Abstract:
این مقاله سرعت روایت را در دو حکایت از مثنوی معنوی با مآخذ آنها براساس نظریه روایت‌شناسی جرالد پرینس مقایسه می‌کند. هدف ما، بررسی علل انواع سرعت‌های روایی است که جهان رویدادهای روایت‌شده را میسازند. با این مقایسه درمی‌یابیم که مـآخذ حکایت‌های مولوی، به‌ویژه روایت‌های منثور، گزاره‌های روایی کمتری دارند و از دسته‌های سرعت روایت صحنه و چکیده به‌عنوان ابزاری برای حفظ سخنان مشایخ و آموزش غیرمستقیم آموزه‌های اخلاقی و عرفانی این سخنان بهره می‌برند؛ درنتیجه حکایت‌های بدون پیرایش آنها نیز سرعت‌های روایی تند، کم و بیش تند و متعادل روبه‌تند دارند. مولوی با بهره‌گیری مستقیم از معارف و اندیشه‌های موجود در گفتمان ایرانی- اسلامی و انواع شگردهای روایی مانند تداعی معانی، درج، راوی مداخله‌گر، راوی ناموثق و غیره، روایت‌های برهنه و تند را آماده پذیرش انواع دسته‌های پنج‌گانه سرعت روایت و سرعت‌های روایی خیلی کند و کند می‌کند که از نظر زیبایی‌شناختی متنوع‌تر، کامل‌تر و لذت‌بخش‌تر است.
This paper aims to study and compare the narrative speed of two stories in Masnavi-i Ma’navi and their sources based on Gerald Prince’s theory of narratology. The main objective of the article is to find the types of narrative speed used in these stories to present the events and situations that have created the world of the narrated events. In this case, comparison of the speed of Molavi’s narratives with their sources is accompanied by the description of the causes contributing to their narrative speed. The results suggest that all sources of Molavi’s narratives, especially prose narratives, are characterized by the low frequency of narrative statements and the high frequency of scene presentation and abstraction which act as a means of inclusion of the sheikhs’ remarks as well as the indirect teaching of moral and mystical lessons of such remarks. Therefore, their non-trimmed narratives have high, relatively high and medium speed of narration. However, Molavi directly draws on mysticism and thoughts rooted in the Islamic-Iranian approach as well as different types of narrative techniques such as implication to prepare each naked and rapidly narrated story for inclusion of five types of narrative speed as well as slow and very slow narrative speed. In this manner, the final narratives are aesthetically characterized by higher diversity, and more thoroughness and pleasure of reading than their sources. Therefore, this suggests that Molavi had a significantly better narratological grip than his predecessors and many of his successors. Extended Abstract 1. Introduction The present article aims to study and compare narrative speed in “The Story of Pir-e Changi Who at the Time of Omar Played Harp in the Graveyard for God” and “Sheikh Ahmad Khazruye’s Buying Halva for the Creditors” from Rumi’s Masnavi-i Ma’navi, based on Gerald Prince’s theory of narratology. The main objective of the article is to find the types of narrative speed used in these stories to present the events and situations that created the world of the narrated events. Also, the narrative speed of the stories are compared and the reasons for the difference between them are examined. 2. Theoretical Framework Prince, by modifying and expanding Genet and Rimmon-Kennan’s theory (Safi, 2013, p. 42) about different states of narrative speed, has divided narrative speed into five categories: ellipsis, interruption, scene, abstract, and extension. The present article relies on the categorization of narrative space to compare the two stories in question in terms of their narrative speed. 3. Methodology In this article, the comparative analysis method of narrative speed, based on Gerald Prince’s narratology theory, is used to analyze the above-mentioned stories from Masnavi-I Ma’navi and their sources, examine various instances of narrative speed in them, and identify similarities and difference between them, so that the reasons for the differences in narration speed of the stories from Masnavi-i Ma’navi and their sources are discovered. 4. Findings and Discussion While the authors of the original sources used only a limited number of the five types of narrative speed, Rumi, by changing and developing each of these stories, made it possible for these stories to utilize more types of narration speed, making them aesthetically more diverse and complete than their original sources. The comparison made between different types of narration speed indicates that there is a clear difference between stories written in verse and prose with regard to narrative diversity and speed. Poets before Rumi used a fast speed in their narration of the story as, unlike Rumi’s stories, interruption is not employed in the narration. Also, Rumi, using ideas rooted in Iranian-Islamic discourse and different narrative techniques, adopts a slow narration speed in these two stories, making them even richer and more complicated. 5. Conclusion The analysis of these two stories and their original sources showed that in the original sources less narrative propositions and faster speed of narration were employed. However, in the stories narrated by Rumi, concepts from Iranian-Islamic discourse and different narrative techniques have been used and different categories of narration speed are employed, all giving the stories more diversity and richness.
Machine summary:
توجه به انواع سرعت های روایت برای ارائه رویدادها و موقعیت هایی که جهـان رویـدادهای روایت شده را میسازند، بررسی و مقایسه سرعت روایت در دو حکایت «داستان پیرچنگـی کـه در عهد عمر (رض ) از بهر خدا در گورستان چنگ میزد» و «حلوا خریدن شیخ احمد خضـرویه (َقدسَ اللهُ سِره اْلعزیز) جهت غریمان ، به الهام حق » در مثنوی معنوی مولانـا بـا مآخـذ آن و نیـز بیان چگونگی تغییر و تکامل هریک از این روایت ها توسط مولوی برای پذیرش انواع تهمیـدات و شگردهای روایی برای رسیدن به مناسبت ترین سـرعت روایـت ٤ در مثنـوی براسـاس نظریـه روایت شناسی جرالد پرینس ، مسأله اصلی این مقاله است .
در بخـش بررسـی متـون مختلـف براساس نظریه سرعت روایت ، بیشتر پژوهش ها، مانند مقاله های حسـن لـی و دهقـانی (١٣٨٩)، دهقانی و حسام پور (١٣٩٢)، دادجو و شیروانی (١٣٩٤)، صـالحی (١٣٩٤)، وحـدانیفـر و دیگـران (١٣٩٤) و طلائی و نصر اصفهانی (١٣٩٥)، با تکیه بر روایت شناسی ژرار ژنت انجام شـده انـد و در آنها به مسائلی همچون مؤلفه های افزاینده سـرعت و عوامـل کاهنـده آن و مـدت زمـان انجـام کنش ها و رویدادها و سنجش آن با میزان حجمی که از کتاب بـه آن اختصـاص یافتـه ، توجـه شده است .
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