Hasht-Behesht is one of AMIRKHOSROw’s five Masnavids written in response to Nezami’s Haft-Peikar. By examining the similes in this poem, we found that the similes used by the poet were mostly concepts related to human and his belongings. Since this story has seven main structures and many palaces are described in these masnavi; Therefore, these places are topic. Nature and abstract concepts are sometimes used as image. images included nature, objects, cosmos bodies and animals are highest frequency. In terms of being sensory and intellectual, the highest frequency was related to sensory to sensory similes. In terms of extensive simile, the analogies of explicit similitude  and brief were more used. The poet has used eloquent similes and similes  addition in his stories. In terms of being singular and binding, singular to singular similes are more frequent than others. Beautiful compound similes can also be seen in this story. In evaluating the simile, we came to the conclusion that the similes in this masnavi are mostly singular, reality and non-allegorical. We also examined the combination of simile with other imagery and it was found that simile is combined with rhetorics such as simile, metaphor, allusion, allusineness and mythological concepts and added to the elegance and beauty of similes. In the end, we also pointed out the similes and novel and beautiful combinations used by AMIR KHOSRO in this stoty. AMIR KHOSRO has used almost all types of similes in this poem, and this shows the breadth of the poet's imagination and his ability to create images.

AMIR KHOSRO DEHLAVI is one of the most famous poets of seventh century and of the powerful followers of the theologist “Nezami Ganjavi”.It is in his Quint that he is famous for his skill imagination and imaginary pictures.According to the customs of poets at the beginning of his poetical works (Divan)And couplet poems (mathnavi) after the praise of God he prasied the Holy prophet especially the event of his ascension to the heaven and he illustrated this event with poetical descriptions and artistic imajinations.In this discussion we consider these poetical earnings in AMIR KHOSRO s Quint (Khamseh).

Appreciating the characteristics of a work of art will increase the semantic analysis, understanding literary issues, and the knowledge of reader against the knowledge and understanding of the creator of the work of art. AMIR KHOSRO DEHLAVI’s works of art are deemed as the significant texts of Persian literature. Leili va Majnoon is one of his works which is composed as an imitation of Nezami’s Leili va Majnoon. At the first glance, everyone thinks about lovely and lyrical aspects of Majnoon va Leili, but after getting involved in studying the story, the reader finds out that AMIR KHOSRO has adequate amount of knowledge in the field of MYSTICISM, Sufism, ethics, and Islamic education so that such a knowledge was well reflected in his works because since being eight years of age he was interacting with Sheilkh Nezamedding Owliya and he himself had a cautious instinct. His poetry and other works are overshadowed by his clear and knowledgeable nature out of higher religious trainings. This paper deals with the symbols of Shari’ah, MYSTICISM and ethics in Majnoon va Leili couplet out of which the poet draws upon.

Hasht Behesht (Eight Paradise) is a collection of fables in the Persian literature that was written by AMIR KHOSRO DEHLAVI, a 7th century poet. Like Nezami, he has employed seven legends in this work. Fifth legend is about a journey of a curious son of a trader to a phenomenal bath and knowing about its secret is one of these fables that are impressible mystically. In this paper, an effort is being made to study the stages of the journey of the hero of this fable who has been identified here as Salik in the imaginary bath that could be an imagination of Salik himself and hence; open the secrecy. The outcome of this research is that the character in the form of Salik, through his mystical journey come across various and impressible world and utmost acquires a secret that he is unable to expose. As such, he keeps silence and intact his lips from exposing the secret he could get into his hands.

Cheshti is an influential order within the mystic Sufi tradition in India. It has been established as a prominent mystical system. AMIR KHOSROw DEHLAVI, a prominent Indian poet who was influenced by the teachings of this method, has created his own literary works, using his Sufi knowledge of the Chishti way, to explain his mystical views. This descriptive study seeks to examine the mystical aspects of AMIR KHOSROw's fictional Masnavi. Certainly, the most basic doctrines of Cheshti works reflected in this poet's masnavi are: manifestation, unity of existence, revelation, divine providence, love and eternity, emanating of love through the world, virtual love, compassion, lust, Murshid, abandonment, pleasure, and abstraction. Some of these features have been examined in this study e. g., unity of existence, sight, providence, and divine will. The results reveales the fact that the Sufi principles of the Chishti order have had a direct impact on AMIR KHOSROw DEHLAVI’, s works and the terms and expressions of this order have been used to teach and promote the Chishti order.

In this article, similarities among Jami's “Leili and Majnoon”, Nezami's “Leili and Majnoon” and AMIR KHOSRO DEHLAVI's “Majnoon and Leili” are discussed. Having studied these similarities, the present research came to the conclusion that Jami's work was considerably influenced by Nezami's “Leili and Majnoon” and AMIR KHOSRO's “Majnoon and Leili”.In addition to similarities, differences among these three works were also investigated in order to reveal the unique qualities of Jami's “Leili and Majnoon” in contrast to Nezami's and AMIR KHOSRO's works. There are many similarities and differences between Jami's “Leili and Majnoon” on the one hand, and Nezami's “Leili and Majnoon” and AMIR KHOSRO's “Majnoon and Leili” on The other. the first similarity is that in all of these Masnavis, the four classic chapters of praise, opithet, ascension, and the reason of the book organization appear respectively.Furthermore, in all of these works, Majnoon′s name is Gheis, from Bani Amer tribe and is born in the Arabic territory and Leili is from an Arabic tribe but the exact name of her tribe is not mentioned.

AMIR KHOSROw DEHLAVI (725-651 AH.) is one of the most knowledgeable and capable writers and poets and at the same time one of the lesser known figures of Persian literature. AMIR KHOSROw, was born in 1253 in a place called Patiyali, Uttar Pradesh. His real name was Ab'ul Hasan Yamin al-Din KHOSROw whereas AMIR KHOSROw was his pen name. Also known as AMIR KHOSROw DEHLAVI, this creative classical poet was associated with the royal empires of more than seven rulers of Delhi. The life history of AMIR KHOSROw is truly an inspiring one and he is considered to be one of the first recorded Indian dignitaries who are also a household name. Known for his immense contribution in literature and music, this legendary personality was born of a Turkish father and an Indian mother in a village in India. His fame in our time is much less than his fame in his time. The lack of accurate editions of his work and the scant research on his life, writings, and poems confirm this claim. AMIR KHOSROw has tended to innovate in music and rhetoric. He has innovations in these two areas. In the third article of “Rasa'il al-Ijaz” or “Ijaz-e Khosrawi”, entitled "Fi al-Latayf men al-Masnouāt", this poet has spoken about the word ornaments created by him. He also in this article talked about the changes he made in the old word ornaments. Among the authors of Persian rhetorical books, Seyf Jam Herawi, the author of “Jame 'al-Sana'i va al-Aouzan” (before 778 AH), for the first time attributed inventions in rhetoric to him. Also this work has been continued by the Vaez Kashfi in “Badāye al-Afkar fi Sanaye al-Ash'ar” (between 875 and 910 AH.), Azad Belgerami in “Sobhat al-Marjan fi Asāre Hendoustan” (1177 AH.) and “Ghezlan al-Hind” (1178 AH.), and Allameh Shebli Nomani (d. 1332 AH.) in the “Sher Al-Ajam”. Thus, a number of rhetorical inventions have been attributed to this poet. These speech ornaments have Arabic names. This article has been written with the aim of narrating and analyzing opinions about AMIR KHOSROw's rhetorical inventions. The method was analytical-descriptive and based on library sources. First, unknown rhetorical inventions are defined. Then the background of those inventions and similar ones in Persian rhetorical works are analyzed. Because it should be clarified whether their attribution to AMIR KHOSROw is correct or not? The impact of these inventions on the aesthetics of poetry has also been investigated.

Examining into the history of the ancients and looking into the mode of life of the people of the world of today, it seems that one of the permanent necessities of the mankind has always been his adherence to the ethical norms. Such adherence to admirable ethical norms can play a vital role inpersonality-making of each individual and its existential equilibrium as well as the creation of a bondage between the people from all walks of life and the human societies. The scholars and Persian poets have always been mindful of the laudable ethics and of the correction of the ethical abnormalities. Many of them earned the title of 'philosopher'. Their recommendations about the praiseworthy ethics have mostly been manifested in the form of preaching and advice.Ameer KHOSRO is one of the poets whose works on ethical considerations carry due importance since not only his private life is endowed with special features but his poetry and works have also taken on abundantly such characteristics.He is one of the unique persons who had the privilege to enter the courts of kings quite in his prime youth and this affiliation to courts remained intact till last months of his life; and according to some narrative, he had turned to be a follower and wayfarer of “the path of truth” from his very childhood. He had devoted himself to the bondage of a perfect mentor and guru and had remained a loyal devotee to him till his last breath.The person of Ameer KHOSRO, thus, can be a symbol and model for such people who, despite their indispensable attachment to courts of kings, have always remained aloof of haughty and corrupt manners of courts, rather have had maintained this mystic and affectionate demeanour till their last breath and as such have established themselves as paragons for others.In addition, he pays substantial attention towards ethical issues in his works, particularly in his ‘mathnavis’ in which he exhorts praiseworthy and ideal conduct.In this regard, he has composed an enormous body of his verses in the form of preaching and advice.Since a major portion of the preaching is addressed to his children and naturally every human being wishes the most valuable things for his offsprings, as such one can find out the ideal ethics of the poet only by reading between the lines in these couplets. Because of this, the first half of this article deals with the investigation into Ameer KHOSRO's life, while the second half concerns itself about Ameer KHOSRO's advice in which he addresses his progeny.

In this research, the quality of "The MYSTICISM in AMIRKHOSRO DEHLAVI's Matlaolanvar" is taken into consideration and the following questions have been replied.- In what ways the Sufic words and terms are referred in the Matlaolanvar? -How the stages of behavior and dispositions in this book are explained and what is their meaning? We have concluded that Matlaolanvar is a moral mystic book, and the mystical terms have been used genuinely and figuratively. The mystical terms have been used according to their own idiomatic meanings such as, the first group: the stages of behavior like request, poverty, reliance and pleasure, and the dispositions like love, eagerness, and mortality. The second group: the mystical terms have been applied in their figurative meanings.In addition, AMIRKHOSRO has referred to the training elements of Sufism such as purity, ambition, contentment, respecting/obeying a spiritual leader, and other behaviors like seclusion. The branches of the divine knowledge and the moral instructions of the individual and social mystic have also been mentioned in this book.

This article, though very briefly, tries to look at the biography of AMIR Khosru and his master, Nezām al-Din Oliā, glimpse the living environment of AMIR Khoru from a musical aspect, investigate his role in the link between Persian and Indian music, measure the musical characteristics of his poetry based on Persian prosody so as to reveal his mastery in poetry.