By Marie-Louise von Franz
Publication by way of Marie-Louise von Franz
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Additional resources for Archetypal Patterns in Fairy Tales (Studies in Jungian Psychology By Jungian Analysts)
While the Self moves on, then you lose it. The secret is to be able to follow it, to dance with it, because the Self is constantly performing a dance, a circular movement of internal renewal. It constantly changes and yet always remains the same. Another aspect of the dance is human communion. Nothing brings people closer together, into a kind of communicating spirit. Practically nothing expresses as close a psychic relationship as people dancing together. That's why 24 Acts of John, 94-96, Apocryphal New Testament, trans.
And now we come to the dance. There again, we have a religious element. As we know from ethnology, the dance is one of the most essential elements of all ancient cultures and religions. The dances of primitive tribes are almost never just for fun, although they are also for fun, admittedly. They always have a deeper, transcendent meaning. They are danced for the purpose of helping the sun rise, or helping deities of fertility, or for some other specific purpose. Even in the apocryphal Gospel of St.
Our hero breaks off a twig in each forest, and these twigs he takes with him in order to be able to prove afterward that he was there. This is a motif you may know from Aeneas' descent into the underworld in Virgil's Aeneid. To have access to the world of the dead, Aeneas has to pick a golden bough. ) This motif shows also that we have to interpret these forests of silver, gold and diamond as the land of the dead. The people of those forests are, so to speak, in Hades. They have been bewitched and taken out of life.
Archetypal Patterns in Fairy Tales (Studies in Jungian Psychology By Jungian Analysts) by Marie-Louise von Franz