Poet use different methods for creation new and deep themes and decoration speech. And speech criticisms named for any of invention ways and decoration utterance, but artistic, sweet and many applied types of poetic strategies that has a record as long as literature and from beginning is seeing in any Rodaki’s poem, it less noticed literary critics. This way is applied alphabet letters in creation themes such as artistic, beauty and exciting way.Molavi is one of the people that blow with benefit of art magic on body of alphabet letters and give them new life. In this writing we decide to revelation how applied alphabet letters for creation themes in (SHAMS)’ SONNET and we point to inventions that Molavi reaches in way. In this opportunity will present with expression invented themes, beauties and artistic applied of alphabet letters too. Research method was description and it happens from library and electronic studies.

Meeting with the Self and reaching its truth is one of the obvious principles of Progression towards God which has been discussed allegorically, symbolically or in detail in many mystical works. What the mystics state in this regard conforms in some cases to what has been stated about the Self and relative concepts in psychology. In the language of Molana, this matter is expressed via several terms and idioms which associate the myth of Narcissus in mythology. Some elements such as water, spring, burrow, face, meeting, seeing the own image in water, etc and their concatenation in Molana’s SONNET bring this myth to the mind on the surface but, looking at the deep structure and semantic aspects of his SONNETs, it seems that the two enjoy different values and are related to the diverse domains of mysticism and mythology.While paying attention to psychological theories, especially Jung’s ideas, this paper aims to explore the traces of the meeting-with-the-Self experience, the signs and forms of its manifestation, and the process of reaching it and elucidate the borders of these two phenomena that one of them is the negation of Being and God’s witnessing whereas the other is the affirmation of Being and narcissism or, in a word, being attracted by outward things, masks, shadows or, in other words, polytheism, infidelity and neglecting the truth. It is worth-mentioning that Freud’s approach to this myth completely opposes it to the experience of meeting and relative mystical notions, and it seems that Jung’s analysis of several elements of this myth is more illuminating.

By reflecting the Persian SONNET and analyze of the amaging elements of such figures, we have notice which whatever helps to lyrics and development of the amagery have been considered. War tools and like such archery as the elements of language. Have a prominent function in figure of Persian SONNETs. Although such amagery elements. By the cause of function that are describing army slaves face and the mood and that attribute of amagerys. By the step of literature and had keep on (continue) their ways in the Persian SONNET. But their function in such special cases isn’t been stoped, and has function in the other amagery field .Rumi in the contract of the other interior poets has a new and creative thoughts to such poems. How and which qualities are, though Rumi’s special thought to archery war tools in the amagery fields and his creative was doing by Which style are the question that this investigation are trying to answer making timeless ties among emotional abstraction and such elements and finding capacities and amagery’s new capacities in this war tools doing Rumi’s innovation and her special idea unique and special paint that Rumi takes to the pictures of his own poems (like other element (fields), in additional to develop ment of verbal rheotoric field, prominents his speech style.

Mowlana’s poetry is significantly different from Persian poetic traditions and the works of other poets. His works convey complex and wonderful meanings especially when they address the experience of disappearance and unawareness. This experience, together with the experience of a revelational context in the opening of speeches in Mowlana’s Diwan, makes some of his dramatizations extremely wonderful. Meanings sometimes become so complicated that one cannot assign a definite meaning to a piece of his work. Unfelt and emotional meanings are sometimes so rich that one confuses the addressor and the addressee. Mowlana’s perplexing mystic experiences have given rise to poems unparalleled in works before and after him. This paper distinguishes two semantic and syntactic forms in Mowlana’s SONNETs and analyses their characteristics. It also attempts to uncover deep meanings in some of his selected poems.

Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of Persian poetry belongs to the lyrical type, a considerable number of Persian debates are also included in this type of literature. In these debates, the poet creates a dialogue or a give and take between the lover and the beloved, and each side tries to convince the other or force him/her to accept his/her opinion by showing his views as superior. Contemporary poets have also used debate extensively in their poems,but instead of boasting and competing with their opponents, they have talked, interacted, and tried to create an argumentative atmosphere. The present study through a descriptive-analytical method tries to discuss the differences between romantic debates in Iraqi-style SONNETs and the romantic debates in contemporary SONNETs as well as the reason for these differences. It has been concluded that contemporary SONNET, due to the political and social changes in Iran and changing views of poets, have moved towards dialogue and conversation,furthermore, it has undergone fundamental changes by altering the position of the beloved and his/ her individuality,In a way, it can be said that contemporary debate SONNETs are different from Iraqi-style debate SONNETs in structure, subject matter, content, gender of the lovers and the beloved.

A real understanding of meaning power (ability) and structural sensibility of a speech which is basically an allusion is depended on both the meaning and concepts and recognizing the structures of an allusion and the ways are used. It is necessary to study the styles and techniques of deepening imperssion and mental, virtual and cultural extension of allusions and their structures for a better comprehension of new lyrics abilities and sensibilities to create a literary enjoyment. In this article to answer the question "How are the allusions made in new SONNET? " by descripting and analyzing the text, structure and types of allusion extension in Simin Behbahani, Manouchehr Neyestani, Mohammad Reza Shafiei Kadkani, Mohammad Ali Bahmani, Hossein Monzavi and Qeisar Aminpour's new lyrics vertical axis are studied. Results show that the allusion used in new SONNET have dofferent structures and they are represented in fifferent ways such as parallel allusions, all-allusion poem, structural allusions, all-allusioned poem, conversational allusions etc. some of which are rare and unexampled especially in vertical axis of imagination. Simin Behbahani, in comparison with other mentioned poets, has applied a variated structure to the allusions. After Simin, Monzavi's creativities are noticeable.

Frooghi Bastami is one of the SONNETeers of the thirteenth century. Having praised the princes of Ghajar for a while, he became the poet of the court of Nasaradinshah.Frooghi's delving into the works and circumstances of great mystics such as Bayazid Bastami, Hallaj, Abolhassan Kharghani and others, changed his life and consequently caused him to be a dervish. He belongs to Return Period in poetry. The language of his SONNETs is eloquent and deft and close to that of Sa' di and Hafez. He has borrowed the lyrical themes of his SONNETs from Sa' di and the mystic themes from Hafez and many of his SONNETs are imitations of their SONNETs. In addition to studying the features of Frooghi's SONNETs, this article attempts to investigate the extent to which he has been influenced by the poets of seventh and eighth centuries.

Monzavi is a one of the main innovators of new Lyric considering the values, outstanding and unique capabilities of classical poetry, he has ornamented his poetry with the techniques and delicacies of the modern Poetry. In composing his SONNET, he has used the techniques and innovations which distinguish the appearance of tradional Lyricisin and created lyric poem in a new Way of singing. This article intends to review innovations and special features of his poems.