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.

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.

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.

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.

Saeb Tabrizi and the name of the Persian poet who in his time had gained great reputation, the reputation is maintained. Saeb lyric poetry, especially the crystallization of the thoughts of his own words with special delicacy served to express the mystical themes, romantic, and ethical, social, philosophical and place an order. In this paper Saeb word bubbles and art in applying this term to express various themes expressed, as well as the aesthetics of the term will be examined. Saeb with the power of his poetry has been able to identify the best possible use, simile metaphor and allegory diverse subjects benefit from word bubbles for speech And the use of the term Saeb more of poets like Khaghani and Hafez and use of this word in his dictionary is more similar to that seen less than similar Khaghani poetry Which reflects the impact of Hafez on Saeb.

One of the most important branches of practical criticism is textual criticism that deals with textual authenticity. This article highlights a single SONNET in both Shams-e Tabrizi"s Complete Works and Khaghani"s Divan. The author first rejects attributing this SONNET to Moulavi as a manuscription fallacy and then goes on to make use of this so-called SONNET to compare and edit a certain word in Khaghani.

Poetry is the creation of beauty using language. The poetr Fettles his/her speech like a bride with imagery and the effects of talk bride. Becomes more and more that it contains high romantic, gnostic and moral concepts. Sa’di in his Sessions (lyrics) speaks simply fluently and richly that is related to his linguistic style. Contradiction and “paradox” are among the literary novel industry that he uses in different forms in terms of structure and concept and given the subject and the objective toward creatiug beauty stating the above-mentioned themes. Sa’di occasionally expresses conteadictary affairs simply and ordinarily in his speech and states a point or reality and occasionally reveals his literary art technically, finely, beautifully and wonderfully, that is, from combining contradictory and paradonical and paradoxical affairs, creates a novele, artistic and wonderful image called “paradox” that is wonderful and taste friendly poetr is involved in defamiliarization using this wonderful literary trick. Therefore, it is considered a kind of marvel, since in marvel, a point, an image or a theme is presented that is against what which mind has accustomed to it in the usual and ordinary state. The contradictions in the lyrics of Sa’di are more than “paradoxes’’ of his lyrics and in general the number of marvrels used in Sa’di `s lyrics is greater than the number of images and paradoxical compounds.

This paper tries to explain the mystical allusions in Hafiz’ s SONNETs according to Islamic thoughts, exclusively in NahjulBalaghah, in descriptive analytical method and use of index cards in library searching, out of various source books, as well as the personal implication of the writer. Some of Hafiz’ s SONNETs taken into account in this paper relate that the spirit of humankind is captured in the cage of body, and of liberated, it will ascend to its authentic source with this idea that the material world is a barrier for itself to get into the world of spirituality and the divinity. In addition, with reference to NahjulBalaghah and verses of the Quran, the SONNETs draw a picture of the process in which the spirit returns to its divine source with a more rational and intelligible explanation to the reader; moreover, grown out of the Quranic school and affected by its cognitive teachings, Hafiz reminds the reader of the detachment of soul from its everlasting source by a very heartfelt narration.