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How the Indian style and its pioneers came into existence is one of the most important and ambiguous topics in the field of literary criticism and stylistics. Studying the viewpoint of researchers who have done research in this field shows that our knowledge about the background of the Indian style and the signs of its main features in the poems of predecessors is much more ambiguous than other styles. contract. Given that Bidel Dehlavi along with Saeb Tabrizi are two lofty peaks of Indian style poetry that contain the main features of Indian style with a very high frequency, in this paper, the background of some of Bidle's Dehlavi stylistic features in Nizami Ganjavi’ poetry is investigated. "It is very difficult to find the explicit influence of Salaf poets in the works of Abul-Ma'ānī Mīrzā Abdul-Qādir Bēdil." (Arezoo, 1999: 120). However, a critical and stylistic look at Nizami Ganjavi’ poetry and a comparative study of it by Bidel Dehlavi reveals the fact that although Bidle has not mentioned any of the poets of the Azerbaijan region in his poems, by comparing Bidle's stylistic features with the main features of the Azerbaijani poets, it can be assumed that Bidle was influenced in practice by their magical words and most likely adapted the main features of his poetry from them. For the first time, Salahuddin Saljuki explicitly stated about Khaqani's influence on Biddle's mind and language that "only in his poems did Bidle deliberately seek to welcome some poets, especially Khaqani, who is the notary of odes’ Divan" (Saljuqi, 1388: 527). But regarding the influence of Nizami on Bidle, Saljuqi writes that Bidle composed his "mysticism" based on the rhyme of Nizami’s “Leyli o Majnun” (لیلی و مجنون) (Saljuqi, 2009: 409) and his “Tur i Ma'rifat” (طور معرفت) based on the rhyme of “Khosrow o Shirin” (خسرو و شیرین) (Ibid: 419). Considering that so far no research has been done on the affectivity of Bidle Dehlavi from Nizami’s rhetoric, the authors of this paper intend to examine some of the stylistic similarities between the two poets in a comparative way. Studies indicate that most likely Bidle Dehlavi was acquainted with the works of Azerbaijani poets, especially Khaqani and Nizamis, which caused him to be influenced by the charm of some of the artistic tricks of these poets and create the foundations of Indian style based on the Azerbaijani style by applying and evolving it. With regard to such issues, the following basic questions arise: 1. Is the Indian style a necessary result of the natural course of poetry in that period or can the history of this style be sought in the works of previous periods’ poets? 2. What are the similarities between the stylistic features of Nizami Ganjavi’ and Bidle Dehlavi? 3. To what extent has Bidle been influenced by the Azerbaijani style, especially the Nizami Ganjavi’ style in the use of stylistic elements?

In this research, an attempt has been made to identify the most obvious and frequent elements of the Indian style in the works of Bidel Dehlavi through comparative analytical method. To explore the history of these elements, they have been compared in Ganjavi’ Khamsa or Panj Ganj ('Five Treasures'). To do this, we first identified the most important stylistic features of Bidle's poetry, examined them in Ganjavi’ Khamsa, and finally made a comparative analysis of our findings.

A study of the stylistics of Bidle Dehlavi's poetry as one of the two peaks of the Indian style reveals that Bidle's poetry has special features from this perspective. Thus the reader in the face of these features is thinking to answer this question: Whether these features are a necessary result of the natural course of poetry in that period or the stylistic background of this type of use can be seen in the poetry of previous poets. Therefore, by studying the important features of Bidle's poetry style including ambiguity, personification, paradox, the presence of popular language and culture, rhetorical combinations, numerical affinities, synesthesia, use of words in special and unconventional meanings and allegory in Ganjavi’ Khamsa, the authors concluded that most of the stylistic features of Bidle's poetry are present in Nizami Ganjavi’ poetry sometimes at a higher frequency and sometimes at a lower frequency with the same approach, type and structure. For example, ambiguity is one of the most important features of Bidle and Nizami’s poetry, that the reason for its presence in the poetry of both poets, in addition to the narrator's familiarity with philosophy and mysticism (Khalili, 2004: 100 and Ejlali, 1993, vol. 1: 108) is the construction of special and unprecedented combinations, the use of unprecedented metaphors, rhetorical combinations, special illustrations. Or in the field of using personification, it can be said that in Nizami’s poetry, very subtle and complex personifications are seen, which have been interpreted as imaginary subtleties (Zakeri, 1993: 596). The same personifications with the same approach and structure has reached its peak with high frequency in Bidle's poetry (Shafiee Kadkani, 1997: 60).From the viewpoint of using contradictory images, it can be said that Nizami’s Khamsa, like Bidle's poems, is full of contradictory images. Of course, these images, although are simple compared to Bidle's paradoxical images, it can be said that in fact they are the evolved form of these simple images. The presence of popular culture and the creation of rhetorical combinations are also among the common features of Nizami and Biddle’s poetry so that perhaps no other poet except Jalāl ad-Dīn Muhammad Rūmī (Mawlānā) in ​​the entire history of Persian literature has succeeded in making rhetorical combinations as much as Biddle and Nizami. The use of numerical affinities, synesthesia, the use of the word in a specific and unconventional sense and allegory are also among the common features that have a significant and effective presence in both Bidle and Nizami’s poetry and distinguishe these two poets from their other peers.

The results of the studies indicate that most of the features that are considered to be Bidel Dehlavi's stylistic features have been used in Nizami Ganjavi’s poetry and some of these features, such as making rhetorical compositions, popular language and culture, personification, ambiguity, etc. are frequently used in Nizami’s poetry. Although, some of Bidle's stylistic features such as allegory, synesthesia, numerical affinities, paradox, use of words in a specific meaning, etc., have been used in Nizami’s poetry, they do not have a high frequency as Bidle's poetry. Finally, we come to the conclusion that Bidle was probably familiar with Nizami’s Khamsa and chose some of its simple artistic tricks as the primary model of his work due to their attractiveness and developed them with his innate genius.

This article is an EEG/ERP study based on psycholinguistic models of reference resolution to study the discourse comprehension and coherent contexts through co-referencing between an anaphor and its antecedent in the same spoken context. How brain is able to establish reference between an anaphor and potential antecedents in discourse has become of great interest. Based on Informational Load Hypothesis by Almor (1999), an auditory task using participants with no neurological or medical disorder was designed to compare coreference resolution of a referential pronoun and its acceptable antecedent in two-sentence discourse context. Based on this theory, and considering the morpho-syntactic limitations of Persian language for processing the information comes from the pronominal anaphor, discourse function and processing cost of reference resolution analysis was examined by situations such as ambiguity in referring expressions. Research method in this study is based on psycholinguistic experimental model which indicates the sub-processes of brain functions responding to co-reference resolution. The model used in this research represents the balance between discourse function and processing costs of reference resolution between referential coherence and referential ambiguity conditions. The ERP components shown in this project indicate that the processing of anaphor resolution in different situations imposes different processing cost on working memory. The two components Nref and Left Anterior Negativity (LAN) in frontal lobe were elicited during referential ambiguity of the pronominal anaphor (third person) which has no gender feature. Nref is a sustained referential negativity which indicates the ambiguity of the referring anaphor. (LAN) in previous researches has shown the increasing activity of working memory. This result which is incompatible with previous studies, has indicated that lower salience of the antecedent can cause higher processing cost for the working memory in order to establish a cross-reference bridge between the new information and the already existing representations of antecedent.

This article studies the history of grammar in several world languages including Sumerian، Chinese، Indian، Roman، Greek، European، Persian and Arabic to analyze the formation of grammar by way of comparison and finally signifying the place of each language in terms of writing and formulating grammar. The focus of this paper is the role and place of Persian and Arabic grammar in comparison to other world leading languages of the past and present. Undoubtedly، the findings of this study could be a step forward in clarifying the grammatical background of great world languages.