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Abstract Whether the meter and content in Persian poetry are closely linked with each other is one of the questions that some researchers have attempted to answer it. From their perspective, the main meters of Persian poetry can be classified on the basis of the relationship between themes and concepts and most of great poets have regarded the harmony knowingly or unknowingly. In this article, referring to the fact that methods and reasons of meter selection in poets' poetry and its harmony with content from various perspectives can be studied, and using statistics and by analytical- descriptive method it has been attempted to answer the question: are the meter and content closely linked in the tradition of Persian poetry? And if meters' phonetic compatibility with specific themes is proven, were Persian poets aware of the harmony and regarded that in their poems? Accordingly, in this study, since the ode form is important from the perspectives such as content diversity, being used in studied themes, several main meters in it, being among one of the three main forms of Persian poetry and possibility of specifying the content and writing reason, the proportion of the meter and content harmony in pre-Mogul ode writing tradition has been examined. Twenty poets whose odes are studied and their poems' meter are extracted in this article include: Farokhi Sistani (429), Onsori Balkhi (431), Manouchehri Damghani (432), Ghatran Tabrizi (After 465), Azraghi Haravi (the second half of the fifth century or the beginning of the sixth century), Naser Khosrow (481), Abolfaraj Rooney (late fifth century), Masoud saad (515), Moezi (418 to 421), Sanayi (435), Amagh Bokhari (542/ 543), Osman Mokhtari (544/ 549), Adib Saber (546), Abdulvase Jabali (555), Ghavami Razi (560), Anvari (583), Jamal al-Din Esfahani (588) , Khaghani (595), Zahir Faryabi (598) and Kamal al-Din Esmail (635). Total odes registered in complete poetical works of poets mentioned were 3209, of which, 1018 odes were selected that dominant space of their content was happy or sad the majority of is selected. According to the research, themes such as elegy, durance and types of complaints in the area of sad concepts and themes such as greetings and spring description, victory salutation, down returning, marriage, childbirth, love celebration, Eid al-Adha, Eid al-Fitr, century celebration, constructing buildings and mansions are among happy themes' field. The result of this study is that even by accepting the necessity of regarding relative harmony between the meter and content and the difference between the meters, in the tradition of Persian poetry, at least among typical ode writers to the era of Mogul, ware harmony of the meter and content has not been met and acceptance of different meters and their types among poets, above all depend on personal style, prosodic knowledge, familiarity with different meters, poet taste, period style, literary fancy and imitation and repetition tradition in Persian literature. In the literary tradition of pre Moguls, as a meter has been used in writing odes in happy themes such as greeting and salutation of feasts and holidays, the same meter was used in sad themes such as: elegy, complaints and durance, and the presence of conflicting content examples is itself the best cause of the lack of nature harmony relationship between the content and meter in most poems of this period. Only in some versifications and meters a distinction can be seen in terms of application, such as in present versifications and the main meters extracted from them that to some extent in happy and sad themes have different applications. Of course, also this distinction is not the result of conscious choice of meters, according to the content, but is due to different style and geographical tastes of meters selection among various poets and also a dominant literary tradition in each period. In this dominant literary tradition, in some periods due to social and cultural reasons, odes' dominant content was sad and/ or happy, indicating specific meters in typical poets' style.