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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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A.Ghanipor Malekshah.PH.D
S.Ardeshiri Lajimi, M.Esmaeili, I. Amn-Khani, Z. Salari
 
Abstract   
One of the complicated and ambiguous issues discussed in the books on the history of Iranian literature is the starting point and the manner in which the Indian style was established. A review of the works done by researchers working in this area reveals a considerable diversity of opinion and view. Some researchers believe this style was the inevitable outcome of the natural path that the Persian literature went through. On the other hand others have surveyed this issue regarding social factors and the environment leading to its constructor. Still there are researchers who assume that the root and origin of this style springs from the poetry of past times rather than social factors or even the environment shaping it. These researchers have mostly mentioned poets such as Khaqani, Hafez, and Vahshi Bafqi etc as the founders of this style. But the significant point is that the result of such researches has not been accepted generally. The truth is that a wide scope style -such as the Indian style- can not be regarded as taken from the poetry of one poet, instead it is preferred to speak of the quality and quantity of the influence of these poets on this style, whereas this can merely happen using a new method; which is content analysis.
This essay also intends to show how and in what manners poets like Khaqani, Hafez, Vahshi Bafqi and Baba Faqani- the four leading poets of the Indian style- affected the foundation of the Indian style.
 
 

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analysis of Korosh Safavi's researches about Indian style

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One of the most widely used stylistic techniques is the comparison of similar literary works in different historical periods. The result of these similarities and differences will be the mystery of the poet's superiority to the other, as well as the level of linguistic, historical and cultural influences on the literary text. With a quick look at Indian poetry and Isfahani style, one can clearly understand the increasing tendency of their creators to apply poetry techniques and techniques to their predecessors. Techniques and instruments that, in different aspects (form and content), distort the speech on the language chain from the standard and standard language and its proximity to the language of poetry and poetry. In this regard, determining the style of a poet is to identify and identify the same tools and techniques in frequency that vary from poet to poet. Accordingly, it should be noted that the main difference between the style of Isfahan and Indian style poets in the poet's approach to poetry of these times is poetry and common themes of the literary (motiv) themes in the common Iraqi style in Iran. Biddle strives to end the style of Hindi not influenced by Isfahan's style (impact anxiety theory); Such an approach is less intense against the Iraqi style poets and is more intense than the likes of Saeb.
 

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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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