According to the rhetorical writers, imperative statement is indicated as a command or asking something by a superior position and it intends to order the addressee; moreover, imperatives deviate from their real meanings and the speaker uses them for other purposes such as reform, request, desire, imploring for mercy etc.This paper aims to survey the secondary purposes of imperative statements in SAADI’S SONNETS (Ghazals); it shows that Saadi applied them for different purposes and rhetorical intentions with different range of uses. He is a poet who used the capacity of the language to convey the minute details and goals of rhetoric. The survey is a fundamental research based on the descriptive-analytic method and the results have been analyzed contextually. Statistical society is 714 and the sample size is 238 based on Cochran’s formula arranged in random sampling. The results show that Saadi paid attention to the secondary purposes in 32 SONNETS and his purposes exceed the range of purposes mentioned in rhetorical books.The high frequency of purposes include respectively: request and desire, reform, imploring for mercy, persuasion, affliction, and appeal. The statements and their different purposes were included in imperative sentences simultaneously by the speaker.

Evolutions and their reflection in aspects of the society are as pivots of the system moved parallelly, from ancient time, political and social evolutions in society have reflected nearly in culture and literature of society. The modern era started in Iran since constitutional era (awakening era), in addition to political area and sovereignty, it manifested in literature of the Iran in that time. Some of poets who played a role of undertaker and didn’t ignore problems, deficiencies and today’s issues; they looked forward to systematic and influential innovations in development of literary modernity in Iran. Poets knew new horizons opened for audiences of this era and they believed evolution and literary modernity due to disconformities existed in ancient literature and modern perspectives. In the modern era, they knew Saadi (SAADI’S works) as a complete representative of the Persian ancient literature; therefore, we witness criticism and biases to great extent against his works and thoughts. We have analyzed reader’s reactions toward SAADI’S works and thoughts by Hans Robert Jauss’s Horizon of Expectation theory who is one of the founder of the school of reader-centered criticism. Therefore, in each era, the audiences’ horizon of expectation changes in society with regard to status que in the society and the most important reason of the literary isolation in SAADI’S works (SAADI’S SONNETS) in modern era is the same disconformity of the audiences’ horizon of expectation with Saadi's works and thoughts.

The author of this study believes that the love SONNETS of Saadi are highly affected and impressed by the imagination of Ozri Arab poets especially Majnoon on love and captivation. In general, if we consider the eminent Persian or Arabic SONNETS of Saadi as a criterion for making judgment, it is revealed that the love represented in SAADI’S sonnet is in fact an Ozri love. The primary purpose of this study is to indicate some of the elements of such influences on SAADI’S poems attributed to Majnoon in terms of meaning and form. It can be realized that some of the poems of Saadi about Leili and Majnoon have been directly influenced by the Arabic poems of Majnoon; a point that none of the earlier researchers of Saadi have focused on.Subsequently, the study defines and explains the characters and various steps of Ozri love and its induction on SAADI’S SONNETS. The author believes that “Hobbe-Ozri” (Ozri love) is in fact the main origin of many subjects and issues in Persian poems such as the purity of love, love before birth, love after death, union with God in the resurrection and so on. Hence, the knowledge of “Hobbe-Ozri”, and Ozri’s poems can significantly extend our knowledge of fundamentals of aesthetics in SAADI’S SONNETS.

Researchers in the recent years, from among two things have accepted one and rejected the other.The first one is Saadi truthful and honest about the stories, adventures and memoirs relates which to himself? Or not.The second one is whether SAADI’S birth date which we (researchers) have guessed at and accepted with a lot of doubt, is just the same date of his birth? Or not.Because researchers have accepted their doubtful words, they relate all stories, adventures and incidents which Saadi says and claims about himself, to unbelievable, imaginary memoirs or poetrical fanciful theories.Indeed, they have destroyed and uprooted the very basis and foundation of the building, and covered its roof and ceiling with painting and pictures.This article tries to discuss a logical date about SAADI’S birth and to clarify some corners of his life, his manners, behaviours and treatments, as they are and he himself claims , while believing that every thing which he says or writes about himself is true. As a result, it will be the first steps and a production for a new biography and a real report about Saadi, the great.

Regarding discourse features, story-telling and way of thinking, Saadi's mind is of a symmetric nature. This, in itself, causes him to put his thoughts down clearly, logically, reasonably, and pleasurably. This article is about to examine dimensions of this subject in SAADI’S Gulistan. The symmetries we are studying include those symmetries available in the name of the chapters, the structure of the stories, the syntactic and semantic constituents, the characterizations, and finally the figures of speech such as antimetabole contrariety, meta-thesis, and simile. Based on the findings of this research, it is clarified that Saadi takes high advantage of different kinds of syntactic and semantic symmetries in the linguistic, semantic, stylistic and narrative level without letting it result in complexity. SAADI’S fervor for rhythmical and melodic prose could, also, be credited to his symmetrical mind. The subject at hand will be exemplified and clarified along this article through an optimal magnitude of examples extracted from Gulistan. It should be noted that except for some sporadic researches in this case, the subject hasn’t been directly come under the light of analysis so far. Consequently, there feels to be a critical must for further research on this case, as well.  

One of the most important factors which forms the literary content of a poem is the poet’s cognition and views about fatalism or free will. With this approach, drawing a conclusion becomes difficult because sometimes the poet reveals himself as a fatalist and sometimes talks about free will. Nowadays, cognitive psychologists describe poet’s dual approaches according to attributive styles. Psychologists believe that those who stick to fatalism have external control place and those with free will tendency have self control place. SAADI’S cognitive elements in his qazals include the place of internal and external controls as well as the cognitive errors which are the results of his control. The place of everybody’s control shows the person’s self esteem in controlling the events or his belief in destination, chance and uncontrollable factors. Cognitive errors include erroneous beliefs and self-made rules as well as the person’s mistakes. This study tries to prove that Saadi has his control places, and his cognitive errors have not only deviated him but have all been organized and controlled by him. Two cognitive errors which have been analyzed in this study are two-dimensional thought and tragedy creating. In a two-dimensional thought, the poet accepts his beloved with perfect love and passion; there is a perfect love without any defect. Tragedies are resulted from dual thoughts, and that means tragedy because of not having beloved. Since the two mentioned errors have been used by the poet as psychological elements, they have been named cognitive challenges in the present article.

SAADI’S poetic language, described as simple but impossible is formed by juxtaposing numerous elements the most significant of which is musical rhythm. This musical quality has many known devices such as rhythm, internal and external rhyme, harmonious cadence (synonymy, homophony, oxymoron), and some rhetorical figures such as pun, cadence, and contrast are effective in its formation.  Recognizing these devices, will assist researchers to unravel the mysteries hidden in his poetic language and diction, and to appreciate the relationship between sound and sense in his poetry. In this article an attempt is made to illustrate how the musical quality is achieved through the various devices used in 200 selected lyrics of Saadi.

Comparative literature is a branch of literature which examines various types of literature among different nations of the world, and it compares various literary texts of different fields such as aesthetics, stylists, and literary criticism, and it finds similar and different aspects of them and manifests them to the readers through which it defines the extent of influence and impacts of various types of literature among various nations’ literature. Iran and Afghanistan have literary exchanges since old times and both countries accompanying one another have common rulers in some periods of time during the course of the history and they were regarded as a same country. In the present paper, we would point to stylistic, aesthetic and belief similarities of Hafiz and Ayesheh Dorrani and the extent of influence of Hafiz on Ayesheh.Ayesh was one of the followers of Hafiz who versified in Iraqi style and she borrowed some of her themes from Hafiz.

Introduction During the 6th century, Nizami was a well-known poet who had a significant impact on the emergence of the Persian sonnet, especially in its romantic variation. Although Nizami gained widespread fame and admiration, many of his SONNETS have been disregarded. Comparable to other Persian poets, Nizami composed SONNETS on specific occasions in addition to his celebrated poems, which frequently delved into subjects like love, being, and inebriation. Many articles have been written about Nizami's poems, but his SONNETS have not received as much attention from scholars. Some researchers may believe that his SONNETS are not as worthy of analysis compared to his Khamseh, or they might not consider them significant enough in terms of form and content. However, Nizami has exhibited his extraordinary artistic talent in crafting SONNETS, much like his exceptional Masnavis. His careful word selection, artistic imagery, and suitable concepts have resulted in delightful and captivating poems that have garnered praise from prominent figures in Persian literature. The concept of intertextuality, which explores how different writers' works influence each other's ideas and perspectives, is currently a popular topic among scholars.  Methodology      Given the similarities in intellectual and language style between Nizami and Hafez's poetry, it is worth investigating the connection between their SONNETS and other literary works. By examining Hafez's poetry, especially his SONNETS, it is evident that Nizami's SONNETS have influenced Hafez's literary style in various linguistic categories. Intertextuality plays a crucial role in the formation of texts, and it often creates a variety of voices and dynamics in a text. No text can be completely independent of intertextuality. Therefore, poets and writers can draw inspiration not only from previous works but also from their future works. This inspiration can manifest in different forms, such as structure, framework, external structure, word choice, sentence structure, or even descriptions. Despite Hafez's exceptional poetic skills, he still incorporated the words and ideas of his predecessors into his work, and Nizami was one of the poets who significantly influenced Hafez's work. By examining Hafez's poetry, we can comprehend how Nizami influenced both the extratextual and intratextual components of Hafez's work.    Discussion"Extratextual communication" refers to the external relationship between texts. By comparing texts, we can identify these connections that exist outside of the texts themselves. This type of connection is the impact that one text has on another in terms of structure. This can be observed in the SONNETS of Hafez and Nizami, where the influence of Nizami on Hafez's SONNETS is evident due to the strong connection between them. While it's possible that Hafez was influenced by other writers, it's essential to identify the most impactful factors that played a role in shaping his work. This type of similarity is primarily found in the musical dimension of poetry, such as weight. However, sometimes the thematic content of the verses can also play a role alongside the musical and phonetic aspects. The following are some examples of intertextual signs that can be observed in both the internal and external aspects of certain verses written by the two poets: the use of the same weight and rhythm, the same format and rhymes, common vocabulary and combinations, similar similes, and common themes.The term "intratextual communication" refers to the relationship between different parts of a text. In this context, it pertains to the influence that certain words and their meanings have on each other within a text. Sometimes this influence is accompanied by musical harmony, while other times it is not. Here are some examples of intertextual signs that can be observed within the inner aspect of the verses written by two poets: the use of similar allusions, common images, shared similes, comparable interpretations and descriptions, and debates. ConclusionA thorough analysis of Nizami and Hafez's SONNETS illustrates the degree to which Nizami's poetry served as a source of inspiration for Hafez. Hafez ingeniously utilized Nizami's poems to craft even more exceptional and articulate verses, showcasing his own creative prowess. The study's findings indicate that: 1- The interaction and correspondence between the texts of these two poets is not only based on linguistic and semantic aspects, but also due to the similarity of cultural context and shared stylistic features, which can be observed in both intra-textual and extra-textual communication. 2- Hafez was influenced by Nizami's SONNETS in terms of their weight, rhyme, line structure, and other musical components. 3. There are evident connections in the field of intra-textual communication (infrastructure) between these two poets, including themes such as love, ruins, etc., which were influenced by the prevalent lyrical literary traditions of their time. 4. In some instances, Hafez incorporated Nizami's verses into his own work with little to no modification.