تحلیل داستان پیر چنگی برپایه الگوی روایی گریماس (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تبیین مسئله: داستان پیر چنگی ازجمله داستان های جذّاب مولوی در دفتر اول مثنوی است که خوانش های متفاوتی از آن صورت گرفته و هر خوانش، یکی از ابعاد معنایی و وجوه پنهان آن را برکاویده است. در این پژوهش، به تحلیل ساختار روایی این داستان برپایه الگوی روایی گریماس پرداخته می شود. هدف اصلی، ترسیم طرح روایی و فهم موضوع اصلی داستان از راه تشخیص کارکرد و کنش است؛ ضمن اینکه به پرسش های زیر به گونه ای مشخص پاسخ داده می شود: کارکرد اصلی این داستان که پایه طرح روایی آن را شکل می دهد، چیست؟ داستان های ضمنی ای که درون این داستان آمده اند و به نوعی اجزای تشکیل دهنده کل نظام روایی هستند، چه مسئله ای را برای کارکرد اصلی در این داستان تقویت می کنند؟ فرض پژوهش بر این است که از میان همه کارکردهای شامل در داستان پیر چنگی، دو کارکرد می تواند کارکردهای اصلی باشد؛ این دو کارکرد، دو درون مایه اصلی را در این داستان می پرورد؛ نخست «طلب مال» که پیر چنگی با نواختن چنگ از خداوند می طلبد و دوم، «قضاوت سطحی و آگاهی نداشتن از حقیقت اصلی». از میان این دو کارکرد مهم، یکی از آنها را می توان به کمک تحلیل ارتباطِ معانی پنهان داستان های ضمنی، با یکی از این دو کارکرد و ترسیم طرح پیرنگ داستان براساس الگوی روایی گریماس، هسته اصلی همه کارکردها شناخت. روش در این پژوهش، ساختار روایی داستان پیر چنگی مثنوی برپایه الگوی روایی گریماس تحلیل می شود. یافته ها و نتایج: نتیجه پژوهش نشان می دهد که با دقت در ژرف ساخت روایت و عامل های کنشی در این داستان، کارکرد پایه «بیرون شدن پیر چنگی از مکان بسته به بیابان» برای شکل گیری درون مایه اصلی داستان، یعنی « آگاهی نداشتن از حقیقت اصلی» است؛ زیرا هم زیرساخت روایی و هم داستان های ضمنی، نظامی را برای فُرم بخشیدن به این کارکرد و درون مایه شکل می دهند.Analyzing the Story of "Pir Changi" Based on the Narrative Pattern of Grimas
The story of Pir-e Changi is one of the interesting stories of Molavi in the first book of Mathnavi , from which different readings have been made, and in each reading, somehow one of the semantic dimensions and hidden aspects has been reviewed. In this study, we analyze the narrative structure of this story based on the narrative pattern of Grimas, whose main goal is to draw the narrative plan of the story and while answering the following questions in specific ways: What is the main function of this story that forms the basis of its narrative design? What are the accessory/implicit stories that have been included in this story? Do the components of the whole narrative system reinforce problems as the main function of this story? It is assumed that among all the functions included in the story of Pir-e Changi, two functions can be considered as the main functions in it that produce two themes, ‘seeking wealth’ that Pir Changi demands from God by playing the harp and superficial judgment, and ‘lack of awareness from the truth’. From among these two important functions, drawing the plan of the story and appropriate meanings of the implicit stories with the help of the Greimas narrative model, one of the functions can be considered the main core of all functions. The results of the study show that based on the deep structure of narrative and actants, Pir-e Changi’s outgoing from a closed place to the desert is the main function of the story that forms the fundamental theme that is ‘lack of awareness of the truth’, because both deep narrative structure and implicit stories make a system to form this function and theme. Introduction Algirdas Julien Greimas (1917-1992) a Lithuanian-French expert on narratology is one of the most significant figures of structuralism and post-structuralism theories. Some of the narrative experts have divided Greimas’s academic life into three parts: 1) Greimas as a structural narratology scholar, 2) a narratological semiotics scholar, and 3) a discursive semiotics scholar (as cited in Shairi, 2019, p. 13). The story of Pir-e Changi is one of the most attractive stories in Mathnawi that scholars have presented various interpretations and have unfolded some of the secrets and hidden angles of the story. The story would have two basic functions for the readers, the functions that lead to two possible themes. The first theme is Pir-e Changi’s going to the desert from home and playing the harp. The exterior layer of the story vehemently amplifies this theme and function of the story, because the first verses of the story speak about Pir-e-Changi’s poverty and destitution. He tries to solve this problem and eventually found 700 dinars. The story ended at this point. The issue that we think is important in this story is the importance of margins over the main text. These margins are the accessory/implicit stories that are more valuable to recognize the main function and deep layer of the story. The narrative structure of this story tells us that there are two possible themes, the invoking of commodity and superficial judgment of the main fact, and lack of awareness of the truth. According to the actantial function of the narrative, among the two themes, the latest one is going to be the correct function of the story. Review of the Literature There are many studies conducted on Pir-e Change, since this story is one of the interesting stories in Mathnawi and, on the other hand, it is important according to both narrative structure and mysticism. Mirbaqerifard et al.’s the sin of repentance; the analysis of the repentance stage from evil to innocuous in Pir-e-Changi’s story (2011), interpreted the repentance types in this story. Farhad Doroodgarian’s analysis of the Pir-e-eChangi’s rebirth in Rumi’s Mathnawi based on Carl Jung’s Theory (2014) explained this story in an archetypical base. One of the most significant studies written in the Persian language based on this theory is the Analysis of the story Kachal Mom Seia in the second chapter of the book New Semiotics: Basics by Reza Shairi (2019). He has explained in this part of his book the narrative sequences of the story with its contrast by narrative, discourse, and narrative actants. He analyzed this story based on the veridictory square and eventually concluded that events are the generator aspects of the meaning in the narrative of this story. Dezfooladian et al.’s the study of actantial model and narrative sequences in the story of Rostam Death (2019) argued that the narrative sequences and binary oppositions are the main elements of the narrative structure in this story and concluded that the narrative structure of the story has a good correspondence with the actantial model of Greimas. Meanwhile, Yaqubi Junbe Sorayi and Mohammadi in a writing titled: ‘ the Structuralism model and Postmodern Narratives; assimilation or heterogeny’ (2015) write that the structural models as the actantial model of Greimas in divergence narratives stand versus itself. Roohani and Shobkolai (2012) have also studied the Shaikh Sanan story of Attar based on the actantial model of Greimas. This writing is titled ‘ the study of Shaikh Sanan Attar based on the Actantian model of Greimas . They concluded that according to the narrative structure, there is nothing without functioning in this story and all the parts of the story play role in the movement of the narrative. They also emphasize the role of the reader as the final receiver of the meaning. Many other stories have been studied based on this theory and the narrative structures of the stories have been explored, but the story of Pir-e Changi has not been the subject of study based on this theory. On the other hand, most of these studies have only applied the theory to a story and they do not have any new findings. We have tried in this essay to find the main function and the main actant of the story through the explanation of the narrative deep structures. Methodology The theoretical framework of the present study is the Actantial Narrative model of Algirdas Julien Greimas, but the outcomes of the study are completely the reflections of our own idea. We used this theory to substantiate our new finding regarding the main function of the story of Mathnawi that we think no one has found before. Results Narratology is looking to find how the meaning of a story derives from the deepest structure (langue) of the narrative, not from the independent and solitary subject or content of every single story. The study of Pir-e Changi story of Mathnawi based on the actantial model of Greimas and the explanation of the narrative structure shows that the deep structure (langue) of the narrative verifies the second function and, on the other hand, the content of the accessory/implicit stories also certifies our claim that the main function of the story is the superficial judgment of the main fact. Therefore, the main functions of the stories depend on analyzing and unfolding the narrative structure of the stories. The narrative structure and plot of this story, besides the actantial model of Greimas, is one of the exact ways to study and portray the actants and the accessory stories’ roles in recognizing the main function of the Pir-e Changi story of Mathnawi . Readers may consider both of these functions in their minds without knowing which one would be the exact and correct function, but in order to be sure which function is the best option regarding the narrative structures, we need to study this story according to the Actantial model of Greimas and realize the main function through analyzing deep layers of the plot and narrative. The present study definitely answered the mentioned questions of the research based on the actantial model of Greimas and concluded that the main function of this story is the superficial judgment of the real fact, yet it can function as a return to God and commodity evoke. The main reasons for the results are as follows: The study of the narrative structure based on Greimas’ actantial model shows that all the actants with the function we mean have an active presence and can be portrayed in the deepest structure of the narrative while the first possible function of the actants is omitted from the deepest structure; On the other hand, all of the accessory stories as parts of an organism strongly support our assumption. Finally, the main meaning and function of this story is the superficial judgment of the main fact and lack of awareness of the truth.
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