بررسی شگردهای داستانک‌پردازی در بحر طویل‌های ابوالقاسم حالت

کوتاه نویسی و کمینه گرایی در ادبیات داستانی در شکل گیری نوع ادبی «داستانک» موثّر بوده است. ایجاز و اختصار، به‌کارگیری بن مایه‌ جذّاب و دوری از زبان پیچیده از مولّفه های این گونۀ ادبی است. در بسیاری از مواقع سرایندگان بحر طویل تلاش می کنند به شیوۀ داستان پردازی، اندیشه های خود را به خواننده القا کنند. هدف از پژوهش حاضر، سنجش، ارزیابی و نشان دادن قابلیّت این نوع ادبی در پرداخت داستان است. این پژوهش به شیوۀ توصیفی-تحلیلی «بحر طویل» های ابوالقاسم حالت را بررسی کرده است و تلاش دارد به این پرسش ها پاسخ دهد که سراینده در داستانک های خود از چه شگرد ها و عناصری بهره گرفته است و چه ویژگی هایی از حکایات ابوالقاسم حالت با شاخصه های داستانک ها مطابقت دارد؟ براساس نتایج این پژوهش، ابوالقاسم حالت با تلفیق شیوه های کهن و نو داستان نویسی، نمونه هایی از داستانک های طنز خلق کرده است که به لطیفه ای بلند می ماند. تناسب الفاظ و مفاهیم که روشنگر پیام داستانک هاست، شگرد ویژۀ او در آفرینش این نوع ادبی است. جمله های پایانی داستانک ها را می توان نتیجه، هدف و عامل اصلی طنز دانست و این یکی از تفاوت های داستانک های بحر طویل با داستان های کوتاه است. حضور شخصیت های حقیر، گزینش برشی کوتاه از زمان، و محدویّت مکان از وجوه مشترک «بحر طویل» ها با داستانک است و طنزگونگی، بهره گیری از تمثیل و توصیف از عمده ترین تفاوت های حکایات بحر طویل با داستانک شمرده می شود.

Techniques of Minimalism in Persian Tercets of Abolghasem Halat

Abstract Literary minimalism led to the development of a new genre of minimalist stories. The present study investigates narrative features of minimal stories by Abolghasem Halat. It seeks to find answers to the following questions: 1) What minimalistic techniques are used in Persian tercets of Abolghasem Halat? 2) What elements of minimalist stories are found in his Persian tercets?   Discussion Abolghasem Halat is a Persian poet who masters Persian tercets in expressing his thoughts and creating minimalistic sarcastic situations. The most salient aspect of his narrative style is the use of consecutive adjectives for his characters that serves to 1) enhance the rhythm; 2) build humor; and 3) ccreate narrative empathy in the readers to reorient their thoughts. His stories feature two completely contrasting characters that differ in terms of physics and social ranking. The stories build upon their dialogues, conflicts, descriptions, attitudes, and desires. His stories portray symbolic and extraordinary people that create special situations through their comic and surprising behaviors. Moreover, Halat’s narratives correspond to the realtime of the events and match them in their duration, though in most cases time is ambiguous because the plot is bound to no specific time.  Halat’s greatness lies in his masterful combination of classic and modern narrative styles in creating a unique comic atmosphere. The present study claims that narrative eloquence, on the one hand, and reserved use of words/expression, on the other, are two key factors that differentiate his minimalistic stories. Metaphor and irony are backbones of Halat’s oeuvre that feed his stories and characterize his tercets. He also takes great advantage of fables. His tercets make up a set of stories that bear many similarities. His mastery in minimalistic stories is manifested in dialogues and actions, the combination of which instigates a sense of artistic capability in conveying social messages, on the one hand, and creates comic atmosphere, on the other. The beginning of many of his stories resembles anecdotes in that they all start with a description of characters. However, there are times that stories take more modern color and begin abruptly as if they depict a part of the protagonist’s life. They mostly surprise the reader. Almost all the stories end as the author expects the reader to partake in finishing the plot. This best justifies the comic sense behind the major events.   Conclusion Persian tercets are characterized by time and place constraints, disadvantaged characters, and realistic settings. More specifically, Abolghasem Halat uses humor, fables, and long descriptions that distinguish him from his contemporaries. The ending of his stories reflects the aim of his humor and broadly differentiates his style.