The existence of an elaborate genius such as Amir Khosrow Dehlavi has been a valuable gift for the development of Persian language and culture in India. With his rich talent, he exhibited many of the capabilities of Iranian culture and art. Language, music and poetry, and the cultural capabilities of each nation, and Amir Khosrow has been able to highlight a significant portion of Iranian cultural talent and identity as the most intense language for enthusiasts throughout India. Majnoon and Leily are among the works of the poetic fiction in Persian literature, written by Amir Khosrow Dehlavi, the poet of the seventh century AH, to imitate Lili and Majnun Military. In this research, we investigated how "mysticism in Majnoon and Lilly Amir Khosrow Dehlavi" was answered and we have answered these questions that the presence of Sufi and mystical words in Majnoon and Leily, though non-periodic and non-regular, but possessed by the mystical thoughts of Amir Khosrow. In this research, the mystical elements of Majnoon and Leily were first identified and extracted and reviewed and categorized with other terms of mystical books. After the research, it was concluded that Majnoon and Leily Amir Khosrow Dehlavi are not empty from mystical terms in spite of the richness and love of the poetry. Poverty, faith, love, passion and issues related to the unity of being in the love story and the riches of Majnoon and Lili Amir Khosrow, and his attention to the elements of mysticism cultivated by Amir Khosrow in the school of Cheshtiya and his acquaintance with Islamic mysticism through his teacher Nizam oddin Oliya.

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.

Cheshti is an influential order within the mystic Sufi tradition in India. It has been established as a prominent mystical system. Amir Khosrow Dehlavi, a prominent Indian poet who was influenced by the teachings of this method, has created his own literary works, using his Sufi knowledge of the Chishti way, to explain his mystical views. This descriptive study seeks to examine the mystical aspects of Amir Khosrow's fictional Masnavi. Certainly, the most basic doctrines of Cheshti works reflected in this poet's masnavi are: manifestation, unity of existence, revelation, divine providence, love and eternity, emanating of love through the world, virtual love, compassion, lust, Murshid, abandonment, pleasure, and abstraction. Some of these features have been examined in this study e.g., unity of existence, sight, providence, and divine will. The results reveales the fact that the Sufi principles of the Chishti order have had a direct impact on Amir Khosrow Dehlavi’s works and the terms and expressions of this order have been used to teach and promote the Chishti order.

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.

Amir Khosrow Dehlavi and Abdolrahman Jami are among the most capable poets in the field of Persian literature; In addition to using various poetic themes, they have also dealt with common sciences and technologies in their time and have reflected a lot of scientific and skillful information in their poetry. Their poetry is full of concepts related to the sciences and technologies of their time, including philosophy, astronomy, history, mathematics, etc., which have not been studied from this aspect. In this article, we have tried the romantic poems "Majnoon and Lily" and "Shirin and Khosrow" by Amir Khosrow Dehlavi with the poems "Yousef and Zuleikha" and "Lily and Majnoon" Jami, in terms of the application of the common sciences and technologies of the era. Be examined and compared. By explaining each of the knowledge of the time and the techniques of the time, the author tries to make it possible to understand the ideas expressed in the poetry of these prominent poets.

In the twenty-eighth edition of the scientific research chapter of the Shiite studies at Sistan and Baluchestan University, an article titled "The Necessity of Correction of the Amir Khosrow Dehlavi Court" (Autumn 1395: Eighth, Pages 91-106), by Dr. Gholamreza Mustaali Parsa and Hamid Reza Hafezian, has been published. Which is almost the whole of this article in a very fresh and sketchy manner from the author of the article entitled "Review of the Amir Khosrow Dehlavi Court of the Ghazlaty Based on Certain Handwritten Manuscripts" published in the University of Isfahan's Phonographic Journal (Fall 2013: Fifth, pp. 69-86), Theft Has been. Given that the editorial method of this article may be helpful for journalists of various publications, such as the editor and the judge, as well as the student's guide to professors. In this article, the method of plagiarism has been criticized.as well as the student's guide to professors. In this article, the method of plagiarism has been criticized.

Amir Khosrow Dehlavi is an influential poet in the history of Persian language and literature, who has emerged as a capable representative of the Persian language and culture in the land of India. His various works are filled with delicate, valuable artistic and literary techniques, identification of which is of great importance for a correct understanding of the literary background of Persian. As a dependable pioneer in literary criticism and rhetoric, he has employed literary techniques properly in speech. Ambiguity is one of the most prominent effective techniques in his works, which helps the addressee to perceive more than one meaning from the discourse through implication of close and distant senses. One of his valuable, lesser-known works is his masnavi (‘a poetic form’) Noh Sepehr (‘nine skies’), composed in 718 AH. Many of the verses in this work contain artistic delicacies in terms of ambiguity, where the familiar addressee recognizes a wide network of polysemous words by paying close attention to the ambiguous structures. In this descriptive-analytical research, an attempt was made to answer the question of what is included in the most important types of ambiguity in Amir Khosrow Dehlavi’s Noh Sepehr.

Formalistic Criticism is one of critical dynamic approaches which frees poetics from depending on other branches of human knowledge by avoiding from para-textual approaches and focusing on in-text mechanisms and analyzing literary creations and makes the researchers and critics to think about what makes the literature or artistic nature and in other words to explain the aesthetic aspects of literary works.Considering the prevalence of formalistic researches that criticize literary works in recent decades, this paper intends to examine a lyric of Amir Khosrow Dehlavi based on library studies, with a descriptive-analytical method and in a formalistic perspective considering language, tone, concept, metre and aesthetic-based special features and assets of this lyric. In this research, the form and structure of a lyric by Amir Khosrow Dehlavi with the following opening verse has been restudies by using in-text signs. The base of this lyric at the vertical structure is the “separation from the loved one” and the theme of moving, passing, walking away and change is all expanded and flowed in all the lyric verses from the beginning to the end and the present connection between the verses of this lyric has created a body-like structure

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.

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.