بررسی تطبیقی مضمون و ساختار نمایشنامۀ «خسیس» مولیر و نمایشنامۀ «حکایت مرد خسیس» آخوندزاده

تئاتر به عنوان یکی از انواع ادبی‌، همچون پلی میان ادبیات و هنر نمایشی پیوند ایجاد کرده است. تئاتر بیشتر به دو گونه کمدی و تراژدی وجود داشته است. نوع تراژدی در گذشته بر نوع کمدی برتری داشت. در قرن هفده در فرانسه، با ظهور مولیر کمدی به شکوفایی رسید و تحولی در تئاتر کلاسیک ایجاد شد. در ایران نمایشنامه‌نویسی سابقة چندانی ندارد. اما اشکال سنتی و مذهبی آن همواره وجود داشته است. در این مقاله، ما به بررسی تطبیقی دو نمایشنامة کمدی یعنی خسیس مولیر و حکایت مرد خسیس آخوندزاده پرداخته‌ایم. در دو اثر مورد مطالعه، خصیصة خساست به عنوان یکی از بزرگترین آفات اخلاقی نشان داده شده که نه تنها روابط خانوادگی بلکه روابط اجتماعی را نیز تحت شعاع قرار می‌دهد. در این مقاله، ما از نظریات میشل ویینی در زمینة تئاتر و تقسیم‌بندی او از انواع طنز و نظریات مناندر، نمایشنامه‌نویس یونان باستان، در زمینة تقسیم‌بندی شخصیت‌های نمایشنامة کلاسیک بهره جسته‌ایم و به بررسی و مقایسه محتوا، شخصیت‌ها و ساختار دو اثر پرداخته‌ایم. هدف ما در این مقاله، ضمن بررسی جنبه‌های مختلف خصیصۀ خساست در دو نمایشنامۀ یاد شده، این است که این دو اثر را در موازات با هم قرار دهیم تا نشان دهیم آخوندزاده تا چه حد و چگونه در مضمون و در ساختار نمایشنامة خود از مولیر الهام گرفته است و همانند مولیر هدف او از نوشتن این نمایشنامه آشکار و برطرف ساختن معایب رفتار انسان و افشای مفاسد اجتماعی-سیاسی بوده است.

comparative study of theme and structure inmoliere’s play the miser and akhundzadeh’s the tale of the miserly man.

. introduction theater, as one of the literary types, has created a link between literature and performing arts. there have been two types of theater, comedy and tragedy. in the past, the type of tragedy was superior to the type of comedy. in the seventeenth century in france, with the appearance of molière, comedy flourished and a revolution took place in the classical theater. in iran, playwriting does not have much history. but its traditional and religious forms have always existed. in this article, we have done a comparative study of two comedy plays, molière’s the miser and akhundzadeh’s the tale of the miserly man. in the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships.in this article, we have benefited from the theories of michel viegnes in the field of theater and his classification of types of humor and the theories of ménandre, the ancient greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases akhundzadeh imitated molière and what was his purpose in writing this play.in fact, the era of comedy flourishing can be considered the post-renaissance era and the 17th century. with the emergence of playwrights such as molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. molière had a significant influence on the playwrights of the world and also influenced the iranian theater during the constitutional period. the plays of mirza fath ali akhundzadeh (1228-1295), an iranian writer, thinker and critic, were among the first plays written following european plays. the title, structure, characters, and content of his play the tale of the miserly man also convey his impression of molière’s the miser. methodology comparative literature arose in france in the nineteenth century. researchers of french comparative literature or the &french school of comparative literature& emphasized the issue of &relationship& between literatures. according to guyard, &the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures.& (guyard, 1958:12) with guyard and after him pierre brunel, comparative literature becomes more of a science than a type of literary criticism. in addition to the issue of historical investigation, yves chevrel also brings the issue of boutiques into this topic. in his opinion, &comparative literature should add comparative boutique studies to its studies.& (chevrel, 2016: 48) in the american school of comparative literature, which is led by rené wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: &everything it should be examined from the perspective of a literary work.& (brunel chevrel, 1989: 189-190) as mentioned, akhundzadeh was influenced by molière and the similarity between these two works is not accidental. therefore, in this article, our research will be comparative literature based on the french school and we will discuss the influence of thoughts and themes and the comparative style of two works. to examine the types of humor in these two plays, we will rely on the theories of michel viegnes, a french writer and researcher, and to examine the characters of the plays, we will rely on the theories of ménandre, the ancient greek playwright. discussion  3-1. content reviewas one of the freedom-loving playwrights of the qajar era, akhundzadeh criticized the traditional customs of the society through theater. moliere’s theater can also be defined as a realistic reflection of the performance of the members of a society. in this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. socio-political and anthropological satiremoliere’s play the miser and akhundzadeh’s play are both social comedies. moliere’s the miser depicts the bourgeois society of paris during the reign of louis xiv. harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in france, a stingy person is called harpagon. akhundzadeh’s story of the miserly man also portrays the society of iran in the early 13th century. in their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. in the preface of tartuffe, molière clearly states that &comedy can be effective in reforming some customs and traditions.& (molière, 2016: 5) in fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. according to akhundzadeh: &it should be known that what is meant by the art of &comedy& is moral refinement. it means knowing the ugly and beautiful of human nature by looking at the shape and resemblance& (adamiyat, 1349: 63).3-1-2. personality psychologyaccording to the theories of ménandre, the ancient greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) a slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (blanchard, 2000: 22-24) the main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. the choice of such characters actually shows the classicity of these two plays.