فولکلوریک در آثار داستانی ابوالقاسم پاینده

یکی از رویکردهای داستان‌نویسی نوین، ورود فرهنگ عامه شامل گویش، آداب و رسوم محلی، اصطلاحات، ضرب‌المثل‌ها و باورها و اعتقادات در ادبیات داستانی است. دلیل این اتفاق را می‌توان ورود ادبیات داستانی به زندگی مردم عادی و برخاستن از بطن جامعه و دغدغه‌های مردم عامی دانست که به‌ناچار ادبیات داستانی را با فرهنگ عامیانه عجین می‌کند. در این میان، یکی از داستان‌نویسان معاصر که در آثار داستانی خود به این مقوله پرداخته، ابوالقاسم پاینده نجف‌آبادی است. در این مقاله ضمن معرفی این نویسنده، به بررسی یکی از شاخصه‌های برجسته آثار داستانی او یعنی فرهنگ عامه می‌پردازیم که به‌حق داستان‌های او آیینۀ تمام‌نمای فرهنگ مردم محل و زمان او بوده و سبب شده است آداب و رسوم، باورها و اعتقادات، ضرب‌المثل‌ها، زبان محلی و تمامی مطالبی که فرهنگ یک منطقه را به نمایش می‌گذارد در آثار داستانی این نویسنده درخشش پیدا کند و ضمن معرفی فرهنگ «شهرک نون» بر ملی و ایرانی بودن داستان‌های او تاکید کند و  بر دست‌مایه طنز داستان‌هایش بیفزاید و سبب شود خواننده بهتر با قلم پاینده انس بگیرد.

Folklore elements in Ab olQasem Payandeh’s works

Folklore is considered as one of the indispensible features of Payandeh's stories. Folklore in his stories included the use of popular beliefs in social, religious, superstitious and medical fields. Local dialects and lexicon are used frequently, Current proverbs among communities is one of the symbols folkloric literature which abound in the works of Payandeh. Due to the fact that Payandeh deals with different classes of people in his prose works, his stories contain literary, media and local features and rarely do others works contain all these together. The characters in his stories from intellectuals to peasants, feature their own linguistic features. The fact juxtaposes dialectic and aesthetic features with each other. His prose style alternates as the speakers change. Therefore, we expose to a realistic linguistic atmosphere when common people speak. On the other hand, when the intellectual class speaks, the language becomes pompous, formal and pretentious. Two important reasons lead to this impressionability of Payandeh's stories from pop culture: 1. Writer's hometown 2. The environment where these stories have taken place. The local customs and beliefs applied in his stories are divided into three categories: 1. Social customs and beliefs including those concerning pilgrimage, burials, marriage, inheritance and so on. Metaphysical issues such as jinn, cosmology, charm, chance and fate are also referred to. 2. Religious customs and beliefs: Writer's hometown is known as Dar alMomenin and abounds with pure religious beliefs which have manifested themselves in his works. Beliefs such as prohibition of drinking and usury are rooted in the beliefs of his community. 3. Superstitious beliefs: Superstitions are popular beliefs which are severely criticized in Payandeh's stories with a comic tone. Among these superstitions are those related to eclipse, looking into mirror and bad omen. 4. Medical beliefs: Ancients' beliefs in metaphysical power and their ability for curing diseases are frequently referred to in his stories. They include popular beliefs in charm, magic, mystery and traditional remedies. 5. Proverbs and ironies: Proverbs in Payandeh's stories are visible in high frequency and they are also sometimes altered comically. Irony, in the same vein, is applied every now and then in his stories. His stories are sometimes replete with the use of irony. According to Nasrehesfahani, the most conspicuously used figure of speech which is rooted in popular beliefs is irony. After simile, he believes irony is the most effective means of giving his stories the required sense of imagination. 6. Slang Language: Various elements of slang language are obvious in his stories which make them as close as possible to pop culture. Recently a new books is compiled through the scattered notes left by Payandeh which is entitled Ghadamgahe Shahrake Noon.