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Quatrain is one of sub forms of formal literature and perhaps is the most important ancient form of folk poetry and local literature. Local poets and Fars land people have long been familiar with this form and a considerable number of traditional quatrains among the public speakers of Persian language and literature has been written by historical Fars poets. In this paper, while the frequency, practices and techniques of using rhyme and row in more than 1100 traditional quatrains among Fars people have been examined by an analytical- descriptive method, differences and similarities of using rhyme and row in these poems have been derived and analyzed compared to formal literature.
The result of this study is that Fars local quatrains rows' structure are not very complicated; the point where being personal and memory-based concept is compatible with knowledge, compose environment and poems' concepts narrative. Also poets and poems' narrators (in composing or reading quatrains) have used distinct eight main tricks with formal rhyme rules to simplify their poems' rhymes.

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In Bakhtiāri dialect, šowxin is a type of folk and epic poetry that describes the bravery, struggle and murder of one of the brave elders or men of Bakhtiāri people. Like other folk poems they have had anonymous poets. The order and number of their verses are different, and mainly reflect the love and devotion of people towards their ethnic heroes. These poems also refer to certain traditions, beliefs in addition to historical, political and social issues of Bakhtiāri people. Since most of works on Persian folk language and literature has not been adequately addressed, this article provides an overview of the research on Bakhtiāri poetry. These poems have been described and it is briefly stated that there is about 24 šowxin type (389 verse) in this dialect, among them four are important and remarkable. The present paper seeks to explore the structural and content characteristics of Bakhtiāri's šowxin, such as their templatic characters, elements, contexts of epic poetry and strong descriptions. Šowxins are considered influential folk poems and deserve to be taken into account from different viewpoints among different ethnic groups.
 

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Despite the differences that recently have arisen in determining the meters of the folk poetry, it can be said with confidence that the meters of the folk poems follow the rules of syllabic accentual meters. Work songs (work poetry) is a branch of folk poetry which is read in harmony with the rhythm of the work and it has work-related content. Workers recited these poems in groups or individually to refresh themselves, making work easy and faster. In this article, at first, we have defined the work songs and its types and characteristics, and then analyzed the meters of these poems from two perspectives: the quantitative meters, and the syllabic accentual meters. We have found that the work songs follow the syllabic accentual meters and there is a significant relationship between the meters of work songs in a specific branch. The work songs also match the rhythm of the work. Also, by changing the work rhythm, it takes on different rhythms as well.

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Using various types of folk literature, including folk poems is the main feature of Houshang Moradi Kermani 's works, as the use of folk poems and satire are some of the important aspects of the author's style. Accordingly, in the present study, the representation of Kermani's folk poems is analyzed based on Van Leeuwen's theory of discourse analysis in six satirical fiction works. A descriptive-analytical method has been used for the study. Van Leeuwen's view is based on a study of social agents. According to exclusion and inclusion components of this article, it was found that the main agents of folk poems in Houshang Moradi Kermani's satirical fictions are usually mentioned and in most cases, the villagers are active agents. People with more urban origin besides children and adolescents often have more passive roles. In some cases, women play a passive role while in other cases an active one. The use of impersonalization, personalization, and determination components are also observed in the imagination of folk poem which determine the author's emphasis on the role of villagers in preserving folk poems.