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Psychologický výklad pohádek
Of the various types of mythological literature, fairy tales are the simplest and purest expressions of the collective unconscious and thus offer the clearest understanding of the basic patterns of the human psyche. Every people or nation has its own way of experiencing this psychic reality, and so a study of the world's fairy tales yields a wealth of insights into the archetypal experiences of humankind. Perhaps the foremost authority on the psychological interpretation of fairy tales is Marie-Louise von Franz. In this book—originally published as An Introduction to the Interpretation of Fairy Tales —she describes the steps involved in analyzing and illustrates them with a variety of European tales, from "Beauty and the Beast" to "The Robber Bridegroom." Dr. von Franz begins with a history of the study of fairy tales and the various theories of interpretation. By way of illustration she presents a detailed examination of a simple Grimm's tale, "The Three Feathers," followed by a comprehensive discussion of motifs related to Jung's concept of the shadow, the anima, and the animus. This revised edition has been corrected and updated by the author.
182 pages, Paperback
First published January 1, 1970
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About the author
Marie-Louise von Franz
121 books818 followersMarie-Louise von Franz was a Swiss Jungian psychologist and scholar.
Von Franz worked with Carl Jung, whom she met in 1933 and knew until his death in 1961. Jung believed in the unity of the psychological and material worlds, i.e., they are one and the same, just different manifestations. He also believed that this concept of the unus mundus could be investigated through research on the archetypes of the natural numbers. Due to his age, he turned the problem over to von Franz. Two of her books, Number and Time and Psyche and Matter deal with this research.
Von Franz, in 1968, was the first to publish that the mathematical structure of DNA is analogous to that of the I Ching. She cites the reference to the publication in an expanded essay Symbols of the Unus Mundus, published in her book Psyche and Matter. In addition to her many books, Von Franz recorded a series of films in 1987 titled The Way of the Dream with her student Fraser Boa.
Von Franz founded the C. G. Jung Institute in Zurich. In The Way of the Dream she claims to have interpreted over 65,000 dreams. Von Franz also wrote over 20 volumes on Analytical psychology, most notably on fairy tales as they relate to Archetypal or Depth Psychology, most specifically by amplification of the themes and characters. She also wrote on subjects such as alchemy, discussed from the Jungian, psychological perspective, and active imagination, which could be described as conscious dreaming. In Man and His Symbols, von Franz described active imagination as follows: "Active imagination is a certain way of meditating imaginatively, by which one may deliberately enter into contact with the unconscious and make a conscious connection with psychic phenomena."
Von Franz worked with Carl Jung, whom she met in 1933 and knew until his death in 1961. Jung believed in the unity of the psychological and material worlds, i.e., they are one and the same, just different manifestations. He also believed that this concept of the unus mundus could be investigated through research on the archetypes of the natural numbers. Due to his age, he turned the problem over to von Franz. Two of her books, Number and Time and Psyche and Matter deal with this research.
Von Franz, in 1968, was the first to publish that the mathematical structure of DNA is analogous to that of the I Ching. She cites the reference to the publication in an expanded essay Symbols of the Unus Mundus, published in her book Psyche and Matter. In addition to her many books, Von Franz recorded a series of films in 1987 titled The Way of the Dream with her student Fraser Boa.
Von Franz founded the C. G. Jung Institute in Zurich. In The Way of the Dream she claims to have interpreted over 65,000 dreams. Von Franz also wrote over 20 volumes on Analytical psychology, most notably on fairy tales as they relate to Archetypal or Depth Psychology, most specifically by amplification of the themes and characters. She also wrote on subjects such as alchemy, discussed from the Jungian, psychological perspective, and active imagination, which could be described as conscious dreaming. In Man and His Symbols, von Franz described active imagination as follows: "Active imagination is a certain way of meditating imaginatively, by which one may deliberately enter into contact with the unconscious and make a conscious connection with psychic phenomena."
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January 3, 2023
I was saying to some friends the other day that in my next life I might like to come back as a Jungian. It’s all a bit late now that I’m nearly 60, but I quite like Jungian analysis. At one point the author says that analysis or interpretation is almost ‘second-rate’ in that there should be enough in the dream (or in this case, the fairy tale) itself to not require an expert to do the interpreting, and that the dreamer (or reader) might get more out of the whole experience by, well, doing their own analysis. But I think she then makes it clear why interpretations are useful things to do anyway, particularly of stories. While Jung would argue that symbols are likely to acquire their meanings from within the story in which they appear, he also believed that there are archetypes, universal symbols that mean similar things whenever they are used. This doesn’t mean they always mean the same thing – but the point is that if they don’t mean what they usually mean, then how and why they mean different things in this particular case is likely to be something needing to be explained.
She also says that fairy tales are particularly interesting since they have been taken less seriously than other stories – especially myths and religious tales. This has meant that fairy tales can have a more direct access to universal architypes, since they are seen as less directly connected to the local culture (intentionally placed outside of time and space) and so potentially might prove less likely to be changed to fit with cultural traditions in ways other stories might. This makes fairy tales similar to dreams in that they present purer forms of access to a kind of collective unconscious.
She also makes the point that we need to see these stories as universal in other ways too. She says that Jungians might be tempted to see the tales as if it was the journey of a hero – say a young man destined to be king who needs to fulfil various tests to overcome personal failings. But this exaggerates the particular in the tales, which tend much more towards the symbolic, rather than providing a real ‘character’ study of any of the characters in these tales. The characters are much more ‘types’ than persons.
And what is true of characters is also true of other aspects of these tales. So, she advises that we notice things in these stories we might gloss over in other forms of stories. Numbers are incredibly important to her readings here. If there are three brothers at the start of a story, that is likely to be something you need to notice. If there are three trials that the hero needs to undergo, then you can expect a fourth one once you think the test is over. Four is a kind of number of completion (she mentions things like the four directions and four winds – and even the Father, Son, Holy Ghost and Devil as four essential aspects of religion). This focus upon such details such as number is even more important with the gender of the people being counted. If a story starts with all men and boys, then the quest they are about to go on is likely to be related to them acquiring something to do with their anima (feminine principle of life), if all females, their animus. She makes the point that often the search for the opposite principle by the major character is likely to not really involve them being all that active in its pursuit. The example given here is of a young and foolish youngest son who merely asks a feminine symbol in the story for the things he requires and is granted them. The needed feminine principle is provided by the feminine itself, not acquired, as such, by the masculine characters in the story. This might also help to explain why, in stories such as Cinderella, the main character appears so ineffective – the story is so devoid of masculine characters other than the prince, that what is lacking in the story is the masculine principle and therefore it is this principle that must be active in resolving this need.
The form of tale that is interpreted here is what she refers to as ‘the three feathers’ – I really like this. It is something that involves a decision making process a bit like ‘eeny, meeny, miny, moe’ – that is, dropping a feather and allowing the slightest of winds to decide which direction you are going to go in. That is, allowing fate and chance to play a part in our life’s decisions. A lot of these stories rely upon us learning some form of acceptance that we only have limited power over our decisions. In fact, at one point she says that becoming an adult often only happens once we realise that life is composed of decisions in which there is no simply right and wrong choice – but that every option we might make has good and bad consequences – and yet we are condemned to have to choose anyway. This is perhaps our hardest lesson. There are near endless comments under my review of The Scout Mindset by people who are seemingly convinced that there is always a logical and therefore ‘correct’ answer to every dilemma. If only it were true. Fairy tales often teach us that for us to become what we are not, this might mean we need to ‘die’ – if only figuratively. Or that to become who you need to become might well involve you hurting people you love in ways you would rather to never hurt them at all.
As I said, there is much to like in Jungian interpretations of tales and dreams. I enjoyed this book very much.
She also says that fairy tales are particularly interesting since they have been taken less seriously than other stories – especially myths and religious tales. This has meant that fairy tales can have a more direct access to universal architypes, since they are seen as less directly connected to the local culture (intentionally placed outside of time and space) and so potentially might prove less likely to be changed to fit with cultural traditions in ways other stories might. This makes fairy tales similar to dreams in that they present purer forms of access to a kind of collective unconscious.
She also makes the point that we need to see these stories as universal in other ways too. She says that Jungians might be tempted to see the tales as if it was the journey of a hero – say a young man destined to be king who needs to fulfil various tests to overcome personal failings. But this exaggerates the particular in the tales, which tend much more towards the symbolic, rather than providing a real ‘character’ study of any of the characters in these tales. The characters are much more ‘types’ than persons.
And what is true of characters is also true of other aspects of these tales. So, she advises that we notice things in these stories we might gloss over in other forms of stories. Numbers are incredibly important to her readings here. If there are three brothers at the start of a story, that is likely to be something you need to notice. If there are three trials that the hero needs to undergo, then you can expect a fourth one once you think the test is over. Four is a kind of number of completion (she mentions things like the four directions and four winds – and even the Father, Son, Holy Ghost and Devil as four essential aspects of religion). This focus upon such details such as number is even more important with the gender of the people being counted. If a story starts with all men and boys, then the quest they are about to go on is likely to be related to them acquiring something to do with their anima (feminine principle of life), if all females, their animus. She makes the point that often the search for the opposite principle by the major character is likely to not really involve them being all that active in its pursuit. The example given here is of a young and foolish youngest son who merely asks a feminine symbol in the story for the things he requires and is granted them. The needed feminine principle is provided by the feminine itself, not acquired, as such, by the masculine characters in the story. This might also help to explain why, in stories such as Cinderella, the main character appears so ineffective – the story is so devoid of masculine characters other than the prince, that what is lacking in the story is the masculine principle and therefore it is this principle that must be active in resolving this need.
The form of tale that is interpreted here is what she refers to as ‘the three feathers’ – I really like this. It is something that involves a decision making process a bit like ‘eeny, meeny, miny, moe’ – that is, dropping a feather and allowing the slightest of winds to decide which direction you are going to go in. That is, allowing fate and chance to play a part in our life’s decisions. A lot of these stories rely upon us learning some form of acceptance that we only have limited power over our decisions. In fact, at one point she says that becoming an adult often only happens once we realise that life is composed of decisions in which there is no simply right and wrong choice – but that every option we might make has good and bad consequences – and yet we are condemned to have to choose anyway. This is perhaps our hardest lesson. There are near endless comments under my review of The Scout Mindset by people who are seemingly convinced that there is always a logical and therefore ‘correct’ answer to every dilemma. If only it were true. Fairy tales often teach us that for us to become what we are not, this might mean we need to ‘die’ – if only figuratively. Or that to become who you need to become might well involve you hurting people you love in ways you would rather to never hurt them at all.
As I said, there is much to like in Jungian interpretations of tales and dreams. I enjoyed this book very much.
April 19, 2013
I have collected fairy tales for many years. If I had to rate the #1 person who has provided the most insight into these tales it is Marie-Louise Von Franz. These books, and there are a number of them, are fabulously insightful. Each one is hard to put down. I am sad that she has passed on and there will be no more.
March 10, 2008
Von Franz was apparently Jung's chief disciple, and her work on fairy tales and folklore was central to her continuation of his work. This volume is, mostly, more centered on the act of interpreting than on the big Jungian worldview, and thus is interesting even if you don't entirely buy into Jungianism. It discusses the importance of tale-telling and fairy tales and demonstrates Jungian folklore analysis by dissecting individual tales in depth.
I enjoyed the way von Franz uses multiple versions of a story to triangulate a strong interpretation. The stories she uses are often evocative and little known. Many of the symbols she discusses, and the diagramming of fairy tales by number and gender of characters are very useful and fruitful. The last sections of the book were less intriguing, especially the section where she talks about the female fairy tale heroine, which dripped gender essentialism and was more full than usual of Jungian metaphysical certainties. Most of the book, however, was thought-provoking and even inspiring. Recommended for fabulists and other fairy tale enthusiasts.
I enjoyed the way von Franz uses multiple versions of a story to triangulate a strong interpretation. The stories she uses are often evocative and little known. Many of the symbols she discusses, and the diagramming of fairy tales by number and gender of characters are very useful and fruitful. The last sections of the book were less intriguing, especially the section where she talks about the female fairy tale heroine, which dripped gender essentialism and was more full than usual of Jungian metaphysical certainties. Most of the book, however, was thought-provoking and even inspiring. Recommended for fabulists and other fairy tale enthusiasts.
November 13, 2020
It's a bit suspicious that everything is a symbol of the Self, but okay
January 7, 2015
Honestly, I was not tremendously impressed with this book. I am very interested in the interpretation of fairy tales and mythologies and I think that there is something valuable to learn in doing so. But I am not convinced that this book will really help anyone. All the evidence that von Franz provides is very circumstantial and not particularly well backed up. She often says that such and such part of the fairy tale obviously means this or that and expects you to just accept that it is clear an obvious without any evidence to back this up. The best impression I get of her method is that if we sit around and think about something hard enough, then the truth will just come to us and everything will be clear. I believe that we need some evidence to back that up, as opposed to just saying that something is so because it seem obvious to me.
However, she is clear that interpretations can vary from person to person. I just wish she actually was able to provide evidence for things other than just "this obviously means that". I found this a very frustrating read because of this.
However, she is clear that interpretations can vary from person to person. I just wish she actually was able to provide evidence for things other than just "this obviously means that". I found this a very frustrating read because of this.
February 4, 2009
A great book applying Jungian psychology and the ideas of the Self/ego/anima/animus/shadow to fairy tales.
August 25, 2009
Marie Louise von Franz is my favorite Jungian author, and I’m finding she’s particularly popular with writers and artists. Here are some quotes from the book:
“All fairy tales endeavor to describe one and the same psychic fact, but a fact so complex and far-reaching and so difficult for us to realize in all its different aspects that hundreds of tales and thousands of repetitions with a musician’s variations are needed until this unknown fact is delivered into consciousness; and even then the theme is not exhausted. This unknown fact is what Jung calls the Self, which is the psychic totality of an individual and also, paradoxically, the regulating center of the collective unconscious.”
“We constantly build our lives by our ego decisions, and it is only in old age when one looks back that one sees that the whole thing had a pattern. Some people who are more introspective know it a bit before the end of their lives and are secretly convinced that things have a pattern, that they are led, and that there is a kind of secret design behind the ephemeral actions and decisions of a human being. Actually, we turn toward dreams and the unconscious because we want to find out more about our life pattern in order to make fewer mistakes and not to cut our knives into our inner carpet, but to fulfill our destiny instead of resisting it. This purposeiveness of an individual life pattern, which gives one a feeling of meaningfulness, is very often symbolized in the carpet. Generally carpets, especially Oriental ones, have those complicated meandering patters such as you follow up when in a dreamy mood, when you feel that life goes up and down and along and changes around. Only if you look from afar, from a certain objective distance, do you realize that there is a pattern of wholeness in it.”
“A man who represses his anima generally represses his creative imagination.”
“Fantasy is not just whimsical ego-nonsense but comes really from the depths; it constelllates symbolic situations which give life a deeper meaning and a deeper realization.”
“Without the fire of emotion no development takes place and no higher consciousness can be reached.”
“If someone in analysis is dispassionate about it and does not suffer – if there is neither the fire of despair nor hatred nor conflict nor fury nor annoyance nor anything of that kind – one can be pretty sure that not much will be constellated and it will be a ‘blah-blah’ analysis forever. So the fire, even if it is a destructive sort of fire – conflicts, hatred, jealousy, or any other affect – speeds up the maturing process and really is a ‘judge’ and clarifies things.”
“When we are able to see our own greed, jealousy, spite, hatred, and so on, then these can be turned to positive account because in such destructive emotions is stored much life, and when we have this energy at our disposal, it can be turned to positive ends.”
The last 84 pages of the book describe the relationship of a man to his anima and a woman to her animus (feminine and masculine sides). It was directed at the interpretation of fairy tales, but full of interesting advice the individual's relationship with the anima or animus, and also about how to understand each other better in relationships by understanding the dynamics of each other's anima and animus. I found it really intriguing.
October 30, 2015
An interesting and useful introduction to the Jungian analysis of fairy tales.
February 22, 2025
This classic provides a lucid exposition of the meaning behind the symbolism of fairy tales. Fairy tales, as part of folklore, present a robust array of symbols to be interpreted.
One might ask: why speak in symbols, anyway? In semiotics, there are three general categories of signs. The first is the icon, an analogue for the real thing it represents. A picture of a lion, for instance, is an icon of the real animal. The second is the index, which refers to something by directing our attention to it—like pointing a finger toward a lion. The third category is the symbol, where the sign does not terminate in the object itself but serves as a springboard for further permutations of meaning. While icons and indices refer to the lion as a sign, with meaning stopping at the animal itself, symbolic meaning transcends the lion. It may represent courage, nobility, or dominance, among other things. As the possible meanings attached to a symbol surpass both the quantity and quality of literal representations, symbols amplify abstract thought. Even words function as symbols, as the objects they signify transcend the words themselves.
But we must ask ourselves: upon what map and by what rules do symbols anchor their meaning? There exists a stable, pervading structure of meanings constellating around symbols. This structure cannot reside in the objects themselves, for if it did, symbols would not transcend their literal forms. Neither can it be merely abstracted from objects, for such a derivation would be a posteriori and could not account for the universal experiences shared by peoples from the Arctic to Patagonia. There must exist a transcendent plane from which the meanings of symbols are derived—what we call the archetypal plane.
This naturally raises the question: upon what basis do archetypes, belonging to a different ontological plane, relate to our material plane, governed by physical laws? A simple observation reveals that while instincts and causality reign supreme in our world, notable exceptions exist. Just as the King’s majesty extends throughout his demesne, yet is mediated by ministers and curbed in remote territories or sacred grounds, so too do instincts govern, but not absolutely. There are moments when instincts are thwarted by reason. Lukasz coined the term somatic-psychological antagonism to describe this tension between body and spirit. A starving mother, her body quaking with hunger and mind consumed by yearning for food, might still surrender her last morsel to her famished child. Instinct, rather than reigning supreme, exists along a spectrum. It occupies the extreme end in automatic bodily processes, such as digestion or the instinctual flight from mortal danger.
Jung encapsulated the relationship between archetype and instinct:
“Instinct is nature’s aim in us; it is the part of ourselves that is most thoroughly subject to natural law. As such, it represents the partie inférieure of the personality, but one which is indispensable to the whole. The archetype is the partie supérieure*, representing the spirit or meaning that strives to shape and inform the raw material of instinct. The two are complementary aspects of the same fundamental process, like the two poles of a magnet.”*
(CW 8, para. 398)
In my view, archetypes and instincts correspond to the psyche and the somatic. When the soul finds itself bound to the body—particularly in strictly instinctual situations, such as fleeing from danger—one acts based on instinct. But when the soul finds itself in a space beyond the instinctual plane, such as in introspection or daily conscious life, it orients itself around the psyche, which constellates around archetypes as naturally as the body does around instincts. The true difference lies in the domain in which the soul finds itself.
Just as the body is compelled to obey the laws of instinct, the psyche is similarly bound by the archetypes. Only in the realm of spirit—where one recollects oneself as pure soul, conceived as a particular instantiation of the Divine Archetypes—can one achieve a greater degree of freedom. In both the somatic and psychical planes, one must engage in perpetual transcendence, vanquishing opposing forces toward a state of holism: the integration of unconscious, automatic processes. In the realm of instinct, this means curbing bodily laziness and addiction. In the psychical realm, it requires conscious awareness of automatic patterns resulting from specific archetypal constellations.
The existence of archetypes is as real as the imprinting of instinct. Just as Konrad Lorenz’s ducklings instinctively followed his steps—a pathognomonic image of imprinting—so too do archetypal patterns manifest in the psyche. One need only consider maladaptive schemas: automatic cognitive and behavioral patterns triggered by specific events rooted in early childhood. These schemas often manifest in primordial form, reflected in folklore.
In the instinctual realm, one finds hands, legs, and body engaged in the execution of instinctual acts. Likewise, in the psychical realm, one finds organs of the psyche—logical components that render psychical events intelligible, much like Wittgenstein’s notion of facts composed of parts. We can dissect the role of each part that constitutes the event. Under the heading of “responding to trauma,” countless symbolic permutations could capture the state of the experience.
It would be erroneous to claim that Jungian analysts invented the symbolism pervading folklore and dreams. They merely articulate meanings long recognized across civilizations. From the Senoi and Xavante dream-discussions to the Dream Stele at the foot of the Sphinx, from Joseph’s interpretation of Pharaoh’s dreams to the daily cycles of dreaming and their fulfillment—symbolic interpretation has accompanied humanity since the dawn of history.
To dismiss the role of dreams and symbols in waking life is regressive. These symbolic experiences have undeniably shaped pivotal historical moments. Consider Pompey’s dream, on the eve of Pharsalus, of being received into the temple of Venus Victrix in full majesty. His advisors’ hubristic interpretation led Pompey to advance his numerically superior troops, only for them to falter against Caesar’s hardened veterans. Caesar himself would repeat the same error, dismissing his wife Calpurnia’s dream of his deification—mere days before his assassination on the Ides of March. Likewise, it would be absurd to relegate Martin Luther King’s “I have a dream…” to mere fantasy, given how that speech reverberated into waking life, catalyzing transformative change across American society.
Far from mere superstition, the symbolic and dreamlike possess empirical foundations. Dreams function as simulations for potential actions—an adaptive mechanism employed not only by humans but also by mammals. Hobson and Friston (2012), through the free energy principle, argued that dreaming helps the brain minimize prediction errors by running simulations in a safe, “offline” mode. Wagner et al. (2004) demonstrated how sleep can inspire insight: participants who experienced REM sleep were more likely to discern hidden patterns in problem-solving tasks. This aligns with the theory that dreaming facilitates information retention and creative solutions. Plihal and Born (1997) provided participants with two tasks: 1) a paired-associate word list (declarative memory) and 2) a mirror-tracing task (procedural memory). Participants tested after the first half of sleep—rich in slow-wave sleep—showed improved declarative memory, while those tested after the second half—dominated by REM sleep—performed better on procedural tasks.
During slow-wave sleep, hippocampal neurons replay recent experiences, facilitating hippocampal-neocortical dialogue. This strengthens relevant synapses while pruning weaker ones, reinforcing long-term memories. As sleep transitions to REM, the brain continues replaying these associations, often in bizarre, symbolic forms—akin to free association in psychoanalysis, where the loosening grip of the prefrontal cortex allows the unconscious to surface. This dreamlike process parallels therapeutic free association, culminating in insight and catharsis—the proverbial eureka moment.
Dreams thus act as a personal simulation theatre—our own virtual reality tool. Returning to the discussion of symbols in folklore and dreams, it becomes possible to map dream components and catalyze therapeutic change. Life is not driven solely by Freud’s pleasure principle or the reinstatement of biological motives like sexuality. We strive for finality, completion, and wholeness. In my clinical observations, even psychotic content often reveals symbolic patterns, such as the mandala—typically depicted as a sphere, disc, moon, or sun—emerging when patients near resolution. The mandala represents the process of individuation: the Self’s journey toward transcendence.
The psychical organs within folklore and dreams typically divide into four principal archetypes: Self, Shadow, Anima/Animus, and the Mother/Father complexes. The Self and Shadow often appear as the Hero and same-gender characters, while the Anima/Animus manifests as opposite-gender figures. Notably, current classifications seldom distinguish between the Anima/Animus and the Mother/Father complexes, nor do they categorize immaterial entities such as settings or the mandala itself.
The purpose of folklore and dreams is to induce change. Empirical evidence confirms that dreams simulate possible actions and outcomes. Thus, it is crucial to distinguish mutable from immutable archetypes. The Hero clearly belongs to the mutable category, as the entire motif revolves around their transformation. The Shadow, representing repressed or unconscious aspects of the personal psyche, also evolves as the Hero integrates these elements. Frodo’s growth in The Lord of the Rings necessitates Gandalf’s transformation from Gandalf the Grey to Gandalf the White—a clear representation of the Hero’s maturation through the integration of inferior functions.
The Anima/Animus, under my interpretation, extends beyond the supposed feminine/masculine counterpart. It represents the striving for the ideal Other. Today’s confusion regarding gender stems from an inability to sustain an image of the ideal Other. As the Anima/Animus appears in dynamic forms, it too belongs to the mutable category. I contend that the Old Man/Woman archetype belongs not to the Shadow but to the Anima/Animus, as their mentorship facilitates the Hero’s quest for the Boon-Treasure—an ultimate Other.
The World, encompassing the motif’s totality beyond the Self, Shadow, Anima/Animus, and Mother/Father complexes, also belongs to the mutable. As insight accumulates, the World transforms—the mandala becomes clearer, the plagued kingdom turns fertile, and so forth.
The Mother-Father complexes, by contrast, remain immutable. Jung observed that instantiated archetypes contain both a meaning-nucleus and an experiential component. Thus, despite varying parental experiences, the archetypal image of Mother and Father persists. Adolescence itself serves to transition from the overpowering influence of the internal Mother-Father to the external Other, embodied in the pursuit of love.
While archetypes assume infinite forms, their manifestations follow recurring patterns. These patterns often unfold in four major stages, fitting the archetypal quaternity, which symbolizes completion. Thus, we can tentatively identify the following archetypal spectrum:
1. Shadow: Antagonist, Trickster, Companion, Mentor
2. Anima/Animus: Harlot, Witch, Peasant-Wife, Beatrice
3. Father: Empyrean, Mercurial, Old Man, Godhead
4. Mother: Kalijaga-Tash, Inanna, Grandmother, Virgin Mary
One might ask: why speak in symbols, anyway? In semiotics, there are three general categories of signs. The first is the icon, an analogue for the real thing it represents. A picture of a lion, for instance, is an icon of the real animal. The second is the index, which refers to something by directing our attention to it—like pointing a finger toward a lion. The third category is the symbol, where the sign does not terminate in the object itself but serves as a springboard for further permutations of meaning. While icons and indices refer to the lion as a sign, with meaning stopping at the animal itself, symbolic meaning transcends the lion. It may represent courage, nobility, or dominance, among other things. As the possible meanings attached to a symbol surpass both the quantity and quality of literal representations, symbols amplify abstract thought. Even words function as symbols, as the objects they signify transcend the words themselves.
But we must ask ourselves: upon what map and by what rules do symbols anchor their meaning? There exists a stable, pervading structure of meanings constellating around symbols. This structure cannot reside in the objects themselves, for if it did, symbols would not transcend their literal forms. Neither can it be merely abstracted from objects, for such a derivation would be a posteriori and could not account for the universal experiences shared by peoples from the Arctic to Patagonia. There must exist a transcendent plane from which the meanings of symbols are derived—what we call the archetypal plane.
This naturally raises the question: upon what basis do archetypes, belonging to a different ontological plane, relate to our material plane, governed by physical laws? A simple observation reveals that while instincts and causality reign supreme in our world, notable exceptions exist. Just as the King’s majesty extends throughout his demesne, yet is mediated by ministers and curbed in remote territories or sacred grounds, so too do instincts govern, but not absolutely. There are moments when instincts are thwarted by reason. Lukasz coined the term somatic-psychological antagonism to describe this tension between body and spirit. A starving mother, her body quaking with hunger and mind consumed by yearning for food, might still surrender her last morsel to her famished child. Instinct, rather than reigning supreme, exists along a spectrum. It occupies the extreme end in automatic bodily processes, such as digestion or the instinctual flight from mortal danger.
Jung encapsulated the relationship between archetype and instinct:
“Instinct is nature’s aim in us; it is the part of ourselves that is most thoroughly subject to natural law. As such, it represents the partie inférieure of the personality, but one which is indispensable to the whole. The archetype is the partie supérieure*, representing the spirit or meaning that strives to shape and inform the raw material of instinct. The two are complementary aspects of the same fundamental process, like the two poles of a magnet.”*
(CW 8, para. 398)
In my view, archetypes and instincts correspond to the psyche and the somatic. When the soul finds itself bound to the body—particularly in strictly instinctual situations, such as fleeing from danger—one acts based on instinct. But when the soul finds itself in a space beyond the instinctual plane, such as in introspection or daily conscious life, it orients itself around the psyche, which constellates around archetypes as naturally as the body does around instincts. The true difference lies in the domain in which the soul finds itself.
Just as the body is compelled to obey the laws of instinct, the psyche is similarly bound by the archetypes. Only in the realm of spirit—where one recollects oneself as pure soul, conceived as a particular instantiation of the Divine Archetypes—can one achieve a greater degree of freedom. In both the somatic and psychical planes, one must engage in perpetual transcendence, vanquishing opposing forces toward a state of holism: the integration of unconscious, automatic processes. In the realm of instinct, this means curbing bodily laziness and addiction. In the psychical realm, it requires conscious awareness of automatic patterns resulting from specific archetypal constellations.
The existence of archetypes is as real as the imprinting of instinct. Just as Konrad Lorenz’s ducklings instinctively followed his steps—a pathognomonic image of imprinting—so too do archetypal patterns manifest in the psyche. One need only consider maladaptive schemas: automatic cognitive and behavioral patterns triggered by specific events rooted in early childhood. These schemas often manifest in primordial form, reflected in folklore.
In the instinctual realm, one finds hands, legs, and body engaged in the execution of instinctual acts. Likewise, in the psychical realm, one finds organs of the psyche—logical components that render psychical events intelligible, much like Wittgenstein’s notion of facts composed of parts. We can dissect the role of each part that constitutes the event. Under the heading of “responding to trauma,” countless symbolic permutations could capture the state of the experience.
It would be erroneous to claim that Jungian analysts invented the symbolism pervading folklore and dreams. They merely articulate meanings long recognized across civilizations. From the Senoi and Xavante dream-discussions to the Dream Stele at the foot of the Sphinx, from Joseph’s interpretation of Pharaoh’s dreams to the daily cycles of dreaming and their fulfillment—symbolic interpretation has accompanied humanity since the dawn of history.
To dismiss the role of dreams and symbols in waking life is regressive. These symbolic experiences have undeniably shaped pivotal historical moments. Consider Pompey’s dream, on the eve of Pharsalus, of being received into the temple of Venus Victrix in full majesty. His advisors’ hubristic interpretation led Pompey to advance his numerically superior troops, only for them to falter against Caesar’s hardened veterans. Caesar himself would repeat the same error, dismissing his wife Calpurnia’s dream of his deification—mere days before his assassination on the Ides of March. Likewise, it would be absurd to relegate Martin Luther King’s “I have a dream…” to mere fantasy, given how that speech reverberated into waking life, catalyzing transformative change across American society.
Far from mere superstition, the symbolic and dreamlike possess empirical foundations. Dreams function as simulations for potential actions—an adaptive mechanism employed not only by humans but also by mammals. Hobson and Friston (2012), through the free energy principle, argued that dreaming helps the brain minimize prediction errors by running simulations in a safe, “offline” mode. Wagner et al. (2004) demonstrated how sleep can inspire insight: participants who experienced REM sleep were more likely to discern hidden patterns in problem-solving tasks. This aligns with the theory that dreaming facilitates information retention and creative solutions. Plihal and Born (1997) provided participants with two tasks: 1) a paired-associate word list (declarative memory) and 2) a mirror-tracing task (procedural memory). Participants tested after the first half of sleep—rich in slow-wave sleep—showed improved declarative memory, while those tested after the second half—dominated by REM sleep—performed better on procedural tasks.
During slow-wave sleep, hippocampal neurons replay recent experiences, facilitating hippocampal-neocortical dialogue. This strengthens relevant synapses while pruning weaker ones, reinforcing long-term memories. As sleep transitions to REM, the brain continues replaying these associations, often in bizarre, symbolic forms—akin to free association in psychoanalysis, where the loosening grip of the prefrontal cortex allows the unconscious to surface. This dreamlike process parallels therapeutic free association, culminating in insight and catharsis—the proverbial eureka moment.
Dreams thus act as a personal simulation theatre—our own virtual reality tool. Returning to the discussion of symbols in folklore and dreams, it becomes possible to map dream components and catalyze therapeutic change. Life is not driven solely by Freud’s pleasure principle or the reinstatement of biological motives like sexuality. We strive for finality, completion, and wholeness. In my clinical observations, even psychotic content often reveals symbolic patterns, such as the mandala—typically depicted as a sphere, disc, moon, or sun—emerging when patients near resolution. The mandala represents the process of individuation: the Self’s journey toward transcendence.
The psychical organs within folklore and dreams typically divide into four principal archetypes: Self, Shadow, Anima/Animus, and the Mother/Father complexes. The Self and Shadow often appear as the Hero and same-gender characters, while the Anima/Animus manifests as opposite-gender figures. Notably, current classifications seldom distinguish between the Anima/Animus and the Mother/Father complexes, nor do they categorize immaterial entities such as settings or the mandala itself.
The purpose of folklore and dreams is to induce change. Empirical evidence confirms that dreams simulate possible actions and outcomes. Thus, it is crucial to distinguish mutable from immutable archetypes. The Hero clearly belongs to the mutable category, as the entire motif revolves around their transformation. The Shadow, representing repressed or unconscious aspects of the personal psyche, also evolves as the Hero integrates these elements. Frodo’s growth in The Lord of the Rings necessitates Gandalf’s transformation from Gandalf the Grey to Gandalf the White—a clear representation of the Hero’s maturation through the integration of inferior functions.
The Anima/Animus, under my interpretation, extends beyond the supposed feminine/masculine counterpart. It represents the striving for the ideal Other. Today’s confusion regarding gender stems from an inability to sustain an image of the ideal Other. As the Anima/Animus appears in dynamic forms, it too belongs to the mutable category. I contend that the Old Man/Woman archetype belongs not to the Shadow but to the Anima/Animus, as their mentorship facilitates the Hero’s quest for the Boon-Treasure—an ultimate Other.
The World, encompassing the motif’s totality beyond the Self, Shadow, Anima/Animus, and Mother/Father complexes, also belongs to the mutable. As insight accumulates, the World transforms—the mandala becomes clearer, the plagued kingdom turns fertile, and so forth.
The Mother-Father complexes, by contrast, remain immutable. Jung observed that instantiated archetypes contain both a meaning-nucleus and an experiential component. Thus, despite varying parental experiences, the archetypal image of Mother and Father persists. Adolescence itself serves to transition from the overpowering influence of the internal Mother-Father to the external Other, embodied in the pursuit of love.
While archetypes assume infinite forms, their manifestations follow recurring patterns. These patterns often unfold in four major stages, fitting the archetypal quaternity, which symbolizes completion. Thus, we can tentatively identify the following archetypal spectrum:
1. Shadow: Antagonist, Trickster, Companion, Mentor
2. Anima/Animus: Harlot, Witch, Peasant-Wife, Beatrice
3. Father: Empyrean, Mercurial, Old Man, Godhead
4. Mother: Kalijaga-Tash, Inanna, Grandmother, Virgin Mary
June 1, 2022
A lovely incursion into the study of fairy-tales from a Jungian perspective. I've learned some new fairy-tales myself that I've never heard of.
Marie-Louise von Franz is one Jung's few disciples that perfectly integrated his work into her own way of exploring and explaining the relationship between the unconsciousness and fairy-tales; a nicely written book overall. :)
Marie-Louise von Franz is one Jung's few disciples that perfectly integrated his work into her own way of exploring and explaining the relationship between the unconsciousness and fairy-tales; a nicely written book overall. :)
October 17, 2018
As I read, I am considering the implicate order and the explicate order from the work of the a theoretical physicist David Bohm. What I have in mind is the Appendix 'The enfolding-unfolding universe and consciousness' in Wholeness and the Implicate Order, by David Bohm. Perhaps the collective unconscious (archetypes, symbols) and collective conscious (stories, individuation) are constituents of the implicate and explicate order.
I gather from Marie-Louise von Franze that the grizzly bear in my dreams is a symbol (implicate order) that lead me end disguising my experience, disguising my potential, disguising the large measure of my influence (explicate order). Fear of my inadequacy generated this disguise and powered down my raw power.
An abundant and penetrating description of how boundaries and repression suppress instincts emerges through the hero figure, Dummling.
Perhaps you too can find value in this credible little book.
I gather from Marie-Louise von Franze that the grizzly bear in my dreams is a symbol (implicate order) that lead me end disguising my experience, disguising my potential, disguising the large measure of my influence (explicate order). Fear of my inadequacy generated this disguise and powered down my raw power.
An abundant and penetrating description of how boundaries and repression suppress instincts emerges through the hero figure, Dummling.
Perhaps you too can find value in this credible little book.
March 28, 2018
This book clearly shows me that my prejudices were a result of my own ignorance.
On the other hand, while this book certainly helps a lot when it comes to European fairy tales, it invites the question of to what extent the same principle could apply to other culture. There are some common symbols, maybe from the collective unconscious, more from the pagan side. In China we do not have the problem brought by Enlightenment, though certainly there are some other issues. maybe need to explore more about the folklore and contemporary research.
Got inspired to read this one while with The Hero with a Thousand Faces, will go back to Jung's writing about archetype and maybe also alchemy later on.
On the other hand, while this book certainly helps a lot when it comes to European fairy tales, it invites the question of to what extent the same principle could apply to other culture. There are some common symbols, maybe from the collective unconscious, more from the pagan side. In China we do not have the problem brought by Enlightenment, though certainly there are some other issues. maybe need to explore more about the folklore and contemporary research.
Got inspired to read this one while with The Hero with a Thousand Faces, will go back to Jung's writing about archetype and maybe also alchemy later on.
March 1, 2020
This book is considered to be one of the most important works in the study and interpretation of fairy tales. Unfortunately, the book turned out to be completely useless, as far as my needs were concerned.
What were those needs or requirements?
I was trying to understand how the history and psyche of the people gets retained through fairy tales, even if they are not exactly favoured by the rulers or the clergy.
What did I get?
Jungian analysis of European fairy tales, which were almost entirely occupied with Grimms' tales. Even in this Euro-centric work, I couldn’t find any discussion regarding Irish folklore or the pre-classical Greek tales.
Readable book meant for the author's students studying Jung and his works.
For me, it was completely useless.
What were those needs or requirements?
I was trying to understand how the history and psyche of the people gets retained through fairy tales, even if they are not exactly favoured by the rulers or the clergy.
What did I get?
Jungian analysis of European fairy tales, which were almost entirely occupied with Grimms' tales. Even in this Euro-centric work, I couldn’t find any discussion regarding Irish folklore or the pre-classical Greek tales.
Readable book meant for the author's students studying Jung and his works.
For me, it was completely useless.
Read
June 12, 2021Fairy tales are not concerned with human and personal factors but with the development of the archetypes; they show the ways in which the archetypes are related to one another within the collective unconscious. The heroes or heroines of fairy tales are abstractions. Therefore, their fates are not neurotic complications, but rather are expressions of the difficulties and dangers given to us by nature.
In the unconscious, all the archetypes are entangled with one another. Adolf Bastian, the 19th century polymath, had an interesting hypothesis that all mythological motifs or as he phrased it - "elemental thoughts", are not migrated but are inborn in every individual. So only when the conscious mind looks at it is one motif selected and even then it depends on where your searchlight is directed to first. For every one insight/interpretation that the light reveals, there are multiple other interpretations simultaneously presenting themselves which are out of the boundaries of your light.
In his 1913 masterpiece, Psychological Types, Carl Jung proposed four basic functions: thinking (T), feeling (F), sensing / sensation (S) and intuition (I). He chose these terms, at least in part, because they were already commonplace in language, thus allowing them to be broadly palatable and understood. The thinking type will point out the structure and the way in which all the motifs connect. The feeling type will put them in a value order (a hierarchy of values). With the feeling function, a good and complete fairy tale interpretation can be made. The sensation type will just look at the symbols and amplify them. The intuitive will see the whole package in its oneness, so to speak; showing that the whole fairy tale is not a discursive story but is really one message, split up into many facets. The more you have differentiated your functions, the better you can interpret because you must circumambulate a story as much as possible with all four functions.
In a fairy tale, the hero or the king or the fair maiden are abstract figures and are not at all human. They transcend into the realm of objective reality. So the hero is not merely an individual but an archetype that makes the hero and so that makes the hero more real than a real person - which is the reason the audience, knowingly or unknowingly, roots for the hero.
This is true of other imagery used in the construction of a plot. For example , a trapdoor that leads into the depths of the earth that the Hero must take. Here, people would interpret this as a descent into the underworld, into the depths of the unconscious. But one should see whether it is a descent into the unconscious virginal nature or if there are layers and traces of a former civilization which has been long forgotten. The latter would indicate that there were elements which had once been conscious, but which had sunk back into the unconscious, just as a castle may fall into ruins but its cellars remain, leaving traces of a former way of life.
Interpreted psychologically, this would mean that the unconscious not only contains our instinctive animal nature but also contains the traditions of the past and is partially formed by them.
As to how fairy tales take shape, the author provides yet another interesting hypothesis. If my understanding is correct, the "Elemental thoughts" that exist in the psyche cross, in small chunks, from the domain of the unconscious to the conscious. These transitions could be triggered by a number of things varying from circumstances to even the usage of hallucinogens and they are the basis of folklore beliefs. When something strange happens, it gets gossiped about and handed on, just as rumors are handed on; then under favourable conditions the account gets enriched with already existing archetypal representations and slowly becomes a story because the "Elemental thoughts" are not particular or local but universal. That's how you can tell if a story is a good story or if a movie was a good movie.
About Jesus, people said, “But this is Osiris! This is our Dionysus! We have known the suffering and dismembered god from long ago.” And they were half right: what they saw was the same general archetypal pattern. But the others were right too because this image was a transmogrified version of the older images i.e. an image that was attained by reaching a higher state of consciousness than previously attained.
The hypothesis of the archetypal disposition of the human psyche simplifies many of these questions, so that one does not need to get lost in unnecessary quarrels about the religious myths. The different versions are the different elaborations of various forms of the archetype. One could say that whenever an archetypal content of vital importance is constellated, it tends to become the central symbol of a new religion. When, however, an archetypal content belongs merely to the body of general human welfare and is not specifically constellated, it is handed on in the form of folklore.
The elements of a Fairytale:
A good fairy tale primarily contains around 6 elements-
1. The Exposition i.e. the time and place.
For example: Once upon a time in a land/kingdom far away
2. The Dramatis Personae i.e. the people involved.
For example: ... there lived a king who had three sons.
This sort of story indicates at the very beginning the absence of the feminine. So at the end, one could suspect that the whole story is about redeeming the female principle.
3. Naming of the Problem.
For example: You will find this in the form of an old king that is sick.
Some trouble always comes at the beginning of the story otherwise there would be no story. So you define the trouble psychologically as well as you can and try to understand what it is.
4. The Perepeteia:
Defines the ups and downs.
5. The Climax:
The decisive point where the whole thing develops into a tragedy or comes out right. It is the height of the tension.
6. The Ending:
... And they lived happily ever after.
Below are some of the images and their symbolism that I found interesting:
- The Hero : the archetype which represents a model of the ego functioning in accord with the Self.
- The prophet : someone who has attained the state of individuation and announces it to others.
- The King : represents the divine principle (the thing that is the governing principle of all the other governing principles). In his body lives the spirit of the tribe.
- The Queen : the divine feminine. That the queen is lacking in a tale means the latter aspect has been lost and the King is sterile.
- the Wind : represents spiritual power. The word spiritus is connected with spirare (to breathe). In Genesis the Ruach Elohim (the Spirit of God) broods over the waters. Therefore you can say that an imperceptible wind whose direction you can only discover by blowing a feather would be a slight, barely noticeable, almost inconceivable psychic tendency.
- The Fool : he is the precursor to the Hero.
- Trapdoor : stumbling into the unconscious.
- Ruins of an old civilization: the unconscious not only contains our instinctive nature but also contains the traditions of the past and is partially formed by them because as Carl Jung says, "We are not of yesterday or today, we are of an immense age".
- The Carpet : The nomadic Arab tribes, who are still famous for their carpet weaving, say that the carpets they use in their tents represent that continuity of earth which they need to prevent them from feeling that they have no soil under their feet.
the territory means the mother, and for some of those North African nomadic tribes the carpet is that same thing, for they need the continuity of the maternal soil; and now having it outwardly, living practically every night on a different bit of sand, they carry their symbolic territory with them.
- A Ring : connectedness or a fetter.
- Gold : incorruptibility or immorality.
- Jumping through a ring/hitting a bullseye : hitting the centre of one's personality. In order to jump, one has to leave the earth i.e. one's perception of reality. For one cannot be grounded and jump at the same time.
- Fire : the great judge that decides what is worthy of survival and what should be destroyed.
- Giants : represent uncontrolled collective, emotional forces—there is no longer a ruling principle in consciousness, and it has therefore regressed into its archaic form.
- A dog companion : The dog is the hero’s complementary instinctive side. In antiquity, the dog was regarded as a guarantor of eternal life (for example, Cerberus of Hades and the images of dogs on antique Roman graves). In Egyptian mythology, the jackal-headed god Anubis is a guide into the underworld.
- The Sword: stands for justice, authority, decision. The dragon, for example, is cut up by the sword, and this signifies the attempt to discriminate the instincts so that undefined unconscious contents are made more definite.
- The Head of a spirit/demon : The dragon, for example, is cut up by the sword, and this signifies the attempt to discriminate the instincts so that undefined unconscious contents are made more definite.
- Childlessness : the childlessness testifies that the connection with the creative earth of the psyche has been broken and that a gulf lies between the values and ideas of collective consciousness and the dark, fertile loam of unconscious, archetypal processes of transformation.
- Cutting of hair : represents submission to a new collective state - a giving up and a rebirth. Allowing light to penetrate where there was none earlier.
- Shoes : Shoes are the lowest part of our clothing and represent our standpoint in relation to reality—how solidly our feet are planted on the ground.
In the unconscious, all the archetypes are entangled with one another. Adolf Bastian, the 19th century polymath, had an interesting hypothesis that all mythological motifs or as he phrased it - "elemental thoughts", are not migrated but are inborn in every individual. So only when the conscious mind looks at it is one motif selected and even then it depends on where your searchlight is directed to first. For every one insight/interpretation that the light reveals, there are multiple other interpretations simultaneously presenting themselves which are out of the boundaries of your light.
In his 1913 masterpiece, Psychological Types, Carl Jung proposed four basic functions: thinking (T), feeling (F), sensing / sensation (S) and intuition (I). He chose these terms, at least in part, because they were already commonplace in language, thus allowing them to be broadly palatable and understood. The thinking type will point out the structure and the way in which all the motifs connect. The feeling type will put them in a value order (a hierarchy of values). With the feeling function, a good and complete fairy tale interpretation can be made. The sensation type will just look at the symbols and amplify them. The intuitive will see the whole package in its oneness, so to speak; showing that the whole fairy tale is not a discursive story but is really one message, split up into many facets. The more you have differentiated your functions, the better you can interpret because you must circumambulate a story as much as possible with all four functions.
In a fairy tale, the hero or the king or the fair maiden are abstract figures and are not at all human. They transcend into the realm of objective reality. So the hero is not merely an individual but an archetype that makes the hero and so that makes the hero more real than a real person - which is the reason the audience, knowingly or unknowingly, roots for the hero.
This is true of other imagery used in the construction of a plot. For example , a trapdoor that leads into the depths of the earth that the Hero must take. Here, people would interpret this as a descent into the underworld, into the depths of the unconscious. But one should see whether it is a descent into the unconscious virginal nature or if there are layers and traces of a former civilization which has been long forgotten. The latter would indicate that there were elements which had once been conscious, but which had sunk back into the unconscious, just as a castle may fall into ruins but its cellars remain, leaving traces of a former way of life.
Interpreted psychologically, this would mean that the unconscious not only contains our instinctive animal nature but also contains the traditions of the past and is partially formed by them.
As to how fairy tales take shape, the author provides yet another interesting hypothesis. If my understanding is correct, the "Elemental thoughts" that exist in the psyche cross, in small chunks, from the domain of the unconscious to the conscious. These transitions could be triggered by a number of things varying from circumstances to even the usage of hallucinogens and they are the basis of folklore beliefs. When something strange happens, it gets gossiped about and handed on, just as rumors are handed on; then under favourable conditions the account gets enriched with already existing archetypal representations and slowly becomes a story because the "Elemental thoughts" are not particular or local but universal. That's how you can tell if a story is a good story or if a movie was a good movie.
About Jesus, people said, “But this is Osiris! This is our Dionysus! We have known the suffering and dismembered god from long ago.” And they were half right: what they saw was the same general archetypal pattern. But the others were right too because this image was a transmogrified version of the older images i.e. an image that was attained by reaching a higher state of consciousness than previously attained.
The hypothesis of the archetypal disposition of the human psyche simplifies many of these questions, so that one does not need to get lost in unnecessary quarrels about the religious myths. The different versions are the different elaborations of various forms of the archetype. One could say that whenever an archetypal content of vital importance is constellated, it tends to become the central symbol of a new religion. When, however, an archetypal content belongs merely to the body of general human welfare and is not specifically constellated, it is handed on in the form of folklore.
The elements of a Fairytale:
A good fairy tale primarily contains around 6 elements-
1. The Exposition i.e. the time and place.
For example: Once upon a time in a land/kingdom far away
2. The Dramatis Personae i.e. the people involved.
For example: ... there lived a king who had three sons.
This sort of story indicates at the very beginning the absence of the feminine. So at the end, one could suspect that the whole story is about redeeming the female principle.
3. Naming of the Problem.
For example: You will find this in the form of an old king that is sick.
Some trouble always comes at the beginning of the story otherwise there would be no story. So you define the trouble psychologically as well as you can and try to understand what it is.
4. The Perepeteia:
Defines the ups and downs.
5. The Climax:
The decisive point where the whole thing develops into a tragedy or comes out right. It is the height of the tension.
6. The Ending:
... And they lived happily ever after.
Below are some of the images and their symbolism that I found interesting:
- The Hero : the archetype which represents a model of the ego functioning in accord with the Self.
- The prophet : someone who has attained the state of individuation and announces it to others.
- The King : represents the divine principle (the thing that is the governing principle of all the other governing principles). In his body lives the spirit of the tribe.
- The Queen : the divine feminine. That the queen is lacking in a tale means the latter aspect has been lost and the King is sterile.
- the Wind : represents spiritual power. The word spiritus is connected with spirare (to breathe). In Genesis the Ruach Elohim (the Spirit of God) broods over the waters. Therefore you can say that an imperceptible wind whose direction you can only discover by blowing a feather would be a slight, barely noticeable, almost inconceivable psychic tendency.
- The Fool : he is the precursor to the Hero.
- Trapdoor : stumbling into the unconscious.
- Ruins of an old civilization: the unconscious not only contains our instinctive nature but also contains the traditions of the past and is partially formed by them because as Carl Jung says, "We are not of yesterday or today, we are of an immense age".
- The Carpet : The nomadic Arab tribes, who are still famous for their carpet weaving, say that the carpets they use in their tents represent that continuity of earth which they need to prevent them from feeling that they have no soil under their feet.
the territory means the mother, and for some of those North African nomadic tribes the carpet is that same thing, for they need the continuity of the maternal soil; and now having it outwardly, living practically every night on a different bit of sand, they carry their symbolic territory with them.
- A Ring : connectedness or a fetter.
- Gold : incorruptibility or immorality.
- Jumping through a ring/hitting a bullseye : hitting the centre of one's personality. In order to jump, one has to leave the earth i.e. one's perception of reality. For one cannot be grounded and jump at the same time.
- Fire : the great judge that decides what is worthy of survival and what should be destroyed.
- Giants : represent uncontrolled collective, emotional forces—there is no longer a ruling principle in consciousness, and it has therefore regressed into its archaic form.
- A dog companion : The dog is the hero’s complementary instinctive side. In antiquity, the dog was regarded as a guarantor of eternal life (for example, Cerberus of Hades and the images of dogs on antique Roman graves). In Egyptian mythology, the jackal-headed god Anubis is a guide into the underworld.
- The Sword: stands for justice, authority, decision. The dragon, for example, is cut up by the sword, and this signifies the attempt to discriminate the instincts so that undefined unconscious contents are made more definite.
- The Head of a spirit/demon : The dragon, for example, is cut up by the sword, and this signifies the attempt to discriminate the instincts so that undefined unconscious contents are made more definite.
- Childlessness : the childlessness testifies that the connection with the creative earth of the psyche has been broken and that a gulf lies between the values and ideas of collective consciousness and the dark, fertile loam of unconscious, archetypal processes of transformation.
- Cutting of hair : represents submission to a new collective state - a giving up and a rebirth. Allowing light to penetrate where there was none earlier.
- Shoes : Shoes are the lowest part of our clothing and represent our standpoint in relation to reality—how solidly our feet are planted on the ground.
Read
December 28, 2022This is my first real exploration into the world of Jungian fairytale interpretation, and I really enjoyed it until the gender essentialism kicked in (which it did, of course, when women were discussed specifically-- as always, men have the benefit of being more default). This is still a useful volume, if you can put aside the fact that it doesn't think that critically about the influence of gender and race discrimination in cultural stories. I especially enjoyed the detailing of what different symbols appear to mean across various cultures, and the idea that our interpretations of fairy-tales are myths unto themselves that we cannot fully understand yet. I'm not rating it because how?
February 20, 2021
This was my first book by Marie-Louise Von Franz. It is actually a series of lectures that she gave in English at the C.G. Jung Institute in Geneva.
Instead of being an encyclopedia of fairy tale symbols, Von Franz goes very deep into two European fairy tales, and attempts to exhaust every possible symbolism within the archetypes. In the process, she really leaves absolutely no stones unturned: number, gender, animal symbology, animus and anima, the Mother Archetype, the Shadow, are all "amplified" in her fairy tale research methodology.
It was an absolutely fascinating read. However I think that what she proposes as "scientific" interpretation, is really personal at best. It helped me expand my interpretation toolboxes, but yet again, as she says herself, the only way to get good at interpreting fairy tales is by doing it yourself. I also derived a great lesson from the story of the "Three Feathers": what we find derisive about our shadow, may actually be the best part of us, and can only mature and blossom if we are able to look at it with loving eyes. (Dummling, the Toad as anima...). This is true both for the personal and the collective unconscious. What a beautiful and important lesson.
Following the reading of this book, I decided to go back to Carl Jung's Volume 7: Collective Unconscious and Archetypes. At the moment, I think I still tend to fare better in Jung's conceptual laying of grand systems, versus Von Franz's microscopic minutia.
A satisfying read.
Instead of being an encyclopedia of fairy tale symbols, Von Franz goes very deep into two European fairy tales, and attempts to exhaust every possible symbolism within the archetypes. In the process, she really leaves absolutely no stones unturned: number, gender, animal symbology, animus and anima, the Mother Archetype, the Shadow, are all "amplified" in her fairy tale research methodology.
It was an absolutely fascinating read. However I think that what she proposes as "scientific" interpretation, is really personal at best. It helped me expand my interpretation toolboxes, but yet again, as she says herself, the only way to get good at interpreting fairy tales is by doing it yourself. I also derived a great lesson from the story of the "Three Feathers": what we find derisive about our shadow, may actually be the best part of us, and can only mature and blossom if we are able to look at it with loving eyes. (Dummling, the Toad as anima...). This is true both for the personal and the collective unconscious. What a beautiful and important lesson.
Following the reading of this book, I decided to go back to Carl Jung's Volume 7: Collective Unconscious and Archetypes. At the moment, I think I still tend to fare better in Jung's conceptual laying of grand systems, versus Von Franz's microscopic minutia.
A satisfying read.
June 23, 2014
Marie-Louise von Franz was a Jungian scholar, and this book seems like it was written for her peers who had the same in-depth knowledge of Jung's writings. It's fascinating material, and worth the read if your wiling to spend a significant amount of time on Wikipedia reading about things like Anima and Shadow. Probably a great way to spend a Sunday afternoon.
This book is the indirect inspiration for a number of films. Among the best examples are Star Wars and the Lion King. The Hero’s Journey is a pattern of narrative identified by Joseph Campbell that is seen in important stories in many different cultures. It's based on Jungian interpretation of story as is seen in this book. It's the prototypical plot. The Lion King, Star Wars, and countless other movies incorporated the elements of the Hero's Journey into their plots, and the most famous script-writing book ever, "Save the Cat!: The Last Book on Screenwriting You'll Ever Need" operationalized it. "Save the Cat" is such a good book that it's been blamed for the homogenization of American cinema. Thanks a lot von Franz.
This book is the indirect inspiration for a number of films. Among the best examples are Star Wars and the Lion King. The Hero’s Journey is a pattern of narrative identified by Joseph Campbell that is seen in important stories in many different cultures. It's based on Jungian interpretation of story as is seen in this book. It's the prototypical plot. The Lion King, Star Wars, and countless other movies incorporated the elements of the Hero's Journey into their plots, and the most famous script-writing book ever, "Save the Cat!: The Last Book on Screenwriting You'll Ever Need" operationalized it. "Save the Cat" is such a good book that it's been blamed for the homogenization of American cinema. Thanks a lot von Franz.
October 4, 2016
I’ve been a big fan of the works of Marie-Louise Von Franz ever since I read The Feminine in Fairy Tales. In The Interpretation of Fairy Tales, Von Franz does what she does best: she performs a Jungian interpretation of fairy tales. Von Franz deconstructs the tales by delving deeper and deeper into the significance of each character, object, and event. She compares and contrasts different versions of the same tale to offer a more expansive interpretation. Her discussion provides insights into human behavior and relationships. However, the last chapter on Shadow, Anima, and Animus can be a challenge to those without even a rudimentary familiarity with the works of Jung.
July 24, 2014
What a brave woman was Marie Louise Von France. She never discounted her thoughts or ideas, but traveled deeper and deeper in her passion to understand life - both her own and the collective.
Her insights into meanings are extraordinary and compassionate.
Von France insists that what YOU think matters most of all and she gives us thoughtful tools to understand ourselves.
I was richly rewarded for reading The Interpretation of Fairy Tales.
Eleanor Cowan, author of : A History of a Pedophile's Wife: Memoir of a Canadian Teacher and Writer
Her insights into meanings are extraordinary and compassionate.
Von France insists that what YOU think matters most of all and she gives us thoughtful tools to understand ourselves.
I was richly rewarded for reading The Interpretation of Fairy Tales.
Eleanor Cowan, author of : A History of a Pedophile's Wife: Memoir of a Canadian Teacher and Writer
July 16, 2020
I think the intended reader for this book would be a Jungian analyst, or at least someone quite well versed in the theories of archetypes, the anima, animus and shadows. I am not. The book explores a few fairy tales in some depth, and is followed by a more general discussion of the anima, animus and shadow.
The beginning sections made some sense to me, but by the end of the book, the material being discussed was very difficult to follow. Much of it seems interpreted at such a high level, without adequate grounding, that it comes across as impossibly vague and unsubstantiated.
The beginning sections made some sense to me, but by the end of the book, the material being discussed was very difficult to follow. Much of it seems interpreted at such a high level, without adequate grounding, that it comes across as impossibly vague and unsubstantiated.
January 20, 2012
Very very Jungian. I've read some Jung - well, Man and His Symbols, twice - but I was raised agnostic and have little place for religious systems. Jung was a psychiatrist not a religious leader, but the line is pretty blurry.
April 26, 2025
Everything is everything, bitches.
This entire review has been hidden because of spoilers.
August 4, 2020
I was very excited about reading this but it didn't live up to my expectations.
May 27, 2025
This book is a mix of theory about fairy tales and sample Jungian interpretations. In general I enjoyed von Franz's interpretations, which referenced the 4 psychological functions (the precursor to Myers-Briggs), archetypes, and a host of interesting symbols that are too numerous to list. As usual with early Jungian thinkers, I struggled with the interpretations regarding women's shadow and animus. For anyone interested in this topic, I highly recommend Lisa Marchiano's The Vital Spark.
The overall thesis of the book is right in the first sentence: "Fairy tales are the purest and simplest expression of collective unconscious psychic thought processes." The collective underpinnings of fairy tales as well as their symbolic aspects really interest me, so this method of interpretation seemed like a good fit. As I mentioned above, the example interpretations led to some interesting insights. However, I was less convinced by some of the more theoretical parts of the book. There were 3 sub arguments that caught my attention:
1) Because fairy tales carry unconscious material, they need to be interpreted not just from an intellectual or historical perspective, but from an emotional and feeling perspective (p 10). It's not just about collecting archetypal images and building associations between them, but how they emotionally impact an individual or a culture. I think a psychological approach for individuals can yield amazing interpretations, but I don't think von Franz offers enough information for a collective or cultural interpretation and sometimes veers into colonialism. Although I can see the argument for fairy tales arising out of the collective unconscious, it's hard to show that by saying fairy tales show a particular psychological disposition of an entire culture. This section veered too much into anthropology, and I don't think it's von Franz's strong point.
2) Also because they carry unconscious material, fairy tales need to be treated similarly to dreams: they cannot be "taken for granted" or "distorted." I feel ambivalent about this reverence for the stories.
On the one hand, I think modern western culture tends to either minimize dreams and stories as fantasy or harvest them for ego-driven success. An alternative way of relating to fairy tales that von Franz points to (as Jung did and as post-Jungians such as Hillman do) would be a Copernican revolution--letting our conscious lives be satellites around a greater and deeper unconscious reality (p 97). This feels like a helpful rebalancing of perspective.
On the other hand, I think there is room for fairy tales to transform along with shifting times, and crystalizing them or scripturalizing them is too limiting, in my opinion. Von Franz is clearly aware that there are different versions of a single story, so I'm not sure what "distortion" (p 5) means for her, but I probably fall farther on the side of modification and creativity than she does. A living, mutated story is better than a preserved but dead one.
3) Because fairy tales arise from the collective unconscious, we can trace the differences, similarities, and genealogy between them and myths, religions, and rituals. It was an interesting overview but not really what I came to the book for. This section was also more anthropological in focus, and I didn't find it as useful because these were big arguments to make in a single chapter. I think I'm more interested in authors like Terrence Deacon or Merlin Donald who explain symbolic thinking from a cognitive linguistics perspective.
The overall thesis of the book is right in the first sentence: "Fairy tales are the purest and simplest expression of collective unconscious psychic thought processes." The collective underpinnings of fairy tales as well as their symbolic aspects really interest me, so this method of interpretation seemed like a good fit. As I mentioned above, the example interpretations led to some interesting insights. However, I was less convinced by some of the more theoretical parts of the book. There were 3 sub arguments that caught my attention:
1) Because fairy tales carry unconscious material, they need to be interpreted not just from an intellectual or historical perspective, but from an emotional and feeling perspective (p 10). It's not just about collecting archetypal images and building associations between them, but how they emotionally impact an individual or a culture. I think a psychological approach for individuals can yield amazing interpretations, but I don't think von Franz offers enough information for a collective or cultural interpretation and sometimes veers into colonialism. Although I can see the argument for fairy tales arising out of the collective unconscious, it's hard to show that by saying fairy tales show a particular psychological disposition of an entire culture. This section veered too much into anthropology, and I don't think it's von Franz's strong point.
2) Also because they carry unconscious material, fairy tales need to be treated similarly to dreams: they cannot be "taken for granted" or "distorted." I feel ambivalent about this reverence for the stories.
On the one hand, I think modern western culture tends to either minimize dreams and stories as fantasy or harvest them for ego-driven success. An alternative way of relating to fairy tales that von Franz points to (as Jung did and as post-Jungians such as Hillman do) would be a Copernican revolution--letting our conscious lives be satellites around a greater and deeper unconscious reality (p 97). This feels like a helpful rebalancing of perspective.
On the other hand, I think there is room for fairy tales to transform along with shifting times, and crystalizing them or scripturalizing them is too limiting, in my opinion. Von Franz is clearly aware that there are different versions of a single story, so I'm not sure what "distortion" (p 5) means for her, but I probably fall farther on the side of modification and creativity than she does. A living, mutated story is better than a preserved but dead one.
3) Because fairy tales arise from the collective unconscious, we can trace the differences, similarities, and genealogy between them and myths, religions, and rituals. It was an interesting overview but not really what I came to the book for. This section was also more anthropological in focus, and I didn't find it as useful because these were big arguments to make in a single chapter. I think I'm more interested in authors like Terrence Deacon or Merlin Donald who explain symbolic thinking from a cognitive linguistics perspective.
January 16, 2024
"The Interpretation of Fairy Tales" by Marie-Louise von Franz is a captivating exploration into the enchanting world of fairy tales. As someone drawn to the magic and symbolism within these timeless stories, this book offered an engaging and insightful perspective on understanding the deeper meanings hidden within fairy tales.
Von Franz's strength lies in her ability to unravel the layers of symbolism present in fairy tales from various cultures. The book delves into the archetypal themes, characters, and symbols found in these stories, providing readers with a roadmap to decipher the hidden messages beneath the surface. Von Franz's approach is accessible, making complex psychological concepts feel approachable to a broad audience.
One notable aspect of the book is its emphasis on the psychological significance of fairy tales. Von Franz explores how these seemingly simple stories serve as a mirror to the human psyche, reflecting our fears, desires, and collective experiences. Her insights into the universal themes within fairy tales add a depth of understanding that goes beyond mere entertainment.
The language used is clear and engaging, avoiding academic jargon that might alienate casual readers. Von Franz's writing style is conversational, creating a bridge between the scholarly exploration of fairy tales and their resonance in our everyday lives. The book seamlessly blends theoretical concepts with practical examples from a variety of fairy tales.
The organization of the book is well-thought-out, with each chapter dedicated to a specific aspect of fairy tales. Whether discussing the symbolism of animals, the hero's journey, or the role of the unconscious, Von Franz provides a structured and comprehensive guide to interpreting these age-old stories.
In conclusion, "The Interpretation of Fairy Tales" is a delightful read for anyone curious about the meanings woven into the fabric of these magical narratives. Whether you're a fan of fairy tales or interested in psychology, Von Franz's exploration offers a fascinating perspective on the enduring allure of these enchanting stories. The book invites readers to embark on a journey of discovery, unlocking the hidden wisdom and universal truths embedded in the enchanting world of fairy tales.
Von Franz's strength lies in her ability to unravel the layers of symbolism present in fairy tales from various cultures. The book delves into the archetypal themes, characters, and symbols found in these stories, providing readers with a roadmap to decipher the hidden messages beneath the surface. Von Franz's approach is accessible, making complex psychological concepts feel approachable to a broad audience.
One notable aspect of the book is its emphasis on the psychological significance of fairy tales. Von Franz explores how these seemingly simple stories serve as a mirror to the human psyche, reflecting our fears, desires, and collective experiences. Her insights into the universal themes within fairy tales add a depth of understanding that goes beyond mere entertainment.
The language used is clear and engaging, avoiding academic jargon that might alienate casual readers. Von Franz's writing style is conversational, creating a bridge between the scholarly exploration of fairy tales and their resonance in our everyday lives. The book seamlessly blends theoretical concepts with practical examples from a variety of fairy tales.
The organization of the book is well-thought-out, with each chapter dedicated to a specific aspect of fairy tales. Whether discussing the symbolism of animals, the hero's journey, or the role of the unconscious, Von Franz provides a structured and comprehensive guide to interpreting these age-old stories.
In conclusion, "The Interpretation of Fairy Tales" is a delightful read for anyone curious about the meanings woven into the fabric of these magical narratives. Whether you're a fan of fairy tales or interested in psychology, Von Franz's exploration offers a fascinating perspective on the enduring allure of these enchanting stories. The book invites readers to embark on a journey of discovery, unlocking the hidden wisdom and universal truths embedded in the enchanting world of fairy tales.
November 18, 2020
For more reviews, check out my blog: Craft-Cycle
A fascinating look into the Jungian analysis of fairy tales.
This book is based on a series of lectures given at the C. G. Jung Institute. It is not meant to be a complete interpretation of global fairy tales (the original title was actually An Introduction to the Interpretation of Fairy Tales ). Rather it is a resource that helps teach ways to apply Jungian analysis to fairy tales, complete with explanation through examples. The author is clear in noting that the significance of the various motifs, characters, and events present in a story or dream will be specific to the individual, but offers possible interpretations to demonstrate how one could go about the process and shed some light on possible archetypal experiences.
With that in mind, I would not say this is necessarily a good fit for someone interested in fairy tales with no background in psychology, specifically Jung. When going into this, it may be helpful to have a basic understanding of Jung's teachings and understand main concepts like the anima, the animus, and the shadow. As someone with a BA in Psychology and a love for writing fairy tale retellings, this was a fun read that combined some of my favorite things.
The book itself includes many mostly-European tales used as examples with possible ways to interpret them. The main example is "The Three Feathers", but other smaller examples are also incorporated, especially in the final chapter. This interpretation includes pulling together word meanings, cultural significance, historical periods and events, and basic psychological connections. I found this a very interesting way to gain insight into the struggles and issues of the time that people were dealing with when such stories originated.
The book was well-written and generally easy to understand if one already has experience with the building blocks of psychology and some basic understanding of Jung's theories. A fascinating look at the meaning of fairy tales, what they can teach us about individuals, and what they can teach us about the cultures from which they originated.
A fascinating look into the Jungian analysis of fairy tales.
This book is based on a series of lectures given at the C. G. Jung Institute. It is not meant to be a complete interpretation of global fairy tales (the original title was actually An Introduction to the Interpretation of Fairy Tales ). Rather it is a resource that helps teach ways to apply Jungian analysis to fairy tales, complete with explanation through examples. The author is clear in noting that the significance of the various motifs, characters, and events present in a story or dream will be specific to the individual, but offers possible interpretations to demonstrate how one could go about the process and shed some light on possible archetypal experiences.
With that in mind, I would not say this is necessarily a good fit for someone interested in fairy tales with no background in psychology, specifically Jung. When going into this, it may be helpful to have a basic understanding of Jung's teachings and understand main concepts like the anima, the animus, and the shadow. As someone with a BA in Psychology and a love for writing fairy tale retellings, this was a fun read that combined some of my favorite things.
The book itself includes many mostly-European tales used as examples with possible ways to interpret them. The main example is "The Three Feathers", but other smaller examples are also incorporated, especially in the final chapter. This interpretation includes pulling together word meanings, cultural significance, historical periods and events, and basic psychological connections. I found this a very interesting way to gain insight into the struggles and issues of the time that people were dealing with when such stories originated.
The book was well-written and generally easy to understand if one already has experience with the building blocks of psychology and some basic understanding of Jung's theories. A fascinating look at the meaning of fairy tales, what they can teach us about individuals, and what they can teach us about the cultures from which they originated.
July 23, 2021
Another great book about the depth-psychological meaning of fairy tales, as authored by fairy tale authority Marie-Louise von Franz.
I find this book a great introduction to the topic, with a great deal of depth and nuance to be gleaned from her.
Even though the sentences sometimes didn't make a lot of sense until I read them again and imagined how she would say it in German, she dropped a lot of gems that highlight the working of the Animus and Anima, as well as the ever-present symbolism of the Self in fairy tales.
I found the fairy tale descriptions rather flat and boring, and I felt like they didn't do justice to the stories at all - even though they are incredibly riveting to me as archetypal patterns. However, von Franz did divulge a ton of context by amplifying themes and symbols throughout fairy tales, mythology and folklore.
Sometimes she meandered quite a bit, and I found I just had to read through to get to the core. Such it is often with depth-psychology. It appears to be unable to nailed a 100%, but can only be circumambulated and described, never attained. Such is the symbol of the Self. Elusive as all hell and never truly defined, only approached.
If you can intuitively feel into the deeper meaning of things, this book may very well appeal to you.
If you are studying or practicing a profession in the depth-psychological department, this is most likely a must for you, to achieve a greater awareness of how the collective unconscious works and what that means for you and your work.
I find this book a great introduction to the topic, with a great deal of depth and nuance to be gleaned from her.
Even though the sentences sometimes didn't make a lot of sense until I read them again and imagined how she would say it in German, she dropped a lot of gems that highlight the working of the Animus and Anima, as well as the ever-present symbolism of the Self in fairy tales.
I found the fairy tale descriptions rather flat and boring, and I felt like they didn't do justice to the stories at all - even though they are incredibly riveting to me as archetypal patterns. However, von Franz did divulge a ton of context by amplifying themes and symbols throughout fairy tales, mythology and folklore.
Sometimes she meandered quite a bit, and I found I just had to read through to get to the core. Such it is often with depth-psychology. It appears to be unable to nailed a 100%, but can only be circumambulated and described, never attained. Such is the symbol of the Self. Elusive as all hell and never truly defined, only approached.
If you can intuitively feel into the deeper meaning of things, this book may very well appeal to you.
If you are studying or practicing a profession in the depth-psychological department, this is most likely a must for you, to achieve a greater awareness of how the collective unconscious works and what that means for you and your work.
January 13, 2022
Always love the writing of Von Franz. I get this no nonsense delivery from her. She will tell you exactly what you need to hear and it will not be wrapped in a ribbon.
The way she explains fairy tales, makes it a lot more believable that our dreams are not just memory consolidation, as stressed in the modern biological realm. With fairy tale motifs often presenting us with archetypes which present themselves from the unconscious, I can only imagine the value of analyzing them and finding the parallels in our unconscious states.
Thought this book I mumbled ‘f@$!’ A bunch as she brought some parts of my psyche to light. I’ve read a few of her books now and as any Jung literature, I’m often finding I need to read and re-read until I hit just the right angle for it to hit me. And by hit me I mean pierce through me where I wince and yell ‘ok ok ok…Cheezus I get it, leave me alone’.
These stories are so ancient and are even older than we think. We can find truths in poems, songs and fairy tales just as easily as a science textbook. There is no science of the subjective order of things and Jung and Von Franz give us insights where most psychologists scoff. Although we strive in a rational world, there is surely a cost for relegating the irrational to cute, fun ways to pass the time.
The way she explains fairy tales, makes it a lot more believable that our dreams are not just memory consolidation, as stressed in the modern biological realm. With fairy tale motifs often presenting us with archetypes which present themselves from the unconscious, I can only imagine the value of analyzing them and finding the parallels in our unconscious states.
Thought this book I mumbled ‘f@$!’ A bunch as she brought some parts of my psyche to light. I’ve read a few of her books now and as any Jung literature, I’m often finding I need to read and re-read until I hit just the right angle for it to hit me. And by hit me I mean pierce through me where I wince and yell ‘ok ok ok…Cheezus I get it, leave me alone’.
These stories are so ancient and are even older than we think. We can find truths in poems, songs and fairy tales just as easily as a science textbook. There is no science of the subjective order of things and Jung and Von Franz give us insights where most psychologists scoff. Although we strive in a rational world, there is surely a cost for relegating the irrational to cute, fun ways to pass the time.
August 28, 2025
Someone needs to make an illustrated fairy tale book of Marie-Louise von Franz's Jungian analysis.
Deals with several motifs, mostly through the lens of anima/animus. Fairy tales are not just children’s stories but psychological maps for all stages of life. They are the purest, simplest expressions of the collective unconscious, even more so than myths or religious texts, because they are not tied to specific cultures or historical contexts.
The Dark Forest / Wilderness
Witches, Ogres, and Monsters
The Youngest Child / Fool
Magical Helpers
Tasks and Trials
Dragons and Serpents
Marriage / Union
Transformation
The Three Feathers - Ego's humility aligns with the Self through symbolic trials.
The Juniper Tree - Shadow violence is integrated through death and rebirth.
The Fisherman and His Wife -- Ego inflation collapses before the Self’s limits.
Hansel and Gretel -- Child-ego confronts the devouring mother and finds inner sustenance.
The Frog King (Iron Heinrich) -- Instinct transforms into conscious eros through union.
The Spirit in the Bottle-- The ego learns to contain destructive unconscious forces.
Snow White -- Shadow envy projects onto innocence until renewed by the Self.
The Three Snake Leaves-- Betrayal and resurrection reveal individuation’s cyclic rhythm.
Deals with several motifs, mostly through the lens of anima/animus. Fairy tales are not just children’s stories but psychological maps for all stages of life. They are the purest, simplest expressions of the collective unconscious, even more so than myths or religious texts, because they are not tied to specific cultures or historical contexts.
The Dark Forest / Wilderness
Witches, Ogres, and Monsters
The Youngest Child / Fool
Magical Helpers
Tasks and Trials
Dragons and Serpents
Marriage / Union
Transformation
The Three Feathers - Ego's humility aligns with the Self through symbolic trials.
The Juniper Tree - Shadow violence is integrated through death and rebirth.
The Fisherman and His Wife -- Ego inflation collapses before the Self’s limits.
Hansel and Gretel -- Child-ego confronts the devouring mother and finds inner sustenance.
The Frog King (Iron Heinrich) -- Instinct transforms into conscious eros through union.
The Spirit in the Bottle-- The ego learns to contain destructive unconscious forces.
Snow White -- Shadow envy projects onto innocence until renewed by the Self.
The Three Snake Leaves-- Betrayal and resurrection reveal individuation’s cyclic rhythm.
August 8, 2023
Nu spunem suficiente basme noilor generatii sau nu le spunem pe cele esentiale, ancestrale, aparute din negura multiplelor experiente umane.
Este evident cum folosirea inteligenta a arhetipurilor duce la adevarate capodopere precum Stapanul Inelelor pentru ca oamenii se regasesc in dinamica personajelor si in poveste insa post-modernismul incearca sa forteze indepartarea de natural, de omenesc si de realitatea psihologica a vietii si sa implementeze prin inginerie sociala alte fundamente mai...ideologice, lucru care a dus la lumea tot mai in deriva in care ne gasim.
E greu de spus daca interpretarile "profesioniste" ale basmelor au o valoare de adevar, probabil si interpretarea in sine este parte din deslusirea legaturii dintre arhetipurile psihicului uman si basme insa teoriile enuntate, legate de munca lui Jung, pun pe ganduri si ridica semne de intrebari.
Ma gandesc ca daca am spune mai multe povesti copiiilor, poate nu ar mai ajunge atat de confuzi in etapele esentiale ale dezvoltarii personalitatii lor si poate si adultii ulteriori nu ar mai fi atat de usor deraiati de la evolutia psihologica sanatoasa, pierduti intre goana dupa falsi idoli, egocentrism si narcisism patologic.
Este evident cum folosirea inteligenta a arhetipurilor duce la adevarate capodopere precum Stapanul Inelelor pentru ca oamenii se regasesc in dinamica personajelor si in poveste insa post-modernismul incearca sa forteze indepartarea de natural, de omenesc si de realitatea psihologica a vietii si sa implementeze prin inginerie sociala alte fundamente mai...ideologice, lucru care a dus la lumea tot mai in deriva in care ne gasim.
E greu de spus daca interpretarile "profesioniste" ale basmelor au o valoare de adevar, probabil si interpretarea in sine este parte din deslusirea legaturii dintre arhetipurile psihicului uman si basme insa teoriile enuntate, legate de munca lui Jung, pun pe ganduri si ridica semne de intrebari.
Ma gandesc ca daca am spune mai multe povesti copiiilor, poate nu ar mai ajunge atat de confuzi in etapele esentiale ale dezvoltarii personalitatii lor si poate si adultii ulteriori nu ar mai fi atat de usor deraiati de la evolutia psihologica sanatoasa, pierduti intre goana dupa falsi idoli, egocentrism si narcisism patologic.
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