Mowlana Jalaloddin Mohammad Balkhi, son of Baha Valad in 604 A.H. was born in Balkh and deceased in 672 A.H.in Ghooniyeh. After being acquainted with Shams Tabrizi, a dervish looking mystic, he became a lover poet and left preaching for Sama (MYSTICAL dancing). His works include Kolliyat-e-Shams, couplets, Fih-e- Ma-Fih, Seven fold sessions, and Makateeb.Mowlana's poetry is born out of his MYSTICAL experiences which were composed to urge the audience. His poems are just like a growing flame, changing color and falling again and begin again. Mowlana's language is full of spiritual discoveries and passions that have unveiled the love and majesty of God through imaginary faces. Mowlana's trainings are lessons of love and experience of self-releasing, resulted from one's taste, action, and insight rather than knowledge and thinking.In this paper, MYSTICAL truths are explained and analyzed through Mowlana' s initiative imaginary faces within Sham's LYRICS.

Mirza Abdul-Qader Bidel Dehlavi is a prominent poet of MYSTICAL poetry in the subcontinent of India. He has transformed the Indian school of poetry from mere superficiality to the utmost wisdom. Bidel's poetry in realm of MYSTICAL LYRICS is the continuation of Mawlana Jalalud-din Mohammad Balkhi's line of thought in his Diwan Shams. The purpose of this article is to introduce Bidel in the realm of MYSTICAL LYRICS. According to Bidel all multiplicities in man's journey towards God leads to unity. In his descent however all multiplicities are regarded as the attributes of Deity which have descended from the zenith of the universal and Absolute to the nadir of the particular and relative. Bidel's MYSTICAL LYRICS is a spiritual epic which expresses love and yearnings for the Divine beloved. These often merge with a sort of surrealist thinking, thus MYSTICAL terms in his Indian style of poetry mostly are complex and implicit, and it is difficult of find an equivalent for them. Nevertheless, his mastery in using prosodic forms and verbal rhymes gives such dynamism and fervor to his LYRICS that only reveals the hidden charm and passion within the Ghazals.

Sufis believe that to achieve the lofty peak of wisdom to pass their homes and masalek and conduct of the authorities in the mysticism begins with. During the houses and the MYSTICAL power of human hands showing the result is a kind of awakening. Hafez roguish ways unique to repentance and asceticism, piety, he sees the irony and criticism but other officials such as patience, poverty, trust and satisfaction with MYSTICAL reverence accepts. This research library is going to look different to him to explain some of the more obviouse.

The logic of conversation is based on: the speaker, the hearer (you) and the referent (He). It can take three forms: 1. The speaker talks to the listener about the referent; 2. The speaker talks about the listener to the listener; 3. The speaker talks about himself to the listener. The present paper elaborates on these issues and explains how this logic changes in MYSTICAL LYRICS. The most prominent form of this change in LYRICS is when the poet himself becomes the addressee, therefore the indirect addressee or listener cannot properly find out the position of the speaker and this type of the poem needs to the interpreted. In this kind (type) of conversation, while the poet is the very speaker but internally he is the direct hearer and narrator of another man who can be named paraself.Here I (the speaker) unconsciously conveys the silent speech of para-I and though it seems that I (the speaker) is silent and noiseless but truly speaking to the reader.Based on such point three steps of the MYSTICAL journey is explainable.

Modesty is a very important and outstanding feature in religious and cultural features as well as one of the deserved and significant explanations in MYSTICAL topics that attributing that both the Almighty and human being is true. For the high position that this feature has in the spiritual sublimity and divine knowledge, it has been attractive for mystics. The paper that is conducted via descriptive and analytic method studies over the MYSTICAL aspects of modesty from Rumi’ s standpoint through his LYRICS in addition to an investigation of modesty in the Koran and Sunnah and various MYSTICAL attitudes. The study shows that in spite of the emphasis, the earlier mystics had on observing modesty in every steps of spiritual journey and some of them consider it as the disciples’ mood, the concept and intake of Rumi out of that is very different from others. He does not deem it necessary sometimes for love that in his opinion and some other mystics is the extreme proximity with the Almighty.

Sa'di is one of the great poets and first class of Iranian literature who has influenced many poets' ideas and words. The attachment of Shahriar to Iraqi style poets, in particular Saadi, has led him to gaze at poetry themes. The impact of poetry poetry is one of the most attractive categories of literary criticism. The purpose of this research is to compare the MYSTICAL themes used in the Saadi and Shihryan dialects. The elements and themes are common in the sonnets of these two poets, and Shahriyan Gholzaliyah can be studied through the influence of Saadi's sonnets, according to the comparative approach.

MYSTICAL texts and expressions are the written heritage and cultural and national identity of every territory that their descriptions and reflections make the reconstruction of the cultural identity of a country something real. Since the inner world of mystics are not easily discovered by the public, reflection over the poems and compositions that manifest and sparkle their heart secrets brings about the recognition together with spiritual rejoice for those thirsty for the understanding and spirituality. Ibn Hessam is one of those poets whose LYRICS are valuable ores of mysteries and expressions that causes MYSTICAL passions for the reader. This paper along with some MYSTICAL expressions used by mystics have explained some MYSTICAL words and expressions through content analysis applied by Ibn Hessam in his LYRICS so that to find out what expressions and interpretations he has utilized in his LYRICS. Therefore, the investigation of his LYRICS resulted in the fact that he has used some sort of mysterious words to express his MYSTICAL experience such as flock of hair, eye, gem, spot, as well as some expressions such as fairness, mentor, love; of course, in spite of these, he has paid a short glance at the works of great poets such as Hafez, Eraghi, and the like. Though, proof of this allegation clarifies per se that despite being a traditional poet, he used to hold a sublime MYSTICAL thoughts.

One of the essential characteristics of literature, apart from the mental and spiritual rejoice, includes the fundamental and general principles of various sciences and interdisciplinary issues as a whole. In this regard, the philosophical debates such as the reality and origin of the world and heavens, continuity and cause, as well as the genesis and creation of creatures and created ones and the like, is of utmost importance within the past and present words of orators and composers. Especially once these issues are investigated MYSTICALly and metaphysically in a way that their relationship with the special worldview of mystics and Sufis is analyzed. Beedel Dehnavi is one of the few poets who have achieved his own style in poetry through the combination of philosophical foundations as well as MYSTICAL and educational mysticism, thereby his own remarks deserves reflection and scrutiny. He has supposed poetry to be the reflection of philosophy and philosophical consideration, and despite the mystics' ideas over the inability of words to convey meaning, he has well been able to draw the picture the realities in the form of difficult and rare Indian style metaphors and terminologies. This paper tries to analyze and study over the existence and non-existence philosophical and MYSTICAL roots within ten selected LYRICS out of his own Divan-e-Ghazaliyat (Anthology of LYRICS). In fact, it is tries to analyze the special and exclusive worldview in combination with the two topics of philosophy and mysticism, especially involving necessity and possibility.

Symbol is one of the artistic expressions which has extensive manifestation in human culture and civilization and since early times has been appealing to great orators and poets of Persian Language.Symbol makes one's imagery colorful because it is one of the most distinguished kinds of figures of speech. Persian Literature is full of symbols which have deeply rooted in all genres of literary works including: lyric, epic, and MYSTICAL poetry.We've tried, in this essay, to describe and survey the kinds of symbols, primarily, the relation between symbol and imagery; and afterwards, we'll discuss the symbolic function of "water" and its combinations in MYSTICAL LYRICS of Maulana and Attar together with some poetic examples.

Color is one of the most efficient tools for artistic and literary creation. Although this element lacked its modern diversity in the classic Iranian literature, it has always had a determining role in literary images and inducing concepts to audience, especially in the realm of poetry. The investigation of the way color has been used in ancient and contemporary poetry is a groundbreaking attempt to enter the poets’ worlds of emotions and thoughts. Accordingly, the present study aimed at analyzing the contextual function of colors used in Rumi’s poems; the one who, after the mainstreaming movement of Sanaee and the pioneering efforts of Attar, uniquely enriched MYSTICAL poetry in terms of meaning and content. Reviewing his poems in this regard can help identify other aspects of his thoughts, experiences, and poetic features. The findings showed that Rumi has used different colors in romantic-MYSTICAL or didactic contexts. Respectively, the most frequent colors used in his LYRICS are black, red, yellow, and green.