Analyzing the content as well as the common themes in Tazieh poems acquaints us with the culture, language, and common idioms in this field. Due to the aesthetics of the Tazieh poems and its narration, which mentions the sufferings of the martyrs of Karbala, as well as the multifaceted dimensions of the Tazieh and the characteristics of its representation, less attention has been paid to the text of the Tazieh works. This study aims to figure out what has been the most effective aspect of these poems on the general audience. Accordingly, in this research, the poems of Tazieh ceremonies have been studied in three parts. The first part focuses on the content, the second part is the descriptive analysis of the poems, and the third part focuses on the variety of poetic forms of the text. Relying on the content elements of the text, the functions of the poems in attracting the audience have been analyzed. So far, no research has been done in the field of content analysis of poems in Tazieh. This research is based on the manuscripts of Tazieh gatherings entitled The collection of Tazieh battles of General Resurrection - in eight volumes which are currently being performed in the month of Muharram in the Tazieh gatherings in Damghan city. The research method is descriptive-analytical.
Introduction
"Tazieh literally means expressing sympathy, mourning, and condolence, but as a form of drama, it has its roots in gatherings and commemorations of the martyrdom of Imam Hussein during Muharram, and during its evolution, its main focus was the representation of the siege and massacre of the Karbala desert. However, it has never lost its religious nature” (Chelkowski, 2005, p. 9). The study of the content and theme of the poems of the Tazieh meetings has been thematically divided into three sections. The first part is based on the content and theme, the second part is based on the informative description that somehow reflects the themes of the poems, and the third part is based on the variety of impressive formats in the present text.
Background
In the article "Literary Sources of Tazieh" from the book of Tazieh, the leading Iranian indigenous art, compiled by Peter J. translated by Davood Hatami, Chelkowski deals with the seas, rhyme, and language of poems in several versions of Tazieh.
Discussion
Content review
The themes in the Taziehs, despite its focus on a central theme that is the martyrdom of Imam Hussein, are very different. They could be categorized as local Taziehs in the field of mysticism, Taziehs for kings, Taziehs inspired by Persian oral and written stories (Ismaili, 2010, pp. 61-62), but in research, less attention has been paid to the content of Tazieh poems and text. Based on this clarity in the present study, the factors of transparency of Tazieh poems have been considered. These factors are divided into two parts in the present text to facilitate research: the first part is divided into six parts based on the internal content of the poems: rhetoric, ideas, testaments, enmities, monolithic dialogues, and completion of arguments. The second part is based on the initial descriptive data of the poem in seven categories of praise, praying and asking for help, sacrificing alms, addressing a special and general audience, complaining, greeting and asking questions. The third part deals with the variety of Taziehchr('39')s poetic forms.
Descriptive information
"In the texts of Tazieh, knowing why and what people do, assuming that their believing audience is aware of them, has no place among the Arabs. Therefore, the role of logic and reason, i.e. reasoning for things, is rejected by both the parents and Ashqia. The poet of Tazieh describes people and ignores the analysis of the way and reasoning of people to perform their actions. This descriptive view develops so far that even Ashqiya speaks of describing the saints, praising and honoring them, and this is exactly when they are supposed to act against them” (Fanaian, 2010, pp. 84-85). In these poems, the informants act as codes and signs through description, so that the audience understands the subject and setting of the story.
Whether the role is arrogant, either in the debate or prologue, depends on the initial descriptive data, which can be divided into different categories such as prayer, almsgiving, addressing a specific person, calling the addressee, asking question from the opposite role, boasting in the prologue, the debate between the two roles or the hero, the complaint, the greeting, the disbelief of the continuation of the enmity, and the actorchr('39')s inner dialogue. The internal conversations can also be understood by knowing the poems being read. The poems have an external and executive meaning or an interior monologue, for example: "everyone has a desire and work in front / I poor thing caught in the air of his heart" (Nadalizadeh, 2013, vol. 1, pp. 44-45).
Variety of templates
Tazieh verses have been composed in many different forms. These verses can be categorized in the form of ode, Masnavi, quatrain, couplet, mesmat, and long speeches.
Conclusion
Since no special content analysis has been done in the field of Tazieh poems, analyzing the content of these poems is an effective and useful step towards the cultural applications of these poems. The analyses were performed in three sections: content, descriptive data, and review of the format of the poems. There are many different forms of poetry in these poems, and this variety of formats is very effective and efficient in diversifying its music, and restoring the tone and expression. The sections presented for expressing the content of the poems and descriptive data with titles such as the idea of ​​narration, sequencing, argumentation, greetings, etc., which have been dealt with in the text of the research, classify the verses of Tazieh in simple and common language. The audience follows the narrative and it causes enthusiasm and sympathy attracting more audience.
References
Chelkovsky, P. (2005). Taziyeh: ritual and performance in Iran (translated into Farsi by Davood. Hatami). Samat.
Fanaeian, T. (2010). Tragedy and comparison (in Farsi). Tehran University Publishing Institute.
Ismaili, H. (2010). Thirsty in Miqatgeh: text and context of Taziyeh (in Farsi). Moin.
Nadalizadeh, G. (2013). The collection of this general resurrection (in Farsi). Tent.