It has always been a challenge for researchers to present a text which is close to the product of a poet or writer’s mind. That is why works of great Persian literary figures undergo multiple corrections and amendments. Works by Abdolqader Bidel, however, have not undergone such process and it seems unfair to pay such little attention to a poet as great as Bidel who has had an undeniable role in the growth and expansion of Persian language and literature.This research aims to introduce three manuscripts of BIDEL’S SONNETS housed at Maulana Azad Library (Aligarh Muslim University), Rampur Raza Library and Khodabakhsh Library of Patna. The writer will first compare and criticize the works in this area based on the presented samples and then explore the characteristics, strength and weaknesses of each manuscript with expertise reasons and examples.The reason for conducting such a study is the lack of an edited version of BIDEL’S collected works. The paper aims to introduce the three manuscripts as reliable texts in a scientific editing process.

In study of BIDEL’S style and examining numerical subordinates in his poem, this belief may form that one of the arts which is manifested in Indian Literary Style, particularly BIDEL’S verse are novel compositions and using number in their structure and they acted as variation factor for lexicons and terms in language. Structure of such compositions and creation of new style and BIDEL’S defiance are determinant factor for position of his style among poets from Indian Style of literature. In the present quest, it was tried to refer to structure of numerical subordinates of any type, which were called as disambiguating factors by Shafiee Kadkaniin book of “Poet of Mirrors” and also novel compositions and new concepts of BIDEL’S SONNETS and analysis on their link so that one of poetical techniques of Bidel to be displayed. It is noteworthy that all prototype examples of SONNETS of Bidel Dehlavi were derived from BIDEL’S poetic collection, which was edited by Akbar Baharvand and Parviz Abbasi Dakani etc.

“A Selection of BIDEL’S SONNETS” by Mohammad Kazem Kazemi, the Afghan poet and scholar, is a valuable and notable work which shows his good grasp of the thoughts, ideas and poems of Bidel. However, sometimes the narrow view, the misreading of verses, superficial understanding and relying on not-so-acceptable premises make the criticism of this book inevitable. Among the points of criticism in this work are: not paying enough attention to imagery clusters or the network of images in BIDEL’S poems, not considering the artistic dimensions of the words, lack of sufficient mastery over the meaning of words and idioms, not paying attention to lexical metalepsis and displacement of parts of speech, referring to non-scientific publications of BIDEL’S SONNETS, preferring weak and non-artistic variant readings to authentic and reliable ones and other points which necessitate the re-interpretation and reconsidering of several verses in this valuable work. Looking more deeply and precisely at the mentioned points, the authors of this article aim to provide more documented readings of these verses.

BIDEL’S fame and greatness is not limited just to the manner of expressing his thoughts and its linguistic subtlety. Part of the glory of his poetry originates from his thoughts which is as mysterious and symbolic as his language. If we took it for granted that there is stylistic prominence at the semantic level of BIDEL’S poetry, we could ask how the prominent features could be realized in the form of sonnet. When sonnet as a literary form is a place to express lyricism, how thought and love are put together there? Regarding the factor of thought, can BIDEL’S SONNETS be treated as a special kind of sonnet? At the present article, having studied one of the BIDEL’S famous SONNETS critically, with special focus on its content and the thoughts involved, we have come to the conclusion that just as the poetry of Hindi Style is distinguished in terms of its form, it is distinguished in terms of its content; and this fact is evident in BIDEL’S SONNETS as the famous exemplar of this style.

The present research aimed at exploring the real characteristics of Bidel, analyzing the content of his SONNETS. Bidel is the humble lover who had abandoned the terrestrial issues whose collected work is full of mystic symbols and expressions. BIDEL’S SONNETS similar to Hafez’s are the illustration of the true love. The present paper exploits the analytical-descriptive methods to examine how the representation of the true love, mysticism and the implication of artistic ironies can be taken into account as the main characteristics of BIDEL’S SONNETS. The interpretation of the symbolic words in BIDEL’S lyrics that causes his speech to be distinguished in accordance with the literary implications of the language is one of the main discussions of the paper. To explain the concepts developed in BIDEL’S lyrics, a formalistic approach is taken toward the words, and the interpretation of his symbolic expressions. The analysis of some of the symbols and fundamental expressions in BIDEL’S SONNETS is carried out based on psychology of Carl Gustav Jung, and the paper finally gives a review on the mystical symbols and expressions.

Familiarity with mysticism of Bidel Dehlavi is one of the most important ways to approach to his mystical thoughts. Annihilation is a recurrent thought in his poems. Being perished in an endless sea of reality and in the mystical journeys is of eminent importance. In the opinion of Bidel, mystical journey of a Gnostic is towards annihilation .The far end of mysticism is annihilation in God. The importance of perishing is so high that it has become one of the basic issues of different mysticisms all around the world. Nirvana is a noticeable example in Indian mysticism. Bidel is one of the great mystical poets in India and his favorite concepts in the field of mysticism are continuation of Mowlana Jalalo- din Balkhi and Ebn-e-Arabi.

The present paper aims at explaining one of the concepts of “mirror” as an allegory in BIDEL’S ghazals and analyzing the link between this allegory and the ones used in thoughts and beliefs of Ibn Arabi. This paper mainly deals with the status of mirror in ghazals by Bidel as reflection of the highest point of Ibn Arabi’s mystical thoughts, i.e. oneness of existence. It is essential to carry out such study in order to explain how Bidel had been under the influence of Ibn Arabi’s thoughts and beliefs in this regard. As for methodology, the present paper is a library research conducted by using content analysis. Ibn Arabi explains the role of human, whose mind and spirit have fully matured and reached the highest rank, with an allegory like mirror, and describes the mystery of “truth reflection in mirror of imagination”. It should be pointed out that two factors are present in this allegory: mirror and the observer or witness who sees his face like an object in the mirror. In this reflective process, human being is both a linking loop and an identification factor, so he is both representative of the mirror and agent of the observed object. Mirror is a symbol of reflectivity of world’s nature and the observed object, and the observer is Allah Himself. Therefore, Ibn Arabi describes human being as “the original reflection”. Bidel, the Persian poet is a mystic who’s fond of mystical thoughts, particularly oneness of existence present in Ibn Arabi’s school of thought. He is considered as a follower and prominent speaker of Ibn Arabi’s thoughts, whose favorite allegory is mirror. The result of investigation into mirror as a motif in the ghazals by Bidel indicates his mystic thoughts about God, human and the world. BIDEL’S high status among poets with Indian style, and how his thoughts are joined with language and poetic experiences are also shown.

Comparative literature is a branch of literature which examines various types of literature among different nations of the world, and it compares various literary texts of different fields such as aesthetics, stylists, and literary criticism, and it finds similar and different aspects of them and manifests them to the readers through which it defines the extent of influence and impacts of various types of literature among various nations’ literature. Iran and Afghanistan have literary exchanges since old times and both countries accompanying one another have common rulers in some periods of time during the course of the history and they were regarded as a same country. In the present paper, we would point to stylistic, aesthetic and belief similarities of Hafiz and Ayesheh Dorrani and the extent of influence of Hafiz on Ayesheh.Ayesh was one of the followers of Hafiz who versified in Iraqi style and she borrowed some of her themes from Hafiz.

Introduction During the 6th century, Nizami was a well-known poet who had a significant impact on the emergence of the Persian sonnet, especially in its romantic variation. Although Nizami gained widespread fame and admiration, many of his SONNETS have been disregarded. Comparable to other Persian poets, Nizami composed SONNETS on specific occasions in addition to his celebrated poems, which frequently delved into subjects like love, being, and inebriation. Many articles have been written about Nizami's poems, but his SONNETS have not received as much attention from scholars. Some researchers may believe that his SONNETS are not as worthy of analysis compared to his Khamseh, or they might not consider them significant enough in terms of form and content. However, Nizami has exhibited his extraordinary artistic talent in crafting SONNETS, much like his exceptional Masnavis. His careful word selection, artistic imagery, and suitable concepts have resulted in delightful and captivating poems that have garnered praise from prominent figures in Persian literature. The concept of intertextuality, which explores how different writers' works influence each other's ideas and perspectives, is currently a popular topic among scholars.  Methodology      Given the similarities in intellectual and language style between Nizami and Hafez's poetry, it is worth investigating the connection between their SONNETS and other literary works. By examining Hafez's poetry, especially his SONNETS, it is evident that Nizami's SONNETS have influenced Hafez's literary style in various linguistic categories. Intertextuality plays a crucial role in the formation of texts, and it often creates a variety of voices and dynamics in a text. No text can be completely independent of intertextuality. Therefore, poets and writers can draw inspiration not only from previous works but also from their future works. This inspiration can manifest in different forms, such as structure, framework, external structure, word choice, sentence structure, or even descriptions. Despite Hafez's exceptional poetic skills, he still incorporated the words and ideas of his predecessors into his work, and Nizami was one of the poets who significantly influenced Hafez's work. By examining Hafez's poetry, we can comprehend how Nizami influenced both the extratextual and intratextual components of Hafez's work.    Discussion"Extratextual communication" refers to the external relationship between texts. By comparing texts, we can identify these connections that exist outside of the texts themselves. This type of connection is the impact that one text has on another in terms of structure. This can be observed in the SONNETS of Hafez and Nizami, where the influence of Nizami on Hafez's SONNETS is evident due to the strong connection between them. While it's possible that Hafez was influenced by other writers, it's essential to identify the most impactful factors that played a role in shaping his work. This type of similarity is primarily found in the musical dimension of poetry, such as weight. However, sometimes the thematic content of the verses can also play a role alongside the musical and phonetic aspects. The following are some examples of intertextual signs that can be observed in both the internal and external aspects of certain verses written by the two poets: the use of the same weight and rhythm, the same format and rhymes, common vocabulary and combinations, similar similes, and common themes.The term "intratextual communication" refers to the relationship between different parts of a text. In this context, it pertains to the influence that certain words and their meanings have on each other within a text. Sometimes this influence is accompanied by musical harmony, while other times it is not. Here are some examples of intertextual signs that can be observed within the inner aspect of the verses written by two poets: the use of similar allusions, common images, shared similes, comparable interpretations and descriptions, and debates. ConclusionA thorough analysis of Nizami and Hafez's SONNETS illustrates the degree to which Nizami's poetry served as a source of inspiration for Hafez. Hafez ingeniously utilized Nizami's poems to craft even more exceptional and articulate verses, showcasing his own creative prowess. The study's findings indicate that: 1- The interaction and correspondence between the texts of these two poets is not only based on linguistic and semantic aspects, but also due to the similarity of cultural context and shared stylistic features, which can be observed in both intra-textual and extra-textual communication. 2- Hafez was influenced by Nizami's SONNETS in terms of their weight, rhyme, line structure, and other musical components. 3. There are evident connections in the field of intra-textual communication (infrastructure) between these two poets, including themes such as love, ruins, etc., which were influenced by the prevalent lyrical literary traditions of their time. 4. In some instances, Hafez incorporated Nizami's verses into his own work with little to no modification.

Bidel Dehlavi is the greatest Persian poet of India that difficulty is the main characteristic of his style. Technical discussions about BIDEL’S style and his word difficulties, demands more attention to some syntactic cases that have been remained unnoticed. One of the poet's way of speaking is frequently using of compound numerical adjectives and specific classifiers in a specific and unique way. One of his specific methods to display and offer different concepts to the reader's mind is the use of certain words in place of numerical-classifiers, which is new and by breaking norms of language, makes the reader surprised and gives him pleasure...