Contrary to Mathnavi and Mawlana's prose work which are didacti, and the speaker in them addresses the reader, and simile, allegory, and other literary techniques and devices are employed as a means of communicating the mystical teachings and truths, in The Ghazals the poet is heedless of the reader and careless about his needs and degree of understanding. In the Ghazals, influenced by his discernments and ecstasy, the poet expresses his excitements and experiences of love and mysticism without exerting his will and without being involved in the process of the birth and the blossoming of the poem and the formation and overflow of the words in the bed of rhythm, rhythm, rhyme and the words following it, various effectual musical factors, the imaginative aspect of the poem, and even conclusion of the ghazal. The poet's being in a trance and his lack of authority over the process of the composition and the inexpressible nature in an ordinary language of his states and experiences cause his feelings, states, and excitements to be outlined in such an expression that is impossible to understand without some knowledge of the poet's intellectuality, worldview, and states.This article attempts to postulate the prevailing features and structure of the symbolic expression and to offer an analysis by resorting to some illustrated instances in The Ghazals and the other works of Mawlana.