Combining Love and mysticism in the Persian sonnet

In the stylistic analysis, the style of the ghazals of the 8th century Hijri poets is called the style of combining love and mysticism. A new close study of this concept in mystical sonnets reveal to us that first of all, for the romantic-mystical title that has been applied to this style, we can list several examples, each of which has distinctive features that characterize a separate category of mystical works, and secondly, the scope of inclusion of combination style in Persian poetry, whose signs can be recovered from the first steps in mystical poems, is related to what is discussed in stylistic analysis, (that is, in the poems of the 8th century (a. h.)) are much wider. Although we are faced with a type of mystical lyric writing and its continuation in the 8th century, the multiple interpretations that can be had of the romantic-mystical style show the continuous and expanding process of the fusion of the main elements of the content of Persian sonnets such as love, mysticism and Qalandriya-writing. In this article, the continuous process of this integration in the ghazal compositions of Sahib-style poets until the end of the 8th century (a. h.) has been carefully examined. And about the position of each of the lyric poets in this style, it has been studied and found that due to reasons such as the unbreakable connection of the theoretical topics of love and mysticism, the existence of signs of romantic and mystical fusion themes from the beginning of writing lyric poetry of Persian mysticism in the 6th century has been unavoidable. Therefore, limiting this stylistic discussion to the analysis of content of just one form of Persian poetry, as well as the different interpretations that can be had of the term "romantic-mystical", one cannot come up with an independent style in lyric poetry.