نشریه فرهنگ و ادبیات عامه
پیاپی 5 (بهار و تابستان 1394)

One of the most beautiful aspects of Iranian oral literature is traditional melodies and songs that speakers of different regions and ethnic groups intone at work or at ceremonies or special occasions. These songs, from the very old eras till now, have been applied by human in aggregations and ceremonies. Some of these songs have arised from Iranian ancient culture, and have retained heir old roots. Sarkavir region, located in the southern border of Semnan province and adjacent to the northern edge of the central desert, has some neglected songs. Dialect of this region, with more similarities to the ancient Khorāsān dialects, has remained largely intact for various reasons, including the inaccessibility to the city. These poems, related with mourning and rejoicing customs, and songs by women in ceremonies. have maintained their strength and power in funerals and wedding ceremonies until now. In this article, we have tried to introduce "Soru" and "Ongâre" as two special wedding and funeral songs, analyze their literary and anthropological aspects, and through it, explain some features of their speakers.

Poetry in the field of labor and employment in the local culture Boyer Ahmad, written, a large part of The literature of this land forms. Men and women Kohkiluyeh And Boyerahmad The symphonic poem of what to do with the work that has theme music was good causes, respectively. This book of poems, thoughts, motives and mental states while working, Was asked to show the rich cultural and literary history of the people of this province.Village Nomadic society of such things: Rice tattoo, tattoo oak, milking, buttermilk, beating Transplanting rice with Poetry reading at the appropriate conditions to accelerate its work, entertainment and escape the boredom Fatigue Was read to us in this study and the analysis of the lyrics. The lyrics of the oral form of the old times through the adults are transferred to the next generation.

Oral and bardic narrations from some stories of Shâhnâme probably have existed in sixth and seventh century. On the basis this and attention to extent of Iranian bardic/ oral stories with heroic subject, I have proposed this hypothesis that perhaps source of some annexed verses and stories in manuscripts and editions of Shâhnâme is bardic/ oral literature and scribes, owners or readers of some manuscripts have heard them from storytellers and have versified and then added to manuscripts. In this paper after research in Shâhnâme (edited by Dr. Khaleghi Motlagh), manuscripts of San Žozef, Sádlu and margins of Zafarnâme, editions of Moskow, Borukhim, Dr. Dabir siyâghi and some lithographies of Shâhnâme, twenty and six annexed has been known as additions with oral/ bardic source. These stories probably have been created by storytellers after Ferdowsi and Shâhnâme.

As the former of the structure of story, language is significantly important in the structural analysis. Based on this viewpoint, language structure and the way it is used, as well as the connection between the aesthetics and ultra-linguistics are specifying its type in relation with the general concept of the literary work. Also the epic language, as the basic foundation of these texts, prospers structural potentialities like word usability, syntactic of utterance, and useful intonation proper with the epical atmosphere and feelings in different levels such as vocal, semantical, etc. In oral literature, along with having stories from a simple and pure language, presence of rhapsodists and elocutionists and their interference and distort together with new elements ingression in the form of “Scrolls” compilation have increased more and more the use of epical language capacities linked to the main context of scrolls. The “Haft Lashkar” (the Seven Corps) is also one of the Rhapsodists’ Comprehensive Scrolls (RCS) during the Qajarid era of which the time of writing goes back to the year 1292 (Lunar Hijri) (almost 1871 A.D.), and it is originally the name of one of the famous rhapsodic battle-narrations, which was applied to one of the RCSs due to its fame.

Theme as the central thought and the main word of the artist is interpreted in the text and content. Theme is the main essence of literary work that illuminates the direction of thought and idea of its author. Couplet is one of the most pleasing Persian poetry forms with chiliad written history. Perhaps its oral history is even older. This form, along with the Persian traditional poetry, has grown in different languages of Iran. One of these languages, namely “Mazandarani” has a remarkable literature itself.In this article, the themes of two hundred folk couplets of Savadkouh (a city in Mazandaran) have been analyzed. The findings indicated that most of the themes are socially-oriented.the study analyzes seven themes in two-hundred couplets.the themes are: pain of love, sorrow of nostalgia, curse, complaints of young ladies for imposed marriages, as well as dissatisfaction with the fortune and luck, compulsory military service and the complaint of lover from beloved. Most of the couplets are monologues, which have been composed for the regret and reminiscence of the past days. Some of the important factors leading these couplets are analogy, rivalry, treason, financial poverty, illiteracy, hard work in strange lands, system of lord and vassal or mastery system, denial of other cultures, and cultural hybridity.

Since his creation, the human has been concerned with the protection of his life and properties by any means possible such as exploring the surrounding environment, fighting against the threats facing him, and using a variety of tools and instruments. Among these tools was scorching. Scorching has been ever used for two main purposes by the human: marking and treatment. However, one cannot claim with certainty which application was the dominant one. In this study, the author has first dealt with the marking aspect and then with the treatment function. In its former function, scorching was practiced on the body organs of the slaves, enemies, and animals in order to distinguish and take ownership of them, and with criminals as a sign of guilt. In the latter function, it was used, according to some reports, as the last treatment possible for curing different diseases in both humans and animals. The most important therapeutic application of scorching was on wounds to stop bleeding and prevent infection. In the present research, both functions have been examined and classified with reference to the Persian literature, history, and folk culture.

Mirza AbolghasemGhaemMaghamFarahani is considered as the last great classical writer in the old method of Persian prose. The main task done by this tasteful minister was rescuing the prose from the maze of prevalent phraseology in the Safavi and Timurid eras. He planted the seedlings of the initial deviation from the conventional way of writing an artifact and grandiose, and of low content prose at those days. His presence may be a turning point in the history of Persian prose as his absence may lead to create no change in the authorship in the Constitution. In fact, he declined the poetic repetitive affidavits, tough terms, complex themes, metaphors and implicit similes sometimes used aberrantly. Using slangs, slogans and public proverbs considered as features resulting in the author detraction and degradation as well as approaching the prose to the natural, exact and simple writing. Flavoring intimacy to the literary and secretary writings, he helped to emerge simple writings like those works written by Naserodin Shah and Dehkhoda. Using proverbs, expressions and allegories gives dynamic features to GhaemMaghan’s writings, in general, and his manuscripts in particular. Relying on his own taste and grace, he used prevalent expressions and way of writing in a rhythmic and literary form to state his age issues as his fugleman, the Golestan’sowner. This paper aims at considering slangs in GhaemMagham’s manuscripts from a linguistic perspective with emphasize on using slangs as one of the features and methods in simple writings. It explores them in different aspects: simple substances, interpretations, allegorical compounds, proverbs and poems. It is worthy to mention that these matters are general subjects covering the other minor issues such as oath, addressing, devotion, desire, pleading and so on. Finally, statistics were presented in table form this category quantitatively.