A main source of inspiration for the The Wicked Wonder is the fairytale, “The Princess in the Tree,” drawn from Carl Jung’s The Archetypes and the Collective Unconscious (231ff.), which he in turn draws from the the Brothers Grimm (Deutsche Märchen seit Grimm). The narration and structure of The Wicked Wonder is adapted from the fairy tale (you can read Jung’s version here and read his full analysis below). Other intertexts whose traces can be found in The Wicked Wonder include Beethoven’s 3rd symphony (“Eroica”) and final quartet, Sappho’s Midnight poem, and The Great Gatsby, to name a few of the most conspicuous, as well as other fairy tales and mythologies.

Carl Jung’s analysis of the fairy tale, “The Princess in the Tree.” Excerpted from: “The Phenomenology of the Spirit in Fairytales.” In The Archetypes and The Collective Unconscious. Volume 9, Part 1 of The Collected Works of C. G. Jung, edited by Read, Fordham, and Adler, pages 230-50. Princeton University Press, 1969:


[¶419] The description of our archetype would not be complete if we omitted to consider one special form of its manifestation, namely its animal form. This belongs essentially to the theriomorphism of gods and demons and has the same psychological significance. The animal form shows that the contents and functions in question are still in the extrahuman sphere, i.e., on a plane beyond human consciousness, and consequently have a share on the one hand in the daemonically superhuman and on the other in the bestially subhuman. It must be remembered, however, that this division is only true within the sphere of consciousness, where it is a necessary condition of thought. Logic says tertium non datur, meaning that we cannot envisage the opposites in their oneness. In other words, while the abolition of an obstinate antinomy can be no more than a postulate for us, this is by no means so for the unconscious, whose contents are without exception paradoxical or antinomial by nature, not excluding the category of being. If anyone unacquainted with the psychology of the unconscious wants to get a working knowledge of these matters, I would recommend a study of Christian mysticism and Indian philosophy, where he will find the clearest elaboration of the antinomies of the unconscious.

[420] Although the old man has, up to now, looked and behaved more or less like a human being, his magical powers and his spiritual superiority suggest that, in good and bad alike, he is outside, or above, or below the human level. Neither for the primitive nor for the unconscious does his animal aspect imply any devaluation, for in certain respects the animal is superior to man. It has not yet blundered into consciousness nor pitted a self-willed ego against the power from which it lives; on the contrary, it fulfils the will that actuates it in a well-nigh perfect manner. Were it conscious, it would be morally better than man. There is deep doctrine in the legend of the fall: it is the expression of a dim presentiment that the emancipation of ego-consciousness was a Luciferian deed. Man’s whole history consists from the very beginning in a conflict between his feeling of inferiority and his arrogance. Wisdom seeks the middle path and pays for this audacity by a dubious affinity with daemon and beast, and so is open to moral misinterpretation.

[421] Again and again in fairytales we encounter the motif of helpful animals. These act like humans, speak a human language, and display a sagacity and a knowledge superior to man’s. In these circumstances we can say with some justification that the archetype of the spirit is being expressed through an animal form. A German fairytale relates how a young man, while searching for his lost princess, meets a wolf, who says, “Do not be afraid! But tell me, where is your way leading you?” The young man recounts his story, whereupon the wolf gives him as a magic gift a few of his hairs, with which the young man can summon his help at any time. This intermezzo proceeds exactly like the meeting with the helpful old man. In the same story, the archetype also displays its other, wicked side. In order to make this clear I shall give a summary of the story:

[422] While the young man is watching his pigs in the wood, he discovers a large tree, whose branches lose themselves in the clouds. “How would it be,” says he to himself, “if you were to look at the world from the top of that great tree?” So he climbs up, all day long he climbs, without even reaching the branches. Evening comes, and he has to pass the night in a fork of the tree. Next day he goes on climbing and by noon has reached the foliage. Only towards evening does he come to a village nestling in the branches. The peasants who live there give him food and shelter for the night. In the morning he climbs still further. Towards noon, he reaches a castle in which a young girl lives. Here he finds that the tree goes no higher. She is a king’s daughter, held prisoner by a wicked magician. So the young man stays with the princess, and she allows him to go into all the rooms of the castle: one room alone she forbids him to enter. But curiosity is too strong. He unlocks the door, and there in the room he finds a raven fixed to the wall with three nails. One nail goes through his throat, the two others through the wings. The raven complains of thirst and the young man, moved by pity, gives him water to drink. At each sip a nail falls out, and at the third sip the raven is free and flies out at the window. When the princess hears of it she is very frightened and says, “That was the devil who enchanted me! It won’t be long now before he fetches me again.” And one fine morning she has indeed vanished.

[423] The young man now sets out in search of her and, as we have described above, meets the wolf. In the same way he meets a bear and a lion, who also give him some hairs. In addition the lion informs him that the princess is imprisoned nearby in a hunting-lodge. The young man finds the house and the princess, but is told that flight is impossible, because the hunter possesses a three-legged white horse that knows everything and would infallibly warn its master. Despite that, the young man tries to flee away with her, but in vain. The hunter overtakes him but, because he had saved his life as a raven, lets him go and rides off again with the princess. When the hunter has disappeared into the wood, the young man creeps back to the house and persuades the princess to wheedle from the hunter the secret of how he obtained his clever white horse. This she successfully does in the night, and the young man, who has hidden himself under the bed, learns that about an hour’s journey from the hunting-lodge there dwells a witch who breeds magic horses. Whoever was able to guard the foals for three days might choose a horse as a reward. In former times, said the hunter, she used to make a gift of twelve lambs into the bargain, in order to satisfy the hunger of the twelve wolves who lived in the woods near the farmstead, and prevent them from attacking; but to him she gave no lambs. So the wolves followed him as he rode away, and while crossing the borders of her domain they succeeded in tearing off one of his horse’s hoofs. That was why it had only three legs.

[424] Then the young man made haste to seek out the witch and agreed to serve her on condition that she gave him not only a horse of his own choosing but twelve lambs as well. To this she consented. Instantly she commanded the foals to run away, and, to make him sleepy, she gave him brandy. He drinks, falls asleep, and the foals escape. On the first day he catches them with the help of the wolf, on the second day the bear helps him, and on the third the lion. He can now go and choose his reward. The witch’s little daughter tells him which horse her mother rides. This is naturally the best horse, and it too is white. Hardly has he got it out of the stall when the witch pierces the four hoofs and sucks the marrow out of the bones. From this she bakes a cake and gives it to the young man for his journey. The horse grows deathly weak, but the young man feeds it on the cake, whereupon the horse recovers its former strength. He gets out of the woods unscathed after quieting the twelve wolves with the twelve lambs. He then fetches the princess and rides away with her. But the three-legged horse calls out to the hunter, who sets off in pursuit and quickly catches up with them, because the four-legged horse refuses to gallop. As the hunter approaches, the four-legged horse cries out to the three-legged, “Sister, throw him off!” The magician is thrown and trampled to pieces by the two horses. The young man sets the princess on the three-legged horse, and the pair of them ride away to her father’s kingdom, where they get married. The four-legged horse begs him to cut off both their heads, for otherwise they would bring disaster upon him. This he does, and the horses are transformed into a handsome prince and a wonderfully beautiful princess, who after a while repair “to their own kingdom.” They had been changed into horses by the hunter, long ago.

[425] Apart from the theriomorphic spirit symbolism in this tale, it is especially interesting to note that the function of knowing and intuition is represented by a riding-animal. This is as much as to say that the spirit can be somebody’s property. The three-legged white horse is thus the property of the demonic hunter, and the four-legged one the property of the witch. Spirit is here partly a function, which like any other object (horse) can change its owner, and partly an autonomous subject (magician as owner of the horse). By obtaining the four-legged horse from the witch, the young man frees a spirit or a thought of some special kind from the grip of the unconscious. Here as elsewhere, the witch stands for a mater natura or the original “matriarchal” state of the unconscious, indicating a psychic constitution in which the unconscious is opposed only by a feeble and still dependent consciousness. The four-legged horse shows itself superior to the three-legged, since it can command the latter. And since the quaternity is a symbol of wholeness and wholeness plays a considerable role in the picture-world of the unconscious, the victory of four-leggedness over three-leggedness is not altogether unexpected. But what is the meaning of the opposition between threeness and fourness, or rather, what does threeness mean as compared with wholeness? In alchemy this problem is known as the axiom of Maria and runs all through alchemical philosophy for more than a thousand years, finally to be taken up again in the Cabiri scene in Faust. The earliest literary version of it is to be found in the opening words of Plato’s Timaeus of which Goethe gives us a reminder. Among the alchemists we can see clearly how the divine Trinity has its counterpart in a lower, chthonic triad (similar to Dante’s three-headed devil). This represents a principle which, by reason of its symbolism, betrays affinities with evil, though it is by no means certain that it expresses nothing but evil. Everything points rather to the fact that evil, or its familiar symbolism, belongs to the family of figures which describe the dark, nocturnal, lower, chthonic element. In this symbolism the lower stands to the higher as a correspondence in reverse; that is to say it is conceived, like the upper, as a triad. Three, being a masculine number, is logically correlated with the wicked hunter, who can be thought of alchemically as the lower triad. Four, a feminine number, is assigned to the old woman. The two horses are miraculous animals that talk and know and thus represent the unconscious spirit, which in one case is subordinated to the wicked magician and in the other to the old witch.

[426] Between the three and the four there exists the primary opposition of male and female, but whereas fourness is a symbol of wholeness, threeness is not. The latter, according to alchemy, denotes polarity, since one triad always presupposes another, just as high presupposes low, lightness darkness, good evil. In terms of energy, polarity means a potential, and wherever a potential exists there is the possibility of a current, a flow of events, for the tension of opposites strives for balance. If one imagines the quaternity as a square divided into two halves by a diagonal, one gets two triangles whose apices point in opposite directions. One could therefore say metaphorically that if the wholeness symbolized by the quaternity is divided into equal halves, it produces two opposing triads. This simple reflection shows how three can be derived from four, and in the same way the hunter of the captured princess explains how his horse, from being four-legged, became three-legged, through having one hoof torn off by the twelve wolves. The three-leggedness is due to an accident, therefore, which occurred at the very moment when the horse was leaving the territory of the dark mother. In psychological language we should say that when the unconscious wholeness becomes manifest, i.e., leaves the unconscious and crosses over into the sphere of consciousness, one of the four remains behind, held fast by the horror vacui of the unconscious. There thus arises a triad, which as we know—not from the fairytale but from the history of symbolism—constellates a corresponding triad in opposition to it—in other words, a conflict ensues. Here too we could ask with Socrates, “One, two, three—but, my dear Timaeus, of those who yesterday were the banqueters and today are the banquet-givers, where is the fourth?” He has remained in the realm of the dark mother, caught by the wolfish greed of the unconscious, which is unwilling to let anything escape from its magic circle save at the cost of a sacrifice.

[427] The hunter or old magician and the witch correspond to the negative parental imagos in the magic world of the unconscious. The hunter first appears in the story as a black raven. He has stolen away the princess and holds her a prisoner. She describes him as “the devil.” But it is exceedingly odd that he himself is locked up in the one forbidden room of the castle and fixed to the wall with three nails, as though crucified. He is imprisoned, like all jailers, in his own prison, and bound like all who curse. The prison of both is a magic castle at the top of a gigantic tree, presumably the world-tree. The princess belongs to the upper region of light near the sun. Sitting there in captivity on the world-tree, she is a kind of anima mundi who has got herself into the power of darkness. But this catch does not seem to have done the latter much good either, seeing that the captor is crucified and moreover with three nails. The crucifixion evidently betokens a state of agonizing bondage and suspension, fit punishment for one foolhardy enough to venture like a Prometheus into the orbit of the opposing principle. This was what the raven, who is identical with the hunter, did when he ravished a precious soul from the upper world of light; and so, as a punishment, he is nailed to the wall in that upper world. That this is an inverted reflection of the primordial Christian image should be obvious enough. The Saviour who freed the soul of humanity from the dominion of the prince of this world was nailed to a cross down below on earth, just as the thieving raven is nailed to the wall in the celestial branches of the world-tree for his presumptuous meddling. In our fairytale, the peculiar instrument of the magic spell is the triad of nails. Who it was that made the raven captive is not told in the tale, but it sounds as if a spell had been laid upon him in the triune name.

[428] Having climbed up the world-tree and penetrated into the magic castle where he is to rescue the princess, our young hero is permitted to enter all the rooms but one, the very room in which the raven is imprisoned. Just as in paradise there was one tree of which it was forbidden to eat, so here there is one room that is not to be opened, with the natural result that it is entered at once. Nothing excites our interest more than a prohibition. It is the surest way of provoking disobedience. Obviously there is some secret scheme afoot to free not so much the princess as the raven. As soon as the hero catches sight of him, the raven begins to cry piteously and to complain of thirst, and the young man, moved by the virtue of compassion, slakes it, not with hyssop and gall, but with quickening water, whereupon the three nails fall out and the raven escapes through the open window. Thus the evil spirit regains his freedom, changes into the hunter, steals the princess for the second time, but this time locks her up in his hunting-lodge on earth. The secret scheme is partially unveiled: the princess must be brought down from the upper world to the world of men, which was evidently not possible without the help of the evil spirit and man’s disobedience.

[429] But since in the human world, too, the hunter of souls is the princess’s master, the hero has to intervene anew, to which end, as we have seen, he filches the four-legged horse from the witch and breaks the three-legged spell of the magician. It was the triad that first transfixed the raven, and the triad also represents the power of the evil spirit. These are the two triads that point in opposite directions.

[430] Turning now to quite another field, the realm of psychological experience, we know that three of the four functions of consciousness can become differentiated, i.e., conscious, while the other remains connected with the matrix, the unconscious, and is known as the “inferior” function. It is the Achilles heel of even the most heroic consciousness: somewhere the strong man is weak, the clever man foolish, the good man bad, and the reverse is also true. In our fairytale the triad appears as a mutilated quaternity. If only one leg could be added to the other three, it would make a whole. The enigmatic axiom of Maria runs: “… from the third comes the one as the fourth” (έκ τοῡ τρíτου τò ἓν τέταρτον) —which presumably means, when the third produces the fourth it at once produces unity. The lost component which is in the possession of the wolves belonging to the Great Mother is indeed only a quarter, but, together with the three, it makes a whole which does away with division and conflict.

[431] But how is it that a quarter, on the evidence of symbolism, is at the same time a triad? Here the symbolism of our fairytale leaves us in the lurch, and we are obliged to have recourse to the facts of psychology. I have said previously that three functions can become differentiated, and only one remains under the spell of the unconscious. This statement must be defined more closely. It is an empirical fact that only one function becomes more or less successfully differentiated, which on that account is known as the superior or main function, and together with extraversion or introversion constitutes the type of conscious attitude. This function has associated with it one or two partially differentiated auxiliary functions which hardly ever attain the same degree of differentiation as the main function, that is, the same degree of applicability by the will. Accordingly they possess a higher degree of spontaneity than the main function, which displays a large measure of reliability and is amenable to our intentions. The fourth, inferior function proves on the other hand to be inaccessible to our will. It appears now as a teasing and distracting imp, now as a deus ex machina. But always it comes and goes of its own volition. From this it is clear that even the differentiated functions have only partially freed themselves from the unconscious; for the rest they are still rooted in it and to that extent they operate under its rule. Hence the three “differentiated” functions at the disposal of the ego have three corresponding unconscious components that have not yet broken loose from the unconscious. And just as the three conscious and differentiated parts of these functions are confronted by a fourth, undifferentiated function which acts as a painfully disturbing factor, so also the superior function seems to have its worst enemy in the unconscious. Nor should we omit to mention one final turn of the screw: like the devil who delights in disguising himself as an angel of light, the inferior function secretly and mischievously influences the superior function most of all, just as the latter represses the former most strongly.

[432] These unfortunately somewhat abstract formulations are necessary in order to throw some light on the tricky and allusive associations in our— save the mark!—“childishly simple” fairytale. The two antithetical triads, the one banning and the other representing the power of evil, tally to a hair’s breadth with the functional structure of the conscious and unconscious psyche. Being a spontaneous, naïve, and uncontrived product of the psyche, the fairytale cannot very well express anything except what the psyche actually is. It is not only our fairytale that depicts these structural psychic relations, but countless other fairytales do the same.

[433] Our fairytale reveals with unusual clarity the essentially antithetical nature of the spirit archetype, while on the other hand it shows the bewildering play of antinomies all aiming at the great goal of higher consciousness. The young swineherd who climbs from the animal level up to the top of the giant world-tree and there, in the upper world of light, discovers his captive anima, the high-born princess, symbolizes the ascent of consciousness, rising from almost bestial regions to a lofty perch with a broad outlook, which is a singularly appropriate image for the enlargement of the conscious horizon. Once the masculine consciousness has attained this height, it comes face to face with its feminine counterpart, the anima. She is a personification of the unconscious. The meeting shows how inept it is to designate the latter as the “subconscious”: it is not merely “below” consciousness but also above it, so far above it indeed that the hero has to climb up to it with considerable effort. This “upper” unconscious, however, is far from being a “super-conscious” in the sense that anyone who reaches it, like our hero, would stand as high above the “subconscious” as above the earth’s surface. On the contrary, he makes the disagreeable discovery that his high and mighty anima, the Princess Soul, is bewitched up there and no freer than a bird in a golden cage. He may pat himself on the back for having soared up from the flatlands and from almost bestial stupidity, but his soul is in the power of an evil spirit, a sinister father-imago of subterrene nature in the guise of a raven, the celebrated theriomorphic figure of the devil. What use now is his lofty perch and his wide horizon, when his own dear soul is languishing in prison? Worse, she plays the game of the underworld and ostensibly tries to stop the young man from discovering the secret of her imprisonment, by forbidding him to enter that one room. But secretly she leads him to it by the very fact of her veto. It is as though the unconscious had two hands of which one always does the opposite of the other. The princess wants and does not want to be rescued. But the evil spirit too has got himself into a fix, by all accounts: he wanted to filch a fine soul from the shining upper world—which he could easily do as a winged being—but had not bargained on being shut up there himself. Black spirit though he is, he longs for the light. That is his secret justification, just as his being spellbound is a punishment for his transgression. But so long as the evil spirit is caught in the upper world, the princess cannot get down to earth either, and the hero remains lost in paradise. So now he commits the sin of disobedience and thereby enables the robber to escape, thus causing the abduction of the princess for the second time—a whole chain of calamities. In the result, however, the princess comes down to earth and the devilish raven assumes the human shape of the hunter. The otherworldly anima and the evil principle both descend to the human sphere, that is, they dwindle to human proportions and thus become approachable. The three-legged, all-knowing horse represents the hunter’s own power: it corresponds to the unconscious components of the differentiated functions. The hunter himself personifies the inferior function, which also manifests itself in the hero as his inquisitiveness and love of adventure. As the story unfolds, he becomes more and more like the hunter: he too obtains his horse from the witch. But, unlike him, the hunter omitted to obtain the twelve lambs in order to feed the wolves, who then injured his horse. He forgot to pay tribute to the chthonic powers because he was nothing but a robber. Through this omission the hero learns that the unconscious lets its creatures go only at the cost of sacrifice. The number 12 is presumably a time symbol, with the subsidiary meaning of the twelve labours (θλα) that have to be performed for the unconscious before one can get free. The hunter looks like a previous unsuccessful attempt of the hero to gain possession of his soul through robbery and violence. But the conquest of the soul is in reality a work of patience, self-sacrifice, and devotion. By gaining possession of the four-legged horse the hero steps right into the shoes of the hunter and carries off the princess as well. The quaternity in our tale proves to be the greater power, for it integrates into its totality that which it still needed in order to become whole.

[434] The archetype of the spirit in this, be it said, by no means primitive fairytale is expressed theriomorphically as a system of three functions which is subordinated to a unity, the evil spirit, in the same way that some unnamed authority has crucified the raven with a triad of three nails. The two supraordinate unities correspond in the first case to the inferior function which is the arch-enemy of the main function, namely to the hunter; and in the second case to the main function, namely to the hero. Hunter and hero are ultimately equated with one another, so that the hunter’s function is resolved in the hero. As a matter of fact, the hero lies dormant in the hunter from the very beginning, egging him on, with all the unmoral means at his disposal, to carry out the rape of the soul, and then causing him to play her into the hero’s hands against the hunter’s will. On the surface a furious conflict rages between them, but down below the one goes about the other’s business. The knot is unraveled directly the hero succeeds in capturing the quaternity—or in psychological language, when he assimilates the inferior function into the ternary system. That puts an end to the conflict at one blow, and the figure of the hunter melts into thin air. After this victory, the hero sets his princess upon the three-legged steed and together they ride away to her father’s kingdom. From now on she rules and personifies the realm of spirit that formerly served the wicked hunter. Thus the anima is and remains the representative of that part of the unconscious which can never be assimilated into a humanly attainable whole.

[435] Postscript. Only after the completion of my manuscript was my attention drawn by a friend to a Russian variant of our story. It bears the title “Maria Morevna.”54 The hero of the story is no swineherd, but Czarevitch Ivan. There is an interesting explanation of the three helpful animals: they correspond to Ivan’s three sisters and their husbands, who are really birds. The three sisters represent an unconscious triad of functions related to both the animal and spiritual realms. The bird-men are a species of angel and emphasize the auxiliary nature of the unconscious functions. In the story they intervene at the critical moment when the hero —unlike his German counterpart—gets into the power of the evil spirit and is killed and dismembered (the typical fate of the God-man!). The evil spirit is an old man who is often shown naked and is called Koschei the Deathless. The corresponding witch is the well-known Baba Yaga. The three helpful animals of the German variant are doubled here, appearing first as the bird-men and then as the lion, the strange bird, and the bees. The princess is Queen Maria Morevna, a redoubtable martial leader—Mary the queen of heaven is lauded in the Russian Orthodox hymnal as “leader of hosts”!—who has chained up the evil spirit with twelve chains in the forbidden room in her castle. When Ivan slakes the old devil’s thirst he makes off with the queen. The magic riding animals do not in the end turn into human beings. This Russian story has a distinctly more primitive character.


[436] The following remarks lay no claim to general interest, being in the main technical. I wanted at first to delete them from this revised version of my essay, but then I changed my mind and appended them in a supplement. The reader who is not specifically interested in psychology can safely skip this section. For, in what follows, I have dealt with the abstruse-looking problem of the three- and four-leggedness of the magic horses, and presented my reflections in such a way as to demonstrate the method I have employed. This piece of psychological reasoning rests firstly on the irrational data of the material, that is, of the fairytale, myth, or dream, and secondly on the conscious realization of the “latent” rational connections which these data have with one another. That such connections exist at all is something of a hypothesis, like that which asserts that dreams have a meaning. The truth of this assumption is not established a priori: its usefulness can only be proved by application. It therefore remains to be seen whether its methodical application to irrational material enables one to interpret the latter in a meaningful way. Its application consists in approaching the material as if it had a coherent inner meaning. For this purpose most of the data require a certain amplification, that is, they need to be clarified, generalized, and approximated to a more or less general concept in accordance with Cardan’s rule of interpretation. For instance, the three-leggedness, in order to be recognized for what it is, has first to be separated from the horse and then approximated to its specific principle—the principle of threeness. Likewise, the four-leggedness in the fairytale, when raised to the level of a general concept, enters into relationship with the threeness, and as a result we have the enigma mentioned in the Timaeus, the problem of three and four. Triads and tetrads represent archetypal structures that play a significant part in all symbolism and are equally important for the investigation of myths and dreams. By raising the irrational datum (three-leggedness and four-leggedness) to the level of a general concept we elicit the universal meaning of this motif and encourage the inquiring mind to tackle the problem seriously. This task involves a series of reflections and deductions of a technical nature which I would not wish to withhold from the psychologically interested reader and especially from the professional, the less so as this labour of the intellect represents a typical unravelling of symbols and is indispensable for an adequate understanding of the products of the unconscious. Only in this way can the nexus of unconscious relationships be made to yield their own meaning, in contrast to those deductive interpretations derived from a preconceived theory, e.g., interpretations based on astronomy, meteorology, mythology, and—last but not least—the sexual theory.

[437] The three-legged and four-legged horses are in truth a recondite matter worthy of closer examination. The three and the four remind us not only of the dilemma we have already met in the theory of psychological functions, but also of the axiom of Maria Prophetissa, which plays a considerable role in alchemy. It may therefore be rewarding to examine more closely the meaning of the miraculous horses.

[438] The first thing that seems to me worthy of note is that the three-legged horse which is assigned to the princess as her mount is a mare, and is moreover herself a bewitched princess. Threeness is unmistakably connected here with femininity, whereas from the dominating religious standpoint of consciousness it is an exclusively masculine affair, quite apart from the fact that 3, as an uneven number, is masculine in the first place. One could therefore translate threeness as “masculinity” outright, this being all the more significant when one remembers the ancient Egyptian triunity of God, Ka-mutef, and Pharaoh.

[439] Three-leggedness, as the attribute of some animal, denotes the unconscious masculinity immanent in a female creature. In a real woman it would correspond to the animus who, like the magic horse, represents “spirit.” In the case of the anima, however, threeness does not coincide with any Christian idea of the Trinity but with the “lower triangle,” the inferior function triad that constitutes the “shadow.” The inferior half of the personality is for the greater part unconscious. It does not denote the whole of the unconscious, but only the personal segment of it. The anima, on the other hand, so far as she is distinguished from the shadow, personifies the collective unconscious. If threeness is assigned to her as a riding-animal, it means that she “rides” the shadow, is related to it as the mar. In that case she possesses the shadow. But if she herself is the horse, then she has lost her dominating position as a personification of the collective unconscious and is “ridden”—possessed—by Princess A, spouse of the hero. As the fairytale rightly says, she has been changed by witchcraft into the three-legged horse (Princess B). We can sort out this imbroglio more or less as follows:

[440] 1. Princess A is the anima of the hero. She rides—that is, possesses—the three-legged horse, who is the shadow, the inferior function-triad of her later spouse. To put it more simply: she has taken possession of the inferior half of the hero’s personality. She has caught him on his weak side, as so often happens in ordinary life, for where one is weak one needs support and completion. In fact, a woman’s place is on the weak side of a man. This is how we would have to formulate the situation if we regarded the hero and Princess A as two ordinary people. But since it is a fairy-story played out mainly in the world of magic, we are probably more correct in interpreting Princess A as the hero’s anima. In that case the hero has been wafted out of the profane world through his encounter with the anima, like Merlin by his fairy: as an ordinary man he is like one caught in a marvelous dream, viewing the world through a veil of mist.

[441] 2. The matter is now considerably complicated by the unexpected fact that the three-legged horse is a mare, an equivalent of Princess A. She (the mare) is Princess B, who in the shape of a horse corresponds to Princess A’s shadow (i.e., her inferior function-triad). Princess B, however, differs from Princess A in that, unlike her, she does not ride the horse but is contained in it: she is bewitched and has thus come under the spell of a masculine triad. Therefore, she is possessed by a shadow.

[442] 3. The question now is, whose shadow? It cannot be the shadow of the hero, for this is already taken up by the latter’s anima. The fairytale gives us the answer: it is the hunter or magician who has bewitched her. As we have seen, the hunter is somehow connected with the hero, since the latter gradually puts himself in his shoes. Hence one could easily arrive at the conjecture that the hunter is at bottom none other than the shadow of the hero. But this supposition is contradicted by the fact that the hunter stands for a formidable power which extends not only to the hero’s anima but much further, namely to the royal brother-sister pair of whose existence the hero and his anima have no notion, and who appear very much out of the blue in the story itself. The power that extends beyond the orbit of the individual has a more than individual character and cannot therefore be identified with the shadow, if we conceive and define this as the dark half of the personality. As a supra-individual factor the numen of the hunter is a dominant of the collective unconscious, and its characteristic features hunter, magician, raven, miraculous horse, crucifixion or suspension high up in the boughs of the world-tree—touch the Germanic psyche very closely. Hence the Christian Weltanschauung, when reflected in the ocean of the (Germanic) unconscious, logically takes on the features of Wotan. In the figure of the hunter we meet an imago dei, a God-image, for Wotan is also a god of winds and spirits, on which account the Romans fittingly interpreted him as Mercury.

[443] 4. The Prince and his sister, Princess B, have therefore been seized by a pagan god and changed into horses, i.e., thrust down to the animal level, into the realm of the unconscious. The inference is that in their proper human shape the pair of them once belonged to the sphere of collective consciousness. But who are they?

[444] In order to answer this question we must proceed from the fact that these two are an undoubted counterpart of the hero and Princess A. They are connected with the latter also because they serve as their mounts, and in consequence they appear as their lower, animal halves. Because of its almost total unconsciousness, the animal has always symbolized the psychic sphere in man which lies hidden in the darkness of the body’s instinctual life. The hero rides the stallion, characterized by the even (feminine) number 4; Princess A rides the mare who has only three legs (3 = a masculine number). These numbers make it clear that the transformation into animals has brought with it a modification of sex character: the stallion has a feminine attribute, the mare a masculine one. Psychology can confirm this development as follows: to the degree that a man is overpowered by the (collective) unconscious there is not only a more unbridled intrusion of the instinctual sphere, but a certain feminine character also makes its appearance, which I have suggested should be called “anima.” If, on the other hand, a woman comes under the domination of the unconscious, the darker side of her feminine nature emerges all the more strongly, coupled with markedly masculine traits. These latter are comprised under the term “animus.”

[445] 5. According to the fairytale, however, the animal form of the brother-sister pair is “unreal” and due simply to the magic influence of the pagan hunter-god. If they were nothing but animals, we could rest content with this interpretation. But that would be to pass over in unmerited silence the singular allusion to a modification of sex character. The white horses are no ordinary horses: they are miraculous beasts with supernatural powers. Therefore the human figures out of which the horses were magically conjured must likewise have had something supernatural about them. The fairytale makes no comment here, but if our assumption is correct that the two animal forms correspond to the subhuman components of hero and princess, then it follows that the human forms—Prince and Princess B—must correspond to their superhuman components. The superhuman quality of the original swineherd is shown by the fact that he becomes a hero, practically a half-god, since he does not stay with his swine but climbs the world-tree, where he is very nearly made its prisoner, like Wotan. Similarly, he could not have become like the hunter if he did not have a certain resemblance to him in the first place. In the same way the imprisonment of Princess A on the top of the world-tree proves her electness, and in so far as she shares the hunter’s bed, as stated by the tale, she is actually the bride of God.

[446] It is these extraordinary forces of heroism and election, bordering on the superhuman, which involve two quite ordinary humans in a superhuman fate. Accordingly, in the profane world a swineherd becomes a king, and a princess gets an agreeable husband. But since, for fairytales, there is not only a profane but also a magical world, human fate does not have the final word. The fairytale therefore does not omit to point out what happens in the world of magic. There too a prince and princess have got into the power of the evil spirit, who is himself in a tight corner from which he cannot extricate himself without extraneous help. So the human fate that befalls the swineherd and Princess A is paralleled in the world of magic. But in so far as the hunter is a pagan God-image and thus exalted above the world of heroes and paramours of the gods, the parallelism goes beyond the merely magical into a divine and spiritual sphere, where the evil spirit, the Devil himself—or at least a devil—is bound by the spell of an equally mighty or even mightier counter-principle indicated by the three nails. This supreme tension of opposites, the mainspring of the whole drama, is obviously the conflict between the upper and lower triads, or, to put it in theological terms, between the Christian God and the devil who has assumed the features of Wotan.

[447] 6. We must, it seems, start from this highest level if we want to understand the story correctly, for the drama takes its rise from the initial transgression of the evil spirit. The immediate consequence of this is his crucifixion. In that distressing situation he needs outside help, and as it is not forthcoming from above, it can only be summoned from below. A young swineherd, possessed with the boyish spirit of adventure, is reckless and inquisitive enough to climb the world-tree. Had he fallen and broken his neck, no doubt everybody would have said, “What evil spirit could have given him the crazy idea of climbing up an enormous tree like that!” Nor would they have been altogether wrong, for that is precisely what the evil spirit was after. The capture of Princess A was a transgression in the profane world, and the bewitching of the—as we may suppose—semidivine brother-sister pair was just such an enormity in the magical world. We do not know, but it is possible, that this heinous crime was committed before the bewitching of Princess A. At any rate, both episodes point to a transgression of the evil spirit in the magical world as well as in the profane.

[448] It is assuredly not without a deeper meaning that the rescuer or redeemer should be a swineherd, like the Prodigal Son. He is of lowly origin and has this much in common with the curious conception of the redeemer in alchemy. His first liberating act is to deliver the evil spirit from the divine punishment meted out to him. It is from this act, representing the first stage of the lysis, that the whole dramatic tangle develops.

[449] 7. The moral of this story is in truth exceedingly odd. The finale satisfies in so far as the swineherd and Princess A are married and become the royal pair. Prince and Princess B likewise celebrate their wedding, but this—in accordance with the archaic prerogative of kings—takes the form of incest, which, though somewhat repellent, must be regarded as more or less habitual in semidivine circles. But what, we may ask, happens to the evil spirit, whose rescue from condign punishment sets the whole thing in motion? The wicked hunter is trampled to pieces by the horses, which presumably does no lasting damage to a spirit. Apparently he vanishes without trace, but only apparently, for he does after all leave a trace behind him, namely a hard-won happiness in both the profane and the magical world. Two halves of the quaternity, represented on one side by the swineherd and Princess A and on the other by Prince and Princess B, have each come together and united: two marriage-pairs now confront one another, parallel but otherwise divided, inasmuch as the one pair belongs to the profane and the other to the magical world. But in spite of this indubitable division, secret psychological connections, as we have seen, exist between them which allow us to derive the one pair from the other.

[450] Speaking in the spirit of the fairytale, which unfolds its drama from the highest point, one would have to say that the world of half-gods is anterior to the profane world and produces it out of itself, just as the world of half-gods must be thought of as proceeding from the world of gods. Conceived in this way, the swineherd and Princess A are nothing less than earthly simulacra of Prince and Princess B, who in their turn would be the descendants of divine prototypes. Nor should we forget that the horse-breeding witch belongs to the hunter as his female counterpart, rather like an ancient Epona (the Celtic goddess of horses). Unfortunately we are not told how the magical conjuration into horses happened. But it is evident that the witch had a hand in the game because both the horses were raised from her stock and are thus, in a sense, her productions. Hunter and witch form a pair—the reflection, in the nocturnal-chthonic part of the magical world, of a divine parental pair. The latter is easily recognized in the central Christian idea of sponsus et sponsa, Christ and his bride, the Church.

[451] If we wanted to explain the fairytale personalistically, the attempt would founder on the fact that archetypes are not whimsical inventions but autonomous elements of the unconscious psyche which were there before any invention was thought of. They represent the unalterable structure of a psychic world whose “reality” is attested by the determining effects it has upon the conscious mind. Thus, it is a significant psychic reality that the human pair is matched by another pair in the unconscious, the latter pair being only in appearance a reflection of the first. In reality the royal pair invariably comes first, as an a priori, so that the human pair has far more the significance of an individual concretization, in space and time, of an eternal and primordial image—at least in its mental structure, which is imprinted upon the biological continuum.

[452] We could say, then, that the swineherd stands for the “animal” man who has a soul-mate somewhere in the upper world. By her royal birth she betrays her connection with the pre-existent, semidivine pair. Looked at from this angle, the latter stands for everything a man can become if only he climbs high enough up the world-tree. For to the degree that the young swineherd gains possession of the patrician, feminine half of himself, he approximates to the pair of half-gods and lifts himself into the sphere of royalty, which means universal validity. We come across the same theme in Christian Rosencreutz’s Chymical Wedding, where the king’s son must first free his bride from the power of a Moor, to whom she has voluntarily given herself as a concubine. The Moor represents the alchemical nigredo in which the arcane substance lies hidden, an idea that forms yet another parallel to our mythologem, or, as we would say in psychological language, another variant of this archetype.

[453] As in alchemy, our fairytale describes the unconscious processes that compensate the conscious, Christian situation. It depicts the workings of a spirit who carries our Christian thinking beyond the boundaries set by ecclesiastical concepts, seeking an answer to questions which neither the Middle Ages nor the present day have been able to solve. It is not difficult to see in the image of the second royal pair a correspondence to the ecclesiastical conception of bridegroom and bride, and in that of the hunter and witch a distortion of it, veering towards an atavistic, unconscious Wotanism. The fact that it is a German fairytale makes the position particularly interesting, since this same Wotanism was the psychological godfather of National Socialism, a phenomenon which carried the distortion to the lowest pitch before the eyes of the world. On the other hand, the fairytale makes it clear that it is possible for a man to attain totality, to become whole, only with the co-operation of the spirit of darkness, indeed that the latter is actually a causa instrumentalis of redemption and individuation. In utter perversion of this goal of spiritual development, to which all nature aspires and which is also prefigured in Christian doctrine, National Socialism destroyed man’s moral autonomy and set up the nonsensical totalitarianism of the State. The fairytale tells us how to proceed if we want to overcome the power of darkness: we must turn his own weapons against him, which naturally cannot be done if the magical underworld of the hunter remains unconscious, and if the best men in the nation would rather preach dogmatisms and platitudes than take the human psyche seriously.


[454] When we consider the spirit in its archetypal form as it appears to us in fairytales and dreams, it presents a picture that differs strangely from the conscious idea of spirit, which is split up into so many meanings. Spirit was originally a spirit in human or animal form, a daimonion that came upon man from without. But our material already shows traces of an expansion of consciousness which has gradually begun to occupy that originally unconscious territory and to transform those daimonia, at least partially, into voluntary acts. Man conquers not only nature, but spirit also, without realizing what he is doing. To the man of enlightened intellect it seems like the correction of a fallacy when he recognizes that what he took to be spirits is simply the human spirit and ultimately his own spirit. All the superhuman things, whether good or bad, that former ages predicated of the daimonia, are reduced to “reasonable” proportions as though they were pure exaggeration, and everything seems to be in the best possible order. But were the unanimous convictions of the past really and truly only exaggerations? If they were not, then the integration of the spirit means nothing less than its demonization, since the superhuman spiritual agencies that were formerly tied up in nature are introjected into human nature, thus endowing it with a power which extends the bounds of the personality ad infinitum, in the most perilous way. I put it to the enlightened rationalist: has his rational reduction led to the beneficial control of matter and spirit? He will point proudly to the advances in physics and medicine, to the freeing of the mind from medieval stupidity and—as a well-meaning Christian—to our deliverance from the fear of demons. But we continue to ask: what have all our other cultural achievements led to? The fearful answer is there before our eyes: man has been delivered from no fear, a hideous nightmare lies upon the world. So far reason has failed lamentably, and the very thing that everybody wanted to avoid rolls on in ghastly progression. Man has achieved a wealth of useful gadgets, but, to offset that, he has torn open the abyss, and what will become of him now—where can he make a halt? After the last World War we hoped for reason: we go on hoping. But already we are fascinated by the possibilities of atomic fission and promise ourselves a Golden Age—the surest guarantee that the abomination of desolation will grow to limitless dimensions. And who or what is it that causes all this? It is none other than that harmless (!), ingenious, inventive, and sweetly reasonable human spirit who unfortunately is abysmally unconscious of the demonism that still clings to him. Worse, this spirit does everything to avoid looking himself in the face, and we all help him like mad. Only, heaven preserve us from psychology—that depravity might lead to self-knowledge I Rather let us have wars, for which somebody else is always to blame, nobody seeing that all the world is driven to do just what all the world flees from in terror.

[455] It seems to me, frankly, that former ages did not exaggerate, that the spirit has not sloughed off its demonisms, and that mankind, because of its scientific and technological development, has in increasing measure delivered itself over to the danger of possession. True, the archetype of the spirit is capable of working for good as well as for evil, but it depends upon man’s free—i.e., conscious—decision whether the good also will be perverted into something satanic. Man’s worst sin is unconsciousness, but it is indulged in with the greatest piety even by those who should serve mankind as teachers and examples. When shall we stop taking man for granted in this barbarous manner and in all seriousness seek ways and means to exorcize him, to rescue him from possession and unconsciousness, and make this the most vital task of civilization? Can we not understand that all the outward tinkerings and improvements do not touch man’s inner nature, and that everything ultimately depends upon whether the man who wields the science and the technics is capable of responsibility or not? Christianity has shown us the way, but, as the facts bear witness, it has not penetrated deeply enough below the surface. What depths of despair are still needed to open the eyes of the world’s responsible leaders, so that at least they can refrain from leading themselves into temptation?