بررسی شخصیت‌شناسی فیروزشاه و عین‌الحیات در داراب‌نامۀ بیغمی برپایه‌ کهن‌الگوی آنیما

کهن‌الگوها میراث مشترک جای‌گرفته در ناخودآگاه جمعی نوع بشرند. کارل گوستاو یونگ، روان‌شناس انسان‌گرا، این موضوع را برای نخستین‌بار مطرح کرد. یکی از مفاهیم پربسامد در کهن‌الگوهای مدّنظر یونگ به‌ویژه آنیما، عشق است که به همۀ فرهنگ‌های بشری تعلق دارد. می‌توان عشق را صورتی کهن‌الگویی دانست که در روان آدمی جای گرفته و تجربۀ مشترک بشری به شمار می‌رود. به این اعتبار، افزون‌بر ادبیات، دانش روان‌شناسی نیز به آن توجه داشته است. مهم‌ترین کهن‌الگوی ازلی تشریح‌شده از یونگ، آنیما (روح مونث نرینه) است که جلوه‌های مطلوب و مخربی در نهاد جنس مذکر دارد. داراب‌نامۀ بیغمی اثری برجسته است که به تشریح ماجراهای عاشقانه و حماسی فیروزشاه با عین‌الحیات، دختر شاه یمن، می‌پردازد. تجلی عین‌الحیات در روایت‌های بیغمی به‌گونه‌ای است که می‌توان شخصیت او و تاثیراتش بر فیروزشاه را با مولفه‌های آنیمایی مدّنظر یونگ سنجید. نتایج این پژوهش که با استناد به منابع کتابخانه‌ای و روش توصیفی تحلیلی پرداخته شده است، نشان می‌دهد که «عشق و فردیّت»، «ازلیّت عشق»، «تجلی عشق (معشوق) در خواب و رویا» و «نمودهای منفی عشق (معشوقه)» اصلی‌ترین نمودهای آنیمایی عشق در داراب‌نامه است؛ همچنین اصلی‌ترین تاثیر آنیما بر شخصیت فیروزشاه، رسیدن او به مقام وزارت و پادشاهی است که نمادی از فردیّت و کمال شخصیتی به شمار می‌رود.

Evaluating Firooz Shah’s Personality Assessment and Ein Al-Hayat in Darabnameh of Beighami via Anima Archetype

Abstract Archetypes are considered as shared heritages within men’s collective sub/consciousness. Carl Gustav Jung first coined this concept. One of the most common concepts in archetypes is love, which belongs to all human cultures. Love as a common human experience can be considered an archetypal form embedded in the human psyche. Thus, it has been attended to within psychology departments too. Among those primeval archetypes described by Jung is the Anima (male’s female spirit), which has both desirable and destructive effects for the males. Darabnameh of Beighami is a prominent work that describes the romantic and epic adventures of Firuz Shah with Ein AlHayat, the daughter of the King of Yemen. The manifestation of Ein alHayat in Beighami’s narrations is such that the effects of his character  on Firuz Shah can be perceptibly measured by Jung’s Anime. The results of this library research using a descriptiveanalytical design showed that ‘love and individuality’, ‘eternity of love’, ‘manifestation of love (lover) in dreams and thoughts’, and ‘negative manifestations of love (mistress)’ are among the main Anime manifestations in Darabnameh. Moreover, the main effect of  Anima on the character of Firuz Shah is his upsurge to higher positions, which is a symbol of individuality and perfection of personality.   Introduction In this research, the reactions of Ein AlHayat were initially examined with an approach to the theoretical foundations designed in line with the archetype of Anima to provide a methodical reading of the category of love within classical Persian folk texts. Then, the personality of Firuz Shah and the process of his attainment of individuality, epistemological perfection and the role of the mistress in such a realization were investigated. Therefore, the purpose of the present study was not to provide a merely superficial comparison between the archetype of Anima and the character of Firuz Shah and Ein alHayat. The research questions in this study were: a) what are the Anime manifestations of the beloved in Darabnameh?; b) What dimensions within Ein AlHayat’s character are known vizaviz Anima archetype?; and c) What is the role of Ein AlHayat in the perfection of Firuz Shah’s personality with regard to Jung’s archetypal assessments?   Materials and Methods In this library study, detailed definitions of Jung’s archetypal theory (especially the Anima) are primarily presented. Then, the content categorization of the features of the Anima was completed and exemplary indications from Beighami’s text were cited and the analyses were finally conducted.   Discussion of Results and Conclusions The results of the present study showed that the archetype of Anima had generally the following main manifestations: 1) ‘Love and individuality’  (the kingdom of Firuz Shah, a clear example of individuality, the dual aspect of love, and the effect of travel to achieve individuality), 2) ‘Eternity of love’, that is, the manifestation of love (lover) in dreams and dreams, and 3) ‘Negative manifestations of love (lover)’ including mental and physical weaknesses, restlessness, and internal irritation. Firuz Shah’s arrival to the kingdom and the defeat of his enemies is a sign of his spiritual perfection. Beighami alleged that through love, one can realize abundant positive effects and enhance spiritual abilities. By leaving his safe haven and traveling to unknown spaces, Firuz Shah revealed the undiscovered parts of his inner world with the help of love and became aware of his human values. Therefore, in this epic via a fierce journey, the signs of spiritual and personality changes could be clearly understood. The accompaniment of emotional and epic issues in Darabnameh is one of the most prominent writing styles which distinguishes it from other popular proses. In Darabnameh, Ein AlHayat (Anima) was an external character appearing at the beginning of the story, though keeping the epistemological incentives in Firooz Shah’s character and motivating him to relinquish life and initiate a difficult journey to attain humane facts in the end and reach the elevated positions of ministry (individuality). The beloved Anime in Darabnameh did not show only desirable manifestations, and due to the limited cognitive capacities of Firoozshah, we see the appearance of negative effects from two viewpoints: 1) the aim of Anima was to deliberately create physical and spiritual cognitive barriers against Firooz Shah’s conduct in order to give him a different view of the world both from inside and outside angles; 2) Some of the negative manifestations of the Anima were rooted in the prerevolutionary life of Firuz Shah and the imperfection of his personality. Overall, an examination of the process of Firuz Shah’s epic, lyrical and epistemological journey showed that although he initiated this journey provoked by an external element (the manifestation of goodnatured mistresses in dreams), this nevertheless led him to an accelerated understanding. Inspiration and not giving up were inner forces that can be called the ‘pleasure of gaining knowledge’.