تحلیل عناصر گروتسک ( با تأکید بر گروتسک فمینیستی) و پیوند آن با کشمکش‌های نمایشی در قصه‌های هفت پیکر نظامی

This article analyzes grotesque elements, especially feminist grotesque, in selected stories of Haft Peykar by Nezami, focusing on stories such as Bahram and the Chinese Handmaid, The Tale of the Red-Domed Princess, the Black-clad King, the Legend of Good and Evil, and Mahan the Watchful. This research also examines the different ways in which grotesque is used to create dramatic tensions and portray human dualities, and states that grotesque in Haft Peykar functions not only as a technique for creating a sense of humor and wonder, but also as a tool for social and philosophical criticism. This research employs qualitative thematic content analysis and the findings of the research show that Nezami, by combining opposing elements, such as beauty and ugliness, love and death, and goodness and evil, invites the reader to think and reflect deeply on the nature of man and his existential challenges. Exaggerated characters, magical and abstract spaces, paradoxical situations and ambiguous symbols all help to create a grotesque atmosphere and create dramatic conflicts and tensions, each of which can be a reflection of the complexities of real life. Also, in this research, some stories were analyzed from the perspective of grotesque feminism, which represents the patriarchal social and cultural system of Nezami’s era. Furthermore, the analysis of the stories suggests that grotesque in Haft Peykar not only represents individual challenges, but also reveals broader dimensions of social and philosophical issues. This study also argues that the concepts of embodiment, magic, and fantasy elements give this work a deep and thought-provoking dimension.

Introduction and Problem Statement

The grotesque, as a literary and artistic technique, emerges from the fusion of contradictory elements such as beauty and ugliness, laughter and horror, and the real and the fantastic. Its function extends beyond mere shock or amusement, serving as a profound tool for social critique and philosophical reflection on the dualities of human existence. Nezami Ganjavi’s Haft Peykar (The Seven Beauties), a masterpiece of Persian literature, is replete with fantastic narratives, paradoxical characters, and supernatural events that provide a rich ground for grotesque analysis. While previous studies have examined grotesque elements in Haft Peykar through the lenses of theorists like Kayser and Bakhtin, a significant gap remains regarding the specific exploration of feminist grotesque and the systematic analysis of how these elements generate dramatic conflicts. This study addresses this gap by posing two central questions: (1) To what extent do the principles and objectives of the grotesque manifest in selected tales of Haft Peykar? (2) How are the dramatic conflicts in these tales connected to the grotesque elements employed by Nezami? The necessity and importance of this research lie in demonstrating the capacity of classical Persian literature to be reinterpreted through modern critical theories, thereby revealing new layers of cultural, social, and epistemological meaning.

Methodology

This research employs thematic content analysis and the primary source is the corrected text of Haft Peykar by Vahid Dastgerdi. The theoretical framework is constructed from foundational studies on the grotesque by scholars such as Philip Thomson, Wolfgang Kayser, and Mikhail Bakhtin, as well as contemporary theories on feminist grotesque derived from international sources (e.g., works by Mary Russo, and studies on postcolonial and feminist grotesque). The selected tales for analysis include: "Bahram and the Chinese Handmaiden," "The Tale of the Red-Domed Princess (the Lady of the Fortress)," "The Tale of the Black-Clad King," "The Tale of Good and Evil," and "The Tale of Mahan the Watchful." The analysis focuses on identifying and interpreting grotesque markers (such as paradoxical situations, exaggerated characters, magical transformations, and the fusion of disparate elements) and examining their role in creating dramatic tension and conflict.

Findings

The analysis reveals that grotesque elements are intricately woven into the fabric of Haft Peykar, functioning on multiple levels. In "The Tale of Good and Evil," the grotesque is manifested through the visceral act of removing the protagonist’s eyes; a horrifying deed that starkly contrasts with the subsequent magical healing and themes of forgiveness. This creates a primary dramatic conflict between pure good and absolute evil, resolved through an unexpected and violent act of justice (the beheading of "Evil"). " The Tale of Mahan the Watchful" is a quintessential grotesque narrative, populated with shape-shifting demons (Haila and Ghaila), an enchanted garden with a repulsive hag, and a journey through a nightmarish, surreal landscape. This external journey mirrors Mahan’s internal conflict between worldly desire and spiritual salvation. The dramatic tension is built through his successive, terrifying encounters, culminating in a moment of sincere repentance that brings divine intervention. In " The Tale of the Red-Domed Princess," the grotesque lies in the paradoxical juxtaposition of extreme beauty and lethal danger. The princess’s magical fortress, with its deadly talismans, transforms the pursuit of love into a life-or-death struggle, creating a dramatic conflict where Eros and Thanatos are intertwined. "The Tale of the Black-Clad King" presents a grotesque psychological drama. The king’s abrupt transition from a fantastical realm of desire back to a desolate ruin, followed by his adoption of black mourning clothes, generates a bitter, ironic humor. This creates a conflict between illusion and reality, desire and consequence, fundamentally altering his identity. " The Tale of the King Who Sold Handmaidens" and "Bahram and the Chinese Handmaiden" are particularly significant for the analysis of feminist grotesque. In the former, the beautiful yet emotionally cold handmaiden, haunted by a hereditary fear of death in childbirth, represents the grotesque distortion of female desire under patriarchal control. The scheming old woman further complicates the power dynamics among women. In the latter, the Chinese handmaiden’s clever use of paradox (juxtaposing a trained ox and an untrained onager) to challenge the king’s authority exemplifies a feminist grotesque strategy. She subverts the power structure from a position of apparent weakness, using wit and patience to transform herself from a purchased object into a respected wife. Across all tales, grotesque elements are the primary drivers of dramatic conflicts. These conflicts can be internal (man vs. himself), external (man vs. man, man vs. society), or cosmic (man vs. fate/supernatural), deepening the narrative tension and engaging the reader in profound philosophical contemplation.

Conclusion

This study concludes that the grotesque in Nezami’s Haft Peykar is not a superficial stylistic ornament but a central and sophisticated narrative strategy. It serves as a powerful lens through which the poet explores the fundamental dualities and existential challenges of human life. By blending the beautiful with the repulsive, the real with the magical, and the comic with the tragic, Nezami creates a space for deep reflection on morality, identity, desire, and the social order. The analysis of feminist grotesque, in particular, reveals the text’s critical engagement with the patriarchal structures of its time, exposing the constraints placed upon women while simultaneously showcasing their agency and hidden power. Furthermore, the grotesque is intrinsically linked to the construction of dramatic conflict, providing the impetus for plot development, character transformation, and the creation of suspense and catharsis. Ultimately, the grotesque in Haft Peykar invites the reader to confront the inherent paradoxes of existence, acknowledging that life itself is a grotesque tapestry woven from threads of light and shadow, joy and sorrow, and virtue and vice. This research underscores the enduring relevance of classical Persian literature and its capacity for dialogue with contemporary critical thought. Future research could expand this analysis to other works in the Persian canon, further illuminating the rich tradition of the grotesque in Eastern literature.