31. 32. 33. 34.
course only the former is in question. Or an aspect of the Self of a woman. Note that C. G. Jung also interprets the Demeter-Kore myth in this twofold fashion in “The Psychological Aspects of the Kore,” in CW 9/i, paras. 310ff., pp. 183ff. Cf. C. G. Jung, “The Psychology of the Transference,” in The Practice of Psychotherapy, CW 16, para. 433, p. 225, according to which in a state of primitivity and total absence of self-knowledge, the relationship to a woman consists essentially of no more than an anima projection, the same also being true for the image of the man. Cf. C. G. Jung, Aion, CW 9/ii, paras. 351ff., pp. 223ff., where, concerning symbols of totality, we find: “The most important of these are geometrical structures containing elements of the circle and quaternity; namely, circular and spherical forms on the one hand, which can be represented purely geometrically or as objects; and, on the other hand, quadratic figures divided into four or in the form of a cross. They can also be four objects or persons related to one another in meaning or by the way they are arranged. Eight, as a multiple of four, has the same significance. A special variant of the quaternity motif is the dilemma of 3 1. Twelve (3 4) seems to belong here as a solution of the dilemma and as a symbol of wholeness (zodiac, year). Three can be regarded as a relative totality. . . . Psychologically, however, three—if the context indicates that it refers to the Self—should be understood as a defective quaternity or as a stepping-stone toward a quaternity. Empirically, a triad has a trinity over against it as its complement. The complement of the quaternity is unity.” Concerning the number 100, see Jung, “The Psychology of the Transference,” in CW 16, paras. 525ff., pp. 306ff. Le symbolisme des nombres (Paris, 1948), pp. 230, 241. Cf., for example, the Grimm’s tale “The Golden Bird” and the numerous parallels to it given in B-P. Cf. B-P, vol. 1, p. 19. The story then begins to closely resemble the Grimm’s tale “Thousandfurs” (“Allerleirauh”). In the version influenced by Christianity, she usually bears the name of her godmother, the Virgin Mary, who replaces the black woman. Thus she is called Maria, Mariechen, Maryushka, and so on.