Why Was Saeb Sung and Not Bidel?

Saeb Tabrizi and Bidel Dehlavi, two pillars of the Indian style, have taken two different paths in Iranian vocal music. Saeb has long been a widely accepted poet among Iranian singers and, during the 'Golha' era, reached generations through the voices of singers such as Mahmoudi Khansari, Shahidi, Ghavami, Golpayegani, and Banan. Bidel, however, remained on the margins for decades. From the 1990s, it began with Hossein Zaman and continued in later decades with Eftekhari, Esfahani, Vahid Taj, and Hesamedin Seraj, and in the year

Iran Ambassador Arjan Art Service (Ambassador Arjan) - Mehrdad Mehrjo; The poetry of Saeb Tabrizi and Bidel Dehlavi, two prominent figures of the Indian style, had different fates in Iranian music. While Saeb's poems have long attracted the attention of Iranian singers, and a number of well-known singers, especially during the period of the "Flowers" radio program, have used his verses in their performances. During this period, singers such as Mahmoudi Khansari, Abdul Wahab Shahidi, Qavami, Golpayegani, Banan and others performed Saeb's poems and thus a part of his poetry reached the ears of a wide audience of Iranian music.

Despite its unique position in the Persian literary tradition, Bidel's poetry has had a much more limited presence in Iranian music. The reason why musicians are polite to Biddle is quite clear. In the program number 147 "Golha", which was dedicated to the introduction of the life and poetry of Saeb Tabrizi and Indian style, samples of Saeb's poems were broadcast with the singing of Qavami and Golpayigani and narrated by Roshank.

In the same program, in the introduction of Bidel Dehlavi, it is clearly emphasized that his Diwan is honored and admired in India and Afghanistan, but Salim Irani's taste does not like his poetry. This judgment can be seen as a sign of the dominant attitude of that period towards Biddle's poetry; An attitude that was probably one of the effective factors in the absence of his poetry from the "Flowers" program.

This issue is important because "flowers" played an important role in shaping the musical and literary taste of several generations of Iranians. Saeb's significant presence in this program, along with Bidel's complete absence, is not only a difference in the choice of poems, but it can also reflect the difference in the perception of the Iranian literary and musical society about the two great poets of the Indian style. Negative judgments about the difficulty and complexity of Biddle's poetry, which were prevalent among some writers of that period, were probably not unaffected by this lack of attention.

However, in the following decades, we can see signs of this situation changing. Although the number of Iranian singers who read Bidel's poetry is still small compared to Saeb's, there have been recorded examples of his poetry since the 1970s. Hossein Zaman seems to be one of the first Iranian singers who went to Bidel's poetry in the 1370s in the album "Qaseh Shab" and the piece "Golshan Naz". After him, in the 1380s, in an interview with a news agency, Alireza Eftekhari showed his desire to read Bidel's poems. "Moaning in chains" is one of the examples of this attention.

In the 1390s and after that, this trend continued with other examples. Among them, we can mention "Bidel Ghazal" with the voice of Mohammad Esfahani, "Ranj Hasti" with the voice of Vahid Taj, Soroush Aine's Bidel singing works, "Bahar Rahmat" and some other performances of Hossamuddin Siraj. Also, Ali Rostamian, Hossein Alishapour, Bammad Fallahati and Ashkan Kamangari are among the singers who have performed Bidel's poems in this period.

In recent years, examples of beadle singing in Iranian music have been published; Among the works related to Seyed Mohsen Hosseini and Alireza Ablaghi, as well as a work entitled "Album Bidel" with the presence of Sadegh Moradi, Sajjad Shushtri and Pouria Abedini. The publication of "Jehan Setm" with the voice of Homayun Shajarian in 1404 is also one of the most recent examples of paying attention to Bidel's poetry in Iranian music.

It seems that in recent decades, interest in Biddle has increased among some poets, researchers and music lovers; But the complexity of the language, the density of thought and the difficulty of some of his poetic images and compositions can still be one of the obstacles to the widespread entry of his poetry into the field of singing. From this point of view, comparing the fate of Saeb and Bidel in Iranian music is beyond the examination of a few albums and pieces of music.

This comparison can give a picture of the change in the literary and artistic taste of Iranians as well as the evolution of their attitude towards Indian style poetry. If in a period Saeb was considered an acceptable poet of Indian style for Iranian official taste and Bidel was placed on the sidelines, the increase in examples of Bidel reading in recent decades can be seen as a sign of a gradual revision in this historical judgement.

With the increase of academic and literary research about Bidel and the publication of works and programs to introduce his poetry, the ground has been prepared for this poet to be heard more in Iranian music. However, the gap between Bidel's position in the history of Persian poetry and the presence of his poetry in Iranian music is still significant. A gap that the reasons for its formation can be an independent research topic in the connection between literature, music and the history of Iranian taste.

Saeb Tabrizi and Bidel Dehlavi, two pillars of Indian style, have followed two different paths in Iranian music; Saeb has been a poet accepted by Iranian singers for a long time, and during the "Flowers" era, he reached the ears of generations with the voice of singers such as Mahmoudi Khansari, Shahidi, Qavami, Golpayegani and Banan, but Bidel remained on the sidelines for decades. It started with Hossein Zaman in the 1370s and continued in the following decades with Iftikhari, Esfahani, Vahid Taj and Hosamuddin Siraj, and in 1404 it reached "Jehan Setm" with the voice of Homayun Shajarian.

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