In classical narratology (structuralism), more attention was paid to two aspects: narrating and showing, speaking and acting; rather, classical narratological theories tried to clearly show the boundary line between these two objects. In modern narratological teachings, the border between them is presented in a "washed" way, and the main focus is on the fact that there is an easy and spontaneous transition from one of them to the other. This is the narratological basis of the construction of a novel, story, or any literary text.
In Vahid Mammadli's novel "Oak-Wrapped Grapes" we see exactly this provocation - throughout the novel, in the dialogue and behavior of the characters. If we take the expression "motivation of development" as a concept, we can say that the way events unfold in this type of narration mode, its impact on the reader, the transition from event to event "disappearing" at one point of development, and its invisibility evoke such an impression that the author as if having left the stage after saying a few words, the literary text is arbitrarily constructed and destroyed by the readers who have already begun to read it, the broken pieces come together again, also in this way: the occasional break and disintegration of the plot line until the last scrap of this strip remains. has the element of continuity; but this itself brings the entire text to the author's hand, under his pen, and the author joins the readers. This "joining" is not real, but virtual, since the event is organized from a love affair, everything should be in this gaziya, that is, the adventure world connected with the heart, soul, things that a person can never forget, and all the joy and sorrow that will happen to a person under the umbrella of reality. , should contain all the fireworks of terror and joy. The postulate of "developmental dynamism", which we have not yet been able to fully explain in Vahid's novel, is the core of the literary text. no matter what... not losing the values he would die for becomes the main theme. The author smoothly transitions from narration to showing, from ordinary storytelling to stage actions and settings, so that the reader sees himself in these events, surrounded by the mirage of described and shown feelings. He also feels, as if it were a mistake, the aura of the objects that several characters couldn't forget until the last breath of the day they died, the smell of the aura that was very valuable to him, the colors and fragrances that remind him of the feelings of that day.
Since description and presentation are the main thing in the development, in fact, because their transition moment plays the role of the ground, it brings to the screen the moments when the human heart surrenders to love, at the border between the maximum limit of speed and extinction, at the moment of transition that represents the essence of these two. How is it that Vasif, who is sane in real life, grew up in suffering from his childhood to this day, but never loses his temper in life, is deceived by an ordinary fairy tale and legend? How does it happen that when he was on an excursion, he voluntarily believed that the white light would become whiter when the vine and the oak tree were intertwined. Looking at the legend is the main thing, no matter what happens, you must first plant the seeds of what you want to see in your heart and soul, so that in the halo of white light, my face can turn into the girl you loved with all your heart, lost, whose hopes to find were destroyed. The events, accidents and twists and turns that happened to Unal Vasif were written in advance when they were children. No matter what you are, as soon as the light of instant joy and gaiety dies, a great tragedy must break out, such a tragedy that you must hold your tongue while watching it somewhere behind thick glass. It is in this environment that Unal watches the scene where Pakizen died under the car, and this is not an ordinary, ordinary spectacle, one watches as much as he can. In other words, the pure love of childhood is already lost, you lose the person you love with all your heart, the beauty you will die for, once and forever. After that, as the scenes of years of suffering replace each other, you can see that woman, the goddess of beauty, but as soon as you reach her, everything, all the lights must be extinguished. It should be extinguished so that Unal, in the image of Vasif, waits for the moment when the wonderful white light becomes the excitement of his heart. Life, life takes refuge in a single point, in his eyes, the whole world is filled in this exciting and intense point. One point, cure...
If there are no wishes and desires in the heart of a person that can never be fulfilled, and if he does not feel this with his whole heart and soul, with the most terrible and irreparable pain, then he will certainly not believe in the most fantastic things. This fairy tale in the depths of the forest suddenly appears in front of him, and what is also mysterious is that the vine wrapped in the oak leaves the real life by separating from his heart and soul, which we described above, and leaves the forest.
