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.

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.

Hajj is one of the most glorious rituals annually held in Mecca. Studying this holy ritual introduces several cultures and myths to us. In spite of its religious roots, Hajj has been a time to enjoy material life for some Muslims.For some poets, it was a time to find a mistress among the women pilgrims and to compose some love SONNETS. This article attempts to study the social roots of such a tendency among some Arab poets. This was rooted in the socio-cultural context of the pre-Islam era, also known as Ignorance era.However, it continued after the emergence of Islam as well. More specifically, the pre-Islam era and the Umavid-era up to sixth century (AH) are focused on. It seems that it has served different functions including being a religious pilgrim and a happy festival wherein artists performed their artistic abilities and skills. Among the poets, we can mention Umar bin Abi Rabie and Sharif Al-Razi. The love affairs near Kabba, the dating with the mistresses, and the prayers of the pilgrims with God are among the themes of these SONNETS composed during Hajj.

The meters of a poem is like a form that a poet gives it soul and life: and wear it a cloth of word. So it would be Possible that a unique meters in two Poet9S book with different Styles and taest looks different. Because of a limitation in poetic meters we can more understand the power of great poets like Hafez in this article we will talk about Some subjects of Hafez poem music:One of the notable properties of Hafez poems is the music of his poems and their meters that makes his poems to be different from others which is the secret of his chamer poems.Another subject that we are going to talk about is the most abundant meters in his poem book and the study of poems and their meters and comparison between Hafezs poems and other poems of other. Great poets that have the same meters.

BACKGROUND AND OBJECTIVES: Ghazal is one of the most common formats in Persian literature and it is rare to find a poet who has written a ghazal. Esmat Bukharai is a poet of the Timurid period and one of the lyricists of this period who wrote beautiful romantic and mystical lyrics. In this article, we have analyzed two hundred SONNETS of Esmat Bukharai from the three perspectives of linguistic, literary and intellectual style. METHODOLOGY: Considering its theoretical nature, the current research has been conducted based on library and electronic studies and in a descriptive-analytical style, and the target society and scope is Diwan Asmat Bukharai by Ahmad Karmi. FINDINGS: Based on the findings of this research, Esmat Bukharai"s poetry, compared to other poets of his time, does not have thin imaginations and complex and slow-to-understand themes. His poetic language is simple and fluent and there are no significant slang terms and interpretations in it. In his SONNETS, he has used mystic and Qalandran themes. CONCLUSION: The poet has used calm and heavy weights and brook like (Raml and Hazaj) which are suitable for pleasant romantic themes and express the feelings of the poet in sadness. He has shown special attention to rhyme and lines, and his SONNETS are almost free of rhyme defects. He has refrained from bringing heavy and abandoned Arabic expressions. Ismat Bukharai has used sensory to sensory and intellectual to sensory similes a lot. Metaphors of innocence are not far from the mind and can be seen in ancient poems. Hints also have a special place in his poems, but innovation is not seen in them and it is repetitive. The main theme of his poems is love and the separation of the beloved, and the burning and burning caused by this love. It also contains lyrical and mystical themes and it is like the predecessors in war and controversy with Zahad the hypocrite.

The classification of various kinds of poems is one of the important issues in genre studies. The SONNETS of Sanaei are amongst the rare instances which have also been classified in manuscripts and the very poems have been inserted in the writings of correctors and other Sanaei researchers. Critically exploring the past classifications, this paper tries to propose a new model according to which the SONNETS are classified into two structural and content levels. At the first level, they are categorized into four groups and, then, it is revealed that amongst them simply some parts can be named as sonnet and the rest are sonnet-like providing the ground for the genesis of the sonnet. At the content level, the SONNETS are categorized into description-oriented and advice-oriented each of which enjoys several sub-categories. This model can show both the role of Sanaei in the evolution of Persian sonnet and provide an almost clear image of the structure and motifs of SONNETS.

One of the beautiful aspects of Orfi's SONNETS is their images. Thus, this paper tries to reveal the imagery elements of Orfi’s SONNETS. Therefore, such elements like simile, irony, figure, metaphor, paradox, and synesthesia have been analyzed. In the realm of similes, Orfi has more often used concise simile and eloquence. Such images are abstract, intellectual and tangible. Orfi’s similes are various in structure. The subject of the likened is often the poet, the beloved and abstract concepts, and the subject of that to which a thing is likened is often non-abstract elements, like nature and objects. Of different kinds of metaphor, irony and personification arrays are more frequent and also creative. The componential elements of his imagination from the viewpoint of the thing metaphored mostly include nature and objects and from the viewpoint of that to which a thing is metaphored the beloved and the poet.In his SONNETS, he himself is the predominant element in making abstract concepts distinct.Verbal metaphor is another feature of his imagery that is manifest in lines or verses. Paradox appears in the form of explanation or predication which is used less in comparison with previous elements; synesthesia limitedly appears in connecting two apparent senses with each other or an apparent sense with a mental task.

Paradox is one of the manifestations of the beauty of expression in literary works and it is considered as one of the highest methods of artistic unfamiliarity that causes the word to deviate from the normal state and has a significant impact on the audience. This literary art may be used as a phrase or combination. The main question of the present research is how Zahed Tabrizi has used paradoxical expression in fertilizing his poetry, and in what ways he has shown the beauties of this art in his beautiful lyric poems. In ascetic poems, paradox in connection with rhetorical arts and aesthetics, metaphor, simile, two-dimensional image, irony, permissiveness, ambiguity, and exaggeration are mixed and the beauty of the content and expression of his poetry is doubled. At the same time, he has mostly used paradoxical compositions to reflect his intentions. The method is descriptive-analytical and is based on library sources. Introduction Paradox is one of the most innovative and the most prominent poetic and literary tricks: "Beautiful and Very shrewd Technique" (Vahidian Kamyar, 1997 294). It is undoubtedly a rhetorical factor “which raises the basis of speech and increases the appeal and pleasantness of the speech" (Rastgoo, 1989: 29). The poet achieves another universal creation by escaping from the logic governing the universe. That is, the desired and imaginative world, which is not possible in the realm of causality system, is made in poetry. " (Diggs, 1987: 256). "Indian style poetry is a theme poem, not a subject" (Shamisa, 1995: 298), so the poets of this style seek to use tricks to create new themes and what better way than paradox can be effective, so " the use of paradox and the creation of paradoxical images is one of the most important factors in the attention and interests of poets of this style. " (Ismaili and Hassanpour, 2016: 12) Experts of the contemporary period also believe that one of the prominent expressive features in Indian style poetry is the use of paradox by poets of this style. (See Shafiee Kadkani, 1992: 57). Zahed Tabrizi is one of the speakers of Indian style who stands out with the paradox of the word and causes surprise and happiness, and with pleasant bites of "Double Scissors" ". (Fotouhi, 2006: 329) The paradox makes the resident mind move and by creating sweet surprises, it pours the wine of knowledge and mysticism into its soul. In all the paradoxes of the Zahed Tabrizi, mystical concepts and the spiritual lover appear. However, many expressive and original beauties can also be found within the paradox, so the main research questions are: How has paradox caused surprise and beauty in the poetry of Zahed Tabrizi? How is paradox used in Zahed’s SONNETS? In the paradoxes of Zahed Tabrizi, which expressive and novel industries show themselves? 1. 1. Research methodology After collecting verses from the Divan of Zahed Tabrizi's SONNETS in which the paradoxical technique of façade has been used, the author referred to the sources and articles related to this subject such as articles "Studying the reasons for increasing the frequency of paradox in Indian style" (2016), From Esmaeili and Hassanpour, in this article, the authors have considered the reasons for the high paradox in the Indian style, as well as an article by Goli and Bafekr titled: "Paradox in Saeb's Poetry" (2008), which explored the paradox in Saeb's poetry, the article "Aesthetic Paradoxical Techniques" (2016) from Bafekr, which examines the types of aesthetic paradoxes and its structure, and the article "Paradoxical Methods in Sanai's SONNETS " (2018), Mahdinia and Sattari show the function of this rhetorical element in Sanai's SONNETS, as well as the books of rhetorical techniques and the culture of words, phrases and ironies that are not far from the author's point of view. According to the sources, he gathered materials to make his analysis reliable and realized this research by describing theoretical concepts and analyzing poems. Discussion The paradoxes of Zahed Tabrizi's poems can be divided into two groups of phrases and combinations in terms of structure, and each of these two types has its types. Sometimes paradox is used in the concept of a hemistich or stanza as a phrase or image and interpretation. These types of images have more artistic and aesthetic value than the combined paradoxes, which is abundant in the poetry of Zahed Tabrizi like being a stranger in hometown (Zahed Tabrizi, 2010: 54, ), alone in circle (Ibid: 54), and…. Paradoxical expressions and compounds in Zahed Tabrizi's SONNETS include two types: The content paradox is the discourse that lies behind the ordinary appearance and in accordance with the custom of truth as opposed to that appearance. Aesthetic paradox: This kind of paradox has nothing to do with contradictory content and concepts,That is, there is no contradiction in the meaning, but there are words in it that contradict each other in one sense and are not contradictory in the other. (Vahidian Kamyar, 1997: 284). This kind of paradoxical view based on expressive methods Such as similes, metaphors, two-dimensional images and irony, and novel methods like ambiguity, exaggeration and rejection, and the image are seen in Zahid’s SONNETS. Conclusion In addition to using a paradox to express his thoughts, Zahid has not neglected the beauty of this art. In investigating the types of paradoxes that include expressions and compounds, Zahed has used conflicting phrases more because they have more art value and aesthetics than conflicting compounds. In paradoxical expressions, zahid's attention to highlighting the word and beauty of expression is more than its content. To achieve this goal, the basis of the work is in relation to rhetorical sciences such as metaphor, irony, Iham, exaggeration and similarity, especially the metaphor (hidden), and he expresses it with allegory. Most of the paradoxes in Zahid Tabrizi's SONNETS are based on the simile in the aesthetic field of Conflicting phrases.

Irony as an indirect and reflective expression of various issues, while improving the artistic and creative aspect of literary speech, gives the poem and writer the opportunity to convey difficult meanings and themes with a well-known, yet attentive, and artistically appealing tone familiar to the mind of the audience to be transmitted and internalized. In this study, first, after a brief look at the views expressed on the irony as well as its artistic values and literary functions, the qualitative and quantitative aspects of irony in Shams’s SONNETS were studied. The results of the investigations revealed that Mowlana used a high frequency of near ironies in his poems. One of the reasons for this can be the simplicity and use of the poet's clear image as well as the result that the Rumi’s reliance on the meaning, not on the form. Moreover, the generality of Mowlana’s audience made the long mystical concepts to be appear in plain terms.