حسن ذوالفقاری

Similar to classic literature, there are several different literary genres in folk literature. Some of these genres belong only to folk literature, this is while others belong to both folk and classical literatures. It is an essential task to identify each one of these genres. Salavāt-khāni is one of the folk poetries which intend to recall the sanctity of the saints on different occasions by inviting the audience to salute the saints at certain moments. Poems of this type are usually classified according to the occasions they are being used. For instance, they are known as worksong, chavoshi, or sahari-khani, this is while each one of these examples belongs to a different genre. Consequently, the goal of this paper is to investigate the characteristics of Salavāt-khāni. To this end, generic studies are used to study the internal and external features, such as structure, content, mode, function, and the specific interaction between the orator and the audience. There are only a few cases of Salavāt-khāni which are recorded in manuscripts. However, these limited cases are enough to prove Salavāt-khāni as an autonomous literary genre according to its unique structure.

AbstractHeavy rainfall leads to floods, among other natural disasters, which is also considered as a climate hazard. In this research, it has been tried to show the connection and continuity of the atmospheric components in the entire vertical column of the atmosphere with the synoptic-dynamic interpretation of these precipitations.Therefore, after obtaining the data of geopotential height (in meters), orbital and meridional wind components (meters per second), divergence (s-1), specific humidity (g/kg) and humidity (s-1) from the study center In the mid-term of Europe (in the spatial range of 0 to 80 degrees east longitude and 10 to 70 degrees north latitude), the influence of the synoptic pattern of the atmosphere on the dynamics, continuity and connection of these components is displayed using IDV software.The results of the drawing and analysis of the atmospheric components affecting the precipitation show that in the heavy rain wave from 25 to 30 February 2015, the strong meridian pattern with a level height of 500 hpa and the activity of the STJ cyclonic circulation in the region were effective factors in intensifying the instability of the atmosphere. This pattern, by strengthening the horizontal convergence of the atmosphere and intensifying the convergence of inward flow of moisture from several sources such as the Mediterranean, the Red Sea, the Persian Gulf, the Sea of Oman, etc., has led to the occurrence of heavy and widespread rainfall in 68 synoptic stations in Iran

The impact of climate change on tourism has been the subject of many research studies. It is for this reason that tourism researchers have continued to explore the relationship between tourism and climate change and further explored response strategies among tourism stakeholders. The aim of this research is the evaluation of climate change and its impacts on thermal comfort and tourism climate of Iran. For this purpose daily maximum and minimum temperature, wind speed and relative humidity data of 91 synoptic stations during a period of 30 years (1987-2017) were used. In this research the (CDFt)[1] model is used to downscaling the GCMs data. ERA5 data was used to evaluate the performance of the downscaling model. The CanESM2 and GFDL_ESM2G daily data were used to draw future landscape changes of thermal comfort (based on the 2.6, 4.5, 8.5 RCPs). Then the thermal comfort for tourists was calculated using PET[2]. The thermal comfort results compared between the present and future. Thermal comfort of Iran was predicted for 2 periods (2021-2040) & (2041-2060). The results are displayed in ten-day classes. The number of stations that have optimal thermal comfort conditions in observation period indicates 0.83% increase compared to the futures perspective. The best conditions of climate comfort is predicted in the 24s and 25s decades and the most undesirable conditions are in the first to fifth and 34 to 36 decades. The most PET decrease is predicted in the northeast of Iran and the least increase of PET are occurred in the northwest. The results indicate an increasing on PET (between 0.06 to 1.56%) at future due to the increase in average temperature.

The daily variables of maximum and minimum temperature, wind speed and relative humidity of Synoptic stations as well as the ERA5 database in a 30-year period (1987-2017) and GCMs data were used to simulate the PET from 2021 to 2060. The CDFt model was validated using the Pearson correlation coefficient and the Kolmogorov-Smirnov tests along with a climatic RMSE. There are often abrupt changes in the climate time series. The homogeneity of observed data evaluated using the RhtestV4 software package based on the maximal penalized T and F (MPF, MPT) tests.  Data imputation was performed using Sequential K-Nearest Neighbor Method.Then, the research process was done as follows:The variables of maximum and minimum temperature, relative humidity and wind speed was simulated by CDFt statistical downscaling. The CDFt can be considered as an approach to the Quintile Mapping (QM) method by providing cumulative distribution functions (CDFs). Assuming that the ERA5 data are converted to the cumulative distribution function of the local climate variable as predictand at the desired station. In this study the CDFt software package has been used in R software. Validation of the simulated data was performed by Pearson correlation coefficient, Kolmogorov-Smirnov test and tidal error of the mean square squares.The RayMan model was used to calculate the thermal comfort based on PET index using both the observed and the GCMs downscaled data (CanESM2 & GFDL_ESM2G). This model is able to calculate the effect of short and long wave radiation flux on the human body, which is required in the human energy balance model.

After making sure that the CDFt, in general, showed a good performance in downscaling of the variable applied to calculation of climate comfort in the study area. Therefore, it is reliable to project the future thermal comfort of the region under the climate change conditions.Then  the historical period of CanESM2 & GFDL_ESM2G Models were used to show a comparison between PET observations and PET simulations. The results of the thermal comfort verification calculated based on the historical period simulated values ​​in comparison to the observed values ​​are as follows:There is a high correlation between the time series of the PET observed and PET simulated the historical period of GCM Models. However, a linear and positive relationship was observed for all-time series. According to the Kolmogorov-Smirnov test, the simulated values ​​of all PET time series showed good fit with the observed data at the 0.01 significance level. The calculated value of RMSE test for PET indicates the high performance of the downscaling method in simulation of historical period of GCM Models. The results showed that the CanESM2 model with minor differences performed better than the GFDL_ESM2G model. Incremental changes of physiological equivalent temperature haveoccurred in higher latitudes and in the high places like Alborz and Zagros. Also the PET decreasing changes are in low latitudes and central parts of Iran.Therefore, it is expected that more area of Iran will be at the desired threshold of thermal comfort at the future.The results showed that in the rest of the year, the largest utilitys are in the 24 and 25 th decades. Regardless of the model type towards the Rcp4.5 and Rcp8.5 and the 2041 to 2060 period increasing the values of the Physiological Equivalent Temperature will proceed. Also, the length of comfort decades is increasing in future periods.

This study was performed in order to provide infrastructure for tourism in future periods from 2021 to 2060. For this purpose, the climate comfort of Iran was predicted by GCMs data. Currently, most parts of the Iran are in the range of mild to severe cold stress. It is predicted that wider parts of study area will have optimal comfort conditions in future. Also, the number of optimal comfort decades is increasing compared to the observation period. The results of the climate comfort study showed that mild to severe cold stress conditions are predicted in More than half of this country at different decades of the year. So it will create opportunities and constraints in the future which requires long-term planning and strategies in this area.

The term "Bachekhani" has two uses in folklore, firstly in Maktabkhaneh literature and secondly in Ta'zieh or Shabiye Khani. Bachekhani, in Maktabkhane terms, is related to the collection of lithographic and illustrated books that were written for children in the Qajar period. Many of their writings were used in schools and became known as "Bachekhani". These books are mostly booklets like small volumes without covers, cheap and in small pieces were printed for children to study. Bachekhani in Taziyr terms is related to the role-playing of children in Ta'zieh ceremonies; whether in the role of Ahl al-Bayt children or in the role of Ashqiyya (enemies) children, many works have been published about the concept and history of reciting as well as Maktabkhaneh literature. This type of research should be based on the mentioned texts the field of home school literature is more, the works are focused on the publication of related texts and works less research has been done in its different dimensions on the topic of Bachekhani in Ta'zieh. Maktabkhaneh literature - no independent research has been done so far and it has only been published in works while dealing with other topics, there is also a reference to the role-playing of children in ta'zieh gatherings it is called "Bachekhani ". In Ta'zieh ceremonies, the singers of the group of "Movafeghan" were chosen from among the children with good voice. The parents of these children were either reciters themselves or from the fans of the Ahl al-Bayt and the audience and those who were interested in the art of ta'zieh. Any shortcoming in teaching children the correct rhythms, and gestures could disrupt the order and reduce the effectiveness of the live performance of Ta'zieh, so the training of children's singers has been carried out in a very serious process. The costume of the singers in ta'zieh ceremonies is simple, except for some roles, so that many of the audience of ta'zieh can present their children by wearing such simple clothes under the title "children in ta'zieh ceremonies ". These children who do not have a prescription such as "Agha ya Hossein" and "Amoo Al-Atash" participate in creating atmosphere and portraying the heartbreaking scenes of exile, captivity and oppression of the Ahl al-Bayt. The effect of the presence of children and the correct and poignant performance of the related versions was so great that even non-Muslim audiences were affected. One of the first roles that children learn and perform in ta'zieh ceremonies is Shabiye of "Hazrat Sakina", the daughter of Imam Hussain. This role is given to a ten-year-old. Although there are not many poems related to the Shabiye of Hazrat Sakina in the mentioned gatherings, the impact and passion of these poems will never be forgotten by the audience. Abdullah bin Hassan, the nephew of Imam Hussain, was a child of about ten-year-old who, in the last moments of the Imam's life, came out of the tents and ran to him and put his hand against the sword of one of the soldiers of Umar ibn Saad shielded and died in Imam's arms. The Shabiye of Abdullah bin Hassan is usually performed by seven-to-twelve-year-old boys. After his martyrdom, the pieces of the Shroud of Abdullah bin Hassan are distributed among the faithful audience of Taazieh for blessing. It shows the captivity and martyrdom of Muhammad and Ibrahim, the children of Moslem ibn Aqeel, after the martyrdom of their father in Kufa. The children who perform Ta'zieh in the role of Moslem children are usually less than twelve years old and sing most of their poems in harmony with each other. And they have learned to shed tears while reciting. In the historical and narrative sources of Shia for centuries, the name of Hazrat Ruqayyah - the daughter of Imam Hussain - has not been mentioned and the story of the death of that young child in Sham became more famous during the Qajar period. At the same time, the death ceremony of Hazrat Ruqiya in the ruins of Sham is one of the most painful The congregations are Ta'ziyeh and usually children under seven years of age play this role. Roles such as Ahu (episode of martyrdom of Imam Reza) son of Harith (episode of martyrdom of the children of Moslem), Muhammad son of Hani (episode of martyrdom of Moslem bin Aqeel), Hodhod (episode of martyrdom of Hazrat Soleiman) and Ali bin Hor ibn Yazid Riahi Martyrdom Assembly of Imam Javad (episode of Martyrdom of Imam Reza) and the like. Another point is that the children sometimes chant Taziye alone, for example, Hazrat Ruqiya, the son of Hani, Hazrat Sakina, etc., and sometimes they play a role in pairs, such as Muslim children in the episode of Martyrdom of Muslim Ibn Aqeel or Zainab's children in the old assemblies and or Hasanain and sometimes they chant or whisper a poem in groups, such as Ahl al-Bayt in the Sham People market (Bazare Alhe Sham), the first list of Bachekhani books in another sense, which is the subject of this article, includes 47 titles, which are under the name of the list "Haj Musa Tajer of Tehran" is included in the appendix of the book "Gajineh Neshat" - authored by Mirza Abdul Wahab Neshat Esfahani - and according to the announcement of the Iran newspaper, No. 575, Thursday, 15 Rabi' al-Thani 1282 AH). This list contains the names of 320 Persian books and 14 Arabic books in five groups, one group of which is Bachekhani books. At the same time, the number of Bachekhani books based on the list of Iranian school literature books is 70 titles. In this article, the complete list is included. Bachekhani books have been introduced.

Storytelling and allegory are two important and instructive tools for describing issues that are difficult to express in an ordinary language orth ones the audience cannot understand properly. Having that in mind, poets and writers throughout history have used these two tools to achieve their goals. Attar Neyshabouri is a great example in this respect who, as a mystic poet, has used stories and allegories in his work with the aim of presenting mystical concepts to the audience. In the present study, Attar's procedure of using around two thousand stories and allegories in various educational and moral, romantic and historical subjects in expressing his mystical thoughts have been studied, and it has been determined that he, as one of the figures of mystical literature, conveys his message to the audience in a tangible and simple way, and at the end of each story, expresses what he has learnt from the story. This resarch, using the descriptive-analytical procedure, investigates the role of story in explaining mystical issues and, after the typology of allegorical stories, the nine methods in storytelling and narration used by Attar are being explained.

Leyli and Majnoun, as well as Khosrow and Shirin are famous stories that have been composed into verses by many poets. Amir Khosrow Dehlavi and Nami Esfahani are the poets who versified these two stories commensurate with their own time and place conditions, and also made changes to the main poem composed by Nizami. This research aims to investigate the characterization of these versified stories using the Propp’s Theory and comparing key characters with each other.

For this bibliographical research based on Vladimir Propp’s theory, the descriptive-analytical methodology was adopted for conducting this research.

Characteristically, Khosrow, Shirin, Leyli and Majnun are all subjects to the conditions of their time. Little change has been made in the storyline with similar characters. In these four versified stories, the main plot of the story is a fixed one, with only some elements of the story being changed, eliminated or added. The introduction of characters is mostly done by direct description, interaction between characters and their conversations.

Khosrow and Ghais are both heroes that confront their rivals and obstacles. The motivator of Khosrow in Amir Khusrow’s narrative poems, is Shapour, whereas in Nami’s version, vise speakers considered as dispatchers motivate Khosrow. In both narrative poems, Shapour, Nakisa and Barbod are the helpers. The dispatcher of Ghais is his drive; his helpers cannot be of any help to him as obstacles are more powerful. There is villain in Khosrow-Shirin narrative poems whereas there are none in Leyli-Majnun but obstacles. Female characters in all four narrative poems are morally more realistic than male figures as the formers are depicted more resilient to difficulties and love melancholia. Among male characters, only Khosrow has a negative characteristic (he is a player) and has a less authoritative character in Nami’s version as he doesn’t show patience towards Shirin’s love. Majnun is weak and helpless towards love melancholia and is unable to tolerate it and dies. Both Amir Khusrow and Nami give Leyli more freedom of action as a consequence of their life condition and have both depicted a more detailed relationship for Leyli and Majnun, which is different from Nizami’s original version.

One of the motives of the story in the love poems is the beginning of the love of its lovers. In these poems, the author uses his art to describe the first spark of love making as a beautiful event. This descriptive-analytical research answers the questions of how the beginning of love can be classified in Persian love poems and what role does each of these classifications and subspecies play in the narrative? According to the results, the beginning of love occurs with two actions "seeing" and "hearing" and in different types, in the course of events. Seeing a lover directly, seeing in a dream and seeing a picture of him are the most popular types of beginning love through seeing. The beginning of love by seeing the picture has been used only between Iranian and Arab lovers. Hearing the description of the beloved or hearing his voice is another type of beginning of love and has been common among all nations except the Arabs. The role of this theme is that the narrative structure of the love system will not be formed until the first spark of love is struck and love begins

The purpose of this study is to evaluate the students' awareness of global warming, climate change, its implications in Iran, and strategies to deal with it.

Study method in terms of applied purpose and in terms of the survey method. The statistical population in this study consisted of students of Razi University Kermanshah at all levels of the school. The sampling of students was stratified randomly; based on the proposed model by Morgan and Krejcie, 375 students were selected. The research data were collected using questionnaires developed by the researchers in this study. The validity was, based on experts’ views and the reliability was calculated 0.87 based on Cronbach’s alpha coefficient. Data analysis was done by descriptive and inferential statistical tests using EXCEL and SPSS software. Measured variables are gender, educational level, and strings study.

The research findings indicate that the level of students' recognition of global warming and climate change is average and there isn’t a relationship between gender and their faculty. But compared climatology students in other sciences branches, a significant correlation exists between the educational levels of students' knowledge. While there is a significant correlation between the educational level and students' knowledge.

Education is a prerequisite for general knowledge and awareness of the problems surrounding people. With raising awareness and educating the public about a specific subject (such as global warming and climate change, its manifestations in society, and solutions to deal with its consequences), the attitude towards it changes. A change in attitude can lead to a sense of responsibility. In this way, by raising the level of public awareness (especially among students as an informed and influential group) in society, we can encourage them to participate in solving environmental problems. For this purpose, it is suggested to develop and implement a basic educational program to raise the level of environmental knowledge of students in universities.

From a holistic and teleological point of view, the principle of poetic justice - derived from the idea of natural law - forms the basic structure of most of the old stories and love poetries. As a matter of fact, the pleasure of the story is rooted in the artistic expression of this law. One of the purest classic, romantic works, that complements these two features, is the verified love story of Weiss and Ramin. Therefore, in this article, while avoiding reductionist one-sidedness, this claim is to be examined, using two morphological and phenomenological approaches - which incidentally confirm each other in convergent paths in this story.

Morphology of the main movements based on love The morphological analysis of the work, which emphasizes the spesific role of different types of love, the structure of movements, and the way events are embeded in the organized body of the story, indicates its central idea of ​​the victorious end of human emotions and destruction and decline of evil and inhuman desires. This idea in this approach is in line with the nature and general purpose of the stories. The morphology of folk tales can be considered a big step in proving the institutionalization of the doctrine of natural law and Poetic justice in stories because we see that in Weiss and Ramin, according to the morphological rule, the story begins with the illicit (irrational) love of Moobad to Shahroo (in the place of evil or initial deficiency) and expands. So the signs of permissible love (rational) between Weiss and Ramin in the story gradually appears and evolves. 2-2. Phenomenology of other events and behaviors Interpreting each of the events and behaviors according to its relation to other events and to the whole story, regardless of the presuppositions and effects of previous experiences, shows that Weiss and Ramin story expresses the lived experiences of the characters in facing the system of punishment and reward with a demanding time and place requirements. Generally, in this story, two categories, consistent or inconsistent with the evolutionary and justice-oriented end of the story, can be examined. Factors contradictory and inconsistent with natural law (evil wills, false beliefs, traditions, etc.) remain suppressed or unfulfilled. On the contrary, factors in line with natural law (natural and supernatural events, enlightened thoughts, etc.) destroy those disparate factors or prepare the ground for the manifestation of this law.

The results of a morphological study of the structure of the story, and also the phenomenological look at cognitive content of the emotions of love and other natural or supernatural events - affecting the story and how to understand their meanings in the lived experiences of the characters - show its justice-oriented system. In this relation, to better explain and analyze the phenomena of love - which are collected in this story - some philosophical perspectives have also been used. Generally, this is a valuable work that has a special place among Persian language romances. It acquaints the thoughtful reader with concepts such as love and lust, belief and rationality, and the role of the human will against the principle of natural law. This is achieved by looking at the whole and considering its totality and ultimate goal instead of a superficial and cross-sectional view.

Understanding the ideologies and the world-views of the author is the goal of the critical analysis of the discourse of texts, which is achieved through the analysis of verbal organizations beyond a sentence. Critical discourse analysis has various approaches, one of the most famous and practical of which is Fairclough's approach. In this research we have examined lullabies based on Fairclough's approach of critical discourse analysis. In the level of lullaby descriptions, discoursive structures and linguistic applications with ideological meanings were studied; in the level of interpretation, we conducted analysis of intertexuality and situational contexts including religious, geohistorical and sociocultural situations and the level of lullaby explanations includes analysis of the relationship of power with the two sexes and its unequal distribution and critically analyzing the effect of ideological hegemony on women's thoughts. The result of the research shows that the dominant thinking in the society is misogynistic. Therefore, women regard the female sex with a masculine manner and do not consider an identity for themselves without the masculine identity. Yet, women's level of awareness and their social activities in the new era have caused us to witness no more of such ideologies in the discourse of the new lullabies from the new mothers. Women are also more aware of their rights, abilities, and social status than before.

One of the important customs among Lak people is mourning. Mourning and lamentation for a dead person is called "Pers" by Lak speakers. "Pers" includes special ceremonies among some Lak tribes which is called Chamar. This brilliant mythological custom by both individual and group function has special principles to reverence the deceased. Deeply researching Chamar custom paleonologically and decoding it as an interpretative content indicates valuable manifestations of ancient culture of Iranian ethnics.

Generally, the method of this study is a combination of library-based and observation research. In this case study, the analytical-descriptive, structuralist and sometimes comparative methodology is applied. And qualitative method is used to show the importance, function and symbolic meaning of manifestations and elements of mysterious demonstrative ceremony, Chamar, welcoming ritual and also the death dance among Lak nations. One of the authors of this paper himself (Ahmad Kanjouri) is a native Lak speaker of Delfan town (Itivand or Ivatvand Tribe) who has participated to hold this mourning ceremony specially for the death of their beloved and relatives.

3.1 Artistic dimensions
The term "Mour" is a very important manifestation in Laki language which is one the most ancient songs. "Mour" is performed in different tunes to sorrow, praise and describe the ethical and social characters of the dead people in a painful and sorrowful way. The tone of "Mour" gives a doleful magnificence to Chamar place when men and women are singing it. According to different situations, Sorna (horn) players and drummers -sometimes just the Sorna player- perform different tones harmonically. Lak nations have performed the death dance (Rara) up to recent years. Not so long ago in NoorAbad Lorestan when an influential man died, men and women didn't use to cry but used to dance with the tones of Sorna and drum (Asadian, 1978: 8). A lot of men participating in Chamar ceremony hold eachothers' hands, in a circular way and dance with very slow movements. They dance coordinately with Sorna and drum and beat their breasts with their right hand simultaneously.
3.2 Literary dimensions of Elegies (Kalimas)
In Chamar ceremony men and women who have melodious voices sing some laments. These laments are the literature of "Mour". Laki laments are generally ten-syllabic single verses which are called "Kalima". These single verses are mainly epic and lyric. They have been transferred orally to the present generation. If someone valiant and commander died, this would be a sample of proportionate Kalima:
/ki diye sardâr wež beču va jang/
کی دیه سردار وژ بچو و جنگ
/tarsem bekošni sepâ buti lang/
ترسم بکوشنی سپا بوتی لنگ
No one has seen a commander himself do the battle with enemy
I am afraid of him being killed and his army getting disappointed
3.3. Mythological and ceremonial dimensions of Chamar
The ancient and historical ritual of welcoming has been a public or private ceremony being held by decorating the place and generally playing horn and drum and other kinds of musical instruments. The ritual of welcoming and its related aspects is still being held by some of tribes for the mourning of their dead and beloved family members especially in Delfan town. Usually seven Sorna (horn) players and seven drummers wearing native and local cloths stay side by side and shoulder to shoulder at the entrance of Chamar place. When any group of participants arrive, they play tunes of Chamar. In Chamar in order to be more impressive, demonstrative elements, lyrics, music and creating special atmosphere are applied; which are very similar to Siavash mourning. The dance of Rara, which is very slow and sorrowful, is performed leftward. This inversion and reversal which is the mystery of death, is also represented in Shahnameh for the mourning of several different characters. By comparing and studying the death dance among different nations, it could be said that these dances are customs of passage. It is an experience for spirit which strengthens and guides it to the narrow invisible road to achieve eternity.

Chamar mourning is a mythological, mysterious and symbolic custom and an alligation of expressions and gestures, demonstrative manifestation, dance, taboos, music and lamentation which is performed for the death of the loved ones among Lak nation from long time ago. The results of this study indicate that Chamar is a kind of passing ceremonies to return to balance and accommodation with the new doleful situation. In this ceremony, in order to be more impressive, demonstrative elements, mourning cloths through creating atmosphere and music are applied being very similar to Siavash mourning (Siavashan). Comparatively studying the accepting and meeting customs and death dance of Lak people with the myths (history - stories) of ShahNameh and also with other nations shows historicity, oldness, and mysteriousness of this ceremony. The dance of "Rara" is a demonstrative custom to banish the duality of life, alliance with the eternal and obtain the initial unity again. It is also an eagerly experience, worship and a communal demonstration to strengthen and guide the spirit of deceased to the narrow invisible road to achieve eternity.

In books on rhetoric, Ruba'is are mostly considered as formal, and by its name account, a foreign type of poetry, while it is one of the oldest forms of Farsi poetry. Ruba'i is a descendent of Pahlavi language in Iran's pre-Islamic era, the dialectical versions of which could be observed in some texts. Besides the theoretical debates on the form and content of Ruba'i, it is important to study its function and style of reading among people. This study is to investigate the idea that Ruba'i was common among people and should not be considered as a classic form. No evidence except Pahlavi texts are given to suppose this idea. This study, however, performed a field study on 14 types of Ruba'is with their customary functions in different areas of Iran. The results indicate that Ruba'is were common among people of Iran, singing it in their happy and sad ceremonies.Reading Ruba'is has been prevalent in different areas of Iran which is different from the formal and classic Ruba'is. Public Ruba'i has tremolo and additions; it is compatible with the language and dialect of the area; it is sometimes accompanied with music; it is often performed customarily in wedding or mourning ceremonies. Reading Ruba'is is sometimes performed through dance and games; the poems often do not have the title of Ruba'i and they do not have any particular poet. In fact, they take a title in each area. These titles are mostly the changed and manipulated versions of Ruba'is such as Rabayi, Ravayi, and Rabahi, meaning that they follow the content. The poems are simple and without much literary devices, carrying themes of daily life, while the classic Ruba'i often has a mystic and philosophical meaning.

There have been many studies on Ruba'is in classic literature. However, few have attempted to investigate reading Ruba'is and their function among people. To show the prevalence of this literary form among people, Zolfaqari (2015) conducted a field study on 600 types of folk poems which were considered Ruba'i. The comparison and analysis of their structure revealed the following results.The tradition of reading Ruba'i in IranReading Ruba'i and couplet is the basic of musical songs of southern and central Khorasan. The common songs in Khorasan and Tajikistan in the form of Ruba'i are known as Gharibi which shows the sorrows of a Tajik. Gharibis were also sung in Iran and Afqanistan. They were sometimes known as quatrain in the Northern Khorasan (Yousefzadeh, 2009, p. 143), differentiating between their own quatrains and those of the other areas, considering them regional or foreign. Reading Falak (heaven) is a complaint poem about the destructive events of the world in Khorasan. In the Ruba'is of Falak, Falak is the destiny of the human, thus, the poet complains about the unkind behavior of Falak.Ravayi or Ruba'i is a type of happy poetry in Dameghan which were sung by ladies in wedding ceremonies. They are not accompanied by music, and their content is about the bride and groom.In Sistan, the feminine mourning ceremonies are known as Ravayi, or Ardeh (shouting). They are sung in group or individually without any musical instrument.In the desert area of Dameghan, the epic and heroic poems are sometimes sung as Ruba'i, and ladies read Ruba'i in wedding and groom (Damad Sadkani) ceremonies. Marvegi is a type of happy songs and musical instrument in Marv city which is sung in wedding and happy ceremonies. It is actually a public Ruba'i taken from Bukhara.In the north of Iran, Ruba'i or Tabari Khaun/Tabari Khan is a type of poem in Mazandarani dialect which is sung in Tirgan or Tirmasinzeh ceremonies. In the south of Iran, particularly in Abadeh city, when families take the bride to the groom's house, they sing some poems which are known as Rabahi. Reading Khayam, or Khayami or Shaki is a type of music in Bushehr city which is performed in the wedding, circumcising, and other happy ceremonies.

One of the popular Persian folk tales in the Qajar era is Malek Jamshid, Asef Spell and Crystal Bath, which is the last remaining Persian mythological tradition by Naqib al-Malak. It is one of the rare folk tales that the author has. The author of this book and Amir Arsalan are the same, but Malek Jamshid has been less known due to Amir Arsalan's fame. The difference between these two books is due to the audiences; Malik Jamshid's audience is general but that of Amir Arsalan is specific. This study aims to familiarize the literary people with this less known story, its literary and social dimensions, and textology of it. Therefore, while introducing the story and its narrator, Mohammad Ali Shirazi, known as Naqib al-Mamalik, and introducing the manuscripts editions and making a report of the story, we try to deal with this work from three perspectives: first, linguistic and literary aspects; second, the narrative aspects and themes of the story, and third, the social aspects. Examining the literary and social dimensions of the story, in addition to revealing some aspects of life in the Qajar era, manifests the thoughts and ideas of people of that era and their tastes and entertainments. The purpose of this article is, thus, to introduce one of the Iranians’ fictional legacies in an era very close to the constitution and literary developments.