جستجوی مقالات مرتبط با کلیدواژه « ادبیات عامیانه » در نشریات گروه « ادبیات و زبان ها »

Wrestling, an ancient Iranian sport, finds extensive representation in epic stories and poems. Heroes are consistently portrayed as skilled wrestlers, and hand-to-hand combat forms a central element of these narratives. Beyond its athletic significance, wrestling played a prominent role in the marriage ritual. Female Heroes, who possessed exceptional and sometimes superhuman attributes, deemed only those suitors worthy of marriage who could defeat them in a physical contest. With the decline of epic literature, this ancient practice gradually fell into oblivion. However, remnants of this tradition can still be observed in Persian folkloric narratives.This article employs an analytical-descriptive approach. The research begins by examining several Persian folkloric tales wherein female Heroes set the condition of a wrestling match for marriage. Subsequently, the feuilleton (serial story) of Hossein Gholi Mosta'ān, who held considerable influence among the general public from 1300 to 1350 (1921-1971), is analyzed.An examination of Persian folkloric narratives reveals that the stipulation of a wrestling match for marriage was prevalent among female Heroes. This theme is also alluded to in Mosta'ān's feuilleton’s (serial story), where he recounts stories of female Heroes who vanquish their suitors in physical combat.The findings of this research indicate that the concept of wrestling in Persian folkloric narratives transcends the limited sphere of female Heroes and undergoes a semantic expansion.

Popular culture and folklore constitute integral components of a nation's literature, offering a rich tapestry of diversity. Within Iran's folklore, heroic tales hold significant importance, with some narratives enduring through generations. Among these, the stories of Beber Bayan and the battle between Borzou and Fouladvand stand out as renowned heroic sagas, often depicted in poetic form and found in numerous Naqqāli scrolls. The former recounts Rostam's legendary encounter with a fearsome dragon in India during his youth, while the latter narrates the epic clash between Borzou and Fouladvand, marking the inception of the elaborate Borzouname narratives. This article presents findings from field research examining two oral renditions of the tales of Beber Bayan and the battle between Borzou and Fouladvand as narrated by a Kurdish storyteller. These narratives exhibit notable divergences from the versions found in traditional scrolls. The research outcomes indicate that the Kurdish oral retelling of these stories showcases and more simple and straightforward expression compared to their Persian counterparts. The narrator selectively excludes minor characters and less significant details in the written Persian sources, resulting in a more engaging and captivating narrative for the audience.

One of the most important problems facing humans today is ecological crisis. Ecolinguistics is a relatively new branch of linguistics aiming at studying the relationship between language and environment. Together with other branches of science, ecolinguistics tries to have a role in solving the crisis.    Ecolinguistics, or Language Ecology was introduced in 1972 by Einar Haugen as "the study of interactions between any given language and its environment" (Haugen, 2001, p.57). A different type of link between language and ecology was established in 1990 when Michael Halliday, stressed the connection between language on one hand and growthism, classism and speciesism on the other, admonishing applied linguistics not to ignore the role of their object of study in the growth of environmental problems (Fill, 2001:43).   The aim of this study is to investigate the mechanisms of the representation of ecology in folk poems of Mamasani variety of Lori within a discursive- cognitive approach based on Stibbe's (2015) model. Stibbe proposes eight forms of stories, namely: ideologies, framings, metaphors, evaluations, identities, convictions, erasure and salience. The collected data were analyzed through Stibbe's ecolinguistic framework and within the limitations and objectives of critical discourse studies.      This research intends to answer the following questions using ecolinguistics: (1) which mechanisms are used to represent the ecology in folk poems of Mamasani variety of Lori? (2) How much are the positive or negative (constructive or distructive) impacts on minds and functions of informants about environment?

One of the ways to enrich the content of poetry is to use the cultural supports that have existed in Persian poetry for a long time. The range of cultural supports used in Persian poetry is very wide and includes references to the Qur'an and Hadith and use of various scientific terms. Based on this and considering the use of these cultural supports in poetry, which are often used in the form of innovative spiritual arrays, especially allusions, it can be said that they have always been one of the sources of nutrition for poetry and literature.Since Persian and Urdu poetry has always had a close connection with popular culture from ancient times to modern times, there are many evidences of referring to the elements of popular culture, especially its linguistic elements.According to the above explanation, this research using the descriptive-analytical method has tried to compare and analyze the role and function of the most important linguistic elements of culture and popular literature in the poetry of Simin Behbahani and Parveen Shakir with the approach of comparative literature.

This article is a theoretical research that, with the approach of comparative literature, has tried to analyze and compare the reflection of the linguistic elements of popular culture in the poetry of two contemporary Persian and Urdu poets (Simin Behbahani and Parveen Shaker).

Poets use cultural supports and lived or learned experiences to strengthen the content of their poems. Undoubtedly, popular culture and literature is one of the most widely used spiritual fountains of official literature. Customs, traditions, beliefs, parables and allusions, stories and legends, etc., are elements of popular culture that can be divided into two parts, linguistic and non-linguistic. Linguistic elements; It includes interpretations, idioms, allusions, insults, proverbs and proverbs, stories and legends and everything that is created with the tool of language. Simin Behbahani and Parveen Shakir are among the well-known female poets in contemporary Persian and Urdu literature who have been influenced by the foundations and elements of folk culture and literature in their poems and have reflected them artistically in their poetry. culture in dictionaries means "a collection of customs and traditions." The collection of sciences, knowledge and arts of a nation". (Moin, 1384: 1176) and also "a complex general phenomenon of manners, customs, thought, art and way of life that is formed during the historical experience of peoples and can be transferred to the next generations" (Anvari, 1381 : 5346) came and said in a clearer definition:  "Culture... is the collection of spiritual heritage of a people, whether it is the product of their intellect and understanding or the offspring of their taste and emotion." (Mahjub, 2016: 36) In a more comprehensive definition, culture is referred to "all the material and spiritual institutions in which a human being is born, raised and has a personality." (Velayati, 2010: 19)   From the point of view of some researchers, culture is divided into two main parts: material and immaterial (spiritual), and from another point of view, some researchers have divided culture into the official culture and popular culture. material culture, tangible cultural elements; Such as architecture, it includes clothes, tools, etc., and non-material or spiritual culture includes the intangible parts of culture; It refers to beliefs and beliefs, proverbs and allusions, stories and legends, etc. (Chehreghani, 2015 A: 93) As can be seen, the linguistic elements of culture are placed under spiritual culture. The meaning of official culture is a set of cultural elements that are not only reserved for the masses and are also accepted among the elites. From another point of view, Culture can be considered to mean art or at least a source and watering hole for art, because noble, official and elitist art can be more enriched by hanging on the sources of popular culture. (Hall, 2013: 696) In all societies, language is considered the main axis of culture, and since literature is also an application of language, popular culture, which is transmitted orally from one generation to another in different societies, has an inseparable connection with popular literature. (Chehreghani, 2015 B: 3) One of the valid divisions for the constituent elements of popular culture, along with material and spiritual elements or healthy and unhealthy elements, is their division into linguistic and non-linguistic elements. The meaning of linguistic elements is that part of cultural elements that is created on the basis or with the tools of language and includes expressions, terms, allusions, songs and lullabies, work songs, parables and proverbs, stories and legends, etc. and researchers sometimes refer to it as oral literature. (Mirsadeghi, 1998: 12) According to what was said, popular literature is considered a sub-branch of popular culture. Comparative literature, which continued and followed the slogan of "world literature" of the romantics in Europe and started by collecting and comparing the stories and legends of the nations of Asia and the Middle East, "speaks of the research on the relations between the literature of the nations and the different peoples of the world." (ZarrinKub, 1982: 125) The method of comparative literature in the French school is "examining the historical relations of national literature with the literature of other nations written in a language other than the language of that country". (Ghunaymi Hilal, 2014: 7) Research in comparative literature introduces us to other nations and their similarities and differences with each other and their literary or cultural influences. Various topics are included under comparative literature, one of which is folk culture and literature. The importance of this approach lies in the fact that it helps to know the true mood, habits and way of thinking and living of the people of a region and to get to know more about the real face of a nation. For this purpose and to know more precisely the cultural similarities and differences between the nations of Iran and Pakistan, this research has investigated the issue of using language elements of culture and folk literature in the poetry of Simin Behbahani and Parveen Shakir.

The research findings show that the two mentioned poets have used the linguistic elements of popular culture in a wide way, considering their gender and female perspective, which is due to the affinities and historical, religious, cultural, etc. links between the two Iranian societies. And Pakistani and the two languages Persian and Urdu, regardless of the existing differences, have many similarities.As seen, Simin Behbahani, a contemporary Iranian poet, and Parveen Shakir, a contemporary Pakistani poet, have benefited from the linguistic elements of popular culture, both in the production and creation of the theme, and in strengthening the meaning and enriching the content of the poem, and in the direction of inducing better meaning and Its greater impact. Among the linguistic elements of popular culture reflected in the poetry of two Urdu and Persian poets, one can find many common elements including words, interpretations, idioms, ironies, proverbs, common stories, legends, etc. Poets have adapted the popular culture of their people and used it correctly in their artistic creations. What attracts the most attention in this matter is the great verbal and semantic similarity between the proverbs and allusions of the two nations, which is due to the ancient connection of the Urdu language and literature with Persian language and literature, and more importantly, the historical influence of Persian culture and literature in the Indian subcontinent. Especially Pakistan tells that in addition to many similarities in meaning and theme, sometimes the words of Urdu proverbs are very similar to the Persian equivalent and sometimes the same; Like the proverb " If the world is washed away, he is still asleep" in Urdu language, only the word "water" has been changed to "flood"; However, among the types of linguistic elements of popular culture used in the poetry of the two selected poets, the reference to legendary stories is less frequent.In addition to the mentioned commonalities and similarities, differences can also be identified in the use of linguistic elements of popular culture in the poetry of the two poets; Including all kinds of explicit insults and sarcasm and children's game songs;Such as Jom Jomak, Atal Matal Tutule, Tab Tab Hambazi, etc., which are common in the Persian-speaking community of Iran, are abundantly seen in Behbahani's poetry. Still, this type of linguistic element does not exist in Parvin Shakir's poetry. In addition to that, the lullaby is also a subject of which there is an example in Behbahani's poem; But in Shakir's poetry, although a poet has the experience of motherhood, it is not seen. Since Parvin Shakir is fully familiar with contemporary Persian poetry and is known as the only translator of Forough Farrokhzad's poetry in the Urdu language, and due to the feminine perspective that dominates the poetry of the two selected poets and their belonging to the space of neo-classical poetry (in Persian language and Urdu) it is expected that Shakir was influenced by Simin Behbahani's poetry; However, based on the findings of this research, apart from the existence of some similarities between the elements of general culture used in the poetry of both poets, the obvious influence of this Urdu language poet on the poetry of Simin Behbahani cannot be proven

One of the manifestations of every culture is its folk literature, and one of the oldest examples of folk literature are adages. Adages contain the thoughts, worldview and customs of every people and nation. Their origin is not definitely known, but over time, people choose an adage that is caused by an event, legend, myth, poem, etc., and change it to their own style.“Like the Daf have earrings in the ear” is one of the adages recorded in proverbs book, and in this research, we investigated the background, the time period of changes and its application. First, we investigated the origin of adages through descriptive-analytical methods and library studies, and then we searched for its history and the course of its use in various texts until the present day, and finally we found that the history of this adage goes back to at least the sixth century of Hijra which has been updated in poetry texts. It is believed that until the 6th century, it was a common adage that was attributed to the poetry of the poets of this century, or it was introduced into the folk literature from the poetry of the poets of this period, especially Khaqani Shervani, and it often emphasized that the Daf has been a servant, playing the role of a metaphor. However, with the changes in social conditions in the present era and the change in the public attitude towards music and the Daf instrument, it has progressed towards destruction.

Folk language and literature is one of the important indicators in the spiritual culture of any country, which has had more or less influence in Persian literature since long ago. Through the growth and expansion of Iranian fiction literature in the last hundred years and the tendency to use the elements of popular language and literature in the works created, we can see a significant growth of the reflection of popular language and literature in contemporary literature, especially in fiction. The sacred defense literature, especially the story, is no exception to this rule. The writers of the holy defense stories have also used elements of popular language and literature in accordance with the atmosphere and characters of their stories.

The present research was carried out by descriptiveanalytical method, the elements of popular literature in four stories of holy defense (Bagh Bolour, Dele Deldadegi, Zamin Sokhte, Zemesta62) were studied.

The authors of the holy defense stories, especially the stories studied in this research, were not inadvertence to the popular literature and used popular language and literature in advancing their narrative and in characterizing and creating atmosphere. In such a way that most of the slang terms, words and verses are expressed by the language of popular personalities, which shows the knowledge and mastery of these writers on the popular language and culture of Iran.

The results show that the elements of popular language and literature in the story of Zemestan62 had less reflection compared to the other three works; Because most of the characters in this story are people with university education who interact in an office environment. While the characters of the other three stories (Bagh Bolur, Dele Deldadegi, Zamin Sokhte) are ordinary people and they interact in the streets and markets, and their conversations are full of words, idioms and folk literature.

The epic poem Sahebqeran-nama has only one manuscript of the work No.279 in the National Library of France and is a description of the story of a hero named Hamza, who has doubts about its attribution to historical figures. Sahebqeran-nama is the only Hamza-nama of Persian poetry and So far, no independent research has been done on this book, and in the book Epic in Iran (Zabihullah Safa), only a brief reference has been made to it. There is no mention of this book or its author in historical and literary sources. This research tries to determine the approximate date of the composition, the identity of the poet, his place of residence and his government by researching the text. Although the poetry and literary structure of the poem lack the characteristics of a genuine Persian poem, but this book contains many historical and literary points and in it one can look for evidence of rare Persian words and phrases. The poet is a pioneer in creating new words and phrases and this work is very important for recognizing the different quality of Persian language in India.

Fiction literature has wide branches, among which is folk or folk fiction. The novels "Toyor Eylul" written by Emily Nasrollah and "Kelidar" by Mahmoud Dolatabadi are considered as folk and rural novels, which are analyzed in this essay from the perspective of Arabic and Persian literature. In this research, the signs that can be used to consider a novel as folk and rural have been given and the goal is to check which signs have a high frequency in these two novels and what do these two novels have in common in these signs? The selected school of an author can be understood from the themes used in his works. The comparative doctrine in this article is the French doctrine. Therefore, in order to get familiar with the vision and approach of the two mentioned authors, their works have been briefly examined and the components of folk literature and its comparison in the two mentioned novels have been examined and described in several separate sections. This research is a descriptive and analytical method, considering the doctrine and the themes used in the two mentioned works, the type of character creation and characterization and the way the characters are expressed in the two stories, the method of using the description of the village and the environment has investigated and compared.

Fiction is an important part of literary works. "Mahboob al-Qulub" is one of the fiction and folk literature books of the Safavid era."Mahboob al-Qulub" is one of the fiction and folk literature books of the Safavid era. Mirzabarkhordar Farahi, a writer and secretary, wrote anecdotes and stories in the style of that time with encouraging expressions.This research has focused on the story structure of "Rana and Zeba" from this book, according to the elements of the story, such as: beginning and background setting, knotting and instability, conflict and conflict, crisis, high point or turning point, unraveling and ending. The existence of these elements and the unusual and artificial prose of the book have sometimes accompanied the narrative aspect of the story with slow beats and sometimes with attractive suspense; It seems that the story in the story or episodic makes the story have several narrators and in this way, each story is narrated in the middle of the main story.Pirang in fiction is the structure and skeletonization of a story, which is inevitably based on the cause and effect relationships that arise in folk tales based on the story line in accordance with popular belief. Criticizing the elements of Pirang makes the layers of the story clear, and this is especially important.

Ibn al-Hussam's KhavaranName is a epopee that tells imaginary stories of the travels, heroic acts, and battles of Imam Ali (as) against the infidels. It  is often considered as an epic work due to its epic features, although the features of popular literature have become so prevalent that it has largely deviated from the classical Persian epics. This feature shows that Ibn Hussam had a direct connection with the masses. Based on this view, in the present article, an attempt has been made to determine the most important folk elements of this work and how they are used. To achieve this goal, first the mass beliefs and thoughts of the people, and then some folkloric features of the narrative are examined, and finally the use of the slang language in its  vocabulary is studied.  This research shows that the KhavaranName is an artistic phenomenon that has originated from the life of the people and has been mixed with various manifestations of the mass life of the people in different ways. As a result, the dramatic crystallization of popular elements has made KhavaranName closer to popular literature.

Complaint is one of the main types of lyrical literature. Poets, who see their existence as tarnished and even loved, express their biographies in the language of complaint and express their intellectual pain, failures, sufferings and disappointments. This descriptive-analytical research intends to investigate the theme of complaint in the popular couplets of Mazandaran and Khorasan. By studying more than 3000 popular couplets in Mazandaran and Khorasan, 435 couplets, that is about14.5% of the complaint theme, were discovered. These glories are divided into two categories in terms of content: personal and philosophical. Based on the research findings, it can be said that in Khorasan, the lover complains about the unfaithfulness of the beloved, and in Mazandaran, the complaint about the grief of homelessness has the highest frequency. In other complaints, such as complaints about the sorrow of love, homesickness, military service, parents, a love rival, loneliness, co an unfaithful woman, bad luck, the times, and God. The statistics of complaints in the two provinces are close to each other.

Folklore is an integral part of every nation’s literature, with a remarkable diversity in type and inclusion. A large part of this literature includes tales, legends, myths, songs, ballads, adages, riddles, and versified games transmitted orally from generation to generation over the centuries. All-important literary genres can be seen in folklore. One of these literary genres is Pastoral literature, which has been specially addressed by western scholars yet a new subject for analysis in the folk literature of the Iranian people with its various languages and dialects. Pastoral literature includes creative works presenting rural life and its landscapes in an ideal way for the audience. In this research, the authors studied the Pastoral literature of the rural areas of Khavmirabad district of Mariwan city based on the lifestyle, particular geographical region, rich language and culture, and literature of the Kurds. The study aimed to provide a background for more familiarity with Pastoral literature and examine its status in Kurdish oral literature, more specifically in Kurdish folk literature. The study results showed that ordinary people had created Pastoral literature in their lives and social failures, regrets, and desires. Research data was collected through library and field studies, and the descriptive-analytical method was adopted.

Lullabies are a subset of oral literature and popular culture in terms of literary type, and on the other hand, they are also related to children's literature because they are generally addressed to children. The main feature of lullabies is that they exist in the literature of all lands and cultures. In this sense, it is a good topic in comparative literature research and is useful for discovering relationships between different nations. Of course, the function of lullabies in literary research has a favorable range. On the one hand, it is useful in the field of linguistics, dialectology and lexicography studies, and on the other hand, it is effective in sociological and cultural research and understanding their livelihood. Because the main poets of lullabies were mothers, lullabies can be considered as a suitable platform to recognize the subdued ideas of Iranian women, based on which the status of women and the hidden structure of the Iranian family are known, and through it one of the most important functions of lullabies is recognizing educational values. It will be possible in Iranian society because a brief study of lullabies can reveal the existence of such teachings. In this article, an attempt is made to present the bibliography of Iranian lullabies. The present bibliography includes 347 books, articles and dissertations on this subject. The availability of such a list can be helpful in organizing, compiling and analyzing Iranian lullabies from various perspectives such as linguistics, literature, sociology, psychology and educational fields.

Folk culture is one of the building blocks of national identity, and it can prevent the destruction of the traditions of a land and the spread of foreign culture in society. Jahrom has been called the "palm forest" in the past that it has been a sign of the mass of palm trees in the city. In the past, palms or Tarok,in Jahromans dialect, have been very important and effective in Jahrom people's lives and there are also many local terms referring to palm constituents, palm varieties, palm-related affairs, fixtures, pests, related people and palm-fed foods in Jahrom. This article examines the field and the library in a descriptive-analytical way and analyzes the position and importance of this tree in one of the aspects of oral literature of the people of Jahrom, proverbs and multiplications, and has provided various examples of it. In metaphors, proverbs, and parables like the one mentioned above, palms and their related things are often moral and educational, and sometimes humorous. In terms of vocabulary, these celebrities are usually assigned to Jahrom city due to the use of special words.

Humanity today seeks its whole existence in a logical and rational framework, and he is unaware of the fact that systematic rational methods are just one of the ways in which humans are aware of the world around them. This neglect itself is the basis for cognitive misunderstandings of his past existence. Folk literature is one of those culture that, despite being pervasive, many of the Folk literature is one of those objects that, in spite of being pervasive, many of the characteristics embodied in them are not so much in line with the logic that governs the rational consciousness of modern man; the main question in this study is the search for a cognitive sample governing the constituent components of the legendary “Pari-Čehel Gisū (= Fairy with forty hairs)” of the folk and oral literature of the Fars region. The research method is descriptive-analytical, and the used analytical way that is Ernest Cassirer's which has been obtained from the study of his various and numerous works in the field of epistemology. By adapting these irrational themes and patterns to the content of the components of the Pari-Čehel Gisū myth, it was determined that there are seven characteristics associated with irrational cognition and myth in various ways in the form of places, time characters, actions and frequencies are present in this narration, the most of which include “mythical number” and “destiny-orientation”.

Folk literature is a part of people's culture that transmits the spiritual heritage, customs and traditions of one generation to another. According to the interest of the villagers in preserving their traditions and customs, in this article, we will examine the ancient tradition of Mehregan celebration that Birbiri Gorlak means seeing each other in the village of Qasr Yaghoub Safashahr in the Turkish language of Safashahri. We seek this folk tradition which was originally the same as the Mehregan celebration, but has evolved over time to keep alive the legacy of ancient Iran. Thus we take scientific and effective steps in the preservation of the traditions and rituals of ancient Iran, and to give the next generation the legacy left to us from the past as a trust, and to do our duty in this regard.

Samak Ayar is one of the Persian prose and contains folk elements wich illustrates the may of life of the people of that period and oims to provide a clear picture of the reflection of this elemnts in the story as well as expansion of research in popular litelature the research is a destractive analitical study of data collection using library resources the researcher by reading and reading line by line the book by samak_e ayat reveals a manifestation of folk elements including: custom, game,blief, celebrations, medicin, tales, fairy tales,astronomy, proverbs observation extracted.according to the present study, this story contains the offects of folk litrature in addition to the intertaiment espects,it is in fact intellectoal and social inderpiniys of the people of that era and source of information about life costoms and traditions. It has high frequency among the investigated elements and the like and the outher transmits to the reader by using parables.what the cansiders to be sublime and humane traits .Keywords: Samak-e-ayyar, slangy letter,examples,mores and manner.

One of the ways to access popular literature in Iran is home-based literature based on oral literature, written and taught to students in the old home school. Since woman is one of the most important subjects in the arts and crafts throughout the universe, it is important to examine the richness of the female form in the works of home school. The purpose of this research, which is a library-based study based on a descriptive-analytical approach, is to investigate the rich aspects of the female landscape in home school literature. Accordingly, 27 home school tales in which female enrichment is visible are selected and studied. The research findings show that the most frequently enriched aspect of the female face in home school literature is her praise of physical beauty. Love is also the main theme of the richness of the female image in romantic poems. Repentance, soliloquy, hypocrisy, humor, cheerfulness, and cursing are also aspects of the richness that make up the lesser richness of a woman.

Cliches or linguistic stereotypes are slang language features which are widely used in everyday conversations. The frequency of the use of stereotypical expressions and propositions in literary texts (poem or prose) is directly related to the colloquial speech. Therefore, by examining texts from the perspective of such applications, they can measure the extent of colloquialism of speech, and discover the purposes of the use for such a language. In the forthcoming research, the stereotypical structres in Molavi's Ru'ba'iyat have been investigated and its effect on the colloquialism of his speech has been determined. The statistics show that irony, the most commonly used figure, has resulted an ironical language for the text; the way of reasoning and expressing Rumi's content is based on allegory, which is highly consistent with the teaching dimension of his personality and his attempt to convey the subject. Another proposition is the compliment associated with the relationship between the lover and the beloved of the traditional Persian poetry; the threat, in addition to its educational application, has shown the appearance of a violent expression of the beloved in the Rubaiyates, while the teaching of insensible disciples or the tendency to mystical epic has also forced Rumi into exasperation (from subspecies of threat). The use of cliché titles has also been the source of the poet's social typical characters. Prayer and curse were respectively in the lower ranks of Mowlavi's attention, and each of them was used for a certain purpose in his quatrains.

With the establishment of the Safavid government, Iran entered a new phase in history and literature. The special attention to popular culture during this period led to popular literature and folk tales. Addressing folk tales during this period is not only about entertaining and preserving ethnic values and historical events, but also reflecting political, social, ethical issues and criticizing the rulers of the Safavid society in a humorous fashion. These stories were generally narrated in cafes and public spaces where ethical issues were not respected. Hyperbole, paradox, intermingling of human and animal elements, offensive language, profanity, cursing, are the main features of these stories that put them in the Grotesque genre. In this paper, after describing Grotesque and its characteristics, the authors have studied this species in folk literature by relying on Eskandar Nameh of transcriptive writing, by using a descriptive-analytic method and collecting the findings. The grotesque themes of this work appear to be a function of expressing the events of time and criticizing the inadequate characters (depersonalization, derangement, abnormal and disturbing appearance), hyperbole, paradox, and offensive language, torture and curse are Grotesque features in these works, and it seems, they function to express and criticize the events of the time.Keywords: Folk literature, Eskandar Nameh by Naghali, Humor.