The vocabulary selection and how to arrange them in the sentence based on syntactic conditions, or escaping from these conditions and forms of imagination can be considered as the most important features of any language. Analyzing the language of each work according to its intrinsic features and reviewing the deviations occur in the range of text can indicate its type. Different types of simile, as one of the most important foundations of eloquence, are effective in the rise of language identity in accordance with its lyrical contents and serves the emotional, literary, and inductive approaches of the language. Also, the vocabulary used in form of tenor, vehicle and simile attribute helps the language of these works being explained. On the other hand, the simile intents and the roles they play to transfer the content are proportional to the type of lyrical themes and are among the factors influence the audience alongside the other coordinates of lyrical language. It has been tried in this study to explain the role of this element of eloquence in five lyric poems with the same subject and to describe one of the characteristics of lyrical language based on achieved common aspects.                                                              

Have discrete structures is the prevailing concept on Hafiz's sonnets, but narratology shows that such a structure is proportional to the type of speech and condition of the poet's age; this apparent disconnection results in coherence through the audience's reading. The field of speech and the meaning exist in Hafiz's sonnets need “reading” of his audiences. In order to make this narrative system being understood by the audience, the poet has come up with various techniques such as combination of description, incident and dialogue to start the sonnets, bringing propositions with time and place, dialogue and dialogue-ending, and the hadith of the soul, in harmony with the synthesis of the whole sonnet. The narrative system of his sonnets has been, in present research, explained according to the theme, situation, audience and poet’s objectives. His narrative sonnets have been divided into two groups: sonnets with complex and obscure narrative designs and sonnets with obvious narrative designs. The narrative structure of the second group including 23 sonnets has been studied in terms of type, quantity, composition of sequences, statements and codes to show the solidarity of narrative sonnets of Hafiz. The most usage of codes relates to conversation codes (94 cases/such as debate, dialogue, and Hadith of self) that include verisimilitude, advice, and psychological codes, and it shows that narration is among the goals of Hafiz's lyricism. Active, informational and psychological codes were reported 37, 29 and 7, respectively.  

ʿAbhar al-ʿĀšeqīn by Rūzbehān Baqlī Šīrāzī, the great mystic of the 12th century, is one of the most important Persian mystical works which has a special place in terms of mystical teachings and Persian prose. This book was corrected and published by Henry Corbin and Mohammad Moein in 1958, based on two incomplete and full of mistakes versions. Due to the high position it has gained and despite another correction which has been accomplished by Javad Nourbakhsh, this correction is of interest to researchers until today and most of the works in this field have been conducted on the basis of this correction. The present research is to modify the real position and validity of this correction. So, it has been carefully examined in comparison with some new versions, not available to correctors, through a descriptive-analytic method, considering the requirements of a good correction. The results show that due to the lack of correct copies and misreading, many improper omissions and add-ons etc. happened in spite of all the efforts of the correctors. Lack of extensions and explanations to solve difficulties, not mentioning the sources of words and the lyrics in the text and lack of problem-solving lists are among disadvantages and deficits make a new scientific correction of this important text necessary.  

Abstract Sanā'ī Ghaznavi is considered as the initiator of symbolic style in Persian mystical literature.  His creativity in symbolism, especially in the domain of Qalandariyya and mystical symbols, and combination of elements of different genres was very welcomed by the poets after him. In addition to extending the capacity of language and providing profound mystical concepts being expressed, symbol has an outstanding role in aesthetics of literary texts. Analyzing the symbolic style in Sanā'ī's divan, it has been tried in present paper to clarify the role of symbol in beauty creation and its place in the excellence of his poems, and to make it clear how and in what ways the aesthetic aspects have strengthened his poetry? The results indicate that symbols broaden beauty in Sanā'ī's divan when some factors such as creativity and fantasy, ambiguity and multisensory, the unity of experience and image, and the honesty transfer of affections are utilized, and the cohesion between various parts of the universe, and consequently, in literary text happens.   

The practical part of mysticism is the mystical realm of the behavioral and experimental findings which, based on the courageous conduct of the path of excellence, the refinement of the soul and the purification of the conscience and getting to the essence of being, leads to a kind of monotheistic worldview called "pantheism" that has been constructed on intuitional experiences; hence the intuitive mystics have called it the "Unity of Intuition". In other words, the intuitional pantheism is experienced and proven in this type of monotheistic mysticism. This type of intuitional and practical mysticism is clearly manifested in the sonnets of Attar of Nishapur's divan. It will be possible to achieve a clear vision of Attar's attitude toward monotheism through analysis those parts of his verses portray this type of worldview. Attar suggests his own special "pantheism" as a combined intuitional insight in the mirror of his sonnets which are all based on his spiritual experiences and are results of higher mystical positions achievement. Analyzing the sonnets of Attar of Nishapur's divan through an inductive-analytic method, it has been tried in present study to explore his viewpoints and to prove the attitudes of this monotheist mystic about intuitive pantheism.  

The Qur'an interpretation has had a powerful influence on Mathnawi in a way that his Mathnawi can be considered a treasure of Qur'anic interpretation, however the mystical interpretations of the first four Hijri centuries have been neglected among the various interpretations used by Mowlavi. Relying on interpretations had been accomplished by Sahl ibn Abdullah Tustari (died: 283 AH) and Abu Abd al- Rahman Sulami (died: 412 AH), it has been shown that Mowlavi's esoteric Mathnawi approach to the Qur'an and the way of hermeneutic interpreting of Qur'anic verses are influenced by older mystical interpretations. Some topics in Mathnawi such as the “Struggling against the lower soul”, "interpreting soul as idol and 'Ijl (calf)", "seduction of self", and some parts of Sufi customs such as "long fasting" and "eating halal foods", and "avoidance of persecution and altruism"  are what existed in these interpretations and are reflected in Mathnawi. Some other topics in Mathnavi such as "divine indulgence", "divine wisdom", and “keeping reliance on God” and "leaving the trick" are all rooted in Qur'anic mystical interpretations. Mowlavi has deliberately used this type of hermeneutics, so he has called Mathnavi as "the Decoder of Qur'an".  

Founded by Shaykh Bahā’uddīn Naqshband, the "Naqshbandī" Sufi doctrine, came on the scene through the trend of the Sufism of Khājagān in the Transoxiana, became one of the most sustainable and influential Sufi doctrines in Central Asia throughout its course of evolution that transcended the geographic boundaries from which it came about. Although it is regarded as a Persian Sufi doctrine, few academic studies have been conducted on Naqshbandiyya in Iran, so the necessity and importance of paying attention to the cultural background of Transoxiana, as a part of ancient Iran, and the rooting of the course of mysticism and Sufism in the region, and the study of the evolution and development of the Naqshbandiyya have led to inquiring the small and missing branches of Sufism in Transoxiana through using documentary sources in a historiographical and investigative manner and utilizing the unique manuscript of Tuhfa al-Rasūl and Farīd al-Maktūbāt, written by Mir Ahmad Kashi, one of the Sufis of Naqshbandi in Transoxiana. Based on the main hypothesis of the paper, it is possible to draw a sub-branch of the genealogy of the highly popular Naqshbandī doctrine through recognition of some key figures, works, and less known treatise of the doctrine.  

The poets' attitudes of each period about the definition of poetry enlighten the characteristics of the type of poetry in which was accepted in that era. In general, the outcomings of these attitudes can theoretically make the definition of a favorable poem clear in each period. Therefore, we can interpret these attitudes as "literary theories" of the periods. The poets in the Safavid era, especially SaibTabrizi as the most prominent of them, have also expressed their views about poetry in their poems and have provided a definition of poetry different from earlier periods. It has been tried, in present study, to explain and explore the features of the poetic theory of this age through analysis taking advantage of the works of prominent poets. The major focus has been on SaibTabrizi's poems, as the most famous character of Indian style. The results show that the definition of poets of the type of poetry in this era is quite different from what in earlier periods. Irrelevant meaning and content are considered as the most important elements in defining and evaluating poetry which leads to the rejection of poem by the poets, if not followed.