مستويات التحليل البنيوي في مسرحيه «صلاه الملايكه» انموذجاً

Among the components of human culture, literature includes a systemic deep structure. Based on this deep structure, a reader can understand the meaning of the surface structures. Originating from this view to the deep structure or the depth of the text, branches of literature and critical literature were created which sought to reveal the meanings by examining the interrelationship and replacement of the words for each other. In this approach, the major players in the creation of meaning are elements which exist in the text. This approach did not seek to reveal the meaning by examining socio-political condition of environment or individual characteristics of the writer. In the wake of some theories and debates in Formalism, Methodology, Semiology, and Linguistics, a school of thought in the middle of 20th century was created which was called structuralism. This branch of science looks at literary works as a text, including writing the plays which itself has specific principles and practices. With the development of this school of thought, critics looked at deep structure of the works. They examined melodic and linguistic structures and ignored out-of-the-text elements. These followers of structuralism looked at every play as a sentence which should be examined from linguistics point of view. Phonology, Grammar, Syntax, and eloquency of the work should be examined. Paradoxes between the terms, characters of the play, and events should be surveyed in order to reveal the paradoxes which exist in the mind of the writer. In this paper, "Prayer of the Angels" written by Tofigolhakim is examined in order to show the methodological, phonological, and lingual structures of the work. Paradoxes between the verbs, nouns, characters, and dialogues which indicate the paradoxes in the mind of the writer are examined. This paper intends to analyze the terms of structural critic and its application in Tofigolhakimʹs "Prayer of the Angels". This subject is surveyed from several points of view, including structure of the play scenes and revealing the variable and fixed elements of the text such as characters (actors), action, time, place, and expression of paradoxes. These are the paradoxes in the mind of the writer and his interpretation of the world. Also, linguistic, phonological, and combinatory structures of the text which include the ample application of strong (Shadideh) letters, Esmeyeh sentences, metaphors, and amphibology are analyzed. All of these structural levels have a role in the creation of meaning and enrichment of the text.