1.       Introduction
 Language, as one of the most fundamental tools of human communication, is not merely a medium for transmitting information but also a platform for expressing emotions, mental experiences, and constructing meaning. In literature, particularly poetry, language transcends its purely communicative function and becomes a means to represent psychological, existential, and aesthetic complexities. Sohrab Sepehri, a contemporary Iranian poet and artist, through his unique, simple yet multi-layered language, has created a poetic idiom that invites the audience into an introspective, intuitive, and contemplative experience.  The main research question of this study is how Sepehri’s lyric language relates to the psychological functions of language and the semiotic structure of meaning, and how this relationship influences the mental and psychological experience of the reader. The study aims to analyze selected poems of Sepehri to demonstrate how his language departs from conventional meanings and approaches mental, mystical, and psychological concepts.
 
2.      Methodology
 The research employs a qualitative, descriptive–analytical approach.
 
3.       Discussion
 Analysis of Sepehri’s poetry demonstrates how theoretical concepts are realized in the linguistic and semantic structures of his work. For instance:
 “Life is repeatedly getting wet / Life is bathing in the pond of the present.” (Sepehri, 2005: 22)
 In this passage, the lyric function of language is fully evident. Through the metaphors of “getting wet” and “bathing,” the poet conveys the experience of living in a sensory and introspective manner. These words not only communicate the poet’s emotions but also invite the reader to a mental experience of the present moment.
 The poetic function is also activated in this passage. The use of metaphorical combinations, the musicality of words, and unconventional syntactic structures elevate language from a referential level to an aesthetic and contemplative one. The message of the poem resides not only in meaning but also in its form and structure.
 The word “bathing” here departs from its conventional denotation and assumes a metaphorical, mental significance. It no longer refers solely to a physical act but implies immersion in the present, experiencing the moment fully, and accepting the flow of life. This departure from conventional meanings toward mental and metaphorical ones aligns precisely with Saussure’s concept of the fluidity of signs.
 From the perspective of the psychology of language, this passage engages the reader’s sensory memory and free associations, inviting a complex mental and psychological experience. Words such as “getting wet” and “bathing” connect with the reader’s memories, emotions, and mental imagery, creating a multi-layered experience. Rather than merely transmitting information, this language recreates the experience of living.
 
4.      Conclusion
 This study, aiming to examine Sepehri’s lyric language through contemporary linguistic theory, structural semiotics, and the psychology of language, demonstrates that his poetic language possesses a multi-layered, fluid, and contemplative structure, distinguishing it from descriptive, referential, and rhetorical language. Analysis of selected poems on structural, semiotic, and psychological levels shows that, in Sepehri’s works, language functions not merely as a tool of expression but as an embodiment of living, thinking, and feeling.
 By leveraging linguistic, semiotic, and psychological capacities, Sohrab Sepehri has created a poetic language that carries analytical and practical significance not only on the literary level but also on psychological and semantic levels. This language invites the reader to experience silence, reflection, and existential reconsideration, making it relevant for interdisciplinary studies of language, psychology, and literature.