Literature as a medium possesses an indirect hegemonic power whose effect might be different from one genre to another. Theological debates in their anti-philosophical forms of Persian poetry have been among the influential areas, both on the readers of the texts and the intellectual processes of all Iranians. One of Khāqāni’s odes with this opening line چشم بر پردۀ امل منهید/ جرم بر کردۀ ازل منهید has an outstanding place in this regards. This article, after introducing the discursive order of this ode, will study its hegemony at two levels of “semantic signification” and “artistic effect” in order to reveal the poem’s ways of applying the hegemonic power. The determination of discursive order and its hegemony is based on the critical discourse analysis of Laclau and mouffe, while the base for studying the hegemonic character of the poem is related to the ideas of J. B. Thompson
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