نوآوری در حکایت‌های تفسیر کشف‌الاسرار و عده‌ الابرار

کشف‌الاسرار افزون‌بر بُعد تفسیری و عرفانی در میان آثار صوفیانه ازنظر ادبی، روایی و هنری از جایگاه ویژه‌ای برخوردار است. کاربرد گستردۀ حکایت‌ها به‌همراه اظهارنظرهایی - کلی و مبالغه‌آمیز - درباب داستان­پردازی میبدی لزوم پژوهش‌های دقیق و درخور استناد را یادآور می‌شود. در این راستا و در پاسخ به مسئلۀ اصلی پژوهش که چگونگی نوآوری و خلاقیت میبدی در داستان­پردازی است، به‌شیوه‌ توصیفی-تحلیلی و به‌کمک جدول‌ها و نمودارها به بررسی ویژگی قصه‌ها و عناصر غالب داستانی در نوبت سوم جلدهای پنجم و ششم کشف‌الاسرار پرداخته‌ایم. ظرافت‌ها و جوانه‌های این نوآوری در سده‌ ششم چشم‌اندازی دقیق‌تر، واقعی‌تر و اصیل‌تر از جایگاه، کارکرد ‌و تحول قصه به‌دست می‌دهد. نمونه‌هایی از حضور شخصیت‌های متعدد، پویا، شخصیت‌پردازی باورپذیر، حضور موثر زنان، کاربرد حدیث نفس و انواع تک‌گویی، بیان لحن و حالت شخصیت‌ها در گفت‌وگو، زاویه‌ دید اول شخص و گاه تغییر زاویۀ دید، پرداختن به جزئیات صحنه، پیرنگ نسبتاً پیچیده و قوی، پایان پیش‌بینی‌نشده، تعدد درون‌مایه در یک حکایت و کاربرد شیوه‌ داستان­ در داستان خلاقیت میبدی را در روایت نشان می‌دهد. در 4 حکایت از 42 حکایت، پرداخت دقیق، عناصر داستانی قصه‌ها را به ساختار داستان کوتاه نزدیک می‌کند. ظرافت‌ها و نوآوری‌های هوشمندانه میبدی در زمینه‌ای از عشق و ایمان به حقیقت‌مانندی قصه‌ها و همراهی و همدلی خواننده در کشف‌الاسرار می‌انجامد.

innovation in the interpretation of the stories of kashf al-asrar and odat al-abrar

in addition to the interpretive and mystical dimension, the discovery of kashf al-asrar has a special place among the sufi works from literary, narrative, and artistic perspectives. the widespread use of anecdotes, along with comments - general and exaggerated - on meibodi’s storytelling reminds the need for careful and reliable research. in this regard, and in response to the main research question of the innovative and creative aspects of storytelling in meibodi’s works, using the tables and diagrams, we examined the characteristics of stories and dominant elements in the third chapter of the fifth and sixth volumes in a descriptive-analytical way. the delicacies and buds of this innovation in the sixth century ah provide a more accurate, realistic, and authentic perspective than the place, function, and evolution of the story. examples of the presence of multiple characters, dynamic, believable characterization, the effective presence of women, the use of the hadith and the types of monologues, the tone and mood of the characters in the conversation, the first-person point of view, the details of the scene, relatively complex and strong plot, the unpredictable ending, the multiplicity of themes in a story and the use of story style in the story show meibodi’s creativity in the narrative. in 4 stories out of 42 anecdotes, the detailed treatment of the story elements brings the stories closer to the structure of the short story. meybodi’s subtleties and smart innovations in a context of love and faith lead to the truthfulness of the stories and the companionship and empathy of the reader in kashf al-asrar. keywords: discovery of al-asrar, meibodi, storytelling, innovation, stories, anecdote.introduction the book kashf al-asrar and odat al-abrar contains more than four hundred stories and anecdotes, which, despite the diversity in form, story elements, and content, have a coherent structure as a whole and are mentioned under the verses on different occasions. meybodi has used various types of mystical, moral, realistic, extraordinary stories and honors, allegory, and allegorical stories in his work. in this study, kashf al-asrar stories are categorized and then analyzed based on the dominant and effective story structure and elements such as characterization, point of view, dialogue, time, scene and place, subject, and theme. analyzing and classifying the stories in order to discover the relationship between their form and content and presenting and highlighting the characteristics of the stories have been provided in response to the main theme of the research (i.e. innovation and creativity in the narration of the stories of kashf al-asrar). materials and methodsin this descriptive-analytical study, with the help of tables and graphs, we have investigated the characteristics of the stories and dominant elements of the story in the third edition of the fifth and sixth volumes of meybdi’s tafsir kashf al-asrar. the story features and elements are described, categorized, and then analyzed separately in each volume, and finally, a comparison between the stories of these two volumes and a summary is provided in order to show meibodi’s innovations in storytelling. the statistical sample of the research includes 30 anecdotes from the fifth volume and 12 anecdotes from the sixth volume. research findingsthe anecdotes in the third volume of meibodi’s kashf al-asrar are often short, however, there are also many characterful anecdotes among them. the bold and dynamic presence of female characters and showing women in the role of influential and instructive characters is the distinguishing feature of meibodi’s stories from most mystical stories. unlike most stories that have static characters, in these stories, we also encounter dynamic characters. the multiplicity of characters and attention to character details are considered to be meibodi’s innovations. most of the stories are told from the third-person point of view and some stories are told from the first-person point of view. in some anecdotes, we see a change of perspective in such a way that the story starts from the third-person perspective and changes to the first-person perspective in the middle or vice versa.dialogue in these stories has functions such as expressing the opinions, thoughts, and methods of different characters, giving some story information to the audience, creating suspense in the story, attributing the tone of the characters, and conveying the theme. in most of the stories, a general reference to specific times such as morning, night, dawn, evening prayer, etc. can be seen. most of the stories follow the sequence of time and events happen one after the other, but in some stories, we also see a return to the past. describing the scene and place or naming specific places can also be seen in anecdotes. although most of the stories take place in a vague time and place, the frequency of the names of specific places and times in the mystery stories cannot be ignored. the main content of the stories is derived from mystical, religious, and moral issues as well as common concepts among sufis. discussion of results and conclusionsexamples of the presence of multiple, dynamic characters, believable characterization, the effective and efficient presence of women, the use of hadith nafs and various monologues, the expression of the tone and state of the characters in the dialogue, the use of the first-person point of view and sometimes changing the point of view, and dealing with the details of the scene show meibodi’s creativity in narration. tales are expected to have a weak and simple plot, however, in mystery stories, we see examples that have a relatively complex and strong plot. the end of some stories is absolutely not predictable for the reader, although it cannot be said that the end of these stories will surprise the reader, in some stories, the story progresses in such a way that the end is not predictable for the reader. in some anecdotes, the author has used the style of a story within a story and has included several stories in one story. in addition, in some anecdotes, there are multiple topics or themes, and the author deals with different themes in one anecdote, in addition to the stated features that can be seen in most of the anecdotes and short stories, in 4 of the 42 anecdotes examined. the story is told in such a way that it is close to a short story from the point of view of structure and the precise use of story elements can be seen in these stories.