ساختار طرح در «نمايشنامه وكروم اروشي» بر اساس بوطيقاي ارسطو

The Plot Structure of Vikramōrvaśhi Based on Aristotle’s Poetics

ﻧﻤﺎﯾﺸــﻨﺎﻣﻪ ﯾﮑﯽ از ﮔﻮﻧﻪﻫﺎي ﻣﻬﻢ ادﺑﯽ اﺳــﺖ ﮐﻪ در ادﺑﯿّﺎت اﯾﺮان ﮐﻤﺘﺮ ﺑﻪ آن ﺗﻮﺟﻪ ﺷــﺪه اﺳــﺖ. داﻧﺶ ﭘﮋوﻫﺎﻧﯽ ﮐﻪ ﺟﺮات ﮔﺎم ﻧﻬﺎدن در اﯾﻦ وادي را ﻣﯽ ﯾﺎﺑﻨﺪ، ﻣﻮﻓﻖ ﺑﻪ ﺻــﯿﺪ دُرر ارزﺷــﻤﻨﺪي از ﺟﻨﺲ اﺳــﺎﻃﯿﺮ، ﻓﺮﻫﻨﮓ، ﺗﺎرﯾﺦ، داﺳــﺘﺎن، ﻋﺮﻓﺎن، ﻓﻠﺴــﻔﻪ، ﺑﺎورﻫﺎ و ﻋﻘﺎﯾﺪ، زﺑﺎن و دﻗﺎﯾﻖ ادﺑﯽ ﻣﯽﺷــﻮﻧﺪ ﮐﻪ ﮔﺮ ﭼﻪ ﺳــﺨﺖ ﺑﻪ دﺳـﺖ ﻣﯽآﯾﺪ، ﺑﻪ دﺳـﺖ ﻫﺮ ﮐﺴﯽ ﻧﻤﯽآﯾﺪ. وﮐﺮوم اروﺷﯽ، ﻧﻤﺎﯾﺸﻨﺎﻣﻪاي ﺷﺮﻗﯽ ﺑﺮﺧﺎﺳﺘﻪ از ﺳﺮزﻣﯿﻦ ﻫﺰارﺗﻮي ﺗﻤﺪن و ﻋﺮﻓﺎن و ﻓﻠﺴـﻔﻪ اﺷـﺮاﻗﯽ ﻫﻨﺪ اﺳـﺖ ﮐﻪ ﺗﻮﺳـﻂ ﮐﺎﻟﯿﺪاس، ﯾﮑﯽ از ﺑﺮﺟﺴــﺘﻪﺗﺮﯾﻦ ﻧﻮﯾﺴﻨﺪﮔﺎن ادﺑ ﯿّﺎت ﺳﺎﻧﺴﮑﺮﯾﺖ ﻫﻨﺪ، ﺗﺤﺮﯾﺮ ﺷﺪه اﺳﺖ. ﻧﻮﯾﺴﻨﺪﮔﺎن اﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮ آﻧﻨﺪ ﺗﺎ ﺳﺎﺧﺘﺎر ﻧﻘﺸﮥ داﺳﺘﺎﻧﯽ اﯾﻦ ﻧﻤﺎﯾﺸﻨﺎﻣﻪ را ﺑﺮ اﺳـﺎس ﺑﻮﻃﯿﻘﺎي ارﺳـﻄﻮ، ﺑﻪ روش ﺗﻮﺻـﯿﻔﯽ- ﺗﺤﻠﯿﻠﯽ و ﺑﺎ اﺳﺘﻔﺎده از اﺑﺰار ﮐﺘﺎﺑﺨﺎﻧﻪاي ﺑﺮرﺳﯽ ﮐﻨﻨﺪ ﺗﺎ ﺑﻪ اﯾﻦ ﺳـﻮال اﺻـﻠﯽ ﭘﺎﺳﺦ داده ﺷﻮد ﮐﻪ ﺑﺎ وﺟﻮد ﻣﺸﺎﺑﻬﺖﻫﺎﯾﯽ ﻫﻤﭽﻮن آﻏﺎز و اﻧﺠﺎم ﻧﻤﺎﯾﺶﻫﺎ، وﺟﻮد ﺷﺨﺼﯿﺖﻫﺎ، ﮔﻔﺘﮕﻮﻫﺎ، و... آﯾﺎ ﺳﺎﺧﺘﺎر ﻧﻤﺎﯾﺸﻨﺎﻣﻪﻫﺎي ﮐﻬﻦ ﻫﻨﺪ ﻗﺎﺑﻞ ﺗﻄﺒﯿﻖ ﺑﺎ ﺑﻮﻃﯿﻘﺎي ﻧﻤﺎﯾﺸﻨﺎﻣﻪﻫﺎي ﮐﻼﺳﯿﮏ ﯾﻮﻧﺎن ﻫﺴﺖ؟ ﻧﺘﯿﺠﮥ ﺗﺤﻘﯿﻖ ﻧﺸـﺎن ﻣﯽدﻫﺪ ﮐﻪ ﺑﺎ وﺟﻮد ﻣﺸﺎﺑﻬﺖﻫﺎيِ ﻧﺎﮔﺰﯾﺮ، ﻧﻤﺎﯾﺸﻨﺎﻣﮥ وﮐﺮوم اروﺷﯽ ﺳﺎﺧﺘﺎر ﺧﺎص »داﺳﺘﺎن در داﺳـﺘﺎن« ﺷـﺮﻗﯽ را دارد. ﻃﺮح داﺳـﺘﺎن ﺷـﺎﻣﻞ روﯾﺪادﻫﺎﯾﯽ ﺟﺎﻧﺒﯽ ﺑﺎ ﺳــﺎﺧﺘﺎر اوﺟﮕﺎﻫﯽ اﺳﺖ ﮐﻪ ﻫﺮﯾﮏ اﺳـﺘﻘﻼل اﺟﺮاﯾﯽ دارﻧﺪ و از اﯾﻦ ﺟﻬﺖ ﻧﻤﺎﯾﺸﻨﺎﻣﮥ ﻫﻨﺪي ﺳﺎﺧﺘﺎري اﭘﯿﺰودﯾﮏ دارد. دﺧﺎﻟﺖ ﺧﺪاﯾﺎن و ﻧﯿﺮوﻫﺎي ﻓﺮازﻣﯿﻨﯽ ﻧﻤﺎﯾﺸﻨﺎﻣﻪ را از ﺳﺎﺧﺘﺎر ﻋﻠﺖ و ﻣﻌﻠﻮﻟﯽ ارﺳﻄﻮﯾﯽ دور ﮐﺮده ﺧﺮدورزي ﮐﻼﺳﯿﺴﻢ را از آن ﻣﯽﮔﯿﺮد و ﺑﻪ ﺟﻬﺖ اﻋﺘﻘﺎد ﺑﻪ ﮐﺎرﻣﺎ در ﻣﯿﺎن ﻫﻨﺪوان، ﭘﺎﯾﺎن ﻣﺸـﺨﺼـﯽ ﺑﺮاي ﻧﻤﺎﯾﺸﻨﺎﻣﻪ وﺟﻮد ﻧﺪارد و ﺑﻨﻮﻋﯽ، ﭘﺎﯾﺎن وﻗﺎﯾﻊ آن ﻣﺴﺎوي ﺑﺎ آﻏﺎز دﯾﮕﺮي اﺳﺖ ﮐﻪ ﺑﻪ ﻧﻤﺎﯾﺸﻨﺎﻣﻪ ﺣﺎﻟﺘﯽ دوراﻧﯽ ﻣﯽدﻫﺪ.

The play is one of the most important literary genres that has been underestimated in Iranian literature. Vikramōrvaśhi is an eastern play from the labyrinthine land of civilization, mysticism, and illumination philosophy of India, written by Kālidāsa, one of the most prominent writers in the Sanskrit literature of India. The authors of the present paper intend to study the plot structure of this play based on Aristotle’s Poetics by an analytical-descriptive method and using library instruments in order to answer the main question of this research: Are the structures of the old Indian plays comparable to the poetics of classical Greek plays despite their similarities such as the beginning and the performances of the plays, the presence of characters, conversations, etc.? The results of the present research indicate that, despite the inevitable similarities, Vikramōrvaśhi’s play has the story-in-story structure of the Eastern stories. The story plot includes side events with a climatic structure each of which has an executive independence, and accordingly, the Indian play has an episodic structure. The intervention of deities and the extraterrestrial forces have moved the play away from the Aristotelian cause and effect structure, and removed the wisdom of the classicalism from this play, and due to the Hindus’ belief in karma, there is no definite end to the play, and in some way the end of the events equals another beginning which gives the play a circular state.