The article presents a comparative and typological analysis of the qasida genre in Iranian and Tatar literature. The author systematized the data by the state of knowledge of the problem, elicited the role of literary relationships in the development of the qasida, generalized the material on the history of its origin, and its genre existence in Arabic, Persian and Tatar literature. The main features of the Persian and Tatar qasida have been revealed based on the analysis of a number of critical works. There is a systematized material on the thematic variety of works of this genre. The classification of qasidas is represented on the basis of their ideological and thematic issues. The author also presents peculiarities of the qasida composition and the role of each element in its structure. The article also studies the process of the Arab qasida penetrating into Iranian literature, identifies the key trends in the development of the genre, specifics of its transformation and adaptation ways in-to another literature. The author presents the process of forming didactic-philosophical, mystical and allegorical trends in the Arab qasida as well as the features of the genre development in its last stage based on the corpus analysis of Persian poetry texts. The author also reveals the role of Oriental traditions in forming lyrical genres, enriching ideologi-cal thematic range and problems raised in Tatar literature. The peculiarities of developing qasida in the art of Khwarizmi, Saif Sarai, Ummi Kamal, Һibatulla Salikhov, Shamsetdin Zəki, Gabdulla Tukai and others are very well exemplified. Not all qasidas created by poets have survived but their elements gave way to the development of many other genres: gazelle, wasfi, madhya / marsiya, religious, phi-losophical, elegiac, and satirical varieties of qasida structural elements. Thus, this study focuses on the ways of the formation and development of the above mentioned genres.
