The subject of literary genres and Persian poetry is one of the important debates that has not yet been properly represented or scientifically examined and analyzed. Lyrical literature is the most widely used type or genre in Persian poetry. In the twentieth century and following the profound changes in the foundations of contemporary Persian poetry, lyrical poetry appeared in another form called the school of Romanticism. Then, with the loss of old lyrical genres, it has acquired new aspects and structural and content types. Therefore, this qualitative research has reviewed and examined the definitions of lyrical literature and its evolution with a descriptive-analytical method. In another section, the course and extension of lyrical literature in the form of the all-encompassing and "extended" school of Romanticism has been studied and represented. Also, the way Iranian and Western critics and experts perceive this type of literature and its changes have been analyzed in this research. Moreover, due to the change in the view of this type of literature and the elimination of its classical types (satire, riddle, conundrum, habsieh-prison letter, praise, etc. ) in contemporary poetry, it is worth researching the connection between the emotional mind of contemporary poetry and romanticism with this type of literature. It is good to know what a new look Romanticism has given to lyrical poetry and what dominant and repetitive developments has created in this type of literature. On the other hand, since Persian ghazal has been considered as a full-fledged mirror of the type of lyrical literature, by studying the lyrical mentality of the new lyric poetry, new and different components should be found in contemporary lyric poetry.

Ghazal (sonnet) is one of the major forms in the Persian Poetry. Still, the foundation, development, and its various types constantly invite and encourage the researchers towards further studies and contemplation.This research initially offers a new definition on poetry and the narrative Ghazal. Then its various types are recognized and divided within two approaches; the formal-structuralism and the contextual-conceptual approach which are the old literary divisions and forms. The other part of the research is devoted to the origin of the Persian Ghazal and the varieties of opinions are discussed.According to the findings of this research which are supported by some of the Persian poems, the origin of the narrative Ghazal can be surveyed with two attitudes; both in lyrical and also the sonneteer's field of approach. Its different types can be divided on the basis of structure (with the three genres including the narrative, the dialogue, and description in mind), and the content (with social, historical, mystical-cognitive, elegy, trip journals,  life stories and etc which are among the subdivisions of the structure of narrative).At the end, the positive points and functions of the narrative Ghazal (such as the poetry's cohesive structure, finding the contents easy to understand, making a better communication with the audience, dramatization, and gaining pleasure and joy) have been pointed to.

This study aims to consider ghazal/sonnet from conceptual metaphor perspective (Lakoff, 1980). The corpus used in the study contains 24 poems (189 couplets) in Persian, Azerbaijani Turkish and English. The results of the paper show that the most frequent target domain in ghazal is “love”. Moreover, central conceptual metaphors in “love” are: A) in Persian: LOVE IS JOURNEY, LOVE IS WINE, LOVE IS TIE, LOVE IS FIRE, LOVE IS AWAKENING, LOVE IS DEAL. B) in Azerbaijani Turkish: LOVE IS OPPRESSION, LOVE IS WAITING, LOVE IS TURNING/TAWAF, LOVE IS SPRING, LOVE IS WINE, LOVE IS SERMON. C) in English: LOVE IS LIVE, LOVE IS UNSTABLE, LOVE IS PARADOX. This study also confirms that linguistic form has a direct influence on conceptual metaphor occurrence in ghazal. According to the findings of the current paper, the central conceptual metaphor plays a key role in versification. That is, central conceptual metaphor in ghazal seems to be the stimulus to the poet.

Mowlana’s mind, due to his family occupation as a preacher and story-teller, is used to tale-telling and his works and his works are all indicative of such phenomenon. He even tell tales in his ghazals (sonnets), which is quite novel and unique. These tales sometimes are short and presented in one or two verses and occasionally are so allegorical tales, abstract tales, inventional tales and real and historical tales.

1. Introduction: Comparing the long-life Persian ghazal with the short-life but productive English sonnet, one discerns the slow and continuous development of ghazal on the one hand, and the rapid change of sonnet in a short period of time on the other. English sonnet has its own history back in the Middle Ages when lyric poetry was growing immediately after the Old English verse. Ghazal has been approached differently and critics are inclined to divide it based on topic, history, and style. Therefore, in one taxonomy it is amorous or mystic, in another it is classified based on the historical assumptions. Razmju, after giving a comprehensive historical judgment, refers to its major origin (Razmju, 2011: 86-9). In short, lyrics were initiated in the Persian poetry right with the emergence of Dari language in the ninth century. The oldest form of it can be observed in the poetry of Hanzale ye Bā dqisi (d. 219/850). In the tenth century, the cultivation of ghazal was manifested, and both Rudaki and Shahid e Balḵ i (d. 325/935) composed elegant lyrics and amorous poetry. Later at the beginning of the Eleventh century, Farroḵ i ye Sistā ni (d. 429/1037) assimilated ghazal with Taghazzol so that in the succeeding century ghazal evolved into a new accepted style by great poets such as Sanā ’ i (d. 545/1134), Mawlā nā (d. 672/1273), Attā r (d. 618/1221), and Irā qi (d. 688/1289). Gradually, the division of amorous/mystic became increasingly apparent. The culmination of amorous ghazal was with Sa’ di (d. 691/1292) while the bloom of mystic ghazal was with Mawlā nā . Then, the integration of these two was flourished in the fourteenth century most well-known poet Hā fez (d. 792/1390). European sonnet, accompanying the English one, owes its existence to the Italian poetic heritage of the thirteenth century. In the mid-fourteenth century, Petrarch (d. 1374) occupied a significant place in the Italian love poetry. The new form of sonnet came to other European countries in the following centuries. Hence, some bibliographers tend to call the sixteenth century Europe the arena of sonnet (Vaganay, 1966: xv). English sonnet spread across the literary aura roughly between 1580 and 1600. England, in the sixteenth century, found sonnet as a new-born form and many poets attempted to experience the novel genre. In this research, a sonnet by William Shakespeare (1564-1616) and a ghazal by Vahshi Bafghi (1532-1583) were selected to be compared and contrasted in order to indicate and reveal Persian Vasookht and English Anti-Petrarchan lyricism. 2. Methodology: This article aims at comparing two schools of lyricism in Persian and English Poetry, Vasookht and Voqu (Ocurrence-telling) and AntiPetrarchism. The research aims at applying a descriptive-analytical approach while insisting on American school of comparative studies and positing Veselovsky’ s historico-cultural comparative theory which reveals how world literatures are closely related to each other though they are not directly influenced by. 3. Discussion: Both ghazal and sonnet with their well-made exquisite structure, miniature and elegant form, and complex content are the excellent literary genres where one may perceive in them common aspects and proportions. Among these aspects are the topics of “ Vasookht” or turning from the beloved in Persian ghazal and anti-Petrarchism in English sonnet. Ghazal in Persian poetry, undoubtedly, occupies a significant place and enjoys a long history comparing the English sonnet. Vasookht in Persian poetry was a much more complicated phenomenon which depended on many social and political factors; the most important ones are: objectivism and avoiding subjectivity of the earlier Iraqi School; disclosing lover’ s real emotions and sentiments; emphasizing realities and making believe; insisting earthly and terrestrial love; grossness and vulgarity in language; informal and colloquial speech; expressing same-sex-love openly; uttering real emotions of anger and hate. Incidentally, Vasookht had its own social and political dimensions; some of the most important ones are: Solidarity in politics, economics, religion, and culture in Safavid period and helping the poets to show a more dependent picture of themselves and their high expectations in ghazals; the influences of the Indian culture on Persian ghazal which established a new lover-beloved speaker; emphasis on objectivism in poetry and avoiding the abstract ideas and the ideal heavenly love common in earlier periods of ghazal; ghazal approached the public, and new poets of lower classes of Iranian society started to compose lyrics and consequently a new mode of language and speech was shaped in ghazals. Furthermore, English sonnet moved fast in its alteration and witnessed rapid changes in mode and conventions. Indeed, the Renaissance in Europe and England was a vast phase and complicated era of experiencing various forms and styles. In poetry, also alterations were prompt and poets were deeply involved in the trends. Persian Vasookht and English anti-Petrarchism share some common features; however, their causes are not necessarily the same. English sonneteers did not follow the continent’ s major lyricists in retaining romantic tradition due to their expectations and ideals. Based on what pursued in this research, the English anti-Petrarchism rests on some factors which are mostly related to the English literary taste and character. Some of these factors are: the un-Petrarchan convention was rooted in the English culture even before the rise of Petrarchism in the English Renaissance; the contradictory articulation of praise and blame in the English sonnet seems to be a site of English complicated and vague spirit and talent; Petrarchism and anti-Petrarchism in English sonnet do not embody a clear-cut distinction. 4. Conclusion: Both Persian and English lyrics witnessed metamorphosis in depicting the beloved in the course of their developments. Change of lover/poet’ s accounts of the beloved fell upon the lyric tradition of both Persian Vasookht ghazal (Turning from the beloved) and English anti-Petrarchan sonnets. Persian ghazal, the full-fledged amorous poems, went through “ Maktab-e Woqu” (Occurrence-telling) at the sixteenth and seventeenth centuries when poets tended to reveal their true emotions based on the realities and facts surrounding them. Vasookht was a subgenre of Maktab-e Woqu in which the despaired and provoked lover/poet left praising the beloved and began to blame and humiliate her/him. Besides, many of the English poets of the sixteenth and seventeenth centuries drew at a beloved far from the Petrarchan ideals, deflated romantic tradition of love, and antiPetrarchism was established in English poetry. Thereby this article attempted to posit a historico-cultural re-vision of Vasookht in Persian ghazal and anti-Petrarchism in English sonnet while clarifying some of their most significant cultural aspects.

Ghazal is one of the most popular forms of Persian poetry, which has had a continuous presence in Persian poetry since its inception due to its unique capabilities. In the contemporary era, along with the popularity of Nimai's poetry, attempts were made to transform the forms of Persian poetry, especially Ghazal. These changes have been made mainly for the dynamism of the mentioned format and its coordination and matching with the changes in society. contemporary modernist poets created New Ghazal by combining traditional Ghazal and free poetry. New poetry in all its forms has influenced the language, expression, thought, rhetoric, and aesthetics of the sonnet, and this research aims to investigate the impact of the language of free poetry on today's sonnet. This effectiveness in the field of "language" in the poetry of the most prominent poets of the new Ghazal movement, including Hossein Manzavi, Manouchehr Nistani, Simin Behbahani, Mohammad Ali Bahmani, and Mohammad Saeed Mirzaei, has been explained with a descriptive-analytical method. The findings of this research show that the poets of this trend, relying on the capacities and rich content of the sonnet form, as well as positive interaction with the new trends of contemporary poetry, especially free poetry, The introduction of new, common, and colloquial words into poetry, new combinations, adding adjectives to nouns, etc. have been among these influences in the field of language.

The Qalandari ghazal, as an anti-genre, directly and indirectly critiques and challenges the symbolic values and general methods of other literary genres by subverting the conventions established in previous literary traditions. This research examines the interaction of Qalandari ghazal with two traditional genres, “didactic poetry” and “praise poetry, ” analyzing the heterotopic identity and inter-generic structure of this type of poetry. Finally, focusing on a ghazal by Fakhruddin Araqi, it demonstrates how this heterotopic ghazal, through the use of parodic strategies and carnival-like imagery, imitates other traditional genres of Persian poetry, while simultaneously developing them in new directions and challenging them within a complex literary game, thus creating new layers of intertextuality

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.