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				JUNG'S ARCHETYPES AND THEIR LITERARY APPLICATIONS...
		A WORD TO THE READER: ALTHOUGH THIS SITE FEATURES THE GOTHIC GENRE: FRANKENSTEIN, THE MONK, DRACULA, HEART OF DARKNESS AND THE POETRY OF COLERIDGE, OTHER GENRES ARE CONSIDERED AT LENGTH. IF YOU WISH THE HOME PAGES FOR THOSE SITES, CLICK BELOW:
	RETURN TO TABLE OF CONTENTS FOR TOLKIEN SEMINAR: TOLKIEN'S LORD OF THE RINGS, and the FAIRY TALE ESSAY are also discussed below. RETURN TO TABLE OF CONTENTS FOR SHAKESPEARE: MIDSUMMER NIGHTS DREAM, MEASURE FOR MEASURE, MACBETH, THE TEMPEST, LEAR and HAMLET are also discussed below. RETURN TO TABLE OF CONTENTS FOR BRITISH LITERATURE: HEART OF DARKNESS, THE TURN OF THE SCREW are also discussed below. RETURN TO TABLE OF CONTENTS FOR STAR TREK: [STAR WARS COMMENTARY IS FEATURED ON THIS PAGE] RETURN TO TABLE OF CONTENTS FOR HISTORY OF PHILOSOPHY: JUNG FREQUENTLY DISCUSSES PHILOSOPHY, ESPECIALLY REJECTING LOCKE. HINT: ON YOUR BROWSER, GO TO "EDIT," CHOOSE "FIND" TO LOCATE A SPECIFIC TEXT OR CHARACTER.

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AN ANALYSIS OF JUNG'S THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Carl Jung's, 1875-1961, exploration of archetypes fundamental to the human condition obviously find rich and varied expression in world literature, thus validating his premise that they are universal. Aristotle's mimeticism is sustained. From the Iliad to Prufrock, archetypes define what it means to be human, and literature, as Hamlet notes, givens us a mirror wherein we may see ourselves. That's what he hopes the "mousetrap" will sustain.

Interpretive literature of any genre may be read on three levels:

level one--simple plot structure:

GOTHIC: A Monk breaks his vows with horrific consequences, A scientist creates life outside the womb, and a business man travels to Transylvania where he meets Dracula who later will reek havoc in London.

TOLKIEN: An unlikely group of travelers from different lands, the Company, must return a magic ring to its creative origins to prevent the destruction of Middle Earth.

HEART OF DARKNESS: Searching for Kurtz, a missing trading company executive, Marlow, travels into unexplored African territory only to discover Kurtz on his deathbed confessing to horrible crimes. Marlow later deceives Kurtz' fiancee regarding his atrocities.

SHAKESPEARE: Lear dramatizes the plight of an old man forced to endure exile by two corrupt daughters, after he unwittingly exiles a third who loved him. At the instigation of his wife, Macbeth brutally murders his king, only to face the suicide of his wife shortly before his own death in battle. Hamlet, sworn to obey the commands of a ghost purported to be that of his murdered father, seeks revenge on the murderer, Claudius, thereby precipitating a series of catastrophies resulting in virtually the death of everyone including his mother, Claudius and himself.

THE DA VINCI CODE: A professor and a female French police officer begin a transcontinental search for the holy Grail and discover, with the aid of a historian, that what they seek is not a cup but the bride of Christ--literally. To achieve success they must confront a series of obstacles presented by a secret society and the Catholic Church.

Such summaries obviously offer little prospect for serious discussion.

level two--the pragmatic theory--to teach and delight:

GOTHIC: Since the Gothic appeals to the viewing public, level two often attracts Hollywood with its mixture of special effects and occasional moralizing. Thus, the Monk ought [or ought not] to indulge his passions, and does [or does not] deserve his fate for consorting with demons; Vincent Price argued level two for Frankenstein when he remarked that man ought not to play God, and Dracula's blood lust implies themes of male sexual inadequacy in the repressive climate of 19th Century England.

TOLKIEN: As a conservative Roman Catholic writing what he considered to be a 'profoundly Catholic' work, Tolkien firmly believes that pity and love will engage evil leading to its demise despite seemingly impossible odds.

HEART OF DARKNESS: Deploring the racist exploitation of Africans, Conrad strongly condemns the brutalities perpetrated by self-appointed European colonists convinced that the "white man's burden" is theirs to "civilize."

SHAKESPEARE: Of course could teach and delight at will, and the tragedies do both, defining the art form's essential paradox as Aristotle noted. Level two, though, can be far too facile: Lear must face the consequences of hideous rashness; he is not "more sinned against than sinning," , Macbeth's "bloody instructions" betray him "in deepest consequence," and as Harold Bloom notes, Hamlet's consciousness may even transcend his creators. What moral could not apply?

THE DA VINCI CODE: Brown's novel explores the ethical consequences of institutional repression. In a post 9/11 world, how far fetched is it to believe that much of what 'is out there' remains hidden, sometimes to the detriment of the truth and the harm of those who seek it.

level three--probes what it means to be human, and it is on this level that Jung's archetypes become essential, transcending the other levels. This site will investigate our literature from a level three perspective with Jung as our guide. For Jung, there is a "level four," what he calls THE PROBLEM OF THE FOURTH. One, Two, and Three represent the conventional triadic relationships as articulated by Plato in The Timaeus, [1] the forms, [2] the maker,[3] reason projected in the matter as the world soul , and in The Republic, the three elements of the soul and the state:		Click here for my level 3 and 4 analysis of the Da Vinci Code

Later such becomes the classical antecedent of the trinity: [1] father, [2] son, [3] spirit, but he states, quoting Faust, "the fourth would not come," meaning the desire of the ego consciousness to project / repress, thereby "building up the shadow." To call up the fourth, what we conventionally term evil, is dangerous, but necessary for psychic health. Complicating the question in the origin of evil: the meaning of satan changes over time. Jung's "Answer to Job" is thus an important essay. [The Concept of Quaternity, CW 245] edited by Stein (See Sources below).

SOURCES:

PART I: References based on The Archetypes and the Collective Unconscious
[Located in the library on reserve.]

The questions / observations are based on the book's chapter progressions. Brief quotes/phrases may appear, with proposed correlations to the literature under investigation.

The book is frequently repetitive, with terms and concepts being redefined and our explained. This site notes the repetitions offering examples from our literature.

HINT: ON YOUR BROWSER, GO TO "EDIT," CHOOSE FIND TO LOCATE A SPECIFIC "TEXT" OR CHARACTER.

Citation rubric: All numbers in [...] will be paragraph numbers, followed by page numbers. Thus: [14/9] means paragraph 14 on page 9. Quotes from Jung appear in RED, but You will need to read the appropriate text selections when correlating with the literature.

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PART ONE:

I : ARCHETYPES OF THE COLLECTIVE UNCONSCIOUS, paragraphs 1-86.

Jung speaks of a "deeper layer," beyond the "personal unconscious." [3/3]. What does he mean?

Throughtout the book, he defines his central concern: the "archetype," both in the conventional and psychological sense: [7/5]. Initially, Jung associates archetypes with "projections" by primitive man which later in human psychic and rational development cause negative complications. What does projection mean? [7/6]. Your conclusions will be important in challenging the conventional wisdom that the shadow archetype is evil. So stipulating is a serious misread of the gothic, for example, but an easy mistake to make if we stop at LEVEL TWO interpretations, for obviously we condemn the actions of a Hitler or Charles Manson, but paradoxes emerge when we recall that those people AND Dr. King or Mother Teresa have the same human nature. This Jung explores in terms of the "Fourth" mentioned above. Now what?

Let's examine some preliminary considerations our literature suggests:

1. How has the Monk projected, especially in the opening chapters? What role will Matilda have in deconstructing? What is her motive? Later we will see symbols associated with her behavior?.
2. In Shakespeare, Caliban (The Tempest). may be the dramatization of the repressed SHADOW archetype. If so, then what does Prospero suggest?
3. What does Dracula represent? Why does Harker, for example, not understand how a creature could crawl down a castle wall? Why psychologically does he not seem even aware? Jung will critique the empiricism upon which Harker's thinking is based.
4. In Conrad's Heart of Darkness, what does the Eldorado mining company represent? Would Harker want to work for them?
5. Jung speaks repeatedly of God and religion. [11/8]. Is God an archetype? What role do symbols play in religion, and what is their danger over time? Note the danger was recognized by Romantics, leading to their interest in....How do symbols relate to archetypes? [11/8]? "They are created out the primal stuff of revelation.." Jung notes, but the question of defining revelation becomes essential.
6. In The Monk, the symbol of the Virgin painting is a major mytho-historical archetype, replete with the turmoil that Jung says characterizes the unconscious. Its inherent paradoxes do much to stir primal feelings in Ambrosio. A modern treatment of symbols may be found in the best selling Da Vinci Code by Dan Brown, focusing on the painting of the Last Supper's hidden meanings. In fact, he suggests that the artist represents one of Jung's archetypes, the trickster to be discussed below. Other potent symbols appear in the novel including the veil and the dungeon.
7. What does Teabing's lust for the sacred feminine really imply? What does he fear of which the quest is but a dramatization.

"The catechism bored me unspeakably" [30/15], Jung notes, thus resulting in the gradual divesting of symbols from meaning. Content impoverishment follows, forcing the unconscious therefore to seek an avenue of escape. In the gothic genre, the escape is often explosive. Then what happens?

1. How did a similar reaction influence the Prioress in the Monk?
2. In a way, Lucy's social life that will ultimately prove her undoing is dramatized in Dracula.
3. See [31/16], What is the consequence of an intellectual sophistication that neglects the unconscious' content?
   1. The Monk's at the end of the novel offers a good example, as does the Bloom reading of Lear's ending.
   2. One of the reasons the frame exists in Frankenstein is addressed by Jung. What warning does Victor give Walton? Why? What paradox emerges?
   3. Hamlet tells Horatio: "There are more things in heaven and earth, Horatio,/Than are dreamt of in your philosophy" (I,v) Interestingly, these lines occur right after the cellarage scene. What had just happened?
   4. Are there more things in The Da Vinci Code? What are they?

Jung believes that what is the most common symbol of the unconscious? See: [40/18] and [52/24]. Here he introduces a key archetypical motifs, the_____? Its manifestation in the literature is sustained, from The Odyssey to the gothic pieces, and actually is the foundation of gothic. Gandalf experiences it as does Gollum and Darth Vader. See O'Neill's observations, for instance, "Imagine yourself groping blindly about the darkness of your own unconscious...Directing your efforts is you, as you know yourself...You are only dimly aware now, after signals granted you in dream and vision, of the presence of another you--forgotten, ignored, reflexively denied, buried far from the light..." (p. 60). He then cites LOTR's assessment of Gollum / Smeagol: "Deep down here by the dark water lived old Gollum..." What romantic poet would especially agree?

Shippey does not accept modern pyschyological reads of Tolkien, however, arguing that such might result in a tendency to "...dissolve responsibility or any sense of personal guilt," (p. 158). He prefers instead a 'metaphysical' interpretation. (p.129). Nonetheless, the chapter devotes several pages, (128 ff.) to Tolkien's use of SHADOW. "The Shadow of the Past" chapter in Volume I is discussed first, from which he cites:

One Ring to Rule them all, One Ring to find them,
One Ring to bring them all, and in the darkness bind them,
In the land of Mordor where the shadows lie. (129/Shippey, 81/LOTR)

As noted on the Catholicism page of the Tolkien site, he suggests that "shadow" for Tolkien implies a "running ambivalence" that defines evil as the absence of good (Boethian), and /or having its own substance (Manichaeanism). The former philosophically suggests Plato's assertion via the dialectic and cave / line allegory that evil is the absence of the good, a view he maintains Tolkien could not completely accept given the horrors of the Twentieth Century, especially Nazism and technology. Interestingly, though, Jung also saw the Third Reich as an abomination caused by the unleashing of the repressed shadow. Where Tolkien would disagree, however, would be Jung's assertion in Answer to Job that God is a primitive archetype derived from man's attempt to understand the deity by projecting macrocosmically the father archetype. Obviously, too he would deny Jung's assertion (in Good and Evil in Analytical Psychology) that morality must to a degree assume a relativist, empirical perspective: "We should not be misled into thinking we have said something absolutely valid when we pass judgment on a particular case: this is bad, this is good." (Stein, p. 88). Contrast with Aragorn's reply to Eomer's question regarding how a man should judge what is right: "As he has ever judged...Good and ill has not changed since yesteryear; nor are they one thing among Elves and Dwarves and another among Men. It is a man's part to discern them as much in the Golden Wood as in his own house" (TT, pp. 49-50).

Shippey explicates the etymology of SHADOW to sustain his argument, citing its ambivalent connotation to exist and / not to exist as found in the Old English poem, Solomon and Saturn: "What is that which is and is not?" Shippey believes the OE answer is bescaede [th], meaning shadow. Such he suggests mandates the two views of evil discussed above: evil having an objective and subjective connotation, coming from within and without.

In a psychological context, however, see also the ending of Eliot's Prufrock? Look carefully at [42/20] wherein the SHADOW is presented. What is the definition? Note among other lines: "THE UNCONSCIOUS IS COMMONLY REGARDED AS A SORT OF INCAPSULATED FRAGMENT OF OUR MOST PERSONAL AND INTIMATE LIFE SOMETHING LIKE WHAT THE BIBLE CALLS THE 'HEART' AND CONSIDERS THE SOURCE OF ALL EVIL THOUGHTS. IN THE CHAMBERS OF THE HEART DWELL THE WICKED BLOOD-SPIRITS, SWIFT ANGER AND SENSUAL WEAKNESS...."

Does Jung accept this conventional wisdom as psychologically valid? Consider how the following characters might react to the quote:

• Boromir
• Saruman
• Sauron
• The Monk
• Agnes
• Antonia
• Elvira
• Matilda
• Harker
• Mina
• Lucy
• Renfield
• Seward
• VanHelsing
• Victor
• The creature
• Kurtz
• Marlow
• Hamlet
• Iago
• Sophie
• Landgon
• Teabing
• Edmund
• The Macbeths
• Darth Vader--Luke tells him that he has forgotten the good within him in favor of the dark side? What is Jung's word for forgotten?...Note these lines from Revenge of the Sith:

PADME: Anakin, all I want is your love.
ANAKIN: Love won't save you, Padme. Only my new powers can do that.
PADME: At what cost? You are a good person. Don't do this.
ANAKIN: I won't lose you the way I lost my mother! I've become more powerful than any Jedi has ever dreamed of and I've done it for you. To protect you.
PADME: Come away with me. Help me raise our child. Leave everything else behind while we still can.
ANAKIN: Don't you see, we don't have to run away anymore. I have brought peace to the Republic. I am more powerful than the Chancellor. I can overthrow him, and together you and I can rule the galaxy. Make things the way we want them to be.
PADME: I don't believe what I'm hearing . . . Obi-Wan was right. You've changed.
ANAKIN: I don't want to hear any more about Obi-Wan. The Jedi turned against me. Don't you turn against me.
PADME: I don't know you anymore. Anakin, you're breaking my heart. I'll never stop loving you, but you are going down a path I can't follow.

Jung continues, addressing the issue in the popular consciousness that the shadow, the darker side is associated with evil, but adds, "THIS IS HOW THE UNCONSCIOUS LOOKS WHEN SEEN FROM THE CONSCIOUS SIDE...".[44/20] In other words, does the conscious side out of fear, ignorance, neglect etc. render the unconscious evil? Adroitly, Jung uses a mirror metaphor (recall the MIMETIC THEORY). We look into the mirror ( "Mirror mirror on the wall, who's the fairest one of all?"), and see our true face, not hidden by a persona or mask (As a contemporary parallel, what does Prufrock do?). Does Padme represent the conscious side? Whose observations are more astute in the dialogue? Is there good in Anakin-Darth? Is there good in Teabing?

Hamlet compels Claudius to do the same. Jung thinks that because we find such a look at the unconscious too frightening, we deem it evil. Look at [44/20] again. What must we do? These lines are at the crux of a gothic perspective: since we tend to equate the darker side with evil, but is that what Jung believes? How we read our major characters depends on a correct perspective here.

Jung noted that, "THE NECESSARY AND NEEDFUL REACTION FROM THE COLLECTIVE UNCONSCIOUS EXPRESSES ITSELF IN ARCHETYPALLY FORMED IDEAS."[45/21]. Does this expression per se [47-48/22] generate evil? Jung's view of God thus becomes terribly important: "ONLY AN UNPARALLELED IMPOVERISHMENT OF SYMBOLISM COULD ENABLE US TO REDISCOVER THE GODS AS PSYCHIC FACTORS, THAT IS, AS ARCHETYPES OF THE UNCONSCIOUS." [50/23]. Darwin held similar views.

Coleridge's Ancient Mariner perfectly illustrates the concept. He invokes the obvious symbols:

1. Albatross is shot with a crossbow
2. The water of course--crossing the line
3. Ice illustrates what biblical story? [OT]
4. Of special importance are what the mariner does just before the ghost ship approaches

With throats unslaked, with black lips baked,
We could nor laugh nor wail ;
Through utter drought all dumb we stood !
I bit my arm, I sucked the blood,
And cried, A sail ! a sail !
A flash of joy...

[The archetypal imagery intensifies as the ghost ship approaches:]

..It seemeth him but the skeleton of a ship.

And straight the Sun was flecked with bars,
(Heaven's Mother send us grace !)
As if through a dungeon-grate he peered
With broad and burning face.
And its ribs are seen as bars on the face of the setting Sun.

Alas ! (thought I, and my heart beat loud)
How fast she nears and nears !
Are those her sails that glance in the Sun,
Like restless gossameres ?

And those her ribs through which the Sun
Did peer, as through a grate ?
And is that Woman all her crew ?
Is that a DEATH ? and are there two ?
Is DEATH that woman's mate ?
Like vessel, like crew !

Her lips were red, her looks were free,
Her locks were yellow as gold :
Her skin was as white as leprosy,
The Night-mare LIFE-IN-DEATH was she,
Who thicks man's blood with cold.

The naked hulk alongside came,
And the twain were casting dice ;
`The game is done ! I've won ! I've won !'
Quoth she, and whistles thrice.
No twilight within the courts of the Sun.

Does the GRATE suggest a barrier imposed between the conscious and unconscious? Coleridge's poem will be further discussed below. For now,Click here for a discussion of the poem's background sources. Note that I explicate these lines on my Da Vinci Code site. What is their connection to the 'sacred feminine?'

Importantly, Jung introduces another archetype essential for our literature: THE ANIMA [53/25]. Relate the term's definition to the appearance of LIFE IN DEATH which Coleridge describes as a night-mare? Why? Think of the major character in our texts who are women:

EVE

THE VIRGIN MARY

Eowyn

Arwen

Kurtz's native girl (and the setting of the novel, for that matter)

the intended of Kurtz

Sophie

Mary Magdalene

Anges

Matilda

Elvira

Antonia

The Prioress

Lucy

Mina

the "boofer" lady

Elizabeth

Lady Macbeth

Ophelia

Gertrude

Goneril and Regan

Cordelia

Do they have an authentic voice? In The Da Vinci Code, Brown speaks of the SACRED FEMININE? What does he mean? What angers Fache most in the novel?

See [53/25 ff]--and note the following as applicable to our texts. Jung key quotes /ideas for correlation:

1. "MAGICAL FEMININE..."
2. "MISCHIEVOUS BEING WHO CROSSES OUR PATH IN NUMEROUS TRANSFORMATIONS"
3. "THE ANIMA IS NOT THE SOUL IN A DOGMATIC SENSE...BUT A NATURAL ARCHETYPE THAT SATISFACTORILY SUMS UP ALL THE STATEMENTS OF THE UNCONSCIOUS, OF THE PRIMITIVE MIND, OF THE HISTORY OF LANGUAGE AND RELIGION...IT IS ALWAYS THE A PRIORI ELEMENT IN HIS MOODS, REACTIONS, IMPULSES...WHAT IS NOT-I, NOT MASCULINE, IS MOST PROBABLY FEMININE, AND BECAUSE THE NOT-I IS FELT AS NOT BELONGING TO ME AND THEREFORE OUTSIDE ME, THE ANIMA-IMAGE IS USUALLY PROJECTED UPON WOMEN... EITHER SEX IS INHABITED BY THE OTHER SEX UP TO A POINT." [57-58/27]

Does this explain misogynistic behavior? Does the male half deny recognition to the female? Do males repress or project the anima? Why, and what is the result? When Hamlet, for example, rails against women, is he thinking of a side of himself he would rather not face? To Ophelia he says,

God hath given you one face, and you make yourselves another. You jig, you amble, and you lisp; you nickname God's creatures and make your wantonness your ignorance. Go to, I'll no more on't! it hath made me mad. I say, we will have no moe marriages. Those that are married already- all but one- shall live; the rest shall keep they are. To a nunnery, go. (III,i)

Explicate the passage. What might Hamlet be doing? As further evidence, examine the conversation with his mother following the dumb show. What is one of his wishes?

Further evidence from the literature:

A-Does Dracula embody the animus in rebellion against the Mina's of the world?
B-Is the very setting of Heart of Darkness a macrocosmic projection of the anima.
C-Note too how Lear addresses the storm in Act III.
D-The Victor-Elizabeth dream sequence in Frankenstein must be studied at length.
E-In Lord of the Rings, How does Aragorn, as a product of Tolkien's very conservative Roman Catholic upbringing, respond to Eowyn's virtual begging for permission to fight?
F-Why historically has there been so much opposition to the sacred feminine's emerging? Does it harken back to Genesis as Teabing relates?

Importantly, Jung [59/28] characterizes anything that contacts the anima as "...DANGEROUS, TABOO, MAGICAL...SHE IS THE SERPENT IN THE PARADISE OF THE HARMLESS MAN WITH GOOD RESOLUTIONS...SHE AFFORDS THE MOST CONVINCING REASONS FOR NOT PRYING INTO THE UNCONSCIOUS... BECAUSE THE ANIMA WANTS LIFE, SHE WANTS BOTH GOOD AND BAD." [59/28]. This passage is complicated, so Jung further defines her moral attributes as good and bad. Seen as both saviour and damner, she appears throughout literature, especially the gothic, as both LIFE and DEATH, as Coleridge noted.

She is Matilda, a man-women. Her most powerful symbol in our texts is the portrait of the Virgin Mary in The Monk. Jung notes that for the animus [male] to try to understand her [66-67/32] invokes confusion and risk in so far as discovering her true intention is mystifyingly, terrifying, but "fascinating."

Conrad best expressed this in Heart of Darkness:

 "Now when I was a little chap I had a passion for maps. I would look for hours at South America, or Africa, or Australia, and lose myself in all the glories of exploration. At that time there were many blank spaces on the earth, and when I saw one that looked particularly inviting on a map (but they all look that) I would put my finger on it and say, 'When I grow up I will go there.' The North Pole was one of these places, I remember. Well, I haven't been there yet, and shall not try now. The glamour's off. Other places were scattered about the hemispheres. I have been in some of them, and ... well, we won't talk about that. But there was one yet -- the biggest, the most blank, so to speak -- that I had a hankering after.

"True, by this time it was not a blank space any more. It had got filled since my boyhood with rivers and lakes and names. It had ceased to be a blank space of delightful mystery -- a white patch for a boy to dream gloriously over. It had become a place of darkness. But there was in it one river especially, a mighty big river, that you could see on the map, resembling an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country, and its tail lost in the depths of the land. And as I looked at the map of it in a shop-window, it fascinated me as a snake would a bird -- a silly little bird. Then I remembered there was a big concern, a Company for trade on that river. Dash it all! I thought to myself, they can't trade without using some kind of craft on that lot of fresh water -- steamboats! Why shouldn't I try to get charge of one? I went on along Fleet Street, but could not shake off the idea. The snake had charmed me.

The last line is especially important for our purposes. What males in our narrative have been charmed and by whom? Apply this especially to the Monk and Teabing. Ironically, do they have anything in common?

Notice in Conrad the importance of sexual imagery regarding the setting. CLICK HERE. Recall too that Joseph Campbell (The Power of Myth, The Hero with A Thousand Faces) argued that we would be "a bunch of babies" if we stayed in the garden. Why? Jung invokes a concept familiar to readers of Coleridge: "...THE TENDENCY TO RELATIVIZE OPPOSITES IS A NOTABLE PECULIARITY OF THE UNCONSCIOUS.", adding that the archetype which best address the "relativizing" of opposites is the "WISE OLD MAN." What does he know?

• Nestor
• Hrothgar
• Gandalf--note his age, and participation in what Peter Jackson called the 'backstory'
• Obi-Wan--why does he say Darth was "seduced" by the dark side of the force? What does he mean by seduced? He says Darth is now "twisted and evil." Would Jung agree? Is Luke correct when arguing that good still exists in Vader? Examine an important "conversion" point dialogue in Revenge of the Sith:

PALPATINE: It is upsetting to me to see that the Council doesn't seem to fully appreciate your talents. Don't you wonder why they won't make you a Jedi Master?
ANAKIN: I wish I knew. More and more I get the feeling that I am being excluded from the Council. I know there are things about the Force that they are not telling me.
PALPATINE: They don't trust you, Anakin. They see your future. They know your power will be too strong to control. Anakin, you must break through the fog of lies the Jedi have created around you. Let me help you to know the subtleties of the Force.
They walk into the hallway.
ANAKIN: How do you know the ways of the Force?
PALPATINE: My mentor taught me everything about the Force . . . even the nature of the dark side.
They stop.
ANAKIN: You know the dark side?!?
PALPATINE: Anakin, if one is to understand the great mystery, one must study all its aspects, not just the dogmatic, narrow view of the Jedi. If you wish to become a complete and wise leader, you must embrace a larger view of the Force. Be careful of the Jedi, Anakin. (pausing) They fear you. In time they will destroy you. Let me train you.
ANAKIN: I won't be a pawn in your political game. The Jedi are my family.
PALPATINE: Only through me can you achieve a power greater than any Jedi. Learn to know the dark side of the Force, Anakin, and you will be able to save your wife from certain death.
ANAKIN: What did you say?
PALPATINE: Use my knowledge, I beg you . . .
ANAKIN: You're a Sith Lord!
ANAKIN ignites his lightsaber.
PALPATINE: I know what has been troubling you . . . Listen to me. Don't continue to be a pawn of the Jedi Council! Ever since I've known you, you've been searching for a life greater than that of an ordinary Jedi . . . a life of significance, of conscience.
ANAKIN: You're wrong!
PALPATINE: Are you going to kill me?
ANAKIN: I would certainly like to.
PALPATINE: I know you would. I can feel your anger. It gives you focus, makes you stronger.
ANAKIN raises his lightsaber to PALPATINE's throat. There is a tense moment, then ANAKIN relaxes, and then turns off his lightsaber.
ANAKIN: I am going to turn you over to the Jedi Council.
PALPATINE: Of course you should. But you're not sure of their intentions, are you? What if I am right and they are plotting to take over the Republic?
ANAKIN: I will quickly discover the truth of all this.
PALPATINE: You have great wisdom, Anakin. Know the power of the dark side. The power to save Padme.
ANAKIN stares at him for a moment.
PALPATINE turns and moves to his office.
PALPATINE: (continuing) I am not going anywhere. You have time to decide my fate. Perhaps you'll reconsider and help me rule the galaxy for the good of all . . . (Click here for the full script)

How would Yoda explicate the dialogue? In what sense is Palpatine correct? Could one ethically make a case for Anakin? How would you defne Anakin's tragic flaw? Would Aristotle see him as heroic in the classical sense he helped to define? Is Hubris present?

• the doctor at the start of Heart of Darkness
• Van Helsing
• Kent (physical age is not always a literal issue)

If the relativization were complete, what would happen? What would be the condition? What does not relativize? Jung will consistently note the positive and negative aspects, but obviously most fearful of avoidance by repression of the unconscious. That is what Marlow learns in Conrad's novel. Heart of Darkness indeed offers a splendid early example that foreshadows the relativization paradox: Marlow, in his Buddha like pose, describes those who came to Africa:

They were conquerors, and for that you want only brute force -- nothing to boast of, when you have it, since your strength is just an accident arising from the weakness of others. They grabbed what they could get for the sake of what was to be got. It was just robbery with violence, aggravated murder on a great scale, and men going at it blind -- as is very proper for those who tackle a darkness. The conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter noses than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea only. An idea at the back of it; not a sentimental pretence but an idea; and an unselfish belief in the idea -- something you can set up, and bow down before, and offer a sacrifice to. . . ."

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I : THE CONCEPT OF THE COLLECTIVE UNCONSCIOUS--DEFINITIONS:

Chapter thesis: "WHEREAS THE PERSONAL UNCONSCIOUS CONSISTS FOR THE MOST PART OF COMPLEXES" [Impulses that compel patterns of thought], "THE COLLECTIVE UNCONSCIOUS IS MADE UP ESSENTIALLY OF ARCHETYPES." [88/42] These are seen as motifs (like blood imagery in Macbeth) due to their repetitive presence.

Jung calls the collective unconscious a second psychic system that is: "COLLECTIVE, UNIVERSAL AND IMPERSONAL...IDENTICAL IN ALL INDIVIDUALS, BUT IS INHERITED. IT CONSISTS OF PRE-EXISTENT FORMS, THE ARCHETYPES, WHICH CAN ONLY BECOME CONSCIOUS SECONDARILY AND WHICH GIVE DEFINITE FORM TO CERTAIN PSYCHIC CONTENT." [90/43]. Several parallel philosophical questions emerge: what is the relationship to Aristotle's potential, to Plato's ideas, to Kant's categories. Since these concepts are a priori, Jung rejects Locke's tabula rasa.

--THE PSYCHOLOGICAL MEANING OF THE COLLECTIVE UNCONSCIOUS:

Jung's [91/43 ff.] assumptions / facts--should be tested dialectically--what would an empiricist [Locke..Hume] or a rationalist [Plato...Descartes] argue?

There is a key passage in Heart of Darkness that best articulates one of these views. As Marlow travels back to what he calls the beginning of time, what both fascinated and repulsed him?

"The earth seemed unearthly. We are accustomed to look upon the shackled form of a conquered monster, but there -- there you could look at a thing monstrous and free. It was unearthly, and the men were -- No, they were not inhuman. Well, you know, that was the worst of it -- this suspicion of their not being inhuman. It would come slowly to one. They howled and leaped, and spun, and made horrid faces; but what thrilled you was just the thought of their humanity -- like yours -- the thought of your remote kinship with this wild and passionate uproar. Ugly. Yes, it was ugly enough; but if you were man enough you would admit to yourself that there was in you just the faintest trace of a response to the terrible frankness of that noise, a dim suspicion of there being a meaning in it which you -- you so remote from the night of first ages -- could comprehend. And why not? The mind of man is capable of anything -- because everything is in it, all the past as well as all the future. What was there after all? Joy, fear, sorrow, devotion, valour, rage -- who can tell? -- but truth -- truth stripped of its cloak of time. Let the fool gape and shudder -- the man knows, and can look on without a wink. But he must at least be as much of a man as these on the shore. He must meet that truth with his own true stuff -- with his own in-born strength. Principles won't do. Acquisitions, clothes, pretty rags -- rags that would fly off at the first good shake. No; you want a deliberate belief. An appeal to me in this fiendish row -- is there? Very well; I hear; I admit, but I have a voice, too, and for good or evil mine is the speech that cannot be silenced.'

1. a priori's do exist
2. Jung regards its existence as empirical, although not absolutely so
3. He uses the phrase: "unconscious universal forms." [92/44]
4. At first the C.U. is form without content, reminding us of Banquo's "seeds of time." With him, we must ask which will grow?

--METHODS OF PROOF:

Jung notes the "matter" for the C.U. comes from dreams. Click here for my web site article. Dreams of course flourish in the romantic / gothic universe, or are they nightmares due to projection and repression? Hamlet's remarks again seem very Jungian:

Hamlet: O God, I could be bounded in a nutshell and count myself a
king of infinite space, were it not that I have bad dreams.
Guildenstern: Which dreams indeed are ambition; for the very substance of the ambitious is merely the shadow of a dream.
Hamlet: A dream itself is but a shadow.
Rosencrantz: Truly, and I hold ambition of so airy and light a quality that it is but a shadow's shadow.
(II,ii)

We find ourselves as usual catching up to Shakespeare: a dream can be the manifestation of the shadow archetype. Did Shakespeare so anticipate Jung that he had Hamlet recognize the collective unconscious? The existence of the ghost might actualize another archetype: the trickster.

Jung suggests that dreams might be probed by looking for repetitive patterns (motifs)-such as disease imagery in Hamlet, blood in Macbeth, the virgin in The Monk, or jungle in Heart of Darkness.

Jung mines romanticism again arguing the "active imagination" as another source for the C.U. [101/49], the content of which is repressed instincts. One need only read the literary criticism of the Romantics to know the importance of the imagination. Thus:

1. Wordsworth: colouring of the imagination from Preface to Lyrical Ballads
2. Coleridge: primary and secondary imagination from Biographia Literaria and his Preface to Ancient Mariner.
3. Keats: Adam's dream and the imagination from his Letters.
4. Mary Shelley's Preface to Frankenstein--dreams, imagination, and nightmares: the facts of composition are discussed.
5. Click on my web sites for additional details:

1-RETURN TO TABLE OF CONTENTS FOR GOTHIC HORROR

2-RETURN TO TABLE OF CONTENTS FOR BRITISH LITERATURE

Jung's next source is the fantasies of those mentally disturbed (paranoiacs), raising of course the question of Hamlet's sanity--see my on line book: Hamlet and the Daemons. The literature offers countless examples:

• Marlow sees the destruction of Africa as tainted with a touch of insanity.
• Lear in the storm, with a tempest in his mind
• Victor ironically becomes more like that which he obsessively seeks to destroy
• Ambrosio's conscience lashes at his guilt for 'sinning' with Matilda to the point of madness
• Ambrosio and the inquisition
• A major theme of Dracula concerns the animus' reaction of Jonathan Harker's anima.
• In Lord of the Rings, the action of Saruman parallels the rape of Africa. How? Mimetically, does Saruman = Hitler?
• Teabing's obsession with the sacred feminine

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I: CONCERNING THE ARCHETYPES WITH SPECIAL REFERENCE TO THE ANIMA CONCEPT

Jung restates his thesis, as he will often do in the book; pay special note to any quotes: [118/58]. Evidence for the C.U.'s content, he believes, comes from "...THE ALMOST UNIVERSAL PARALLELISM BETWEEN MYTHOLOGICAL MOTIFS, WHICH, ON ACCOUNT OF THEIR QUALITY AS PRIMORDIAL IMAGES, I HAVE CALLED ARCHETYPES."

As noted, an important example is the anima, an archetype Hesiod recognizes in The Theogony, creation myth:

...Verily at the first Chaos came to be, but next wide-bosomed Earth, the ever-sure foundations of all the deathless ones who hold the peaks of snowy Olympus, and dim Tartarus in the depth of the wide-pathed Earth, and Eros (Love), fairest among the deathless gods, who unnerves the limbs and overcomes the mind and wise counsels of all gods and all men within them. From Chaos came forth Erebus and black Night; but of Night were born Aether and Day, whom she conceived and bare from union in love with Erebus. And Earth first bare starry Heaven, equal to herself, to cover her on every side, and to be an ever-sure abiding-place for the blessed gods. And she brought forth long Hills, graceful haunts of the goddess-Nymphs who dwell amongst the glens of the hills.  She bare also the fruitless deep with his raging swell, Pontus, without sweet union of love.  But afterwards she lay with Heaven and bore deep-swirling Oceanus, Coeus and Crius ... After them was born Cronos the wily, youngest, and most terrible of her children, and he hated his lusty sire. (ll,. 116-138)

Commentators including Hamilton, Graves and Campbell have noted the myth's development out of the male-female archetypical patterns. I cite this passage on my Da Vinci Code page as one of the earliest examples of the sacred feminine.

Jung next redefines PROJECTION. [121/60]. "PROJECTION IS AN UNCONSCIOUS, AUTOMATIC PROCESS, WHEREBY A CONTENT THAT IS UNCONSCIOUS TO THE SUBJECT TRANSFERS ITSELF TO AN OBJECT, SO THAT IT SEEMS TO BELONG TO THAT OBJECT."

Support might come from the mytho-psychological data base, as for example Achilles' contention with the Xanthus river in The Iliad. Jung associates projection with dominant parental images that in the macrocosm find realties in the gods of myth. These archetypes resulted from quasi-conscious man attempting to explain natural phenomena which, when not resolvable, were projected on to the phenomena, so that Apollo rains down fiery arrows or sends plagues because an angry parent punished countless generations of children. Jung believes that events in a person's conscious life can trigger awareness of the larger archetypical pattern unless repressed.

These ideas in the Oedipus cycle are self-evident.

In our own time, as a guide to Lord of the Rings, Tolkien's commentary can be read in his Essay on Fairy Tale Literature. He states a conventional interpretation that the gods, for instance, were personifications of natural phenomena, but argues instead for the converse, noting that "Personality can only be derived from a person...the nearer the so-called "nature myth," or allegory of the large process of nature is to its supposed archetype, the less interesting it is, and indeed the less is it of myth capable of throwing illumination..."

He finalizes: "Which came first, nature allegories about personalized thunder in the mountains,...or stories about an irascible not very clever, redbearded farmer, of a strength beyond common measure...Something really 'higher' is occasionally glimpsed in mythology: Divinity, the right to power, the due worship.."

Although there is some commonality, where would Jung most emphatically disagree with Tolkien?

Jung suggests [135/65] that the C.U. is the "IMAGE OF FATHER AND MOTHER THAT WAS ACQUIRED IN EARLY CHILDHOOD, OVERVALUED, AND LATER REPRESSED ON ACCOUNT OF THE INCEST-FANTASY ASSOCIATES WITH IT." Importantly, though, the image was once conscious, or it could not have been repressed:

How does Matilda demonstrate the above in seducing the Monk, and ironically what happens after a sufficient number of sexual episodes? Why?

Certainly Dracula equally demonstrates the futility and danger of repression. Note the frequent repetitions of the motif, Friend John:

Dr. Seward's Diary

7 September.- The first thing Van Helsing said to me when we met on a Liverpool street was:-
"Have you said anything to our young friend the lover of her?"
"No," I said. "I waited till I had seen you, as I said in my telegram. I wrote him a letter simply telling him that you were coming, as Miss Westenra was not so well, and that I should let him know if need be."
"Right, my friend," he said, "quite right! Better he not know as yet; perhaps he shall never know. I pray so; but if it be needed, then he shall know all. And, my good friend John, let me caution you. You deal with the madmen. All men are mad in some way or the other; and inasmuch as you deal discreetly with your madmen, so deal with God's madmen, too- the rest of the world.

As noted, Jung believes he has refuted the tabula rasa ideas of Locke, so to adhere to the scientific rational perspective as both necessary and sufficient causes for reality invites repression and madness. Why else would Van Helsing's perspective be needed?

What lurks below the surface (repressed)? In males, the projection of the repressed anima is seen as essential. [114/70]. Jung notes:

"SHE INTENSIFIES, EXAGGERATES, FALSIFIES, AND MYTHOLOGIZES ALL EMOTIONAL RELATIONS WITH HIS WORK AND WITH OTHER PEOPLE OF BOTH SEXES."

...Now from Van Helsing again:

"Ah, that wonderful Madam Mina! She has man's brain- a brain that a man should have were he much gifted- and woman's heart. The good God fashioned her for a purpose, believe me, when He made that so good combination. Friend John, up to now fortune has made that woman of help to us; after to-night she must not have to do with this terrible affair."

Is this what frightens Teabing? What does he seem unable to articulate directly? Is Teabing, like Chaucer's Pardoner, asking, "Why me, God?" "Why am I deformed?" Did his affliction preclude complete fulfillment in his own life? Is his obsession for the 'sacred feminine' a desire to change that, regardless of how? Could such have lead to psychopathic madness? Does his charming and manipulative personality, his persona, fail in Chapter 101 when Langdon tries to 'destroy' the cryptex:

"All of Teabing's hopes and dreams were plummeting toward earth. It cannot strike the floor! I can reach it! Teabing's body reacted on instinct. He released the gun and heaved himself forward, dropping his crutches as he reached out with this soft, manicured hands..." (p. 424)

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PART TWO:

II: PSYCHOLOGICAL ASPECTS OF THE MOTHER ARCHETYPE

--ON THE CONCEPT OF THE ARCHETYPE: The chapter begins with a Platonic parallel--is there a correlation between the pre-existing idea [form]--in The Republic? Plato accepts the good as a given: click here. Is that true of the archetypes? [149/75]. Since Jung is a scientist and seeks empirical data to validate his hypotheses, he is forced to admit that such tradition does not always verify his conclusions. They are assumptions, as parenthetically, were Darwin's ideas despite what his popularizers like Huxley articulated.

He stipulates [150/77] that "THERE IS AN A PRIORI FACTOR IN ALL HUMAN ACTIVITIES, NAMELY THE INBORN, PRECONSCIOUS AND UNCONSCIOUS INDIVIDUAL STRUCTURE OF THE INBORN." Importantly, the content is expressed in repeated archetypical patterns called motifs, expressed as images. The content of these patterns is determined by conscience experience:

1. Kurtz in the jungle
2. Lear dividing his kingdom
3. In The Monk:: the virgin image, the dungeon and convent, and the veil
4. The 'boofer' Lady and Dracula
5. Hamlet and Gertrude
6. Macbeth and the dagger
7. the Force in Star Wars

--II: CONCLUSION TO THE MOTHER ARCHETYPE [187/101 ff.]. Feminism becomes an integral element in our texts. From Jocasta to Gertrude to Mina Harker, Elizabeth, Matilda, Sophie, and Eowyn, do women have an authentic voice? Does the animus repress the anima? The archetype is MOTHER, and we have observed that its repression comes from incestuous taboos.

The Romantics, of course, have both metaphorically and literally explored this theme. See: Wordsworth, Byron, and characters in the novels. Shelley's revision of Frankenstein is important, as are elements in The Monk.

Further, in Lord of the Rings, how does Tolkien address the issue? See my web site. Interestingly, if Adam and Eve is the root metaphor for the Judeo-Christian creation myth, then are we all brother and sister? Does the repression of the mother archetype account for misogynistic behavior? Jung here argues that the so - called inside, the C.U., has its own a priori structure. Is there a parallel here, philosophically, to Kant's categories?

Jung states: "THE PSYCHE IS FAR FROM BEING A HOMO-GENEOUS UNIT--ON THE CONTRARY, IT IS A BOILING CAULDRON OF CONTRADICTORY IMPULSES, INHIBITIONS...FOR MANY PEOPLE THE CONFLICT BETWEEN THEM IS SO INSUPPORTABLE, THAT THEY EVEN WISH FOR THE DELIVERANCE PREACHED BY THEOLOGIANS." [190/104]. He thus sees the devil as half of an archetype, "WHOSE IRRESISTIBLE POWER MAKES EVEN UNBELIEVERS EJACULATE 'OH GOD!' ON EVERY SUITABLE AND UNSUITABLE OCCASION." [189/103]. Some examples:

1. What did those in New York who witnessed 9-11 say first?
2. What happens to Kurtz in the jungle?
3. What partly motivates Victor? What is the Promethian allusion?
4. Reread Hamlet's "what a piece of work is man..." {based on a series of both macrocosmic and microcosmic correspondences}.
5. What kinds of devils appear in Heart of Darkness?
6. Who is Matilda?
7. Who is Mary Magdalene?
8. Importantly for the Romantic-gothic parallel, Jung cites Nietzsche's SUPERMAN, the triumph of the romantic EGO that goes mad when confronted with conscious repression of this archetype: "God is dead, and we have killed him," Nietzsche said. How? Is this repression of the archetype, and what is the consequence? Click here for details on the Gothic web site's discussion of Nietzsche.

Jung concludes this chapter with a discussion of the MOTHER ARCHETYPE, referencing the Virgin Mary, an important aspect of the sacred feminine, discussed also by Brown in The Da Vinci Code. Parallel:

"THE RICHLY VARIED ALLEGORIES OF THE MOTHER OF GOD HAVE NEVERTHELESS RETAINED SOME CONNECTION WITH HER PAGAN PREFIGURATIONS..." [195/107] by substituting Matilda for Jung's examples.

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PART THREE:

III: CONCERNING REBIRTH: READ VERY CAREFULLY, [222-223/123-4] in which Jung speaks of the following:

1. Darkness that clings
2. Its role as a "door"--to what?
3. Release of the "shadow" and "anima"...from what to what?
4. Consequences of the release?
5. Obsession by the anima or animus

• Consequences for the male
• Consequences for the female
• In the literature, a good example is Macbeth to Lady Macbeth:

Bring forth men-children only,
For thy undaunted mettle should compose
Nothing but males. (I,vii)

F. Explore some further examples:

Matilda again

The kind of brain VanHelsing said Mina has

Victor's dream

Eowyn in Lord of the Rings

Galadriel when offered the ring by Frodo (especially seen in the movie).

Sophie in The Da Vinci Code

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PART III:

1. The Monk dramatizes this archetype, and who knows it?
2. How does Lucy reflect the archetype?
3. Does Justine, and what are the consequences?
4. Does Victor's creature embody the archetype?
5. Ironically, King Lear certainly does as the Fool on more than one occasion points out. Find something he says to the 'old' king that very much demonstrates his awareness of the childhood archetype within him.
6. [260/153] suggests much of what Conrad will do in Heart of Darkness. "ARCHETYPES APPEAR AS INVOLUNTARY MANIFESTATIONS OF UNCONSCIOUS PROCESSES... THEY HARK BACK TO A PREHISTORIC WORLD WHOSE SPIRITUAL PRECONCEPTIONS AND GENERAL CONDITIONS WE CAN STILL OBSERVE TODAY AMONG EXISTING PRIMITIVES. "
   1. Find passages in Conrad that dramatize this quote.
   2. Are there any in Hamlet and Lear?
   3. How would Tolkien's view of myth relate to Jung's observations, for instance, when he refers to myths as a tribe's "...LIVING RELIGION, WHOSE LOSS IS ALWAYS AND EVERYWHERE , EVEN AMONG THE CIVILIZED, A MORAL CATASTROPHE. BUT RELIGION IS A VITAL LINK WITH PSYCHIC PROCESSES INDEPENDENT AND BEYOND CONSCIOUSNESS..."

Emerging thus from macrocosmic - microcosmic correspondences comes the C.U.: there are personal and impersonal fantasies, [which cannot be explained individually]. These latter are so common to human experience that Jung sees them as evidence for "...THE EXISTENCE OF A COLLECTIVE PSYCHIC SUBTRATUM... THE COLLECTIVE UNCONSCIOUS." [262/155] .

Conrad again is the best illustration, and the universality of the archetypes mandates they be taken seriously and not repressed. Thus Lear's repeated phrase "Let O, let me not be mad, not mad, sweet heaven! / Keep me in temper; I would not be mad! (I,v)" is an instructive manifestation of what happens when repression occurs. As a parallel the doctor examining Marlow before his trek asks him if...?

The archetypal content "..."...EXPRESSES ITSELF FIRST AND FOREMOST IN METAPHORS." [267/157]. Hence metaphors are indigenous to the human condition. Find metaphors in our literature and relate them to the archetypes: the function of the metaphor, according to Jung, is to connect the conscious mind with the archetype. He adds that the CHILD MOTIF IS A PICTURE OF CERTAIN FORGOTTEN THINGS IN OUR CHILDHOOD. [273/161].

From our literature:

A-Why does Matilda explore the Monk's childhood and education so much? What do we know of his education and indeed his whole life throughout most of the novel? What is eventually revealed that dramatizes archetypes coming to the surface?

B-Shelley devotes chapters to Victor's youth; the autobiographical elements are important. See the web site and the Preface to Frankenstein.

C-What did Godwin publish that profoundly influenced Mary? Upon whom is Caroline based? Note Victor's childhood memory...

On the third day my mother sickened; her fever was accompanied by the most alarming symptoms, and the looks of her medical attendants prognosticated the worst event. On her death-bed the fortitude and benignity of this best of women did not desert her. She joined the hands of Elizabeth and myself:- "My children," she said, "my firmest hopes of future happiness were placed on the prospect of your union. This expectation will now be the consolation of your father. Elizabeth, my love, you must supply my place to my younger children. Alas! I regret that I am taken from you; and, happy and beloved as I have been, is it not hard to quit you all? But these are not thoughts befitting me; I will endeavour to resign myself cheerfully to death, and will indulge a hope of meeting you in another world."
She died calmly; and her countenance expressed affection even in death. I need not describe the feelings of those whose dearest ties are rent by that most irreparable evil; the void that presents itself to the soul; and the despair that is exhibited on the countenance. It is so long before the mind can persuade itself that she, whom we saw every day, and whose very existence appeared a part of our own, can have departed for ever- that the brightness of beloved eye can have been extinguished, and the sound of a voice so familiar, and dear to the ear, can be hushed, never more to be heard.

What does this passage motivate him to do?

Probably one of the most gothically intense dramatization of the child archetype is James' Turn of the Screw. Critical debate (such as contained in the Norton Critical Edition) centers on the reality of the ghosts, the sanity and / or sexual frustrations of the governess, and the motivations of Miles and Flora. The famous line at the end, "Peter Quint: you devil" has multiple meanings depending on the antecedent of YOU." For Jung, the child is both past and potential future, making Wordsworth's Ode Intimations of Immortality a valuable study. The image of the spiral (See The Republic X), makes a perfect geometric illustration. Jung notes that we explore the unconscious by:

1. metaphor
2. fantasy
3. dreams
4. in The Da Vinci Code, literal vs. metaphoric becomes a crucial means of evaluating Brown's intent
5. How does the literature reflect these? Tolkien's Essay on Fairy Tale Literature is essential.

Read very carefully, [282-284/166-167] noting how our literature dramatizes Jung's beliefs: Certainly references to dragons recall what poem? What did Campbell say as well? Notice how Jung explains biblical macrocosmic imagery in relation to the psychological microcosm. What is the biblical myth? In these paragraphs, the child emerges as hero.

If we recall Wordsworth's paradoxical line cited earlier, we see the child as both coming from the past and moving to a future actualized through myth. Tolkien of course endorses these ideas. Rejecting the adult corruptors like Saruman and to a degree Boromir, he opts for the child [Hobbit] as hero. The repression of that archetype is dangerous. As a case, what does Pippin do in the mines of Moria that only a child would do? Although the consequences for Gandalf seem grave, what is the result that really wins the war of the ring? What would Jung say? At the Council of Elrond, who speaks for the company?

Read very carefully, [289/170], noting the following:

Why the child is endowed with superior powers

The relationship between the child and the womb--recall Kubla Khan

The child as personification is essential for Lord of the Rings and the romantics. Lear as well figures here as noted. Note that we are not referring to just chronological primitivism.

The child as metaphor suggests a closeness to the unconscious since it comes from there originally. Thus, recalling the romantic fascination with the womb as a metaphor for the creative process [See: M.A. Abrams' The Mirror and the Lamp],a disturbing [i.e. due to conscious repression] realization occurs. See: [291/173]. What happens as we go "LOWER DOWN?" See Kubla Khan's "caverns measureless to man...deep romantic caverns."

If opposites tend to fade, all becomes one...time is present, past and future, as the imagery in Heart of Darkness suggests when Marlow recalls how his journey took him back to the beginning of time. Gothic writers explored these areas in terms of incest and the hermaphroditism of the child. Which one of Chaucer's characters also provides an example?

See especially [193/174], noting what "...THE SYMBOL OF THE CREATIVE UNION OF OPPOSITES MEAN." Jung adds: "THE ARCHETYPE THROWS A BRIDGE BETWEEN PRESENT DAY CONSCIOUSNESS, ALWAYS IN DANGER OF LOSING ITS ROOTS, AND THE NATURAL UNCONSCIOUS INSTINCTIVE WHOLENESS OF PRIMEVAL TIMES." Illustrations:

By now Heart of Darkness and Lear should be obvious illustrations.

Note additionally, thought, the opening of Dracula.

Why does Frankenstein have a frame set in a frozen wilderness, and where does the creature go when it shuns civilization?

Where does the Monk go with Matilda to participate in what Marlow sees as "unspeakable rites." What by the way did Marlow mean, when he "...stepped over the edge?" From what to what?...

Study carefully the Monk and:


Matilda,

Anges

Antonia and Elvira

Victor Frankenstein: CLICK HERE FOR AN EXCELLENT STUDENT PAPER WRITTEN BY BRENDAN O'LEARY ENTITLED: ANDROGYNY IN FRANKENSTEIN

D. What is the importance of Jesus' 'marriage' in Brown's novel?

{OUR ANALYSIS CONTINUES WITH PART V}

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PART V:

V: THE PHENOMENOLOGY OF THE SPIRIT IN FAIRY TALES: This chapter will obviously be important for LORD OF THE RINGS.

We open with multiple definitions of the "SPIRIT" [384/207]. The term is complex depending on the data base examined. What did the Greeks believe? Did the Judeo-Christian synthesis with Greek values change the meaning? What do the Romantics believe? It is clear in LORD OF THE RINGS that, in the words of Peter Jackson, there is a considerable "backstory," reaching to the creation myth in The Silmarillion. For Tolkien, whose spirit is always present? Check the connotations Jung explored [385/208]:

Jung [393/212 ff.] articulates his view, defining spirit as catalytic. Key terms he uses:

Discover how the romantics in general and Tolkien in particular would react. See the Essays and letters on the creative process that the Romantics wrote (from my British Literature web site: Romantic period) For Tolkien, consult the web page link, and consult his Essay on Fairy Tale Literature.

From the same Tolkien site, read his MYTHOPOEIA, a poetic commentary on myth and archetypes. {on line from the Tolkien web site.} Tolkien would undoubtedly agree with Jung's association of the spirit with religious archetypes, since such is at the core of Lord of the Rings.: "THE RELIGIONS SHOULD THEREFORE CONSTANTLY RECALL TO US THE ORIGIN AND ORIGINAL CHARACTER OF THE SPIRIT, LEST MAN SHOULD FORGET WHAT HE IS DRAWING INTO HIMSELF, AND WITH WHAT HE IS FILLING HIS CONSCIOUSNESS. HE HIMSELF DID NOT CREATE THE SPIRIT, RATHER THE SPIRIT MADE HIM CREATIVE." [393/21]

References abound: Most importantly, what does Tolkien mean by SUB-CREATION and SECONDARY WORD? See again the FT ESSAY and Tolkien's creation myth in The Silmarillion for the "flame imperishable." In fact, what other motif does Tolkien use to describe what Illuvatar does? What role does Melkor play, and how does Illuvatar respond? Romantic poets express Jung's ideas in various ways:

What does Tolkien see as a great danger to reaching the shadow? Does Jung? Does Dan Brown? Why? We have seen this before when discussing projection.

--SELF REPRESENTATION OF THE SPIRIT IN DREAMS: Obviously dream psychology has long been of interest to archetypal perspectives. From the 'lying dream' of Zeus to Agamemnon (Iliad II), to Frodo's nightmares as he approaches Mt. Doom, dreams are, as Freud noted microcosmically, gateways to the subconscious. In Frankenstein it is important to note the difference between a psychological dream and a literary one. CLICK HERE for my page on dream psychology. This site also discusses Freud.

Notes: [396/214 ff] Read carefully and relate to the literature: What is the meaning of the first sentence in paragraph 396, p. 214?

Spirit is archetypal in nature emerging from a primordial image universally present, Jung believes. A new archetype pattern emerges as Jung thinks the spirit's conscious manifestation is best represented by what he calls the father figure of the "WISE OLD MAN." Think of the characters and their associations..

1. Nestor in The Iliad
2. Teiresias in Oedipus [he is blind, but sees with..]
3. Hrothgar in Beowulf
4. Gandalf in Lord of the Rings
5. Saruman in Lord of the Rings [but what is the problem here?]
6. Obi-Wan and Yoda in Star Wars
7. the ghost in Hamlet.
8. Teabing in The Da Vinci Code [but what is the problem here?]

Jung qualifies morally, however, by suggesting that one cannot always tell with certainty the moral intent of the guide: so Saruman's duplicity in Lord of the Rings fools even Gandalf. Generically, the "wise old man" is the authority archetype, to which Jung as alluded before regarding God.

--THE SPIRIT IN FAIRY TALES: Jung states the old man as a preconscious force that often emerges in a way that appears magical. In Star Wars, for example, Obi-Wan's powers seem quite transcendent / magical to a skeptic like Solo (his name is a personification) or Gandalf who serves powers not visible but nonetheless integral to Tolkien's myth. Paradoxically, though, so do Darth Vader's.

The role of the old man is to check "...THE PURELY AFFECTIVE REACTIONS WITH A CHAIN OF INNER CONFRONTATIONS AND REALIZATIONS." [404/220]. Probably in Platonic terms, the rational element of the soul marshals the courageous center element to modify the passions. In Tolkien, therefore, restraint becomes a major theme. The morally good characters refrain from using the ring's power: contrast Faramir and Boromir. In Lear, Kent is this archetype who warns the old king of the consequences of "hideous rashness," while Lear himself suffers from repressing this archetype. Read [406/222], descriptive of the old man, and note that Jung rather perfectly describes....?

Compare what Jung says regarding the manifestation of this archetype with dwarfs. Diminutiveness does becomes a concern with Tolkien's view in the FT Essay. If Gimli embodies this archetype in Tolkien, what advice does he give and to whom? Why is there enmity between him and Legolas? If the archetype, according to Jung, can sometimes be construed as evil, manifestations occur in the 'wicked magician,': from Odysseys to Saruman. Additionally in fairy tales, this archetype manifests itself as animal including a bird: where is the good manifestation in Lord of the Rings, and where is the evil one in Macbeth?

--CONCLUSION: Read carefully, [454-455/252 ff] for an important summary of what Jung sees as the failure of the rational mind to recognize the archetypes: Why is the "ENLIGHTENED RATIONALIST" critiqued? What is the greatest failure of reason? It would be instructive to compare Jung's beliefs with Gene Roddenberry's Star Trek Philosophy as articulated in The Humanist Interview. Click here for my web site. PAY SPECIAL NOTE TO HOW JUNG DEFINES EVIL: WHAT IS MAN'S WORST SIN? Relate to the sins of...

1. The Monk
2. Victor
3. Van Helsing
4. Lear
5. Hamlet
6. Saruman
7. Dracula
8. Boromir
9. Gollum
10. Smeagol
11. Deagol
12. Sam
13. Frodo
14. Kurtz
15. Marlow
16. Caliban
17. Prospero
18. Darth Vader
19. Silas
20. The Bishop
21. Teabing

It would appear that Jung's comments were written for each character thereby validating the archetype. Do these characters actually sin? In what sense?

--ON THE PSYCHOLOGY OF THE TRICKSTER FIGURE: Do our characters trick us? Why? Is it their fault or ours? Certainly Lear's Fool stands as a primary example. What is his goal? Find examples of his dialogue with Lear? What is his purpose, and what about Lear, would Jung say, makes his conduct necessary? Is Teabing a trickster? Is Langdon?

Consult Erasmus' Praise of Folly. What does he mean by the "wise fool," and do you find gospel parallels? On whom was Jesus the hardest? Why?

Shakespeare's comedies likewise embody this archetype, as especially seen in Midsummer Night's Dream, "LORD WHAT FOOLS THESE MORTALS BE." (III,ii) Who say this and why? The play's reality contacts and releases the archetypal world, apparently causes pandemonium to the lovers, resulting in the dénouement dramatizing the psychological health that can only occur when such contact happens. Oberon can be played as light / mischievous or the opposite, dark / dangerous--what according to Jung determines this opposite, and is it really an opposite? Recall relativization discussed above.

The one character in the play who has direct communication with the archetypes in Bottom. Why? What quality does he have that the others seem to lack, and why? His misparaphrase of St. Paul should mean much in this context:

Methought I was, and methought I had, but man is but a patch'd fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream. It shall be call'd 'Bottom's Dream,' because it hath no bottom; and I will sing it in the latter end of a play, before the Duke. (IV,i)

Why according to Jung would there be no bottom? What does his name really mean in terms of the archetypes?

--THE ORIGINS OF THE TRICKSTER FIGURE: See [469/262] in which Jung associates the trickster with the SHADOW archetype. Due to what he calls the "IMPACT OF CIVILIZATION," the shadow disintegrates, with the trickster being one of its last vestiges.

Jung traces the origin of the trickster-figure in a manner interesting to those studying the origin of drama. As the Medieval Tropes became more secular, church authorities saw the sacred profaned and moved to repress these elements, but as we know, such places the psyche at great risk.

The trickster thus represents an earlier stage of consciousness the vestiges of which survived: Lear's Fool, Thersites in The Iliad, Puck in MND. Shakespeare's supernatural plays use ghosts, not devils for the latter had become a comic figure on stage, such as the ending of THE DEATH OF PILATE. The comedic - mocker he believes comes from the desire of 'civilized' man not to face in the mirror what the trickster represents, so as early as Homer, we find Thersites, representing the truth, being beaten by Odysseus, representing intellectual craftiness [470/263]:"THE SHADOW IS SO DISAGREEABLE TO [THE] ...EGO CONSCIOUSNESS THAT IT HAS TO BE REPRESSED INTO THE UNCONSCIOUS." [474/275]. Paradoxically, the trickster can be saviour and villain; thus Thersites represents the direction 'civilization' needs to take, as the mortals in the forest must listen to Puck, but do not know how because...?

In Star Wars, Yoda is likewise trickster and saviour for Luke Skywalker. He knows the FORCE, using it to perform in ways beyond rational understanding. Thus the setting for his instructions, his home, is important. Compare to Conrad.

Jung correlates the shadow and trickster with conventional notions of evil. [477/266]. Read and explain the following correlated with our literature: the fascination of evil... (the opening of Heart of Darkness), the interaction of Harker and three women vampires, the attraction of Lucy and even Mina for Dracula, the reflections of Victor Frankenstein to Walton about what he had done, the Monk and Matilda; The shadow stays suppressed as long as the consciousness is well, but what happens when it faces a crisis:

1. Marlow stepping over the edge, and his 'lie' to the intended. Does Marlow then become trickster?
2. The education of the Monk
3. Harker's rationalism
4. How does Hamlet know all of this?

Note that again, Jung uses archetypal evidence to reject the tabula rasa premise of Locke. Read [482/269], and correlate with Heart of Darkness.

--THE TRICKSTER AND THE SHADOW: Explain and/or comment on the following:

A-how the trickster parallels the shadow.
B-the shadow, manifested in dreams, often only appears negative to the consciousness.
C-define the shadow in Kurtz, Ambrosio, Teabing, Van Helsing, Victor

The anima is closest to the shadow. (See also The Da Vinci Code: "sacred feminine."), and its fear of the feminine might engender misogynistic behaviour. Jung notes: "THEY ACCEPT HER EASILY ENOUGH WHEN SHE APPEARS IN NOVELS OR AS A FILM STAR, BUR SHE IS NOT UNDERSTOOD AT ALL WHEN IT COMES TO SEEING THE ROLE SHE PLAYS IN THEIR OWN LIVES, BECAUSE SHE SUMS UP EVERYTHING THAT A MAN CAN NEVER GET THE BETTER OF AND NEVER FINISHES COPING WITH." [485/271]

As an aside, what would THE POETICS say about this quote? Would it explain the treatment of Eowyn by Aragorn? Does it explain why Helen of Troy always denigrates herself? Why is the Monk fascinated, then repelled by Matilda? What of Agnes? Antonia? Elvira? Shelley's revisions of Frankenstein focusing on Elizabeth suggest what fear of an archetype surfacing?

Why is the shadow closest to us? In the popular culture, The Star Trek franchise often dealt with the shadow archetype: in an episode in which the transporter device split Kirk into two, a vicious shadow figure emerged who sexually assaulted a female crew member. When forced to reintegrate, the other gentler Kirk loathed the reunion, saying his counter part was ugly. Spock (logic) and McCoy (medicine) noted to the contrary that the darker Kirk, properly disciplined, gave him the strength to command the ship. They observed that side made him human. The episode's title was THE ENEMY WITHIN. Would Jung agree?

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PART VI:

--CONSCIOUS, UNCONSCIOUS AND INDIVIDUATION: Jung [489/275 ff] examines the relationship between the self's consciousness and the larger whole that has been the subject of these pages. The unconsciousness belongs to the self through which it becomes manifested, observes Jung, but a chaotic and unsystemized way. A good example is Rime of the Ancient Mariner by Coleridge. Note that the marginal gloss represents the conscious mind, while the poem is the unconscious. Fascinating parallels appear...

	THE RITE OF PASSAGE FROM THE CONSCIENCE TO THE UNCONSCIOUS.. The ice did split with a thunder-fit ; The helmsman steered us through !
		ON THE DEATH OF THE ALBATROSS: MARGINAL GLOSS: The ancient Mariner inhospitably killeth the pious bird of good omen. ON THE DEATH OF THE ALBATROSS: POEM: God save thee, ancient Mariner ! From the fiends, that plague thee thus !-- Why look'st thou so ?'--With my cross-bow I shot the ALBATROSS.

The connection Jung specifies can be seen when contrasting and comparing the conscious "inhospitably" with the unconscious "fiends that plague..." What for Jung would the fiends be, and who is making that judgment? Why are they fiends? What does the "line" in the poem represent? What does water represent? Note the historical allusion to Magellan. There are many more literary parallels. Identify the characters in our literature that the following quotes suggest: [492/276-277 ff]

1. "certain contents fall below the threshold...disagreeable contents are repressed."
2. "the patient is inundated by a flood of thoughts that are as strange to him as they are to a normal person. That is why we call him crazy..."
3. "...the unconscious is capable of taking over the role of the ego."
4. "not much is needed: love and hate, joy and grief, are often enough to make the ego and unconscious change places."
5. "the unconscious has a Janus-face: on one side its contents point back to a preconscious prehistoric world of instinct, while on the other side it potentially anticipates the future--precisely because of the instinctive readiness for action of the factors that determine man's fate."

What are the consequences for the conscious mind when it does not recognize the unconscious as an "a priori shaping factor"? Find a word Jung uses [501/281] that holds much meaning for Conrad in Heart of Darkness. "The unconscious is the mother of consciousness" Find examples in our literature.

The romantics used the womb metaphor for the creative process, forming what Jung "bridges of association" [504/282] between the conscious and larger unseen unconscious. These occur via dreams, intuition (perception via the unconscious), and metaphor. Recall as well Shippey's discussion of Tolkien's view of myth. What, according to both, does myth 'bridge'? These bridges appear in our literature:

1. the Virgin, the veil, and the dungeons in The Monk
2. the floating dagger in Macbeth
3. the mirror of Galadriel in Lord of the Rings
4. the dream of Victor Frankenstein
5. the asylum of Dr. Seward in Frankenstein
6. Lady Macbeth's references to breast milk
   
7. the Holy Grail in Dan Brown

Like Eliot's Objective correlative, these evoke states or conditions that may exist in the conscious, but are portals to the unconscious' pathways. The remind us of the archetypes.

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A CONCLUDING PERSPECTIVE:

THE UNCONSCIOUS PSYCHE IS NOT ONLY IMMENSELY OLD
IT IS ALSO CAPABLE OF GROWING INTO AN EQUALLY
REMOTE FUTURE. IT MOULDS THE HUMAN SPECIES AND
IS JUST AS MUCH A PART OF IT AS THE HUMAN BODY
WHICH, THOUGH EPHEMERAL IN THE INDIVIDUAL, IS
COLLECTIVELY OF IMMENSE AGE.' [581/287]

PART II: References based on web printouts above:

Using the above links, answer the questions that follow. Note that each response should contain a primary source excerpt as support, and as we discuss the novels, answer the questions that apply the archetypes to them. The questions in [...] follow each commentary..

Jung validates by noting how man assigned psychic meanings to light, darkness and the change of seasons. These are the projections of the "prototypes" within us; hence the appearance of so-called monsters. Are they? [Ironically, then the creature appears in the midst of 'sophisticated' 19th century technology. Is it a monster?] [Why does Dracula have so many references to technology, and recall that Harker barely acknowledges the implication of a creature crawling down the wall of his castle.] [In Lord of the Rings, consider what happens in the Mines of Moria, to Gandalf, and later to Sam and Frodo. Creatures are involved. Consider too what happens to Gandalf--remember tooTolkien's 'good catastrophe." How does it take Jung's shadow into account?]

5. Jung believes that psychic healing cannot occur until "...we have ventured into and emerged from the darkness. But to penetrate the darkness we must summon all the powers of enlightenment that consciousness can offer." [How do our texts reflect this idea...?]

• How did Gandalf become Gandalf the white?
• What does Frankenstein tell Walton [in the frame that opens and concludes the novel?]
• Contrast the attitudes of Lucy and Mina toward how Dracula must be confronted.
• Should Dracula be defeated? Why does Gandalf say that Sauron is but an emissary?
• Does the Monk every realize what Jung believes? See especially the last Chapter.

6. Jung notes that the child becomes an apt symbol for the archetypes which he considers generic and universal . The 'pre-civilized' child then is a powerful symbol, for the present, past and future. The romantics thus argue the child is father to the man [Wordsworth] What can the child teach? [Why does Tolkien make Hobbits [children] the leader of the quest to return the ring?] [In the beginning of The Monk, is not Ambrosia a child?] [Whom does Dracula infect in London?]

7. Jung, believing that the shadow "...belongs to the wholeness of the personality," suggests that "...the strong man must somewhere be weak, somewhere the clever man must be stupid...Is it not a an old truth that women loves the weaknesses of the strong man more than his strength, and the stupidity of the clever man more than his cleverness?" [Now characterize the Mina - Jonathan relationship in Dracula and the Monk - Ambrosia relationship in The Monk.]

8. Mythologists like Campbell and Tolkien argue that remaining in the garden is at best ambivalent. Must we leave? Jung so states. What are the consequences? [What happens to Lucy in Dracula? Does she leave? What happens to Frodo in Book VI?]

9. Jung argues that the onset of the shadow, its urge to burst through the veneer of civilization can transform a rational gentle soul into a beast. In Heart of Darkness, read the diary of Kurtz. [In our novels...

• What happens to Smeagol when he takes the ring from Deagol, and how does he get it?
• Study Frodo at Mount Doom--does he fail?
• How does the Monk treat Agnes?
• How does the Prioress treat Agnes, and what is the consequence?
• What is the most pervasive irony in Frankenstein? Who is the monster?]

10. The release of the shadow can have dangerous psychiatric complications for the self, ranging, Jung thinks, from psychosis to pathology. A good example is Angelo in Measure for Measure. From a strict-constructionist enforcer of sexual law he, upon fixating on Isabella, becomes rather the opposite. He tells her at the conclusion of III, iv to either submit to intercourse or suffer the death of her imprisoned brother. When she threatens public exposure, he responds...

ANGELO

Who will believe thee, Isabel?
My unsoil'd name, the austereness of my life,
My vouch against you, and my place i' the state,
Will so your accusation overweigh,
That you shall stifle in your own report
And smell of calumny. I have begun,
And now I give my sensual race the rein:
Fit thy consent to my sharp appetite;
Lay by all nicety and prolixious blushes,
That banish what they sue for; redeem thy brother
By yielding up thy body to my will;
Or else he must not only die the death,
But thy unkindness shall his death draw out
To lingering sufferance. Answer me to-morrow,
Or, by the affection that now guides me most,
I'll prove a tyrant to him. As for you,
Say what you can, my false o'erweighs your true.

[Do the characters in our novels experience the same: Ambrosia, Smeagol, Victor?]

11. Mental and moral health for Jung consists in recognizing and confronting the shadow; not repressing it. [Does that make Smeagol - Gollum the most sophisticated figure in Lord of the Rings? Does Victor do the same? Does Ambrosia? Consider also Seward and Van Helsing]

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By analyzing our literature in terms of Jungian thought, we have hopefully moved to "level 3" considerations and have come to know better what mimetic really implies for our characters and ourselves.

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