Iranian Persian Language and Literature Promotion Society Research on Mystical Literature HTTPS://JP 11 2 2017 07 23 The Structure of Narration in Three narratives of “Pir Changi” by Emphasizing the Ideas of "Gerard Genette” The Structure of Narration in Three narratives of “Pir Changi” by Emphasizing the Ideas of "Gerard Genette” 75 94 22196 10.22108/jpll.2017.82843.0 FA Roqaye Vahabi PhD Candidate of Persian Literature, Alzahra University, Tehran, Iran. Mahbobi Mobashri Associate Professor of Persian Literature, Alzahra University, Tehran, Iran. Journal Article 2014 02 09 This article deals with Gerard Genette’s ideas about narrative components: “command time”, “mood”, and “voice” in three narratives of “Pir Changi” story. The story of Pir changi was narrated for the first time in “<em>Asrar Altohid” </em>and after that “Attar Neishabouri” and “Mulana” also narrated the story with some changes. This study tries to investigate the differences between these three narrations. Even though this story is now well known with Mulana’s name, but the style of narrations and its type in “Asrar Altohid” is different. He used the mechanisms of narration in another level that can be considered higher than the other two. <br />The differences between <em>Asrar Altohid</em> and the other two narrations are: <br />1-       The narration is not linear. The author, with some flashbacks, narrates his story, exactly unlike the other two which have linear narrations. <br />2-       “Distance” is the result of the presence of the narrator in the narration. In this narration, the distance is very obvious. We have less distance in the other two stories. <br />3-       “Perspective” in this narration in internally-focalized. But the other two stories are non-focalized. <br />4-       The narrator in this narration has a part in the story. He is one of the minor characters means homodiegetic. But the narrator of “Attar” and “Mulana” are both out of their narrations. This article deals with Gerard Genette’s ideas about narrative components: “command time”, “mood”, and “voice” in three narratives of “Pir Changi” story. The story of Pir changi was narrated for the first time in “<em>Asrar Altohid” </em>and after that “Attar Neishabouri” and “Mulana” also narrated the story with some changes. This study tries to investigate the differences between these three narrations. Even though this story is now well known with Mulana’s name, but the style of narrations and its type in “Asrar Altohid” is different. He used the mechanisms of narration in another level that can be considered higher than the other two. <br />The differences between <em>Asrar Altohid</em> and the other two narrations are: <br />1-       The narration is not linear. The author, with some flashbacks, narrates his story, exactly unlike the other two which have linear narrations. <br />2-       “Distance” is the result of the presence of the narrator in the narration. In this narration, the distance is very obvious. We have less distance in the other two stories. <br />3-       “Perspective” in this narration in internally-focalized. But the other two stories are non-focalized. <br />4-       The narrator in this narration has a part in the story. He is one of the minor characters means homodiegetic. But the narrator of “Attar” and “Mulana” are both out of their narrations. https://jpll.ui.ac.ir/article_22196_30f68b218fa2223708b76f7bd2e4ee7d.pdf