Automatic writing is very important because it is one of the basic principles of surrealists in mystical works that are the result of personal and intuitive experiences and moments of intense emotional excitement. In this kind of writing, the author is overwhelmed by his/her circumstances and does not have control over the process of creating speech due to the overcoming of emotions caused by mystical experience. This way of writing is prominent in the works of Sanai, Attar, and Rumi, for example, whose words are usually the result of passionate moments and romantic madness. Therefore, in this research, the most important principle of the surrealists, i.e., automatic writing, is investigated and analyzed through a descriptive-analytical method in the Seir al-Ebad elal-Ma'ad by Sanai, The Conference of the Birds by Attar, the third book of Masnavi by Rumi. It seems that all three poets expressed their emotions under the influence of love, passion, and inspiration in their moments of intense emotional excitement, which is considered as pure surrealism experiences. It is a proof of their true genius and deep emotion and attitude, which, with all their dissociations and disturbances, originates from a single soul.

Poetry translation involves cognition, discourse, and action by and between human s and textual a c- tors in physical and social settings. The aim of this study was to find out to what extent the non - native translator of Nizami Ganjavi’s “Leili and Majnun” could preserve the poetic imagery in its English translation. To this end, an innovative taxonomic model, which could investigate the D e- scriptive, Figurative and Symbolic aspects of poetic imagery, was presented as a three - dime nsional theoretical framework. The information adopted from the content analysis of the source text revealed that the visual imageries occurrences in descriptive category, metaphor and then allusion in figur a- tive and love in symbolic classification were th e most applied poetic imagery in the source text. The descriptive statistics obtained from the tabulated data of this research indicated that in general James Atkinson could preserve the Persian poetic imagery as well which seems very high for a nonnative translator in introducing Persian poetry to other nations. However, the only weakness was his ignorance of the mystical thoughts of Nizami, which needed a hermeneutic understanding of Sufism and Mysticism, which have a deep root in the history and culture of Iran.

“Ruh ol-Arwah fi Sharh Asma al-Mulk al-Fattah” by Shahab al-Din Abu al-Qasim Ahmad ibn Mansour Sam'ani (487-534 AH) is the oldest independent work in Sharh Asma' Allah in Persian, which has had a direct impact on some literary and mystical works, including Kashf ol-Asrar Meybodi. The prose of this book is fluent, smooth, and at the same time poetic, and sometimes it has used melodic or eloquent prose to express mystical concepts. This book is full of literary, lexical, linguistic and mystical benefits. Najib Mayel Heravi first published this book based on five manuscripts in Elmi va Farhangi publications in 1368, which has been reprinted several times. Unfortunately, this correction is not without its flaws, and there are many bugs in it. The present paper has tried to carefully confront the printed text with the corrected copies and to show some of the main drawbacks of this correction, including inclusions, misreadings, corrections and non-observance of the principle of fidelity in correcting texts. The result of this research indicates that due to the numerous problems that have arisen in the text of the Spirit of the Souls, it is necessary to correct it again.

Mowlavi's Masnavi-e-Manavi, aside from being the most prominent mystical texts of Persian literature has a great poetic value. One of the most poetic aspects of the language in Masnavi is the pronouns and their functions in aesthetic and semantic features of this valuable collection of poems. In this article, the concepts of defamiliarization and deviation from the norm are described based on the views of
Russian formalists on the poetic function of language; then the semantic, stylistic, syntactic and lexical deviations and extraregularity related to pronouns in the poetic evidences of Masnavi-e- Manavi and their relationships with the poet's ideas are investigated.
The results show that the pronouns have a major role in the poetic and imaginative aspects of Masnavi-e-Manavi, and besides their aesthetic role, they make a great contribution to convey meaning and concepts.

Moral qualities have been artistically taught in didactic literature. “Patience” is a typical humane quality and also a great human trait which has been dealt with in Persian poetic and prose literature in excellent forms and deep themes. Being patient to achieve a goal is a type of persistence and waiting for achieving that goal. It is a concept which has been posed in our religious teachings and has been paid attention in three levels: moral, religious and humanity by Persian literary eminent figures such as Ferdosi and Saadi and also philosophically by Khaje Nasireddin Tousi and others. It has also been mirrored in moral and mystical written works of literary figures such as Sanaei, Attar, Molavi, Ezoddin Kashani, Hafez and Jami with very meager differences. Here we aim at dealing with some of typical poetic and prose works which focused on this theme (patience) and clarify the point by studying examples of patience in mystical, didactic literary texts.

Literary language and poetry in particular is a suitable platform for the manifestation of Qur'anic teachings by poets, who enable the audience to receive and interpret their poems spiritually by referring their thoughts to the Holy Words of Revelation. In this regard, Hazin Lahiji, a 12th-century Sufi poet, has been influenced by the Qur'an in various ways. Inspiration through divine verses has helped the process of reading and analyzing his mystical poems. His sad poems are accordingly affected in both explicit and implicit forms. Sometimes, they are reflected in the content and sometimes by the words of the Qur'an in such a way that the contents, compositions, themes, and events of the Qur'an, in line with his poems, have created the ground for the variety of expressions and crystallization of his mystical thoughts. The present study was an attempt to investigate Lahiji's method of composing sad poems, which is referred to as ‘intertextuality’ or ‘proportionality’ in modern linguistic discussions. In this view, the authors intended to answer the following 3 questions by examining the poet's poems: 1) In what ways have his sad poems been influenced by the word of revelation? 2) What are the main mystical concepts of sad poetry that refer to Quranic themes? 3) How has Hazin aligned Qur'anic themes with poetic acquisitions in his mystical poems? This research was based on a descriptive-analytical method for analyzing Lahiji's sad poems. The results of this study showed that Lahiji used the techniques of adaptation, simile, allegory, allusion, interpretation, and quotation to translation. The rhetorical layers of his mystical language were adorned with the words of the divine dictators in such a way that the simple interaction between the absent text [the Qur'an] and the present text [poetry] in his poem had made his creativity unfruitful. The pure concepts of mysticism, such as ‘trust’, ‘manifestation’, ‘endurance’, ‘nearness’, ‘annihilation’, and ‘survival’, with the support of divine verses were found in Rohani’s interpretations. In addition, deliberately sad norms and unusual distances from Qur'anic characters, such as Khidr had plunged some of his poems into an aura of poetic appropriation.

The association between myth & mystical themes in literary and narrative contexts in the extensive field of literature is one of the forms of recognizing identities of human and society. Investigating of applying theme in contemporary literary texts in Gide’s & Hafez’s works in order to represent social, psychological and individual transformations has a symbolic form. If the authors specify the time and space in a story, symbols & applied myths make these times and spaces more tangible. Some of these symbols and applied myths indicate a number of positive mental concepts, while some others portray negative ones. Myth not only into the living culture of humans, but it has also penetrated deeply into literature & mysticism. Many of the Hafez’s & Gide’s prose and poetic narratives include mystic themes understanding of which requires identifying the content and the devices used in their texts. In the present paper, it has been attempted to demonstrate the similarities & differences of these two author’s texts from a mystical and mythical point of view.

Introduction In this paper, the problems underlying the translation of mystical texts will be discussed. More specifically, the book ‘Abhar al- ‘ashiqin (Loyal Lovers’ Jasmines) written by Ruzbehan Baqli Shirazi (1128-1209), an important mystique sufi poet and a famous Persian philosopher, and its translated version by Henri Corbin (1903-1978), a French philosopher, translator and orientalist, are selected as our sources of investigation. Abhar al- ‘ashiqin (Loyal Lovers’ Jasmines) is a poetic text that not only leads us to a better comprehension of Iranian soul and studies, in particular, sufism, but also offers a good source for examining problems concerning translation of mystical documents because this book has been translated in various languages including French.
1. In general, Mysticism is full of images. In order to explain them we need a large quantity of language features, including style figures, allegories, metaphors, comparison, images, or descriptions which make abstract meanings clearer to understand.
2. Mystical text is a type of imaginative text and the translator has to translate this imaginative text to another language, and that is exactly the difficult point.
3. A professional translator of mystical texts should be familir with mystical texts’ particularities, mystical terminology, the metaphors, the comparisons, the special conventions of mystical texts, different models of mystic imaginational world and surely a personality in harmony with these texts.
The main goal of this text is to analyze the problems a translator face while translating mystical texts or poems; the rhetoric, lexical, sociocultural, stylistic skills which are necessary in his work. So in this text as we read translation of Baqli’s work, we will analyze the difficulties of this type of texts.
Methodology For better understanding the subject, first, we are going to give a description and a definition of mysticism and anything necessary for well understanding the mystical atmosphere.
Then we will present the author of the source book, Ruzbehan Baqli Shirazi and the translator Henry Corbin, This work is considered as a descriptive, comparative and analytic research. After that, we present the mystical texts’ particularities and the translator’s necessary skills, and then we will analyze the corpus.
Discussion If we compare mystical texts’ translations and other types of translations, we understand that the loss of words and definition and the complexity of this genre of text is more than all other types. This is because of the origins of mystical texts which come from a direct and immediate experience with endless spiritual principles. Sometimes the origins are from unusual experiences of ecstasy, levitations or visions. The most difficult problem that we faced during this research was finding proper equivalents for specialized words which exist in this field. Finding the explicit and implicit sense of words, phrases and metaphors is a time consuming activity for the translator and this difficulty can sometimes make the text untranslatable; no need to say the translator has used elongation in many parts for translating a word or a phrase.
Conclusion After studying the translation of "Abhar-al-asheghin" we find that translating mystical texts is a very difficult work to do, which requires deep empathy of the translator with this type of text.
The translator of mystical texts should gain different skills like all other professional translators. These skills contain sufficient proficiency in cognitive language sources used by today specialists, specific conventions which exist in mystical texts as well as terminology to be able to adapt the translation with subjects mentioned by author. But there is no doubt that there are always obstacles such as translation loss, respecting the rhythm of the text, word prolongation, metaphor's translation, repetition and fidelity to the text that the translator faces. The point which has been studied in this article is the study of mystical texts especially rhythmic texts of " Baqli Shirazi 's textes" to see how translatable they are in another language like French. It seems that the mystique translation needs more cognitive try and a complete stock of vocabulary for both languages: The target language and the source language.

Internal approaches and methods of profound contemplation towards holy texts and principles of worship are outstanding criteria for mystical thoughts. This, however, does not mean to ignore the outward manifestations of religion and of Sharia orders.
This claim is analyzable regarding the views and trainings of the mystics in the realms of one of Islamic principles i.e. prayers. In mystical teachings, along with explaining Tarighat, one can observe attending to the external aspects of Sharia as being in line with Islamic thoughts presented in Quran and Sunnah in a way that it entails the fact that such explanations are the interpretation of mentioned resources.
The present study deals with three important issues: the status of prayers, the consequences and blessing of prayers, and the aftermaths of disregarding prayers. First, Sharia has been thoroughly investigated based on Quranic and Sunnah resources, then, with regard to mystical poetic and prose literature, correspondent mystics’ speeches have been quoted. The adaptability of Islamic instructions with mystical learning has been evaluated and judged afterwards.

In the definitions of poetry, three elements of emotion, imagination, and music are mentioned. Persian prose texts have used more or less poetic elements in different periods. Sufi and mystical works, according to their goals and themes, have had a greater tendency towards poetic features, to the extent that understanding the subtleties of meaning and aesthetic expressions of these texts is dependent on the analysis of their images and musical effects. Based on this importance, the purpose of this article is to examine the function of one of the key elements of the poem; that is, music is one of the most important mystic prose texts in Kashf al-Mahjub Hujwiri, so that the level and quality of its poetry can be identified from this point of view. The findings of this descriptive-analytical research show that inner and spiritual music has a decisive function in Hujwiri's prose and helps to induce more effective concepts and mentalities. The expression of inner music that enhances verbal-phonetic harmony and appeal has been more than spiritual. Saj'; especially parallel, pun; especially periphrasis, repetition of words, phonology, and contrast are among the most obvious examples of inner and spiritual music in Kashf al-Mahjub, which often appear in these positions: mentioning the names of guardians (Oulia) and describing their personalities and conditions, anecdotes and reciting the words of the sheiks and their instructions and also explaining mystical terms, including concepts related to monotheism, knowledge of the self, death, annihilation and mystical survival, levels of behavior and condemnation of the self and the reprehensible world.