Monomyths of Individuation: A Study of George Macdonald‘s Phantastes and Lilith

Researcher Supervisor Durr-e Nazeem Asst. Prof. Mirza Khurram Naseem Baig Roll No. 08

IN THE PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PHILOSOPHY IN ENGLISH LITERATURE

Session: 2011-2013

DEPARTMENT OF ENGLISH The Islamia University of Bahawalpur

Thesis: Monomyths of Individuation. A study of George Macdonald's Phantastes and Lilith

ABSTRACT

George MacDonald's stories for adults incorporate a common moralising theme which emphasizes the individual's need for self-discovery. Two of his most renowned works

Phantastes and Lilith were both written for adults. According to his philosophy one can discover one's true identity through conscious exploration of the symbolic order.

MacDonald‘s perception of the symbolic coincides with Carl Jung's ideas of the elements of the collective unconscious. Jung‘s theory of the unconscious and its archetypes is arranged into a successive order as in a journey by Joseph Campbell which he called the monomyth, in which various archetypes are encountered along the way as a hero travels.

The aim of this research is to study the narrative pattern of the monomyth as proposed by Joseph Campbell, with relation to the novels Lilith and Phantastes, and to relate the hero's journey as a metaphor to the process of transcendent individuation.

Relevant symbolism is mentioned in this dissertation wherever the key ideas of this study are emphasized in the texts.

The male protagonists are invited to supernatural worlds, where they discover archetypal aspects of themselves that are demanding recognition, in order to be integrated within the psyche. The hero's journey is through a symbolic world that represents his unconscious, and all the elements that appear to him represent his unconscious urges, instincts, fears and secrets. The main roles and manifestations of the archetypes of the monomyth are analysed with regard to the archetypes of the process of individuation.

Table of Contents

ACKNOWLEDGEMENTS i

INTRODUCTION 1

Chapter One: Literature Review 12

1.1 Introduction 12

1.1.1 Individuation 12

1.1.2 Archetypes 13

1.1.3 Monomyth 14

1.2 Literature Review 15

Chapter Two: The Monomyth in Phantastes 31

2.1 Departure 31

2.1.1 The Call to Adventure 32

2.1.2 Supernatural Aid 33

2.1.3 The Crossing of the First Threshold 35

2.1.4 Belly of the Whale 37

2.2 Initiation 39

2.2.1 The Meeting with the Goddess 39

2.2.2 Woman as Temptress 42

2.2.3 The Road of Trials 45

2.2.4 Atonement with the Father 56

2.2.5 The Ultimate Boon 64

2.3 Return 65

2.3.1 Refusal of the Return 65

2.3.2 The Magic Flight 67

2.3.3 Rescue from Without 68

2.3.4 The Crossing of the Return Threshold 69

2.3.5 Master of Two Worlds 70

2.3.6 Freedom to Live 71

Chapter Three: The Monomyth in Lilith 73

3.1 Departure 73

3.1.1 The Call to Adventure 73

3.1.2 Refusal of the Call 75

3.1.3 Supernatural Aid 77

3.1.4 The Crossing of the First Threshold 78

3.1.5 The Belly of the Whale 80

3.2 Initiation 84

3.2.1 The Road of Trials 84

3.2.2 The Meeting with the Goddess 90

3.2.3 Woman as the Temptress 94

3.2.4 Atonement With the Father 99

3.2.5 Apotheosis 103

3.2.6 The Ultimate Boon 107

3.3 Return 109

3.3.1 Refusal of the Return 109

3.3.2 Rescue from Without 111

3.3.3 The Crossing of the Return Threshold 112

3.3.4 Master of the Two Worlds 112

3.3.5 Freedom to Live 113

Chapter Four: The Transcendent Journey to Individuation 115

Conclusion 140

Bibliography 147

1

INTRODUCTION

The hero‘s journey is the central idea of every story since the beginning of time. Every protagonist begins a journey and encounters the adversary, friends and love interest. The journey can be of mythic proportions as that of Hercules and Perseus, or it can be realistically simple like that of Oliver Twist. Regardless of the magnitude of the grandiosity of the story, the hero starts the story with nothing to his name and by the end has gained quite a lot, sometimes by losing something as well. Joseph Campbell managed to categorise this journey into its various stages and linked the characters to the archetypes proposed in Jungian depth psychology. It is the aim of this dissertation to find this pattern in the novels Lilith and Phantastes by George MacDonald.

A brief biography of George MacDonald is necessary in order to become acquainted with this little-known yet significant writer. George MacDonald was born in

1824 in Scotland, the son of a poor farmer and his wife Helen Mackay, who died when

MacDonald was eight. The death of his mother was an incident that influenced his personal doctrine, ethical philosophy and his belief in the sanctity of death. Raised in a

Calvinist household, he later rejected its doctrine of predestination and adjudicated that even heathens stood a chance at redemption, an idea that is reflected throughout his works. This philosophy of his occasionally got him into trouble with religious authorities.

Yet he preached it whenever he had the chance even when he was appointed as the pastor of a church. He was well acquainted with Gaelic and Celtic folklore, as well as with

Greek and Roman mythology which helped develop his mythopoeic art. MacDonald‘s career encompasses many genres and included fifty-two books. Of these fifty-two, twenty-five were novels, several children's fairy tales, allegories, sermons and critical 2 essays on literature. During his life he remained unknown to the masses, and didn't earn much from his writing. He was mostly supported by patrons who funded his modest living until he died in 1905. His literary circle included the likes of C.S. Lewis, Lewis

Carroll, G. K. Chesterton and Walt Whitman as his closest companions who shared his interests, and some of whom he actually influenced with regard to their work. Critical responses to his vast amount of work have been divergent. Where some have been calling him the father of fantasy fiction, others emphasise the incoherence of the structure of his stories and their meanings.

Two of his most notable works that are still widely acclaimed are Phantastes and

Lilith. Phantastes was one of his earliest fictional novels written in 1858, whereas Lilith was written years later in 1895. This time gap determined much of the differences in both novels. The novels Phantastes and Lilith were two of his greatest fantasy works that were greatly influenced by myths and fairy tales. Although he considered even his fairy tales to be for both children and adults, he considered Phantastes a fairytale for adults. It was the novel that helped him win C.S. Lewis's admiration and friendship. Compared to

Phantastes, Lilith is more along the lines of mysticism. In Lilith he portrays his ideology of how the heathen may finally be redeemed and will not be excluded from Paradise.

In the novel Phantastes the enthusiastic young hero Anodos finds the way into

Fairy Land after he finds a fairy in his father's secretary. There he finds a fantastic world which is completely different from the real world that he leaves behind. It is a world that represents the symbolic realm of the unconscious where man's inner thoughts are projected outwards. On his way he finds many people who either turn out to be sinister or helpful and who lead him to his final end. At first his journey seems to be exploratory 3 excursion but when he falls into trouble he realises that he must turn this trip of his through unknown worlds into a quest for something meaningful, after which it becomes a quest for his identity. Similarly in Lilith, the hero Vane sets off without a quest or purpose and with only an urge to explore, but only after he overcomes his fear of entering the unknown. It then becomes a journey of observation and understanding. Characters of all types help or impede the hero's journey. Like the former novel, this story also deals with the discovery and understanding of the symbolic realm. The symbolic order and archetypes emerge from the collective unconscious which is the part of the unconscious that is shared by all mankind. When ideas, images, feelings and situations emerge from this deep abyss of the unconscious to enter the conscious, they transform to become coded and are perceived as symbols and archetypes. By their very nature they are neutral.

Myths and fairy tales are replete with such archetypes and are great reference guides for comparisons.

Macdonald's works exhibit his vast knowledge of Roman and Greek mythology, fairy tales and folklore. As myths are based on archetypal models, stories inspired by them are also likely to follow the same pattern. Many writers and analysts have tried to trace this archetypal framework of a story based on the common patterns, to create templates or patterns of narrative structure. This template serves as a universal model for creating stories of mythical proportions. The narrative structure is not only based on the sequence of events, but also on the sequence of manifestation of characters. The first of this universal pattern is the archetypal hero and his journey, because every story is about a hero and his quest to attain something he does not have or something that would give him a distinct advantage over others in the world. 4

The hero's journey has been a popular theme throughout history. With the advent of literary theories and studies, much work came about that traced the hero's quest and to divide it into a certain number of steps that are repeated throughout literature. The idea flourished and critics came forward with their views. Theories were put forward that not only gave a pattern to the stories in the past, but a universal pattern that could be applied to all, and that could also be applied to create stories from scratch. With time, critics and writers added various areas of literary theory to it. Until the most predominant and best matched theories became those of psychoanalysis (including depth psychology), and archetypal analysis.

Narratological studies have been done since the time of Plato and Aristotle. Plato identified the three basic genres as drama, lyric and epic. Drama employed mimesis, as in acting out and pretending, lyric was expressed through diegesis, or telling of stories via narration, and epic included both modes of expression. Later Aristotle produced The

Poetics, his treatise on dramatic theory that outlined the content and structure. The structure was divided into three parts, a beginning, a middle and an end. The Russian story teller, Vladimir Propp was the first to find common patterns in fairy tales and folklore, which he mentioned in his book The Morphology of the Folk Tale, published in

1928 and translated to English in 1958. He even identified eight character archetypes including the hero, the helper, the villain, the false hero, the king and his daughter the princess. His ideas were applied by many critics to mythology and found to conform brilliantly, one mentionable here is Homer's Odyssey. In 1936 Lord Raglan published the

The Hero: A Study in Tradition, Myth and Drama which included a twenty-step pattern.

The first step of the pattern is the hero's virgin mother, and the later steps identify the 5 arduous ordeals the hero endures, and then to die mysteriously and be consecrated after his death. Raglan's inspiration for the pattern came solely from mythology of the god- heroes. Otto Rank published The Myth of the Birth of the Hero in 1914. Which was the first psychoanalytical interpretation of myth. Rank found the similarities between dreams and mythology. His interpretations are limited to the Freudian school of thought, focusing on the psycho-sexual content of myth. Much of his theory is based on the story of

Oedipus, like Lord Raglan's. In 1955 Claude Lévi-Strauss published his essay on the ―A

Structural Study of Myth‖ identifying the conflicts of binary oppositions. However, a few years earlier in 1949 Joseph Campbell had published his most notable work namely The

Hero With A Thousand Faces. In it he outlined the seventeen stages of the journey of the hero and identified ten character archetypes that are also mentioned in Jung's book Man and his Symbols (first published in 1964). His theory is based on anthropological and psychoanalytical studies of both Jungian and Freudian schools of thought. Apart from

Jung and Freud, Campbell incorporated ideas presented by renowned critics such as

Northrop Frye, Erich Neumann and many others. He managed to combine all the relevant ideas by various critics to create the universally acceptable monomyth. According to

Campbell the pattern of the monomyth is universally applicable to any story regardless of its origins. The idea is that the hero leaves the common reality to enter a supernatural world where he encounters marvelous forces and trials, after succeeding in which he returns with boons. He called this the monomyth, a term he borrowed from James Joyce's

Finnegan's Wake. Campbell argued that the essential structure of the myth was always the same, ergo the hero's journey. Although Campbell based his idea on psychoanalytical theories in general, yet his focus was mainly on Jungian archetypes. Hence the journey 6 and quest of the hero is more of an attempt to achieve individuation or wholeness whilst facing the archetypes of the unconscious world that are trying to convey that there is a need for evolving within the psyche. It is this pattern that ensures that the heroes, their deeds and the logic of myth survive the test of time, and appeal to people throughout the world, and of all generations.

The purpose of this study is to trace the archetypal hero's journey through both the novels. An eclectic research approach is applied, and includes Jungian Psychoanalytic criticism, Archetypal criticism and Narratology with reference to Joseph Campbell's The

Hero with a Thousand Faces.

MiekeBal defines narratology in his book Narratology: Introduction to the Theory of Narrative as ―the ensemble of theories of narratives, narrative texts, images, spectacles, events; cultural artifacts that ‗tell a story‘‖ (3). Similarly, Gerald Prince defines narratology as the study of ―nature, form and function‖ of narrative to find what is common in all narratives (1963). Hence, it is the study of story-telling and interpretation. The Narratological approach will be combined with Jungian and

Archetypal criticism, which are both closely linked. Jungian Psychoanalytic criticism is defined by Peter Auger as the criticism that aims to find universal patterns of the unconscious, and both mythical and archetypal patterns are branches of this kind of criticism (53). He also defines Archetypal criticism as the approach that finds and identifies universal motifs, topics, themes, images and symbols found in literature from all over the world, which is similar to mythic criticism and is able to determine patterns

―that transcend historical periods and cultures‖ (Auger 24). Hence the purpose of this study is to determine the narrative structure of Macdonald's novels Phantastes and Lilith 7 with reference to Campbell's proposed structure of the monomyth, combined with the study of the archetypes and Jungian Psychoanalysis.

The monomyth is a pattern of seventeen stages that are grouped into three phases.

The first phase is the Departure in which the archetypal hero sets off to the unknown world and his archetypal journey begins. The first stage of the departure is the Call to

Adventure where the hero is called by the archetypal herald archetype to venture forth into the unknown. Not everyone gets the call, only those worthy of it do. Those that are worthy have some common characteristic of the determination to create change. If however the hero is reluctant, the next stage may be the Refusal of the Call which has serious consequences. For the hero must not impede the order of events destined to transpire and if he tries, he is tormented till he eventually accepts the call. Once he sets off he is bound to receive Supernatural Aid from various entities. These entities may appear in any form, either as men or as animals and other supernatural creatures and are the archetypal helpers. The purpose of this aid is to protect the hero in his quest and so that he may attempt The Crossing of the First Threshold which is the next stage. At the threshold the hero will find the archetypal threshold guardian who will try to prevent him from crossing over at all, so that he may never fulfill his quest. However the hero can outplay the guardian, and will eventually crossover. Threshold guardians, like the heralds and helpers may appear in any form. The hero then finds himself in the archetypal situation of The Belly of the Whale where the teeth are symbolic of the guardian that tries to prevent him from coming out. This stage marks a transformatory stage during which the hero finds a way out of the dark womb-like pit to symbolically die to the old world and be reborn into the new world. After being re-birthed the second phase of the journey 8 is that of the Initiation and begins with The Road of Trials. The hero enters this new unexplored world where he must find a way to fulfill his quest while battling all the sinister forces working against him. He must go through many trials and ordeals to prove his mettle to be deemed worthy of the many prizes that come his way. One of these prizes is the boon of love which he must win through The Meeting with the Goddess. She is the archetypal lover and beauty with whom the hero may finalise his union through the mystical marriage. The hero will most likely find a Woman as the Temptress who will try to lure him away from his path by any means. Whereas the goddess was the beloved pure and innocent female as either the mother or the wife, the temptress is the complete opposite of her. This stage is marked by the archetypal femme fatale or the archetypal prostitute who tries to seduce the hero and he falls for the deception but later finds out the true nature of this woman. After he escapes the clutches of the temptress the hero always attempts Atonement with the Father. This is often mediated by the goddess or mother figure. Upon being atoned with the father the hero may die a physical death, only to be brought back to life and raised to a divine status. This is marked by the stage of

Apotheosis. The hero is then able to gain The Ultimate Boon which is what the hero has all along been struggling for. Once the boon has been attained the central part of the quest is over and the third Phase of the Return begins. The hero by this stage has grown so accustomed to this new world that he experiences a Refusal of the Return. The excitement and adventures of the unknown hold his interest and nothing can convince him to return to the mundane world. If however, he has gained the boon against the will of its guardians the hero must run away in The Magic Flight stage. The hero cannot stay in this world indefinitely and when he refuses to return there will be a Rescue from 9

Without where forces or agents of the real world will somehow try to pull him back. This is followed by The Crossing of the Return Threshold and the hero finds himself back where he started. After crossing over the hero becomes the Master of the Two Worlds.

He can then chose to travel back and forth between the two worlds whenever he wants to and gains The Freedom to Live. The hero with his experiences, knowledge and boon can now choose to spend life whichever way he desires.

The researcher of this thesis will focus on tracing the narrative pattern of the monomyth through both of these novels, along with a Jungian interpretation of the archetypal stages of the journey. This study will determine how much of the monomyth's narrative pattern is followed in the two novels of George MacDonald (Phantastes and

Lilith). Since the tasks and obstacles that the hero faces are metaphorical as the journey is more of an inward journey to attain a deeper realization of the self, everything must be discovered through an exploration of the unconscious symbolic world. This realisation and integration of the unconscious elements leads to individuation. In Marie-Louise Von

Franz's chapter ―The Process of Individuation,‖ she outlines the pattern of individuation with relation to the archetypes. These archetypes are the Self, the shadow, the anima and animus. The process of individuation will be studied in comparison to Von Franz's pattern. This study will also look at the transcendent function in relation to the process of individuation, which manifests as the union of the conscious and unconscious, following the union of opposites. The reason Campbell's narrative pattern was chosen for this thesis is simply because no other critic has managed to bring together so many different ideas and philosophies by so many distinct critics to create a unified theory. 10

This thesis is divided into an ―Introduction‖, four chapters and a final

―Conclusion‖. Chapter One gives a detailed literature review of works by critics on

MacDonald. It also evaluates the scope of the study undertaken. The second chapter ―The

Monomyth in Phantastes‖ aims to study in detail the narrative pattern of the monomyth in Phantastes. The objective is to identify the universal themes, motifs, symbols and archetypes as recognised by Campbell. Chapter Three ―The Monomyth in Lilith‖ also aims at identifying similar themes, but within the novel Lilith. In both chapters the archetypes and archetypal situations are recognised and linked to the monomyth to determine how much of the pattern is followed. Chapter Four ―The Transcendent Journey to Individuation‖ aims at studying the archetypal journey of the hero as a journey within the unconscious self to a state of wholeness and completion through a series of struggles.

In other words, this chapter will trace the steps of the hero's process of individuation in the novels Phantastes and Lilith. This chapter is followed by the conclusion of the study that will briefly recapitulate the main ideas of both individuation and the monomyth, and their common link.

The aim of this dissertation is to ascertain the applicability of the monomyth to

Phantastes and Lilith, and to trace the process of individuation unfolding along-with the journey of the hero. The study is limited to the pattern of monomyth being followed and the archetypes that are depicted, and relevant symbolism that conveys the idea of the journey and individuation. It will not analyse the novels' narrative structure beyond that of the monomythic structure proposed by Campbell, and the process of transcendent individuation will be analysed in light of the essays from Jung's book Man and His 11

Symbols. For the formatting of the thesis, the MLA Handbook for Writers of Research

Papers: Sixth Edition will be used.

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5 CONCLUSION

George MacDonald wrote both novels decades apart. Phantastes was written in the prime of his youth, and Lilith is a product of a mature age. There are many differences between the two, especially in terms of symbolism. Lilith lacks the raw natural symbolism of

Phantastes, attributable to the fact that the manuscripts of Lilith were corrected numerous times, stripping it of the spontaneous revelations of the author's unconscious. In Lilith,

MacDonald is trying to get a certain message across intentionally, while Phantastes seems more along the like the product of unadulterated imagination. Which is why

Phantastes seems like a fairy tale, and Lilith is more along the lines of a mystical mythology. MacDonald‘s understanding of Jungian concepts and principles such as the search for the wholeness of the psyche, the journey to becoming an individual, the unus mundus, significance of dreams and symbols, shadows and projections, is all uncanny.

His views even coincide with Jung's idea of consciously entering the symbolic realm, and not just through dreams. It can undoubtedly by claimed that he was a Jungian before the time of Jung. It is not only his ideas that are validated through Jungian psychoanalytic criticism, but his ideas also help validate Jungian notions.

The analysis of both the novels Phantastes and Lilith has shown that the pattern of the monomyth corresponds to the characteristic steps and archetypes. The journey of the hero as a metaphor for the journey of individuation is also consistent. Both the novels are stories of two very similar young men, with analogous life experiences. These young men must inherit the estate left by their fathers after their deaths, only to discover a supernatural legacy of the men of the family. They then cross thresholds to enter other unknown and spectacular realms, and it is there that their adventures begin. For Vane and

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Anodos, it is a journey of the symbolic realm, where they become aware of the unconscious contents that need to be integrated into the psyche.

The initial shock of the death of the father, and having to take his place catalyses the need for the ―call‖. This call of the impending adventure is conveyed by the herald archetype that represents the Self to the hero. The Self is represented by the Cosmic man and may appear in any form, but is usually a figure held in high regard such as a great man. Anodos is summoned by a fairy grandmother because of his association with the mother, but later he finds the knight Percival as an embodiment of the Self. Vane is called by Adam, who appears to him at times as a raven. The bird is an emblem of the transcendent function in action. Adam is the great Cosmic man for Vane, and Percival is

Anodos's ideal, thus he represents his Self. Adam is also the primordial father and the archetypal wise man. The same role is played by Percival in Phantastes, although he appears in this role midway through the story, unlike Adam who is there from the start.

The monomyth's archetypal herald signifies the meeting of the ego with the Self. Anodos and Vane accept the invitations, and venture forth into the supernatural realms by crossing the thresholds. The father figure as the Self is atoned with, in the monomyth at the end by both heroes, as the idea of atonement is necessary in the transcendental journey. As death is a vital part of the transcendental function, so it is an important part of the monomyth. In both cases it allows the hero to gain a greater understanding and a chance to reconcile the opposing forces whilst integrating them.

Upon crossing the first threshold, the heroes encounter the threshold guardians that represent the inner fears and insecurities. Anodos's fears manifest as the terrible ogre father who wants to eat him. Vane's threshold guardian is his own fear, as his ego urges

142 him to stay within the status quo. The guardian in Phantastes is killed by the Red Knight

Percival, and Vane overcomes his own fears himself and goes back. Supernatural aid appears for the heroes whenever they need it, in the form of helpers or items that symbolize elements of the undiscovered psyche. Both Anodos and Vane are helped by several characters of the stories, most of whom are women. The two heroes are reborn metaphorically through the Belly of the Whale into the yet unexplored unconscious. Vane passes through the House of the Dead, and despite his initial fears, he decides to come back to what his father should have done a long time ago when he had the chance. On the

Road of Trials, the heroes face the repressed aspects that appear as inner demons that represent their weaknesses. The Ash appears as the ogre father to Anodos. Vane passes through the basin that is inhabited by the monsters that resemble the creatures of mythology, and nightmares, and which are created in ―unwholesome‖ minds. The first phase of the monomyth corresponds to the arrival of the archetype of the Self and casting aside of the persona. The personas are cast aside when the two heroes cross the threshold and enter the symbolic realms. Once across, identity must be recreated based on actions.

In Phantastes however, it is not only Anodos who doesn't have an identity in Fairy Land.

All the other characters that appear have no names to identify them. Only the knight

Percival has a name as an embodiment of the one true Self and the ideal that one must attain.

The second phase of the monomyth in comparison to the process of individuation is marked by the occurrence of the anima, the shadow, and the initiation trials associated with these archetypes. The predominant archetypes in both works are the shadows and animas. Animas of the heroes that appear in their positive and negative aspects during the

143 individuation process, appear as the goddess and the temptress in the monomyth. The anima of the unconscious is broken into pieces for easier integration. Phantastes and

Lilith are replete with goddesses and the two main temptresses; the Alder Maiden and

Lilith. The goddess archetype appears in its primitive form as the Goddess Trinity of

Greek mythology as the Crone Hecate, Mother Hera and the Virgin Hebe. MacDonald's animas reflect this trinity. In Phantastes, the Old Woman corresponds to the Crone, but without the negative aspects, the Beech represents the Mother, and the White Lady is the

Virgin. Similarly in Lilith the Crone is Lilith herself and is an incarnation of Hecate the witch. Lona is the Virgin, and Eve is the Mother. However, the quaternity as proposed by

Jung is far more applicable than the archaic goddess trinities, because of its inclusion of the fourth feminine. Phantastes and Lilith both have a quaternity of females, such as the

Beech, Alder, White Lady and the Old Woman. In Lilith, these are Eve, Lilith, Mara and

Lona. Macdonald's quaternity also corresponds to anima manifestations during the process of individuation, as Eve, Faust's Helen, the Virgin Mary and Sapienta or Sophia, as proposed by Marie Louise Von Franz. The animas are integrated into the personality by both heroes through repeated ecounters and reconciliation. Anodos's White Lady comes in union with the Self as Percivale, and when Anodos comes back he claims to still feels the presence of the wise Old Woman of the cottage. Vane achieves alchemical union with Lona, yet when he returns he is aware of the presence of the wise Mara. In both cases the wise animas are at the forefront of the groups of the animas. In comparison, Anodos's association with the feminine is far stronger than Vane's, as is evident from his constant regression to the mother's womb. Such as in his encounter with the Beech, the Palace where he stays, the underground cave, the four-square cottage and

144 the door of the ―Timeless‖. The regression of the child is also represented by the puer and puella child archetypes of both novels. Such as the Little Ones in Lilith, and the little girl with the globe in Phantastes. To regress, is to suppress the inherent urge for individuation. That is why Anodos is pulled out of the ―Timeless‖ by the Old Woman, so that he may finally individuate. It is through her guidance that he finds a purpose, after she helps him clear out the repressed clutter of his unconscious.

Next in line in order of importance after the anima is the shadow archetype. The shadows in both novels appear as two-dimensional figures that try and corrupt those they come in contact with through projection, or direct influence. Anodos's shadow follows him, but in contrast Vane has no shadow of his own, instead his shadow is linked to his negative-anima Lilith. Anodos manages to integrate the shadow by accepting himself as lowly. Vane on the other hand, integrates Lilith the negative-anima, who is a part of the shadow, by making her repent and sleep in the House of the Dead. Thus the shadow is made good before integration. In comparison, Anodos's shadow is stronger than Vane's, and is able to appear to him to point out the need for certain action, such as the fierce knight who is Anodos's spitting image.

The third phase of the monomyth corresponds to the process of the transcendent individuation, as the heroes are now initiated and have learnt what they set out for. The heroes are guided towards individuation by the teleological function. That is why they explore and discover figures in the symbolic realm that need to be integrated, but first they must be discovered. If Vane and Anodos did as they were told each time and resisted their urges, they would never find these archetypes hidden in the landscape of the unconscious. Just as the ego interferes with the individuation process to bring one back to

145 reality, so do the hero's doubts and other incidents that jolt them back to the real world, as happens to Vane when he returns to the real world several times. Just as an individuating individual may refuse to return to a previous incomplete state, similarly the heroes refuse to return to the mundane world that no longer holds any interest for them. Once a hero tastes of the eternal bliss that comes as a result of transcendental individuation, he is forever reluctant to let go of that nirvana like state of oneness with the universe. Vane and Anodos experience that feeling of oneness, and consider it the most blissful of all feelings.

The individuation process runs parallel to the monomyth in a complementary fashion. The journey becomes the process of metamorphosis. Individuation is achieved through self-discovery during the journey. Anodos and Vane achieve their final transcendent metamorphosis through death, and their conscious and unconscious are reconciled, just like their other opposites. This is the reason why they are both consciously aware of their archetypes as entities and not just symbols. Anodos and Vane achieve the states of perfection through their deaths, because death is the mediating factor between the conscious and the unconscious as the transcendent function that ensures the self-regulation of the psyche. They experience this perfection as the nirvana like state of oneness with the entire universe, or in Vane's words thorough a union of the microcosm and the macrocosm. The result is that the outlook of both heroes is changed. Their views of the world are now different from what they were when they set off. They have embraced their individualities. Yet their journey is not over, as the name of the last chapter ―The 'Endless Ending',‖ indicates. An indication that individuation is a cyclic, never-ending process, according to the idea proposed by Jung.

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Both Phantastes and Lilith follow the structure and pattern of the monomyth, and the archetypes also correspond. With just a stage or two being omitted; the Refusal of the

Call is omitted in Phantastes, and the stage of The Magic Flight in Lilith. These had to be omitted because there are no such corresponding incidences in the story.

The journey or quest of the hero is a process that involves a lot of conscious efforts, but so is the individuation process. Therefore it can conclusively be stated that the heroes of both novels undergo the monomythic journey that corresponds to the transcendental individuation process to a remarkable extent. The shock of the death of the father, and taking his place, activates the archetypes of death and rebirth. The characteristic archetypes manifest along the way, and by the end of the journey they are all conveniently integrated, and the heroes return home through death. Opposites of the ego-conscious and the unconscious are reconciled through the mediation of the transcendent function. The result is a complete individual who is aware of the symbolic world, yet maintains a logical intelligence.

In light of all the discussion on the process of individuation and the monomyth, it can be stated that the steps of the monomyth within both novels, correspond to the transcendental individuation process to a remarkable extent.