This article presents a new aspect of the poems of Soltan Valad, Jalaleddin Mohammad Moulawi's senior son.  In his poetry, one may spot a new prosodic feature which is drastically different from all classical Persian poems. This difference is so significant that one can hardly attribute it to such typical errors made by scribes, typists or publishers. After highlighting this feature, the author presents two possible factors underlying this difference: The contrasts in the phonological system of the Persian words due to proximity with the Greek and Turkish languages in Qunieh, and the impact of the music dominating the House of Dervishes and the style of the story tellers and writers of that age.

This article, first takes a formalist approach and attempts to achieve two goals: defining the term defamiliarization, its essence and function. Then, it illustrates one of the prosodic features of Naser khosrow’s poetry which could be considered as an appropriate example of rhythmic defamiliarization. For this purpose, seven meters from his Divān, of which rare meters are usually called unpleasant/ unfamiliar, will be discussed; and, according to their different structures, they will be categorized into  two groups: one incorporating six meters, and the other containing only one. The meters of the first group which are mainly analyzed in this study have different length from their current forms. When a poet such as Naser Khosrow employs these infrequent meters in his poetry, it sounds odd to most of Persian readers who are accustomed to the ordinary rhythms. This can be called rhythmic/ prosodic defamiliarization.