پویایی عاشق و معشوق در هزار و یک شب

Abstract
Dynamics refers to the change in the attitude and actions of the characters things like: legerdemain, journey, material and spiritual tools, the role of fairies, superhuman powers in the story, etc. which are among the factors that cause the dynamism of the character of the lover and the beloved. In this article, the authors describe the above-mentioned factors in the twelve love stories of One Thousand and One Nights. At first, it was thought that the beloved had less action and dynamism than the lover, but we found that the beloved uses all the factors to achieve the lover in "crisis" and "Infrastructure". Therefore, the present study, which has been done analytically-descriptively, with a look at the intellectual infrastructure of the work, is an answer to the question: why the narrator sometimes has a sociological and semantic approach (attitude) to the formation of characters and sometimes to the superstructure and functions and actions pays attention to the characters? The results of the research show that in the story of One Thousand and One Nights, wherever the lover reaches a state of stagnation, the lover with a clear plan makes him dynamic and active. Besides, whenever the lover loses the beloved somewhere in the story, he tries to include a helper like a fairy in the process of telling the story in order to encourage and motivate the lover to travel. However, the lover of finds his lost circle and flourishes from inside and is freed from "individuality".
 
1-Introduction
     One Thousand and One Nights is a collection of folk tales that was probably created before the Achaemenids period in India under the name of "Thousand Myths" and later translated into the Pahlavi language during the Sassanid period.The narrator visualizes the theme of love. "I define dramatic visualization as the presentation of a thing or a person by describing in great detail or imitatively translating moods, movements, and conversations that give a particular scene a visual aspect. “Or it shows it in the eyes of the audience." (Pinalet, 1353: 39) In this research, we intend to show how characters are formed in the context of the story by examining and explaining the themes. Thematic patterns of the Thousand and One Nights, such as mediator solutions, beloved advice to the lover of all, change the attitude of the heroes, which Pinalt  refers  to  as  the "distribution of  recurring concepts" (Pinalt, 1974: 35), which they have moral and semantic implications. On the other hand, the actions of the heroes create the events that form the basis of the formal and structural modeling of the story. Therefore, by comparing the two types of modeling mentioned, it is determined how the content enriches and deepens the construction.

Statement of research problem and question

     Analyzing and explaining the understanding of the story depends on recognizing and explaining the characters that are intertwined and inseparable, so that awareness of their ideals, desires and aspirations becomes the basis of the story. Thus, "since in the story the plot is identified and planned before the characters, then the action is superior to the character." (Ricoeur, 1383: 80) In this study, the dynamics of the lover and the beloved is examined and the fact that in the syntactic chain of words, wherever the lover has reached a standstill and lost the beloved, in the axis of companionship, a helper like a fairy encourages and motivates the lover to travel and the dynamics of love and made it possible for him to achieve the goal. The issue of travel has helped to find the roots of the stories because in the stories that have Indian and Iranian roots in them the themes of "legerdemain" and "journey" are more visible, so the lover is more dynamic. With this approach, recent research is the answer to the following questions:- Why in the love stories of One Thousand and One Nights, the dynamism of the beloved, although seemingly less, is deep and effective?- Is there a connection between legerdemain and journey, which are of dynamic factors of lover, with the presence of fairies?
2-Research method
     The authors of this study first compiled a list of One Thousand and One Night love stories. From the love stories of One Thousand and One Nights, twelve stories were chosen in such a way as to express the totality of the work. Also in connection with the basic story of this work, namely; the story of "Shahriar and Shahrzad".
3- Discussion
In story number (5), the narrator uses the set of factors to show the dynamics of the lover and the beloved with the whole artist.The helper expands the construction of the heroes' attitudes and actions with the two main functions of solution and help, respectively.The characters have achieved different attitudes and actions by "executing the plan" and "disguising", and "journey" has been added to the breadth of the plot and color of the events, and "superhuman powers" have made the text better and more attractive.The collection of these global actions and behaviors has created a story that looks more spectacular and real than the real world. These factors help the reader to relate to the characters, and the events and happenings are attractive and experiential for her and illustrate pure events that are stable and noticeable over time and are attractive to the audience at any level and time.According to the dynamics of the lover (legerdemain factors): figure 1: Although the lover is more dynamic in quality factors such as map execution, fearlessness, and exchange, she is stronger in influencing the lover's action. This action is the main event because the narratives are "combined in a chronological or causal order and create micro-sequences; "Micro-sequences also form macro-sequences, and the whole narrative is made up of macro-sequences coming together." (Hurri, 2009:p. 194). For example, in story number (5), micro-sequences of emerald in secret indicate the dynamics and macro-features of Shahrzad. "Zomorod" uses a set of cause and effect factors to create micro-sequences. This micro-sequence secretly recounts all the dynamics of Shahrzad. "Women where the conflict in the story culminates ... secretly and indirectly but quite effectively ... they lead the narrative to their desired end." (Bayat, 2010:p. 92)
4) Conclusion

In the story of One Thousand and One Nights, love and dynamic beloved are the lost circle of human beings who saves the lover from individuality and leads her to social interaction and makes them fruitful and flourishing. 2. Different classes of society in the form of groups such as the maid or the king's daughter, each of them is effective in some way in shaping the society and by presenting different perspectives, they present a polygonal prism of the society. 3. The characters are the building blocks of the thousand and One Nights stories. By changing the attitude they create in themselves and the reader, they enrich the content of the stories. These elements create the entanglement between the structure and the content of the stories in such a way that they seem inseparable and attractive. 4. In Thousand and One Nights, wherever the lover reaches a state of stagnation, the lover with various effects and manifestations lends him dynamism and action. That is why the characters, although they are kind and stereotyped, become objective in their limit and go beyond the brigade and remain in memory. 5. The dynamic lovers of the story of the Thousand and One Nights, the mediators and helpers, by repeating their actions, create the "fictional world" while it is made by the mind - emphasizing its lyrical and lyrical aspects – invites lover to the meaning. Also, with the similarities that they create from the fictional world with the "reconstructed level" or "represented reality", they reconstruct the process of shaping the prince's psyche and show the perfect human model in front of his eyes in order to get rid of stagnation and manifest and Find it dynamic and radiant. 6. In stories involving fairies and superhuman powers; the ratio of "desire" and "alacrity" activates the lover and the beloved. Therefore, the fearless act of the lover involves the incident of imprisonment, and this incident causes the incident to become a story.

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