This study aims to elucidate the distinguishing boundaries of poetic prose Typology within the prose-to-poetry continuum through a comparative analysis of Bijan Najdi’s short story collection, Yūzpalangānī ke Bā Man Davīde-and, and Ahmad Ghazali’s mystical treatise, Savāneh ul-‘Oshshāq. The theoretical framework is grounded in G. Leech’s theory of foregrounding and the typological models of Haq-Shenas and Safavi. Critiquing previous frameworks, this research proposes a practical method for quantifying "literariness" for typological purposes. A qualitative-quantitative analysis of the frequency of deviations and the establishment of a hierarchy of foregrounding reveal that the distinction between hybrid genres depends not only on the types of linguistic processes but also on the overall frequency and the structural unit of the text (fragmented chapters versus a cohesive vertical narrative axis). The findings indicate that while both works fall within the scope of "poetic prose," Savāneh ul-‘Oshshāq is situated closer to the boundary of prose-poetry due to a higher density of parallelism (balance); thus, it can be categorized as "poetic mystical prose." Conversely, Najdi’s work is distinguished as "poetic fictional prose" due to a higher frequency of functional deviation (the creation of "possible worlds" through unconventional description and narration). The results demonstrate that the typological identity of these works is determined not merely by the presence of literary devices, but by the orientation of the frequency and quality of foregrounding (the dominance of parallelism in mystical prose versus the dominance of deviation in fictional prose).