The Ghaznavid and Seljuk period is the boom period of praise literature. Because the purpose of praise literature is the satisfaction of the praised, it is expected that despite the religious prejudices and strict adherence to the policies of Baghdad and the prevailing atmosphere of the political elites and the ethnic origin of the rulers, Iranian-Shahnameh ideas and concepts do not have a place in the praise of the rulers. Nevertheless, the themes and poetic language of praise poems are very much influenced by the Iranian mentality and Shahnameh language and this is at the same time as the Shahnameh was written and popularized. In this research, in a descriptive-analytical way, the influence of the Shahnameh on the mentality and language of praise literature has been analyzed with the help of the theory of the history of mentalities. From the results of the research, it is clear that popular ideas had a great influence on the spirit of the age, the world of thought and the conceptual system of the period, and in this way, it was included in the praises of the kings and because the Turkish rulers of these dynasties have sought to gain popular legitimacy, they have found this outcome desirable and supported it.
Keywords: Ghaznavid and Seljuq periods, praise literature, spirit of the age, Shahnameh, history of mentalities.
Introduction:
Although the function of eulogy and court literature is to please and satisfy the rulers and the people being praised, because the eulogist poet grows up in a specific culture of a society, her eulogy is also greatly influenced by the intellectual world of that society and the spirit of the times. And because language and mental spaces change in each era, the vocabulary and concepts of eulogistic poets in different eras, depending on the degree of evolution and change in mentalities, may differ from those of the previous and subsequent eras. The simultaneous rise of eulogy poetry with the spread of epic ideas and national tendencies in the mental and linguistic spaces of society during the Ghaznavid and Seljuk periods caused eulogy poems to be influenced by this general tendency in society, which has different manifestations in eulogy poetry and because the praised ones were not of Iranian origin, they welcomed this tendency of poets to strengthen the propaganda apparatus of their government and to legitimize their rule.
Materials & methods:
In this study, the impact of the Shahnameh on the mentality and language of the praise literature of the Ghaznavid and Seljuk periods is explained as one of the signs of change in the spirit of the times and the influence of the behavior of the nobility on popular ideas, with the help of the theory of the history of mentalities.

Discussion & Result:
The dominant and progressive culture of the Ghaznavid and Seljuk periods was the culture of the elites who were dependent on the Turkish monarchy and the Baghdad Caliphate, not on the social strata and classes and the masses of the people. This relationship is two-way, because the caliphs and sultans provided the means of livelihood, prosperity, and fame of the scholars and literati dependent on them. In order to perpetuate the names of the sultans and caliphs, the scholars and literati presented them with scientific and literary books and poetry collections, filled with praise and adoration of the praised.
During the Ghaznavid and Seljuk periods, most of these similarities and praises were not based on personal desire and interest, family lineage, ethnicity, or religion or belief of the kings and nobles, because the rulers of these dynasties were not Iranian by race and their religion had become Islam. Therefore, if concepts were to be used in their praise based on their family and ethnic origins or on the basis of their accepted religion, they would naturally be non-Iranian concepts but we see that, along with the popularity and acceptance of the Shahnameh in society, a tendency towards Iranian concepts is taking shape in praise poems. The conceptual and mental system of this period required that, under the influence of the public mentality and the spirit of the times, and some political and cultural considerations, Iranian concepts be used in praising kings and rulers, and this demonstrates the power of the Shahnameh's influence on the Iranian mind and language, from the common people to the nobility.
During the Ghaznavid and Seljuk periods, the main theme of odes was praise. Poets of this period were very fond of exaggerating descriptions in their eulogies. For this reason, the metaphysical and extraterrestrial world of myths reflected in the Shahnameh was very interesting for them. The eulogist poets, with full awareness, used this mental and linguistic characteristic of society to praise the people being praised. lthough the Turkish kings achieved some goals in this way, the ultimate success belonged to the common people; because with such a reception of Iranian and Shahnameh themes in the poetry of the eulogist poets and courtiers, it greatly contributed to the preservation of narratives, rituals, customs, and national language, and ultimately led to the greater spread of the national and popular mentality.

Conclusion:
The kings and the praised realized the importance and influence of the Shahnameh and national concepts in the minds and language of the people, and they knew that there was no better way to gain legitimacy and public acceptance than the Shahnameh and addressing public ideals. Therefore, the more they drew similarities to Iranian kings and heroes, the more desirable it was for them, despite the need to gain legitimacy from the caliphs of Baghdad.
Iranian-Shahnameh themes are found in the praise poetry of poets of this period, including unosri, Farrokhi, Saad Salman, Moezzi, Khaghani, Qatran Tabrizi, etc., in addition to the praise of the Ghaznavid, Seljuk, Shadadi, Khwarazmshahi, etc. kings, in the description and praise of kings, ministers, nobles and grandee, warriors, war equipment and weapons, and horses of kings. Also, the combination of Islamic and Iranian symbols in praising praised and their identification with Islamic and Iranian figures is another aspect of the spirit of the Ghaznavid and Seljuk periods.