Abstract
Intuition or observation is considered as a form of mystic impressions in the common categorizations among intuition scholars. All positions and statuses are introductions of reaching to the supreme state which is interpreted as viewing via eye and heart. The beauty mysticism which could have other titles such as love-towards-beauty and beauty-worshipping, is a Sufi approach and style by which a complete Sufi tries to observe the absolute expressions of God within the intuitive manifestations of creation. This is the reason why he practices goodness as his mystic approach and drinks the living wine of the dearest. In the current study, the issues of intuition of God, beauty mysticism, and the possible connection of these two are analyzed by Quran Studying method. The most important purpose of research which is composed in language of Quran as that of mysticism, is stating the matters of intuition of God, the beauty mysticism trend and their relations, as well. Thus, the Quran words related to intuition are cited in the general guideline section, at first; later, the three periods of precreation, this world and after death are explored emphasizing the works of Maulana and Attar. Also, the chapter of beauty mysticism works on finding the Quran concepts about it. Then, the relationships of beauty mysticism and intuition of God are cited. One result was that whatever connects virtual love to real love, relates beauty mysticism with intuition of God. The other one was that beauty mysticism for Maulana and Attar is a love more towards the prophets, elders and the complete men rather than to the beautiful ladies, and their references to the fairy faces and boys are related to their intuitive experiences in this world which reveals for them the heaven and hell during exploration and intuition, and this fairy and beautiful faces are the nymphs and slaves of the paradise.
 

Persian poetry has always been the subject of various topics, and especially in the mysteries, historical events have been clearly manifested in it, and sometimes it can even be used to locate the lost circles of some historical events and correct the reports of historians. In this research, from this perspective, the faces of political and non-political personalities of Iran and non-Iranians in the poetry of seven important poets of Constitutional and First Pahlavi (Bahar, Farrokhi Yazdi, Mirzadeh Eshghi, Iraj Mirza, Aref Qazvini, Nasim Shomal and Abolghasem Lahouti) were investigated. And the description of the poets from their age-old personalities has been brought along with a brief historical account, in order to ascertain both the judgment of the times for these individuals, and the hidden angles of the behaviors, speeches, and personality of these people who have sometimes been neglected in the official history. Appear in the context of poetry. Along with this survey, a total of 39 political figures, journalists, parliamentarians and some of the foreign figures involved in Iran's politics and government have paid attention to the poetry of the discussed period. Of these, there are 6 foreigners. There is no female character among these people! The poets' perspective on these individuals was often in accordance with their personal recognition and recognition that sometimes these views and judgments were incorrect, superficial and incomplete, as in the inflamed and constantly changing environment of our time (with all honesty Which these poets have expressed in their thoughts and ideals) have not been immune from any error or trickery.

Abstract
The Ghajar government era in Iran is very productive regarding the variety of literary works. In this era, various prose works in history, biography , Journal de voyage , translation, drama, newspaper, fiction, etc. were composed. Journal de voyage, with a history of more than one thousand years, is a report in which the writer describes the situations of cities and countries he has visited based on his observations. The text of itineraries is generally explicit and preferring the news to elaboration with regard to literary word selection through different historical and geographical aspects is of much importance. In Ghajar era, particularly, itinerary writing was welcomed by well-known people having a great passion for writing and authorship. In fact this movement followed similar works that some Western writers had written since 14th century and then gradually Iranians and Indians had access to them. In current research, the style of Ghajar Atabat Journal de voyage has been studied with chronological order priority and discourse analysis of each one using validity theory of Jape Lint Veldt. These itineraries, or so-called “journey newspapers” in Ghajar era, share common and particular characteristics. Attention to nature and its different epitomes, and pilgrims’ troubles that can be apparently seen in all these itineraries are some of these common characteristics. By stylistic study of these itineraries this fact is revealed that the writing style of itineraries is gradually distanced from the fine literary proses such as Mansha’at and approaches the writing style of this era’s newspapers such as Vaghyeh Etefaghiyeh.