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The spiritual tranquility, freedom from greediness, and independence are old sweet dreams, which are interpreted eagerly and enthusiastically by Muslim mystics in their sayings and writings. They have shown us many ways to actualize these colorful dreams. One of these ways is resort to ‘dying before death’ or ‘willful death’ or in other words ‘annihilation in God’. In this way, before the wayfaring mystic dies naturally or compulsorily, he choose to die to his bodily and spiritually vile life, and will be reborn by the divine and spiritually praiseworthy moral attributes, that is, he is annihilated from himself, and subsists on God. This article tries to investigate and answer these questions: What is the final and actual purpose of mystics’ from ‘willful death’? What are the prosperous effects of this kind of death? What is the source of Muslim mystics? Inspirations in founding and suggesting such a way? Finding a relation between ‘dying before death’ in Islamic mysticism and the concept of Nirvana in Buddhism, and explaining the question of rebirth, which is the other side of‘dying, before death are the other issues to be discussed in this paper.
 

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In this article, first, the effect of poets on each other has been discussed. The author emphasizes formal and semantic resemblance in poet’s works as a means to determine whether resemblance and counter resemblance is a case of borrowing or not. Both these cases apply to Sheikh Farid-o-din Attar, the author of Mantegho-tair and Tazkerat-ol-olia and Sheikh Mohammad Shabestari, the author of Golshane Raz. On the one hand, Shabestari feels honor in studying some eloquent literary men such as Attar and, on the other hand, considers borrowing meanings as eavesdropping on angel and conceptual and semantic resemblance as Tavarod (a kind of plagiarism). Admiring Attar, Shabestari considers his own works as a small part of Attar’s Tableh ( Box). In this Study, all the similar matters used by the author of Golestan-e-Raz and Sheikh Mohammad Lahiji are gathered. Moreover, some Gnostic terms such as the unity of existence, manifestation, love, hate, and death are examined for the purpose of clarifying the two poets’ verses.   
 

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One of the main educational principles of Safavieh and schools of mysticism is preserving the mysterious and keeping the rights of Magoaw's secrets. This way, Gnostics and the followers of ways tested the competence of the  beginner disciples and the pioneers of difficult ways. By choosing the silent pen-name in Shams 1yrics and by emphasizing on silence at the end of each short story and midway of long stories of Mathnavi, especially when his dreadful waves of knowledge over the unfounded world remove the covers of mysterious houses, Jalaloddin Romi records his name as the greatest preserver of the rights of the secrets of the mysticism.
In this research, we find that Jallaloddin Romi's silence  originates from factors such as misunderstanding of his addressers, inviting to identify addresses  to identify powers, his great ability, richness of speech and, finally,  his endless interest in removing covers from the face of the bride of secrets. Perhaps, through being silent and not paying attention to external tools of recognition, the divine knowledge is acquired and Jallaloddin Romi had experienced this recognition for many times.

 
 

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One of the basic approaches to the existing critiques of Sohrab Sepehri enumerates the linguistic, semantic, and artistic values and features originally derived from the Islamic mysticism. Two trends are quite discernible in these comments:  proving the mystic nature of his thoughts and poems and, in contrast, rejection, refutation and even teasing the idea altogether. This paper, initially, states the problem and explains the affinity between Sepehri's poetry and Islamic mysticism. Then, a critical evaluative account of the views for and against Sepehri's alleged orientation towards Islamic mysticism is presented.