1. Introduction
Persian and Kurdish literatures are among the literatures in the world that have had a deep and extensive connection between them over a long period of time. From the very first surviving works, which can be considered as the beginning of the history of Kurdish literature in written and codified form, there are many in-textual signs in the poetry of Kurdish poets that prove such a broad and constructive connection with Persian poetry in all poetic layers and aspects. The purpose of the present study is to examine these two points: 1- The thematic sources and thematic patterns in mystical literature as well as the techniques of imagery and expression and conceptual structures in Kurdish Romantic poetry go back to Persian poetry. 2- How Kurdish poets display their creativity in this influence is explained.

2. Literature Review
A comprehensive study that focuses on the comparative study of classical Persian and Kurdish poetry has not been conducted so far. The work done was mainly case-based and in the form of reading sample texts from Persian and Kurdish literature. In most of these studies, the influence of a Persian poet’s poetry on the poetry of a Kurdish poet has only been discussed descriptively and the process of influence has not been analyzed and explained. In an article that discusses the influence of Hafez’s poetry on the poetry of Kurdish poets, Shams (2013) aimed to present a report on the reflection of Hafez’s thought and poetry in Kurdish poetry and emphasized the extent to which Kurdish poets were in tune with Hafez’s poetry. Parsa (2009) has also examined the influence of Hafez’s poetry in Kurdish poetry in more detail, focusing on meter, rhyme, and the assurance of poetic verses. Throughout the course of studies related to the field of comparison between Persian and Kurdish poetry, there has been a specific focus that is often based on reporting similarities to prove the influence of one on the other, and the issue of the level of influence and its functional aspects has not been explained much.

3. Methodology
In the French school, although the issue of influence has been raised as one of the necessary conditions for conducting a comparative study, what has been considered in the concept of influence is mostly limited to examining external relations and external tools and influences, and there has been little focus on its capacities and dynamic aspects. It is necessary to change the perspective on influence from passivity, inauthenticity, imitativeness, etc. to other angles such as creativity, activity, and originality; because being influenced does not negate originality and creativity. A large part of the importance of the issue of influence, which has been neglected in the French school, is the lack of attention to its process, while the category of influence acts like a dynamic process system and has certain functional aspects. Since the issue of influence is a complex systematic process, it is related to the categories of modeling, re-creation, literary knowledge and competence, creativity, and originality. If influence is studied from such a different perspective, it can be seen that its role is formative, meaning that it provides a context for learning methods, techniques, and expressive and semantic structures, using the materials and patterns in the source literature to create a different and new work in the target literature. Accordingly, it should be said that influence involves two important characteristics as functional aspects: acquiring knowledge and creating competence in the subject area in question. It is because of these aspects that influence has cognitive and epistemological value.

4. Discussion
The expressive techniques, artistic imagery, terms, and conceptualizations found in some of the poetic themes and literary genres of Kurdish classical poetry are such that the existence of a rich background has undoubtedly caused them to appear at such a level. Among all the possibilities that may be proposed as a background, considering the solid and firm In-textual signs and extra-textual documents, it can be clearly and decisively acknowledged that this background is Persian classical poetry. Persian classical poetry has played an important role as a macro-structural factor in the development of Kurdish classical poetry; because the origin of the themes, motifs, images, and terms of lyrical and mystical poetry of Kurdish poetry goes back to Persian poetry, and for Kurdish poets it has played the role of a background of materials and information in creating literary knowledge and artistic reserve, and consequently the forming of literary competence.

4.1. The Relationship between Persian and Kurdish Mystical Poetry
The creativity of Kurdish poets in mystical poetry has been limited to conceptualization with common terms, concepts, and motifs. Although Kurdish poets did not create a fundamental change in mysticism in terms of thought and ideas, an innovative movement can be observed in their poetic language in terms of expression and methods of embodying meaning. Simplifying complex and difficult mystical concepts for easy understanding, which is done using objective and tangible methods of expression and imagery, is a manifestation of creativity and is considered one of the creative aspects of Kurdish poets. Simplification for understanding and embodying meaning is sometimes done by utilizing native phenomena existing in the culture and geography of that society, which can be called semantic localization.

4.2. The Developmental Role of Persian Poetry in Kurdish Love Poetry
The interpretation and explanation of the similarities of expression and imagery in the love poetry of these two literatures is that the emotional and sentimental experiences and perception of different states of love and affection are related to the poets themselves and their real experience, but the methods of their embodiment and linguistic coding have been done by utilizing the signs found in Persian poetry as tools of expression and imagery. In fact, the poetic space of Persian love poetry has entered Kurdish poetry in such a way that Kurdish poets have encoded their emotional and sentimental experiences with what they have heard from Persian poetry and have used the imagery and expressive techniques in Persian poetry to embody their emotional perceptions and loving awareness. Although the elements and terms present in this theme are the same as those found in Persian love poetry in abundance, the way in which the elements are combined and used is different, which has led to a new recreation of that theme.

5. Conclusion
The process of producing Kurdish classical poetry has been carried out in a dialectical relationship with Persian poetry, as a necessary background. Kurdish poets have used the signs in Persian poetry to encode data and conceptualize their perceptions. Their imaginative system and poetic and artistic language, as it was formed as a result of extensive interaction with Persian poetry, have acted in such a way that in order to embody perceptions and portray their imaginations and intellectual reflections, they have used what they have read and heard, which include words and terms, poetic images and expressive methods, and whose origin was Persian poetry, as a code. Because an important aspect of creativity is related to how materials and elements from the other literature are used to create poetry, different and original combinations with materials and elements taken from Persian poetry and their reproduction in their own linguistic system are considered the most important aspect of their creativity.