داستان گمشده‌ مرگ زال و تحلیل اساطیری شخصیت و فرجام وی بر مبنای نقد پسایونگی

نقد پسایونگی، در ادامه‌ رویکرد نقدیونگی کلاسیک و در نقد و تکمیل آن شکل گرفته‌است. با توجه به ابهام فرجام زال در منابع و شهرت تحلیل‌های مبتنی بر جاودانگی او، این جستار، روایت گمشده‌ مرگ زال را برای اولین‌بار در نسخ شاهنامه شناسایی کرده، نسبت آن با اسطورۀ زال در شاهنامه‌ فردوسی و منابع آن را تحلیل کرده‌است. به علت اینکه بیشترین تحلیل‌ها از اسطوره‌ زال، رویکرد یونگی، با تکیه بر کهن‌الگوی پیر خرد بوده، رویکرد انتخاب‌شده برای این تحلیل، رویکرد پسایونگی است. اهمیت نامیرایی زال در نقد یونگی باعث شده روایت میرایی زال، با این رویکرد پسامدرن نقد شود. در این دیدگاه، اسطوره‌ زال، معرّف شخصیت یک شَمَن باستانی با نقش واسطه‌ روحی بین خدای توتمی و مردمش، و خویشکاری تسلط بر جادو، شفادهندگی معنوی و دانش اشراقی است. تصاویر کهن‌الگویی مرتبط با این شخصیت، در دیدگاه یونگی، یک نقش مکمّل (ثانوی) در تشرّف قهرمان (رستم) به وی می‌داد؛ لیکن رویکرد پسایونگی، ضمن جانشینی الگوی پیر خرد با مرگ و تولد دوباره، معنای هسته‌ اسطوره‌ زال را به تشرف وی در مسیر وحدت با نیای توتمی‌اش توسعه می‌بخشد.

The Missing Story of Zal’s Death: A Mythological Approach to His Personality and Fate based on Post-Jungian Criticism

PostJungian criticism is an approach that has continued and developed Jungian criticism. Due to the ambiguity around Zal’s fate in the existing sources, and his reputation for immortality, the present paper has, for the first time, identified the narrative of the death of Zal in a manuscript of Shahnameh, and, then, analyzed the relationship between this new narrative and the myth of Zal in Ferdowsi’s Shahnameh and its sources. Because Zal’s immortality is important in Jungian criticism of this myth, the discovery of the story of Zal’s death is the most important reason for this paper’s PostJungian critical approach. The paper shows that archetypal images associated with the myth of Zal represent the character of an ancient shaman. This figure fulfills such functions as magic, mediumship between the nation and their totemic gods, witch doctor, spiritual healer and intuitive knowledge. From a Jungian perspective, the archetypal image of Zal’s personality gave him a complementary (secondary) role in the initiation of the hero (Rostam). But the postJungian approach replaces the old archetype of wisdom with the archetype of death and rebirth, and develops the core meaning of the myth of Zal to his initiation on the way to his unity with his totemic ancestor (Simorgh). Extended Abstract IntroductionThe fate of Zal in Shahnamneh is one of the most ambiguous parts of his story. In his book Osturehye Zal, Mohammad Mokhatari regards Zal as the human manifestation of Zarvan (god of time) and interprets his fate as his immortality, which is one of the most accepted interpretations of this story. Most of the studies so far have come to the same conclusion. The present study challenges this idea and holds that the absence of Zal’s death in the most widely read version of Shahnameh does not necessary mean that this story is missing in other sources of Shahnameh. Regarding his immortality, three different fates can be found for Zal in the sources of Ferdowsi’s era.  Theoretical FrameworkIn the present paper, the story of Zal is studied independently and his fate is examined based on some newly emerged documents that challenge the idea of his immortality held by most scholars. Here, the postJungian approach is adopted to examine the story of Zal as it enables us to compare this character with the archetype of the old wise man in Jungian psychology.  MethodologyThe missing story of Zal’s death in the older versions of Shahnameh is compared with a new text in the version kept in Berlin Library. The postJungian theory is utilized here to analyze the structure of the story of Zal and compare it with the Jungian archetype of the old wise man.  Discussion and AnalysisIn the version of Shahnamen in Berlin Library, after selecting Homay as his successor, Bahman is killed in a fight. In Bahmannameh, Azarbarzin, Faramarz’s son, accompanies Bahman in this fight but does not help him. But in the new version, he is Zal’s son and kills the dragon and Bahman at the same time in revenge for Farmarz’s murder, and Zal, who is beset by Bahman’s injustice dies in peace as he says prayers after hearing the news. In the archetypal, postJungian analysis, Zal is the shaman of a god. His death while saying prayers can be interpreted as the mystical concept of the voluntary death. His death can be related to the archetype of death and rebirth, symbolizing immortality.  ConclusionIn the Jungian approach, the old wise man is an element that completes individuality, such as the role Zal plays for Rostam. From a postJungian perspective, the archetype is based on the plurality of images, most of which in the story of Zal are connected with his role as a shaman. Zal is a medium that, with the help of the symbolic simorgh, protects justice and peace in the world and curbs natural forces. Zal cannot be regarded as the human manifestation of Zarvan, as Kiyoumars, based on older sources, seems to fit this description better. The most important archetype in the analysis of the story of Zal is the archetype of death and rebirth, which is the counterpart for the Jungian old wise man. Select BibliographyBal’ami, A. 1341 [1962]. Tarikhe Bal’ami. M. Bahar (eds.). Tehran: Vezarate Farhang.Bin AbiKhayr, I. 1370 [1991]. Bahmannameh. R. Afifi (ed.). Tehran: Elmi va Farhangi.Dinawari. A. 1364 [1985]. Akhbar alTaval. M. Mahdavi Damghani (trans.). Tehran: NeyFerdowsi. A. 1042 A.H. Shahnameh. Berlin: Berlin Library. No. 4252Ibn Athir. 1965. AlKamal fi alTarikh. Beirut: Dar ulSadir.Ibn Balkhi. 1363 [1984]. FarsNameh. G. Le Strage and R. Nicholson (eds.). Tehran: Donyaye Ketab.Mokhtari, M. 1379 [2000]. Ostourehye Zal. Tehran: Tous.Samuels, A. 2005. Jung and the PostJungians. New York Press: Routledge.Tabari, M. 1352 [1973]. Tarikh alRusul va alMuluk. A. Payandeh (trans.). Tehran: Bonyade Farhang.Tha’alibi, A. 1368 [1989]. Ghurar Akhbar Muluk Furs va Seyrahum. M. Fazayeli (trans.). Tehran: Qatreh.