دانشگاه اصفهان فنون ادبی 20088027 5 2 2013 10 23 Contemplation on Plot and Personification in Tehran Makhuf تأمّلی در پیرنگ و شخصیت‌پردازی تهران مخوف 1 20 19703 FA میرجلیل اکرمی استاد گروه زبان و ادبیات فارسی، دانشگاه تبریز محمّد پاشایی دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه تبریز Journal Article 2016 06 14 Story is one of the important and influential literary genres that deserves to research on its structure and content .By study and analysis of a story, the reader could comprehend the contextual messages and change his attitude toward life and different issues .After defining of the social novel, the author tries to analyze plot and personification in novel of Tehran Makhuf and respond to the questions on the method employed for plot and personification by the author and analyze it from plot and its components such as conflict, suspension and resolution and compare the differences and similarities between old tales and modern novels. The plot of Tehran Makhuf is not so complex due to its subject and content and natural order of events dominates on artificial discipline and it has open plot. Of main elements of plot, conflict is more outstanding here. This novel is full of emotional and moral conflicts and there is no similarity with historical novels that describe good and bad conflicts. Cause and effect relationship is main element of plot that shadows on the story events. In Tehran Makhuf, sometimes the author violates the principles and causes to imbalance in natural sequences of events , discomposing rational and experiential relationship, and takes action toward artificiality and unnatural suspension. In creating suspension by emphasis on incidences, Kazemi extremes in some cases and tries to found the story based on the considerable sequence of events and this conduct reduces quality of the story significantly and leads to imbalance in rational and acceptable discipline. Kazemi employs direct or reporting personification mostly. This novel lacks diversity in personage considerably .All characters speak in similar style and there is no particular speech style. The personification of Kazemi in Tehran Makhuf is interdependent in style of old tales and novel in European account. In some cases, he approaches to story characters specifications and in other cases, he distances from traditional personification due to familiarity with western countries particularly Russian and French writers .Indeed, it can be said that personification in Tehran Makhuf is passing from traditional to modern and western style. The characters of Tehran Makhuf are classified in two categories: the first category involves aristocrats and their purpose is power and wealth and prevention of any social shift. They are identified by traits like “reveler”, “hypocrite”, “stingy” and “rich” .The characters like Siyavash Mirza, F. Saltane, ShazdeK. and Ali Ashraf khan are in this group who are absolutely evil.The second category is identified by traits like “noble”, “loyal”, “sufferer “ and “patient” and they are common people. Characters like Farrokh, Javad, servant of Farrokh, Mahin and Efat are in this group and they are noble, humanely and good .The main and secondary personages are constant and static in this novel .They attend in the story without changing. All characters introduced by Kazemi in Tehran Makhuf are real and they reflect society realities. All the characters of this novel reflect historical and social realities of particular place and time. مشفق کاظمی در عصر رضاشاهی نخستین رمان اجتماعی فارسی را با محور قرار دادن حقوق و آزادی‌های زنان به رشتۀ تحریر درآورد. رمان‌های اجتماعی که بعد از این رمان در دهۀ اول و دوم قرن حاضر نوشته شد، هر چند از نظر موضوع و مرتبه هنری قابل قیاس با «تهران مخوف» نیستند؛ ولی براساس ساختار اجتماعی رمان مذکور طرح و پی ریزی شده‌اند. این پژوهش از بین عناصر داستانی، در پی واکاوی پیرنگ و شخصیت پردازی تهران مخوف و نقد و تحلیل آن است. طرح رمان «تهران مخوف» به اقتضای مضمون آن چندان پیچیده و تو در تو نیست و نظم طبیعی حوادث در آن بر نظم ساختگی غلبه دارد و رخدادها همواره در روایت به گونه‌ای هم بسته و زنجیر وار اتفاق افتاده است. تهران مخوف مملو از کشمکش‌های عاطفی و اخلاقی است و از این لحاظ به رمان‌های تاریخی که کشمکش‌های جسمانی و زورآزمایی «آدم خوب» و «آدم بد» را توصیف می‌کنند، هیچ شباهتی ندارد. نویسنده در این اثر از شیوۀ مستقیم و گزارشی برای خلق و پرداخت شخصیت‌ها استفاده می‌کند. شیوه شخصیت پردازی مشفق کاظمی در تهران مخوف هم بسته و پیوسته به شیوه شخصیت پردازی قصّه‌های کهن و رمان به معنای اروپایی و مرسوم آن است. شخصیت‌های داستانی تهران مخوف به دو جبهه تعلّق دارند و همه آن‌ها واجد شخصیت ایستا هستند. شخصیت‌های داستانی این اثر در خلال رمان به بلوغ نسبی نرسیده‌اند و به زبان خاص خود تکلّم نمی‌کنند. هر شخصیتی تنها رسالت پیش بردن داستان را بر عهده دارد و هویت مشخصی ندارد .

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