Manifestations of Folklore in the Zolali Khansari's Mahmoud and Ayaz

Document Type : Research Paper

Authors

1 Department of Persian Language and Literature, Qom University, Faculty of Persian Language and Literature

2 Associate professor Persian literature of Qom University

Abstract

Manifestations of Folklore in the Zolali Khansari's Mahmoud and Ayaz
Mohsen Sedigh
PhD student of Persian language and literature of Qom University
Yahya kardgar
Persian literature professor of Qom University
Abstract
Introduction
research in the field of folklore and its manifestations in Persian literature has a special place among humanity, anthropology, sociology and etc. researchers. Folklore is a bridge to knowing the depth of people's beliefs at different times. Through folklore we can indirectly and with greater conviction realize the truth of the beliefs of different nations.  Every nation has to pay attention to this field of literature in order to figure out the society and analyze the ideas, actions and reactions of different layers to become aware of the literature and culture of its homeland. A case study of works in wwhich popular culture has a special color is one of the requirements of this field.
method, background and purpose
The present study has been written with a descriptive-analytical method to study the relationship between Mahmoud and Ayaz's stories and folklore and also palpable and contemplative evidences in Zolali's Mahmoud and Ayaz. In fact, we tried to take a step towards understanding the society of the Zolali's era by mentioning the examples and explaining and analyzing each of them through the lens of folklore. More explaining the search for customs and beliefs, methods and origins, occupations as well as tools and instruments used by different nations and the culture and lifestyle were studied in zolali's poem.
Although research on folklore in various fields like Iranian folklore literature by Mohammad Jafar Mahjoub and folklore language and literature by Hassan Zolfaghari and even research on Mahmoud and ayaz such as “reflection of Mahmoud’s love for ayaz in persian stories” by Hassan Zolfaghari has been done in different periods, there is no research on Zolali's poem and according to the genre of Mahmoud and Ayaz, and its vacancy is felt.
Discussion
In Safavid era The spread of literature among the middle and lower layer of society the change of poetic culture, simultaneous attention to popular culture and simultaneous attention to the stories of Mahmoud and Ayaz, change in lifestyle along with spread of sexual corruption in the form of homosexual relations, the court's opposition to composition of lyric poems in Safavid era, led to the emergence of new literary genres that composing Mahmoud and Ayaz and especially Zolali's Mahmoud and Ayaz is one of this change of style. Considering these cases and considering the stories of Zolali Khansari's poems, we find out that Zalali has chosen a poem system that has been common among the public. Poems such as Mahmoud and Ayaz reflect the link between those in power and the lower classes of society. Two classes that are very strangers to each other throughout the history of Persian literature and culture, except in rare cases such as the works of Anvari, Attar, Saadi and few of other writers, and the connection between them seems out of reach. Enumerating the examples of folklore is not only in the direction of describing the Mahmoud and Ayaz poem; Rather, above all, it seeks to explain that this features that have become an inescapable part of Iranian literature from now on it means after Safavid era, and perhaps in analyzing why it appeared and occurred, we have sometimes gone astray and We are looking for it in the borders of Iran. Mentioning examples of this feature indicates changes in the literature of the Safavid era and can be used to change the view of scholars of literature of this era. With such a view, one can search for one of the sources of populist and diversity literature in Iran today in such poem and find a more accurate way to analyze the roots of the emergence of such features. Such a source opens a wider point of view for the poets of this age and provide themes-making, the flight of imagination, the creation of new images and the escape from vulgarity, which are the basic principles of Safavid literature.  
Conclusion
Creating original artistic images, expanding the circle of artistic possibilities and creating an intimate atmosphere and instilling a sense of empathy, expanding the field of artistic choices and providing various tools and facilities for the poet to avoid repetition are among the benefits of clear attention to folklore. The most important palpable examples of popular culture in the Zolali's poem are reference to common occupations among people, such as tailoring and its tools and accessories such as ironing, hem, spindle, tube, coil and medicine and different method of traditional treatment and the details of public places such as bathes and its various parts. Zolali's innovation in this poem is that he has been able to describe and explain a romantic experience by relying on various folk elements. A description that uses interpersonal relationships, attention to jobs, environment and other manifestations of folklore in addition to being innovative is very truthful and realistic. Places, occupations and their belongings that do not have much expression in the literature before the Safavid era in this era depict a different and colorful world in front of the audience and create a familiar atmosphere for him and through this it increases the audience of Persian poetry and literature.  Also in the field of spiritual examples, the use of common vernacular words such as "bottom, trick" for the first time, the use of vulgar words, proverb and idioms, satire and multiplicity of common terms among the people, allusions, also references to funeral customs, wine drinking, method of educations and games superstitions Such as the evil of the crow, the land on the head of cattle and fish, the rot of flax by the moon, etc. more than other examples folklore has been considered by Zolali Khansari. Mentioning the spiritual manifestations of folklore is important because it is possible to understand the darkness of human thought, the philosophical and historical background of human issues and thoughts in historical moments through Zolali's references to these manifestations.
Keywords: Persian poems, Safavid era, Folklore, Mahmoud and Ayaz, Zolali Khansari.
  
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Keywords


Alavi Moghadam, Muhammad & Ashrafzadeh Reza. (2006). Rhetoric. Tehran: Samt.
Amid, Hassan. (1996). Amid dictionary. Tehran: Amirkabir.
Asaf Rostam _ol_hokama, Muhammad Hashem. (2537). Rostam_ol_tavarikh. Editing, annotating and explaining various catalogs by Muhammad Moshiri, Tehran: Pocket Book Company.
Barbara, josefa & others. (2001). Venetian Travelogue. Translated by Manouchehr Amiri, Tehran: Kharazmi.
Beyhaghi, Aboulfazl. (2010). Tarikh beyhaghi. Editd by Khalil Khatib Rahbar. Tehran: Mahtab.
Dashti, SeyedMuhammad. (1998). "Folklore stories". Story literature, number 52, 10-17.
Dehkhoda, Aliakbar. (1984). dictionary. By effort of Muhamad Dabirsiaghi, Tehran: Dehkhoda dictionary institute.
Farokhi, Aboulhasan Ali ibn joulogh. (2013). Divan of farokhi. Edition Muhamad dabirsiaghi, Tehran: zavar.
Gorgani, Fakhr aldin. (2002). Vis va Ramin. Edition Muhammad rowshan, Tehran: Seday moaser.
Group of authors and collectors. (2011). Vazigah, culture of religion, games, plays and entrtainment of the Iranian people. 4th volume, under the supervision of Jahangir Nasri Ashrafi, Tehran: Aron.
Hassanzadeh, Shahriyar. (2013). "a look at folklore literature in the safavid era". Baharestan e sokhan (journal of Persian literature), course 11, number 26, 221-248.
Jamalzadeh, MuhammadAli. (2002). Folklore Dictionary. Tehran: Sokhan.
Jorjani, Ismaeel ibn Hassan. (2004). Zakhirh Kharazmmshahi. By effort of Muhammad taghi Danesh Pazhouh and Iraj Afshar, Tehran: Almaie
Kasaii Marvazi, Majd al din Aboulhassan. (2006). divan of Kasaii: Life, Thought and his poem. Edition Muhamad amin riahi, Tehran: elmi.
Khansari, Aghajamal. (1986). Kolthom nana. With designes by Bizhan Asadipour, Tehran: Morvarid.
Kompani, Nasim. (2010). Dictionary of textile and clothing terms in Iran. Tehran: institute of humanities and cultural studies.
Kosari, Masoud. (1998). "sociology of literary species" quartly society journal of Allameh tabatabaii, course 6, number 10, 109-138.
Mahjoub, MuhamadJafar. (2002). iran folklore literature. Tehran: Cheshme.
Manouchehri, Abulnajm Ahmad ibn Ghous. (2014). divan of Manouchehri. Edition Muhamad Dabirsiaghi, Tehran: Zavar.
Matthee, rudi. (2008). Iranian entertainment. Translated by Mani Salehi Allameh, Tehran: Namak.
Mohaghegh, Mahdi. (2014). dictionary of medical and pharmacological terms in Persian literature. In collaboration with Hamideh Hejazi, Tehran: samt.
Moin, Muhamad . (1996). farsi dictionary. Tehran: Amirkabir.
Molaiee Tavani, Alireza, Gholampour, meysam. (2013). "Bathing in the culture of th Iranians of Qajar era". Cultural history studies; research journal of the Iranian history association, number 21, 121- 148.
Morier, james. (1972). the adventure of Hajibaba. Translated by Mirza habib esfahani, Tabriz: Haj muhamad Bagher Ketabchi library.
Moulana, Jalal al din Muhamad. (1954). ghazaliyat Shams. Tehran: Safialishah.
Najafi, Ali. Zabihnia, Asie. (2017). "three ominous bird, owf, owl, vulture in the residential quarter in folklore belief". Pazh, number 35, 169-186.
Nezami Arouzi, Ahmad omar ibn ali. (2007). Chaharmaghale. Edited by Muhamad Ghazvini, Tehran: Jami.
Onsori, Aboulghasem Hassan ibn Ahmad. (1982). Divan of Onsori. Edition Muhamad Dabir siaghi, Tehran: Sanaee Library.
Onsorolmali, keykavous ibn iskandar. (2006). Ghabousnameh. Edition Gholamhosien Yousefi, Tehran: Elmi farhangi.
Panahi Semnani, Muhamad ahmad. (2004). "Sharveh, Mania Poem". Goharan, cuorse 7, number 8, 1-9.
Ravandi, Morteza. (1989). Social history of Iran. 7th volume, Tehran: Amirkabir.
Resources:
Rouholamini, Mahmoud. (2007). Public Bath in yesterday society and culture and literature. Tehran: Etelaat.
Saeb Tabrizi, Mirza Muhamad ali. (1995). divan of saeeb tabrizi. 2nd volume, by effort of Jahangir mansour, Tehran: negah.
Shamisa, sirous. (1998). dictionary of allusions. 2nd volume, Tehran: Mitra.
____________ . (2001). Shahedbazi in Persian literature. Tehran: ferdous.
Tabib Esfahani, Abdoulbaghi ibn Muhamad rahim. (n m?). Divan of Tabib Esfahani. Tehran: sanaee.
Tabrizi, Assar. (1995). Mehr and Moshtari. Edited by Reza Mostafavi sabzevari, Tehran: Allameh Tabatabaii.
Tabrizi, Muhamad husein ibn Khalaf. (1982). Borhan Ghate.  Tehran: Amirkabir.
Taghizadeh, Seyed Hassan. (2012). Taghizadeh articls. 17th volume, Tehran: Tous.
Yousefi, Gholamhosein. (1991). "research: Choub khat". Kelk, number 32, 106-107.
Zakeri, Mostafa. (2001). Atba and nonsens in persian literature. Tehran: university press.
Zolali Khansanri. (2004). Divan of Zolali Khansari. Edition of Saeed Shafieeon, Tehran: liberary, museum and Islamic parliament documentation center.
Zulfaghari, Hassan. (2013). Iran folklore language and literature. Tehran: Samt.