday August 27, 2009. The trip had a wide reflection in Iran’s press. The aim of this trip was to use a research opportunity at Princeton Institute for Advanced Studies to investigate the history and evolution of the sectarian cult. After nine months away from his homeland, he returned to Iran, and after returning to Iran, he was present at the University of Tehran.

His works can be divided into three critical and theoretical groups and their poems. The critical effects of this author include the correction of classical Persian works and writing articles in the field of literary theory. Among the theoretical works of Shafiei Kadkani, the book of poetry is a special place and there is more of a his poems in the Neyshabur Gardens. Whispers, a parable, a leaf tongue, the smell of Joey’s atmosphere, of being and compose, like a tree in the rain Night, the second millennium Ahoo Koohi, the Trump in Persian poetry, poetry music, with lights and mirrors (in search of the origins of contemporary Iranian poetry), corrected by the E. S. A Vari-e-Attar, correction of Mokhtarnameh, correction of tragedy, Attar logic correction, intertextual correction, correction of the divan of Attar, and translation of creation and history are also among the works of Mohammad Reza Shafiee Kadkani.

His corrections is a valuable example of the critical correction of text, the Attar of the law, the tragedy, the divine Letter, the logic of the intertextual, the authorities, and Sijzi scenarios, by the sea (Abolhassan Kharqani’s authorities), Marmozat Asadi, in Marmozat Davoodi, are the best examples of critical correction of text in Persian literature. He is a few of the researchers of Persian history of Kerramieh Faction, and has provided a Revised book in this chapter. His other books, such as Poetry Music, Imaginary Forms, Periods of Persian Poetry, and Social Fields of Persian Poetry, from Jami to the present day, are now considered classic books of literary criticism.

He writes in the book Language of Poetry in Sufi Prose: what is known in Persian language: “It’s” and it can be considered as the essence of Jamal, in other languages. He is also known as the Persian poetry for the row issue, which can not be found in any other language. Master Shafiei Kadkani also introduced Shath in this book a kind of break and has compared his life to the book of the tragedy of the most of them, which has been investigated in both the experience of the unaccepted expression. The new point that he states in this context is to Shath structure and to be newsworthy (such as our Sobhani, Azam Shani), or Essay, and the different impact of these two expressions will return. One of the most fascinating discussions of this book is the question of why Arab poets have not used the size of the Persian poets in their poems. Shafiei Kadkani the axis of this book, the idea that: to expand and understand Sufi’s elusive experience, inevitably, the words and the language that has been helped, has made it clear, stating that the movement of the sound is very obvious to the face and meaning. One of the examples he mentioned is poetry is from poetry with the name of Ali ibn Hossein Primrose, who ballade in fever and delirium, in this manner: Derrin Derrin Derrin Derrin Derrin Dabi / Anna Ali Ibn El Hossein Al Maghribi

Shafiei Kadkani, in this work to describe the concept of mystical typology, says: Every artistic look to religious code and religion can have its own Slovenian features and lightness, which is the same as mystical style. He also believes that throughout the history of Islamic culture and civilization, we are facing two kinds of Sufism, which is one of Sufism before the Ibn Arabi or the Sufi of Khorasani and another Sufi after Ibn Arabi, and the two schools on the triangular show that the point of its climb is spiritual Masnavi. And Ross is the other side of Ibn Arabi, with a descent closer to the mystical and the thirteenth century.

He has a clear tendency toward formalism with the foundations of Russian formalism. Books: Fiction in Persian Poetry and Music by Poetry and Bidel, The Mirror Poet, and many of his articles, such as Proximity Magic and the Structure of Structures, have a formalist theme. His definition of poetry: To the resurrection of language is a translation of the Russian formalist view. There are also formalist terms: strangeness, deconstruction, the dominant element exemplified by his approach to formalism. In addition to the articles and books mentioned above, Shafiei Kadkani has written a book called The Resurrection of Words in a series of publications that has specifically assessed all the aesthetic aspects of Russian theorists’ views and adapted them to understandable examples of Persian literature. Shafiei Kadkani, from 5 years on, has pursued research in history with the approach of correcting mystical literature texts. He believes that it is difficult to move to modernity without knowing the tradition. His historicalism, while lacking clear theoretical background, is strongly committed to documenting it with historical texts. He believes that developments in contemporary Persian poetry are a function of the translation variable. This view has shaped the foundation of his book: With Lights and Mirrors, in search of the roots of the evolution of contemporary Iranian poetry. Some of his views in this book have been criticized by some.

Works
Whispers, reading at night, from the tongue of the leaf, in the alley of the gardens of Neshabur, from being and composing, like a tree in the rainy night, the smell of Molian’s atmosphere, imaginary forms in Persian poetry, music of poetry, periods of Persian poetry, contemporary Arabic poetry, selected Shams lyric poems, Hazin Lahiji Life and Her Most Beautiful Ghazals, Poet of Mirrors, Biddle and Indian Style, Secrets of Tawhid by Mohammad Ibn Munawwar, Moods and Sayings of Abu Saeed, Abu Ruh Mihani, Mukhtarnameh, Attar Quartet Collection, Asadi Mysteries in Davoodi Najmuddin Razi Translation of Islamic Sufism and the Relationship between Man and God by Nicholson, Mokhtarnameh, Elahi Nameh, Mosibat Nameh, Asrarnameh, and the Logic of Shiraz by Sheikh Attar, Critique and Analysis Mahmoud Shabestari., Khajeh Abdullah Ansari, Hasan Kharghani, Ghalandarnameh in history and …

Sample Lyrics
Good Journey
Where are you going so fast? Asked the breeze
Do I have any desire to travel / crave this desert?
We all wish but / what I can do
where are you going so fast?
Wherever it is, except this Sera, Ceram
Good for you, but you and your friend, God
Chu from this desert you are terrified of health / blooms, rain / greet us

In Search of Neyshabur
I’m still looking for and enjoying
Oh!
What a distance!
it’s here
That’s where I am
In my heart and in every moment of my life
I’m still looking for and enjoying
I ask myself and
ـ Not with yourself ـ
At this moment: Where is it?
Replace that cup, which is in the dark of ages and centuries
His beam of light far away?
I’m still looking for Nashour and Nashour

Cloudy Soul
Red horizon and
Epileptic trees
Like that far
An old one in fairy tales and magic
Externally straightened, one tangent
The way to the earth, all in the same way
Seven Seas of the World
With all its storms
He dips in that bowl;
I’m still looking for and enjoying

– Before you / like you / countless / with spider webs / writing on the wind / Kane live blessed state forever.

– The last leaf of the rain log
this is
That is dirty land

– What a spring to God that in this lowland plain of tulips they mirror the blood of Siavashs

Collected Poems
1965 – Whispers
1965 – The Nightreading
1968 – From leaf language
1971 – In Neyshabur Garden Alley
1977 – The Scent of Molian atmospheric
1977 – From being and compose
1977 – Like tree in the rain Night
1988 – Second millennium of Ahoo Mountain

Theoretical and critical works and proofreading and translation
1 – The Trump in Persian poetry
2 – Poetry Music
3 – Correction of the E. By Mohammed bin-Ebn-E ibn Abi Saad ibn Abi Taher ibn Abi Saeed Patriotic
4 – Correction of the history of Neyshabur by the ruling of Neyshabur
5 – From the collections of Farīd ud-Dīn Attar Neyshaburi, Sokhan Publication:
– Introduction, correction and Talighat of Mokhtarnameh
– Introduction, correction and Talighat of tragedy
– Introduction, correction and Talighat of logic Attar
– Introduction, correction and Talighat of intertextual
– Introduction, correction and Talighat of divine Letter
– Introduction, correction and Talighat of the Divan-e Attar (still not published)
– Introduction, correction and Talighat of parents Tazkerat (still not published)
6 – Introduction, translation and Talighat on creation and history of Tahrban Matamoghaddasi in two volumes, Agah Publication
7 – Antshart of the Persian poetry
8 – Psalms Parsi take a look at the life and Lyons of Attar, an informed publication
9 – Conduct scourged in the past of the publication, Aware Publishing
10 – In the light climate of a multi-ghazal Hakim in the Quran, an informed publication
11 – Lyrics mirrors Indian style and poetry-Biam Dehlavi, informed publication
12 – The letter and sound of the voice, the speech publishing
13 – From the collections of mystical heritage of Iran, Sokhan publication:
– Lighting Office-about Bayazid Bastami
– Post on the sea-about Abolhassan Kharqani
– Taste of Time – About Abu Sa’id Abu’l-Khayr
– In the past and the human being-about Khajeh Abdullah Ansari
– Darvish Setihandeh-about Sheikh Jamejam Rags
– Poetry tongue in Sofia’s prose-an introduction to the style of mystical look
14 – Introduction, correction and comments on Abu Saeed’s moods and words and remarks-published by Jamal al-Din Abu Ruh Lotfallah ibn Abi Sa’id ibn Abi Sa’d
15 – The Persian Poetry of the revolution
16 – Social and Persian poetry
17 – The lungs of the history of an ideology
18. Translation of Islamic Sufism and the relationship between human and God – By Reynold Nicholson
19 – Correction Ghazaliyat Shams Tabriz
20 – Introduction and dissemination of image of the system of Ali Nameh
21 – Talighat of the Court of Ghaemiat, the most yafteh of the divan of Ismailia’s religion, to be corrected: Seyed Jalal Hosseini Bedakhshani
22 – With lights and mirrors in search of the origins of contemporary Iranian poetry
23 – The States and the officials of the hope-Mehdi Akhavan Sales
24 – Shaeri in critics ‘ influx-literary criticism in Indian style about the poem of the Herin Lahiji
25 – Introduction, correction and Talighat of Asadi.
26 – The resurrection of words-lessons about the Russian malism theory
27 – Ghazaliyat Shams, Publisher: Joint stock Book company with Amirkabir Publishing Institute
28 – The translation of Sinbad songs-the Al-Bayati
29 – Contemporary Arab poetry