The narration method in the story of Tehran

Style refers to plot, plan and the way of express that the author uses in his writing this means that choosing the words, grammatical structure, figurative language, letter homogeneity and other sound patterns are involved in this building style. The Style is comforting of the words in a way that instantly expresses the individuality of the author as well as thoughts and his intention. The story of Tehran city also has its own style but narrative style and using of words to define it provides a different narrative. A narration of significance and lighting perhaps may be Tehrani; a dialect and accent very different of European newness. Sadegh Hedayat in the short story of "darkroom" says: "I have always wished to prepare a comfortable place rather easily, according to my tastes and my desires. Finally the room where others have made room was not useful for me. I wanted to be with my own.
Bozorg Alavi also in the story "alone", says: "I wanted to tear the hard form that presses us and the monotonous life has mad us aged. We had become weary of fanaticism. We wanted to escape from the present into the future, impatiently, without thinking and captured to the aspirations and dreams. Tales of Tehran is throwing the city into the future with averting to the past perhaps we can consider it a tragic story of development.

Three Pictures of loving Mirzadeh: the tragedy of Tehran development;

The Long piece of "Three Pictures" of loving Mirzadeh is perhaps called the tragedy of modernization and development in Iran. So, Eshgi poetized this poem in the last years of his life in Tehran. In the early years of the Pahlavi government, Farajollah Bahrami, Secretary of War of the time, by holding a competition wants all intellectuals and thinkers to offer their views concerning "Utopia". In this time due to the chaos had swept across the country in the late Qajar period, many intellectuals were hopeful to the coup in 1299 and the arrival of the powerful state. So holding such a competition was considered an attempt to campaign for the Pahlavi government.
This poem in the form and content of the displayer of the movements of the ancient moves is in the new techniques in art, life, politics and urbanization. In terms literary, we can consider this poem as a turning point in changing literary forms As Eshgi himself writes concerning this poem. I started to order poetic thoughts to a new shape and I imagined to myself that Persian literature revolution will take place by this action.
Considering that Ali Esfandiari (Nima Youshij) was the student of Mirzadeh Eshgi, we can follow the impact of this poem in appearance of New Persian Poetry and the Poems of Nima Youshij.
In addition to what Eshgi follows in this poem as a literary revolution, a different kind of revolution as political and social revolution is considerable for him that call him "five-day Feast of Blood". Five days of Blood Feast is a suggestion that Eshgi earlier for the first time in an article entitled "Treatment described in this article mentioned" in order to reform the political structure had planned for the world. According to its pessimism that Eshgi as result of his modern ideas has toward small world, considers the only solution in the killing of rulers and belittling the rulers. The Blood Feast is an event that Eshgi suggests that the people of cities every year five days go out of their homes and entertain there. And then on the fifth day go to the home of politicians who have betrayed them over the years destroying their homes and kill them so that becomes a lesson for others. We can consider this radical and revolutionary-mindset of Eshgi that is not unlike the Italian youth, can consider as result of his outlook to the man and society. In "Three Pictures" modern city and modern humans are being well defined. However, the person who has abandoned all the holy halos, as the boulevards of Paris to escape from going under the carriage, buries the golden aura of the poet in the infrastructure of boulevards. The mentality of Iranian modern individual at the time of passing pre-modern world to the modern world follows those "futuristic" ideas that regard one-sided ideas as the only condition of releasing the previous traps. Therefore, to achieve the "ideal city" and the ideal society, the eternal destruction and renewal is necessary. Eshgi, in this poetry attempts conceptualize his own utopia in three panels from the tongue of an old man names Shemirani. The first painting "the Moonshine Night ", the second painting "on the day Mary's death" and the third board is the "the story of Mary's father and her ideal". These three paintings to a large extent manifest the problems facing the past with the modern world in the mind of the modern Iranian. So, modern Tehran and the old Tajrish still are exhibited in the ancient tradition. So, his description of shemiranat as a collection besides modernist city and under influence of its development, especially in the first two panels, is elegant and unique. The description of Shemiranat as a traditional atmosphere that under the influence of Tehran has changed into the "old ways" and "new styles" and after three tablets of Eshgi Mirzadeh in other's works has also be seen observed. Because the short story "Dzashvb" by Bozorg Alavi the presence of Tehranians with different views , attitudes , values and norms that are common in the traditional world is a subject prevalent among the inhabitants of shemiranat and samples of that has been drawn in three Eshgi and Dozashub has been drawn. Three Pictures "is really a description of the history of Iran before the revolution until the time of writing this poetry is the language of decimal man (father of Mary) is being described. In the third picture reviewed the history and the "perfect love" is expressed in the language of this old man.
The first panel that with excellent descriptions of spring season begins in shemiranat has too much similarity to the story of "Faust and Gretchen love". . This painting tries to depict the story of young Tajrishi and Tehrani girl. A Girl naming Maryam who lives in the rural community of shemiranat and has fallen in love with a son of Shemirani. Describing love, of the stopped of what call me as symbol of Marshall is the statement of humming beauty of nature that have been drawn on these boards.
The above Description is part of the great attributes that a love for the sunset on a spring day has been poetized. However, an impressionist love and modern and the different comparing what has been drawn yet. This poem elegantly describes other names of neighborhoods and villages of shemiranat and from the far away views the city of Ray.
This piece is a dialogue between past and present, the dialogue of the modern person with his own and the green nature of shemiranat is shown as one of the protagonists of the story of its face. The Space where it is the place for living "Maryam". So, the beautiful description of the beauty valley in sharp contrast to the description given in the same space on the second panel has been provided. The described Space in this cover is reminiscent of the small world and tradition of shemiranat. A world that is slowly crumbling in relationship with Tehran developers and the world that Goethe describes it as a bed for tranquility and calmness.
Maryam is a symbol of small and traditional world, symbol of the city of shemiranat and Village of Tajrish and taking steps towards transformation and development of going out of breath and still is wary and suspect both in terms of the developed as well as developer, the tragedy of development begins and Maryam as the symbol of tradition enters into tragedy and in opposition with modernism the first attributes that the love brings for the people is a symbol his belonging to traditional life. However, the tone of Maryam is news of breaking the norms of traditional world in his hands and he unconsciously but, interestingly has entered into the field of norm violation. Maryam in "Three Pictures" can considers three loving symbolic picture as a symbol of transition of traditional community to the modern society engaging in the contraction of the values of these two worlds.
Mary's new social actor that is neither urban not rural, his physical appearance is symbol of that the income and growth between tradition and modernity has been entangled and is busy exchanging values. So, in this confrontation that she becomes the victim of the contradictions and changes. Eshgi with unsurpassed accuracy of the seductive relationship of the urban boy speaks with rural girl. Perhaps this description can be extended to relations between Tehran (modern city) and the villages around. The seductive City makes all its surrounding villages sacrifice to their developers. The urban male presence narrates of if Tehran in Shamiran so, Modernization imposed on Tehran is evident in shape and body of Tehrani boy.
The Dialogue of the boy with rural girl is in fact the dialogue of village and city that is no longer happens based on traditional ties so, in this dialogue the son has an aggressive role and the modern city destroys all this traditional life. Although this relationship the traditionally is bad, the loving description that in the position of the story poetizes the poetry. The appearance and image of the young face shows that Maryam is distancing the traditional world. Maryam, even though is belonging to traditional society, she desires to break traditional boundaries and with all these cases, the relationship that exists between them is a relation hated by Maryam. The son like a modern city is a symbol of wealth, beauty, power and seduction and desires to break closed world for him has to be crushed and destroyed. Whatever belongs to the tradition is doomed to destruction. The city and son, proposes Annie to the girl of the village that adoption of it means cross sustainable practices that is stepping in the world that the past has no role in it. So, nothing remains sustainable and everything is in permanent destruction. Annie that is lovely today may be forgotten tomorrow and discarded. The contrast between traditional small-world and new world, tempting adventurous is well depicted in the poem so, it is clear that the simple and austere world in contrast with the modern, adventurous and seductive one is being submitted. The village of Tajrish with all its subtlety, elegance, simplicity and beauty, is submitted to Tehran it wonders for this sake.
Tajrish and the girl distances the away the values and standards of a small world and is interested with satisfaction of his sense. The Admission of norm-breaking by Tajrish and the daughter is also accepted by the developer city as well as young Tehranian, and is not approved by society and ultimately this tragedy forms early development. At the end of the first panel, another description of the nature shemiranat is offered and by this description this painting is being finished. However, the coldness resulting of development out of breath cuts across Tajrish and gets the poor girl.