Extended Abstract
1. Introduction
Archetypal criticism is one of the new approaches in literary criticism, established based on the ideas of Carl Gustav Jung (1875-1961), the Swiss psychologist. This approach examines the archetypes present in a literary work and demonstrates how the poet's mind has absorbed these archetypes—products of repeated human experiences residing in the collective unconscious—and expressed them symbolically. What distinguishes Jung's insight from that of other psychologists is his exploration into the realm he termed the "collective unconscious" (Stein, 2022, p. 165). The collective unconscious, located in the deepest layers of the psyche, remains unknown to the individual and serves as a repository of racial memories and all experiences repeated throughout human evolution (Maghsoudi, 2020, p. 14). Archetypes, as the constituent elements of the collective unconscious, are primordial patterns and forms that have existed in the human psyche since ancient times, influencing behaviors and actions (Shamisa, 1997, p. 24). The unconscious manifests itself through myths, and just as the human psyche contains specific archetypal elements, myth—as a product of the psyche—holds shared values. Jung, through meticulous examination of myths, literature, and folktales from various cultures, described archetypes such as Persona, Self, Anima, Animus, Wise Old Man, Shadow, and Great Mother. According to Jung, "art and literature, like dreams, are places where archetypal images and the collective unconscious manifest" (Jamzadeh, 2013, p. 25). Ibn Hossam Khusfi, a pioneer of religious epic poetry, paid considerable attention to archetypes in his works, particularly his ghazals, and by drawing inspiration from religious and mystical texts, he gave new expression to these archetypes. The present study seeks to answer the following questions: What are the most prominent archetypes in Ibn Hossam's ghazals, and what influence have they had on the meaning of his poetry? What symbolic meanings do the archetypes used in Ibn Hossam's ghazals carry?

2. Method
This research employs a descriptive-analytical method based on an interdisciplinary approach, combining literary criticism and analytical psychology. The statistical population of the study consists of the ghazals of Ibn Hossam Khusfi (d. 875 AH/1470 AD), a 9th-century Persian poet from the town of Khosf in the Qohestan region. The primary source examined is the Divan of Mohammad bin Hessam Khosfi, edited by Ahmad Ahmadi Birjandi and Mohammad Taghi Salek (1987). The study focuses specifically on the ghazals, as they represent the most significant portion of his lyrical poetry. Data collection was conducted through library research and documentary analysis, with the selected ghazals being examined for archetypal content. The analysis was carried out through close reading of the texts, identification of archetypal patterns based on Jung's theoretical framework, and interpretation of the symbolic meanings embedded in the poetic imagery. The study draws upon Jung's key concepts—including the collective unconscious, archetypes, individuation, and specific archetypes such as the Wise Old Man (Pir-e Kherad), Anima, Shadow, Persona, Rebirth, and Great Mother—to analyze and interpret Ibn Hossam's poetry. The research does not rely on statistical or quantitative methods but instead applies qualitative hermeneutic analysis to uncover the archetypal dimensions of the poems.

3. Results
The findings reveal that Ibn Hossam's ghazals are rich in archetypal content, with six major archetypes prominently manifested:

a) Wise Old Man (Pir-e Kherad): This archetype appears in the form of prophetic figures such as Adam, Joseph, Jacob, Job, Moses, David, and especially Khidr. The poet portrays the spiritual journey as impossible without the guidance of an inner sage. Khidr, associated with the Water of Life and emerging from a "dark place," symbolizes the wise guide who appears in times of hardship and facilitates spiritual rebirth (Ibn Hossam, 1987, p. 367).

b) Anima: The feminine archetype in Ibn Hossam's poetry manifests as an exalted, heavenly beloved. The poet's inner anima is depicted through symbols such as the beloved's dark hair, black eyes, the moon, the sun, stars, and the color red. Nighttime settings, where the beloved's image appears in the poet's imagination, represent the connection to the unconscious. The beloved's face is described as brighter than the sun, and her eyes serve as a gateway between consciousness and the unconscious (Ibn Hossam, 1987, pp. 309, 311, 331). The poet's love—often associated with Imam Ali (AS)—represents a transcendent, spiritual love that leads to self-realization.

c) Shadow: This archetype appears through negative traits such as greed, arrogance, hypocrisy, and worldly attachment. Ibn Hossam uses animal symbols like the fly, which feeds on filth, to represent the shadow self. The rust on the mirror of the soul symbolizes the shadow's obscuring effect on self-knowledge. The poet emphasizes the need to purify oneself from these negative qualities through contentment, humility, and spiritual discipline to achieve individuation (Ibn Hossam, 1987, pp. 314, 323, 341).

d) Persona: The social mask appears in the form of false piety and hypocrisy, particularly in the figure of the "unworthy Sufi" (Sufi-ye na-darvish) who wears the cloak of asceticism but lacks genuine spirituality. Love, in Ibn Hossam's view, destroys this false persona and reveals the true self. The poet criticizes those who hide their true nature behind the mask of religiosity (Ibn Hossam, 1987, pp. 306-307, 344).

e) Rebirth: This archetype manifests through symbols of death and renewal, including dust/earth, water, fire, and the mythical salamander. The poet emphasizes human creation from dust and the eventual return to it, with the potter's clay symbolizing the cycle of life and death. Water represents divine grace that brings spiritual life, while the salamander, which endures fire and emerges unscathed, symbolizes spiritual purification and rebirth through trial (Ibn Hossam, 1987, pp. 309, 337, 356-357).

f) Great Mother: This archetype appears in symbolic forms such as the well (associated with Joseph), the garden, paradise, and negative aspects like the whale and whirlpool. The well, as a womb-like space, represents death and rebirth—Joseph's descent into the well precedes his rise to power. The garden symbolizes nurturing and growth, while paradise represents the ultimate maternal sanctuary. The whale, which swallowed Jonah, represents the devouring aspect of the mother archetype (Ibn Hossam, 1987, pp. 333, 337, 349, 359, 364).

4. Discussion and Conclusion
The analysis demonstrates that Ibn Hossam Khusfi, influenced by his religious beliefs and mystical worldview, embedded a rich tapestry of Jungian archetypes in his ghazals. These archetypes function as transformative forces: they serve as "midwives" that give birth to the poet's spiritual insights while simultaneously forming an inseparable part of the overall fabric of his poetry. The archetypes are rooted in religious and mystical beliefs, natural symbols, and the poet's cultural heritage. Ibn Hossam's use of archetypal figures such as Khidr, Joseph, and Moses, alongside symbols like water, fire, the moon, and the sun, reflects a profound engagement with the collective unconscious. The poet's spiritual journey—from confronting the shadow to embracing the anima and seeking guidance from the wise old man—mirrors Jung's process of individuation. The study concludes that Ibn Hossam's poetry not only expresses his personal mystical experiences but also taps into universal archetypal patterns that resonate across cultures. This research contributes to the growing field of interdisciplinary studies between literature and psychology, demonstrating the applicability of Jungian analysis to classical Persian poetry. Future studies could explore archetypal dimensions in other works of Ibn Hossam, such as the Khavaran-nameh, or compare his use of archetypes with that of other mystical poets like Rumi or Attar. Additionally, examining the cross-cultural dimensions of these archetypes could yield valuable insights into the universality of Jung's theories.