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1 " On the other hand, the moral law, although it gives no such prospect, does provide a fact absolutely inexplicable from any data of the world of sense or from the whole compass of the theoretical use of reason, and this fact points to a pure intelligible world―indeed, it defines it positively and enable us to know something of it, namely a law.This law gives to the sensible world, as sensuous nature (as this concerns rational beings), the form of an intelligible world, i.e., the form of supersensuous nature, without interfering with the mechanism of the former. Nature, in the widest sense of the word, is the existence of things under laws. The sensuous nature of rational beings in general is their existence under empirically conditioned laws, and therefore it is, from the point of view of reason, heteronomy. The supersensuous nature of the same beings, on the other hand, is their existence according to laws which are independent of all empirical conditions and which therefore belong to the autonomy of pure reason. And since the laws, according to which the existence of things depends on cognition, are practical, supersensuous nature, so far as we can form a concept of it, is nothing else than nature under the autonomy of the pure practical reason. The law of this autonomy is the moral law, and it, therefore, is the fundamental law of supersensuous nature and of a pure world of the understanding, whose counterpart must exist in the world of sense without interfering with the laws of the latter. The former could be called the archetypal world (*natura archetypa*) which we know only by reason; the latter, on the other hand, could be called the ectypal world (*natura ectypa*), because it contains the possible effect of the idea of the former as the determining ground of the will." ―from_Critique of Practical Reason_. Translated, with an Introduction by Lewis White Beck, p. 44. "
2 " The mermaid is an archetypal image that represents a woman who is at ease in the great waters of life, the waters of emotion and sexuality. She shows us how to embrace our instinctive sexuality and sensuality so that we can affirm the essence of our feminine nature, the wisdom of our bodies, and the playfulness of our spirits. She symbolizes our connection with our deepest instinctive feelings, our wild and untamed animal nature that exists below the surface of outward personalities. She is able to respond to her mysterious sexual impulses without abandoning her more human, conscious side. What happened to the girls who dreamed of being mermaids? "
― , Eating in the Light of the Moon: How Women Can Transform Their Relationship with Food Through Myths, Metaphors, and Storytelling
3 " If asked, ‘Do you believe in ghosts or the supernatural?’, I can only answer somewhat as follows. I do believe in another world which penetrates this, and that, as Milton so aptly puts it, ‘Millions of spiritual creatures walk the earth/Unseen, both when we wake, and when we sleep’, I deplore the false Cartesian split as a dreadful blow to the human mind. To me, the world of imagination, which works by means of analogy, is as real, in its own particular way, as the everyday external world. To me, the myths are vital truths, the gods and goddesses still live, on that mighty archetypal plane which lies beyond our little selves and yet within our being, too. Now this may appear illogical, a tangled web of contradictions. To believe in every spiritual truth, in all religions and all creeds, to revere a single God and the many? This may disturb the theologian, but not the Mystic. For, to the mystical turn of mind, the One may become the Many, the Many One. Spiritual and poetic truth—the transcendental vision, that is—encompasses both reason and ethics, yet soars above them. "
4 " Classical education was only half the old system of European education--below it and above it there was the religious education that was common to the whole people, and the higher theological education that was peculiar to the clergy, who provided the majority of the teachers in both the other departments of education. Now the lowest level of this structure, which has been least studied and least regarded, was the most important of them all. It is true that it differed considerably in different parts of Europe, but for the religious rather than material reasons. In Protestant Europe it was founded on the Bible and the catechism, whereas in Catholic Europe it was based on the liturgy and on religious art and drama and mime, which made the Church the school of the people. But in either case it provided a system of common beliefs and moral standards, as well as the archetypal patterns of world history and sacred story which formed the background of their spiritual world. "
― Christopher Henry Dawson , Understanding Europe
5 " Mentoring is an archetypal activity that has timeless elements which can connect us to the universal ground where nature renews itself and culture becomes reimagined. Youth and elder meet where the pressure of the future meets the presence of the past. Old and young are opposites that secretly identify with each other for neither fits well into the mainstream of life. "
6 " Numbers, furthermore as archetypal structural constants of the collective unconscious, possess a dynamic, active aspect which is especially important to keep in mind. It is not what we can do with numbers but what they do to our consciousness that is essential. "
― Marie-Louise von Franz , Number and Time: Reflections Leading Towards a Unification of Psychology and Physics
7 " The way we think may be completely different, but you and I are an ancient, archetypal couple, the original man and woman. We are the model for Adam and Eve. For all couples in love, there comes a moment when a man gazes at a woman with the very same kind of realization. It is an infinite helix, the dance of two souls resonating, like the twist of DNA, like the vast universe. "
― Banana Yoshimoto
8 " I thought I was getting away from politics for a while. But I now realise that the vuvuzela is to these World Cup blogs what Julius Malema is to my politics columns: a noisy, but sadly unavoidable irritant. With both Malema and the vuvuzela, their importance is far overstated. Malema: South Africa's Robert Mugabe? I think not. The vuvuzela: an archetypal symbol of 'African culture?' For African civilisation's sake, I seriously hope not.Both are getting far too much airtime than they deserve. Both have thrust themselves on to the world stage through a combination of hot air and raucous bluster. Both amuse and enervate in roughly equal measure. And both are equally harmless in and of themselves — though in Malema's case, it is the political tendency that he represents, and the right-wing interests that lie behind his diatribes that is dangerous. With the vuvu I doubt if there are such nefarious interests behind the scenes; it may upset the delicate ears of the middle classes, both here and at the BBC, but I suspect that South Africa's democracy will not be imperilled by a mass-produced plastic horn. "
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9 " Moments later, I was climbing nervously into the back of the car. The driver wore the archetypal expression of an antagonist. No words were exchanged beyond the brief lines uttered to this nameless stranger, whose inclinations remained unclear. The car sped along empty roads and traversed dingy alleyways. Music blared from its speakers. I did not remember exhaling throughout the entire journey. "
― Agnes Chew ,
10 " The creative process, so far as we are able to follow it at all, consists in the unconscious activation of an archetypal image, and in elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, and so makes it possible for us to find our way back to the deepest springs of life. Therein lies the social significance of art: it is constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking. "
― C.G. Jung
11 " Where the parents are not 'good enough' the rest of the programme for life may be distorted and later stages in the archetypal sequence may fail to be realized. Thus, the boy whose father was inadequate or absent may fail to actualize his masculine potential sufficiently to establish the social or vocational role his talents equip him for, or he may be unable to sustain a relationship with a member of the opposite sex long enough for him to become an adequate husband or father himself. "
― Anthony Stevens , Jung: A Very Short Introduction
12 " Sexual differentiation begins approximately six weeks after conception, when in male children the gonads are formed and begin to manufacture male hormone, which has a profound effect on the future development of the embryo. In the female, on the other hand, the ovaries are not formed until the sixth month, by which time the greater size, weight, and muscular strength of the male is already established. This is the biological basis of the sexual dimorphism apparent in the great majority of societies known to anthropology, where child-rearing is almost invariably the responsibility of women, and hunting and warfare the responsibility of men. These differences have less to do with cultural `stereotypes' than some fashionable contemporary notions would have us believe. While it is true that at all ages males and females have far more in common than they have differences between them, there can be no doubt that some differences exist which have their roots in the biology of our species. Jung was quite clear about this. Again and again, he refers to the masculine and the feminine as two great archetypal principles, coexisting as equal and complementary parts of a balanced cosmic system, as expressed in the interplay of yin and yang in Taoist philosophy. These archetypal principles provide the foundations on which masculine and feminine stereotypes begin to do their work, providing an awareness of gender. Gender is the psychic recognition and social expression of the sex to which nature has assigned us, and a child's awareness of its gender is established by as early as eighteen months of age. "
13 " The specious idea that gender differences are due entirely to culture, and have nothing to do with biological or archetypal predispositions, still enjoys wide currency in our society, yet it rests on the discredited tabula rasa theory of human development and is at variance with the overwhelming mass of anthropological and scientific evidence. "
14 " In the radical feminist view, the new feminism is not just the revival of a serious political movement for social equality. It is the second wave of the most important revolution in history. Its aim: the overthrow of the oldest, most rigid class/caste system in existence, the class system based on sex - a system consolidated over thousands of years, lending the archetypal male and female roles and undeserved legitimacy and seeming permanence. "
― Shulamith Firestone , The Dialectic of Sex: The Case for Feminist Revolution
15 " The ego isn't a bad thing. If we didn't develop a strong ego, a strong sense of self, we wouldn't be able to relate to and engage with the extremely powerful and archetypal forces (both dark and light) of the unconscious. If we don't have a strongly developed sense of self (even though it is not, ultimately speaking, the true self), we will get overwhelmed and taken over by the powers of the unconscious such that we will compulsively act them out. "
16 " Woman's fear of the female Self, of the experience of the numinous archetypal Feminine, becomes comprehensible when we get a glimpse - or even only a hint – of the profound otherness of female selfhood as contrasted to male selfhood. Precisely that element which, in his fear of the Feminine, the male experiences as the hole, abyss, void, and nothingness turns into something positive for the woman without, however, losing these same characteristics. Here the archetypal Feminine is experienced not as illusion and as maya but rather as unfathomable reality and as life in which above and below, spiritual and physical, are not pitted against each other; reality as eternity is creative and, at the same time, is grounded in primeval nothingness. Hence as daughter the woman experiences herself as belonging to the female spiritual figure Sophia, the highest wisdom, while at the same time she is actualizing her connection with the musty, sultry, bloody depths of swamp-mother Earth. However, in this sort of Self-discovery woman necessarily comes to see herself as different from what presents itself to men -as, for example, spirit and father, but often also as the patriarchal godhead and his ethics. The basic phenomenon - that the human being is born of woman and reared by her during the crucial developmental phases - is expressed in woman as a sense of connectedness with all living things, a sense not yet sufficiently realized, and one that men, and especially the patriarchal male, absolutely lack to the extent women have it.To experience herself as so fundamentally different from the dominant patriarchal values understandably fills the woman with fear until she arrives at that point in her own development where, through experience and love that binds the opposites, she can clearly see the totality of humanity as a unity of masculine and feminine aspects of the Self. "
― Erich Neumann , The Fear of the Feminine and Other Essays on Feminine Psychology
17 " Devaluation of the Earth, hostility towards the Earth, fear of the Earth: these are all from the psychological point of view the expression of a weak patriarchal consciousness that knows no other way to help itself than to withdraw violently from the fascinating and overwhelming domain of the Earthly. For we know that the archetypal projection of the Masculine experiences, not without justice, the Earth as the unconscious-making, instinct-entangling, and therefore dangerous Feminine. At the same time the projection of the masculine anima is mingled with the living image of the Earth archetype in the unconscious of man; and the more one-sidedly masculine man's conscious mind is the more primitive, unreliable, and therefore dangerous his anima will be. However, the Earth archetype, in compensation to the divinity of the archetype of Heaven and the Father, that determined the consciousness of medieval man, is fused together with the archaic image of the Mother Goddess.Yet in its struggle against this Mother Goddess, the conscious mind, in its historical development, has had great difficulty in asserting itself so as to reach its – patriarchal - independence. The insecurity of this conscious mind-and we have profound experience of how insecure the position of the conscious mind still is in modern man-is always bound up with fear of the unconscious, and no well-meaning theory " against fear" will be able to rid the world of this deeply rooted anxiety, which at different times has been projected on different objects. Whether this anxiety expresses itself in a religious form as the medieval fear of demons or witches, or politically as the modern fear of war with the State beyond the Iron Curtain, in every case we are dealing with a projection, though at the same time the anxiety is justified. In reality, our small ego-consciousness is justifiably afraid of the superior power of the collective forces, both without and within.In the history of the development of the conscious mind, for reasons which we cannot pursue here, the archetype of the Masculine Heaven is connected positively with the conscious mind, and the collective powers that threaten and devour the conscious mind both from without and within, are regarded as Feminine. A negative evaluation of the Earth archetype is therefore necessary and inevitable for a masculine, patriarchal conscious mind that is still weak. But this validity only applies in relation to a specific type of conscious mind; it alters as the integration of the human personality advances, and the conscious mind is strengthened and extended. A one-sided conscious mind, such as prevailed in the medieval patriarchal order, is certainly radical, even fanatical, but in a psychological sense it is by no means strong. As a result of the one-sidedness of the conscious mind, the human personality becomes involved in an equally one-sided opposition to its own unconscious, so that actually a split occurs. Even if, for example, the Masculine principle identifies itself with the world of Heaven, and projects the evil world of Earth outwards on the alien Feminine principle, both worlds are still parts of the personality, and the repressing masculine spiritual world of Heaven and of the values of the conscious mind is continually undermined and threatened by the repressed but constantly attacking opposite side. That is why the religious fanaticism of the representatives of the patriarchal World of Heaven reached its climax in the Inquisition and the witch trials, at the very moment when the influence of the archetype of Heaven, which had ruled the Middle Ages and the previous period, began to wane, and the opposite image of the Feminine Earth archetype began to emerge. "
18 " On the lowest level, this loss of soul turns the man into the hen-pecked husband who lives with his wife as though she were his mother upon whom he is solely dependent in all things having to do with emotions and the inner life. But even the relatively positive case where the woman is the mistress of the inner domain and mother of the home who simultaneously has the responsibility for dealing with all the man's questions and problems having to do with emotions and the inner life, even this leads to a lack of emotional vitality and sterile one-sidedness in the man. He discharges only the " outer" and " rational" affairs of life, profession, politics, etc. Owing to his loss of soul, the world he has shaped becomes a patriarchal world that, in its soullessness, presents an unprecedented danger for humanity. In this context we cannot delve further into the significance of a full development of the archetypal feminine potential for a new, future society. "
19 " While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity.From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic. "
20 " The archetypal image of the redeemer serpent is certainly placed here in opposition to the serpents of evil that battle with it. But why do they both have the same form if there is only oppositIOn between them? What does it mean that they both dwell in the same place, the depth of the great abyss? Are they not possibly two aspects of the same thing?We know this image of the redeemer serpent not only from Gnosis and from the Sabbataian myth, but we know of the same serpent rising from below, redeeming and to be redeemed, as the Kundalini serpent in India, and finally from alchemy as the serpens Mercurii, the ambiguous serpent whose significance was first made clear to us by Jung's researches.Since Jung's work on alchemy we know two things. The first is that in its " magnum opus" alchemy dealt with a redemption of matter itself. The second is that pari passu with this redemption of matter, a redemption of the individual psyche was not only unconsciously carried out but was also consciously intended. As we know, the serpent is a primeval symbol of the Spirit, as primeval and ambiguous as the Spirit itself. The emergence of the Earth archetype of the Great Mother brings with it the emergence of her companion, the Great Serpent. And, strangely enough, it seems as though modern man is confronted with a curious task, a task which is essentially connected with what mankind, rightly or wrongly, has feared most, namely the Devil. "
