The discussion of Shia sociology has been taking shape in Iran for almost two decades. However, relatively little theoretical and empirical reflection has been done on the subject of mourning ceremonies during the month of Muharram. The present study attempts to address an area of mourning ceremonies during Muharram from the perspective of the sociology of religion, and specifically Shia sociology, which despite its depth and breadth has not been addressed so far. Muharram mourning ceremonies in the city of Yazd are the subject of this article. Using the theory of Ali Shariati's Shia, the texts of Yazdi elegies performed during the decade of 1390 were analyzed and interpreted. The four themes of "commemoration of the values of the Ashura uprising," "criticism of Shia actions," "criticism of the link between religion and government in oppression," and "criticism of oppressive government" were among the themes extracted from Yazdi elegies under the idea of Alawi Shia. It seems that the style and content of elegy recitation in Yazd have a significant difference with the popular style (or pop elegy).

By the crowning of Fatali Shah Ghajar, poetry found a better position and status compared with the previous periods of Zands and Afsharids. The Ghajar king who was a poet himself and whose pen name was khaghan began to support poets and with the formation and establishment of the new center of restoration movement in Tehran, many poets directed their steps from around the country toward the capital of Iran, Tehran. Khavari Shirazi is one of the poets who immigrated from Shiraz to Tehran and by relying on his inherent talent and practicing letter writing and historiography, and poem recitation in the literary circles of the capital, turned into one of the relatively known poets and writers of his era and left many complete poetical works embracing more than seven thousand couplets of different forma such as elegy, ode, compounds of stanzas, mathnavi, quatrain and poems stanzas. In this paper, after providing a brief study of poetry status in Afshar era, up to the end of Fatali shah's period, the biography, the works, the Divan of the poetry and the compilation of the Divan and style of Khavari shirazi are analyzed in details.

Elegy which is as old as man and his history includes different types, such as personal, official and religious elegies. The emotional value of each type of elegy varies according to its orientation and audience. In this article, we will examine two elegies that, although included in the official elegies, but they have a special effect. Farrokhi and Bahtari have composed two elegies in mourning of Sultan Mahmud and Motawakel, the Abbasid Caliph. These two elegies in terms of language, music, emotion and content contain significant points that on the one hand, express the motivation of the speakers and on the other hand express their attitude in the face of the phenomenon of death. Paying attention to the music of the word and its adaptation to the atmosphere of poem, the faint presence of thought issues, fluent and unambiguous language and the presence of simple imaginary forms are some of the similarities between the two elegies. One of the most important differences between the two elegies is the different motivation of the speakers in composing the elegy, the dominant emotion and the effectiveness of the elegy.

Elegy in word is derived from Rasa-Yarso means weeping on dead people. It is also defined as enumerating deceased benefits and composing the poem about. Elegy is categorized into different parts as follows: 1. Courtier 2. Personal 3. Religious 4. Philosophical 5. Social 6. Fictional.
Not only did Khaghani prove himself at composing praise and commendation, lampoon and imprisoned poems, but also he proved himself at composing elegy. Commentators of khaghani’s poems know him as an exclusive poet regarding elegy- making. Also Khaghani composed some odes in loyalty mourning and the world transience as well as personal, courtier and religious elegies which are sub- categories of philosophical elegies. Khaghani’s “Ivane Madayen” ode is considered as a social elegy. In this article, one just analyzes the elegies that Khaghani composed about people. This type of elegies in Khaghani’s Divan are categorized in three parts: a) Personal and family elegies which are about Khaghani’s son, wives, girl, son-in-law, uncle and his cousin, b) Courtier or ceremonial elegies which are about Nosrat od-Din Espahbud Leyalvashir, Fakhr od-Din Manuchehr Shervanshah, Shervanshah’s children (Azed od-Din Fariborz and aljijak) and other courtier men, c) Religious elegies composed about Imam Mohammad Yahya, Sheikh ol-Islam Abu Mansoor Hafade, Azed od-Din bu Emran and other religious characters.
There have not been any comprehensive research projects conducted about Khaghani’s elegies. Nasrollah Imami had presented summarized explanations in “Composing elegy” book at Persian courtesy, in the part about Khaghani that were valuable, and he used them as the reference in this article. Two valuable articles were written about comparative literature: comparison of Khaghani’s and Hogo’s elegies about sorrow of their sons by Reza Irandust Tabrizi and “Elegy composing in Persian and Arabic courtesy with the help of comparing Khaghani Shervani and Abolhasan Tahami’s elegy by Naser Mohseniniya and Arezu Yazdanpanah Kermani. In Persian courtesy, elegy is often versified and it may have different genres, but the most frequently used genre up to the end of 8th century is the ode, and fragment genre, Refrain and compounding are next ranks. Among Khaghani’s elegies, twenty-one elegies are composed in ode genre, sixteen of which have row and five others do not have any row.
After ode, Fragment genre has more applicability in Khaghani’s Divan in elegies. Generally, he composed nineteen Fragments about the courtier and religious men. Khaghani also composed four composite-tie about his son mourning and government’s personnel. One thing to be noticed by poet about elegy is the proportion of verse with subject. Most of prosodic verses couldn’t be used in elegy. From the beginning of Persian poetry to the end of 8th century, Ramal poetical meter (faelaton foot) is the most usable and Gharib poetical metre (faoulon foot) is less usable one among others. In Khaghani’s Divan Ramal poetical meter with fifteen cases, the most usable poetical meter is elegy. After future, Mozare octagonal poetical meter (mafoulo faelato mafailo faelon) and khafif poetical meter (faelaton mafaelon faelon) are placed next with six cases. Mojtas poetical meter (mafaelon faalaton mafaelon faelon) monsareh poetical meter (moftaelon faelato moftaelon fa) and gharib poetical meter (faoulon faoulon faoulon faal) are less usable poetric matre in Khaghani’s Divan about composing elegy.
In Khaghani’s elegies like other poet’s elegies, imagination has been shown differently. Although Khaghani couldn’t hide his influence from the coming event, he also does not give up imagology. According to the conducted studies, one should say that Khaghani made nice images in elegy; images followed by formality, but its amount is less than Khaghani’s other odes. Simile is presented more than other imaginations in Khaghani’s elegies. Next step belongs to the metaphor. In addition to simile and metaphor among literary verses, hyperbole is of high frequency. This craft was so effective in making and activating marvelous tone. In courtier elegies, the poet tires to compensate lack of emotional burden by the help of exaggeration and where there is high emotional, aspect of exaggeration has no space or it is not suitable. After hyperbole, allegory is of high frequency among Khaghani’s elegies. Khaghani had basically used allegory in his uncle’s elegy and Imam Mohammad Yahya, Abu Mansoor hafade and Naser od-Din Ibrahim. In most of elegies, Khaghani starts his ode with an introduction on world transience and disloyalty of the day. Khaghani basically gives speech about universe transience and disloyalty at the beginning of men’s courtier and religious elegies.
Some of Khaghani’s elegies starts with poet’s mournful mood and the beaten poem. Khaghani started composing all his elegies about her wife’s mourning with description of his unpleasant mood. The beginning of Khaghani’s odes which he had composed, was followed by the addressee’s invitation to unanimity. All the factors are at the service of content in Khaghani’s elegies and they are used to activate the meaning of mourning and sorrowful space. One of these factors is row. Row is at the service of elegy content in accordance with the aspect of proportion in long vowel as well as semantic proportion. Of other factors used in relation with elegy one can name the adjectival proportion and similes for the deceased. For example, Khaghani used items like garden sight, cypress- figure and brilliant sun and in mourning of his wife, and in the morning of prophet’s names as well as religious men in making-image.

Khaqani is one of the most important poets in Persian literature. His artistic personality is a complex character; he has worked on various branches of art and elegy is one of the main of these branches. Khaqani has composed over sixty elegies that are considered his masterpieces. His personal elegies are the most famous and the most artistically composed Persian elegies. Seven of these elegies he wrote on the death of his son, Rashid al-Din, which show his extreme sorrow and grief. The colours have a particular psychological impact on the images of these elegies. Khaqani with three colours (red, black and yellow) has created themes and poetic images in these elegies. These three colors are not present in these elegies randomly or accidentally, but according to the new psychology his choices stem from his unconscious. The present research studies the influence of colours and their psychological function in Khaqani's personal elegies on the death of his son, Rashid al-Din.

Elegy is a kind of poem which is written to mourn the occasions of losing beloved persons and comfort the remaining or in natural disasters. Elegies for the loss of other poets are of the oldest one the first examples of which are found in Roudaki’s Diwan in the mourning a poet called Moradi or in the elegy of Shahid Balkhi. In the contemporary age, there has also been elegies by the poet’s friends or even enemy’s to express their friendship, to show their work relationship, and to present their interest in poetry. This kind of elegy seems to have more literary valuable in comparison to other kinds since it holds especial and original feelings; some examples include elegies by Malek-o-shoaraye Bahar about Iraj Mirza and elegies for the loss of great poets like Akhavan Sales, Sepehri, Farrokhzad, Shamloo,etc. One of the widely observed elements in such elegies is " regret ". A sense of regret is especially tangible when the poet’s friend is lost. This article is an attempt to shed light on different corners of the issue " regret " which underlies the nostalgic feelings in contemporary elegiac poems.

Elegy includes the poet's painful emotions.Poet's overwhelming, internal pain due to the loss of loved ones or social disasters, decline of values, etc. appears in the form of elegy and it can be mentioned that elegies have a special place in lyrical literature. Al-Mutanabbi,is one of the greatest Arab poets who has written significant elegies in different situations of his personal and social life and expressed his sorrow over the calamities of the world or loss of loved ones in atragicway. Regarding his elegies, these questions will be raised that: how compatible is the truth of emotion with sorrowful words of the poet? And which factors were involved in making the strengths and weaknesses of the poet's elegies? In this study it has been attemptedto answer the questions through considering Mutanabbi's elegies, thoughts and purposes in writing them, statistically, using the descriptive-analytic method. The results demonstrate that there are true emotions in his elegies over the loss of his loved ones, yet, when it comes to duty and work, the aim wasgaining the consent of the praised one and truth of the emotion is inconspicuous.

Elegy involves the most sincere affections. Elegy for father, mother, brother, sister and spouse existed in ancient Arabic Poetry but elegy for wife is rare in comparison with elegy for husband. In addition, elegy for wife exists in Farsi Literature. This study reviewed elegy of Jarir Ibn Atieh and Khaqani Shervani for their wives based on the American School of Comparative Literature and René Wellek Theory. The purpose of this study was to investigate literary and cultural commonalities of Ancient Arabic and Farsi Literature. In addition, this study found that rare elegies for wives exist in Arabic and Farsi poems. Based on the American School, the culture of the poet has been effective in accepting this literary genre and the complicated poetic language of Jarir and Khaqani has become soft and simple in these poems. This is because the poet has had deep sighs and wails and has been mourning. This shows the sincerity of emotions in the poems of these two poets. Descriptive-analytical methodology was used in this study.

According to some researchers and critics of the indian subcontinent، among poetic literary genre of Urdu literature، “elegy” is a genre quite independent from the Arabic and even the Persian one. A research study can verify this fact. It is clear that since past times mourning and lamenting for the dead has been present in the cultures of all nations throughout the world، and will be so in future as well. The only difference among them relates to the genres of means، and intensity or weakness of expressing sadness. Elegy for the martyrs of Karbala in Persian and Urdu has got a special form because of its religious aspects. Elegy writers of Urdu، specifically، famous poets like Mir Anis and Mirza Dabir have developed elegy so much that most of the researchers and critics of the Indian subcontinent، apart from their religious inclinations، have confessed about its literary significance. They added some parts to elegy، which more than being sad، its dialogic and characteristics attract the readers and listeners. Creating new terms like «Bain» (Lamentation)، “Shahadat” (Martyrdom)، “Razm” (war) and etc. in the form of Tarkib-band-e Mosadas، they have developed a new literary genre. Therefore، only prominent poets could enter in this new arena، and during the shining period of Urdu elegy in Lakhnaw، low-educated poets automatically were put aside، and prominent poets elevated importance of Urdu elegy very much. Study and Analysis of Urdu Elegiac Poets Innovations According to some researchers and critics of the indian subcontinent، among poetic literary genre of Urdu literature، “elegy” is a genre quite independent from the Arabic and even the Persian one. A research study can verify this fact. It is clear that since past times mourning and lamenting for the dead has been present in the cultures of all nations throughout the world، and will be so in future as well. The only difference among them relates to the genres of means، and intensity or weakness of expressing sadness. Elegy for the martyrs of Karbala in Persian and Urdu has got a special form because of its religious aspects. Elegy writers of Urdu، specifically، famous poets like Mir Anis and Mirza Dabir have developed elegy so much that most of the researchers and critics of the Indian subcontinent، apart from their religious inclinations، have confessed about its literary significance. They added some parts to elegy، which more than being sad، its dialogic and characteristics attract the readers and listeners. Creating new terms like «Bain» (Lamentation)، “Shahadat” (Martyrdom)، “Razm” (war) and etc. in the form of Tarkib-band-e Mosadas، they have developed a new literary genre. Therefore، only prominent poets could enter in this new arena، and during the shining period of Urdu elegy in Lakhnaw، low-educated poets automatically were put aside، and prominent poets elevated importance of Urdu elegy very much.

Marsiya or Elegy is considered as one of the oldest literary types and poetic themes which have experienced various forms over the time. This essay has been done with the aim of studying and examining works and poems of some contemporary poets, in order to get to know with structural and semantic changes and evolutions of this literary type in modern times. Poets that have been considered for this research are from three different generationsWith their own different thoughts including six lecturers: Malek al-shoara Bahar and Mohammad Hossein Shahryar as two archaic poets, Mehdi Akhavan Sales and Ahmad Shamlou as intellectual poets with their own specific intellectual orientations, and Alireza Ghazveh and Qeysar Aminpour as revolutionary poets, the population contains all of their published. In this examination which has been done based on the library research with note-taking method, after taking out all of their elegies and analyzing each of them, the results have been concluded in the form of research findings including: a) determining statistical frequency of elegy in poetries of the mentioned poets and specifying the number of elegy in poetries of each of these lecturers, b) determining lingual features and characteristics of each poet in their elegies, c) determining audience of elegies that the obtained results in this section caused to be able to categorize these poems in various sub-divisions including: 1. Personal elegy, 2. Religious elegy, 3. Social elegy, 4. Revolutionary elegy, and etc.