Structural and aesthetic analysis of Nafast-ol-Masdoor

Studying literary art has two types of problems. 1st the problems which are related to its primary material specified in usage of speech and word. The second are the problems related to the principles of structuring such art (Todorov, 2007: 127). The structuralism is a theory making recognition of the phenomena dependent to rules and models which create their fundamental structure. In the literature, structuralism includes searching in the structure of literary works and differentiating literary genres and analyzing a work into its components. One of the literary genres analyzed in structuralism school is the story. The story is “stating a line of events ordered according to time sequence” (Forster, 2006: 118) and owns components and elements which are assessed in the structural analysis of these elements, their relationship with each other and the whole story. It seems that although Nafast-ol-Masdoor includes historical issues and real events of the author’s time in some way it has formative components and elements of the story and is analyzable through structuralism models. According to the mentioned models in the structuralism of Nafast-ol-Masdoor and also based on sequence and order of the events brought in the text it can be perceived that designing the book is according to an organized order which can be called as “chronological time”. The other point is that Nafasat-ol-Masdoor is composed of six sequential series which are themselves divided by multiple equilibriums and issues. These six series have followed each other like a change. Therefore the following sequence is drawn from a story design according to the mentioned series: Equilibrium ……>losing equilibrium….> equilibrium The other conclusion is that the book is more the arena of the struggle of the editor and protagonist of this historical and social story. The struggles of the story are more physical ones; however, in most of the cases mental-physical struggles are seen simultaneously. Nafasat-Ol-Masdoor is worth thinking in two traditional (such as music) and modern aesthetics (such as using Persian and Arabic proverbs, words dance, goodness of the beginning, twist, and developing vocabulary and describing which itself includes situation description, characters, accidents and events description) and has many instances and the author’s insistence regarding being synthetic and stilted work, has itself caused creation of music types in his book and made his work rhythmic and full of melodious and exhilarating beauties.