Analysis of Sheikh Sanaan’s Story Based on the Narratology of Claude Bremont

Analyzing the structure that governs the narrative forms of a story is one way to examine the elements of narrative from the perspective of structuralist theorists and narratologists. This approach provides a foundation for understanding the nature of literature and helps to expand the analytical frameworks for interpreting literary works. This research investigates and analyzes the story of Sheikh Sanaan, as presented in Attar's Al-Tayr Al-Masnavi, using Claude Bermon's structural theory through a descriptive-analytical method. According to Bermon, progress is the central element of narrative, and every story is evaluated based on its inherent progression. Each achievement is grounded in three functions: possibility, process, and consequence. From Bermon's perspective, characters are categorized as either active (subjects) or passive (objects). The story of Sheikh Sanaan, consisting of seven events and three interconnected sequences, aligns with the narrative pattern of Bermon. Sheikh Sanaan effectively embodies the role of the hero, transitioning between active and passive modes. The contributions of supporting characters ultimately lead to the story's success, showcasing Attar's artistry in narrative style and the systematic structure of Sheikh Sanaan's tale.
Introduction:
Analyzing the structural framework that governs narrative forms is a valuable approach to understanding the elements of storytelling, particularly from the perspective of structuralist narrative theorists. This method has established a foundation for comprehending the nature of literature and has contributed to the development of patterns for analyzing literary works. This research focused on the story of Sheikh San'an, as found in Attar's Mantiq al-Tair, and examined it through the lens of Claude Bremond's structural theory, employing a descriptive-analytical methodology.
According to Bremond, sequence is the fundamental element of a narrative, and each story can be analyzed based on its sequences. Each sequence comprises three functions: possibility, process, and consequence. The narrative of Sheikh San'an, which includes seven sequences and three sub-sequences (chain, concrete, and linked), aligns with Bremond's narrative model. In this story, Sheikh San'an adeptly shifts between the roles of agent and patient, effectively embodying the protagonist. With the assistance of supporting characters, he successfully navigates the course of the narrative. This dynamic illustrates Attar's skillful storytelling and the systematic structure of the tale of Sheikh San'an. Bremond's theory is versatile, allowing for the adaptation of its patterns to both ancient and contemporary stories.
Recent studies that have applied this framework include "A Structuralist Critique of the Novel “Dashtban” Based on Claude Bremond's Theory" by Tayyebeh Farhadi, Maryam Khalili Jahantigh, and Mohammad Barani (2020); "Structural Analysis of the Story of “Zahhak” Based on Claude Bremond’s Logic Pattern of Roles" by Mahdieh Melali and Mohammad Reza Nasr Esfahani et al. (2020); and "Analysis of the Story of Rostam and Sohrab Based on Claude Bremond's Narratology Theory" by Gholam Ali Fallah and Narges Afshari (2015). Regarding the story of Sheikh San'an, aside from the work by Mas'oud Rowhani and Ali Akbar Shoobkalayi (2011), which applied Greimas's actantial theory, no other studies utilizing contemporary narratological theories or Bremond's framework were identified.
Methodology:
This article employs a descriptive-analytical approach to extract and analyze the propositions of Claude Bremond's narratological theory as applied to the story of Sheikh San'an. In the descriptive phase, research data were gathered using library resources. Subsequently, these data were qualitatively analyzed through Bremond's narratological framework. Building on the work of Vladimir Propp, Claude Bremond introduces the concept of a "sequence" as the fundamental unit for story analysis, moving beyond Propp's specific functions. According to Bremond, each sequence reflects the transition from a state of equilibrium to disequilibrium and back to equilibrium (Scoles, 2004, 138-141). He identifies 3 foundational elements within each sequence:

A situation that has the potential for change
An event or change that occurs
A situation arising from either the realization or non-realization of that potential

Bremond categorizes sequences into three subtypes: 1) chain sequence; 2) concrete sequence; and 3) linked sequence. Furthermore, he distinguishes between two types of characters within stories: the agent (who influences and improves) and the patient (who benefits or suffers as a victim) (Todorov, 2000, 77).
Results and Discussion:
In Bremond's theory, the primary element of narrative is sequence. The story of Sheikh San'ān is structured around two main sequences at the beginning and end, along with five sub-sequences that occur throughout the narrative. Together, these seven sequences shape the overall story, allowing readers to comprehend the narrative as a cohesive whole. Bremond's model facilitates a comprehensive examination of changes in situations and sequences. By dividing the narrative into these distinct sequences, the analysis of this relatively short story becomes more concise. The classification of the three types of sub-sequences—chain, concrete, and linked—within Sheikh San'ān's narrative aligns seamlessly with Bremond's structuralist framework. Regarding the characters, there is a dynamic interplay between agency and patiency. The protagonist, Sheikh San'ān, effectively navigates these shifts, transitioning between states of agency and patiency. This adaptability is fully consistent with Bremond's narrative model, highlighting the complexity and depth of the character's journey.
Conclusion:
The analysis of the story of Sheikh San'ān through the lens of Claude Bremond's narratology theory yielded the following conclusions:

Flexibility and Adaptability: A key feature of Bremond's theory is its inherent flexibility and adaptability, which allows for the analysis of a wide range of narrative structures. This characteristic is essential for interpreting various narrative stories.
Protagonist's Journey: In the narrative of Sheikh San'ān, the protagonist does not confront a traditional villain or anti-hero. Instead, the story unfolds as he faces an antagonist, ultimately becoming a victim of his own desires. Although he initially appears to fail, Attar's narrative skill ensures that the story culminates in the protagonist's victory as he achieves his ultimate goal of unity and divine knowledge. This dynamic illustrates the potential for both failure and success in Sheikh San'ān's journey, aligning with Bremond's model, where his mid-story setbacks and eventual triumph are narratively justified.
Psychological Transformation: Bremond's model emphasizes the psychological transformations of the protagonist and other characters as they navigate various situations, shifting from agency (acting) to patiency (being acted upon). This transformation is vividly illustrated in the relationship between Sheikh San'ān and the Christian girl. At the beginning of the story, Sheikh San'ān is portrayed as a wise mystic, deeply knowledgeable and steadfast in his faith.

However, when confronted by the Christian girl, he entered a state of vulnerability, transforming into a lovesick, weak, impatient, and distressed figure. Analyzing Sheikh San'an's story through Bremond's theory allows for a breakdown of the narrative into interconnected smaller units, enhancing the reader's comprehension of the overall story and facilitating a more immediate understanding of its conclusion.