کاربست نظریه ولادیمیر پراپ در بررسی تطبیقی داستان «سیاوش» و «هیپولیت» (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آثار ادبی از تخیل نویسندگان با ملیت های گوناگون برگرفته است؛ بنابراین این آثار با یکدیگر پیوندهایی دارد که زمینه مناسبی برای بررسی، تحلیل، تطبیق و مقایسه آثار برای شناسایی مشابهات و مقارنات شناسه های فرهنگ های مختلف، فراهم می آورد. بررسی تطبیقی قصه ها بر اساس اندیشه نظریه پردازان ساختارگرا مانند اشتراوس و پراپ، نشان می دهد قصه ها از سه پاره «صحنه آغازین»، «بحران» و «فرجام» شکل یافته اند و شباهت های فراوان در خویش کاری (کارکرد) قهرمانان وجود دارد. پژوهش حاضر با هدف بررسی تطبیقی دو داستان «سیاوش» و «هیپولیت» براساس روش ریخت شناسی ولادیمیر پراپ انجام گرفته است. پژوهش از نوع توصیفی و تحلیلی برمبنای یافته های کتابخانه ای است. یافته ها نشان می دهد این دو داستان در خویش کاری (کارکرد) شخصیت های داستان، مشابهت های فراوانی دارند که بیانگر مشترکات در شناسه های فرهنگی و فرهنگ عامه آریایی و یونانی است.Application of Vladimir Propp's Theory for the Comparative Analysis of the Story of Siavash and Hippolyte
Literary works are products of the imaginative minds of writers from various nationalities. As a result, these works share connections, providing a suitable foundation for examination, analysis, adaptation, and comparison. Through these processes, we can identify the similarities and differences in the cultural elements of different societies.The comparative study of stories influenced by structuralist theorists like Strauss and Propp reveals that narratives consist of 3 main parts: "Initial Scene," "Crisis," and "Conclusion." These components exhibit numerous similarities across various works. Additionally, these stories often feature heroic characters, who undergo significant transformations.This study aimed to conduct a comparative analysis of two stories, namely Siavash and Hippolyte, using Vladimir Propp's morphological method. The research approach was descriptive and analytical, relying on library resources. The findings demonstrated that Siavash and Hippolyte shared many similarities in terms of character’s self-care functions within the narrative. This similarity indicated commonalities in the cultural components and popular culture of the Aryan and Greek societies. Keywords: Comparative Literature, Propp Morphology, Sudabah and Siavash, Feder and Hippolyte. IntroductionThe art of storytelling born from the imagination and emotions of authors has given rise to remarkable literary works that captivate audiences worldwide. While these stories may not depict real events or characters, they hold a significant place in global literature. Among the various genres of fiction, romantic stories have a particular allure for readers, evoking a range of emotions and resonating with people from diverse cultures. Consequently, stories from around the world serve as compelling examples for identifying shared cultural elements and gaining insights into the literature and traditions of different nations, even those geographically distant from one another.In the comparative analysis of stories, one proposed method is the structuralist approach. Vladimir Propp, a Russian structuralist researcher, emphasized that examining the structure of stories is the primary and most crucial step in comparative criticism. By employing this method, we can uncover similarities and differences between narratives, shedding light on the cultural components that shape them.The Tragedy of Phaedra and Hippolytus written by Racine, a renowned French playwright of the 17th century, is a myth that shares similarities with the tales found in Ferdowsi's Shahnameh. These narratives offer rich material for comparison and analysis within the realms of popular culture and literature. The story revolves around the forbidden love of Phaedra, the wife of Theseus, King of Athens, for her stepson, Hippolytus. Not only is it a poignant tale from ancient Greece, it also bears striking resemblances to the story of Siavash and Sudabah, making it particularly significant.Both stories depict tragic and unfulfilled love characterized by hopelessness and sin. The recklessness of the older kings leads to the demise of the two young princes. Furthermore, both narratives explore the play of fate and the darkness that shadows human destiny. Upon initial examination, it becomes evident that there are connections between these stories, warranting a comparative analysis within the field of literature. It is intriguing to consider whether these similarities emerged due to direct influence or if they were merely products of independent creative thought.This article aimed to compare the main characters of two stories: the Iranian tale of Sudabeh and Siavash and the Greek tale of Phaedra and Hippolytus. It explored the similarities and differences between these characters, shedding light on their respective narratives. Additionally, the article delved into the key factors that contributed to the emergence of tragedy in both Iranian and Greek literature, seeking to address two fundamental questions. Firstly, why didn’t Racine portray Phaedra as a wicked woman in the story of Hippolytus? And secondly, why did Ferdowsi present Sudabeh as a cunning and wicked woman in the Iranian tale of Sudabeh and Siavash? By examining these questions, we aimed to gain a deeper understanding of the motivations and choices made by the respective authors. Materials & MethodsIn conducting this comparative study, various methods were available with one of the most recent being scientific morphology or the structuralist method. This approach was initially proposed by the Russian anthropologist, Vladimir Propp, who applied it to the study of stories within the field of literary analysis (Anousheh, 1387: 735). Essentially, morphology involves the analysis and deconstruction of literary works, ultimately breaking them down into their constituent parts (Sarami, 2013). Vladimir Propp, a prominent Russian structuralist researcher, emphasized that the structural criticism of stories serves as the primary and most crucial step in critiquing works within the realm of comparative literature.Propp asserted that without breaking down a story into its constituent parts, conducting a comprehensive comparative analysis becomes challenging. Without such an analysis, understanding the relationships between different nations, such as India and Egypt, or making connections between ancient Greek and Indian stories becomes difficult (Propp, 2018: 44). Furthermore, if we cannot compare and explore different stories, how can we draw comparisons between stories and religious or mythological narratives?Propp outlined 4 fundamental rules when discussing the function of characters in a story:Characters’ actions in a story are consistent and stable elements.Fairy tales have a limited number of mentioned deeds.The sequence of actions in fairy tales remains constant.All fairy tales share a common structure (Asghari and Ghasemi Asl, 2011: 35).In this research, we employed Propp's morphological method to analyze the characters in the stories of Sudabah and Siavash, as well as Phaedra and Hippolytus.Research FindingsBased on Propp's morphological analysis, the characters in Siavash's story could be categorized as follows:Sacrificial hero: SiavashVillains (anti-heroes): Sudabah, Gresives, AfrasiabHeroic messenger: KavosHelpers of the hero: Rostam, Afrasiab, Piran ViseOmniscient narratorNarrative structureInitial balance:Siavash is born to a beautiful woman and entrusted to Rostam for education.After returning to his homeland and passing his father's test, Siavash becomes a ruler due to his abilities.Upsetting the balance:The stepmother develops feelings for Siavash and takes drastic measures to win him over.Siavash rejects the stepmother's advances, leading to resentment and scheming. He is falsely accused.Siavash willingly accepts the punishment of passing through fire.Relative balance:Siavash bravely passes through the fire.The wicked stepmother is exposed and sentenced to punishment.Siavash's noble character leads to Sudabah's forgiveness.Upsetting the balance:Afrasiab emerges as a new villain, declaring war.Siavash voluntarily engages in battle and achieves victories.Afrasiab's troubled sleep compels him to seek peace.Balance:In Turan, Siavash marries Jarireh, Piran Vise's daughter, and Farangis, Afrasiab's daughter, to establish harmony.Siavash lives a content and joyful life there.Upsetting the balance:Gresives becomes envious upon witnessing Siavash's glory.Gresives spreads malicious rumors and plots against Siavash.The false accusations lead to an order to kill Siavash, resulting in his cowardly demise.Characters in the story of Hippolytus based on Propp's morphological analysisHero: TheseusVillain (anti-hero): MedeaHelpers of the hero: Hatef Mabad, ArianeMain hero: HippolytusVillain (anti-hero): Phaedra, Phaedra's nurseDestroyer: Poseidon, god of the sea and monstersOppressor: TheseusVictim: HippolytusThe seducer: PhaedraSacrifice helper: Artemis, goddess of huntingOmniscient narratorNarrative structure:Initial balance:Theseus, the son of Aegeus, the king of Athens, is born to his wife Aethra.Upsetting the balance:Theseus, not yet 16 years old, uncovers the stones, under which his father has hidden his shoes and sword.Theseus goes to Athens and defeats the bandits along the way.Medea, the sorceress, fears Theseus and plots to kill him.Theseus consults with Hatef at the temple before leaving for war.Victory in war can only be achieved if guided by love.Relative balance:Ariane, the daughter of Minos, falls in love with Theseus and helps him win.When Theseus returns, his father is dead and he ascends the throne, becoming the king.Upsetting the balance:Theseus goes to subdue the Amazons and captures their queen.Theseus marries the queen of the Amazons.Theseus has a son named Hippolytus with the Amazon queen.Upsetting the balance:Phaedra, Hippolytus' stepmother, falls in love with him and is unsatisfied.Theseus, who is not dead, returns and with the help of Phaedra's nurse, defames Hippolytus before the king, leading to Hippolytus' banishment.On the way to exile, Hippolytus fights a sea monster commanded by Poseidon, who attacks him. Hippolytus emerges victorious but is injured when his horses drag him to the ground.The king is saddened by the news.Tormented by her conscience, Phaedra confesses the truth to the king and then commits suicide.Please note that the revised text was based on the assumption that the original text was referring to the Greek myth of Hippolytus and not a specific adaptation or variation. Discussion of Results & ConclusionThe story of Siavash in Shahnameh was a poignant and captivating tale that explored the life of a free-spirited individual who, despite his awareness of the dark forces of fate, willingly submitted to societal and moral obligations. Siavash's tragic story resonated deeply with readers due to its profound exploration of human psychology and complex motivations of its characters (Vashkhani Farahani and Hassanvand, 1393: 1782).Siavash as a victim of his own destiny did not actively seek to change or defy it, accepting his ultimate demise as an inevitable consequence. His journey was marked by a sense of resignation as he perceived all aspects of existence as leading him towards his tragic end. The story's profound impact on the human psyche could be attributed to its origin in the depths of the human mind, allowing for a clear understanding and interpretation of the characters and their actions through psychological theories.The characters of Feder and Hippolytus in the story of Siavash also bore resemblances to the characters of Sudabah and Siavash. Both stories shared similarities in their overall structures. The main protagonists, Siavash in the story of Sudabah and Hippolytus in the story of Feder and Hippolytus, were sons of kings, who had multiple wives. Interestingly, the stepmothers in both stories hailed from foreign lands and developed forbidden affections for their stepchildren. They expressed their love and sought their success, but ultimately failed. In both narratives, Soudabeh and Feder, as stepmothers, falsely accused their stepsons after their failures. Siavash and Hippolytus were forced to leave the palace in the face of an unjust punishment. Siavash sought refuge in Turan where he met his demise, while Hippolytus was wounded and killed in a confrontation with a sea giant. Both stepmothers suffered tragic fates as a result of their forbidden love. Sudabah was slain by Rostam due to Siavash's blood feud and Feder ultimately took her own life.Furthermore, both stories exhibited similar mythological motifs, such as the abandoned child, the figure of the unborn, the Oedipus complex, the taboo of incestuous marriage, and the involvement of gods and divine heroes. These mythological elements added depth and richness to the narratives, further captivating the readers.In conclusion, the story of Siavash in Shahnameh was a profoundly moving tale that delved into the complexities of human nature and the interplay between fate, societal expectations, and personal agency. Its exploration of psychological themes and its connections to other stories, such as the tale of Sudabah and Siavash, contributed to its enduring impact on readers and its status as a timeless masterpiece.
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