Anima and Animus [Anthology]

Anima and Animus

The conscious side of woman corresponds to the emotional side of man, not to his "mind." Mind
makes up the soul, or better, the "animus" of woman, and just as the anima of a man consists of
inferior relatedness, full of affect, so the animus of woman consists of inferior judgments, or better,
opinions. ~The Secret of the Golden Flower. (Das Geheimnis der Goldenen Blute) 1929. Commentary
by C.G. Jung in CW 13: Alchemical Studies. P.60
The conscious side of woman corresponds to the emotional side of man, not to his "mind." Mind
makes up the soul, or better, the "animus" of woman, and just as the anima of a man consists of
inferior relatedness, full of affect, so the animus of woman consists of inferior judgments, or better,
opinions. ~The Secret of the Golden Flower. (Das Geheimnis der Goldenen Blute) 1929. Commentary
by C.G. Jung in CW 13: Alchemical Studies. P.60
For a woman, the typical danger emanating from the unconscious comes from above, from the
"spiritual" sphere personified by the animus, whereas for a man it comes from the chthonic realm of
the "world and woman," i.e., the anima projected on to the world. ~"A Study in the Process of
Individuation" (1934) In CW 9, Part I: The Archetypes and the Collective Unconscious. P. 559
No man can converse with an animus for five minutes without becoming the victim of his own anima.
Anyone who still had enough sense of humor to listen objectively to the ensuing dialogue would be

staggered by the vast number of commonplaces, misapplied truisms, clichs from newspapers and
novels, shop-soiled platitudes of every description interspersed with vulgar abuse and brain splitting
lack of logic. It is a dialogue which, irrespective of its participants, is repeated millions and millions of
times in all the languages of the world and always remains essentially the same. ~Aion (1951). CW 9,
Part II: Page 29
The concept of archetypes as the mode of expression of the collective unconscious is discussed. In
addition to the purely personal unconscious hypothesized by Freud, a deeper unconscious level is felt
to exist. This deeper level manifests itself in universal archaic images expressed in dreams, religious
beliefs, myths, and fairytales.
The archetypes, as unfiltered psychic experience, appear sometimes in their most primitive and naive
forms (in dreams), sometimes in a considerably more complex form due to the operation of conscious
elaboration (in myths). Archetypal images expressed in religious dogma in particular are thoroughly
elaborated into formalized structures which, while by expressing the unconscious in a circuitous
manner, prevent direct confrontation with it. Since the Protestant Reformation rejected nearly all of the
carefully constructed symbol structures, man has felt increasingly isolated and alone without his gods;
at a loss to replenish his externalized symbols, he must turn to their source in the unconscious.
The search into the unconscious involves confronting the shadow, man's hidden nature; the
anima/animus, a hidden opposite gender in each individual; and beyond, the archetype of meaning.
These are archetypes susceptible to personification; the archetypes of transformation, which express
the process of individuation itself, are manifested in situations. As archetypes penetrate
consciousness, they influence the perceived experience of normal and neurotic people; a too powerful
archetype may totally possess the individual and cause psychosis.
The therapeutic process takes the unconscious archetypes into account in two ways: they are made
as fully conscious as possible, and then synthesized with the conscious by recognition and
acceptance. It is observed that since modern man has a highly developed ability to dissociate, simple
recognition may not be followed by appropriate action; it is thus felt that moral judgment and counsel is
often required in the course of treatment. ~Archetypes of the collective unconscious. From Collected
Works of C. G. Jung , Vol. 9, Part 1, 2nd ed., Princeton University Press, 1968. 451 p. (p. 3-41).
The formulation of the archetypes is described as an empirically derived concept, like that of the
atom; it is a concept based not only on medical evidence but on observations of mythical, religious and
literary phenomena, these archetypes are considered to be primordial images, spontaneous products
of the psyche which do not reflect any physical process, but are reflected in them.
It is noted that while the theories of materialism would explain the psyche as an epiphenomenon of
chemical states in the brain, no proof has yet been found for this hypothesis; it is considered more

reasonable to view psychic production as a generating rather than a generated factor.

The anima is the feminine aspect of the archetypal male/female duality whose projections in the
external world can be traced through myth, philosophy and religious doctrine. This duality is often
represented in mythical syzygy symbols, which are expressions of parental imagos; the singular power
of this particular archetype is considered due to an unusually intense repression of unconscious
material concerning the parental imagos. Archetypal images are described as preexistent, available
and active from the moment of birth as possibilities of ideas which are subsequently elaborated by the
individual.
The anima image in particular is seen to be active in childhood, projecting superhuman qualities on the
mother before sinking back into the unconscious under the influence of external reality. In a
therapeutic sense, the concept of the anima is considered critical to the understanding of male
psychology. There is really a curious coincidence between astrological and psychological facts, so that
one can isolate time from the characteristics of an individual, and also, one can deduce characteristics
from a certain time. Therefore we have to conclude that what we call psychological motives are in a
way identical with star positions . . . We must form a peculiar hypothesis. This hypothesis says that the
dynamics of our psyche is not just identical with the position of the stars . . . better to assume that it is
a phenomenon of time - Carl G. Jung in 1929
Although "wholeness" seems at first sight to be nothing but an abstract idea (like anima and animus),
it is nevertheless empirical in so far as it is anticipated by the psyche in the form of spontaneous or
autonomous symbols. These are the quaternity or mandala symbols, which occur not only in the
dreams of modern people who have never heard of them, but are widely disseminated in the historical
records of many peoples and many epochs. Their significance as symbols of unity and totality is amply
confirmed by history as well as by empirical psychology. [The Self, ibid par. 59.]
The "soul" which accrues to ego-consciousness during the opus has a feminine character in the man
and a masculine character in a woman. His anima wants to reconcile and unite; her animus tries to
discern and discriminate. [The Psychology of the Transference," CW 16, par. 522.]
When animus and anima meet, the animus draws his sword of power and the anima ejects her
poison of illusion and seduction. The outcome need not always be negative, since the two are equally
likely to fall in love (a special instance of love at first sight). ~Aion (1951). CW 9, Part II: P.338.30
The persona, the ideal picture of a man as he should be, is inwardly compensated by feminine
weakness, and as the individual outwardly plays the strong man, so he becomes inwardly a woman,
i.e., the anima, for it is the anima that reacts to the persona. But because the inner world is dark and
invisible to the extraverted consciousness, and because a man is all the less capable of conceiving his
weaknesses the more he is identified with the persona, the persona's counterpart, the anima, remains

completely in the dark and is at once projected, so that our hero comes under the heel of his wife's
slipper.
If this results in a considerable increase of her power, she will acquit herself none too well. She
becomes inferior, thus providing her husband with the welcome proof that it is not he, the hero, who is
inferior in private, but his wife. In return the wife can cherish the illusion, so attractive to many, that at
least she has married a hero, unperturbed by her own uselessness. This little game of illusion is often
taken to be the whole meaning of life. Two Essays on Analytical Psychology, CW 7 (1957). "The
Relations between the Ego and the Unconscious" P.309
The persona, the ideal picture of a man as he should be, is inwardly compensated by feminine
weakness, and as the individual outwardly plays the strong man, so he becomes inwardly a woman,
i.e., the anima, for it is the anima that reacts to the persona. But because the inner world is dark and
invisible to the extraverted consciousness, and because a man is all the less capable of conceiving his
weaknesses the more he is identified with the persona, the persona's counterpart, the anima, remains
completely in the dark and is at once projected, so that our hero comes under the heel of his wife's
slipper.
If this results in a considerable increase of her power, she will acquit herself none too well. She
becomes inferior, thus providing her husband with the welcome proof that it is not he, the hero, who is
inferior in private, but his wife. In return the wife can cherish the illusion, so attractive to many, that at
least she has married a hero, unperturbed by her own uselessness. This little game of illusion is often
taken to be the whole meaning of life. Two Essays on Analytical Psychology, CW 7 (1957). "The
Relations between the Ego and the Unconscious" P.309
As the animus is partial to argument, he can best be seen at work in disputes where both parties
know they are right. Men can argue in a very womanish way, too, when they are anima - possessed
and have thus been transformed into the animus of their own anima. Aion (1951). CW 9, Part II: P.29
Archetypes are complexes of experience that come upon us like fate, and their effects are felt in our
most personal life. The anima no longer crosses our path as a goddess, but, it may be, as an
intimately personal misadventure, or perhaps as our best venture. When, for instance, a highly
esteemed professor in his seventies abandons his family and runs off with a young red-headed
actress, we know that the gods have claimed another victim. ~"Archetypes and the Collective
Unconscious" (1935). In CW 9, Part I: The Archetypes and the Collective Unconscious. P. 62
Every man carries within him the eternal image of woman, not the image of this or that particular
woman, but a definite feminine image. This image is fundamentally unconscious; an hereditary factor
of primordial origin engraved in the living organic system of the man, an imprint or "archetype" of all
the ancestral experiences of the female, a deposit, as it were, of all the impressions ever made by
woman-in short, an inherited system of psychic adaptation. Even if no women existed, it would still be

possible, at any given time, to deduce from this unconscious image exactly how a woman would have
to be constituted psychically. The same is true of the woman: she too has her inborn image of man."
Marriage as a Psychological Relationship" (1925) In CW 17: The Development of the Personality.
P.338
With a little self-criticism one can see through the shadow-so far as its nature is personal. But when it
appears as an archetype, one encounters the same difficulties as with anima and animus. In other
words, it is quite within the bounds of possibility for a man to recognize the relative evil of his nature,
but it is a rare and shattering experience for him to gaze into the face of absolute evil. ["The Shadow,
ibid par. 19.]
The symbol is a living body, corpus et anima; hence the "child" is such an apt formula for the symbol.
The uniqueness of the psyche can never enter wholly into reality; it can only be realized
approximately, though it still remains the absolute basis of all consciousness.
The deeper "layers" of the psyche lose their individual uniqueness as they retreat farther and farther
into darkness. "Lower down," that is to say as they approach the autonomous functional systems, they
become increasingly collective until they are universalized and extinguished in the body's materiality,
i.e., in chemical substances. The body's carbon is simply carbon. Hence "at bottom" the psyche is
simply "world."
In this sense I hold Kerenyi to be absolutely right when he says that in the symbol the world itself is
speaking. The more archaic and "deeper," that is the more physiological, the symbol is, the more
collective and universal, the more "material" it is. The more abstract, differentiated, and specified it is,
and the more its nature approximates to conscious uniqueness and individuality, the more it sloughs
off its universal character. Having finally attained full consciousness, it runs the risk of becoming a
mere allegory which nowhere oversteps the bounds of conscious comprehension, and is then exposed
to all sorts of attempts at rationalistic and therefore inadequate explanation. ~"The Psychology of the
Child Archetype" (1940). In CW 9, Part I: The Archetypes and the Collective Unconscious. P.291
The persona, the anima, and the little game of illusion that gives meaning to many lives due to getting
incapacitated somehow the persona, the ideal picture of a man as he should be, is inwardly
compensated by feminine weakness, and as the individual outwardly plays the strong man, so he
becomes inwardly a woman, i.e., the anima, for it is the anima that reacts to the persona. But because
the inner world is dark and invisible to the extroverted consciousness, and because a man is all the
less capable of conceiving his weaknesses the more he is identified with the persona, the persona's
counterpart, the anima, remains completely in the dark and is at once projected, so that our hero
comes under the heel of his wife's slipper.
If this results in a considerable increase of her power, she will acquit herself none too well. She

becomes inferior, thus providing her husband with the welcome proof that it is not he, the hero, who is
inferior in private, but his wife. In return the wife can cherish the illusion, so attractive to many, that at
least she has married a hero, unperturbed by her own uselessness. This little game of illusion is often
taken to be the whole meaning of life. - Two Essays on Analytical Psychology, CW 7 (1957). "The
Relations between the Ego and the Unconscious" P.309
The concept of archetypes as the mode of expression of the collective unconscious is discussed. In
addition to the purely personal unconscious hypothesized by Freud, a deeper unconscious level is felt
to exist. This deeper level manifests itself in universal archaic images expressed in dreams, religious
beliefs, myths, and fairy-tales.
The archetypes, as unfiltered psychic experience, appear sometimes in their most primitive and naive
forms (in dreams), sometimes in a considerably more complex form due to the operation of conscious
elaboration (in myths). Archetypal images expressed in religious dogma in particular are thoroughly
elaborated into formalized structures which, while by expressing the unconscious in a circuitous
manner, prevent direct confrontation with it. Since the Protestant Reformation rejected nearly all of the
carefully constructed symbol structures, man has felt increasingly isolated and alone without his gods;
at a loss to replenish his externalized symbols, he must turn to their source in the unconscious. The
search into the unconscious involves confronting the shadow, man's hidden nature; the anima/animus,
a hidden opposite gender in each individual; and beyond, the archetype of meaning. These are
archetypes susceptible to personification; the archetypes of transformation, which express the process
of individuation itself, are manifested in situations.
As archetypes penetrate consciousness, they influence the perceived experience of normal and
neurotic people; a too powerful archetype may totally possess the individual and cause psychosis. The
therapeutic process takes the unconscious archetypes into account in two ways: they are made as
fully conscious as possible, then synthesized with the conscious by recognition and acceptance. It is
observed that since modern man has a highly developed ability to dissociate, simple recognition may
not be followed by appropriate action; it is thus felt that moral judgment and counsel is often required
in the course of treatment.
The result of a phenomenological study of psychic structure, consisting of the observance and
description of the products of the unconscious, is described as the development of a psychological
typology of situations and figures, called motifs, in the psychic processes of man. The principal types
of motifs of the human figure include the shadow, the wise old man, the child, the mother as a
supraordinate personality or a maiden, the anima in man and the animus in woman. One such motif is
the Kore figure, belonging in man to the anima type and in woman to the supraordinate personality, or
the self; like the other psychic figures, the Kore is observed to have both positive and negative
manifestations. Images such as the Kore are considered to rise from an area of the personality which
has an impersonal, collective nature, and to express this psychic material in the conscious. The

experience of these archetypal expressions has the effect of widening the scope of consciousness.
Several dream visions described by men and women are analyzed in their manifestations of the Kore
symbol as supraordinate personality and anima. I reference. ~The phenomenology of the spirit in
fairytales. 1. Concerning the word "spirit." In: Jung, C., Collected Works of C. G. Jung, Vol. 9, Part 1.
2nd ed., Princeton University Press, 1968. 451 p. (p. 207-214).
SOUL. [psyche, personality, persona, anima,] I have been compelled, in my investigations into the
structure of the unconscious, to make a conceptual distinction between soul and psyche. By psyche I
understand the totality of all psychic processes, conscious as well as unconscious. By soul, on the
other hand, I understand a clearly demarcated functional complex that can best be described as a
personality. In order to make clear what I mean by this, I must introduce some further points of view.
It is, in particular, the phenomena of somnambulism, double consciousness, split personality, etc.,
whose investigation we owe primarily to the French school, that have enabled us to accept the
possibility of a plurality of personalities in one and the same individual. (CW6, 797)
The names people give to their experiences are often very revealing. What is the origin of the word
Seele? Like the English word soul, it comes from the Gothic saiwalu and the old German saiwal, and
these can be connected etymologically with the Greek aiolos, quick-moving, twinkling, iridescent. The
Greek word psyche also means butterfly. Saiwal is related on the other side in the Old Slavonic sila,
strength. These connections throw light on the original meaning of the word soul; it is moving force,
that is, life-force.
The- Latin words animus, spirit, and anima, soul, arc the same as the Greek anemos, wind. The
other Greek word for wind, pneuma , also means spirit. In Gothic we find the same word in us-anan,
to breathe out, and in Latin it is anhelare, to pant. In Old High German, spiritus sanctus was
rendered by atum,breath. In Arabic, wind is rih, and rh is soul, spirit. The Greek word psyche has
similar connections; it is related to psychein, to breathe, psychos, cool, psychros, cold, chill, and
physa, bellows. These connections show clearly how in Latin, Greek, and Arabic the names given to
the soul are related to the notion of moving air, the cold breath of the spirits. And this is probably the
reason why the primitive view also endows the soul with an invisible breath-body. (CW8, 663&664)

Transcript of Fifth Business

Fifth Business And the Role of Jungian Psychology Anima The anima is
basically the feminine aspect of the male psyche
This part of the psyche is said by Jung to be responsible for deep
emotional feeling and expression within the male psyche and is also
responsible for creativity, sensitivity and imagination
There are four stages of development of the anima, as this archetype is

something that exists benignly within a male psyche and it needs to be

awakened
The four stages are as follows:
Eve: this stage deals mainly with a males object of desire and his
expressing of this desire
Helen: this stage covers the development of a males creative talents and
skills but it does not include the development of emotional/mental skills
Mary: this stage represents the development of virtue in the male psyche,
and as such, the male is less likely to do something that goes against his
sense of virtue or anothers
Sophia: this is the final stage of development for the anima, and seeing as
Sophia means wisdom in Greek, it is fitting that it is a sense of wisdom
that comes of this stage of development. It is necessary to achieve this
stage in order for a male to achieve psychological Nirvana
These stages of the anima can be seen in Dunstans development and the
action leading towards his epiphany Animus Is the inner masculine
personality in a female. If a female recognizes her animus, she disregards
his feminity and becomes an inferior man with traits of argumentative,
domineering, and overtaken by her principles. Meanwhile an
underdeveloped animus results in an overly submissive woman whos
crippled by her feelings of worthlessness and despair. As a result, she
clings to a father-figure or abusive partner. A really strong example of this
is Ophelia in Hamlet, as shes ruled by Polonius and Hamlet. Thus,
moderation between the animus and feminity is needed to be a balanced
and renaissance individual.
Stage 1 is a Tarzan like man who is essentially the stereotypically studmuffin man of power who exists to make babies, satisfy, and protect her.
Stage 2 he is a man of action, an Ernest Hemmingway a generic
husband-father who fixes the house and serves as a one-dimensional
breadwinner. Basically a placeholder of the perceived husband role.
Stage 3 he is a man of words, often seen as a professor or clergyman, and
can offer interest as an intellectual figure, father figure, and lover.
Stage 4 is the highest stage, representing a man of spiritual meaning.
Some examples used are Gandhi, Martin Luther King Jr., the Dalai Lama,
and Hermes. He corresponds to the animas 4th stage of Sophia, gives a
woman a strong spiritual stance which compensates for her soft outer self
and makes her more open to new ideas and concepts than males.
Mrs. Ramsay and Liesl show characteristics of the animus through their
development or lack thereof Dunstan Ramsay Childhood
Struggles with its shadow in boyhood with the active role of Mamas Boy,

as he is ruled by his strong willed mother. However, he displays a desire to

break free from such a role, and by balancing the two sides of Mamas Boy
and Dreamer, he manages to evolve into the Oedipal child. This side of his
role is expressed through his relationships with Mary and Dianne, as he
finds himself in love with these older and motherly women. ... I know how
clear it is that what was wrong between Dianna and me was that she was
too much of a mother to me, and as I had one mother, and lost her, I was
not in a hurry to acquire another not even a young a beautiful one with
whom I could play Oedipus to both our hearts content. If I could manage
it, I had no intention of being anybodys own dear laddie, ever again
(Davies 85).
Adulthood
But during his relationship with Dianne, he shifts into his shadow of
adulthood as the impotent lover, as he conveys traits of depression,
alienation, and lack of energy in self and life. He further places himself into
this role by his necessity to leave his relationship with Dianne when he
finds she becomes too suffocating and demanding, which leads him onto
the road of the addicted lover.
Finally, as the addicted lover he finds himself following his desires without
an understanding of what he truly wants. He cycles through having short
lived relationships with women and pursuits of art in order to keep his
sensual side alive. In fact, Dunstan is unable to break free from this stage
until he is confronted about his love for Faustina by Liesl.
Fifth Business
Upon his confrontation with Liesl, she also points out his association with
the Fifth Business archetype, as in theatre he is the only one without a
counterpart, meant to play as the necessary support: Do you know who I
think you are, Ramsay? I think you are Fifth Business ... But you cannot
make the plot work without another man, and he is usually a baritone, and
he is called in the profession Fifth Business, because he is the odd man
out, the person who has no opposite of the other sex. And you must have
the Fifth Business because he is the one who knows the secret of the
heros birth, or comes in assistance of the heroine when she thinks all is
lost, or keeps the hermitess in her cell, or may even be the cause of
somebodys death if that is that is part of the plot ... It is not spectacular,
but it is a good line of work, I can tell you, and those who play it
sometimes have a career that outlasts the golden voices (Davies 231).
Percy (Boy) Staunton Childhood
Falls into the King archetype with his need and desire for control, status, as
well as greatness. Boy manages to somewhat balance the two shadows in
childhood in order to become the divine child. However, initially he is
much more inclined towards the passive role of the weakling prince with

his denial and repression of the Mary Dempster snowball event.

Adulthood
While initially he has a control of his life, as his relationship with his family
and Leola dwindles he evolves into the active role of the shadow king
Tyrant. He is unstable, so fragile that seeing his own son as a threat
neglects him and expects him to man up, and has an appreciation of
beauty that can be displayed by his spoiling of his daughter: David was a
confused lad, pitfully anxious to please, and Caroline was spoiled rotten
(Davies 185). He does not realize the true nature of the king as a channel,
as he wants all the power to be associated with him. He also shows traits
of being extremely sensitive to criticism, especially when Dunstan offered
it constructively or jokingly. He focuses on preserving his ego, despite how
easily it deflates as he has an immense sense of vulnerability (ex. When
Dustan and Boy go out for lunch and asks for his opinion on something,
Dunstan gives comical criticism and Boy takes it to heart and is offended.)
Boy displays a switch to the passive role of the weakling king, upon his
failing career and second marriage. By this point he is prone to paranoia
that those are out to sabotage him, and his fear of such betrayal causes
an ambivalence between the tyrant and weakling roles. (ex. As displayed
by his lunch with Dunstan, as he talks of other political and business men
out to get him)
Apollo
Characteristics of the Apollo archetype are wanting a clear definitions,
concerned with the idea of mastering a skill, values order and harmony,
and focuses on outside appearances rather than looking beneath. Apollo
archetype favors thinking over feeling, distance over closeness, and
objective assessment over subjective intuition.
Relates to Boys ambition of power and greatness, a very to the point
person who skims over books rather than read, and values the idea of
order existing from his control. He can be judgemental of appearances;
especially as his societal world relies on appearances as they are reflective
of ones success. He also is a very impersonal man, as he was not very
close to Leola on a genuine level, cheating on her before they even
married. And is very objective with his second marriage, as it was seen as
more of a business marriage.
[Boy] was a genius-that is to say, a man who does superlatively and
without obvious effort something that most people cannot do by the uttermost exertion of their abilities (Davies 151).
Individuals who resemble Apollo have difficulties that are related to
emotional distance, such as communication problems, and the inability to
be intimate Rapport with another person is hard for the Apollo man. He
prefers to access (or judge) the situation or the person from a distance,

not knowing that he must "get close up" - be vulnerable and empathic - in
order to truly know someone else. But if the woman wants a deeper,
more personal relationship, then there are difficulties she may become
increasingly irrational or hysterical. -Dr. Shinoda-Bolen on the negative
aspects of the Apollo archetype Paul Dempster Childhood
Initially, as a young boy Paul is the passive role of the Dummy, as he is
somewhat oblivious and very much ridiculed for his mothers reputation.
But after being taught basic magic tricks by Dunstan, he becomes the
Know it all Trickster as his skill progresses the point where he runs away
and joins the circus.
Adulthood
His heavy alignment into the Know it all Trickster aids him in his
transformation into the adult shadow magician form of the Manipulator, as
his adult self conveys the traits of secrecy, undermining others, and by
being a specialist of knowledge and skill; he gains a sense of superiority.
As this feeling is all he lives for, he vastly prefers keeping his knowledge as
a secret strength as he can later use it as a weapon.
For example, upon meeting Dunstan again he switches many languages to
have private conversations with his troupe: Liesl, are you sure you know
what you are doing? Said Eisengrim in German, and very rapidly ... I got it
all and said in German, It would be as very great pleasure, if I am not an
intruder. How can a so old friend possibly be an intruder? said Eisengrim
in English, and thenceforce he never spoke any other language to me ...
(Davies 209).It is during his time as Magnus Eisengrim that the active
shadow magician role is the most noticeable, as this role becomes his
complete essence. Archetypes Feminine Archetypes Carl Jung came up
with four main feminine archetypes, all of which correspond to the male
counterpart
The Queen: the Queen, like the King, is a leader figure that is usually
admired by others around her. She is a motherly figure, and in a sense
attempts to look after her subjects while at the same time, instilling her
beliefs in them. Like all archetypes, the Queen has both a positive side and
a negative side.
The more aggressive version of the Shadow Queen is the Martyr.
The more passive version of the Shadow Queen is the Manipulator.
The Amazon: the Amazon is a very masculine archetype, although
classified as feminine, and she is the counterpart of the Warrior. She is
impersonal and extremely independent. She is fierce, but not cruel to
others. Her own journey and goals are her main priority, and as such she
does not have many relationships. She loves a challenge and is known to
enjoy putting so-called superior men in their places. There is a mind-set
of, Anything you can do, I can do better.

The more aggressive version of the Shadow Amazon is the DragonLady/Ice Queen, whatever you want to call it (it was another word which I
dont think Jung would have originally used, if you get my meaning).
The more passive version of the Shadow Amazon is the Victim. Feminine
Archetype Cont. The Hetaira: the Hetaira is the counterpart to the Lover
and is very similar in many ways. Her primary interest in making
relationships is not making friends, but making boyfriends. She likes to
have as many relationships with as many men as possible and loves the
attention she gains from these relationships. Although this may not sound
very nice for all of the men she is fooling around with, her real purpose in
making these relationships is to help the man to develop and grow as a
person, not to win them as a conquest. In a sense, she is very perceptive
to peoples thoughts and feelings, and through this knowledge, helps them
to come into their own.
The more aggressive version of the Shadow Hetaira is the Femme Fatale.
The more passive version of the Shadow Hetaira is the Prostitute.
The Medial: the Medial is the counterpart to the Magician. She is very
spiritual and mystical and has a profound understanding of her
environment and surroundings. She is extremely perceptive and can sense
emotions in others and is also able to determine what needs to be done in
certain situations because of her ability to sense things. She has a keen
intuition and she is able to interpret deep, hidden truths instead of trusting
what is presented to her at face value. She is very mysterious and does
not depend on others nor pursues any substantial relationships. She is
wise and insightful and is overall, an independent personality. The Medial
does not fixate on her goal, but rather enjoys the journey and approaches
life with a fairly indifferent attitude.
The more aggressive version of the Shadow Medial is the Fortune Teller.
The more passive version of the Shadow Medial is the Innocent. Liesl
Possesses qualities of both the Medial and the Hetaira. She is not always
however pure and therefore possesses some qualities of the Shadow
version of the Medial.
In the way of the Medial, she is more similar to the aggressive version of
the Shadow, the Fortune Teller.
In the way of the Hetaira, she fits the qualities of its pure form more
accurately than its Shadow forms. She is neither good nor bad entirely, but
is made up of both good and bad qualities.
Dunstan at one point refers to her as the Devil in conversation with Father
Blazon, saying that he met the Devil in Mexico City. He was disguised as a
womanan extremely ugly woman but unquestionably a woman (Davies
254).

She is also responsible for the fortune telling act in the circus, and like
the Fortune Teller, gets what information she can from the audience, in
this case by taking personal objects from their pockets and studying them.
She obviously profits from this, which is also like The Fortune Teller.
Her role in Dunstans life however, is more like that of the Hetaira. She
allows him to heal and develop through her relationship with him. In a
sense, Liesl brings about Dunstans epiphany, enabling him to see things
as clearly as she does. He says later, Never have I known such deep
delight or such an aftermath of healing tenderness! (Davies 231). She is
certainly representative of both of these archetypal figures, and embodies
their characteristics. Spirituality Jung believed most strongly that
spirituality played a huge part in all of our lives, whether we were
conscious of it or not
He studied many religions and philosophies over the course of his life, and
from these studies, drew the conclusion that spirituality is a necessary
component of our well-being
Although Davies states that his novel was not written with religious
themes in mind, it is still a deeply spiritual book
There is a great focus on religion, particularly Christianity, and there is also
Dunstans fascination with the Catholic Saints (NB: the idolatry of saints is
unique to the Catholic religion and occurs in no other form of Christianity)
Davies can get away with denying the theme of religion within his book
mainly because Dunstan is not a religious man and never shows an
interest in religion beyond that of the Saints, however, there is no way to
deny that this book is without spiritual themes
Religion and Spirituality differ in the sense that a religion is a very specific
form of worshipping, usually of a deity, whereas Spirituality is simply being
in tune with something greater than yourself, whether it be a god, a
philosophy, an ideal or a lifestyle
Dunstan observes first-hand how important religion is to some of the
people around him, and there is the slight theme of how spirituality is
salvation for certain people. It is an escape; a safe haven where people
can go to forget their struggles. Although Dunstan may not recognize his
epiphany as a spiritual event, it is because it allows him to discover
himself for the first time, really
This was Jungs main idea about spirituality: that it was essential for us to
develop into the person that we are meant to be. It allows us to discover
our existence and our essence. Jungs theory on spirituality is very similar
to the theory of existentialism in the sense that they are both about selfrealization. He called his theory Individuation
The entirety of Fifth Business is a journey of self discovery. Collective
Unconscious The deepest and most primitive part of a psyche that is

shared by all humankind and life forms. It is from the result of ancestral
experience and contains the concepts such as morality, religion, science
etc and archetypes. It is the part of the consciousness that is inherited, not
developed.
In relation to 5th Business, its large focus on religion and saints connects
to the idea of the collective unconscious, as Dunstan searches for leads he
comes across the concepts of religious saints from many.
Morality also plays an evident role with the insight of Dunstans inner mind
and workings. For example, his conflicts over his strange actions that
should or shouldnt come naturally, such as the event of his lack of feeling,
besides relief, over his parents death: I was ashamed because I felt the
loss so little ... It was years before I thought of the death of my parents as
anything other than relief ...(Davies 78). Works Cited
http://www.masculinity-movies.com/articles/king-warrior-magician-lover
http://en.wikipedia.org/wiki/Apollo_archetype
http://thirdeve.com/2007/11/02/the-animus/
http://en.wikipedia.org/wiki/Collective_unconscious#Archetypes_and_collec
tive_representations
http://snippets.com/what-does-carl-jungs-collective-unconscious-mean.htm
http://jungian.info/library.cfm?idsLibrary=7 Quiz!!! 1. The Anima
represents?
a) The masculine aspects of the female psyche
b) The feminine aspects of the male psyche
c) The masculine and feminine aspects of a person's psyche
d) Japanese cartoons 2. What are the differences between an active and a
passive self of an archetype role?
a) One is positive and one is negative
b) One is a shadow of the archetype, the other is not
c) One is the extroverted shadow version, the other is the introverted

d) There is no difference 3. Which of these combinations are the four main

feminine archetypes?
a) the King, the Magician, the Lover, and the Warrior
b) the Queen, the Lover, the Magician, and the Amazon
c) the Lover, the Queen, the Hetaira, and the Medial
d) the Queen, the Hetaira, the Medial, and the Amazon 4. Which of these
individuals fit the king archetype and why? 5. Which archetypes are Boy,
Paul, and Dunstan and why? Oral Question 6. Which branch of Christianity
do the Saints belong to?
a) The Baptist Church
b) The Anglican Church
c) The Catholic Church
d) The Jedi Church 7. Which of these Individuals represent the Medial and
why? 8. What are aspects shared by the collective unconscious?
a) Science, Music, Fears
b) Morality, Science, Religion
c) Religion, Science, Arts
d) Morality, Language, Science 9. What are the four stages of the Anima?
a) Sophia, Mary, Eve, Gandhi
b) Eve, Helen, Mary, Sophia
c) Helen, Angelica, Elizabeth, Sophia
d) Tessa, Emma, Katharine, Rachel Where's Jung? Mary Dempster Leola
Leola possesses the most characteristics of the passive Shadow version of
the Amazon: the Victim.
She was more youthful and possessed more zeal before she married Boy
and in the early years of their marriage. As time goes on however, and she

is constantly reminded by Boy how much of a disappointment she is to

him, she starts to lose her sparkle.
She allows him to verbally abuse her and takes a very submissive role in
the relationship. She has very little fight left in her, and when she does talk
back, it has no positive effect in developing her relationship with Boy.
Nothing is achieved in these arguments.
Leola eventually gives up completely, even going so far as to attempt
suicide. Later in the book, when Dunstan is speaking of her death, he says
that he had always thought it suspicious that Leola opened her windows
one afternoon, when the nurse had closed them, and took a chill, and was
dead in less than a week (Davies 195).
Given how badly she was treated by her own husband, it is not surprising
that Leola fell under the category of this archetype.
Faustina: Femme Fatale/Prostitute
Mrs. Ramsay: Amazon/Shadow Queen- Manipulator Mary possesses the
most qualities of the passive Shadow version of the Medial: the Innocent.
Even before Marys accident, she was an innocent, almost child-like figure
that assumed a very submissive role in her life. Obviously, because of her
condition, this archetype is messed with somewhat and she assumes the
archetype of the fool-saint, which is the main archetype that is openly
discussed in the novel.
The fool is not necessarily a negative archetype, as her endless supply of
kindness and compassion are not a bad thing, at least not until someone
notices this and takes advantage of it. She is a complicated character to
categorize into one specific archetype, and this difficulty comes as a result
of her condition, as it affected her character slightly.
The Innocent and the Fool can both leave a positive mark behind, and in
Marys case this is certainly true, as Dunstans life has been illuminated
by [his] fool-saint (Davies 254).
Mary is not really victimized in the traditional sense, because she is
unable to understand the treatment she receives from the others around
her. A true Innocent would understand the fact that they are being
ridiculed, but as I said before, this is because of Marys condition. Sadly, it
is her condition that really gives her the role of the Fool as well, but in
spite of this, she remains an innocent character.