The dialogue in the Story of Tehran

A Conversation that between two or more people is exchanged, or freely in the mind of a single character in a literary work (stories, plays, poetry, etc.) comes up is called dialogue. In the short and long Persian tales, dialogue is part of storytelling and has not a special range and limits however; there is not a sign between storytelling and dialogue. The dialogues of the characters and heroes of the story come after the story talks. In fact, dialogue is not independent and comprises part of the stories. In the story of the city is so; the city is permanent place between people (residents and pedestrians) and the city's physical space (alleys, streets, squares, etc.) and mental spaces of the city is (symbol, etc.); a dialogue which in time, situation, place redefines its atmosphere.
Mirzadeh Eshgi in the poem "Three Pictures" describes (1303) example of this dialogue. In the first picture, when in the valley of Darband, Tehrani son (symbol of the modern individual and modern city) makes Shemirani girl (symbol of the city of traditional and pre-modern) interested, fascinated and restless and seduced by their tastes so, Eshgi poetizes.
Submitting to modernisms and renewing, similar to the one Faust in fascination and romance of Gretchen (Marguerite) finds is the same Tehran itself in dealing with European renewal has experienced and now itself has changed into innovative agent and attracts other cities toward itself and imposes its modern pattern to them as Tehrani son forces Maryam (daughter Shemirani) to accept breaking the old world values . Tehran also forces its experience to break the spatial and sustainable values, norms as well as treatment and replaces its modernist values and imposes a permanent process of destruction and renewal, the main feature of modernity on them.
The love with a certain precision uses the phrase "heaven, is locked in" that is a sign of untouched nature that for modern Tehran will be a place for modern future bumps in all aspects of social, economic, cultural, political and physical space.
Sadegh Hedayat also in the story of "The Blind Owl" tries a description of a man and the city's dialogue: "The sun came high and burnt. I walked in the deserted streets, on my way the houses in strange gray geometric shapes: cubes, prisms, with short, dark cone valves could be seen. These open windows looks without owner and temporary; it was like that a living creature could never have housing in these houses and the sun like a golden blade scratched from the shadow of the wall and rubbed it away. The alleys between the old walls are ended and everywhere were quiet and dumb it seemed everywhere there were some secrets in a way that I could hardly breathe and once I noticed that I was out of the gate. Such a beautiful description of modern city with deserted streets and gray homes with pure geometric forms and with short and closed valves, temporary and ownerless, without life, is unprecedented. Hedayat has clearly tries to describe modern city and implications , such as "geometric shapes", " being temporary" and the color "gray" indicates the features that have a special place in modern thought. Geometric order, rational and modern architecture in static formats such as cubes, prisms and cones are shown. On the other hand being temporary is the main characteristic of modernist architectural thinking that is not supposed to remain something up and everything is made to be destroyed and again a new taste comes up and this temporality of modernity is one of the most important aspects in modernism and on the other hand, the gray is also a cubist manifestation of new architecture. However, colorless and the sameness is a symbol of biological man targeted by modernists (modernists) so , Silence, solitude, quiet and being dumbness and alienation all and all are sacred elements of modernism. I looked out of my window, a black tree with a closed butchery was found and the dark shadows were mixed together. I felt that everything is temporary and empty. The Black sky and tarps was like an old Black Tent that has been made holes on them by countless bright stars. At the same time the pray was called and loud cries of a dog was could be heard within morning. In this time, of a detachment voice drunk patrol rang out in the street that were searching and exchanged lewd jokes together and then collective began to sing.
The image seen through the window is not only the dialogue of storyteller with his own, but also is a dialogue between him and the city through the window, and again imposes the tentativeness of modernist sense of emptiness . Dualism and philosophical conflict between the screams and the sound of the drunken patrol and the sound of Azan is a story of the modern individual and modern city with a past conversation and a dialogue sometimes satirical, sometimes from the need to win and ecstasy and again new modernist city is gray and colorless one that eventually tends to blackness and darkness defined in the shadow.
Shadow is one of the principles of architecture, painting and cubist visual norms and is one of the basic principles for showing volumes so; Hedayat by underscoring this subject is in search of another conception of modernity therefore, the concept that ends to emptiness and absurdity. Nothing else is more stable, a subject that is well-understood from drunken singers. The Modern man not only is manifested in the author and observer of the narrator but also in the drunken patrol as well.
And again "the whip sounded in the air and the horses moved while gasping. They had long and slow jumps and their feet quietly touched on the floor and sound of the bell around their neck was being heard in a special song. From behind the clouds, the stars such as the orbit of the bright eyes comes up within the gelatin blood looked at the ground. So, an extreme comfort surrounded me. Winding trees with distorted branches was like that in the darkness fearing that may be it slides and hit the ground, held each other's hands. Strange geometric houses with black desolate roadside row of windows were drawn, but the body wall of this house such as fireflies emitted a dark radiation from itself and the trees fearfully mode sets and sets and in row were passing and escaped each other, but it seemed that the shoots of lilies rounded their feet and the fell down the ground and dead smell, the smell of decomposing flesh had overwhelmed whole my body.
In this piece also he city with elements such as color, sound, light and smell creates a picture of himself in the mental face of the narrator. The vague sense of comfort and fear together in a combination of natural and artificial elements visualize dichotomy in the atmosphere, as well. However, reaffirming the houses and black geometric forms is also evident in this description. Moreover reviving and giving personality to space characters such as trees can be probed in the concept of urban space in the mind of the modern expressionistic and impressionistic. The modern city in a moment of time and moments sits in the mind of modern man and joins his imagination. Physical walls of the city end to an atmosphere hidden behind city walls. The modern city behind its physical walls narrates a mentality that is equal to the mind of the narrator or its viewer or listener. The ancient town had a tall tale was unique in its history. However, the modern city has a very different story in accordance with its multiple narrators, which at any time exert its desired color, smell and taste on the city and defines it at the moment. The modern city and new one before the fact that plots the present time in its scope, insists on the moments that its residents and passer-bys have given life to it and they are a part of this life. The living moments that records itself in the memory of the modern individual and locates itself in the memory of the population of modern city.