Shamlou’s translations of Lorca’s poetry suggested new possibilities for the creation of a new style of Persian lyric poetry called Shi‘r-‘i Sifid, which is Shamlou’s greatest contribution to the transformation of Persian lyric poetry into a modernist and politicized genre. In this paper, I will rethink the poetic potentials and relevance of Shamlou’s practice of translation for contemporary artistic practices such as music composition. Through the analysis of my DMA dissertation piece, a 45-minute song cycle, for soprano, violin, flute, clarinet, and percussion, based on a selection of poems by Lorca, I will discuss: how the formal and material problems and the objective aesthetic possibilities of Shamlou’s translations of Lorca has informed the composition process of my piece? While composing my piece, I frequently returned to Shamlou’s approach to the translation of Lorca's lyric poetry into Persian as a model for my approach to the incorporation of Lorca’s lyric in my music. Similar to Shamlou’s translation, I sought to captures the general poetical and political aspects of the poems, such as the repetitive structures of Lorca’s poetry, the pastiche character or the delicate musicality of the text, and translate them into the musical construction. In my presentation, after playing the fourth movement of my song cycle, based on Lorca’s “Arquoros,” which metaphorically illustrates the people’s suffering under Fascism, I will delve into a detailed musical analysis of this movement. In my analysis, I discuss how Shamlou’s translation of “Arquoros,” which poetically diverges from Lorca’s poem in order to incorporate its political essence into Persian, has informed the composition of this movement.