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When the elements and different components of a literary work are studied and their relation to each other and to the totality of the work is made clear,a reader can claim that she/he has had a formalistic reading of the work.Such a reading facilitates commenting on how the elements and components of the work are interrelated( vertically and horizontally). In this paper,the form and structure of a Ghazal( sonnet) of Bidel Dehlavi are re-read, using the intratextual signs.The first line reads: YEK TAARE MU GAR AZ SARE DONYE GOZASHTEI SAD KAHKESHAN ZE OJE SORAYYA GOZASHTEI The theme of this Ghazal which is continuously repeated all through the poem is "advice to return to oneself and put under observation one’s inner self in the bed of the hastening and transitory time".The subject matters of movement,passing,transition and transformation are spread all through the Ghazal .However the link between the lines of the Ghazal is not the sort of link to create a "bodily structure",rather each line of this Ghazal is a separate bead,related to the other beads by a string( the subject matters of movement and passing of time) creating a necklace( a Ghazal).

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Baroque movement started from Italy and covered the whole Europe. Baroque school came into being after the glorious Renaissance era, and The Indian style came into being in Persian literature likewise Iraqi. These two have a firm relationship with each other. For example, sonnet is the prevailing form in both schools. Also they have concepts like movement and permutation, emphasis on visible and concrete forms, reliance on physical beauty, how to describe nature, dominance of décor, defamiliarization, etc, in common. What are clearly observed in Baroque literature are: not imitating the formers, instability of the world, movement metaphors, death, presentation, carpe diem, artist's revolution, philosophical complexity, paradox, conditionality of human knowledge, freedom of speech,etc. These are also salient in the poetry of Bidel Dehlavi. This research studies the firm relationship between Baroque school and poetic style in Iran and India considering some poems of Bidel.

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Bidel Dehlavi’s poems- as one of the prominent figures of Persian literature who was living out of Iran’s geographical frontiers – include popular culture especially Iranian culture. In the present study, his poems will be examined from the view point of the crystallization of popular culture. It was demonstrated in the first chapter that although he is a non-Iranian poet; Bidel Dehlavi was strongly influenced by Iranian thought and culture to reflect the folklore in his poetry in different ways, consciously or unconsciously. In this research, the sources and origins of some of the popular traditions and beliefs of Bidel's poetry, which are common in Indian and Iranian cultures, have been analyzed and revealed that in this respect, Bidel’s social and literary vision is the cultural background of Iran and his poem reflects Iranian culture.

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The poems of Bidel as a remarkable poet of Indian style, who lived outside the geographical boundaries of Iran, reflects the popular culture, rituals, traditions, and people’s beliefs in India. This Persian mystic poet whose works originates from the basic culture of his homeland, consciously or unconsciously, accomplished to reflect parts of the culture and popular beliefs of Hindus in his poems through different ways. This study seeks to survey some popular beliefs, customs, ceremonies, and rituals dealt with Bidel Dehlavi in Mathnavi-e Erfan. The results of this research was extracted by a descriptive analysis revealing that beliefs in reincarnation, Sati practice, Vedas custom, and burning the dead people are among some common traditions and beliefs in the land of India applied by the poet to create artistic themes and explain mystic and religious ideas for the audience. Furthermore, the romance of Kamdi and Madan in Mathnavi-e Erfan displays the luxurious state of courts of the Indian kings and their social customs. This research can be a reflection of popular culture and tradition of Hindus, and be useful in ethnology studies, social science, and cultural research.
Review of the literature
No independent research study was found on the themes of people’s culture and customs of Hindus, and its reflection in Masnavi-e Erfan by Bidel Dehlavi. Although some studies have addressed some aspects of the Iranian culture in Bidel Dehlavi's poems, the following can be mentioned.
Khosravi et al. (2018) analyzed the level of Iranian culture in Bidel Dehlavi poems. Kariminia et al. (2018) focused on the reflection of public beliefs and ideas in Bidel's poems limiting themselves to the culture. Zolfaghari and Tabatabai (2015) studied the use of Persian proverbs in the poems of Bidel Dehlavi. Ranjbar (2013) investigated folklore in the Indian style describing aspects of people's culture in Bidel's poetry, which is a continuation of the Indian style poetry.
Hosseinabadi (2015) studied myths of death in the Indian vision. The study has only paid attention to the subject of death in Indian mythology and has tried to study the beliefs, customs, and rituals related to the Hindu religion. In the similar line, Eliassy (2009) studies the subject of reincarnation in Hindu texts. Latifi (2016) explained the functions of shroud and burial in Hinduism. It could be understood from the research background that the present study is significant in the field of reflection on Hindu culture and rituals in the Masnavi of Erfan Bidel Dehlavi.
Aims and questions
The main purpose of this research is to answer the following question: which of the customs and culture of Bidel is reflected India in "Masnavi-e Erfan"?
This Masnavi has become an important and reliable source for understanding the folklore and popular literature of the Indian land by containing long mystical thoughts as well as Bidel's references to Hindu folk culture, rituals, and customs. Hindu ideas about termination, metamorphosis, reincarnation, ritualism, Vedas, and the love story of "comedy and civilization" are of Indian origin. Although some of them are based on religious, philosophical, and theological views, it has shaped the culture of people in this land. Accordingly, in this research, an attempt is made to answer the research questions while analyzing and reporting some examples of Bidel's influence on Hindu's popular culture.
1. Which of the themes of Indian culture, including customs, traditions, and popular beliefs, is reflected in Bidel Dehlavi's Masnavi-e Erfan?
2. Is the poet only the narrator of some Hindu customs and rituals or he has been able to use these themes in an artistic way to express his mystical thoughts?
Assumptions
1. The ritual of burning the dead, the ritual of Sati, the commitment of Vedad, the religious ceremony of the Ganges River, and the story of "Comedy and Madan" are mentioned as part of the customs, traditions, beliefs, and rituals of Hindu culture and religion in Masnavi-e Erfan.
2. Bidel draws on highly mystical and poetic concepts in the form of anecdotes, and attractive and dynamic images of Hindu customs and rituals by using mystical terms.
Discussion
Studying the culture of the people in Bidel's Masnavi-e Erfan, we seek to examine some of the beliefs, customs, and traditions that are related to the culture of the Indian subcontinent and are reflected in Bidel's Masnavi. The study of Masnavi-e Erfan from the perspective of popular culture proves that he was raised in India. Wherever he had the opportunity, he displayed the main themes of the people's culture and various aspects of Hindu customs and beliefs in his poetry.
Belief in reincarnation and the influence on the beliefs of the Indian people, ritualism, rituals of mourning, as well as the love story of a dancer and singer are manifested in parts of Masnavi-e Erfan as customs and beliefs of the Indian people.
Conclusion
Undoubtedly, Bidels work, as a Persian-speaking poet in the Indian subcontinent, reflects the Hindu civilization, culture, and customs. The ritual of cremation, rituals, vows, religious ceremonies of the Ganges River, and the story of "Comedy and Madan" refer to some of the Hindu cultural and religious customs, traditions, and rituals. In the form of anecdotes, Bidel draws attractive and dynamic images of this ceremony that are not well-known to the audience of Persian poetry. In the story of "Comady and Madan", there are similarities with the love stories of "Khosrow and Shirin" and "Lily and Majnoon" in which Bidel Dehlavi was able to artistically combine Iranian and Indian stories. 
References
Abazari, Y. (1993). Religions of the ancient world (in Farsi). The Institute of Cultural Studies and Researches.
Ali Moradi, M. M., & Mahmudi, A. (2017). Indian religions (in Farsi). Samt.
Bakhtiari, M. R. (2003). Folklore and popular literature (in Farsi). Adiban.
Beyhaqi, H. A. (1986). An analytical research about the folk culture in Iran (in Farsi). Astan-e Qods.
Bidel Dehlavi, A. (2009). The flam of song: the poems of Bidel Dehlavi (in Farsi). Negah.
Elyasi, P. (2009). The afterlife in the holy Indian books. The Research Journal of Religions, 6, 1-26.
Hossein Abadi, Z. (2015). An analysis of the death’s myths in the Indian perception). Journal of the Indian Subcontinent, 23, 4-25.
Kardgar, Y. (2017). Waiting (in Farsi). Samt.

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Tazmin: A different term in the Bīdel Dehlavī's boutiquette
Bahman banihashemi[1]
Abstract
       One of the difficulties of Biddle Dehlavi's poetry is the understanding of meanings and special uses of words and expressions in his poems. Bidl uses some Persian terms with meaning and phrases and is foreign to the meaning and terminology of the words in Persian. "Tazmin" is one of these terms used by Biddle in a different sense, and sometimes he has made a combination of "Mesrae Tazmin".
       In this article, first, the definitions and meanings of the Tazmin are examined in dictionaries and rhetorical books, and then the meaning of the term in Biddle's poems is analyzed. Also, the term "Mesrae Tazmin" is examined. The author's method in analyzing the meaning of this term is to use Biddle's own poems, and for this purpose, the uses of the term in Biddle's poems are determined and explained. In the end, the meaning of "Tazmin" and "Mesrae Tazmin" is examined in the poems of some of Biddle's contemporary poets and compared to their meanings in Biddle's poems. This article shows that the terms "Tazmin", "Mesrae Tazmin" and "Mazmoun" in the 12th century AH in the Indian subcontinent have become literally specialized terminology and have adopted new definitions. In these definitions, "Mazmoun" is used specifically for the meaning of "Mesrae Barjaste", and the term "Tazmin" refers to the process of "Mesra resaani" or "Pishmesra resaani", also referred to as the "Mazmoun bastan". "Mesrae Tazmin" is a term used to "Mesra or Pishmesrae resaande".

Keywords list: Bidel dehlavi, Tzmin, Mesrae Tazmin, Mazmoun, Mesra resaandan, Indian style, Meaning analysis

1. PhD candidate, Institute for Humanities and Cultural Studies.  bahmansher@gmail.com

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Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.
Extended Abstract
Almost all researchers have accepted that meaning is formed in the intersection of the mind of the author, the text, and the mind of the audience. But this proposition is incomplete and unjustifiable if one does not pay attention to the meaning of the discourse. This is because the author's mode of operation, the subject and organization of the text, and the thoughts of the audience are all determined by rules of discourse. This article attempts to provide a conceptual model from the perspective of Michel Foucault's philosophy and considers Bidel Dehlavi as an example. This model describes the relationship between discourse and meaning. Moreover, this model is a comprehensive system for the study of Persian poets.
The conceptual model includes five principles: 1- All elements of discourse in the ruling power design the system to strengthen knowledge. This system produces the desired knowledge of the ruling class. Meanwhile, the great poets destroy the rules of discourse and produce new knowledge. Any research that intends to interpret the works of creative poets ignores all the achievements of the poet. These studies require the reader to interpret the works of creative poets in terms of old meanings. 2- The subject of the discourse is not the most important part of a discourse. Mystical literature considers mysticism as its subject, not as the main axis that determines its rules. The research that shows that a mystical idea manifests itself in a poem serves this intellectual idea and destroys all literary aspects of the poet's work. Poetry has three different approaches to discourse: expanding the boundaries of discourse; making fun of its rules; resisting its rules. In all these cases, he must have been able to use the symbols of this discourse differently. 3- The subject is not the reason for the unity of propositions. Two sets of propositions with the same subject are not necessarily present in the same discourse. What binds a set of propositions in a discourse is the same discourse formulation. This discourse formulation contains rules that determine the order between propositions, not their content. Therefore, in mystical literature, one should pay attention to the breaks that occurred between different periods of mystical literature. This difference in the discourse formulation of the different periods means different interpretations of the mystical concepts in the different periods. 4- The subjects of each discourse declare the knowledge that is supported by that discourse. It is difficult to gain knowledge in a course that does not do this. In the field of literature and art, creators try to avoid the production of knowledge and focus on enhancing intuitive understanding. For this reason, any study that aims to transform the content of the works of creative poets into the knowledge mentioned above serves the rules of discourse and not the poet. 5- The discourses described in the works of Michel Foucault are scientific. Scientific texts adhere to certain principles in every era. But literature is inherently inconsistent with this adherence. Literature means a stream of successive ruptures. But you can find poets whose similarities are greater than their differences. These poets fall into one style. So in literary studies, the differences between poets of the same style are as important as their similarities. Therefore, you should determine not only the extent to which a poet adheres to the rules of his style, but also the extent to which he deviates from the norm.
 

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