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object:4.04 - Conclusion
book class:The Archetypes and the Collective Unconscious
author class:Carl Jung
subject class:Psychology
subject class:Occultism
class:chapter


IV. CONCLUSION

3 01 I am aware that a psychological commentary on the child
archetype without detailed documentation must remain a mere
sketch. But since this is virgin territory for the psychologist, my
main endeavour has been to stake out the possible extent of the
problems raised by our archetype and to describe, at least cur-
sorily, its different aspects. Clear-cut distinctions and strict for-
mulations are quite impossible in this field, seeing that a kind
of fluid interpenetration belongs to the very nature of all arche-
types. They can only be roughly circumscribed at best. Their
living meaning comes out more from their presentation as a
whole than from a single formulation. Every attempt to focus
them more sharply is immediately punished by the intangible
core of meaning losing its luminosity. No archetype can be re-
duced to a simple formula. It is a vessel which we can never
empty, and never fill. It has a potential existence only, and
when it takes shape in matter it is no longer what it was. It
persists throughout the ages and requires interpreting ever
anew. The archetypes are the imperishable elements of the un-
conscious, but they change their shape continually.

82 It is a well-nigh hopeless undertaking to tear a single arche-
type out of the living tissue of the psyche; but despite their
interwovenness they do form units of meaning that can be ap-
prehended intuitively. Psychology, as one of the many expres-
sions of psychic life, operates with ideas which in their turn are
derived from archetypal structures and thus generate a some-
what more abstract kind of myth. Psychology therefore trans-
lates the archaic speech of myth into a modern mythologem not
yet, of course, recognized as such which constitutes one ele-
ment of the myth "science." This seemingly hopeless undertaking

179



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

is a living and lived myth, satisfying to persons of a correspond-
ing temperament, indeed beneficial in so far as they have been
cut off from their psychic origins by neurotic dissociation.

33 As a matter of experience, we meet the child archetype in
spontaneous and in therapeutically induced individuation proc-
esses. The first manifestation of the "child" is as a rule a totally
unconscious phenomenon. Here the patient identifies himself
with his personal infantilism. Then, under the influence of
therapy, we get a more or less gradual separation from and
objectification of the "child," that is, the identity breaks down
and is accompanied by an intensification (sometimes technically
induced) of fantasy, with the result that archaic or mythological
features become increasingly apparent. Further transformations
run true to the hero myth. The theme of "mighty feats" is gen-
erally absent, but on the other hand the mythical dangers play
all the greater part. At this stage there is usually another identi-
fication, this time with the hero, whose role is attractive for a
variety of reasons. The identification is often extremely stub-
born and dangerous to the psychic equilibrium. If it can be
broken down and if consciousness can be reduced to human
proportions, the figure of the hero can gradually be differen-
tiated into a symbol of the self.

34 In practical reality, however, it is of course not enough for
the patient merely to know about such developments; what
counts is his experience of the various transformations. The
initial stage of personal infantilism presents the picture of an
"abandoned" or "misunderstood" and unjustly treated child
with overweening pretensions. The epiphany of the hero (the
second identification) shows itself in a corresponding inflation:
the colossal pretension grows into a conviction that one is some-
thing extraordinary, or else the impossibility of the pretension
ever being fulfilled only proves one's own inferiority, which is
favourable to the role of the heroic sufferer (a negative infla-
tion). In spite of their contradictoriness, both forms are identi-
cal, because conscious megalomania is balanced by unconscious
compensatory inferiority and conscious inferiority by uncon-
scious megalomania (you never get one without the other).
Once the reef of the second identification has been successfully
circumnavigated, conscious processes can be cleanly separated
from the unconscious, and the latter observed objectively. This

180



THE PSYCHOLOGY OF THE CHILD ARCHETYPE

leads to the possibility of an accommodation with the uncon-
scious, and thus to a possible synthesis of the conscious and un-
conscious elements of knowledge and action. This in turn leads
to a shifting of the centre of personality from the ego to the
self. 42
35 In this psychological framework the motifs of abandonment,
invincibility, hermaphroditism, and beginning and end take
their place as distinct categories of experience and understand-
ing.

42 A more detailed account of these developments is to be found in "The Relations
between the Ego and the Unconscious."



l8l



THE PSYCHOLOGICAL ASPECTS OF THE KORE

3 6 Not only is the figure of Demeter and the Kore in its three-
fold aspect as maiden, mother, and Hecate not unknown to the
psychology of the unconscious, it is even something of a prac-
tical problem. The "Kore" has her psychological counterpart
in those archetypes which I have called the self or supraordinate
personality on the one hand, and the anima on the other. In
order to explain these figures, with which I cannot assume all
readers to be familiar, I must begin with some remarks of a
general nature.

37 The psychologist has to contend with the same difficulties as
the mythologist when an exact definition or clear and concise
information is demanded of him. The picture is concrete, clear,
and subject to no misunderstandings only when it is seen in its
habitual context. In this form it tells us everything it contains.
But as soon as one tries to abstract the "real essence" of the
picture, the whole thing becomes cloudy and indistinct. In order
to understand its living function, we must let it remain an
organic thing in all its complexity and not try to examine the
anatomy of its corpse in the manner of the scientist, or the
archaeology of its ruins in the manner of the historian. Natu-
rally this is not to deny the justification of such methods when
applied in their proper place.

308 i n view of the enormous complexity of psychic phenomena,
a purely phenomenological point of view is, and will be for a
long time, the only possible one and the only one with any
prospect of success. "Whence" things come and "what" they are,
these, particularly in the field of psychology, are questions which
are apt to call forth untimely attempts at explanation. Such
speculations are moreover based far more on unconscious philo-
sophical premises than on the nature of the phenomena them-
selves. Psychic phenomena occasioned by unconscious processes
are so rich and so multifarious that I prefer to describe my
findings and observations and, where possible, to classify them

182



THE PSYCHOLOGICAL ASPECTS OF THE KORE



that is, to arrange them under certain definite types. That is the
method of natural science, and it is applied wherever we have to
do with multifarious and still unorganized material. One may
question the utility or the appropriateness of the categories or
types used in the arrangement, but not the correctness of the
method itself.

39 Since for years I have been observing and investigating the
products of the unconscious in the widest sense of the word,
namely dreams, fantasies, visions, and delusions of the insane,
I have not been able to avoid recognizing certain regularities,
that is, types. There are types of situations and types of figures
that repeat themselves frequently and have a corresponding
meaning. I therefore employ the term "motif" to designate these
repetitions. Thus there are not only typical dreams but typical
motifs in the dreams. These may, as we have said, be situations
or figures. Among the latter there are human figures that can be
arranged under a series of archetypes, the chief of them being,
according to my suggestion, 1 the shadow, the wise old man, the
child (including the child hero), the mother ("Primordial
Mother" and "Earth Mother") as a supraordinate personality
("daemonic" because supraordinate), and her counterpart the
maiden, and lastly the anima in man and the animus in woman.

S 10 The above types are far from exhausting all the statistical
regularities in this respect. The figure of the Kore that interests
us here belongs, when observed in a man, to the anima type;
and when observed in a woman to the type of supraordinate
personality. It is an essential characteristic of psychic figures that
they are duplex or at least capable of duplication; at all events
they are bipolar and oscillate between their positive and nega-
tive meanings. Thus the "supraordinate" personality can ap-
pear in a despicable and distorted form, like for instance Mephi-
stopheles, who is really more positive as a personality than the
vapid and unthinking careerist Faust. Another negative figure

l To the best of my knowledge, no other suggestions have been made so far. Critics
have contented themselves with asserting that no such archetypes exist. Certainly
they do not exist, any more than a botanical system exists in nature! But will any-
one deny the existence of natural plant-families on that account? Or will anyone
deny the occurrence and continual repetition of certain morphological and func-
tional similarities? It is much the same thing in principle with the typical figures
of the unconscious. They are forms existing a priori, or biological norms of psychic
activity.

183



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

is the Tom Thumb or Tom Dumb of the folktales. The figure
corresponding to the Kore in a woman is generally a double
one, i.e., a mother and a maiden, which is to say that she
appears now as the one, now as the other. From this I would
conclude, for a start, that in the formation of the Demeter-
Kore myth the feminine influence so far outweighed the mascu-
line that the latter had practically no significance. The man's
role in the Demeter myth is really only that of seducer or con-
queror.
3 11 As a matter of practical observation, the Kore often appears
in woman as an unknown young girl, not infrequently as
Gretchen or the unmarried mother. 2 Another frequent modula-
tion is the dancer, who is often formed by borrowings from clas-
sical knowledge, in which case the "maiden" appears as the
corybant, maenad, or nymph. An occasional variant is the nixie
or water-sprite, who betrays her superhuman nature by her fish-
tail. Sometimes the Kore- and mother-figures slither down alto-
gether to the animal kingdom, the favourite representatives
then being the cat or the snake or the bear, or else some black
monster of the underworld like the crocodile, or other sala-
mander-like, saurian creatures. 3 The maiden's helplessness ex-
poses her to all sorts of dangers, for instance of being devoured
by reptiles or ritually slaughtered like a beast of sacrifice. Often
there are bloody, cruel, and even obscene orgies to which the
innocent child falls victim. Sometimes it is a true nekyia, a
descent into Hades and a quest for the "treasure hard to attain,"
occasionally connected with orgiastic sexual rites or offerings
of menstrual blood to the moon. Oddly enough, the various
tortures and obscenities are carried out by an "Earth Mother."
There are drinkings of blood and bathings in blood* also cruci-

2 The "personalistic" approach interprets such dreams as "wish-fulfilments." To
many, this kind of interpretation seems the only possible one. These dreams, how-
ever, occur in the most varied circumstances, even in circumstances when the
wish-fulfilment theory becomes entirely forced or arbitrary. The investigation of
motifs in the field of dreams therefore seems to me the more cautious and the
more appropriate procedure.

3 The double vision of a salamander, of which Benvenuto Cellini tells in his
autobiography, would be an anima-projection caused by the music his father was
playing.

4 One of my patients, whose principal difficulty was a negative mother-complex,
developed a series of fantasies on a primitive mother-figure, an Indian woman,

184



THE PSYCHOLOGICAL ASPECTS OF THE KORE



fixions. The maiden who crops up in case histories differs not
inconsiderably from the vaguely flower-like Kore in that the
modern figure is more sharply delineated and not nearly so
"unconscious," as the following examples will show.
3 1 * The figures corresponding to Demeter and Hecate are supra-
ordinate, not to say over-life-size "Mothers" ranging from the
Pieta type to the Baubo type. The unconscious, which acts as a
counterbalance to woman's conventional innocuousness, proves
to be highly inventive in this latter respect. I can recall only
very few cases where Demeter's own noble figure in its pure
form breaks through as an image rising spontaneously from the
unconscious. I remember a case, in fact, where a maiden-goddess
appears clad all in purest white, but carrying a black monkey in
her arms. The Earth Mother is always chthonic and is occa-
sionally related to the moon, either through the blood-sacrifice
already mentioned, or through a child-sacrifice, or else because
she is adorned with a sickle moon. 5 In pictorial or plastic repre-
sentations the Mother is dark deepening to black, or red (these
being her principal colours), and with a primitive or animal
expression of face; in form she not infrequently resembles the

who instructed her on the nature of woman in general. In these pronouncements
a special paragraph is devoted to blood, running as follows: "A woman's life is
close to the blood. Every month she is reminded of this, and birth is indeed a
bloody business, destructive and creative. A woman is only permitted to give birth,
but the new life is not her creation. In her heart of hearts she knows this and
rejoices in the grace that has fallen to her. She is a little mother, not the Great
Mother. But her little pattern is like the great pattern. If she understands this she
is blessed by nature, because she has submitted in the right way and can thus
partake of the nourishment of the Great Mother. . . ."

5 Often the moon is simply "there," as for instance in a fantasy of the chthonic
mother in the shape of the "Woman of the Bees" (Josephine D. Bacon, In the
Border Country, pp. 14!!.): "The path led to a tiny hut of the same colour as the
four great trees that stood about it. Its door hung wide open, and in the middle
of it, on a low stool, there sat an old woman wrapped in a long cloak, looking
kindly at her. . . ." The hut was filled with the steady humming of bees. In the
corner of the hut there was a deep cold spring, in which "a white moon and little
stars" were reflected. The old woman exhorted the heroine to remember the duties
of a woman's life. In Tantric yoga an "indistinct hum of swarms of love-mad bees"
proceeds from the slumbering Shakti (Shat-Chakra Nirupana, in Avalon, The
Serpent Power, p. 29). Cf. infra, the dancer who dissolves into a siuarm of bees.
Bees are also, as an allegory, connected with Mary, as the text for the consecration
of the Easter candle shows. See Duchesne, Christian Worship: Its Origin and
Evolution, p. 253.

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

neolithic ideal of the "Venus" of Brassempouy or that of Willen-
dorf, or again the sleeper of Hal Saflieni. 6 Now and then I have
come across multiple breasts, arranged like those of a sow. The
Earth Mother plays an important part in the woman's uncon-
scious, for all her manifestations are described as "powerful."
This shows that in such cases the Earth Mother element in the
conscious mind is abnormally weak and requires streng thening.

3*3 In view of all this it is, I admit, hardly understandable why
such figures should be reckoned as belonging to the type of
"supraordinate personality." In a scientific investigation, how-
ever, one has to disregard moral or aesthetic prejudices and let
the facts speak for themselves. The maiden is often described
as not altogether human in the usual sense; she is either of un-
known or peculiar origin, or she looks strange or undergoes
strange experiences, from which one is forced to infer the
maiden's extraordinary, myth-like nature. Equally and still
more strikingly, the Earth Mother is a divine being in the
classical sense. Moreover, she does not by any means always
appear in the guise of Baubo, but, for instance, more like Queen
Venus in the Hypnerotomachia Poliphili, though she is in-
variably heavy with destiny. The often unaesthetic forms of
the Earth Mother are in keeping with a prejudice of the modern
feminine unconscious; this prejudice was lacking in antiquity.
The underworld nature of Hecate, who is closely connected
with Demeter, and Persephone's fate both point nevertheless to
the dark side of the human psyche, though not to the same ex-
tent as the modern material.

3*4 The "supraordinate personality" is the total man, i.e., man
as he really is, not as he appears to himself. To this wholeness
the unconscious psyche also belongs, which has its requirements
and needs just as consciousness has. I do not want to interpret
the unconscious personalistically and assert, for instance, that
fantasy-images like those described above are the "wish-fulfil-
ments" due to repression. These images were as such never
conscious and consequently could never have been repressed. I
understand the unconscious rather as an impersonal psyche
common to all men, even though it expresses itself through a

6 [See Neumann, The Great Mother, Pis. la, 3. This entire work elucidates the
present study. Editors.]

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THE PSYCHOLOGICAL ASPECTS OF THE KORE



personal consciousness. When anyone breathes, his breathing
is not a phenomenon to be interpreted personally. The mytho-
logical images belong to the structure of the unconscious and
are an impersonal possession; in fact, the great majority of men
are far more possessed by them than possessing them. Images
like those described above give rise under certain conditions to
corresponding disturbances and symptoms, and it is then the
task of medical therapy to find out whether and how and to
what extent these impulses can be integrated with the conscious
personality, or whether they are a secondary phenomenon which
some defective orientation of consciousness has brought out of
its normal potential state into actuality. Both possibilities exist
in practice.
3 J 5 I usually describe the supraordinate personality as the "self,"
thus making a sharp distinction between the ego, which, as is
well known, extends only as far as the conscious mind, and the
whole of the personality, which includes the unconscious as
well as the conscious component. The ego is thus related to the
self as part to whole. To that extent the self is supraordinate.
Moreover, the self is felt empirically not as subject but as object,
and this by reason of its unconscious component, which can
only come to consciousness indirectly, by way of projection. Be-
cause of its unconscious component the self is so far removed
from the conscious mind that it can only be partially expressed
by human figures; the other part of it has to be expressed by
objective, abstract symbols. The human figures are father
and son, mother and daughter, king and queen, god and
goddess. Theriomorphic symbols are the dragon, snake, ele-
phant, lion, bear, and other powerful animals, or again the
spider, crab, butterfly, beetle, worm, etc. Plant symbols are gen-
erally flowers (lotus and rose). These lead on to geometrical
figures like the circle, the sphere, the square, the quaternity,
the clock, the firmament, and so on. 7 The indefinite extent of
the unconscious component makes a comprehensive description
of the human personality impossible. Accordingly, the uncon-
scious supplements the picture with living figures ranging from
the animal to the divine, as the two extremes outside man, and
rounds out the animal extreme, through the addition of

1 Psychology and Alchemy, Part II.

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

vegetable and inorganic abstractions, into a microcosm. These
addenda have a high frequency in anthropomorphic divinities,
where they appear as "attri butes."

3*6 Demeter and Kore, mother and daughter, extend the femi-
nine consciousness both upwards and downwards. They add an
"older and younger," "stronger and weaker" dimension to it
and widen out the narrowly limited conscious mind bound in
space and time, giving it intimations of a greater and more
comprehensive personality which has a share in the eternal
course of things. We can hardly suppose that myth and mystery
were invented for any conscious purpose; it seems much more
likely that they were the involuntary revelation of a psychic,
but unconscious, pre-condition. The psyche pre-existent to con-
sciousness (e.g., in the child) participates in the maternal psyche
on the one hand, while on the other it reaches across to the
daughter psyche. We could therefore say that every mother
contains her daughter in herself and every daughter her mother,
and that every woman extends backwards into her mother and
forwards into her daughter. This participation and intermin-
gling give rise to that peculiar uncertainty as regards time: a
woman lives earlier as a mother, later as a daughter. The con-
scious experience of these ties produces the feeling that her life
is spread out over generations the first step towards the imme-
diate experience and conviction of being outside time, which
brings with it a feeling of immortality. The individual's life is
elevated into a type, indeed it becomes the archetype of woman's
fate in general. This leads to a restoration or apocatastasis of
the lives of her ancestors, who now, through the bridge of the
momentary individual, pass down into the generations of the
future. An experience of this kind gives the individual a place
and a meaning in the life of the generations, so that all unneces-
sary obstacles are cleared out of the way of the life-stream that
is to flow through her. At the same time the individual is
rescued from her isolation and restored to wholeness. All ritual
preoccupation with archetypes ultimately has this aim and this
result.

3>7 It is immediately clear to the psychologist what cathartic and
at the same rejuvenating effects must flow from the Demeter
cult into the feminine psyche, and what a lack of psychic hygiene

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THE PSYCHOLOGICAL ASPECTS OF THE KORE



characterizes our culture, which no longer knows the kind of
wholesome experience afforded by Eleusinian emotions.

3 l8 I take full account of the fact that not only the psychologi-
cally minded layman but the professional psychologist and
psychiatrist as well, and even the psycho therapist, do not possess
an adequate knowledge of their patients' archetypal material,
in so far as they have not specially investigated this aspect of
the phenomenology of the unconscious. For it is precisely in the
field of psychiatric and psycho therapeutic observation that we
frequently meet with cases characterized by a rich crop of arche-
typal symbols. 8 Since the necessary historical knowledge is lack-
ing to the physician observing them, he is not in a position to
perceive the parallelism between his observations and the find-
ings of anthropology and the humane sciences in general. Con-
versely, an expert in mythology and comparative religion is as
a rule no psychiatrist and consequently does not know that his
mythologems are still fresh and living for instance, in dreams
and visions in the hidden recesses of our most personal life,
which we would on no account deliver up to scientific dissec-
tion. The archetypal material is therefore the great unknown,
and it requires special study and preparation even to collect
such material.

3*9 It does not seem to me superfluous to give a number of ex-
amples from my case histories which bring out the occurrence of
archetypal images in dreams or fantasies. Time and again with
my public I come across the difficulty that they imagine illustra-
tion by "a few examples" to be the simplest thing in the world.
In actual fact it is almost impossible, with a few words and one
or two images torn out of their context, to demonstrate any-
thing. This only works when dealing with an expert. What
Perseus has to do with the Gorgon's head would never occur to
anyone who did not know the myth. So it is with the individual
images: they need a context, and the context is not only a myth
but an individual anamnesis. Such contexts, however, are of
enormous extent. Anything like a complete series of images
would require for its proper presentation a book of about two
hundred pages. My own investigation of the Miller fantasies

8 I would refer to the thesis of my pupil Jan Nelken, "Analytische Beobachtungen
uber Phantasien eines Schizophrenen," as also to my own analysis of a series of
fantasies in Symbols of Transformation.

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

gives some idea of this. 9 It is therefore with the greatest hesita-
tion that I make the attempt to illustrate from case-histories.
The material I shall use comes partly from normal, partly from
slightly neurotic, persons. It is part dream, part vision, or dream
mixed with vision. These "visions" are far from being hallucina-
tions or ecstatic states; they are spontaneous, visual images of
fantasy or so-called active imagination. The latter is a method
(devised by myself) of introspection for observing the stream
of interior images. One concentrates one's attention on some
impressive but unintelligible dream-image, or on a spontane-
ous visual impression, and observes the changes taking place
in it. Meanwhile, of course, all criticism must be suspended and
the happenings observed and noted with absolute objectivity.
Obviously, too, the objection that the whole thing is "arbitrary"
or "thought up" must be set aside, since it springs from the
anxiety of an ego-consciousness which brooks no master besides
itself in its own house. In other words, it is the inhibition
exerted by the conscious mind on the unconscious.
320 Under these conditions, long and often very dramatic series
of fantasies ensue. The advantage of this method is that it brings
a mass of unconscious material to light. Drawing, painting, and
modelling can be used to the same end. Once a visual series has
become dramatic, it can easily pass over into the auditive or
linguistic sphere and give rise to dialogues and the like. With
slightly pathological individuals, and particularly in the not in-
frequent cases of latent schizophrenia, the method may, in cer-
tain circumstances, prove to be rather dangerous and therefore
requires medical control. It is based on a deliberate weakening
of the conscious mind and its inhibiting effect, which either
limits or suppresses the unconscious. The aim of the method is
naturally therapeutic in the first place, while in the second it
also furnishes rich empirical material. Some of our examples are
taken from this. They differ from dreams only by reason of their
better form, which comes from the fact that the contents were
perceived not by a dreaming but by a waking consciousness. The
examples are from women in middle life.

9 Cf. Symbols of Transformation. H. G. Baynes' book, The Mythology of the Soul,
runs to 939 pages and endeavours to do justice to the material provided by only
two cases.

190



THE PSYCHOLOGICAL ASPECTS OF THE KORE



i. Case X (spontaneous visual impressions,
in chronological order)

321 i. "1 saw a white bird with outstretched wings. It alighted
on the figure of a woman, clad in blue, tuho sat there like an
antique statue. The bird perched on her hand, and in it she held
a grain of wheat. The bird took it in its beak and flew into the
sky again."

322 For this X painted a picture: a blue-clad, archaically simple
"Mother "-figure on a white marble base. Her maternity is
emphasized by the large breasts.

323 ii. A bull lifts a child up from the ground and carries it to
the antique statue of a woman. A naked young girl with a
wreath of flowers in her hair appears, riding on a white bull.
She takes the child and throws it into the air like a ball and
catches it again. The white bull carries them both to a temple.
The girl lays the child on the ground, and so on (initiation fol-
lows).

324 In this picture the maiden appears, rather in the form of
Europa. (Here a certain school knowledge is being made use of.)
Her nakedness and the wreath of flowers point to Dionysian
abandonment. The game of ball with the child is the motif of
some secret rite which always has to do with "child-sacrifice. ,,
(Cf. the accusations of ritual murder levelled by the pagans
against the Christians and by the Christians against the Jews
and Gnostics; also the Phoenician child-sacrifices, rumours
about the Black Mass, etc., and "the ball-game in church.") 10

325 ii i. "I saw a golden pig on a pedestal. Beast-like beings
danced round it in a circle. We made haste to dig a hole in the
ground. / reached in and found water. Then a man appeared
in a golden carriage. He jumped into the hole and began sway-
ing back and forth, as if dancing. . . . I swayed in rhythm with
him. Then he suddenly leaped out of the hole, raped me, and
got me with child."

326 X is identical with the young girl, who often appears as a
youth, too. This youth is an animus-figure, the embodiment of
the masculine element in a woman. Youth and young girl to-
gether form a syzygy or coniunctio which symbolizes the essence

!0 [Cf. infra, "On the Psychology of the Trickster-Figure." Editors.]

*9 l



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

of wholeness (as also does the Platonic hermaphrodite, who
later became the symbol of perfected wholeness in alchemical
philosophy). X evidently dances with the rest, hence "we made
haste." The parallel with the motifs stressed by Kerenyi seems
to me remarkable.

327 iv. "I saw a beautiful youth with golden cymbals, dancing
and leaping in joy and abandonment. . . . Finally he fell to
the ground and buried his face in the flowers. Then he sank
into the lap of a very old mother. After a time he got up and
jumped into the water, where he sported like a dolphin. . . .
I saw that his hair was golden. Now we were leaping together,
hand in hand. So we came to a gorge. . . ." In leaping the gorge
the youth falls into the chasm. X is left alone and comes to a
river where a white sea-horse is waiting for her with a golden
boat.

328 In this scene X is the youth; therefore he disappears later,
leaving her the sole heroine of the story. She is the child of the
"very old mother," and is also the dolphin, the youth lost in the
gorge, and the bride evidently expected by Poseidon. The pe-
culiar overlapping and displacement of motifs in all this individ-
ual material is about the same as in the mythological variants.
X found the youth in the lap of the mother so impressive that
she painted a picture of it. The figure is the same as in item i;
only, instead of the grain of wheat in her hand, there is the
body of the youth lying completely exhausted in the lap of
the gigantic mother.

329 v. There now follows a sacrifice of sheep, during which a
game of ball is likewise played with the sacrificial animal. The
participants smear themselves with the sacrificial blood, and
afterwards ba the in the pulsing gore. X is thereupon trans-
formed into a plant.

33 vi. After that X comes to a den of snakes, and the snakes
wind all round her.

33 1 vii. In a den of snakes beneath the sea there is a divine
woman, asleep. (She is shown in the picture as much larger than
the others.) She is wearing a blood-red garment that covers only
the lower half of her body. She has a dark skin, full red lips,
and seems to be of great physical strength. She kisses X, who is
obviously in the role of the young girl, and hands her as a pres-
ent to the many men who are standing by, etc.

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THE PSYCHOLOGICAL ASPECTS OF THE KORE



33 2 This chthonic goddess is the typical Earth Mother as she
appears in so many modern fantasies.

333 viii. As X emerged from the depths and saw the light again,
she experienced a kind of illumination: white flames played
about her head as she walked through waving fields of grain.

334 With this picture the Mother-episode ended. Although
there is not the slightest trace of any known myth being re-
peated, the motifs and the connections between them are all
familiar to us from mythology. These images present themselves
spontaneously and are based on no conscious knowledge what-
ever. I have applied the method of active imagination to myself
over a long time and have observed numerous symbols and
symbolic associations which in many cases I was only able to
verify years afterwards in texts of whose existence I was totally
ignorant. It is the same with dreams. Some years ago I dreamed
for example that: / was climbing slowly and toilsomely up a
mountain. When I had reached, as I imagined, the top, I
found that I was standing on the edge of a plateau. The crest
that represented the real top of the mountain only rose far off
in the distance. Night was coming on, and I saw, on the dark
slope opposite, a brook flowing down with a metallic shimmer,
and two paths leading upwards, one to the left, the other to the
right, winding like serpents. On the crest, to the right, there was
a hotel. Down below, the brook ran to the left with a bridge
leading across.

335 Not long afterwards I discovered the following "allegory"
in an obscure alchemical treatise. In his Speculativae philoso-
phiae u the Frankfurt physician Gerard Dorn, who lived in the
second half of the sixteenth century, describes the "Mundi
peregrinatio, quam erroris viam appellamus" (Tour of the
world, which we call the way of error) on the one hand and the
"Via veritatis" on the other. Of the first way the author says:

The human race, whose nature it is to resist God, does not cease to
ask how it may, by its own efforts, escape the pitfalls which it has
laid for itself. But it does not ask help from Him on whom alone
depends every gift of mercy. Hence it has come about that men have
built for themselves a great Workshop on the left-hand side of the
road . . . presided over by Industry. After this has been attained,
they turn aside from Industry and bend their steps towards the
11 Theatrum chemicum, I (1602), pp. 286ff.

193



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

second region of the world, making their crossing on the bridge of
infirmity. . . . But because the good God desires to draw them
back, He allows their infirmities to rule over them; then, seeking as
before a remedy in themselves [industry!], they flock to the great
Hospital likewise built on the left, presided over by Medicine. Here
there is a great multitude of apothecaries, surgeons, and physicians,
[etc.]. 12

33 6 Of the "way of truth," which is the "right" way, our author
says: "... you will come to the camp of Wisdom and on being
received there, you will be refreshed with food far more power-
ful than before." Even the brook is there: "... a stream of
living water flowing with such wonderful artifice from the
mountain peak. (From the Fountain of Wisdom the waters gush
forth.)" 13

337 An important difference, compared with my dream, is that
here, apart from the situation of the hotel being reversed, the
river of Wisdom is on the right and not, as in my dream, in the
middle of the picture.

33 8 It is evident that in my dream we are not dealing with any
known "myth" but with a group of ideas which might easily
have been regarded as "individual," i.e., unique. A thorough
analysis, however, could show without difficulty that it is an
archetypal image such as can be reproduced over and over again
in any age and any place. But I must admit that the archetypal
nature of the dream-image only became clear to me when I
read Dorn. These and similar incidents I have observed re-
peatedly not only in myself but in my patients. But, as this

12 "Huraanum genus, cui Deo resistere iam innatum est, non desistit media quae-
rere, quibus proprio conatu laqueos evadat, quos sibimet posuit, ab eo non petens
auxilium, a quo solo dependet oranis misericordiae munus. Hinc factum est, ut
in sinistram viae partem officinam sibi maximam exstruxerint . . . huic domui
praeest industria, etc. Quod postquam adepti fuerint, ab industria recedentes in
secundam mundi regionem tendunt: per infirmitatis pontem facientes transi-
tum. ... At quia bonus Deus retrahere vellet, infirmitates in ipsis dominari
permittit, turn rursus ut prius remedium [industrial] a se quaerentes, ad xeno-
dochium etiam a sinistris constructurn et permaximum confluunt, cui medicina
praeest. Ibi pharmacopolarum, chirurgorum et physicorum ingens est copia."
(p. 288.)

13 ". . . pervenietis ad Sophiae castra, quibus excepti, longe vehementiori quam
antea cibo reficiemini. . . . viventis aquae fluvius tam admirando fluens artificio
de montis apice. (De Sophiae fonte scaturiunt aquae!)" [Slightly modified by
Professor Jung. Cf. Dorn, pp. 279-80. Editors.]

194



THE PSYCHOLOGICAL ASPECTS OF THE KORE



example shows, it needs special attention if such parallels are
not to be missed.

339 The antique Mother-image is not exhausted with the figure
of Demeter. It also expresses itself in Cybele-Artemis. The next
case points in this direction.

2. Case Y (dreams)

340 i. "/ am wandering over a great mountain; the way is lonely,
wild, and difficult. A woman comes down from the sky to ac-
company and help me. She is all bright with light hair and
shining eyes. Now and then she vanishes. After going on for
some time alone I notice that I have left my stick somewhere,
and must turn back to fetch it. To do this I have to pass a
terrible monster, an enormous bear. When I came this way the
first time I had to pass it, but then the sky-woman protected me.
Just as I am passing the beast and he is about to come at me,
she stands beside me again, and at her look the bear lies down
quietly and lets us pass. Then the sky-woman vanishes."

34 1 Here we have a maternally protective goddess related to
bears, a kind of Diana or the Gallo-Roman Dea Artio. The
sky-woman is the positive, the bear the negative aspect of the
"supraordinate personality," which extends the conscious hu-
man being upwards into the celestial and downwards into the
animal regions.

342 ii. "We go through a door into a tower-like room, where
we climb a long flight of steps. On one of the topmost steps I
read an inscription: 'Vis ut sis.' The steps end in a temple
situated on the crest of a wooded mountain, and there is no
other approach. It is the shrine of Ursanna, the bear-goddess
and Mother of God in one. The temple is of red stone. Bloody
sacrifices are offered there. Animals are standing about the altar.
In order to enter the temple precincts one has to be transformed
into an animal a beast of the forest. The temple has the form
of a cross with equal arms and a circular space in the middle,
which is not roofed, so that one can look straight up at the sky
and the constellation of the Bear. On the altar in the middle of
the open space there stands the moon-bowl, from which smoke
or vapour continually rises. There is also a huge image of the
goddess, but it cannot be seen clearly. The worshippers, who

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

have been changed into animals and to whom I also belong,
have to touch the goddess's foot with their own foot, where-
upon the image gives them a sign or an oracular utterance like
'Vis ut sis.' "

343 In this dream the bear-goddess emerges plainly, although her
statue "cannot be seen clearly." The relationship to the self,
the supraordinate personality, is indicated not only by the oracle
"Vis ut sis" but by the quaternity and the circular central
precinct of the temple. From ancient times any relationship to
the stars has always symbolized eternity. The soul comes "from
the stars" and returns to the stellar regions. "Ursanna's" rela-
tion to the moon is indicated by the "moon-bowl."

344 The moon-goddess also appears in children's dreams. A girl
who grew up in peculiarly difficult psychic circumstances had
a recurrent dream between her seventh and tenth years: "The
moon-lady was always waiting for me down by the water at the
landing-stage, to take me to her island." Unfortunately she
could never remember what happened there, but it was so
beautiful that she often prayed she might have this dream
again. Although, as is evident, the two dreamers are not identi-
cal, the island motif also occurred in the previous dream as the
inaccessible mountain crest.

345 Thirty years later, the dreamer of the moon-lady had a
dramatic fantasy:

346 "/ am climbing a steep dark mountain, on top of which
stands a domed castle. I enter and go up a winding stairway to
the left. Arriving inside the dome, I find myself in the presence
of a woman wearing a head-dress of cow's horns. I recognize her
immediately as the moon-lady of my childhood dreams. At her
behest I look to the right and see a dazzlingly bright sun shining
on the other side of a deep chasm. Over the chasm stretches a
narrow, transparent bridge, upon which I step, conscious of the
fact that in no circumstances must I look down. An uncanny
fear seizes me, and I hesitate. Treachery seems to be in the air,
but at last I go across and stand before the sun. The sun speaks:
'If you can approach me nine times without being burned, all
will be well.' But I grow more and more afraid, finally I do
look down, and I see a black tentacle like that of an octopus
groping towards me from underneath the sun. I step back in
fright and plunge into the abyss. But instead of being dashed

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THE PSYCHOLOGICAL ASPECTS OF THE KORE



to pieces I lie in the arms of the Earth Mother. When I try to
look into her face, she turns to clay, and I find myself lying on
the earth."

347 It is remarkable how the beginning of this fantasy agrees
with the dream. The moon-lady above is clearly distinguished
from the Earth Mother below. The former urges the dreamer to
her somewhat perilous adventure with the sun; the latter catches
her protectively in her maternal arms. The dreamer, as the one
in danger, would therefore seem to be in the role of the Kore.

348 Let us now turn back to our dream-series:

349 iii. Y sees two pictures in a dream, painted by the Scandi-
navian painter Hermann Christian Lund.

I. "The first picture is of a Scandinavian peasant room.
Peasant girls in gay costumes are walking about arm in arm
(that is, in a row). The middle one is smaller than the rest and,
besides this, has a hump and keeps turning her head back. This,
together with her peculiar glance, gives her a witchlike look."

II. "The second picture shows a dragon with its neck
stretched out over the whole picture and especially over a girl,
who is in the dragon's power and cannot move, for as soon as she
moves, the dragon, which can make its body big or little at
will, moves too; and when the girl wants to get away it simply
stretches out its neck over her, and so catches her again. Strange-
ly enough, the girl has no face, at least I couldn't see it."

35 The painter is an invention of the dream. The animus often
appears as a painter or has some kind of projection apparatus, or
is a cinema-operator or owner of a picture-gallery. All this refers
to the animus as the function mediating between conscious and
unconscious: the unconscious contains pictures which are trans-
mitted, that is, made manifest, by the animus, either as fantasies
or, unconsciously, in the patient's own life and actions. The
animus-projection gives rise to fantasied relations of love and
hatred for "heroes" or "demons." The favourite victims are
tenors, artists, movie-stars, athletic champions, etc. In the first
picture the maiden is characterized as demonic, with a hump
and an evil look "over her shoulder." (Hence amulets against
the evil eye are often worn by primitives on the nape of the
neck, for the vulnerable spot is at the back, where you can't
see.)

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

35 1 In the second picture the "maiden" is portrayed as the inno-
cent victim of the monster. Just as before there was a rela-
tionship of identity between the sky-woman and the bear, so
here between the young girl and the dragon which in practical
life is often rather more than just a bad joke. Here it signifies
a widening of the conscious personality, i.e., through the
helplessness of the victim on the one hand and the dangers of
the humpback's evil eye and the dragon's might on the other.

352 iv (part dream, part visual imagination). "A magician is
demonstrating his tricks to an Indian prince. He produces a
beautiful young girl from under a cloth. She is a dancer, who
has the power to change her shape or at least hold her audience
spell-bound by faultless illusion. During the dance she dissolves
with the music into a swarm of bees. Then she changes into a
leopard, then into a jet of water, then into an octopus that has
twined itself about a young pearl-fisher. Between times, she
takes human form again at the dramatic moment. She appears
as a she-ass bearing two baskets of wonderful fruits. Then she
becomes a many-coloured peacock. The prince is beside him-
self with delight and calls her to him. But she dances on, now
naked, and even tears the skin from her body, and finally falls
down a naked skeleton. This is buried, but at night a lily grows
out of the grave, and from its cup there rises a white lady, who
floats slowly up to the sky."

353 This piece describes the successive transformations of the
illusionist (artistry in illusion being a specifically feminine
talent) until she becomes a transfigured personality. The fantasy
was not invented as a sort of allegory; it was part dream, part
spontaneous imagery.

354 v. "/ am in a church made of grey sandstone. The apse is
built rather high. Near the tabernacle a girl in a red dress is
hanging on the stone cross of the window. (Suicide?)"

355 Just as in the preceding cases the sacrifice of a child or a
sheep played a part, so here the sacrifice of the maiden hanging
on the "cross." The death of the dancer is also to be understood
in this sense, for these maidens are always doomed to die, be-
cause their exclusive domination of the feminine psyche hinders
the individuation process, that is, the maturation of personality.
The "maiden" corresponds to the anima of the man and makes
use of it to gain her natural ends, in which illusion plays the

198



THE PSYCHOLOGICAL ASPECTS OF THE KORE



greatest role imaginable. But as long as a woman is content to
be a femme a homme, she has no feminine individuality. She
is empty and merely glitters a welcome vessel for masculine
projections. Woman as a personality, however, is a very different
thing: here illusion no longer works. So that when the question
of personality arises, which is as a rule the painful fact of the
second half of life, the childish form of the self disappears too.
35 6 All that remains for me now is to describe the Kore as ob-
servable in man, the anima. Since a man's wholeness, in so far
as he is not constitutionally homosexual, can only be a mascu-
line personality, the feminine figure of the anima cannot be
catalogued as a type of supraordinate personality but requires
a different evaluation and position. In the products of uncon-
scious activity, the anima appears equally as maiden and mother,
which is why a personalistic interpretation always reduces her
to the personal mother or some other female person. The real
meaning of the figure naturally gets lost in the process, as is
inevitably the case with all these reductive interpretations
whether in the sphere of the psychology of the unconscious or
of mythology. The innumerable attempts that have been made
in the sphere of mythology to interpret gods and heroes in a
solar, lunar, astral, or meteorological sense contri bute nothing
of importance to the understanding of them; on the contrary,
they all put us on a false track. When, therefore, in dreams and
other spontaneous products, we meet with an unknown female
figure whose significance oscillates between the extremes of
goddess and whore, it is advisable to let her keep her inde-
pendence and not reduce her arbitrarily to something known.
If the unconscious shows her as an "unknown," this attri bute
should not be got rid of by main force with a view to arriving at
a "rational" interpretation. Like the "supraordinate person-
ality," the anima is bipolar and can therefore appear positive
one moment and negative the next; now young, now old; now
mother, now maiden; now a good fairy, now a witch; now a
saint, now a whore. Besides this ambivalence, the anima also
has "occult" connections with "mysteries," with the world of
darkness in general, and for that reason she often has a religious
tinge. Whenever she emerges with some degree of clarity, she
always has a peculiar relationship to time: as a rule she is more
or less immortal, because outside time, Writers who have tried

199



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

their hand at this figure have never failed to stress the anima's
peculiarity in this respect. I would refer to the classic descrip-
tions in Rider Haggard's She and The Return of She, in Pierre
Benoit's L' Atlantide , and above all in the novel of the young
American author, William M. Sloane, To Walk the Night. In
all these accounts, the anima is outside time as we know it and
consequently immensely old or a being who belongs to a dif-
ferent order of things.

357 Since we can no longer or only partially express the arche-
types of the unconscious by means of figures in which we
religiously believe, they lapse into unconsciousness again and
hence are unconsciously projected upon more or less suitable hu-
man personalities. To the young boy a clearly discernible ani-
ma-form appears in his mother, and this lends her the radiance
of power and superiority or else a daemonic aura of even greater
fascination. But because of the anima's ambivalence, the pro-
jection can be entirely negative. Much of the fear which the
female sex arouses in men is due to the projection of the
anima-image. An infantile man generally has a maternal anima;
an adult man, the figure of a younger woman. The senile man
finds compensation in a very young girl, or even a child.

[3. Case Z]

35 8 The anima also has affinities with animals, which symbolize
her characteristics. Thus she can appear as a snake or a tiger or
a bird. I quote by way of example a dream-series that contains
transformations of this kind: 14

359 i. A white bird perches on a table. Suddenly it changes into
a fair-haired seven-year-old girl and just as suddenly back into a
bird, which now speaks with a human voice.

3 60 ii. In an underground house, which is really the under-
world, there lives an old magician and prophet with his <( daugh-
ter/' She is, however, not really his daughter; she is a dancer,
a very loose person, but is blind and seeks healing.

3 61 iii. A lonely house in a wood, where an old scholar is living.
Suddenly his daughter appears, a kind of ghost, complaining
that people only look upon her as a figment of fancy.

14 Only extracts from the dreams are given, so far as they bear on the anima.

200



THE PSYCHOLOGICAL ASPECTS OF THE KORE

3 6 * iv. On the fagade of a church there is a Gothic Madonna,
who is alive and is the "unknown and yet known woman/' In-
stead of a child, she holds in her arms a sort of flame or a snake
or a dragon.

3 6 3 v. A black-clad "countess" kneels in a dark chapel Her
dress is hung with costly pearls. She has red hair, and there is
something uncanny about her. Moreover, she is surrounded by
the spirits of the dead.

3 6 4 vi. A female snake comports herself tenderly and insinuat-
ingly, speaking with a human voice. She is only "accidentally"
shaped like a snake.

3 6 5 vii. A bird speaks with the same voice, but shows herself
helpful by trying to rescue the dreamer from a dangerous situa-
tion.

3 66 viii. The unknown woman sits, like the dreamer, on the tip
of a church-spire and stares at him uncannily across the abyss.

3 6 7 ix. The unknown woman suddenly appears as an old female
attendant in an underground public lavatory with a tempera-
ture of 40 below zero.

3 68 x. The unknown woman leaves the house as a petite bour-
geoise with a female relation, and in her place there is suddenly
an over-life-size goddess clad in blue, looking like Athene.

369 xi. Then she appears in a church, taking the place of the
altar, still over-life-size but with veiled face.

37 In all these dreams 15 the central figure is a mysterious femi-
nine being with qualities like those of no woman known to the
dreamer. The unknown is described as such in the dreams
themselves, and reveals her extraordinary nature firstly by her
power to change shape and secondly by her paradoxical ambiva-
lence. Every conceivable shade of meaning glitters in her, from
the highest to the lowest.

37 1 Dream i shows the anima as elflike, i.e., only partially human.
She can just as well be a bird, which means that she may belong
wholly to nature and can vanish (i.e., become unconscious) from
the human sphere (i.e., consciousness).

372 Dream ii shows the unknown woman as a mythological fig-
ure from the beyond (the unconscious). She is the soror or filia
mystica of a hierophant or "philosopher," evidently a parallel to

15 The following statements are not meant as "interpretations" of the dreams.
They are intended only to sum up the various forms in which the anima appears.

201



THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

those mystic syzygies which are to be met with in the figures of
Simon Magus and Helen, Zosimus and Theosebeia, Comarius
and Cleopatra, etc. Our dream-figure fits in best with Helen.
A really admirable description of anima-psychology in a wom-
an is to be found in Erskine's Helen of Troy.

373 Dream Hi presents the same theme, but on a more "fairytale-
like" plane. Here the anima is shown as rather spookish.

374 Dream iv brings the anima nearer to the Mother of God.
The "child" refers to the mystic speculations on the subject of
the redemptive serpent and the "fiery" nature of the redeemer.

375 In dream v, the anima is visualized somewhat romantically
as the "distinguished" fascinating woman, who nevertheless has
dealings with spirits.

376 Dreams vi and vii bring theriomorphic variations. The
anima's identity is at once apparent to the dreamer because of
the voice and what it says. The anima has "accidentally" taken
the form of a snake, just as in dream i she changed with the
greatest ease into a bird and back again. As a snake, she is play-
ing the negative role, as a bird the positive.

377 Dream viii shows the dreamer confronted with his anima.
This takes place high above the ground (i.e., above human real-
ity). Obviously it is a case of dangerous fascination by the anima.

37 8 Dream ix signifies the anima's deep plunge into an extremely
"subordinate" position, where the last trace of fascination has
gone and only human sympathy is left.

379 Dream x shows the paradoxical double nature of the anima:
banal mediocrity and Olympian divinity.

380 Dream xi restores the anima to the Christian church, not as
an icon but as the altar itself. The altar is the place of sacrifice
and also the receptacle for consecrated relics.

3 Sl To throw even a moderate light on all these anima associa-
tions would require special and very extensive investigation,
which would be out of place here because, as we have already
said, the anima has only an indirect bearing on the interpreta-
tion of the Kore figure. I have presented this dream-series sim-
ply for the purpose of giving the reader some idea of the empiri-
cal material on which the idea of the anima is based. 16 From
this series and others like it we get an average picture of that
strange factor which has such an important part to play in the

16 Cf. the third paper in this volume.

202



THE PSYCHOLOGICAL ASPECTS OF THE KORE



masculine psyche, and which naive presumption invariably
identifies with certain women, imputing to them all the illu-
sions that swarm in the male Eros.

3 82 It seems clear enough that the man's anima found occasion
for projection in the Demeter cult. The Kore doomed to her
subterranean fate, the two-faced mother, and the theriomorphic
aspects of both afforded the anima ample opportunity to reflect
herself, shimmering and equivocal, in the Eleusinian cult, or
rather to experience herself there and fill the celebrants with
her unearthly essence, to their lasting gain. For a man, anima
experiences are always of immense and abiding significance.

3 8 3 But the Demeter-Kore myth is far too feminine to have been
merely the result of an anima-projection. Although the anima
can, as we have said, experience herself in Demeter-Kore, she
is yet of a wholly different nature. She is in the highest degree
femme a homme, whereas Demeter-Kore exists on the plane of
mother-daughter experience, which is alien to man and shuts
him out. In fact, the psychology of the Demeter cult bears all
the features of a matriarchal order of society, where the man is
an indispensable but on the whole disturbing factor.



203



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Wikipedia - Paari (1966 film) -- 1966 Bengali film directed by Jagannath Chattopadhyaya
Wikipedia - Padma Bandopadhyay -- First woman Air Marshal of the Indian Air Force
Wikipedia - Pandit Deendayal Upadhyaya Institute of Archaeology -- Archaeological research institute in India
Wikipedia - Patalpani railway station -- Railway station in Madhya Pradesh
Wikipedia - Patan (Madhya Pradesh) (Vidhan Sabha constituency) -- Vidhan Sabha constituency
Wikipedia - Pench National Park -- National Park in India (Madhya Pradesh and Maharashtra)
Wikipedia - Pingleshwar railway station -- Railway station in Madhya Pradesh
Wikipedia - Piya Chattopadhyay -- Canadian broadcaster
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Wikipedia - Ramakant Bhargava -- Politician from Madhya Pradesh, India
Wikipedia - Ramveer Upadhyay -- Indian politician
Wikipedia - Ratlam Junction railway station -- Railway station in Madhya Pradesh
Wikipedia - Ratlam -- City in Madhya Pradesh, India
Wikipedia - Rau railway station -- Railway station in Madhya Pradesh
Wikipedia - Rewa Ultra Mega Solar -- Solar park in Madhya Pradesh, India
Wikipedia - Ruthiyai Junction railway station -- Railway station in Madhya Pradesh, India
Wikipedia - Ruxmaniben Deepchand Gardi Medical College -- Indian medical school in Madhya Pradesh
Wikipedia - Sagar (Lok Sabha constituency) -- Lok Sabha Constituency in Madhya Pradesh, India
Wikipedia - Saibal Chattopadhyay -- Indian academic and management professor
Wikipedia - Saifee Nagar railway station -- Railway station in Madhya Pradesh
Wikipedia - Sailesh Kumar Bandopadhyay -- Indian activist
Wikipedia - Sanawad railway station -- Railway station in Madhya Pradesh
Wikipedia - Sanchi -- Buddhist complex, famous for its Great Stupa, in Madhya Pradesh, India
Wikipedia - Sandipan Chattopadhyay -- Indian Bengali language writer (1933-2005)
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Wikipedia - Sanghamitra Bandyopadhyay
Wikipedia - Sangita Mukhopadhyay -- Indian molecular biologist
Wikipedia - Sarah T. Stewart-Mukhopadhyay -- American planetary scientist
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Wikipedia - Sarat Chandra Kuthi -- House of Sarat Chandra Chattopadhyay in Samta, Howrah district
Wikipedia - Sarwaniya Maharaj -- Human settlement in Madhya Pradesh, India
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Wikipedia - Sehore railway station -- Railway station in Madhya Pradesh
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Wikipedia - Shakti Chattopadhyay -- Bengali poet and writer
Wikipedia - Shamgarh railway station -- Railway station in Madhya Pradesh, India
Wikipedia - Sharadindu Bandyopadhyay -- Indian writer
Wikipedia - Shiv Dutt Upadhyaya
Wikipedia - Shivpura railway station -- Railway station in Madhya Pradesh
Wikipedia - Shivpuri railway station -- Railway station in Madhya Pradesh
Wikipedia - Shri Vaishnav Vidyapeeth Vishwavidyalaya -- Private university in Madhya Pradesh, India
Wikipedia - Shujalpur railway station -- Railway station in Madhya Pradesh
Wikipedia - Sri Viswa Viznana Vidya Adhyatmika Peetham
Wikipedia - Subhankar Chattopadhyay -- Indian director and producer
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Wikipedia - Subhash Mukhopadhyay (poet)
Wikipedia - Subhro Bandopadhyay -- Indian poet
Wikipedia - Sudip Bandyopadhyay -- Indian politician (born 1952)
Wikipedia - Sujan Mukhopadhyay -- Indian actor
Wikipedia - Suman Mukhopadhyay
Wikipedia - Swadhyaya Movement
Wikipedia - Swami Vivekanand University, Madhya Pradesh
Wikipedia - Swapan Chattopadhyay
Wikipedia - Tamal Bandyopadhyay -- Indian business journalist
Wikipedia - Tarana (Madhya Pradesh) -- Town in Ujjain district, Madhya Pradesh, India
Wikipedia - Tarana Road railway station -- Railway station in Madhya Pradesh
Wikipedia - Tatya Tope Nagar Sports Complex -- A multi-purposed stadium in Madhya Pradesh.
Wikipedia - Teen Bhubaner Pare -- 1969 film directed by Ashutosh Bandyopadhyay
Wikipedia - Thakurpura -- Village in Madhya Pradesh, India
Wikipedia - Thandla Road railway station -- Railway station in Madhya Pradesh
Wikipedia - Tihi railway station -- Railway station in Madhya Pradesh
Wikipedia - Tikamgarh district -- District of Madhya Pradesh in India
Wikipedia - Tikamgarh -- City in Madhya Pradesh, India
Wikipedia - Tiki-Taka (film) -- 2020 Indian sports drama comedy film directed by Parambrata Chattopadhyay
Wikipedia - Tikla -- Archeological site and cave in Madhya Pradesh, India
Wikipedia - Tridib Kumar Chattopadhyay -- Bengali writer and editor
Wikipedia - Tritiya Adhyay -- 2019 Bengali language romantic thriller film
Wikipedia - Udayagiri Caves -- Early 5th century Hindu cave temples in Madhya Pradesh
Wikipedia - Uday Pratap Singh (Madhya Pradesh politician) -- Indian politician
Wikipedia - Ujjain Junction railway station -- Railway station in Madhya Pradesh
Wikipedia - Ujjain (Lok Sabha constituency) -- Lok Sabha Constituency in Madhya Pradesh, India
Wikipedia - Umaria railway station -- Railway station in Madhya Pradesh, India
Wikipedia - Undasa Madhopur railway station -- Railway station in Madhya Pradesh
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Wikipedia - Uttaradhyayana -- SvM-DM-^Stambara text
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Wikipedia - Vidisha (Lok Sabha constituency) -- Lok Sabha Constituency in Madhya Pradesh, India
Wikipedia - Vikramnagar railway station -- Railway station in Madhya Pradesh
Wikipedia - Virendranath Chattopadhyaya
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Sarat Chandra Chattopadhyay ::: Born: September 15, 1876; Died: January 16, 1938; Occupation: Novelist;
Sunil Gangopadhyaya ::: Born: September 7, 1934; Died: October 23, 2012; Occupation: Poet;
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https://www.goodreads.com/book/show/26869557-vishw-itihaas-ke-vilupt-adhyay
https://www.goodreads.com/book/show/28424104-angreji-madhyam-ka-bhramjaal
https://www.goodreads.com/book/show/29857750-akhri-adhyaya
https://www.goodreads.com/book/show/30360335-madhyakalin-bharat-1206-1526-part-1
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https://www.goodreads.com/author/show/1081800.Samik_Bandyopadhyay
https://www.goodreads.com/author/show/1108338.Narayan_Gangopadhyay
https://www.goodreads.com/author/show/1181319.Sarat_Chandra_Chattopadhyay
https://www.goodreads.com/author/show/1199103.Manik_Bandopadhyay
https://www.goodreads.com/author/show/132312.Tito_Rajarshi_Mukhopadhyay
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https://www.goodreads.com/author/show/15807258.Sujog_Bandyopadhyay
https://www.goodreads.com/author/show/15864647.Shirshendu_Mukhopadhyay
https://www.goodreads.com/author/show/16122358.Debarati_Mukhopadhyay
https://www.goodreads.com/author/show/1661565.Bankim_Chandra_Chattopadhyay
https://www.goodreads.com/author/show/18060071.Bibhutibhushan_Bandopadhyay
https://www.goodreads.com/author/show/18477482.Aparna_Upadhyaya_Sanyal
https://www.goodreads.com/author/show/18627960.Saradindu_Bandopadhyay
https://www.goodreads.com/author/show/18902575.Manish_Mukhopadhyay
https://www.goodreads.com/author/show/19183337.Divya_Narain_Upadhyaya
https://www.goodreads.com/author/show/19205162.Anukrti_Upadhyay
https://www.goodreads.com/author/show/19500512.Gladhys_Elliona
https://www.goodreads.com/author/show/217260.Samrat_Upadhyay
https://www.goodreads.com/author/show/257813.Sharadindu_Bandyopadhyay
https://www.goodreads.com/author/show/4282780.Taradas_Bandyopadhyay
https://www.goodreads.com/author/show/4400410.Samhita_Mukhopadhyay
https://www.goodreads.com/author/show/4401668.Tarashankar_Bandyopadhyay
https://www.goodreads.com/author/show/6093739.Bibhutibhushan_Bandyopadhyay
https://www.goodreads.com/author/show/6541821.Ranjan_Bandyopadhyay
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https://www.goodreads.com/author/show/7061564.Sibaji_Bandyopadhyay
https://www.goodreads.com/author/show/7456864.Troilokyanath_Mukhopadhyay
https://www.goodreads.com/author/show/762877.Sunil_Gangopadhyay
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https://www.goodreads.com/author/show/7859865.Sanjib_Chandra_Chattopadhyay
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https://www.goodreads.com/author/show/8182026.Tamal_Bandyopadhyay
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Goodreads author - Sarat_Chandra_Chattopadhyay
Goodreads author - Manik_Bandopadhyay
Goodreads author - Shirshendu_Mukhopadhyay
Goodreads author - Bankim_Chandra_Chattopadhyay
Goodreads author - Samrat_Upadhyay
Goodreads author - Sharadindu_Bandyopadhyay
Goodreads author - Tarashankar_Bandyopadhyay
Goodreads author - Bibhutibhushan_Bandyopadhyay
Goodreads author - Tamal_Bandyopadhyay
https://religion.wikia.org/wiki/Category:Madhyamaka
https://religion.wikia.org/wiki/Madhyam
https://religion.wikia.org/wiki/Madhyamak
https://religion.wikia.org/wiki/Madhyamaka
https://religion.wikia.org/wiki/Middle_way#Madhyamaka
https://religion.wikia.org/wiki/Ragasvarupa_Pashadhya
https://religion.wikia.org/wiki/Two_truths_doctrine#Madhyamaka
selforum - dp chattopadhyaya emphasises professed
wiki.auroville - Sadhyadeva
Dharmapedia - Bankim_Chandra_Chattopadhyay
Dharmapedia - Bibhutibhushan_Bandyopadhyay
Dharmapedia - Deendayal_Upadhyaya
Dharmapedia - Madhyapara_massacre
Dharmapedia - Madhya_Pradesh
Dharmapedia - Sarat_Chandra_Chattopadhyay
Dharmapedia - Swadhyay_Parivar
Psychology Wiki - Madhyamaka
Stanford Encyclopedia of Philosophy - madhyamaka
https://tvtropes.org/pmwiki/pmwiki.php/ComicBook/TadhyaExordium
https://en.wikiquote.org/wiki/Bankim_Chandra_Chattopadhyay
https://en.wikiquote.org/wiki/Chabilal_Upadhyaya
https://en.wikiquote.org/wiki/Deendayal_Upadhyaya
https://en.wikiquote.org/wiki/Totaram_Sanadhya
https://logos.fandom.com/wiki/News18_Madhya_Pradesh/Chhattisgarh
https://logos.fandom.com/wiki/Zee_Madhya_Pradesh/Chhattisgarh
https://tardis.fandom.com/wiki/Madhya_Province
https://commons.wikimedia.org/wiki/Category:Jain_temples_in_Madhya_Pradesh
https://commons.wikimedia.org/wiki/Category:Madhya_Pradesh
https://commons.wikimedia.org/wiki/File:A_painting_on_the_walls_of_cave_in_Bhimbetka_rock_shelter,_Madhya_Pradesh.jpg
https://commons.wikimedia.org/wiki/File:Samosa_-_Homemade,_Jabalpur_-_Madhya_Pradesh_-_IMG_20210406_201834.jpg
2013 Madhya Pradesh stampede
32aam Adhyayam 23aam Vaakyam
Aadhyamayi
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Addalaichenai Madhya Maha Vidyalayam
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Alampur, Madhya Pradesh
Alipura (Madhya Pradesh)
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Aniket Chattopadhyay
A.N. Upadhye
Aradhya Malhotra
Ashutosh Mukhopadhyay
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Baldev Upadhyaya
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Barman, Madhya Pradesh
Bateshwar Hindu temples, Madhya Pradesh
Betul, Madhya Pradesh
Bhanu Bandopadhyay
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Bilpura, Madhya Pradesh
Bishwonath Upadhyaya
Board of Secondary Education, Madhya Pradesh
Brahmabandhav Upadhyay
Bratati Bandyopadhyay
Burhanpur, Madhya Pradesh
Chhatarpur, Madhya Pradesh (Vidhan Sabha constituency)
Chinmoy Chattopadhyay
Chintan Upadhyay
Chitrakoot, Madhya Pradesh
Chobilal Upadhyaya
COVID-19 pandemic in Madhya Pradesh
Darbha, Madhya Pradesh
Darshan Upadhyaya
Debendranath Bandyopadhyay
Debiprasad Chattopadhyaya
Deendayal Upadhyaya
Deen Dayal Upadhyaya Antyodaya Yojana
Deen Dayal Upadhyaya College
Deen Dayal Upadhyaya Gram Jyoti Yojana
Deendayal Upadhyaya Institute for the Physically Handicapped
Deen Dayal Upadhyay Gorakhpur University
Deendyal Upadhyay
Deogarh, Madhya Pradesh
Dhangar, Madhya Pradesh
Diocese of Madhya Kerala of the Church of South India
D. P. Chattopadhyaya
Draft:Ajay Upadhyay
Draft:Tamal Bandyopadhyay (novelist)
Dwijen Bandyopadhyay
Dwijen Mukhopadhyay
Elar Char Adhyay
Emblem of Madhya Pradesh
Flora and fauna of Madhya Pradesh
Gangesha Upadhyaya
Gautam Chattopadhyay
Gopal Chandra Mukhopadhyay
Gottuvadhyam
Gouri Sankar Bandyopadhyay
Government of Madhya Pradesh
Gunadhya
Handia, Madhya Pradesh
Haradhan Bandopadhyay
Harilal Upadhyay
Harindranath Chattopadhyay
Hatta, Madhya Pradesh
Howrah Madhya
Kajal Bandyopadhyay
Kalwar, Madhya Pradesh
Kamaladevi Chattopadhyay
Karki, Madhya Pradesh
Kendriya Vidyalaya Guna, Madhya Pradesh
Kendriya Vidyalaya, Shivpuri, Madhya Pradesh
Krishna Chattopadhyay
Krishnakant Upadhyay
Lalit Upadhyay
Linga, Madhya Pradesh
List of chief ministers of Madhya Pradesh
List of cities in Madhya Pradesh by population
List of constituencies of the Madhya Pradesh Legislative Assembly
List of districts of Madhya Pradesh
List of districts of Madhya Pradesh by area
List of engineering colleges in Madhya Pradesh
List of governors of Madhya Pradesh
List of institutions of higher education in Madhya Pradesh
List of Monuments of National Importance in Madhya Pradesh
List of Monuments of National Importance in Madhya Pradesh/East
List of Monuments of National Importance in Madhya Pradesh/West
List of Rajya Sabha members from Madhya Pradesh
List of speakers of the Madhya Pradesh Legislative Assembly
Madhya Bharat
Madhya Bharat SC
Madhyadesha
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Madhya Kailash
Madhya Kailash Temple, Midrand
Madhya Kalari
Madhyakul, Howrah
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Madhyamaka
Madhyamaklakra
Madhyamakvatra
Madhyamam
Madhyama (music)
Madhyamam Weekly
Madhyamavati
Madhyamavyayoga
Madhyamgram
Madhyamik Pariksha
Madhyamvarg: The Middle Class
Madhyanchal Gramin Bank
Madhyanepal
Madhyanta-vibhaga-karika
Madhya Pradesh
Madhya Pradesh Agriculture Corporation
Madhya Pradesh Bhoj Open University
Madhya Pradesh Congress Committee
Madhya Pradesh High Court
Madhya Pradesh Kisan Mazdoor Adivasi Kranti Dal
Madhya Pradesh Legislative Assembly
Madhya Pradesh Medical Science University
Madhya Pradesh Power Generation Company Limited
Madhya Pradesh Professional Examination Board
Madhya Pradesh Public Service Commission
Madhya Pradesh Reorganisation Act, 2000
Madhya Pradesh Sampark Kranti Express
Madhya Pradesh Scholarship scam
Madhya Pradesh Youth Congress
Madhyapur Thimi
Madhyapur Youth Association
Madhyattus
Madhya Venal
Madhya Vidyalaya
Maharajpur, Madhya Pradesh
Manabendra Bandyopadhyay
Manabendra Mukhopadhyay
Manabi Bandyopadhyay
Manasa, Madhya Pradesh
Mand (Madhya Pradesh)
Mandu, Madhya Pradesh
Manegaon, Madhya Pradesh
Manik Bandopadhyay
Mardana, Madhya Pradesh
Mohit Chattopadhyay
Monu Mukhopadhyay
Mukhopadhyaya theorem
Mlamadhyamakakrik
Munishwar Dutt Upadhyay
Neelam Upadhyaya
Nelliady Madhya Maha Vidyalayam
Nimai Mukhopadhyay
Nripati Chattopadhyay
Paanch Adhyay
Padma Bandopadhyay
Pandit Deendayal Upadhyaya Institute of Archaeology
Pandit Deendayal Upadhyaya Shekhawati University
Pandit Deendayal Upadhyay Indoor Stadium
Pandit Deendayal Upadhyay Medical College
Paran Bandopadhyay
Parshwanath Upadhye
Patan, Madhya Pradesh
Pathans of Madhya Pradesh
Pijush Bandyopadhyay
Prabhat Kumar Mukhopadhyay
Pt. Deen Dayal Upadhyaya Sanatan Dharma Vidyalaya
Pt. Deendayal Upadhyay Memorial Health Sciences and Ayush University of Chhattisgarh
Pulak Bandyopadhyay
Raghab Bandyopadhyay
Ragini Upadhyaya
Raj Bhavan, Madhya Pradesh
Rajgarh, Madhya Pradesh
Rajpur (Madhya Pradesh Vidhan Sabha constituency)
Ram Kinkar Upadhyay
Rashtriya Madhyamik Shiksha Abhiyan
Rewa, Madhya Pradesh
Sadhya
Sagar, Madhya Pradesh
Saliwada Camp, Betul, Madhya Pradesh
Sanadhya Brahmin
Sanjib Chattopadhyay
Sankar Adhya
Sarah T. Stewart-Mukhopadhyay
Sarangpur, Madhya Pradesh
Sarat Chandra Chattopadhyay
Sarvan, Madhya Pradesh
Satyadhyana Tirtha
Seoni, Madhya Pradesh
Shailendra Kumar Upadhyay
Shakti Chattopadhyay
Sharadindu Bandyopadhyay
Shirshendu Mukhopadhyay
Shiv Dutt Upadhyaya
Shreyan Chattopadhyay
Simhendramadhyamam
Soma Mukhopadhyay
Sourav Mukhopadhyay
Sovandeb Chattopadhyay
Subhash Mukhopadhyay
Subhash Mukhopadhyay (physician)
Subhash Mukhopadhyay (poet)
Subhro Bandopadhyay
Sujan Mukhopadhyay
Suman Mukhopadhyay
Sunil Gangopadhyay
Surangana Bandyopadhyay
Swadhyaya Movement
Swadhyay (disambiguation)
Swami Vivekanand University, Madhya Pradesh
Syamadas Mukhopadhyaya
Tamal Bandyopadhyay
Taradas Bandyopadhyay
Tarapur, Madhya Pradesh
Tarasankar Bandyopadhyay
Tewar, Madhya Pradesh
Tourism in Madhya Pradesh
Tritiya Adhyay
Troilokyanath Mukhopadhyay
Udaipur, Madhya Pradesh
Upadhyay
U.P. Pt. Deen Dayal Upadhyaya Veterinary Science University and Cattle Research Institute
User:Arun.upadhyay1947/sandbox
Usha Upadhyay
Uttaradhyayana
Valliddari Madhya
Vikas Upadhyay
Virendranath Chattopadhyaya
Vishmadev Chattopadhyay
Vivekananda Mukhopadhyaya
Y. K. Padhye


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