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}}Morshed Aref uses methods of recalling, prayer, [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] (sending God's greeting to the prophet), to the holy personages and the people, cursing the evil ones, along with other communal behavior during prayers, approving of some and disapproving others and sometimes general questioning and advising, in order to create a relation with the audience. | }}Morshed Aref uses methods of recalling, prayer, [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] (sending God's greeting to the prophet), to the holy personages and the people, cursing the evil ones, along with other communal behavior during prayers, approving of some and disapproving others and sometimes general questioning and advising, in order to create a relation with the audience. | ||
==Reciting Method== | ==Reciting Method== | ||
At the beginning Morshed Aref sings (Besmellaholrahmanorahim) in a melodic tone as most other Pardekhans. His voice continues to the end of the introduction before the main story. After this section spoken narration is used to explain the gathering and short singing is only used at significant parts of the story. In curtain-storytelling three main methods are usual in expressing the gathering. | |||
1- Narration of the whole gathering in song | 1- Narration of the whole gathering in song | ||
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The first type is specific to Pardekhans who are masters of [[Ta'ziyekhani]] (sung playing) and who play the roles of the holy personages. The second type is more prevalent than the other two and is mainly specific to Pardekhans whose main profession is Ma'rekegiri or street performances. These persons might also engage in [[Rawza-khani]] and [[Maddahi]] on the side of their main profession. And the third and less frequently liked type is that of those who do not have a strong singing voice. | The first type is specific to Pardekhans who are masters of [[Ta'ziyekhani]] (sung playing) and who play the roles of the holy personages. The second type is more prevalent than the other two and is mainly specific to Pardekhans whose main profession is Ma'rekegiri or street performances. These persons might also engage in [[Rawza-khani]] and [[Maddahi]] on the side of their main profession. And the third and less frequently liked type is that of those who do not have a strong singing voice. | ||
At the beginning of the gathering of Sultan e Qeys the melody is of the acoustic atmosphere of Avaze Bayat-e Turk (Daramad intervals) and in the second section, in the hemstitch of An ke shiran ra konad rubah mazaj... it is performed in the atmosphere of Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). Sometimes the intervals performed by the curtain-narrators do not perfectly correspond to the intervals of Dastgah and urban music and the only atmosphere which is evoked is that of one roughly corresponding to some Dastgahs or Avazes; this is true of the section sung in Homayun. | At the beginning of the gathering of Sultan e Qeys the melody is of the acoustic atmosphere of Avaze Bayat-e Turk (Daramad intervals) and in the second section, in the hemstitch of An ke shiran ra konad rubah mazaj... it is performed in the atmosphere of Homayun [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). Sometimes the intervals performed by the curtain-narrators do not perfectly correspond to the intervals of Dastgah and urban music and the only atmosphere which is evoked is that of one roughly corresponding to some Dastgahs or Avazes; this is true of the section sung in Homayun. | ||
The Dot of the B of Besmellah and ” Hashemi's Mole" | The Dot of the B of Besmellah[[File:Mohammad_Arefian_7.jpg|345x345px]]and ” Hashemi's Mole" | ||
Darvish Aref begins a poem with these words: That dot beneath the B of Besmeallah ( In the name of Allah ) | Darvish Aref begins a poem with these words: That dot beneath the B of Besmeallah ( In the name of Allah ) | ||
That is the guide to the gateway of Allah on that dot is written the whole of the Koran That is the mole on the lip of Ali the friend of Allah. The poem indicates the relation of the B's dot (in the Arabic alphabet) in the opening lines of the Koran (Besmellaholrahmanolrahim) to the lip of [[Imam Ali]]. Thus, the interpretation appears objectively on the curtains of curtain-storytelling, where a mole appears on the portraits of the saints. Imam Ali, [[Imam Hasan]], [[Imam Husayn]], [[Ali Akbar]] and [[Ali Asqar]] all have moles above their lips known as the Hashemi mole. In Islamic Gnosticism the meaning of the dot and the dot of the B has a multitude of hidden, other wordly and deep meanings, and in the literature a dot and mole are corresponded to each other and a mole is allegory of the dot : On his face his mole is pure Which is the center of the circling surroundings It is from the feeling of the destroyed heart full of blood . | That is the guide to the gateway of Allah on that dot is written the whole of the Koran That is the mole on the lip of Ali the friend of Allah. The poem indicates the relation of the B's dot (in the Arabic alphabet) in the opening lines of the Koran (Besmellaholrahmanolrahim) to the lip of [[Imam Ali]]. Thus, the interpretation appears objectively on the curtains of curtain-storytelling, where a mole appears on the portraits of the saints. Imam Ali, [[Imam Hasan]], [[Imam Husayn]], [[Ali Akbar]] and [[Ali Asqar]] all have moles above their lips known as the Hashemi mole. In Islamic Gnosticism the meaning of the dot and the dot of the B has a multitude of hidden, other wordly and deep meanings, and in the literature a dot and mole are corresponded to each other and a mole is allegory of the dot : On his face his mole is pure Which is the center of the circling surroundings It is from the feeling of the destroyed heart full of blood . | ||