مقایسۀ تاثیر گفت‌وگو بر کنش داستانی «خسرو و شیرین» و «لیلی و مجنونِ» نظامی

این پژوهش  به بررسی عنصر گفت وگو در دو منظومۀ خسرو و شیرین و لیلی و مجنون می پردازد و جایگاه گفت گوها را در بافت موقعیتیِ دو داستان نشان می دهد. در بررسیِ صورت گرفته مشاهده شد که حدود 51  درصد از داستان خسرو و شیرین و حدود 28 درصد از داستان لیلی و مجنون را گفت وگو تشکیل می دهد. گفت وگوها در هر دو اثر منطبق با درون مایۀ آن است چرا که نظامی با توجه به تفاوت فضای دو داستان، شیوۀ بیان و کارکردهای متفاوتی برای گفت وگوها خلق کرده است. گفت وگو در خسرو وشیرین به دلیل پویا بودن شخصیت ها فراوانی بیشتر و کارکردهای متنوع تری نیز دارد. تنوع کمترِ انواع گفت وگو در لیلی و مجنون با عواملی چون  شیوۀ روایت داستان، شخصیتِ گوشه گیر مجنون و انزواطلبی و رازداری لیلی و به طور کلی ایستایی شخصیت ها مرتبط است. در مقالۀ حاضر به روش توصیفی و تحلیل محتوا به این پرسش پاسخ داده شده است که نظامی از چه نوع گفت وگوهایی در خسرو و شیرین و لیلی و مجنون استفاده کرده و تاثیر، هدف و کارکرد این گفت وگوها در این دو منظومه به چه صورت بوده است؟

A Comparative Study of the Effect of Dialogue on Action in Nizami’s Khosrow & Shirin and Leily & Majnun

Introduction“Dialogue” is a form of interaction between people that emphasizes the free exchange of ideas, mutual respect, and has a bearing on the narrative as well since by use of which the author other than describing the details of incidents or appearance of the protagonists can portray the “semiconscious” flow of the characters’ psyche and move the action forward (Forster, 1973: 110111)  Dialogue is a kind of “action” that helps with mobility and dynamism of the story considering that dialogue always flows between two sides or more (Mirsadeghi, 2015:606). By providing a medium for indirect narration and creating action and suspense, dialogue endows the story with depth and content. On top of that, “by dragging the characters into conflict and struggle, dialogue builds up tension in the story” (Campton 2013:111).The central questions in this study are as follows, What type of dialogues does Nizami employ in Khosrow o Shirin and Leily o Majnun? What is the purpose and function of dialogues in these stories, and what can be achieved by comparing the frequency and type of dialogues in these stories?   Research MethodologyTo analyze and compare the dialogues in Khosrow o Shirin, and Leily o Majnun, first the relevant verses were extracted and then examined through description and content analysis.   DiscussionOf 5130 verses narrating the tale of Khosrow and Shirin _from the beginning of the account of Khosrow and Shirin to the end where Shirin loses her life in Khosrow’s crypt_ 2546 verses that roughly amount to 51% of the tale, revolve around dialogues. In the case of Leily o Majnun, there are 2819 verses from the onset to the death of Majnun on Leily’s grave, 804 of which that is about 28% are dialogues, the sheer volume of which shows the significance of this element in the formation of the structure and acts as a motor that moves the story forward. Exploring all kinds of dialogues and their functions in the tale of Khosrow o Shirin and comparing the dialogues to Leily o Majnun testifies to the fact that Nizami deliberately employs this element to enrich his narrative, based on the milieu and locus of the story.These dialogues contain demand, reproach, description, hortation, action stimulus, inquiry, and retort, all of which are explored and compared in this study in both Leily o Majnun and Khosrow o Shirin.   ConclusionHalf of the structure in Khosrow o Shirin and about 28% of Leily o Majnun is propelled by the element of dialogue that in Khosrow o Shirin other than high frequency, has more variety and carries out more functions than the story of Leily o Majnun.Dialogues of demand in Leily o Majnun help with characterization and suspense, whereas in Khosrow o Shirin on top of these, are elements of denouement in the narrative. The most important point of conflict in Khosrow o Shirin, are those dialogues in which Khosrow asks to be reunited with Shirin, in response to which there raises reproach, threat, description and recounting, conceit and making excuse. In Leily o Majnun however, there is nothing Majnun demands of Leily, but the dialogues contain descriptions of Majnun’s disturbed mind and are a reason to explain the rejection of Majnun’s father’s marriage offer by Leily’s father. Characters in Leily o Majnun are described directly by Nizami, whereas in Khosrow o Shirin the descriptions of characters are inferred through dialogues. Frequency of future tense verbs of Khosrow and Shirin’s dialogues gives the story mobility and dynamism whereas in Leily and Majnun’s dialogues the frequency of past tense verbs in describing characters underscores the presence of Nizami as a narrator.Hortatory dialogues in Leily o Majnun mostly contain advising Majnun in keeping with the content of the narrative and Majnun’s state of mind. 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