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.

In contemporary linguistic studies, the function of metaphor is perception of concepts. Conceptual metaphor is the understanding of abstract concepts based on existing experience of sensible concepts. In this research, the concept of LOVE in Khaqani's SONNETS, based on the conceptual metaphor theory by Lakoff and Johnson, has been investigated. This paper aims to investigate how and why conceptual metaphors are made. According to this study, the ontological metaphors of LOVE are the most abundant, and there is no example of an orientational metaphor in Khaqani's SONNETS. The design of ontological metaphors is generally linked with structural metaphors and refers to the difficulty of LOVE. In Khaghani's view concept of LOVE is a hard experience but also valuable. So most metaphors of LOVE in Khaqani's SONNETS are about it's destructive and hard nature, And emphasize its valuable and powerful aspect. The authors believe that the poet's personal and social living conditions, moods, wishes, and experiences have provided the basis for creating the metaphors in his SONNETS. Extended abstract Introduction In classical literary studies, metaphor is a purely linguistic matter with an aesthetic function. But contemporary studies show that the nature of thought is also metaphorical and, in this view function of metaphor is cognition. (Lakoff,2006:192) The conceptual system that shapes human thought and action has a metaphorical nature (Lakoff, 1980:454). The human mind understands abstract concepts based on the experience of sensible concepts. Metaphoric perception means that the human mind understands abstract concepts based on the experience of sensible concepts. Conceptual metaphor is the perception of abstract concepts (destination domain) based on existing knowledge and experiences of sensible concepts (origin domain). It is obtained from the correspondence relationship between the origin and destination territories. The correspondence relationship between origin and destination territories is called mapping.(lakoff & Johnson,1399: 327-329) In the cognitive view, man can understand the most indefinable abstract concepts like time, ethics, emotions, feelings ... by metaphor. Conceptual metaphors usually come from a person's experience and cultural data of his society.(fotoohi, 1398: 328-329) Conceptual metaphors divide into three categories: orientational, ontological, and structural metaphors. Research Method This research used descriptive-analytical methods, and The area of study is Khaqani's poem(especially his SONNETS) edited by Ziaeddin Sajadi and the works about it, based on cognitive studies and conceptual metaphor theory. Discussion In this research, metaphorical mappings were extracted from Khaqani's SONNETS section and categorized according to the origin domains. We realized that due to the dynamics and complexity of the poet's mind, there is no example of an orientational metaphor in his SONNETS. Ontological mappings are in three categories: “LOVE is existence”, “LOVE is alive” and “LOVE is container”. A: “LOVE is alive”: When imagining LOVE as a living form, the poet generally took help from human beings and their characteristics. This proves the value of LOVE in the poet's imagination. (Sparham and Tasdighi, 2018: 102) The choice of powerful human characters such as the king, the warrior, the hero, and the plunderer is rooted in the kind of Khaqani's relationship with the kings of Sharvan.(his social life) B: “LOVE is existence”: In understanding LOVE in the shape of beings(existences), he has used destructive or uplifting or valuable existence, as the origin domain. some things like Fire, storm, lightning, wind, crown, coin... But usually, the focus is on destructive beings. C: “LOVE is container”: In the understanding of LOVE as a container, "LOVE is a road" and its related clusters like "LOVE is a caravan " are the most frequent forms of metaphors, emphasizing the progressive nature of LOVE. it is becase of his great interest in traveling and his experiences of trips.(Kandli harischi, 1995: 402) In structural metaphors, some concepts such as calamity, sadness, and difficulty... are used as the origin domain. The roots of this choice are in Khaqani's experience of LOVE. He suffered a lot in his first LOVE and marriage. He was deeply hurt after the death of his wife.(Kandli harischi, 1995: 194-201) He experienced the sadness and pain in his LOVEly life and has used it for the conceptualization of LOVE. Conclusion In this research, the concept of LOVE in Khaqani's SONNETS has been investigated and analyzed based on the conceptual metaphor theory of Lakoff and Johnson. According to this study, there is no example of orientational metaphor in Khaqani's SONNETS, but the frequency of structural metaphor is 20%, and ontological metaphor is 80%. Ontological metaphors in Khaqani's SONNETS are 35% ontological metaphors, 46% animistic metaphors, and 19% container metaphors. In 35% of the ontological metaphor is used objects or phenomena, in 46% of the cases, a living being, and in 19% of the cases, the container (place) as the origin territory. Ontological metaphors emphasize usually the authority and value of LOVE, by using humans and destructive beings as the destination domain. Structural metaphors also pay attention to the hard nature of LOVE and the aspect of authority and destruction of LOVE, so they are related to ontological metaphors. In general, in Khaqani's view, the concept of LOVE has a dynamic and valuable nature, but it is powerful and difficult. The study of Khaqani's SONNETS and his biography shows that the poet's life conditions, moods, and wishes have provided the ground for the creation of metaphors, and his personal and social life conditions reflect in his understanding of LOVE. References Abdi, H. vosooghi, H. Roshan, B. Samaei, S. M.( 2017). “A criterion for recognizing metaphor based on cognitive linguistics”, Quarterly Journal of Applied Rhetoric and Rhetorical Criticism, History of literature magazine, second year, No 3, pp. 9-27. Dashti, A. (1978). Khaqani, A late familiar poet, Third edition. Tehran: Amir kabir. Footoohi, M. (2019). Stylistics (theories, approaches and methods), Tehran: sokhan. Hashemi, Z. ( 2010). Conceptual Metaphor Theory from Lakoff and Johnson's point of view, literature study, No 12, pp. 119-140. Kandli harischi, Gh. (1995). Khaghani Shervani (Her life, time and environment), translated by Mir Hedayat Hesari, Tehran: University publication. Khaqani, A, 1970, Monsheat of Khaghani. 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LOVE is a reply to the riddle of human’s existence and a complete answer to his most profound need, for overcoming separation and liberation from loneliness prison. The concept of LOVE in Shakespeare’s SONNETS is very close to Persian literary texts. Sa’di’s SONNETS are of the best LOVE manifestations, and this LOVE can be compared with that of Shakespeare. Chronically, Shakespeare is nearly three centuries far from Sa’di, but regarding content, there are remarkable resemblances in their SONNETS.This study was conducted in a meaning comparison approach aiming at comparing content and concept in Shakespeare’s SONNETS with that of S’di’s. Some remarkable similarities were observed regarding meaning content between Shakespeare and Sa’di’s SONNETS. First similarities and then differences were classified. Since the number of Sa’di’s SONNETS is bigger than that of Shakespeare, the frequency of a single concept is higher in Sa’di’s SONNETS; therefore, several examples from Sa’di are compared with one or a few examples from Shakespeare. Finally, it should be mentioned that this manuscript does not afford to cover all Sa’di and Shakespeare’s SONNETS; however, it can be a clear perspective for more studies.

A long-time existing subject in Persian mysticism, which has formed innovative works, is wisdom and its contrast with mystical LOVE and madness or the contrast of Aristotelian peripatetic school (philosophy and reasoning) with the platonic Eshragi school (mysticism and intuition). The wisdom which is confronted, and humiliated, by a mystic poet like Molana in his two eternal works, i.e. Masnavi and Shams SONNETS, is Greek wisdom which follows self and dream, acting as an obstacle in reaching the destination, and in Molana's words, “It is the incomplete LOVE which denies LOVE.” This does not refer to the complete wisdom, bearing the title of “wisdom of wisdom,” which has been admired and praised in religious verses and sayings and in the works of some mystics such as Molana. This paper, by referring to other mystical poems and texts, tries to examine the contrast between such wisdom and mystical LOVE and madness.

According to cognitive approach of language, human experience of entities and substances prepares experiential basis for cognation of abstract concepts. Using the conceptual metaphor theory, this study focuses on cases in which Mowlana conveys tangible areas of the entities and substances on the abstract domain of ‘ LOVE’ in his SONNETS. The results of the research show that four mega metaphors of ‘ God is king’ , ‘ LOVE is force’ , ‘ Theosophy is food’ , and ‘ Theosophy is light’ dominate the text and organize micro metaphors on its environment. These micro metaphors, based on existing correspondences, has conceptualized some of the most important functions of LOVE such as: mortality, survival, attraction, submission, expansion, manifestation, meditation, and unity of existence. The study of these metaphors from the point of view of source realms reflects the power of their visualization. They also show the complexity of the concept of LOVE in terms of the principles of ‘ highlighting’ and ‘ hiding’ . Also, the comparison of the frequency of metaphors and their cognitive functions reveals three types of metaphors: multi-function with high frequency, singlefunction with high frequency, and single-function with low frequency. The first type of metaphors, because of its extensive field of reference, has a special ability to conceptualize different aspects of LOVE. But, the metaphors of the second type and some of the third type metaphors can emphasize specific function. Also, the comparison of the positive and negative functions of LOVE, Mowlana introduces LOVE as a positive, sweet, and pleasant experience that living without it is impossible; however, it necessitates the destruction of apparent existence.

LOVE is one of the most fundamental themes of Persian mysticism and poetry, and its earthly and heavenly forms in poetry and mysticism have produced excellent themes and beautiful interpretations. In the thinking of Ruzbahan Baqli Shirazi and Salman Savaji, LOVE also holds a high place. As one of the most influential mystics and poets of their time, Roozbehan Baqli Shirazi and Salman Savaji have a keen attention to this divine promise and have taken great interest in expressing religious concepts and mystical vocabulary. This research, carried out by library method, through a descriptive-content analysis and comparative study between Rozbehan Baqi Shirazi and Salman Savoji's SONNETS, aims to study the subject of LOVE on the basis of its division into Rozbehan's book To examine the names of these two mystics and poets. The results show that Salman Savaji's poems also show the division of LOVE (found in Ibrahim al-Asheqin). And it is given to man in a glorious and manifest way. The infinite LOVE, eternal and eternal motivation of creation and the supremacy of LOVE over reason are common intellectual features on the subject of LOVE in Abharol-Ashegin and Salman Savaj's SONNETS.

Religious language is the source of many metaphors and their penetration into literature. Literature, especially mystical literature, has been influenced by religion and Quran's conceptualization. The current paper aims to explore the conceptualization of LOVE in the poems of Rumi and how they are inspired by Quran, using conceptual metaphor. The application of the conceptual metaphor theory could clarify the inter-textual dimensions of Rumi’ s poems from a cognitive viewpoint. We aim at assessing the extent of influence of Quran on Rumi with an analytic-descriptive method. To do so, all LOVE metaphors from thirty SONNETS was derived in an attempt to find an answer to the question that which metaphors or other cognitive schemes are used in Quran and Rumi’ s poems to conceptualize LOVE. Our comparison and analysis shows that in both texts, there is a universal metaphor of the beLOVEd for God. In Shams’ literary-poetical discourse, four metaphors of LOVE as a key, as a journey, as a plant, and as a reign could be derived. The origins of the concepts show a deep Quran influence on Shams’ SONNETS.

One may say that The Open Society and Its Enemies (OS) offered in 1945 the first complete elaboration of the general approach proposed by Karl Popper, namely his ‘critical rationalism’, a bold generalization of the fallibilist falsificationism in the domain of the empirical sciences masterly proposed in Logik der Forschung (1934). The political content of The OS has been critically discussed. Nevertheless, not all people insist on the equally important moral dimension of the book, giving it its unity, I submit. Without morality, no critical discussion, no reason, no open society, let us say in a nutshell. I would argue that according to Popper, a strictly Christian morality of LOVE would not be the appropriate emotional companion of critical rationalism, but that the less demanding moral emotion of sympathy or compassion is perhaps necessary to give it its force against violence. I give some support to this line of argument. In my view, Popper proposed a somewhat unarticulated critical rationalist ‘emotivism’ of sorts. The emotion of compassion is necessary for triggering our moral decisions and values, which are the ultimate basis of the choice for a reason against violence.

One of the issues raised up constantly through Mohiyeddin Ibn Arabi is the idea of unity of existence. Like other ideas, this thought has had a dramatic effect on some Indian thinkers, such as Bidel Dehlavi. One of the issues of the unity of existence is LOVE in the Being that Ibn Arabi and, consequently, Bidl had in their works at its angles. This article is based on a descriptive-analytical method and citing library resources to explore the impact of Ibn Arabi on Biddle on the issue of LOVE in the universe. The findings of the research are that Biddle has been dealing with the Islamic mystic system of Ibn Arabi by introducing discussions such as the series of LOVE in the system of unity of existence, grief and LOVE, virtual LOVE, and martyr LOVE in the course of the Unity School of Being. The presence of LOVE in the mysticism is exhilarating and exhilarating. From the perspective of Ibn Arabi and Bidel, LOVE exists in all the mystical interpretation of existence based on mystery.

Utilizing natural elements in poetry is one of the literary techniques that poets and writers around the world have benefitted from and sought after in various forms and structures by means of literary devices such as simile, metaphor, metonymy, and symbolism. This study analyzes the way in which the renowned Chilean poet, Pablo Neruda, has utilized these natural elements in his collection of poems One Hundred LOVE SONNETS (1959). Due to his profound outlook, deep understanding of the surrounding world and existing natural elements, and the reflection of these elements in his poetry, Neruda enjoyed special fame in the world. This article highlights the literary and aesthetic values of his LOVE SONNETS in manifesting the beLOVEd and her similarity with the femininity existing in natural elements. Natural elements in his poetry symbolically and metaphorically delineate diverse connotations of the beLOVEd’s outward and inward beauties. Elements such as soil, which is the symbol of fertility and growth, and water and rain, as symbols of life, beauty, passion, and hope appear in this collection. What is evident is that the high frequency of natural elements in describing the beLOVEd in Neruda’s collection is the result of the special experience he had had in his childhood and years of growth and development in the virgin jungles of South America.