تحلیل شخصیت‌ رستم و اسفندیار بر اساس عنصر کشمکش

داﺳﺘﺎن رﺳﺘﻢ و اﺳﻔﻨﺪﻳﺎر از فنی ﺗﺮﻳﻦ داﺳﺘﺎن ﻫﺎ از ﺣﻴﺚ ﭘﻴﺮﻧﮓ، شخصیت ﭘﺮدازی و ﮔﻔﺖ وﮔﻮ اﺳﺖ ﻛﻪ ﭘﺲ از ﮔﺬﺷﺖ ﻗﺮنﻫﺎ ﺑﺎ اﺳﻠﻮب داﺳﺘﺎنﻧﻮیسی ﻣﺪرن ﻣﻄﺎﺑﻘﺖ می ﻛﻨﺪ. در اﻳﻦ ﭘﮋوﻫﺶ ﺗﻼش ﺷﺪه اﺳﺖ، وﻳﮋگی ﻫﺎی اﺧﻼﻗﻲ رﺳﺘﻢ و اﺳﻔﻨﺪﻳﺎر ﺑﺎ ﺗﻜﻴﻪ ﺑﺮ ﮔﻔﺖوﮔﻮﻫﺎ و ﻛﺸﻤﻜﺶﻫﺎﻳﺸﺎن ﺗﺒﻴﻴﻦ و ﺗﺤﻠﻴﻞ ﺷﻮد. ﻛﺜﺮت ﮔﻔﺖوﮔﻮ در داﺳﺘﺎن ﻓﺮﺻﺖ ﺑﻴﺸﺘﺮی را ﺑﺮای ﭘﺮداﺧﺘﻦ ﺑﻪ دﻏﺪﻏﻪﻫﺎ، ﻛﺸﻤﻜﺶﻫﺎ و روﺣﻴﺎت در اﺧﺘﻴﺎر داﺳﺘﺎنﭘﺮداز ﻗﺮار میدهد و ﺑﻪ او ﻛﻤﻚ ﻣﻲﻛﻨﺪ ﺗﺎ از ﻻﻳﻪﻫﺎی ﭘﻨﻬﺎن ﺷﺨﺼﻴﺖﻫﺎ ﭘﺮده ﺑﺮ دارد. ﺑﺎ ﻣﻄﺎﻟﻌﻪ ی اﻳﻦ داﺳﺘﺎن ﻣﺸﺨﺺ می ﺷﻮد ﻛﻪ ﺑﺨﺶ ﻣﺤﺪودی از داﺳﺘﺎن ﺑﻪ ﻛﺸﻤﻜﺶ ﺟﺴﻤﺎﻧﻲ اﺧﺘﺼﺎص دارد و ﻛﺸﻤﻜﺶﻫﺎی دروﻧﻲ در ﻗﺎﻟﺐ ﮔﻔﺖوﮔﻮ و ﺗﻚﮔﻮیی ﻧﻘﺶ ﮔﺴﺘﺮدهﺗﺮی را اﻳﻔﺎ می ﻛﻨﻨﺪ. در ﺗﺤﻠﻴﻞ دو ﺷﺨﺼﻴﺖ اﺻلی ﻧﻴﺰ دﻳﺪه می ﺷﻮد ﻛﻪ اﮔﺮﭼﻪ ﻫﺮ دو ﺷﺨﺼﻴﺖ ﻛﺸﻤﻜﺶ ﻫﺎی درونی و ﺑﻴﺮونی ﺑﺴﻴﺎری دارﻧﺪ اﻣﺎ ﻫﺮ دو ﺑﻪ اﺻﻮل ﻓﻜﺮی و اﻋﺘﻘﺎدی ﺧﻮﻳﺶ ﭘﺎﻳﺒﻨﺪﻧﺪ و از آن ﻋﻘﺐﻧﺸﻴنی نمی ﻛﻨﻨﺪ. در اﻧﺘﻬﺎ وﻳﮋگی ﻫﺎی ﻛﺸﻤﻜﺶ ﻧﻤﺎﻳشی ﺑﻪ ﻋﻨﻮان ﺧﻼﻗﺎﻧﻪﺗﺮﻳﻦ ﻧﻮع کشمکش در اﻳﻦ ﻣﻘﺎﻟﻪ ﻣﻌﺮفی ﺷﺪه اﺳﺖ؛ ﺑﺪﻳﻦ ﮔﻮﻧﻪ ﻛﻪ شاعر ﺑﺮای ﺑﺮﺟﺴﺘﻪ ﺳﺎزی و ﻋﻴﻨﻴﺖ ﺑﺨﺸﻴﺪن ﺑﻪ ﺗﻘﺎﺑﻞ و ﻛﺸﻤﻜﺶ ﻣﻴﺎن شخصیت ﻫﺎ، ﻛﺸﻤﻜﺶ زﺑﺎﻧﻲ و ﺟﺴﻤﻲ (ﮔﻔﺖ وﮔﻮ و ﻛﻨﺶ) را ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻫﻤﺮاه می ﻛﻨﺪ و ﻣﻮﺟﺐ ﺟﺬاﺑﻴﺖ و ﺗﺄﺛﻴﺮﮔﺬاری ﺑﻴﺶ ﺗﺮ ﺑﺮ مخاطب می ﺷﻮد.

personality analysis of rostam and esfandiarbased on the element of conflict

the story of rostam and esfandiar is one of the most technical stories in terms of plot, characterization, and dialogue, which, after centuries, corresponds to the style of modern fiction. in this research, an attempt has been made to explain and analyze the moral characteristics of rostam and esfandiar based on their conversations and conflicts. the multiplicity of dialogues in the story gives the storyteller more opportunity to address the concerns, conflicts, and moods, and helps him uncover the hidden layers of the characters. reading this story makes it clear that a limited part of the story is devoted to physical conflict, and internal conflicts play a broader role in the form of dialogue and monologue. analysis of the two main characters also shows that although both characters have many internal and external conflicts, both adhere to their intellectual and doctrinal principles and do not retreat from them. finally, the characteristics of dramatic conflict are introduced as the most creative type of conflict in this article. more specifically, the present paper shows that the poet combines linguistic and physical conflicts (dialogue and action) to highlight and objectify the confrontation and conflict between the characters. this accompaniment between dialogue and action makes the audience more attractive and influential.