خوانش کهن الگویی رؤیاها در رساله «بدوّالشّأن» ترمذی از منظر نماد شناسی یونگ (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
رؤیا گاه تجلی گاه ناخودآگاه فردی و جمعی بشر و بستر ظهور کهن الگوها، درقالب رمز و سمبل، است. یونگ، پیرو استادش فروید، به رؤیاها اهمیت زیادی می داد اما منشا آنها را «ناخودآگاه جمعی» می دانست. روایت خواب ها و مکاشفات عرفا نیز که مشتمل بر محتویات ضمیر ناخودآگاه آنهاست از متون قابل تفسیر و تطبیق با نمادشناسی یونگ است. بخشی از رساله «بدوّالشأن»، زندگینامه خودنوشت حکیم محمدبن علی ترمذی، روایت رؤیاهایی است که وی دیده یا دیگران، بویژه همسرش، درباره او دیده اند. در این پژوهش، به شیوه توصیفی تحلیلی، این رؤیاها که برطبق نظر یونگ برآمده از ضمیر ناخودآگاه و دارای محتوایی نمادین است، تفسیر شده است. نتایج نشان می دهد این رؤیاها با نمادهای کهن الگویی یونگ قابل تطبیق و تفسیر است و کهن الگوهایی همچون فرایند فردیت، خویشتن، سایه، آنیما، پیر خردمند در آنها نمود یافته اند. تجربه سفر به خانه خدا در رؤیاهای ترمذی نمادی از سفر درونی وی است. برخی از کهن الگوهای یونگی همچون پیر خردمند، در بدوّالشّأن، در قالب پیامبر، پیرمرد سفیدمو، فرشته و امیر، در نقش راهنمای ترمذی، ظاهر شده اند. مواجهه با خویشتن یا «فرامن» نیز با نماد گیاهان، اشکال هندسی، صخره، پرنده و درخت تجلی یافته است. ترمذی با راهنمایی های این نمادها باید از دشواری های راه سلوک بگذرد و به خودآگاهی و کمال برسد. همسر ترمذی نیز که بیشتر خواب ها درباره ترمذی از او روایت شده، نمادی از آنیمای عارف است که او را در شناساندن سایه ها (نفس امّاره و امورات دنیوی) و رسیدن به خویشتن و فردیت یاری می دهد.An Archetypical Interpretation of Dreams in “Bod'uShan” Treatise of Tirmidhi according to Jungian Semiotics
Introduction
Some mystical texts narrate spiritual and mystical experiences with strange and cryptic expressions, and these transcendent experiences are only articulated in symbolic language. With the discovery of the collective unconscious by Carl Jung and his theories on dream interpretation, researchers have paid more attention to the relationship between symbolism and psychology, as well as the deeper layers of the human mind. Jung believed that archetypes present in the unconscious appear manifest symbolically in dreams; therefore, the dreams and revelations of mystics can also be seen as manifestations of human myths and archetypes from Jung's perspective. The “Badwo-Sha’n” treatise" which is an autobiographical account of the life of Hakim Tirmidhi and the dreams he and his wife had about him, symbolicly reflects the evolution and spiritual progress of this hadith scholar and the third century mystic . In this research, the authors attempt to show based on which of the Jungian archetypes these dreams can be interpreted, and how the mystical symbols in Tirmidhi's dreams align with Jungian symbolism.
Methodology
In this research, based on Carl Jung's "analytical psychology" approach, the dreams presented in “Badwo-Sha’n” treatise have been interpreted from an archetypal perspective. Jung believes that when we want to investigate the talent of symbolization, dreams are the best materials and symbolic expressions can be the individual or collective unconscious messengers; of course, Jung believed that individuals' dreams may have roots in mythological foundations or mythological cognitive units, which he calls "archetypes." Some of the most significant archetypes include "Self," "Anima," "Animus," "Persona," "Shadow," "Wise Old Man," "God," and "Death." Archetypes play a crucial role in shaping the collective unconscious and are transmitted from one generation to another. Reflections of archetypes or contents of the collective unconscious can also be observed in some secret mystical texts. The “Badwo-Sha’n” treatise is a relatively short description of Tirmidhi’s condition by his own pen. A major part of this treatise, which appears to be the first self-written biography of a mystic, includes reports of Tirmidhi's dreams and those of others, particularly his wife's dreams about him; it has the ppotential of being interpreted from the perspective of Jung's archetyps and symbology.
Discussion
The dreams presented in “Badwo-Sha’n” treatise with symbolic and imaginative content, narrate the spiritual and mystical evolution of Tirmidhi. Familiarity with Jung's symbolism and the views of this great psychoanalyst shows that Tirmidhi's dreams have the capacity of Jungian interpretation. In analytical psychology, one of the most basic archetypes is "self". The process of individuality or realization-self, occurs when a person, on the way of his evolution, travels inside himself and in this journey gets to know the different dimensions of his personality, dimensions emerging from archetypes that exist in his subconscious. In one dream, Ahmad ibn Jibril sees Tirmidhi performing the Tawaf around Kaaba, which is a symbol of the mystic's achievement of individuality and his inner journey of conscious and unconscious unity. In another story, Tirmidhi's wife hears a voice in her sleep and sees Tirmidhi praying in a kind of alter surrounded by light. Tirmidhi's wife follows - anima /inner guide - the voice and reaches the gate of a palace full of light. From Jung's point of view, sometimes the unconscious guides us. Another archetype that appear in Tirmidhi's dreams is the "Wise Old Man" which psychologists consider to be the manifestation of the hero's concentration of his spiritual and physical powers.This archetype appears to the seeker in various forms and situations and guides him. In Tirmidhi's dreams, "prophet", "white-haired old man", "angel" and "Amir" are symbols of "Wise Old Man". "Shadow" is also another archetype which is a collection of raw and unformed feelings and desires, and the origin of human temptations and sinful tendencies, and appears in dreams and myths as an enemy, a magician, a deceiver, a dragon, a devil or a demon. In Islamic mysticism, knowing the self and fighting against it goes on from the beginning of one's spiritual practice to the end of one's life, and one of the symbols of the shadow is the commanding self (the inner devil) or external devils. Jung, in the journey of awakening the inner hero, considered the meeting with the shadow as the first stage of individuality and believes that the first layer that is discovered from the unconscious is the shadow. In a dream, Tirmidhi's sees a Wise old man, who prevents him from engaging in worldly affairs. Arif's drowning in worldly affairs is a symbol.
Conclusion
The dreams presented in “Badwo-Sha’n” treatise by Tirmidhi's are connected to the unconscious mind of this mystic and possess symbolic content that can be aligned with Jungian symbolism. Among the most significant Jungian symbols reflected in the narration of these dreams are the the process of individuality, the Self, the Shadow, the Anima, and the Wise Old Man. One manifestation of the process of individuality is the experience of traveling to Kaaba in Tirmidhi's dreams, which can symbolize his inner journey. Another archetype of Jung is the wise old man who appears in Tirmidhi's dreams in the form of the Prophet, the Old Man with White Hair, the Angel, and the Prince, guiding him through the difficult path of spiritual practice toward the ultimate truth. The Shadow is also another archetype that corresponds to the commanding self in Islamic mysticism and appears in Tirmidhi's dreams through symbols such as the commanding self (the inner devil) or external devils (worldly affairs). The Self, representing the deepest aspect of the dreamer's personality, also appears in Tirmidhi's dreams through symbols like plants, geometric shapes, rocks, birds, and trees. With guidance from these symbols, Tirmidhi must navigate through the challenges of spiritual practice and attain self-awareness. His wife also symbolizes the anima of the mystic and serves as his helper in recognizing his inner shadows and guiding him along his path.