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The spiritual tranquility, freedom from greediness, and independence are old sweet dreams, which are interpreted eagerly and enthusiastically by Muslim mystics in their sayings and writings. They have shown us many ways to actualize these colorful dreams. One of these ways is resort to ‘dying before death’ or ‘willful death’ or in other words ‘annihilation in God’. In this way, before the wayfaring mystic dies naturally or compulsorily, he choose to die to his bodily and spiritually vile life, and will be reborn by the divine and spiritually praiseworthy moral attributes, that is, he is annihilated from himself, and subsists on God. This article tries to investigate and answer these questions: What is the final and actual purpose of mystics’ from ‘willful death’? What are the prosperous effects of this kind of death? What is the source of Muslim mystics? Inspirations in founding and suggesting such a way? Finding a relation between ‘dying before death’ in Islamic mysticism and the concept of Nirvana in Buddhism, and explaining the question of rebirth, which is the other side of‘dying, before death are the other issues to be discussed in this paper.
 

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Among the important issues in literary criticism are the determination of limits of imitation and the expression of their difference with adoption. This paper aims to determine the limits of imitation, to specify related factors and consequences, less noticed in Persian literature, and to recognize creative arts from non-creatives ones. Therefore, in this paper, an introduction about imitation in ancient Greek criticism and its equivalent meanings in Islamic translation including mimic and representation is offered. Then a survey of the relationship between imitation and originality is presented and its limits in modern criticism and formalist criticism is discussed, more over two parts are devoted to the relationship between imitation and imagery and the mutual relationship between imitation and language, as well as, the relationship between intellectual degeneration with lingual degeneration and development of imitation works are dealt with, the last part is devoted to surveying backgrounds and factors in imitative works in Persian literature.

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The reflection of historical events of the 1330s in Iranian calendar, due to their special importance in Iran’s contemporary history, is one of the issues which have always been considered by intellectuals, scholars and committed poets of that decade. Government's dominance and its widespread repression are the most important reasons for the committed poets of 1330s to use symbolic expressions. While Nima is considered as the pioneer of contemporary symbolists, Mehdi Akhavan Salis, who is one of the committed poets, has greatly put this way of expression into focus of attention. The result of this study shows that he has used public and personal symbols to express the events and to inform the following generations about them. The high frequency of personal symbols in Akhavan Salis’s poems reflects his poetic sense and passion to speak of social problems. The study was carried out through a descriptive method and data was gathered and analyzed by library research.

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Persian poetry first entered the Indian subcontinent during the second period of Qaznavid dynasty in the north of India and is mainly reflected in the poetry of such poets as Masoud Saad Salman. The second wave started with the Moghul invasion during which many Iranian scientists, scholars, poets and Sufis moved to the north of India. The result of this mass emigration was the emergence of such eminent poets as Amirkhosro Dehlavi and Amirhossein Dehlavi. During the Baberian period, the third wave took place. During this time, which lasted around three hundred years, India became the center of Persian poetry giving rise to a form that came to be labeled as Indian style of Persian poetry. This article attempts to conduct an in-depth study of three major poets of Indian style: Orfi, Zohori and Taleb-e Amoli. Moreover, it endeavours to show how their innovations in Persian poetry encouraged a host of indigenous Indian poets and the style of poetry that came to be called "Tarz-e-Khiyal", with Bidel-e Dehlavi being the most prominent poet of this style. Thus Persian poetry spread across India until the advent of the British colonization.

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The literature scholars of the subcontinent were the vanguard and the pioneers in various fields in Persian language, such as rhetoric, biography and especially lexicography. Unlike the Iranian literati, they are the initiator and founder of the theoretical basis of lexicography, rhetoric, biography and even criticism to the extent that the theoretical principle of each of these arts can be extracted from the content of the works in each subject. In this article, first we briefly review the development of Persian language in the subcontinent during different periods, and then we discuss the lexicography in the subcontinent and show how effective the subcontinent was in the formation and development of this process. Therefore, we will explore the written dictionaries in India and mark their most distinguishing features. In the end, we point out the important functions of these dictionaries.  

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Undoubtedly, the Indian subcontinent has had an undeniable role in the enrichment and spread of Persian language and literature. It has led to the creation of some lasting works in various areas of literature, especially in Persian rhetoric, works that have been written with a unique creativity and innovation. In this study an attempt has been made to investigate three top rhetoric works in the Indian subcontinent: Jame al Sanay’ wal Awazan by Seif Jam Heravi, Sobhat al-Marjan wa Ghazlan al-Hind by Azad Belgerami and Hadaegh al-Balaghe by Faghir Dehlavi. It has been revealed that these three works in contrast with other Islamic rhetoric works, which have been in part influenced by Greek thoughts, are mainly written based on Sanskrit rhetoric. It has also been found that these three works not only include aesthetic criteria and literary figures, but also contain a kind of pragmatic criticism. Finally, the most significant commonalities of these works have been pointed out.

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Amir Najmol Din Hassan Ibn Alaa-e-Sajzy is a Persian speaking Indian poet of the 7^th century who composed lyrics in Persian language. According to many critics, the fluency, fluidity, and eloquence of his poems make him India's Saadi. His wisdom and knowledge is equal to that of Amir Khosrow Dehlavi who was his companion. He is well-known for his lyrics and since he was influenced by Saadi, passion, verve, and subtlety are noticeable in every part of his poems. By considering this point, we decided to study the imagery of his poems and after careful scrutiny, we found out that simile is the dominant technique in his poems. In this essay, for a better understanding of his ability in making two sides of a simile and determining the originality of his poetic images, we surveyed his collection in terms of structure and subject and concluded that most of his similes are of sensational to sensational type. The important point is that the allegorical type of compound simile is notable in his poems.  About 90 percent of his poetic images are about the beloved and her related characteristics. Accordingly, most of his poetic images have no originality. They are borrowed from previous poets particularly Saadi. The important point is that Hassan Dehlavi by employing various linguistic and rhetorical techniques has presented these over-used images more attractively and has added eloquence to his speech, so that the reader instantly admires him, and this quality has distinguished him from other poets whose language and images are repetitive.  

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The limits of some of the words in the texts of the ancients, in spite of the frequent use and effort of the lexicographers, have not been well defined. One of these words is "ambre gris", which the lexicographers have written only a little information about it, and its old features and uses remain unknown to the reader of ancient texts.
Ambre gris is commonly known for its fragrance and some of its decorative and medicinal uses, while a brief glance at Arabic and Persian poetry and prose texts shows that this material has been used in the lives of ancestors more than we can imagine and has been the subject of numerous poets and writers' themes.
In this article, by studying literary, commentary, historical, scientific, etc. books in Persian and Arabic poetry and prose as much as possible, the evidence for the use of this word has been collected and analyzed.
This article discusses ambre gris mines and how it is created and the various theories about it, the types of ambre gris and its best type, the forms and how to use the ambre gris, the various uses of the ambre gris, the use of the ambre gris in the names, as well as the jurisprudential rules of the ambre gris.