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Appendix I: Jungian Archetypal Typologies

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Appendix I: Jungian Archetypal Typologies Appendix I: Jungian Archetypal Typologies Between 1913 and 1920, when Jung was constructing the typological model presented in Psychological Types, he had not yet elaborated the concept of the archetype, nor had he fully realized the dominant role archetypes play in per- sonal psychological development. However, once his conception of the archetypal organization of the collective unconscious was in place, his followers began to introduce typologies based on archetypes. (I provide a cursory summary of these typologies in this Appendix. A full treatment of Jungian archetypal typologies together with an account of typologies based on Jung’s conscious functions, such as the Myers- Briggs Type Indicator, will be presented in a companion volume to this book.) The first to propose a typology based on Jung’s conception of the archetypal nature of the psyche was his associate Toni Wolff. Wolff thought that Jung’s typology held an implicit masculine bias. She proceeded to remedy the situa- tion with her essay, “Structural Forms of the Feminine Psyche,” in which she outlined a typology based on the archetypal configuration of the feminine unconscious.1 We must assume Jung was aware of her work and may have even contributed to it in some manner. She imagined the psyche of women to be composed of four archetypes: mother, hetaira (the ancient Greek term for a courtesan), medium and amazon. In an identical manner to the four functions in Jung’s typology, she arranged the archetypes in opposing pairs, mother–hetaira, medium–amazon. Although the mother and hetaira are opposites, both are characterized by their need for a personal connection to men. The medium and amazon, on the other hand, function independently of a personal relationship to men. Wolff assumes that every woman has this fourfold archetypal psychic structure; however, a woman may not be aware of the archetypal roles she plays or of the dominant archetype with which she is identified. At one point in her life, for example, she may function out of the hetaira or amazon energy and at another time, inhabit the mother or medium role. The four- fold underlying structure is always present, and a certain fluidity is possible, indeed, desirable, if a woman is not to become one- sided and identified with only a single aspect of her femininity. Other followers of Jung took a different tack in exploring the notion of arche- types and typology. Emma Jung, M. Esther Harding and Marie- Louise von Franz focused on the archetypes of the animus and the anima and their influence on the character of women and men. They did not outline an overt typology, but their descriptions of the animus and anima lend themselves to a classification of individuals based on a relationship to those archetypes. For instance, Emma Jung, in Animus and Anima, describes four stages of a woman’s relationship with the animus. The first stage entails a fascination with a man of physical prowess, the second with a man of action, the third with a man of the word, and finally, with a man of wisdom.2 213 214 Appendix I M. Esther Harding was one of Jung’s early adherents. Her book, The Way of All Women, portrays six different types of women characterized by certain typi- cal attitudes based on their relationship to men: the instinctive anima woman; the innocent child- like woman; the dark, full- blooded passionate woman; the passive, cold, distant woman; the femme inspiratrice or muse; and the conscious, ego- centered woman. Harding also explores the nature of different types of women based on their relationship to the animus. Thus, there are women entranced by an inner figure of an ideal lover. Others fall victim to a “ghostly lover,” sometimes as a consequence of a lost, dead or absent lover. The third type of woman pursues the animus through projection, and here Harding makes use of Emma Jung’s distinctions among the various types of animus figures representing potential “hooks” for such projections. Marie- Louise von Franz, in her essay, “The Process of Individuation,” delineates four stages in anima development in men and animus development in women.3 The unfolding of a man’s anima proceeds from the erotically attractive woman, to the romantic beauty, to the mature woman and then to the woman of wisdom. The corresponding animus progression is the physically attractive man, the romantic man, the man of action and the man of wisdom. With the growing interest in mythology during the 1970s in the United States, the Jungian analyst Jean Shinoda Bolen designed a feminine and mascu- line typology based on the classic Greek pantheon of goddesses and gods. Her books include Goddesses in Everywoman, Gods in Everyman and Goddesses in Older Women. In Goddesses in Everywoman, Bolen describes a typology based on seven Greek goddesses which she divides into three groups: the autonomous virgin god- desses, Artemis, Athena, Hestia; the relationship- oriented vulnerable goddesses, Hera, Demeter and Persephone; and the “alchemical goddess,” Aphrodite, who combines both the autonomy and relationship characteristics of the other two groups.4 All seven goddesses are present in the psyche of every woman and represent the totality of her personality, but the role that each goddess plays in a woman’s life will vary with time and circumstances. Bolen emphasizes the importance of the ego in overseeing the multiple and often conflicting demands of the various archetypal energies. In her companion volume, Gods in Everyman, Bolen finds that three father archetypes, Zeus, Poseidon and Hades, and five son archetypes, Apollo, Hermes, Ares, Hephaestus and Dionysus, characterize masculine psychology. In Goddesses in Older Women, Bolen adds the goddesses of wisdom, rage, mirth and compas- sion to the ones she treated in her earlier book. Perhaps inspired by the work of Bolen, Jungian psychotherapists Jennifer and Roger Woolger in their book, The Goddess Within, introduce a feminine typol- ogy based on six Greek goddesses: Athena, Artemis, Aphrodite, Hera, Persephone and Demeter. These goddesses “in various combinations, underlie every woman’s behavior and psychological style.”5 They arrange the six goddesses in a goddess wheel with the great mother as the central archetype that gives rise to the other six manifestations of the feminine deities. The Woolgers further illustrate that the six goddesses can be placed in complementary or opposing dyads with each dyad associated with a dominant psychological trait: Athena and Artemis are the dyad of independence; Hera and Persephone, the dyad of power; and Aphrodite and Demeter, the dyad of love. Additionally, one of the goddesses of each dyad Appendix I 215 is essentially introverted—Artemis, Persephone, Demeter, while the other is extra- verted—Athena, Hera, Aphrodite. Like Bolen, who was inspired by feminist concerns to explore the archetypal structure of the feminine psyche, Jungian oriented psychotherapists Robert Moore and Douglas Gillette, motivated by their unease about the plight of men in contemporary American society, created a similar archetypal exposition of the masculine psyche. They acknowledge the adolescent nature of many contempo- rary American men and offer a developmental model of the mature masculine psyche. Four archetypes of “Boy psychology,” the divine child, the precocious child; the Oedipal child and the adolescent hero are described.6 These four then provide the basis for the mature archetypal constellations of king, magician, lover and warrior. Moore and Gillette do not mention that these mature mas- culine figures correlate with Toni Wolff’s four archetypes that characterize the feminine psyche: mother, medium, hetaira and amazon. Perhaps Wolff’s essay served as their model. The one disparity between the two schemas is that of the king and the mother. Many women will immediately point out the power bias: men see themselves as kings, but view women as Eros- biased mothers, not queens. Moore and Gillette note that the function of the hero archetype is to sep- arate the boy from the unconscious, which in men is experienced as feminine, in order to establish an independent, individual masculine standpoint. The hero, however, is a transitional figure who needs to make way for the mature archetype of the king, or in less grandiose terms, for the father or the mature adult man. The role of the hero archetype, this time in the psychological development of both women and men, is the theme elaborated by a scholar of leadership theory and practice, Carol S. Pearson. She explores these ideas in her books, The Hero Within and Awakening the Heroes Within. The books are inspired by the motif of the hero archetype described by Joseph Campbell in The Hero with a Thousand Faces. Initially, Pearson alludes to “six inner guides, or archetypes, that help us . traverse the unpredictable dilemmas of the maturation process”:7 orphan, innocent, wanderer, warrior, altruist and magician. In her second book, Pearson deletes the archetypes of wanderer and altruist and adds eight others for a total of 12: caregiver, seeker, lover, destroyer, creator, ruler, sage and fool. In her terms, the innocent, orphan, caregiver and warrior belong to the preparatory stage of the hero’s journey and are concerned with survival and ego forma- tion. The seeker, destroyer, creator and lover archetypes inform the heart of the journey and relate to self- discovery and self- expression; through these archetypes a connection with the transpersonal psyche, with soul, is found. The ruler, magician, fool and sage belong to the stage of the hero’s return after overcoming the obstacles along the way and are expressions of the archetype of the self. Each fosters personal authenticity from which genuine contributions flow to the community. There is an implicit typology present in Pearson’s schema. An individual may identify with one or two of the archetypes at each stage of the maturation process, with the orphan and the warrior, for example, in the first stage.
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