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Asrar al-Velayeh is one of the works of Mirza Abulqasem Raz Shirazi, the Shia mystic of the 13th century AH. The present research, which is conducted with a descriptive-analytical method using library sources, refers to four manuscripts and one lithographic version of this book in order to introduce the poet, his intellectual foundation, and the stylistic features of the poem. Using difficult Arabic words and verbal and philosophical terms, using Arabic poems, using poems of other poets, being influenced by the style of Ferdowsi's Shahnameh in the narration of battles, the abundance of literary allusions to verses and hadiths, frequent Quranic elements and terms are the most important stylistic features of this mystical text. From a structural point of view, Asrar al-Velayah consists of three parts: the middle part of the text is about the battles of Imam Ali and his honors and is considered a religious epic; but the beginning and the end of the text are clearly focused on deep mystical topics. The concept of “velayat” is what makes the structure of this work coherent and connects its three parts. At the beginning and the end of the work, Raz Shirazi deals with the internal concept of “vali” and in the middle with its external concept. In this way, by replacing the concept of superhuman or hero with the concept of vali, he gives two important features to Asrar al-Velayah; first, he places this poem in the form of couplet (mansavi) with a coherent structure on the border between a religious epic and a mystical epic; second, by almost separating the mystical and epic topics from each other, he intelligently includes both the external and internal aspects of the concept of vali in the structure of the work and presents it to the audience.

Roozbehan is a mystic who loves beauty, and "revelation and intuition", "love" and "hope" are the three distinctive features of his mysticism. The current research is focused on this fundamental question: how does Roozbehan think about "God", "man" and "being", when his mysticism focuses on the aforementioned three characteristics? In order to find the answer, we have analyzed Abar al-Asheqeen with a descriptive and analytical approach and focusing on the fundamental concepts of "God", "man" and "being". In Roozbehan’s view, on the one hand, eternity is understood with beauty and light, and on the other hand, creation is the result of the manifestation of eternity in two intrinsic and current forms, which leads to the emergence of old and created concepts. "Manifestation of works" implies love and hope, and "metaphorical relationship" of accidental and eternal beauty implies discovery and intuition in the mystical view of Rozbahan. Also, all aspects of the metaphorical relationship between accidental and eternal beauty are gathered in the term "Eltebas". This concept is also based on the field of human "imagination" which ultimately creates the kind of discovery of Roozbehan.

Abhar-ol-Asheghin, as a volume that uses complex, metaphor-based language, is thought-provoking and obscure. Despite the fact that previous studies have been conducted on the book, its linguistic and intellectual features are not yet fully known. Due to the linguistic features of Abhar-ol-Asheghin and the capacity of conceptual metaphor theory for simultaneous analysis of language and thought, the current study investigates the conceptual metaphors in Abhar-ol-Asheghin by relying on the structural relations between them. This study does not consider the metaphors to be of the same value; instead, it deals with the structure arising from the relations between conceptual metaphors by considering ‘the expansion of the mappings of a conceptual domain’ in the process of ‘entailment’. ‘Paradise’, ‘light’, and ‘beauty’ are the most significant conceptual domains in the text and have been used for the metaphoric understanding of the fundamental concepts in Rouzbehan’s mystical thinking. Other conceptual domains in the text are activated through the expansion or re-examination of these domains. It can be said that the structure arising from the relations between conceptual metaphors in Abhar-ol-Asheghin has three layers: first, Paradise, light, and beauty; second, the expansion of the conceptual domains in the first layer; and third, the re-examination of the conceptual domain in the first layer with the aid of a few other conceptual domains.

As metaphors are cognitively originated, examining a text’s conceptual metaphors yields a new understanding of its author’s cognition. Therefore, an analysis of the relationship between the conceptual metaphors in a text and the structure arising from those metaphors leads to a more precise understanding and a better explanation of the text, and facilitates the analysis of its semantic structure and its author’s worldview. Thus, the present article attempts to answer three key questions: What are the most important conceptual metaphors in Sawanih al-Ushaq? What relationships do exist between these metaphors? What are the characteristics of the structure arising from these metaphors? In an effort to answer these questions inductively, the conceptual metaphors in each chapter are separately examined and the most important metaphors in the text are identified based on the two criteria of ‘frequency’ and ‘position in the structure of metaphors’. The analysis shows that the conceptual domain of ‘love’ is the most important abstract conceptual domain which is comprehended with the aid of the conceptual domains of ‘bird’, ‘mirror’, ‘plant’, ‘derivation’, ‘sun’, ‘king’, and ‘destruction’. Among them, destruction has a special place as it can be used in order to comprehend the ultimate stage of love: annihilation. Destruction, as a megametaphor, is embodied by the conceptual domains of ‘intoxication’, ‘fire’, ‘war’, and ‘devouring’. Finally, the most significant conceptual metaphors in Sawanih al-Ushaq are: ‘love is the eternal part of human existence’; ‘love is a mirror’; and ‘love is destruction’.
 

The intellectual system of any text can be described by analyzing its conceptual metaphors. The aim of the present study is to find the structures derived from the conceptual metaphors of Lam’at (Divine Flashes), written by Fakhr al-Dīn Ibrahīm Irāqī. These structures represent the intellectual system of Lam’at. To this end, first, the conceptual metaphors of the text are identified by careful examination of its language. Next, the structure derived from the conceptual metaphors of the text, which functions as a mirror reflecting its worldview, is described by analyzing the metaphors and finding the links among them. The four main pillars of Lam’at and Fakhr al-Dīn Ibrahīm Irāqī's thought are these conceptual metaphors: ‘God is love’, ‘love is the king’, ‘love is the Sun’ and ‘love is a mirror’. In addition to the links among these four metaphors, the conceptual metaphor ‘love is human’ plays a key role in linking the four conceptual metaphors to each other and shows the intellectual level of Lam’at. There are other conceptual metaphors in Lam’at, each of which describes the worldview of its author, but the abovementioned five metaphors are more pivotal.