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Journal articles on the topic 'Tajik poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Kalandarov, Tokhir S. "Tajik Migrant Religious Poetry." Вестник антропологии (Herald of Anthropology) 48, no. 4 (December 10, 2019): 169–77. http://dx.doi.org/10.33876/2311-0546/2019-48-4/169-177.

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Today there are hundreds of papers published on the problem of labor migration from Central Asian countries, its political, social and economic aspects, as well as on the problem of integration and adaptation of migrants in the Russian society. However, the topic of migrant poetry is still poorly studied in Russia. At least there is no such research on Tajik labor migrants. The genres of Tajik migrant poetry vary significantly and include such forms as love poems, political songs, songs about migration hardships, religious poems. This paper is based on the results of monitoring social networks «Odnoklassniki», «Facebook», as well as on the results of personal communication and interviews with poets. In the paper we use the poems of three authors written in Tajik, Russian and Shugnani languages. The semantic translation from Tajik and Shugnani was done by the author of this paper

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Nafisi, Gholam Abas, Mohammad Ali Davood Abadi Farahani, and Ali Sar Yaghoubi. "Tajikistan Contemporary Poetry Themes." Journal of Language and Literature 19, no. 2 (October 2, 2019): 55. http://dx.doi.org/10.24071/joll.v19i2.2130.

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<p>Tajik poetry deviated from its mainstream with the victory of the communist revolution. The imposition of Russian language and the new communist literature made Tajik poetry to take influence from the works of Russian romantic poets and to have new themes. Meanwhile, it benefited from the ancient Persian poets and one can see the rhetorical figures such as metaphor, simile, conflict, pun, Īhām, proverb, husn-i ta'lil (good reason), imagery and paradox in the works of Tajik poets. Additionally, Bīdel's poem has also had a clear influence on the poetry of some contemporary poets. Tajik poetry is very close to the informal language of the people, and in these poems, we encounter words that are specific to the Tajik dialect. The first Persian she'r-e now (new poetry) in Central Asia was written by Sadriddin Ayni.</p><p>In Tajik poetry, we occasionally encounter with recurrences, the nostalgia of the missed glory, the oppression of the nation, and the unwanted fate of their ancestors. In these poems, the rely on emotion and content, and the epic and passionate tone prevail other poetic performances. The present study gives a general overview of the poetry of some Tajik poets.</p><p><em><strong>Keywords:</strong> Poetry, Tajikistan, Tajik, Persian language</em></p><p>_________________________________________</p><p>DOI > <a href="https://search.crossref.org/?q=10.24071%2Fjoll.2019.190206">https://doi.org/10.24071/joll.2019.190206</a></p><p><em><br /></em></p>

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VAN DEN BERG, Gabrielle. "Ismaili Poetry in Tajik Badakhshan." Persica 17 (January 1, 2001): 1–9. http://dx.doi.org/10.2143/pers.17.0.495.

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4

Jiří, Bečka. "Two Iranians in Modern Tajik Poetry." Oriente Moderno 83, no. 1 (August 12, 2003): 29–35. http://dx.doi.org/10.1163/22138617-08301005.

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5

Avulova Nargiza Toxirovna. "Colors and their artistic image creation features." International Journal on Integrated Education 3, no. 10 (October 20, 2020): 251–54. http://dx.doi.org/10.31149/ijie.v3i10.747.

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Colors have long been used by artists as a means of depicting unique and beautiful landscapes, to ensure the attractiveness of speech, to create an artistic image in poetry. The colors are used in works of art, mainly in lyrical genres, reveals the appearance of inner experiences, emotions, beauty and creative influence. In poetry, such forms of art as allegory, allegory and irony are expressed through colors.Classical and modern Persian-Tajik poets skillfully used the means of color in their work, creating beautiful and unique images through their artistic potential. Nowadays, in Tajik literature, the properties of colors to create an artistic image have not been fully studied. This article describes the features of colors in lyric art and their role in poetry on the basis of concrete evidence from the poems of new Tajik poets.

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Van Den Berg, Gabrielle. "Perceptions of Poetry. Some Examples of Late 20th Century Tajik Poetry." Oriente Moderno 83, no. 1 (August 12, 2003): 37–56. http://dx.doi.org/10.1163/22138617-08301006.

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7

Maksudov, Badriddin. "NAVOI INTRODUCTION IN TAJIKISTAN." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (April 30, 2021): 47–55. http://dx.doi.org/10.26739/2181-1490-2021-2-5.

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This article is devoted to the study of the history of Navoiology, in particular the activities of representatives of the Tajik Navoi school, one of the most important issues of Eastern classical literature. It is known that the study of the scientific and literary environment of Alisher Navoi and Herat began during the period of the poet's life. The great thinker united the Turkic-speaking and Persian-speaking peoples with his rich educational heritage. The formation of the Navoi school of Navoi studies is studied on the basis of impeccable sources of oriental poetry and prose. The achievements of the Tajik Navoi school are of great importance in world literature.Key words: navoi intraduction, literary environment, text, source, research

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8

To'xtamuratov, Furqat. "Muhsini's Poetry: a Comparison of Originality and Publication." Golden scripts 3, no. 3 (September 10, 2021): 80–94. http://dx.doi.org/10.52773/tsuull.gold.2021.3/jitp9769.

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In this article, the lyrical poems of the poet Huseinkuli Muhsiniy (1860-1917), a representative of the literary environment in Kokand are studied from the textual point of view. A comparative analysis of the poems of the poet’s collection “Gulshani jovid” in the collection of the Institute of Oriental Studies of the Academy of Sciences of the Republic of Uzbekistan 7392 digital manuscripts and published in collection “Barhayot gulshan”. As a result, the poet wrote 239 ghazals in Uzbek and Persian-Tajik languages, 211 of them in Uzbek, 28 in Persian-Tajik, and 136 Uzbek ghazals in “Barhayot gulshan”. The 7392 inventory is said to have been omitted from the 75 gazalle devon editionis identified in the digital manuscript. With the current spelling edition of the Muhsiniy devoni manuscript there differences indentified as a result of comparative study, the scientific classifications analyzed. As a result of comparative analysis, it was concluded that the preparation of the perfect editions of Muhsiniy devoni is one of the urgent tasks before textual studies.

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9

Abdurashidov, Abduvalī. "The Formation of Ruboī Meters in Terms of Musical Rhythmic Rotations. By Abduvalī Abdurashidov. Translated by Evan Rapport, edited by Richard K. Wolf." Ethnomusicology Translations, no. 6 (September 27, 2017): 1–50. http://dx.doi.org/10.14434/emt.v0i6.23933.

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In this article, the Tajik maqom master and pedagogue Abduvalī Abdurashidov approaches the problem of ruboī (a type of quatrain) versification from the standpoint of music. He takes us step-by-step through the process by which he arrives at the ruboī meters, with fascinating results that remind us of the interdependent nature of poetry and music. Originally published in Tajik as “Tashakkul-i avzoni ruboī dar matn-i advor-i zarbi-i musiqī.” In Falak va mas’alahoi ta’rixī-nazariyavi-i musiqi-i tojik. Third International Symposium of Falak. Ministry of Culture of the Republic of Tajikistan: Dushanbe, Tajikistan, 2009.

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10

Zaripova, Dilfuza Bakhtiyorovna. "The role of didactic works in world literature." International Journal on Integrated Education 3, no. 2 (February 6, 2020): 10–14. http://dx.doi.org/10.31149/ijie.v3i2.316.

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In the 10th - 11th centuries, Persian - Tajik fiction began to develop, with some governors, especially Samanis, paying much attention to the development of Persian poetry. Literary centers were established in Bukhara, Samarkand, Marv, Balkh and Nishapur. The great speakers like Rudaki, Daqiqiy, Firdavsi, Asadi Tusi, Nosir Khisraf, Omar Khayyam, Nizami Ganjavi from the Tajik, Iranian and Azerbaijani nations were educated. Each of these writers has their own way of life and creativity, artistic style and literary services. Accordingly, these writers, who have lived and worked in such places as Bukhara, Samarkand, Termez, Merv, Khorezm, Nishapur, Balkh, Tus, Ghazna, Ganja and Shirvan, have gained popularity throughout the Middle East.

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11

Hisainovich Sultonov, Alisher, and Nataliya Evgenyevna Rebrova. "The Problem of Translation of Persian-Tajik Philosophical Lyric Poetry into Russian Language." Issledovatel'skiy zhurnal russkogo yazyka i literatury 13, no. 2 (May 26, 2019): 207–24. http://dx.doi.org/10.29252/iarll.13.2.207.

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12

Narzikulov, Mehmon. "The genealogy of tajik poetry in uzbekistan (in the case of jafar muhammad ghazali)." ACADEMICIA: An International Multidisciplinary Research Journal 9, no. 1 (2019): 54. http://dx.doi.org/10.5958/2249-7137.2019.00007.7.

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13

Hakim, Askar, Sunil Sharma, and John R. Perry. "The River Was Once a Drop of Water: Tajik Poetry in the Past Six Years." World Literature Today 70, no. 3 (1996): 577. http://dx.doi.org/10.2307/40042076.

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14

Kosimov, Abdunabi A. "On the recognition of the author of a text fragment based on the frequency of alphabetic bigrams." Analysis and data processing systems, no. 1 (March 25, 2022): 73–82. http://dx.doi.org/10.17212/2782-2001-2022-1-73-82.

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On the example of a model collection of Tajik literary works, the problem of the possibility of determining the authorship of a fragment of the text of the minimum size extracted from the collection is studied. A model collection of texts in the Tajik language composed of works of classical poetry and modern prose in Cyrillic graphics is considered. Each piece is associated with a digital portrait - the distribution of the frequencies of symbolic bigrams. To solve the problem of identifying the authors of texts, bigrams are quite acceptable quantitative characteristics. A γ-classifier is used as a tool for implementing the task, which allows the authors of textual information to be identified by the frequency of elements of alphabetic bigrams with a sufficiently high degree of efficiency. The mathematical model of the γ-classifier is represented as a triad. Its first component is a digital portrait (DP) of the text - the distribution of the frequency of bigrams in the text; the second component is formulas for calculating the distances between the DP texts and the third is a machine learning algorithm. The tuning of the algorithm using a table of paired distances between all products of the model collection consisted in determining an optimal value of the real parameter γ, for which the error of violation of the “homogeneity” hypothesis is minimized. It was also found that with the help of a γ-classifier by a digital portrait, it is possible to identify the authors of works in the Tajik language. By using the metric classifier and the method of the nearest (in terms of distance) neighbor, it was possible to identify the authors of decreasing sequences of text fragments from 7000 words (40,000 characters) up to 20 words (100 characters). The minimum volume of a sample of words or symbols for recognition of the author of a Tajik text has been determined. The results of experiments with a minimum sample size of words (characters) for recognizing the author of a text are described.

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Eshonqulov, Husniddin, and Dilorom Sodiqova. "Muslihabegim Miskin is a talented bilingual poetees during the literary period of the XIXthcentury in Bukhara." Golden scripts 3, no. 3 (September 10, 2021): 25–42. http://dx.doi.org/10.52773/tsuull.gold.2021.3/oudo2399.

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In this article, relying on our religious views formed over the centuries, the talented author wrote about her poetic and prose works on theological-mystical, social-political, spiritual-educational, moral-educational topics in Uzbek and Tajik languages. The article discusses the works of the poetess Muslihabegim Miskin. Having such a brilliant poet in the literary environment of Bukhara in the XIXth century is a unique and literary aesthetic phenomenon. The life and work of the poetess were hardly studied by literary critics of the last century, as she was brought up on the basis of Islamic faith and engaged in art in this spirit. Muslihabegim wrote in lyrical genres such as ghazal, mustazad, muhammas, musaddas, mustasne, muashshar, rubai, saqiynoma, fard, as well as poetry and prose. The poetess’s three indistinguishable divans have reached us, and a comparative study reveals Muslihabegim Miskin’s poetic legacy of more than ten thousand verses. The article focuses on the history of the study of the poetess's life and work, analyzes her poems, highlights some aspects of her life and work, and identifies her as a talented poetess.

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Kholmahmatovich, Khujaqulov Sirojiddin. "Changes in the rhymed structure of tajik poetry at the beginning of the 20th century as an important factor in the formation of lyric genres." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 12 (2020): 96–101. http://dx.doi.org/10.5958/2249-7137.2020.01703.6.

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17

Kozhobekova, Gulbubu, and Abdyladzhan Akmataliev. "TUMENBAI BAYZAKOV’S PLACE IN THE ART OF TRANSLATION, CONNECTION WITH WORD LITERATURE THROUGH HIS TRANSLATIONS." Alatoo Academic Studies 24, no. 1 (March 30, 2024): 215–27. http://dx.doi.org/10.17015/aas.2024.241.20.

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This work deals with the translations of Tumenbay Bayzakov as a subject of research. The purpose of the research is to prove that the poet translated the works of each language not through Russian, but through his mother tongue, as a result of his knowledge of Russian, Tatar, Ukrainian, Tajik, and Uzbek languages, to reveal his connection with world literature, to establish the position of the poet in the art of translation, and what translations he has. is a study. Empirical method is used as a research method. As a result of the scientific research, T. Bayzakov's translation of the works of related peoples from the original is noted as a special feature, and his connection with world literature and his place in translation art are determined through his translations. The scientific value of the obtained results is that it is difficult to find a fault in terms of the development of the plot, the presentation of life details, the construction of the poem, whether it is a translation or his own works, and the translation activity of the poet, the Kyrgyzization of mostly Eastern poetry. talk about. He is a talented and professional poet who can meet the requirements of translation, who has mastered the secrets and edges of translation, and his translated works prove that he is a talented poet.

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Раджабов, Бохир Мукаммилович. "PECULIARITIES OF LOIK SHERALI’S LITERARY CRITIQUE." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 4(109) (January 26, 2021): 114–18. http://dx.doi.org/10.37972/chgpu.2020.109.4.013.

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В статье предпринимается попытка определения направлений и особенностей литературной критики таджикского поэта Лоика Шерали, который начиная со второй половины 60-х годов ХХ века до конца своей творческой деятельности, кроме поэтических произведений, написал около 150 критических и публицистических работ - статей, рецензий, интервью, выступлений, вступительных слов, предисловий, писем, послесловий и т.п., подтверждающих его значительное место в литературно-критической публицистике и литературной критике. Благодаря своей деятельности в качестве публициста, критика, историка и социолога Л. Шерали завоевал особое место не только в поэзии, но и в литературоведении, лингвистике, публицистике и литературной критике. Основными методами исследования послужили историко-сравнительный анализ материалов и описательный метод. Материал исследования составили сборники научно-публицистических статей Л. Шерали, публицистические произведения и литературно-критические статьи его современников.Размышляя над проблемами художественной литературы и литературной критики, Лоик Шерали акцентирует внимание на роли поэта и назначении поэзии, особенно с учетом социально-политических условий. В статьях Л. Шерали значительное место занимает критика творчества начинающих поэтов. В своих рассуждениях он настаивает на необходимости искусного владения языком, эрудированности, знания творчества классиков и правил сочинения стихов, законов аруза, метрики, логики, средств художественного выражения и т.п. В его критических произведениях прослеживаются социальные мотивы, отражаются проблемы национальных традиций и родного языка, имеют место проявление патриотизма и обращение к исторической теме, а также осмысляются вопросы литературных взаимосвязей и перевода. The author of the article makes an attempt to determine the streamlines and peculiarities of literary criticism of the Tajik poet Loik Sherali, who had written (besides poetic works) about 150 critical and publicistic literary works (articles, reviews, interviews, speeches, welcoming remarks, prefaces, letters, epilogues, etc.) since the late 60s of the 20th century to the end of his career, thus, confirming his significant place in literary critical journalism and literary criticism, in general. Owing to his activity as a publicist, critic, historian and sociologist, Sherali holds a special place not only in poetry, but in literary criticism, linguistics, journalism and literary criticism.The main research method is a comparative-historical analysis of materials as well as a descriptive one. The research material was compiled by the collections of L. Sherali's scientific-journalistic articles, his contemporaries’ publicistic works and literary critical articles. Reflecting on the problems beset with belles-lettres literature and literary criticism, Loik Sherali pays his particular attention to the poet’s role and his poetry target taking into consideration socio-political conditions. Criticism of the works of novice poets occupies a significant place in L. Sherali’s articles. Sherali insists on the need for erudition, knowledge of the classics and the rules for composing poetry, the laws of aruz, metrics, logic, means of artistic expression, language, etc. in his reasoning. The influence of social motives and the problems of national traditions and the native language, manifestation of patriotism, an appeal to a historical theme are reflected in his critical literary works. The issues in regard to literary interrelations and translation are taken into account as well.

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19

Dilorom, Akhmedova. "Narrative Poetry And Poetry Only Couplets Of Persian-Tadjik Literature Of X-Xi Centuries." American Journal of Social Science and Education Innovations 02, no. 09 (September 26, 2020): 290–96. http://dx.doi.org/10.37547/tajssei/volume02issue09-45.

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20

Jamahmatov, Karomiddin Aynillo oglu. "THE INFLUENCE OF ZULLISANAYN (BILINGUALISM IN WORKS) TRADITIONS IN THE WORK OF HAJI MUHAMMAD SHAHDI." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (April 30, 2021): 155–65. http://dx.doi.org/10.26739/2181-1490-2021-2-18.

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One of the great bilingual poets, Haji Muhammad Shahdi, wrote in two languages in the literary environment of Kokand in the early 18th century. In addition to being the owner of the devon in the Persian-Tajik language, he wrote a number of ghazals rich in mystical meanings in the Uzbek language.The article describes the poet's attitude to the work of representatives of Uz-bek classical literature, his creative approach and the epistemological analysis of his poems. In addition, the specific style and meaning of the poet's poems were studied in comparison with the verses of the Qur'an. Samples of meaningful ghazals such as munojotnoma (the servant's appeal to God expressing his repentance and supplication), hamdnoma (a letter of praise and thanks), nat-tnoma were given and briefly commented on. Along with the personal copies of the poet's divan (collection of works), the Uzbek ghazals in the manuscript fund No1275 of the Institute of Oriental Studies of the Academy of Sciences of Tajikistan have been largely studied by comparative source studies.The spiritual connection between Mawlana Lutfi and Shahdi's poems was explained on the example of some of his poems.

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21

Yarashov, Sharif Jumaevich. "SEMANTIC FEA TIC FEATURES OF THE WORD " TURES OF THE WORD "ABRO" (EYEBROW ABRO" (EYEBROW) IN THE ) IN THE POEMS OF AMIR KHUSRA POEMS OF AMIR KHUSRAV DEHLAVI "TOHFAT-US-SIG' -US-SIG'AR"." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 221–25. http://dx.doi.org/10.52297/2181-1466/2020/4/5/11.

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Background. This article discusses the level of use of the word "abro" (eyebrow) in the dictionary of ghazals of Amir Khusrav Dehlavi "Tohfat-us-sig'ar" and the range of lexical, semantic, figurative and mystical meanings. Methods. In Persian-Tajik dictionaries and ghazals of the first divan of the poet, the symbols of the term "abro" (eyebrow), a series of epistemological meanings, artistic and lexical interpretation, historical formation and lingopoetic interpretation of lexical interpretations are analyzed as a separate issue. And the new and unconventional meanings of this word in the poet's work have been proved. Results. The results of the analysis of semantic, figurative and mystical meanings of the word “aбрў” ("brow ") in the text of the ghazals of Amir Khusrav Dehlavi "Tohfat-us-sigar" show that the word occurs three times in the ghazals of this divan as a "metaphor of beautiful and unique beauty", and a source of labor and a symbol of anger, wrath, obedience, and adversity." In the other six cases, the distance between the stages of mysticism and non-reality, "anger, rage, cruelty and ruthlessness", "attraction, appeal, captivity and charm", "symbol of beauty and grace", "the wonder of the sage and the amazing state and dream and hope was never used either lexically or in the original sense. Discussions. The word “aбрў” ("brow") is used in the gnosis meaning "to dream and hope, to be passionate and ambitious", as well as in the word “дилим” (my heart) and “қандил риштаси” (thread of the candle) and “қошлар меҳроби” (the altar of eyebrows) is proportional to the content.

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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (November 16, 2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.

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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.

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Ҳазраткулиён, D. "FOLLOWING THE TRADITIONS OF THE BEDILI STYLE IN THE MODERN TAJIK POETRY OF UZBEKISTAN." Scientific journal of the Fergana State University 29, no. 2 (2023). http://dx.doi.org/10.56292/sjfsu/vol29_iss2/a82.

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24

Наимов, Кудратулло. ""Вечные темы" в поэтическом творчестве Шавката Бухорои." Vestnik Bishkek Humanities University, April 19, 2019, 63–65. http://dx.doi.org/10.35254/bhu.2019.47.20.

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Аннотация: В данной статье, с опорой на сведения литературных и исторических источников эпохи, рассказывается о страницах жизни, эмиграции и вечных тем персидско-таджикской литературы в произведениях одного из талантливых, маститых и тонких поэтов XVII века Мухаммадисхака Шавката Бухорои. Ключевые слова: стихотворение, Бухара, антология, любовь, назель, Иран, Мавереуннахри, источники диван, поэзия. Annotation: In this article, based on the information of literary and historical sources of the era, it tells about the pages of life, emigration and eternal themes of Persian-Tajik literature in the works of one of the talented, venerable and subtle poets of the XVII century Muhammadiskhak Shavkat Bukhoroi. Key words: poem, Bukhara, anthology, love, nazel, Iran, Mavereunnakhri, sources of divan, poetry

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Yussupov, R. К. "MEDIEVAL PERSIAN AND TURKIC LITERATURES IN THE CONTEXT OF ISLAMIC RENAISSANCE." Keruen 72, no. 3 (September 15, 2021). http://dx.doi.org/10.53871/2078-8134.2021.3-04.

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Comparative study of traditions formed within the Turkic and the Persian literatures in the context of Islamic renaissance is of great importance due to the fact that the Turkic and Persian peoples for a long time have been living together in a single political and economic area. Because of that they have more in common, rather than differences in the literature. Traditions laid by brilliant representatives of the literatures of the Turkic and Persian peoples such as Firdowsi, Nizami, Yusuf Balasaghuni, Akhmad Yugnaki, who contributed to development of the world culture, were developed by their followers in the latest periods. New generations of poets introduced new genres and themes into the literature, new trends and artistic approaches and thus enriched it. Classical Persian-Tajik poetry played an important part in emergence and development of the written poetic genre forms. Persian traditions were adopted and developed based on Turkic poetry by such authors as Lutfi, Sakkaki, Ata’i, Navoi, Babur etc. Many of them used the experience and learned from well-known poets not only of the Turkic world , but also those authors who wrote in Farsi.

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Allison, Christine. "Minstrel Poetry from the Pamir Mountains: A Study on the Songs and Poems of the Ismâ‘îlîs of Tajik Badakhshan. Wiesbaden, Reichert, 2004, 786 p., accompanying CD." Abstracta Iranica, Volume 27 (May 15, 2006). http://dx.doi.org/10.4000/abstractairanica.6732.

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Khurasani, Shafiqullah, and Faheem Naeemi. "Poetic Meters of Afghan Persian Folk Couplets." Sprin Journal of Arts, Humanities and Social Sciences, December 15, 2022, 37–51. http://dx.doi.org/10.55559/sjahss.v1i11.67.

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Folk couplets are considered to be one of the most important parts of our oral literature, which were formed over many centuries among the people of Khorasan, and were passed down orally from generation to generation. For the reason that the composers of the couplets were common people; in terms of prosody, there are many differences in these couplets. Scrutinizing this point can help us in understanding these folkloric couplets and future research in this field. The purpose of research in the field of vernacular couplets is to clarify the quality and prosody of vernacular couplets in the Persian language in Afghanistan. In this study, firstly, the issue of short initial vowel tension: inflectional v, and added fraction in the Persian dialect of Afghanistan is discussed and then the different rhythms of these folk couplets such as couplet scale, prosody of quatrain, and scale 0f syllable, were comprehensively investigated. And with we have shown it by example. For this purpose, the couplets that had been written, are collected by the field research method and books. Thus, songs of the kosher (Asadullah Shour)‎, Tajik couplets (Enayatullah Shahrani), Sangardi hai Panjshir (Nilab Rahimi), folk couplets of the people of Ghor (Nabi Saqi) and Couplets of the people of Hazara (Mohammad Jawad Khavari) have been analysed.

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