مقایسۀ تاثیر گفت‌وگو بر کنش داستانی «خسرو و شیرین» و «لیلی و مجنونِ» نظامی مقاله

این پژوهش  به بررسی عنصر گفت‌وگو در دو منظومۀ خسرو و شیرین و لیلی و مجنون می‌پردازد و جایگاه گفت‌گوها را در بافت موقعیتیِ دو داستان نشان می‌دهد. در بررسیِ صورت گرفته مشاهده شد که حدود 51  درصد از داستان خسرو و شیرین و حدود 28 درصد از داستان لیلی و مجنون را گفت‌وگو تشکیل می‌دهد. گفت‌وگوها در هر دو اثر منطبق با درون‌مایۀ آن است چرا که نظامی با توجه به تفاوت فضای دو داستان، شیوۀ بیان و کارکردهای متفاوتی برای گفت‌وگوها خلق کرده است. گفت‌وگو در خسرو وشیرین به دلیل پویا بودن شخصیت‌ها فراوانی بیشتر و کارکردهای متنوع‌تری نیز دارد. تنوع کمترِ انواع گفت‌وگو در لیلی و مجنون با عواملی چون  شیوۀ روایت داستان، شخصیتِ گوشه‌گیر مجنون و انزواطلبی و رازداری لیلی و به طور کلی ایستایی شخصیت‌ها مرتبط است. در مقالۀ حاضر به روش توصیفی و تحلیل محتوا به این پرسش پاسخ داده شده است که نظامی از چه نوع گفت‌وگوهایی در خسرو و شیرین و لیلی و مجنون استفاده کرده و تاثیر، هدف و کارکرد این گفت‌وگوها در این دو منظومه به چه صورت بوده است؟

Introduction “Dialogue” is a form of interaction between people that emphasizes the free exchange of ideas, mutual respect, and has a bearing on the narrative as well since by use of which the author other than describing the details of incidents or appearance of the protagonists can portray the “semi-conscious” flow of the characters’ psyche and move the action forward (Forster, 1973: 110-111) Dialogue is a kind of “action” that helps with mobility and dynamism of the story considering that dialogue always flows between two sides or more (Mirsadeghi, 2015:606). By providing a medium for indirect narration and creating action and suspense, dialogue endows the story with depth and content. On top of that, “by dragging the characters into conflict and struggle, dialogue builds up tension in the story” (Campton 2013:111).The central questions in this study are as follows, What type of dialogues does Nizami employ in Khosrow o Shirin and Leily o Majnun? What is the purpose and function of dialogues in these stories, and what can be achieved by comparing the frequency and type of dialogues in these stories? Research Methodology To analyze and compare the dialogues in Khosrow o Shirin, and Leily o Majnun, first the relevant verses were extracted and then examined through description and content analysis. Discussion Of 5130 verses narrating the tale of Khosrow and Shirin _from the beginning of the account of Khosrow and Shirin to the end where Shirin loses her life in Khosrow’s crypt_ 2546 verses that roughly amount to 51% of the tale, revolve around dialogues. In the case of Leily o Majnun, there are 2819 verses from the onset to the death of Majnun on Leily’s grave, 804 of which that is about 28% are dialogues, the sheer volume of which shows the significance of this element in the formation of the structure and acts as a motor that moves the story forward. Exploring all kinds of dialogues and their functions in the tale of Khosrow o Shirin and comparing the dialogues to Leily o Majnun testifies to the fact that Nizami deliberately employs this element to enrich his narrative, based on the milieu and locus of the story. These dialogues contain demand, reproach, description, hortation, action stimulus, inquiry, and retort, all of which are explored and compared in this study in both Leily o Majnun and Khosrow o Shirin. Conclusion Half of the structure in Khosrow o Shirin and about 28% of Leily o Majnun is propelled by the element of dialogue that in Khosrow o Shirin other than high frequency, has more variety and carries out more functions than the story of Leily o Majnun. Dialogues of demand in Leily o Majnun help with characterization and suspense, whereas in Khosrow o Shirin on top of these, are elements of denouement in the narrative. The most important point of conflict in Khosrow o Shirin, are those dialogues in which Khosrow asks to be reunited with Shirin, in response to which there raises reproach, threat, description and recounting, conceit and making excuse. In Leily o Majnun however, there is nothing Majnun demands of Leily, but the dialogues contain descriptions of Majnun’s disturbed mind and are a reason to explain the rejection of Majnun’s father’s marriage offer by Leily’s father. Characters in Leily o Majnun are described directly by Nizami, whereas in Khosrow o Shirin the descriptions of characters are inferred through dialogues. Frequency of future tense verbs of Khosrow and Shirin’s dialogues gives the story mobility and dynamism whereas in Leily and Majnun’s dialogues the frequency of past tense verbs in describing characters underscores the presence of Nizami as a narrator. Hortatory dialogues in Leily o Majnun mostly contain advising Majnun in keeping with the content of the narrative and Majnun’s state of mind. Whereas in Khosrow o Shirin save for Shirin and Mahinbanu’s dialogue in which Shirin pledges to be lawfully married to Khosrow that sparks off conflict and suspense, other hortatory dialogues are serving to expand the didactic aspects of the story. Stimulatory dialogues are only found in Khosrow o Shirin and include provocative news, reports, and rivals making entry into the story that unfold through dialogues. Inquisitive dialogues in Leily o Majnun contribute to a distinct portrayal of Majnun and a justification of his strange deeds while in Khosrow o Shirin this kind of dialogue is a preface to making decisions and actions that reveal the qualities of characters. The retort that in Khosrow o Shirin encompasses Khosrow and Farhad’s dialogue fulfills the functions of creating tension, characterizing Khosrow and Farhad, reminding the character’s aspirations, and compelling the audience’s attention to keep reading the poem. 5-References Allott, Mariam Farris, Novelists on the Novel, translated by Ali Mohammad Haghshenas, Iran, Tehran: Markaz, (1989). Anvari, Hasan, Sokhan Great Dictionary, Iran, Tehran: Sokhan, (2007) Bishop, Leonard, Dare to Be a great Writer, translated by Mohsen Soleymani, Iran, Tehran: Sooreye Mehr, (2012). Daad, Sima, A Glossary of Literary Terms, Iran, Tehran: Morvarid, (2008). Dorpar, M & M.J Yahaghi, ‘An Analysis of the Relationships between the Characters in Nizami’s Leyli & Majnoon’, Boostan Adab, Vol2, Issue3, pp 65- 89, (2010). Encyclopedia of Educational Theory and Philosophy, Edit by Philips.D. (Denis) C, California: Sage Publication, (2014). Forster, Edward Morgan, Aspects of the Novel, translated by Ebrahim Yunesi, Iran, Tehran: Amirkabir, (1973). Halsey, Charles Srorrs, an Etymology of Latin and Greek, Boston: Ginn, Heath, (1834). Hasani Jaliliyan, M & Others, ‘The Analysis and Comparison of Nizami and Dehlani’s Characterization through Dialogues between Leili and Majnoon’, Textual Characterization of Persian literature, Vol 10, Issue 3, pp 55- 72, (2018). Kempton, Gloria, Dialogue Techniques, translated by Fahime Mohammad Semsar, Iran, Tehran: Sureh, (2013). Laertius, Diogenes, Lives and Opinions of Eminent Philosophers, translated by C. D. Yonge, London: Bohn, (1853). Mahmudabadi, Ashraf & Ali Asghar Babasafari, ‘Analysis of Fictions in Nizami’s Khosrow & Shirin and Nazer & Manzur of Vahshi Bafghi’ Journal of Baharestane Sokhan, Vol 14, Issue 38, pp 145- 170, (2017). Mas Mohammad Amir & E. Mirbaluchzayi. ‘Majnoon’s Love from the Psychoanalysis Perspective Based on Leyli and Majnoon’, Journal of Lyrical Literature Researches, Vol 11, issue 21, (2014). Mas Mohammad Amir & E. Mirbaluchzayi. ‘The Element of Conflict in Nizami’s Long Poem, hosrow and Shirin’, Journal of Lyrical Literature Researches, Vol 11, issue 21. Pp 163- 180, (2014). Mirsadeghi, Jamal & M. Mirsadeghi, Dictionary of Art of Fiction Writing, Iran, Tehran: Mahnaz, (2008). Mirsadeghi, Jamal, Essential of Fictions, Iran, Tehran: Sokhan, (2015). Morrell, Jessica Page. Between the Lines (master the subtle elements of fiction writing). U.S.A: Writers Digest Books, (2006). Nizami, Elyas ibn Yousef, Leiyli & Majnoon, Edited by H. Vahid Dastgerdi, Iran, Tehran: Ghatre, (2009). Nizami, Elyas ibn Yousef, Khosrow & Shirin, Edited by H. Vahid Dastgerdi, Iran, Tehran: Ghatre, (2014). Nowroozi, Zeynab, ‘The Structural Analysis of Khosrow Farhad’s Debate in Nezami Ganjani’s Khosrow and Shirin’, Journal of Lyrical Literature Researches, Vol 7, issue 12. pp 159- 178, (2009). Rabiee Mazraeshahi, E & M.R Mowahedi, Journal of Literary Studies, Vol3, Issue 5, pp 125- 155, (2011). Shirkawand, Vahide & S.A. Hoseini, ‘Dialogue and Dramatic Characterization in Nizamis’s Lyrics: Khosro and Shirin’, Journal of Research Allegory in Persian Language and literature, Vol 6, Issue 22, pp 167- 180, (2015). Spranzi, Marta. Art of Dialectic and Rhetoric. Netherlands, Amsterdam: John Benjamins Publishing Company, (2011). Yunesi, Ebrahim, Art of Fiction Writing, Iran, Tehran: Sohravardi, (1986). Zarrinkob, Abdolhosein, Nizami’s Search for Utopia, Iran, Tehran: Sokhan, (2007).