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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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Formalistic criticism was the most important approach at the turn of 20th century that was originated from the modernism. The last decades of nineteenth and the early twentieth centuries, were the periods of denial and rejection as well as break-away from the past literary and artistic traditions. Modernism tried to break the ideology of ancient art and created "new" and "modern literature". For that reason, in the early twentieth century, thinkers made anti-cinema, anti-theater and anti-novel efforts to create a kind of anti-artistic views. The formalism in this tumultuous scenario raised the flag to combat traditional thoughts in literary and artistic domain. Is today, in the existing circumstances, formalism can be used for literary criticism ?
In this paper, the manner of emergence of formalism in the early twentieth century literature is studied and techniques and theories are compared with the Persian rhetoric. Undoubtedly, today, after the passing of nearly one century of the emergence of formalism, it should be noted that although formalists created new theories, almost all
stages of their works are clouded with dogmatic fundamentalism. Today, in order to pay tribute to their efforts, formalistic critical school, with an absolute perspective, must virtually be placed in museum of artistic and literary criticism and cannot be used as an ultimate and final method in criticism.