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.

Many poets have chosen the art of debate to express their thoughts. Since the widest horizon of Persian poetry belongs to the LYRICal type, a considerable number of Persian debates are also included in this type of literature. In these debates, the poet creates a dialogue or a give and take between the lover and the beloved, and each side tries to convince the other or force him/her to accept his/her opinion by showing his views as superior. Contemporary poets have also used debate extensively in their poems,but instead of boasting and competing with their opponents, they have talked, interacted, and tried to create an argumentative atmosphere. The present study through a descriptive-analytical method tries to discuss the differences between romantic debates in Iraqi-style SONNETs and the romantic debates in contemporary SONNETs as well as the reason for these differences. It has been concluded that contemporary SONNET, due to the political and social changes in Iran and changing views of poets, have moved towards dialogue and conversation,furthermore, it has undergone fundamental changes by altering the position of the beloved and his/ her individuality,In a way, it can be said that contemporary debate SONNETs are different from Iraqi-style debate SONNETs in structure, subject matter, content, gender of the lovers and the beloved.

introduction The presence of Persian poets in Iran, on the one hand, and Indian poets, on the other hand, have created a vast part of Iran's literary heritage in the country and will make India one of the most influential centers of Persian language and literature abroad. (AbdulAmir and Imami, 1393: 124) Sheikh Abolfaiz Faizi Fayyazi (1004-954 AH), a famous poet of the Indian subcontinent, and poet laureate of AkbarShah Gurkani court, known as Faizi Dakani, the outstanding poets and writers of the tenth century and the first few years of the eleventh century. Almost all the literary and historical commentators and authors have praised his art and manner of expression, and his genius in poetry and other arts. Apart from the many prose writings, four Mathnavi remained that immitated from the Nizami Ganjavi and also divan poetry. (For more information on his life and circumstances, See: Safa, 1369: 2/838, and Hojjati, 2012: 4/2012)His divan poetry, besides the many independent values, is the first-hand source for studying Persian language in the Indian subcontinent. The majority of this divan is his SONNETs. Faizi’ s poetry, especially its SONNETs, have inspired a collection of what is called the LYRIC poem. Matters like biography, wine description, opportunity, springtime, morning description and other manifestations of nature, death, sadness and happiness derived from the events of the time, blasphemy, critical satire, patriotism and indigenousness, praise and compassion, wisdom and mysticism, shitah, self-esteem and. . . also have a lot of reflections in his poem. 2. Research Methodology This research is based on analytical-descriptive methodology. To do this, first all the LYRIC themes contained in poems have been written with different evidence on separate flasks. Subsequently, based on the content analysis approach, and taking note of the library resources related to the LYRIC literature and poetry styles, each single theme has been analyzed from different perspectives. 3-Discussion LYRIC poetry reflects the poet's emotions and sense or feeling. According to Professor Shafiei, "LYRIC poetry is speaking of personal feelings, provided that we take into account the broadest concepts of the two words of feeling and personality" (Shafi'i Kadkani, 1353: 112)In Persian literature, the widest horizons of meaning are the horizon of LYRIC poems. At a glance, poetry of love, philosophy, mysticism, religion, parody, praise, nature descriptions are all examples of LYRIC poetry. (The same: 113). This kind of poetry has a wide range of meanings and poetic themes. "From love and youth to aging and death, sadness and happiness from the events of the day, praise, glory, khamriyah to literary flaws such as slip and riddle, blessings, nature, etc. Therefore, LYRIC poetry is one of the most diverse forms of Persian poetry. "(Rastegar Fasa'i, 1381: 151-149) Since this type of poetry is indicative of the state, deep feelings and burning, it’ s therefore the most subtle and most valuable type of poetry. Although poetry is not restricted and enclosed in a particular form of poetry, it’ s seen in all forms, such as ode, SONNET, mathnavi, quatrain, LYRICal mathnavi’ s and especially shaghiname, most prominent feature is SONNET and romantic poems, Particularly the Persian SONNET is a mirror which can be seen mix of different types of LYRIC themes. In the era of Faizi, LYRIC SONNET was undergoing a variety of changes, and especially imagination and making themed in that particular place. The poets of this age are looking for new meanings and imagination. "As we know, SONNET is in principle the LYRIC poetry, the main theme of the SONNET has always been love and being in love, but in the Hindi style SONNET, the theme has not been taken into range. As a result, every subject has entered into SONNET. Another point in the importance of this style that it has been able to break some of the subject matter of a poem. The poet has used all things and objects and phenomenas around him to find theme and meaning. "(Shamisa, 1373: 184-183). Faizi’ s poetriesare full of new Exquisite themes. His prominent features and attributes are creating themed. Renovation of Clichy Images, battle Images in LYRIC images. 4-conclusion Faizi is one of the most prominent LYRIC poet in the Indian landand his divan, especially his SONNETs, is one of the most prominent texts of Persian literature in the Indian subcontinent. The LYRIC SONNET in the era of Faizi had undergone various developments, and in particular a field for imagination and theatrical creation and illustration. From what we have come to light, it is evident that Faizi in the SONNET-that one of the most important manifestations of LYRIC poetry, in its most important form,-has used all the LYRIC themes with high frequency and his divan is full of exuberant LYRIC themesparticularly topics such as mysticism and related categories, nativeism, indication of Hindu customs, glory and slander, humor and criticism, exhortation, guilty and self-esteem. The central theme of his poem is love and issues related to various affiliates, accompanied by new and unobtrusive images and interpretations, as it has called its "love book".

Orfi Shiraziis one of the poets at early Safavid Dynasty, who has played important role in emerging of SONNET in Indian Style. The main part of his poetic book comprises of his SONNETs. At the present passage, authors have dealt with a review on content and language of his SONNETs. The major subjects of this paper mainly consist of exploration into theosophical and mystical materials in his verse, most frequently- used terms in his poetic book, main fantastic interpretations and images in his SONNETs and evaluation of rhythm and rhyme types.

A real understanding of meaning power (ability) and structural sensibility of a speech which is basically an allusion is depended on both the meaning and concepts and recognizing the structures of an allusion and the ways are used. It is necessary to study the styles and techniques of deepening imperssion and mental, virtual and cultural extension of allusions and their structures for a better comprehension of new LYRICs abilities and sensibilities to create a literary enjoyment. In this article to answer the question "How are the allusions made in new SONNET? " by descripting and analyzing the text, structure and types of allusion extension in Simin Behbahani, Manouchehr Neyestani, Mohammad Reza Shafiei Kadkani, Mohammad Ali Bahmani, Hossein Monzavi and Qeisar Aminpour's new LYRICs vertical axis are studied. Results show that the allusion used in new SONNET have dofferent structures and they are represented in fifferent ways such as parallel allusions, all-allusion poem, structural allusions, all-allusioned poem, conversational allusions etc. some of which are rare and unexampled especially in vertical axis of imagination. Simin Behbahani, in comparison with other mentioned poets, has applied a variated structure to the allusions. After Simin, Monzavi's creativities are noticeable.

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.

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.

Frooghi Bastami is one of the SONNETeers of the thirteenth century. Having praised the princes of Ghajar for a while, he became the poet of the court of Nasaradinshah.Frooghi's delving into the works and circumstances of great mystics such as Bayazid Bastami, Hallaj, Abolhassan Kharghani and others, changed his life and consequently caused him to be a dervish. He belongs to Return Period in poetry. The language of his SONNETs is eloquent and deft and close to that of Sa' di and Hafez. He has borrowed the LYRICal themes of his SONNETs from Sa' di and the mystic themes from Hafez and many of his SONNETs are imitations of their SONNETs. In addition to studying the features of Frooghi's SONNETs, this article attempts to investigate the extent to which he has been influenced by the poets of seventh and eighth centuries.

LYRIC poem expresses the speaker's personal feelings and emotions, and if it includes some different meanings and thoughts, they are used to express the speaker's emotions. SONNET is the most common type of LYRIC poem whose theme is love. Whether romantic or mystical, the emotion of love cannot falsely be attributed to self before it is united and harmonized with the poet’s life.This is why the emotional and often real intimacy of love affects the LYRIC language.As human is a being full of conflicting emotions like love and hatred, happiness and sadness, etc., LYRICal literature and SONNET can be an appropriate field for these required for goodness. It is the beloved’s beauty that charms the lover and engenders love. As the first offspring of beauty, love brings warmness and energy which can enliven all the creatures in the world. This article aims at studying the connections between SONNET and love as well as love and beauty through text analysis method.