تحلیل اگزیستانسیالیستی روایت‌ها در گنبدهایِ غالیه و سپید براساس رویکرد نشانه- معناشناسی
محورهای موضوعی : پژوهشهای ادبیات کلاسیک ایران
عبدالباقی رضایی تالارپشتی
1
,
فاطمه دادبود
2
,
بهزاد پورقریب
3
1 - استادیار گروه زبان و ادبیات انگلیسی، دانشگاه گلستان، گرگان، ایران
2 - دانش آموخته دکتری زبان‌شناسی، واحد ساری، دانشگاه آزاد اسلامی، ساری، ایران
3 - دانشیار گروه زبان و ادبیات انگلیسی، دانشگاه مازندران، بابلسر، ایران
کلید واژه: نشانه معناشناسی, روایت‌پردازی, هفت گنبد, اگزیستانسیالیسم,
چکیده مقاله :
منظومۀ هفت گنبد نظامی گنجوی یکی از شاهکارهای نظام ادبی، فرهنگی و تاریخی به‌حساب می‌آید که در نوع خود بی‌بدیل و بی‌نظیر انگاشته می‌شود. همچنین این منظومۀ انسان‌شناسانه و هستی‌گرایانه با اصالت وجود بشری سروکار دارد و تلاش می‌کند تا سره را از ناسره تمیز دهد. این پژوهش قصد داشت با بررسی اولین روایت در گنبد غالیه و آخرین روایت در گنبد سپید براساس دیدگاه نشانه-معناشناسی به مطالعه مسیر حرکت روایت‌ها و جهش‌های معنایی حاصل از آن بپردازد. تحلیل روایت‌ها با بهره‌گیری از مولفه‌های نظام گفتمان روایی بُوشی صورت پذیرفته است. نتایج حاصله نشان می‌دهد که سیر روایت‌پردازی شاهدخت ایرانی و هندی تقریباً یکسان بود. شخصیت‌های اصلی این دو روایت دارای صفات زهد، پارسایی، وارستگی و محتشم‌منشی بوده است. به ناگاه در مسیر هستی و زندگی با اتفاقاتی مواجه می‌شوند که آن‌ها را به ظلمات و تاریکی درون سوق می‌دهد. با سلب دازاین اولیه و ایجاب دازاین معیوب به‌همراه نقصان معنایِ وجودی با مصائبی بسیاری دست و پنجه نرم می‌کنند. با عبور از این آشفتگی و ناهنجاریِ درونی، از تاریکی عبور کرده و به نور و استعلایِ درون که هدف غائی اصالت وجود است، دست می‌یابند. در انتهای روایت، شخصیت‌ها با جهش معناییِ شدیدی از موقعیت نابسامان خودپیش آورده به شرایط رهایی‌بخش از ظلمات و تجدید حیات اخلاقی می‌رسند.
Existential Analysis of Narratives in The
Black Dome and The White Dome Based
on a Semiotic-Semantic Approach
Abdolbaghi Rezaei Talar Poshti*
Fatemeh Dadbood**
Behzad Pourgharib***
Ganjavi's Seven-Dome poem system is considered one of the cultural, literary, and historical masterpieces of poem system, which has unique features. Furthermore, this anthropological and ontological system deals with the originality of human existence and tries to distinguish the good from the bad. This research aimed to study the trajectory of the narratives and the semantic mutation by examining the first and last narratives narrated in the Black and the White Domes based on the semantic-semiotic approach. The analysis of narratives has been conducted by applying the components of the existential narrative discursive system. The results have indicated that the tales of the Iranian and Indian princesses have had roughly a similar trajectory. The main characters of these narratives had the characteristics of asceticism, piety, emancipation, and grandeur. Suddenly, they encounter some mishaps and dilemmas in the path of existence and life that lead them to inner darkness and aberration. They have struggled with negation of the primary Dasein and the compliance of the defect along with the lack of existential meanings. By passing through this turmoil and inner abnormality, they could traverse the darkness and obtain the lightness and transcendence, which have been the ultimate goals of existence. At the end of the narration, the characters have been involved in severe semantic mutations from the self-created, disordered situation and led to redemption and moral revival.
KeyWords: Semiotic-Semantic, Narration, Seven Domes, Nezami, Existentialism.
Introduction
Life for a human being gets meaning not so much through cause-and-effect relations but through narratives and stories. Narratology, as an interdisciplinary area, investigates the frameworks of such narratives and reveals that the human mind is eternally constructing and reconstructing stories to understand the world and organize its experiences. On the other side, existentialism emphasizes freedom, individual responsibility, loneliness, absurdity, and death as a philosophical movement and has built the case for how human beings must create their own meanings in a senseless world.
The sole method of this study lies in the combination of narratology and existentialism for the analysis of two narratives from Nizami Ganjavi's Haft Peykar (The Seven Beauties). Its primary focus is to analyze how death is faced by the characters' existential crisis-as they experience the devolution from inner darkness to enlightenment, or salvation. The main question reads: How does Nizami, through the usage of symbolic narratives, give insight into such deep philosophical concepts as the quest for meaning, freedom, and moral responsibility?
Not only is it beautiful in aesthetic terms, but it also has an ontological dimension, for which it has been regarded as one of the masterpieces of Persian literature. The present paper, with a special focus on the Black and White Domes, employs semiotic-semantic research to investigate the often-hidden layers of meaning in the two narratives. It argues that interpreting these domes as the beginning and end points of the narrative journey can reveal an inner pattern of human change from suffering and absurdity toward enlightenment and transcendence.
This study hence opens a new avenue in text history by including an interpretation of Nizami that is philosophically charged. It'll probably draw ancient texts into posing questions that modern human beings care about concerning the meaning of life, freedom, and death. In this view, the research might serve as a bridge between literature, philosophy, and psychology while revealing classical Persian texts' interpretative potentials.
Research Methodology and Theoretical Framework
The investigation uses a semiotic-semantic approach and draws on Greimasian discursive theory to study the narratives of Nizami's Haft Gonbad. The methodology employs an analytical-descriptive design, in which the semiotic-semantic framework is used to elicit the hidden meanings behind the narratives. Thus, the signs are perceived as being in dynamic interaction with their cultural and cognitive contexts rather than isolated from them. Greimas's framework highlights discursive processes and the production of meaning through conflicting actions and internal tensions.
There are four stages in Greimas's system: virtual presence, potential presence, actual presence, and the final decision of the actors. It analyzes the very shift of the subject from semantic crisis towards existential transcendence. In this framework, the subject disavows Dasein ("being-in-the-world") and leaps into a new state, creating alternative meanings. Other existentialist concepts, such as freedom, absurdity, and death, developed by Sartre, Kierkegaard, and Nietzsche, are employed to interpret the narratives and express the characters' passage from suffering to enlightenment. A combination of semiotics-semantics and existentialism is what this study attempts, thus proffering a different reading of Haft Peykar that highlights the extent to which Nizami's narratives are representative of humankind's meaning-making process vis-à-vis existential crises. The main concern is how characters move from the darkness of the self to brilliance using Greimasian discursive mechanisms.
Discussion
Nizami Ganjavi, the prominent poet of the 6th century AH, narrates symbolic stories rich in profound mystical, moral, and philosophical meanings in his poem Haft Peykar (Bahram Name or Seven Domes). This work, the fourth poem in Nizami's Khamsa (Quintet), was composed around 17 years after Khosrow and Shirin and 9 years after Leyli and Majnun, at the age of 60. At the beginning of the narrative, Nizami blends spiritual and worldly aspects of life, praising the Creator and expressing devotion to the Prophet of Islam, while discussing transcendence from worldly limitations toward spiritual elevation. A notable feature of this work is the central role of women in the stories, who not only achieve personal perfection but also guide other characters, including Bahram, toward transformation and enlightenment.
In this epic, the Seven Domes, each associated with a color and a feminine narrative, impart life lessons, liberation from evil, and the attainment of goodness to Bahram. The two narratives of the Black Dome (Ghaliyah Dome) and the White Dome, as the beginning and the conclusion of this narrative journey, symbolize the transition from darkness to light, ignorance to knowledge, and the base self (nafsammara) to the assured self (nafsmutma'inna).
In the Black Dome, the tale of the King of the Black-Robed depicts a spiritual journey of a ruler who renounces worldly pleasures in pursuit of truth and attains mystical silence. This narrative can be analyzed through semiotics and Greimasian discourse analysis; the king distances himself from his initial Dasein (former existence) by navigating numerous semantic crises and eventually reaches secondary Dasein (new existence) after overcoming hardships. This transformation signifies the passage from surface meanings to inner truths, where silence represents ultimate realization and detachment from worldly attachments.
Conversely, the narrative of the White Dome (associated with Venus and Friday) tells the story of a devout young man who initially fails the test of temptation but attains salvation through repentance and returning to the path of righteousness. This story can also be analyzed within Greimasian theory: the young man faces a semantic deficiency, loses his initial Dasein during his struggle with lust, but through remorse and inner change, achieves a new Dasein, where divine and human values triumph over primal instincts. Nizami employs colors in these narratives as symbols of human inner states—black representing darkness and ignorance, and white symbolizing purity and enlightenment. Bahram, too, transitions from multiplicity to unity on this journey, achieving inner peace after passing through seven stages.
Therefore, Nizami’s narrative artistry in Haft Peykar is a blend of storytelling and practical wisdom. By employing narrative elements, colors, and symbols, he maps the spiritual evolution of humanity. The Black and White Domes, marking the beginning and the end of this journey, illustrate the transition from the darkness of the soul to the light of knowledge. This masterpiece not only reflects Nizami’s profound insights into ontology and human psychology but also serves as a guide to attaining a transcendent life and inner salvation.
Conclusion
Nizami Ganjavi, through the narratives of Haft Gonbad, seeks to portray the growth and transformation of Bahram Shah as a symbol of human transcendence. He illustrates the process of transformation and the journey through the seven valleys of love, using storytelling as a tool for narrative therapy. In this process, Nizami imbues existence with new meaning and elevates the world through narrative creation. Nizami’s stories prominently feature the use of symbols, particularly colors, as philosophical and spiritual tools to express profound ontological concepts. White symbolizes purity, salvation, unity, and transcendence, while black signifies self-purification, renunciation of worldly desires, and the majestic attributes of divinity in mysticism. By beginning his stories with black and concluding them with white, Nizami depicts the journey of humanity from multiplicity to unity. This color symbolism not only enriches the literary work but also reflects the philosophy of unity and spiritual evolution within Islamic mysticism. The interplay and progression between black and white illustrate themes such as solitude, anxiety, refinement, and transcendence in the inner transformation of humans.
From the perspective of Greimasian discourse theory, human existence in the world is dynamic rather than static. Feeling a sense of meaninglessness, individuals reject their initial Dasein and, through fresh experiences, create new meanings that lead to the recreation of existence itself. Nizami Ganjavi, through his mystical and moral narratives, simplifies the path to uncovering the hidden truths of the world. He utilizes contrasts, metaphors, and semantic techniques in storytelling to convey philosophical and ontological concepts to his audience. Considering the outstanding qualities of Nizami's works, he stands not only as an exceptional poet but also as a thinker well-versed in existentialist principles and narrative-based psychotherapy. Nizami’s works act as a bridge between Persian literature and philosophy, serving as valuable resources for understanding human and philosophical themes. He remains one of the greatest poets in the history of Persian literature.
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* Assistant professor of English language and Literature Department of English Literature, Faculty of Humanities, Golestan University, Gorgan, Iran.
** Ph.D in Linguistics, Faculty of Humanities, Islamic Azad University, Sari Branch, Sari, Iran.
*** Corresponding Author: Associate Professor, Department of English Language and Literature, University of Mazandaran, Babolsar, Iran.
b.pourgharib@umz.ac.ir
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