پیوند آینده بینی و حماسه در روایت پردازی (بر اساس داستان خواب های ده گانه کیدشاه هندی از شاهنامه فردوسی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
آینده بینی یکی از مهم ترین بخش های روایات ادبی کهن است که در گسترش پیرنگ، مضمون سازی و شخصیت پردازی حماسه، قصه کوتاه و بلند عام، رمانس های خاص و عام، افسانه ها و حکایات سنتی، نقش ویژه ای دارد. در این پژوهش، با استفاده از روش توصیفی-تحلیلی، خواب های کیدشاه هند در زمان فرمانروایی اسکندر به روایت شاهنامه بررسی و تحلیل شده است. حاصل کار نشان می دهد که خواب های کیدشاه و تعبیرهای مهران پرهیزکار از آن، ابزاری در پیوندسازی دو کلان روایت «پادشاهی دارا» و «پادشاهی اسکندر» در شاهنامه است؛ بنابراین، روایت پردازان با استفاده از پیرنگ سازی، شخصیت پردازی و مضمون سازی، روایت را وسیله ای برای موجه جلوه دادن شخصیت «شاه غیرایرانی» برای ایرانیان تبدیل کرده و با استفاده از چهار ابزار جادویی (فیلسوف، پزشک، جام و دختر)، صفت های مهم و چهارگانه اسکندر را بازسازی کرده اند. خواب کیدشاه و تعبیر آن، پیش درآمد داستان اسکندر و علت آن و همچنین حلقه اتصال دو روایت بزرگ پادشاهی دارا و پادشاهی اسکندر در شاهنامه فردوسی است.The Interplay of Prophecy and Epic in Narrative: Exploring the Connection through the Story of the Ten Dreams of King Kida of India in Ferdowsi's Shahnameh
Prophecy holds significant importance within ancient literary narratives, serving as a catalyst for plot development, thematic exploration, and characterization across various forms of literature, such as epics, short and long stories, romances, legends, and traditional tales. This research focused on the examination and analysis of the dreams of King Kida of India as narrated in Shahnameh during Alexander's reign, utilizing a descriptive-analytical approach. The findings revealed that King Kida's dreams, along with Mehrān Parhizkār's interpretations, functioned as a means to connect the two overarching narratives of "Dārā's reign" and "Alexander's reign" within Shahnameh. Consequently, storytellers skillfully employed plot, characterization, and theme to transform the aforementioned narrative into a tool for justifying the portrayal of the "non-Iranian king" to Iranian audiences. Furthermore, they effectively reconstructed the vital and multifaceted attributes of Alexander through the implementation of 4 magical elements: the philosopher, the doctor, the cup, and the girl. Ultimately, King Kida's dreams and their interpretations served as a prelude to the story of Alexander, establishing its cause and forging a link between the grand narratives of Dārā's reign and Alexander's reign in Ferdowsi's Shahnameh. Introduction"Prophecy" is a natural phenomenon that occurs through a non-material and extrasensory channel, providing advance knowledge of forthcoming events and matters. It primarily involves individuals of high social standing and exceptional insight who, having transcended ordinary human limitations, possess the ability to glimpse into the future and relay their visions (Eliade, 2012: 145-151). Prophecy manifests in 3 distinct forms: prediction or fortune-telling, direct prophecy, and indirect manifestation through dreams. Prediction typically emerges as a motif in tales of heroic journeys to supernatural realms, where celestial beings, such as angels, prophets, Imams, benevolent fairies, esteemed elders, and occasionally sorcerers, convey messages to the story's central character. Direct prophecy, on the other hand, pertains to events occurring within the tangible realm of the narrative and is carried out by mortal individuals, including astrologers and wise ministers of kings. However, the most plausible manifestation of prophecy is found in dreams, which retain a prevalent role even within contemporary realistic narrative genres, such as novels and short stories (Abbasi, 2019: 96).1.1. Research QuestionsWhat are the distinctive characteristics of protagonists’ dreams in their engagement with the overarching themes of the epic?How does this narrative structure function within the epic and what are its constituent elements and components?To what extent do dreams contribute to the development of characterization?1.2. Research Objectives, Relevance, and MethodologyThis research employed a descriptive-analytical approach, specifically utilizing a documentary-based methodology, to examine the role and composition of "prophecy" motif in traditional narratives with a particular focus on its application within the epic framework. The study critically analyzed and evaluated the story of "The Twelve Dreams of King Kida of India" as depicted in Ferdowsi's Shahnameh, considering its portrayal of characters, plot progression, and the overall structure of the literary genre. DiscussionFerdowsi's Shahnameh showcases a multitude of dreams recounted by various characters, ranging from positive figures to negative ones and even including experiences shared by Ferdowsi himself. These dreams are often presented in a "question and answer" format with one party acting as the dreamer and the other as the interpreter (such as an astrologer, astronomer, fortune-teller, Zoroastrian priest, stargazer, or any other knowledgeable individual).2.1. King Kida's Dreams and its Relevance to the Topic at HandThe prominent theme of the 25 dreams depicted in Shahnameh with 10 attributed to King Kida of India and the remainder experienced by kings, princes, ministers, and heroes revolves around the weight of individual or societal destiny. In essence, these dreams explore the themes of power transition and governmental change. While in modern psychology, dreams hold an "individual" function within the context of the epic, they serve as a manifestation of "collective consciousness". They reflect the collective desires, aspirations, sorrows, joys, emotions, and expectations of the society at large. As a result, these dreams are narrated through the experiences of the societal elites, whether they are oppressors or just rulers. Such characters symbolize the entire zeitgeist of their era.Archetypal Pattern of ChaosSemanticsActions and RolesNarrative SignsNo.The death of a cruel king leaves behind a bad reputationThe elephant leaves the house, but its trunk remains.The Elephant and the House1The four divine religions and the conflict between their followersFour men pull on a piece of canvas, but it doesn't tear.The Canvas and the Four Men2A cruel king replaces a just kingThe monkey sits on the throne.The Monkey and the Throne3People flee from knowledge and learningFish flee from water.The Thirsty Ones Fleeing from Water4Subjugation of the wiseThe city of the blind is prosperous and they rejoice in their blindness.The Prosperous City of the Blind5The rich ignoring the poorThe sick visit the healthy.The Sick and the Healthy6The insatiable greed of people for wealthA horse that eats with both mouths but never excretes.The Two-Headed Horse with No Exit7The poor becoming poorer and the rich becoming richerThe empty jug is filled by the water of two full jugs without diminishing their water.The Two Full Jugs and the Empty Jug8The poor becoming poorer and the rich becoming richerThe fat cow suckles the thin calf.The Fat Cow and the Thin Calf9The existence of a foolish king and the succession of a just king in his place The Dry Spring in the Middle of a Meadow10Mythologists have referred to this phenomenon as "validation of origins" (Eliade, 2012: 55), while sociologists and historians have labeled it as a "return to the primordial" (Zarrinkoub, 1982: 97). The theme of revitalization is manifested in epic narratives through a "collective" lens, whereas romantic narratives adopt an "individual" approach:- Within epic narratives, societies descend into corruption, leading to the rise of a tyrannical ruler (depicted as a dragon). Despite the ruler's oppressive measures, a hero emerges (the dragon-slaying hero), grows in strength, and ultimately topples the tyrant, restoring harmony to the society at large.- On the other hand, in traditional short and long stories, the protagonists embark on a quest driven by a dream they have had. Along their journeies, they encounter both fantastical and real individuals and objects, ultimately attaining a reward (such as kingship, marriage, wealth, or a combination thereof).These narrative structures serve as vehicles for conveying profound messages and themes within their respective genres.2.2. Plot ConstructionIn the process of epic storytelling within different cultures, certain underlying patterns persist, revealing the identities of the deities and heroes associated with each nation. These cultural archetypes serve as the foundation for reconstructing the legendary figures of epic tales, transforming their historical aspects into mythological elements. This transformative process is known as "mythologization" (Zarrinkoub, 1982: 125). The story of King Kida of India can be traced back to various sources, such as "Kārnāmeh Ardashir Bābakān" and "Khodāy-nāmeh," before finding its way into "Abol Mansouri's Shahnameh" and ultimately "Ferdowsi's Shahnameh". Persian general romances by Abu Ṭāher Ṭarṭūsi (6th century AH) and Mohammad Beighami (9th century AH) have also explored the tales of King Kida of India. Furthermore, to expand the plot, auxiliary narrative structures influenced by Indian culture have been introduced and addressed as follows:A) Inclusion of a prophetic dream experienced by the virtuous king, foretelling the arrival of a new rulerThis element is absent in Dārāb-nāmehs and Eskandar-nāmehs.B) Fabrication of a plot element involving the wise dream interpreter proposing companionship to the new king due to the prevalence of injustice within the society, not at the hands of the kingC) Introduction of a magical cup as a remarkable artifact, symbolizing wonder and beauty in the context of India and commonly found in traditional narrativesD) Bestowment of two human aides, a "philosopher" and a "doctor", to AlexanderThis not only highlights Alexander's interest in these professions but also alludes to India's reputation for providing skilled advisors and wise ministers to kings, often represented by Brahmins.E) Inclusion of a princess offered to Alexander, showcasing the historical reality of victorious kings acquiring harems from defeated nations and reflecting the political interest of governments in forming alliances with dominant rulers and kingsThrough the incorporation of these narrative elements, the story gains depth and complexity, drawing upon cultural influences and historical motifs.2.3. CharacterizationAccording to modern psychological theories, dreams are reflections of an individual's unconscious traits, regardless of their social class (Jung, 1989). However, in epic and romantic texts, dreams possess a distinctiveness attributed to the chosen members of society, particularly heroes and villains, as they mirror the collective unconsciousness and embody the ideology of a specific nation. Often, these dreams take on a prophetic nature influenced by an "apocalyptic" theory rooted in "millennialism". Within the realm of epic and romance, the significance lies more in the subject matter of the dreams rather than the dreamer as they unveil the destiny of the collective rather than the individual. Thus, dreams transform epics into ideological narratives, especially when experienced by members of the societal elite, such as kings, princes, queens, heroes, and ministers, heralding the birth or emergence of a transformative figure. From a literary typology perspective, these can be termed "ideological epics". The content of these dreams serves as an introduction to the individual, who assumes the role of the "liberator", tasked with restoring harmony and rectifying the societal chaos and imbalance. In the case of King Kida's ten dreams, Alexander was destined to restore the equilibrium that had been lost.In ideological epics, when the liberators hail from within the nation, the story delves into a comprehensive exploration of their characters (central figures). Conversely, when a foreign savior is introduced, the narrative emphasizes the tumultuous state of the existing society (narrative situation) to a greater extent. ConclusionThe tale of King Kida's ten dreams served a collective purpose within Iranian and Eastern epic storytelling. These dreams symbolized perception of the emergence of a liberator via the collective consciousness and were deeply intertwined with notions of fate. Such prophecies originated from the minds of the societal elites, including kings, princes, ministers, and heroes, and were interpreted by religious figures and saints. They provided a depiction of the prevailing state of affairs, highlighting the chaos and imbalance present within the society. Ferdowsi's Shahnameh, for instance, featured the dreams of Zahhāk, King Kida, and Rostam Farrokhzād, which respectively foreshadowed the advent of Fereydun, Alexander, and the Prophet (PBUH) as the millennium drew to a close. This perspective might have been influenced by the collective mindset of the creators of national epics and traditional histories. The imagery portrayed in these dreams could be described as the "archetype of chaos" and these narratives could be referred to as "ideological epics". In instances where the liberator hero was born from within the nation, the pattern of the dragon-slaying hero, a prevalent motif in world literature was crafted and explored. Conversely, when the liberator emerged from foreign lands, the focus shifted to reinterpreting the societal chaos caused by the transgressions of the common people. This variation deviated slightly from the previous example. Within this framework, the foreign hero was endowed with a lineage and characterized in accordance with the myths of the respective nation.In the process of character development and plot construction within the discussed story, a notable contrast was established between the newly emerged king and his predecessor, portraying the former in a confrontational and less revered manner. Following this, the interpreter shed light on 4 key facets of the newly emerged individual's character: his fascination with women, his inclination towards novelty and wonder, his respect for wise elders, and his superiority within this societal class. This characterization was conveyed through the bestowal of 4 symbolic items upon Alexander: King Kida’s daughter, a unique cup, a philosopher, and a specialized doctor. In this regard, the dreams of King Kida served as an indirect means of characterizing both Alexander and King Kida. The lack of sanctity associated with kingship in King Kida's dream served as a commentary on his own ineffective rule and those of other contemporary kings within the realms conquered by Alexander the Great. This process could be understood as "mythologization of historical figures", a phenomenon that had been witnessed throughout history across various cultures, particularly in Iran, when constructing biographies of historical figures like Alexander, Abu Muslim Khurāsāni, Ashkāniān and Sāssānian kings, religious figures, Mongol and Turkic conquerors, Safavid kings, and many others. 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