Amir Khosrow Dehlavi (725-651 AH.) is one of the most knowledgeable and capable writers and poets and at the same time one of the lesser known figures of Persian literature. Amir Khosrow, was born in 1253 in a place called Patiyali, Uttar Pradesh. His real name was Ab'ul Hasan Yamin al-Din Khosrow whereas Amir Khosrow was his pen name. Also known as Amir Khosrow Dehlavi, this creative classical poet was associated with the royal empires of more than seven rulers of Delhi. The life history of Amir Khosrow is truly an inspiring one and he is considered to be one of the first recorded Indian dignitaries who are also a household name. Known for his immense contribution in literature and music, this legendary personality was born of a Turkish father and an Indian mother in a village in India. His fame in our time is much less than his fame in his time. The lack of accurate editions of his work and the scant research on his life, writings, and poems confirm this claim. Amir Khosrow has tended to innovate in music and rhetoric. He has innovations in these two areas. In the third article of “Rasa'il al-Ijaz” or “Ijaz-e Khosrawi”, entitled "Fi al-Latayf men al-Masnouāt", this poet has spoken about the word ornaments created by him. He also in this article talked about the changes he made in the old word ornaments. Among the authors of Persian rhetorical books, Seyf Jam Herawi, the author of “Jame 'al-Sana'i va al-Aouzan” (before 778 AH), for the first time attributed inventions in rhetoric to him. Also this work has been continued by the Vaez Kashfi in “Badāye al-Afkar fi Sanaye al-Ash'ar” (between 875 and 910 AH.), Azad Belgerami in “Sobhat al-Marjan fi Asāre Hendoustan” (1177 AH.) and “Ghezlan al-Hind” (1178 AH.), and Allameh Shebli Nomani (d. 1332 AH.) in the “Sher Al-Ajam”. Thus, a number of rhetorical inventions have been attributed to this poet. These speech ornaments have Arabic names. This article has been written with the aim of narrating and analyzing opinions about Amir Khosrow's rhetorical inventions. The method was analytical-descriptive and based on library sources. First, unknown rhetorical inventions are defined. Then the background of those inventions and similar ones in Persian rhetorical works are analyzed. Because it should be clarified whether their attribution to Amir Khosrow is correct or not? The impact of these inventions on the aesthetics of poetry has also been investigated.

Amir Khosrow Dehlavi is one of the creators of Hindi Style who had an important role in its development. All of the features that have been compute ting by literarians and critics during two centuries after the stabilization of Hindi style, could be observed in the poems of Dehlavi: This research is studying the most prominent rhetorical characteristics of Dehlavi's poems that have a close relationship with Hindi Style based on his Divan.

Narrative literature has long history in Iran. The folk fictions and myths used to have entertaining aspect and re-narrated and mixed with some historic events. Amir Khosrow Dehlavi's innovation and skill have changed 'The Shirin and Khosrow' to a masterpiece in the classic narrative literature. This literary work which from one point of view is in the category of story literature, has a lot of artistic corners and manifestations which deserve to be investigated. The research method is mostly in need of European literary criticism, especially the views of Russian and French structuralists and more than all relies on Theodorof’s narrations who has talked about the genre of the narration of 'The Shirin and Khosrow'. A collection of numerous characteristics puts 'the Shirin and Khosrow' in the ranks of stories that lack psychological issue.

Blending of mysticism with Persian literature have enriched the language ever after. Enormous use of mystical concepts and subject by mystics and mystical poets have paved the way for researchers and have protected such valuable assets. Accurate knowledge and introduction of poets and their thoughts occurs out of their works they have left behind. Amir Khosrow Dehlavi, known as Indian Saadi and Indian Parrot, is a mystical poet of Persian speaking in Delhi, India, and is famous for his hardworking poetry works domestically and overseas, especially in Indian peninsula. He has left numerous poems and couplets behind. But his quintet poems due to his dexterity and the fact that he is among the best verse theoreticians, it is worth studying. Since Amir Khosrow had his learning on mysticism under the supervision of Nezamuddin Owlia, a chief of Cheshtiyeh Sheikhs, and used to be the best follower of his Sheikh, his mystical viewpoints and perspectives can guide us on a better understanding of practical mysticism. This paper tries have a survey on the expressions and mystical points that mostly noticed by Amir Khosrow Dehlavi.

Among the books of Amir Khosrow Dehlavi, the famous Indian thinker and writer, there is a book that has serious differences with his other works, and it is really brilliant. This book is called " Dolarani and Khezer Khan ", despite its great cultural and social significance, it is an anonymous work in Iran. In this work, Amir Khosrow, while telling a love story, has briefly narrated how Islam was spread and expanded by the kings of the Ghori dynasty in India. There are important sources from the spread of Islam to Iran, but perhaps we have read and heard less about its spread to other countries, especially those with strong indigenous and patriotic civilizations. In this work, while narrating one of the Indian emotional stories, special attention is paid to the changed social, political and even cultural conditions of that time in India. The purpose of this study is to introduce and recognize this lesser known but important work, and to recognize the content by emphasizing its social paradigms. Documentary and library methods have been used to obtain the results. Findings show us that the new religion has changed some of the beliefs, traditions and social rituals of the people of that land, such as marriage in a Muslim way, attention to marriage and family formation within a group, and so on.

Amir Khosrow Dehlavi’ s Majnoon and Leily is one of the poems written after Nezami’ s Leily and Majnoon. The core themes of this work are different from the narration of Nezami’ s Leily and Majnoon, which shows that Dehlavi was not completely faithful to Nezami’ s narrative. This study investigated the speed of narration in this poem using descriptive-analytic method. This research utilized the model that criticizes Gennet's views based on classical texts of fiction poems presented in one of the research articles. The results showed that the core themes of the Dehlavi’ s narrative were less than the ones in Nezami’ s narrative. Most kernel features of the poem under analysis are reported at high narrative speeds, while only three kernel features are reported at slow narrative speeds. In these three themes, characterization and the appropriateness of the environment, time, etc. are processed in light of Majnoon’ s character. The richness of the text is placed in the same three themes that are interrelated in such a way that the first leads to the second and the second leads to the third. It seems that Dehlavi's main goal was to process these three themes in his work and the other themes have been mentioned upon necessity and in order to observe the causal plot of the story.

In the present research, according to the oldest resources such as historical resources and documents as well as credible researches of this type, the historical context of the lyrical story of ‘Khosrow-Shirin’ has first been studied. Then, among historical issues such as story beginnings, conspiracy of Bahram Choobin and escaping of Khosrow Parviz, the end of Bahram Choobin, the story of ‘Treasure of the Wind’, kingdom of Shiruyeh, the end of Khosrow Parviz, and finally the way Shirin died which are mentioned so many times in several historical resources, this story’s lyric grounds have been reviewed in two lyrical poems of ‘Khosrow-Shirin’ by Nezami and ‘Shirin-o- Khosrow’ by Amir Khosrow Dehlavi. The final result obtained suggests that in this lyrical poem, Amir Khosrow was committed to the historical pattern more than Nezami was. Nezami makes strong bindings for his lyrical poems from historical framework and instead of paying attention to historical details, he pays attention to myths and wisdom and advice and beautiful poetic and lyrical descriptions. But Amir Khosrow, despite some researchers’ opinion, has paid attention to historical resources, and though, according to he himself, he has never reached Nezami’s level, he has attempted to be an innovator among other imitators of this great lyrical art, while keeping himself away from Nezami’s historical and legendary pattern.

Abul Hasan Amir Khosrow Dehlavi, a famous Persian-speaking poet and mystic of India, was born in 651 AH in India and died in 725 AH in Delhi. Amir Khosrow's importance in Persian literature is largely due to the fact that he was the first follower of Nizami Ganjavi's Khamseh and he was the best at following this tradition. Although the subject of Amir Khosrow's Khamseh stories was also chosen in imitation of Nizami, among his Masnavis, "Deval-Rani and Khizr Khan" has a special subject and is a true and historical love story that is different from his other stories in terms of structure and content. The structure of expression is a whole; that is, its components have internal harmony and correlation. In the final analysis, the elements of a structure no longer have an independent life and development; Since they are placed within the structure or system, they find new functions that are subject to the rules and regulations that also determine the structural pattern of the work. In this article, we sought to examine this system with the teachings of structural and content analysis. The result is that the end of this story shows a great difference from Propp's final functions; Amir Khosrow Dehlavi's type of narrative has a remarkable ending that, unlike the narratives examined by Propp, does not end with marriage, a happy ending, and receiving a reward. The end of the story is not only physical death, but also the death of the ideal of love, morality, and humanity in the face of power, and this is the great point of difference between the story and real life.

Conceptual metaphor is one of the fundamental categories of cognitive linguistics. In cognitive theory, metaphor, as a phenomenon in the whole of language, is not exclusively oriented in the language of language. Conceptual metaphor is the only language that is not merely related to words, but is a process of human thinking. In conceptual metaphor, a conceptual domain is understood on the basis of another conceptual domain. Metaphor has rendered language from rhetorical rhythm to the level of means for deeper thought and supreme recognition. Considering the fact that Amir Khosrodehlouy is one of the most important indices in the classical Persian and Indian literature, according to the contribution In his development of sonnets, this paper examines the conceptual metaphor of love in the poem of Amir Khosrow Dehlavi. At first, a detailed account of the life of the Amir Khosrodehlouy, the definition of sonnets, conceptual metaphors, and, finally, the metaphor of love in the poetry of Amir Khosro Dehlavi. Because the concept metaphor has two moves from origin to destination, in two directions, vertical or horizontal, then we divide the metaphors according to the types of movement from origin to destination. Then we come up with their cognitive analysis, and in the end we conclude that the metaphor of love, with different themes, has been used in the poetry of Amir Khosrow Dehlavi. Amir Khosrow Dehlavi has been able to bring new meanings to love in two ways, the transfer of meaning and the change of meaning. And make a special symbol of it, and letting the reader to get more meaningful words by giving a suspension in the meaning of the words.

. Mehsti-Ganjoy's entry into this arena and the invention of trade union riots in the form of a quartet brought with it different critical reactions, which share one point of view, that is, the masculinity of the language of Mehsti's riots. The main issue of the present research was to prove the existence of women's language in the city of Mehsti Ganjavi riots. To prove this issue, Morris Grammon's induction theory was used in comparing the types of repeated consonants and its induction type in the cities of Amir Khosro Dehlavi and Mehsti Ganjavi. In this research, the variable of gender, based on the traditional view and cultural stereotypes regarding male and female roles, has been measured and these results were obtained: the type of induction of consonants in all groups (obstructive, shrill, rwan, abrasive, demshi and half-voiced) In the riots of Mehsti and Amir Khosro Dehlavi, they are significantly different from each other and are completely opposite to each other. The introduction of all kinds of consonances in Dehlavi's poetry tends towards the speed of speech, the superficiality of emotions, violence and sharpness, and the triumph of sounds and words. From a position of power, Dehlavi addresses the audience/lover of his riotous city with full frankness, overbearing and contemptuous. The characteristics of these inductions are fully adapted to the gender of the poet and his cultural and social freedom and customary extroversion. On the contrary, the introduction of consonants in Mehsti's chaotic city shows the poet's introversion, conservatism and caution, and in every way he has a tendency towards softness, gentleness and caressing, which are also compatible with Mehsti's gender. Therefore, it can be claimed that the poetic language of Mehsti riots, contrary to popular opinion, has a high percentage of femininity.