Analysis of novel Darvish Panjom by Rahnavard Zaryab Based on the Central Archetype of Return and Its Implicit Archetype System

Abstract
Jung, as the founder of archetypal criticism, has been able to maintain his theoretical foundations as the dominant and central approach in archetypal criticism. On the other hand, among the contemporary novelists, Mohammad Azam Rahnavard Zaryab is one of the great writers of Afghan literature, who has been active in various types of literary works such as short stories, novels and screenplays. Darvish Panjom's novel can be considered as one of his most prominent works, and this research tries to investigate the central archetype and the system around it with a descriptive-analytical method and emphasizing Jung's theoretical foundations. One of the results of this research is that the basic and central archetype in the novel can be called the return archetype, around which the structural system of the narrative will be formed. Therefore, the archetypes of the exemplary mother, the wise old man, and the hero are depicted under this axis and in the characters of Maral's mother and father and Darvish Panjom. The anima aspect in the behavior of Darvish Panjom and the negative influence of the feminine on his soul is a deep break between the shadow and the shadow.
 
1. Introduction
One of the main movements of criticism in the new era is archetype criticism, whose mission is to discover the unconscious text in the hidden layers of historical and collective memory. Here the discussion is about the author's unconscious heritage, which is connected with the cultural past of mankind. This movement, which first announced its existence among psychoanalytic criticisms, established its position as an independent approach among researchers with the passage of time. In this approach, texts have the ability to find independent analytical subjectivity in their structure, and by using the unconsciousness of language, semantic relationships and expression of patterns in the chain of links and associations will be discovered. The basis of this type of view is that based on Freudian assumptions, art and its creation are based on management and inspiration carried out by the artist's unconscious, and this unconscious, whether at the Freudian individual level or at the Jungian collective level, is the basis of purposefulness. And coherence will be the effect.
Since Jung considers the centrality of the influence of the unconscious in all areas of the psyche and in a common way among people and generations, from the point of view of his later generations, it was developed as a dynamic and generative thing. In this view, archetypes do not have a static life and are mobile, and they have appeared in dreams, customs and literary writings. On the other hand, in the field of archetypal criticism, contemporary novels can be considered as one of the attractive subjects in this field of criticism, and this type of literature will be able to provide exemplary and mythological predictions and its answer in To reveal the encounter with modern narratives. Among the studies in this field, the works of Rahnavard Zaryab - one of the great writers of contemporary Afghan literature - can be considered as a suitable choice, and the novel Darvish V (1395) which was published in Kabul due to its textual capacities and the centrality of its themes. It should be analyzed and investigated as a suitable subject in this field, in line with the foundations of the collective unconscious and dealing with common human concerns, desires and sufferings. Mohammad Azam Rahnavard Zaryab is one of the great writers of Afghan literature who has been active in various types of literary creation such as short stories, novels and screenplays. Darvish V's novel can be considered as one of his most prominent works, and this research tries to investigate the central archetype and the system around it with a descriptive-analytical method and emphasizing Jung's theoretical foundations. Now, according to the mentioned premises, the problem of this research is that with Jung's theoretical approach and from the point of view of archetype analysis, what is the central and basic archetype of this novel and what is the place of other implicit archetypes in this structure. Therefore, this research tries to respond to these relationships and archetypal system.
2. Discussion
The archetype of return is one of the prominent concepts in psychology and the realm of the unconscious. In the structure of personal and individual myth, Freud and Jung believe in the theme of returning to the past or "returning to the origin" in many myths; And its purpose is to go back and resume life, with all its potential states and qualities and its untouched possibilities. Also, the archetype of return is a subset of the archetype of the hero's journey, which Joseph Campbell proposed in the theory of the single myth. According to Campbell, the hero returns to the heart of society after going through a terrible journey. Campbell considers these two opposite worlds, that is, the world that the hero is imprisoned in and the real world that he returns to, as the divine and human worlds. According to him, the divine world and the human world can only be depicted in one way; in the form of life and death and day and night. The hero travels from the realm we know to the darkness, where he leaves behind and ends Khani, or is exposed to danger and captured. Originally, his return has been described as a return from the world beyond, and with all these interpretations, the two realms are in fact one and the same.
The fifth Darvish novel is a narrative of moving away from the original and wishing to return to it. Meral, the main character of the book, was taken away from his family after being stolen as a child, and with the goal of returning to his tribe, he spends many years away from them. It should be mentioned that the author of the novel also returned to Afghanistan after many trips to different countries of the world and stayed there until the end of his life. This is why returning to the origin is one of the most used concepts in his works (especially his novels). He is always looking for signs that will bring the hero of his writings back to their origin, such as the sense of belonging and Meral's ideal to return to the land of his ancestors. With this characteristic, this hero has found a special identity in the novel; Thieves take him away from his homeland, and in fact, the subsequent narratives of the novel are the setting for this return. Zaryab seeks to create a strong connection between the characters of the novel with natural elements, and this causes the characters, especially Meral, to seek liberation and truth, thus saving himself from captivity. Also, Turkmen desert people, Swarkar, cold nights, starry sky, legendary stories of Oghuz Khan and De De De Ghor are the strength of his mother's sweet memories that he will keep in his mind and memory until he returns. In this novel, the desert appears as a piece of heaven that comforts Meral and calls her to her maternal embrace. The archetype of return, in the axis of the main theme of the novel, connects with other sub-archetypes such as Farzaneh Mother (in real and virtual manifestations), Wise Elder, Anima, Animus, and Shadow in the behavior of the main and secondary characters, and in fact, the author, by using other archetypes, facilitates the realization of the archetype, which is indeed the archetype of return. Meral's return happens after spending a long journey, accepting multiple roles and responsibilities. One of these roles, which is reflected in her behavior, is the archetype of Farzaneh's mother. These archetypes in both real and virtual forms shape the narratives in such a way that this journey ends.
3. Result
Archetypes have a special place in Rahnard Zaryab's novels. In Darvish V's novel, the archetype components, especially the character archetype, are combined with normal and natural incidents and events in the daily life of the characters in the story. Basically, the narratives of the novel are formed by the influence of the return archetype and other archetypes in the behavior of the characters. Anima and mother is an example in the second step of the archetypes on which the foundation of the novel is based. The great influence of Anima is evident in the behavior of Dervish V. Also, the negative influence of Madina on his psyche has created a deep disconnection between his shadow and his self, his soul is not balanced and until the end of the narrations, he is in absolute despair. The fifth dervish is the symbol of the contemporary man in the contemporary novel, who has been robbed of peace by sadness and fear. It is his sick character's disturbed thinking and distraction that highlights the unconscious language in the novel; In fact, this issue is associated with his mental and linguistic jumps, which we come across many examples of in the first parts of the novel; Therefore, neglecting the other half of a person, which is his soul, causes a disturbance in the psychological balance of a person. In such a way that he does not find the way to know himself and remains in the torment of this unattainable individuality for the rest of his life. This process is not like this in Meral, the other hero of the novel; In fact, after spending a period away from home and tribe, which led to his unconscious journey, Meral becomes complete after returning to his individuality and achieves self-discovery.
4. References
Akbarzadeh, S. (2014). Mythological criticism of the novel Fairy in the Wind. Supervisor, Dr. Mahbobe Mobasheri. Al-Zahra University. Faculty of Literature, Languages and History. Masters.
Campbell, J. (2010). The hero of a thousand faces. Translation of Shadi Khosropanah. Mashhad: Gol Aftab.
Eliade, M. (2008). A treatise on the history of religions. Translated by Jalal Sattari. Ch 4. Tehran: Soroush.
Fadai, F. (2002). Jung and his analytical psychology. Tehran: Danje
Feist, J., Gregor J. Feist. (2012). Theories of personality. Yahya Seyed Mohammadi. Tehran: Rovan.
Fordham, F. (1972). An introduction to Jungian psychology. Translated by Sattari, J. Jalal, Tehran: Ashrafi.
Fry, N. (2008). Literature of Vasilura. In: Myth and mystery (collection of articles). Translated by Jalal Sattari. Tehran: Soroush.
Ghaemi, F. (2008). Analysis of Siral Abad Sanai Ghaznavi based on the method of criticizing myths (archetypal). Two scientific-research quarterly magazines of mystical literature of Al-Zahra University (S). Q1. Sh1.
Gordon, W.K. (1991). An introduction to the critique of archetypes. Translated by Jalal Sokhnor. Adebistan magazine. Sh. 6
Guerin, W., Waliber L., Earl J., Lee, M., Willingham, J.R. (2013). Guide to literary criticism approaches. Translated by Zahra Mihankhah. Tehran: Information.
Jones, E., et al. (1987). Mystery in psychoanalysis. Translated by Jalal Sattari, Tehran: TOS.
Jung, C.G. (1980). Familiarity with the unconscious. Translated by Abu Talib Sarmi. Tehran: Paya.
Jung, C.G. (1989). Four examples. Parvin transborder. Mashhad: Astan Quds Razavi.
Jung, C.G. (2003). A new myth (signs in asthma). Translated by Jalal Sattari, Tehran: Nashmarkaz.
Jung, C.G. (2004). Ayon. translated by Parvin Faramarizi and Fereydoun Faramarizi. Tehran: To publish.
Jung, C.G. (2005). Dreams. translated by Ismail Pour. Tehran: Karon.
Jung, C.G. (2006). Psychology of unconscious mind. Mohammad Ali Amiri. Tehran: Scientific and Cultural.
Jung, C.G. (2013). Man and his symbols. Translated by Mahmoud Soltanieh, Tehran: Jami
Jung, C.G. (2015). Collective unconscious and archetype. Translated by Farnaz Ganji and Mohammad Bagher Ismailpour. Tehran: Jami.
Jung, C.G. (2015). Memories, dreams, thoughts. translated by Parvin Faramarizi. Tehran: To publish.
Loeffler-Delasho, M. (2007). The secret language of legends. Translated by Jalal Sattari. Tehran: Tos.
Mokhbar, A. (2019). Foundations of mythology. Centeral Tehran.
Moreno, A. (2013). Jung, Gods and Modern Man. Translated by Dariush Mehrjooi, Ch 8, Tehran: Center.
Payandeh, H. (2018). Theory and literary criticism. Tehran: Samit, vol.1.
Sadeghi, M., Delbari, H. (2024). Investigation of the origin of zaums in Shams's sonnets based on the opinions of Gustav Jung, research journal of lyrical literature, 22(42).
Schultz, D.P., et al. (2002). History of modern psychology. Translated by Ali Akbar Saif. Tehran: Duran.
Serlo, J.E. (2010). The culture of symbols. Translated by Mehrangiz Ohadi, Tehran: Dostan.
Serlo, J.E. (2010). The culture of symbols. Translated by Mehrangiz Ohadi, Tehran: Dostan.
Vogler, C. (2007). Mythical structure in screenplay and story. Translated by Abbas Akbari. Tehran: Nilofar.
Von Franz, M.L. (2005). Individuation process in: Man, and his symbols. Mahmoud Soltanieh. Tehran: Jami.
Yavari, H. (1994). Psychoanalysis and literature. Domtan, Doansan, Dojahan. Tehran: History of Iran.
Yavari, H. (2003). Psychoanalysis and myth, the scope of myth. Conversations of Mohammad Reza Ershad. Tehran: Hermes.
Zaryab, R. (2015). The fifth dervish. Kabul: Zaryab Publishing.