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Chehel-soroud is one of the most popular and current types of omen among Lorestan people which they perform collectively. In every presage, forty couplets are attributed to interpret the intended 40^th couplet. In the present research and based on library resources, the aesthetic function of the 500 chehel-soroud couplets  collected by the field method was analyzed in two parts of "Phones , Vocabulary, Musics and figures of speech " and the surface structure including  Emotion, Thought and Meaning. The research findings showed that at surface structure of phones movement with music is sometimes created with serenity and sometimes with violence. The association of vocabulary plays a role in the association of emotions and the meaning of poetry. The association of vocabulary plays a role in the association of emotions and the meaning of poetry. In some parts of the verses, meter and rhyme are unacceptable, which is to some extent negligible. Internal music is due to figures like phonotactics , morphophonemics and pun. Spiritual musics in its turn is as a result of figures like Mora’at al nazir, Hossn-e- Ta’lil and hyperbole. Metonymy and assimilation play a key role in the creation of figures of speech. Emotionally, at deep structure level, good omens are accompanied by enthusiasm while sinister ones lead to despair. In terms of meaning and regarding the frequency , themes of love and friendship, natural resources such as mountains and trees, religious beliefs and interests such as hunting, breeding, agriculture etc. are evident in the couplets.

 

Keywords: Folk literature, aesthetics, Lorestan, omen, chehel –soroud

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