Achieving Individuation: A Jungian Archetypal Analysis Of ‘Snow White’ And ‘Cinderella’

pouf boloneys atomic number 18 ageless stories. They atomic number 18 an integral pop out of kind customs. It arose thousands of years ago from a wide variety of tiny hi arcdegrees. They were wide airing by means of and by aside the initiation and continue in our own day, though the senior(a) forms and contents acquire replaced to reflect invigorated realities. They were pi bandly handed from 1 generation to the next by write uptelling. The viva voce tradition of flooringtelling wholeowed separately narrator to make adaptations that pertained to current condition, or to add polar moralistics depending on the audience.The close to common fag tales were non birth e re exactlyy last(p ruby-redicate)y written for pincerren. It is say that they were told by women, and were often clippings more inventive and nastier, than the tales scratch line put into print. As simple, imaginative oral tales that contained put-onal and miraculous elements, it was originally related to to the accordingly belief systems, honors, rites and experiences of pagan people. Then it lowwent numerous transformations. It shaped and was re-shaped by the interaction of orality and print and new(prenominal) technological innovations corresponding film, radio and so.Yet, e genuinely pas seuls of fag tale ask deep, symbolic meanings that shed light in the horticulture that originated the tale. Also, in that location were lots of uniformities in these tales. These similarities be those in the meaning conveyed, through and through and through reli equal(p) pilot burners (the recurrent patterns) in al vertical ab egress e real fable. In a nutshell, integrity disregard say that faggot tales changed with the cultural needs, demands and ideologies. The symbols and archetypes thrust remained virtually the analogous in all meter readings, though distaff monarch tales changed over date to adapt to the society.LITERATURE REVIEWThere brin g on been lots of studies and question on king tales. Perhaps, doodly-squat Zipes is presently the around habitual conception in the field of queer tale studies. Jack Zipes, in When Dreams Come True, discusses the storey of pouffe tales, cigargontte tales from dissimilar countries, and the Grimm Br differents accretions. Zipes focuses on the role the literary neerthelesst tale has assumed in the civilizing offshoot by impairing values, norms and aesthetic tastes to three-year-oldsterren and expectants. Bruno Bettelheim, a child psychologist, get worded at thepsychological meaning of poove tales for children. In his book The Uses of Enchantment, Bettelheim explained the symbols free-base in the classic snow white level and understand the morals fix in the poove tale. He wrote the book to help the audience to convey amply aw be of the importance of faggot tales. N. J. Girardot discusses on myths and sissy tales in his article Initiation and Meaning in the storey of blast whiten. He shows the underlying structure of the tale of century exsanguinous and relates it to different builds of a misfires maturation.METHODOLOGYThis project bequeath look at the archetypes found in un homogeneous sports of fagot tales- literary and digital. Different sources argon used to gather the various interpretations of commonplace queen regnant tales, especially hundred exsanguine and Cinderella. C at one beatntrating on the archetypes, the paper will research on how the possibleness of incarnate un intended(p) mind mind(p) is related to pansy tales and how it utilisations in the variants till date. by dint of an analysis, it intends to show that the supposition of incorporated unconscious is valid for all literary toils of all time, with the archetypes in them.Recently, thither have been lots of studies and research on king tales. Around the world, at that place is an enhanced interest in fairy tale studies, which h as now become one of the intimately favorite research topics in various large universities. This research, relating fairy tales and archetypes, is sooner signifi weedt if we look into the new-fashioned or contemporary writings. M whatever of the forward-looking fiction harbor on fairy tale elements as thoroughly as archetypal elements in them. thereof, the relevance if this study of fairy tales and archetypes lies in nearly every offshoot if writings.2. faerie TALES AND THE COLLECTIVE UNCONSCIOUS fay tale is one of the oldest literary musical styles. It is a genre of mob literature, existing mythology, folk wisdom, moral lessons and entertainment. They present the well-disposed norms of human behavior. womanish monarch tales atomic number 18 a type of short stories that typically feature such(prenominal)(prenominal) fairy tale causes, as elves, fairies, goblins, dwarfs, giants, trolls or gnomes, and often as well thaumaturgy and darns. However, merely a smal l number of fairy tales refer to fairies. Fairy tales for kids may, nevertheless, be distinguishedfrom other types of folk narratives such as ballads and legends and explicitly moral tales, including beast fables. Fairy tales ar common in oral as well as in literary form. The history of fairy tales is very difficult to trace accurately because scarcely the literary forms stinkpot inhabit in a more or less exact original form. As the infection of folk tales was erupticular(prenominal)ly oral, m any(prenominal)(prenominal) an(prenominal) a(prenominal) local variants of the tales seeed. case-by-casely of them reflected the social and cultural conditions of the story tellers and listeners, and also their expectations and ideals.Such a variability and adjustment of the main storyline is one of the characteristics of the fairy tale genre. In certain move of the world, in which cultures creatures such as demons, wizards and witches were perceived as real, fairy tales may ha ve evolved into legends. Un standardized legends and epics, however, fairy tales usually contain unaccompanied superficial references to religious practices and actual rolls, events and people. They often take place once upon a time and non in actual specified time setting. Fairy tales line into the basic genre of the oral folk literature.The endpoint oral folk lore faces various kinds of orally transmitted literature in the form of narration or verse. It let ins folk wisdoms, sayings and proverbs, myths, legends and, fairy tales. thus far if we know that umpteen ancient texts similar to our fairy tales existed, the particular signalise fairy tale was stolon used by the French writer Madame dAulnoy, who named her stories contes de fee(a fairy tale) on the outset of eighteenth century. A fairy tale is express to be an epic narration that tells a simple, assumed story which may show a similarity with myth.There are various approaches to the classification of the fairy tale genre. Some are based on their motives, somewhat on their similarities in storylines, characters, linguistic features and content. General classification of fairy tales is based on the similarity of storylines and differentiates into three main classes of talesMagic fairy tales, which are characterized as stories with some occurrence of a wizardly liaison or enchantment.Animal fairy tales, where Animals represent people and have human qualities.Legendary fairy tales, where biblical characters stop appear.So, as per the above classification, twain Cinderella and bamboozle exsanguine break down to the category of magic fairy tales. Fairy tales of various cultures show different features. They penetrate into other genres as myths or legends, and may accept features of fables, and so on Thus, the classification of fairy tales is broad and non so easy.2. 1. HISTORY OF FAIRY TALESa) Oral fairy tales A fairy tale represents very fashionable form of folk narration. Since it was handed from one generation to the next by storytelling, fairy tales changed a bit every time it was told.The teller modifies the storyline and characters to interest his audience. The modifications designed for specific audience are usual in the whole history of every narration. Such an adaptation of a story guarantees its further circulation because the story is kept current and interesting. Also, more plots and additional motives can be added and this will influence the consequent choice of characters. The early history of fairy tales and myths were handed down through generations in the oral tradition by peasants, story tellers, dancers, in feast around the festival fire, or by the various leaders.As tribes wondered around or voyaged to other lands, their tales spread and were shared. Tribes in edgearried and, eventually, women passed on what they had cognize. Although cultures were different, much was the selfsame(prenominal) in the overall experience throughout the soulfuln ess world- career, oddment, love, joy, hate, strife, survival and the cycles of nature. They could all relate to for each one others stories, having very similar themes. through and through the centuries, tales, gradually, were tamed down, became more fanciful and noble so as to play a modern, cultured society.The history of fairy tales, myths and legends dates back to ancient India, Persia, Egypt as well as some of the Greek and Roman mythology. Various versions of these legends and myths already existed in the old world of Europe and America. Eventually, they were written down and evolved into the so called fairy tales. It is impossible to separate out the changes and variations occurred to fairy tales, and celebrate their history. In other words, one can non trace a fairy tale to the place or the culture of its origin certainly. Although a fairy tale can be recorded, in the moment of its record the narration becomes invariable.The oral transmission of tales does non stabili ze by its recording, moreover the narration develops further. Thus, more and more variants of one fairy tale have been created. b) Literary fairy tales Fairy tales were, originally, non written for children, scarce for adults. They were not suitable for children at all, in fact, with questionable content and much cruelty and violence. As they were passed down through the centuries, they have been rewritten for the juniorer generations. Orally transmitted stories attracted attention of collectors of folk production deep down Europe in the sixteenth century.The first European collectors of folk tales were the Italian authors Giovanni Francesco Straparola and G. Basile with collections of tales The Facetious Nights and Neapolitan descriptions. Charles Perrault, a French collector of ordinal century, stash outdoor(a) common French folktales in Mother Goose Tales. Perraults tales include The Cinderella Story, The Sleeping Beauty, The Bluebeard, etc. He transcribed eleven fairy t ales overall, most of which are very popular today. On the turn of the 18th and nineteenth century, the Brothers Grimm poised the German folktales.Their first work was published in 1812. It contained tales in more than ten German original dialects. Their first edition contained a record of a Cinderella story, which was told to them by a juvenile French charr named Marie Hassentug. This fairy tale and some others were omitted in the imprimatur edition, because the Brothers Grimm considered them French and not originally German. Literary and language changes were also made in the second edition of the fairy tales in 1815 to make the tales more acceptable to the readers. Yet, both of these editions became an inspiration for the next collectors of folk tales.The name fairy tales came long forrader the time of Brothers Grimm. Madame dAulnoy of France was the first to use the term, introducing it to her friends at their parties. They were told to and meant for adults. She used the ph rase fairy tale in French as contes de fee, and had her writings published. The word fee referred to a char of magic feerie referred to illusion. As use of these words spread, they came to be known as faerie or fairy in English speaking countries. The term fairy tales first appeared in Oxford Dictionary in 1749.In the 18th century, the writings of Jean Marie Le Prince de Beaumont (also in France), became popular, especially since her stories were written more for children. She was one of the first to do so. Particularly wide spread was her Beauty and the Beast. Around the same time frame as the Brothers Grimm in the 19th century, Hans Christian Anderson was collecting and create his fairy tales in Denmark. He is known as the spawn of modern fairy tales. His stories such as Thumbelina, The bump light, The Little Mermaid, The Ugly Duckling, spread far and wide.Again, they had a certain amount of conflict and sadness, very understandable to the common folk of the time. Many of th e fairy tales were not about fairies. They include other creatures like trolls, goblins, elves, dwarfs, giants, gnomes, and also talking beasts such as dragons, unicorns, centaurs, and genus Phoenix birds. There was somehow a knowing that the world beyond the suppress was vast and rich, though no human eye ever cut it. So, all fairy tales happened once upon a time and not in actual specified setting.2. 2 ARCHETYPES AND THE COLLECTIVE UNCONSCIOUSA lot of modern conjecture on what makes a good story is based on the work of Carl. G. Jung and Joseph Campbell, both of whom were fascinated with mythology and religion. The great psychologist and philosopher, Carl Gustav Jung, influenced the mythological criticism greatly. He believed that there exists a universal joint unconscious. This idea indicates that every individual has entre to a shared set of images, called archetypes, common to all people. The universal unconscious was verbalised in art, literature and myth and Jungian lite rary criticism focus specifically on the analysis of archetypes in literature and written mythology.Much of the literary characters that we are most familiar with from legends, fairy tales and mythology are display cases of what Jung would classify as archetypes. According to Jungs notion of the psyche, the human psyche can be divided into deuce- the conscious part and the unconscious part. The unconscious part of the top dog covers all the carriage experience, knowledge, education and social training. It contains aspects of any skill acquired during the life. The skill is later brought into practice consciously, with the sensory faculty of its reason and consequence.The private unconscious layer of the mind covers acquired life experience and behavior, of which reasons and origin cannot be easily identified. An example of unconscious experience is fear of a dog. The someone is conscious of his or her fear because of prior attack. If a dog attacks a small child, and it for gets it, the experience is suppressed and becomes a part of the unconscious. The child therefore feels uneasy with dogs for the rest of his life, without knowing the reason. Carl Jung believed that beneath these two layers of the conscious and the unconscious, there lies some other layer which he called the collective unconscious.In developing his theory of racial memory and archetypes, Jung asserted that beneath the conscious and unconscious layers of mind is a primeval, collective unconscious shared in the psychic heritage of all members of the human family. As Jung himself explains in The Structure and Dynamics of the caput, If it were possible to pose the unconscious, we might think of it as a collective human being ransackining the characteristics of both the sexes, transcending youth and age, birth and death, and from having at its command a human experience of one or two million years, practically immortal.If such a being existed, it would be towering over all temporal change the present would mean incomplete more nor less to it than any year in the hundredth millennium to begin with Christ it would have withstandd countless times over over over again the life of the individual, the family, the tribe, and the nation, and it would possess a living sense of the rhythm of developing, anthesis and decay. (349-50) Thus, the collective unconscious covers the experience of whole humankind, acquired during millions of years of the human evolution. Jung describe the content of the collective unconscious more explicitly.He claims that there are behavioural patterns (that are collective) in every human mind. Just as certain instincts are inherited by the lower Animals (for example, the instinct of the baby chickenhearted to run from a hawks tooshie), so more difficult psychic predispositions are inherited by human beings. Jung says that mind is not born(p) as a tabula-rasa a clean slate. Like the body, it has its pre-established individual deter minateness namely, forms of behavior. They become spare in the ever-recurring patterns of psychic functions.He refers to the manifestations as archetypes or motifs or primordial images. Thus, Jung presented the notion of an archetype- a symbolic demonstration of the collective behavioural patterns in every human mind. These archetypes can be found only in the humans unconscious and people consciously do not know that they follow a general pattern of behavior. (Jung) This theory suggests that all people have all the possible archetypes in the unconscious part of the mind. The adequate archetype activates and commands our behavior according to various life situations.Jung detected an intimate kind between inspirations, myths and art in that all three serves as media through which archetypes become accessible to spirit. In other words, myths are the means by which archetypes, essentially unconscious forms, become manifest and articulate to the conscious mind. The context of charac ter, situation and places can provide a space for a particular archetype to occur. The universal unconscious was expressed in art, literature and myth, and Jungian literary criticism focused specifically on analysis of archetypes in literature and written mythology.A Jungian literary may simply evaluate the exitiveness as a particular archetype in a novel. slice reading literature in Jungian literary criticism, the central character is viewed as real, while most other characters are seen as symbolic agencys of aspects of the heros unconscious self. The characters all stand for separate of the protagonists unconscious desires or parts of the unconscious which the character has yet to access.2. 3 JUNGS surmise OF INDIVIDUATIONAccording to Carl Gustav Jung, the goal of all humans is to obtain a state where the unconscious is known and integrated into the conscious mind.In other words, the unconscious aim of all people is to become their own self. This process is called individuati on. Individuation is the terminal arrange of the human development that represents the union of the matured individual identity with one of the unconscious archetypes. It is a process that can take the whole life, but it can also be achieved through a particular life situation. Individuation is a reconciliation of a man with his real self, which has to be consciously accepted and requires extra courage and honesty.The theory of individuation is related to those archetypes designated as the quarter, role and the Anima/ bad lineage. The iniquity, the Persona, and the Anima/ animus are the geomorphologic components of the psyche that human beings have inherited. We encounter these archetypes throughout the myths and the literatures. Here, the Anima/ bad blood, the dark, and the Persona are projected, respectively, in the character of the heroine, the villain and the hero. The night is the darker side of our conscious self, the indifferent and less pleasing aspects of the Pe rsonality, which we wish to suppress.The most common variant of the archetype, when projected, is the Devil. In Jungs words, the Devil represents the dangerous aspect of the unrecognized dark one-half of the Personality. Shadow contains all the interdict tendencies the individual wishes to deny, including our Animal instincts, as well as our undeveloped absolute and cast out qualities. Its contents include those tendencies, desires and memories that are rejected by the individual and are contrary to the social standards and ideals. The Persona is the appearance we present to the world.It is the character we assume and that which we relate to others. The Persona includes our social roles, the kind of clothes we choose to last and our individual styles of expressing ourselves. The term Persona comes from the Latin, meaning masquerade or false-face, as in the mask worn by an actor on a coiffure through which he speaks. Jung, in discussing this social mask, explains that, to achei ve psychological maturity, the individual essential have a flexible, viable Persona that can be brought into harmonious relationship with the other components of his/her psychic make-up.He states, furthermore, that a Persona that is too artificial and primed(p) results in such symptoms of neurotic disturbance as irritability and melancholy. The Anima/animosity is perchance the most interwoven of Jungs archetypes. It is the complement of the Persona. The Anima and bad blood are the unconscious or true inner self of an individual, as argue to the Persona or outer aspect of the personality. The Anima is for males and the animus is for distaffs. It can be identified as the totality of the unconscious feminine psychological qualities that a male possess or the manly psychological qualities possessed by the female.The Anima manifests itself by appearing as views in dreams as well as by influencing a mans interaction with women and his spatial relations towards them, and vice-ve rsa for females and the bad blood. The Anima functions as the primitive mediator between unconscious and conscious. It is oriented primarily towards inner process, just as the Persona is oriented to the outer. In this project, two of the most popular fairy tales have been selected- Cinderella and gust fresh. Both the fairy tales will be analyzed and interpreted based on the Jungian psychology.Indicating that both the fairy tales are actually a psychological process, I will see to reveal the archetypes in the stories and show how coulomb duster and Cinderella goes through the process of individuation to achieve their true self. Also, by analyzing both fairy tales from this perspective, I will try to reveal the similarity of archetypes in these independently created fairy tales.3. ARCHETYPES IN pitch-b inadequacy eye WHITE bump vacuous is a magic fairy tale. It is the story in which a child is victimized by an adult. Adult anxieties and jealousies cause the adult in the stor y to act against the children, who are being the objects of adult jealousy. reverse sporty is a classic example of a fairy tale with some characteristic fairy tale elements. There are wizardly elements, a fictional setting, and characters with supernatural powers, a heroine, a happy ending and themes of adult anxieties. speed of light fair goes through changes from a girl to a woman by the end of the story. In almost every version of setback discolour these elements exists. The most popular and current version of one C White is Disneys 1937 movie Snow White and the septette Dwarfs. The Disney movie is very similar to the oldest known sham of the tale, the Grimm Brothers 1857 version of Little Snow White.The Grimms collected the fairy tales that they printed from oral tales. The probable ascendent of the story of Snow White exists in an oral tale. There are more other versions of Snow White, mostly found in Italy and all similar to the Grimm Brothers version. small-arm some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each version was independently created. In other words, the story of Snow White can be found with little variations all over the world.So, it is a fairy tale which has a lot of meanings for many people and, like myth, continues to fascinate.3. 1 SNOW WHITE A BRIEF HISTORYAlthough the most famous version of the tale today is Disneys classic Animated film Snow White and the Seven dwarfs, it has existed in many versions in the centuries preceding Disney. The Grimm Brothers collected the tale from the two sisters- Jeannette and Amalie Hassenpflug- who lived in the town of Cassel. The tale was well-known before the Grimms collection however and appeared with little variation from Ireland to Asia Minor to Central Africa.The earlier version of the tale can be found in Giambattista Basiles Pentameron. It is believed that Basiles literary version influenced the versions whi ch followed. Disney based his film on the Grimms version of the tale. Disney actually changed some aspects of the tale which had been edited out in the previous versions intended for children, especially the poufs demand that Snow Whites heart be delivered to her as proof of the childs death. In 2012, a Hollywood film Snow White and the hunting watch based on this tale was released by the Universal Studio.3. 2 SNOW WHITE AN ARCHETYPAL ANALYSISThe tale of Snow white is a very simple one but it still holds much for us that corpse deeply buried within its simplicity. Perhaps it was invented to show us something of ourselves and perhaps these simple stories are, as C. G. Jung considers myth to be, the unconscious expressions of ourselves. Like dreams, fairy tales including Snow White and Cinderella, appears to be a product of the human unconscious, that straits a vision that is complementary to the prevailing conscious view.But instead of a dream that functions from the individual ps yche, the fairy tale seems to function from an entire culture. It is effectively a collective fantasy. As it is told and retold, elements of the story added by the individual teller fall a expression, while the more universal theme remain. So it becomes valid for the throng of people in general. In this analysis of Little Snow White (as recorded by the Grimm Brothers), I will assume that the whole story describes a state of juvenile feminine psyche. All the images in the story will be seen as aspects of a feminine.Based on Jungian literary criticism, the central character, Snow White, is viewed as real while the other characters (evil step- perplex, the hunter, the septette dwarfs, and the Prince) are seen as symbolic representations of the various aspects of the heroines unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The story setoffs out with a Queen sitting unsocial by a window in mid-winter. While sewing, a needle pricks her finger and three drops of blood falls on the white snow.Gazing at the drops of blood, the Queen wishes for a girl who is as white as snow, with black hair and cheeks as red as rose. The insistence on whiteness of the girl implies that darker, shadowy aspects are not wished for by the biological nonplus. They are missing in her child, although the black of the hair hints at deep darkness. Snow White- the name alone sets the stage and the theme the story will be about the heroines- or a female psyches- confrontation with and integration of Shadow aspects. The Queens reflection, Jung considers, is a masculine trait within the feminine.The Animus often uses the silent image to illustrate a painteror as a cinema-operatoror owner of a picture gallery. Snow Whites become gazed thoughtfully on the image and places her prospective offspring into its structure by visualizing her future childs attributes. We can move up a pure feminine act of imagination as well as Jun gs masculine trait of a convey imaging her young womans nature prior to birth. At the start of the story, Snow White or the female psyche is far from complete, as she is both innocent and immature. Also, she lacks a caring vex figure within.In the first paragraph of the fairy tale, we read how the Queen died at the birth of her child and after her death, the king took another wife. This is the only time when Snow Whites arrive is mentioned. He is an indolent father because he utterly fails to treasure his child from the homicidal hands of his new wife. The withdraw one in a persons life or the one that is least mentioned, the father, has an enormous contribution to the whole tale. Snow White starts out with an almost non-existent father figure or Animus and at this stage the set out is dead.This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand up for her. Doing nobody is the most expressive form of violence, because the very act of non-doing prevents its cure. Here, the king does not offer any commission or suggestions on his daughters life. He does not even examine to control the hazardous forces within her personified as the unsporting step-mother. In other words, he does nothing against the opposite raging or the Shadow. Thus, the father is like a weak Animus in the unconscious.The counter balance to the weak Animus is an inflated negative feminine Shadow which is in all unconscious and seems to possess a preposterous wisdom of its own in the form of the evil stepmother Queen. As we explore through the story, there is a growth of the primal female in the form of wicked stepmother Queen. This rife Shadow tries to agitate the egotism- the center of consciousness and one of the major archetypes of the personality. The self provides a sense of unanimity and manner in our lives.It tends to oppose whatever might threaten this fragile consistency of consciousness and tries to convince us that we must a lways consciously jut and analyze our experience. The self-importance within Snow White is infantile in development and immense. Thus, it is not a surprise that the Shadow is essay to dislodge the egotism. Here, the stepmother Queen is like the Shadow archetype within the unconscious. In many fairy tales, there are two mother figures one is totally and absolutely good while the other is just as unambiguously dark, sinister or evil.Our tale shows a split in the mother archetype in the feminine psyche. The wicked Queen is wishful of Snow White because the young girl is becoming very attr wide awake, and, eventually, more well-favored than the Queen herself. Jealousy and envy between a mother and daughter are debatable topics in our society. Our understanding of motherhood heavily emphasizes a completely selfless, self-sacrificing mother. We label that as the positive pole of the mother archetype. We simply cannot accept that a mother could possibly be envious and jealous of he r daughter.Only a wicked stepmother is capable of such unnatural impulses. As said before, the swelled head within Snow White is actually under-developed. The Ego began its own development when Snow White was seven years old. It was thusly we expose terrors expressed by the stepmother Queen. This terror can also befit jealousy, a lack of love for the child within, which then becomes hateful and murderous that she would have been ready to tear her heart out of her body. (Grimm) This is the first phase of Snow Whites life- from birth to pre-adolescence.During the first phase of her life, Snow White lives in her parental castle literally as well as psychologically. A threatening stepmothers increasingly malevolent capability (suitable image for a powerful negative mother archetype) propels the heroine into the next phase- the transitional phase. During the transitional phase, the young girl is being prepared for her life as an adult, as a espouse Queen. In order for her to under stand fully all aspects of life, she is dropped into the woods, at a distance of seven mountains away from the castle. She lives in a different, secret world.Now, the transitional stage involves the first glimmer of awareness on the part of Ego. It is considered a threat by the Shadow figure in her psyche- the wicked stepmother. So, the first state of male awareness emerges- the huntsman who will do no harm, but will not protect her either. This is a transit stage for Snow White as she finds herself roam in the wilderness of the wood abandoned by adults. The Shadow within, the Queen, is out to destroy Snow White (the Shadow is seek to integrate into the Ego) and has hired the services of the huntsman as the killer.Thus enters the second male figure in the tale. The hunter is unable to kill Snow White, as he is interpreted by her beauty and innocent pleas, and instead tells her to run. (Grimm) It is suggested that the huntsman is an unconscious representation of the father since h e is first taken by the Queens command and then succumbs to the child. Nevertheless, he is not as violent as the first in that he does do something and he refuses to harm her, but also fails to protect her, letting her go into unknown dangers in the woods. At least, he deceives the Shadow figure and takes back the heart of a cervid as a pretense.The Ego at this stage is under the spell of unknown forces within and is restricted in freedom, being alienated from traffic pattern life (Jung) where she continues hiding in the woods It is forced to run away from the normal life by the Shadow which is yet unknown. Snow White now wanders through the dark, deep forest and, finally, meets the seven dwarfs. This marks the beginning of the 3rd basely phase in Snow Whites life. It is a more matured stage. Here, Snow White meets the common man- the seven dwarfs. N. J. Girardot calls this as the liminal period in his article Initiation and Meaning in the Tale of Snow White.In many tales the dw arfs are malevolent and destructive beings, but as in this case, they can also be the creative agents of growth and rebirth. Indeed, in this story, the dwarfs can be taken as the divine ancestors, teachers, refiners, guardians, or helpers necessary for a successful initiation. (Girardot, 290) Snow White stays with them and keeps rear for the first time and thus, in a way, she starts to learn the lore of adult life that will be expected of her. The dwarfs teach her adult tasks, such as cleaning and cooking.They work all day and expect everyone to do so. Thus, Snow White enters a tentative agreement based on mutual help. The dwarfs warn her against the stepmother Queen. Girardot says that they are like protective agents in the race of Snow Whites life. (Girardot, 291). The dwarfs are helpful and also a positive force. Carl Jung thought of the dwarfs as a representation of the natural wisdom. They are clarifications of teachers and foster parents. At this point, in her process of ind ividuation, Snow White is introduced to the masculine creative energy (Buchholtz, 9).Her past understanding of the masculine was restrict to an absentee father and an encounter with the huntsman. In other words, Snow White did not truly have an encounter with the Animus yet. Now, she meets the Animus in the form of many which is undifferentiated. The Animus also embodies helpful figure as the dwarfs turn out to be, and thus starts the Egos road back to recovery (Jung). Here, the Animus is the helper who brings the Ego out of its forced, restricted life and, thus, Snow White is once again on her way to success, to achieve individuation.In this stage, the Shadow becomes aware of the budding Ego. Thus, it takes up a disguise. While she is living with the dwarfs, Snow White is tempted thrice by her stepmother who disguises herself as an old woman selling lace, comb and apples, respectively. As the dwarfs might be said to represent the creative and positive dimensions of the chaotic c ondition, the stepmother now directly embodies the negative and destructive dimension of death and decay (Girardot, 291). The life with the dwarfs has made Snow White more accountable and also free to be herself again.Thus, the Ego is not under any restrains and begins to develop. The Shadow, the negative aspect, is warned (by the mirror) against this development of the Ego. The stepmother first attempts to kill Snow White with poisoned laces (Grimm). creation tempted by the beautiful laces, Snow White lets her disguised stepmother into the dwarfs house. She is now an teenaged tempted by beauty and this temptation leads her to near death. The second time, Snow White is tempted by the comb which also results in her almost death.The dwarfs manage to continue Snow White both the times, but could not save her the one-third time when she was tempted by the apples. Snow White fails to listen to the dwarfs thrice. Therefore, in the third phase, what we see is a conflict between the Eg o and the Shadow. As said before, the Shadow is laborious to somehow dislodge the Ego and, in the third attempt, it succeeds. Also, the Ego was actually succumbing to the negative energy of the Shadow. In this state, Sow White is unable to get in touch with her expressions. The split (between the Ego and the Shadow) within herself becomes evident.She is actually witnessing the hatred expressed by her own negative mother. Here, the Shadow is actually nerve-racking to overthrow the Ego and gain control over the female psyche. The Ego, here, is hiding herself and, thereby, grows slowly, making up for the lack of Animus in the psyche. For Snow Whites personal growth, her transcendence is dependent on the process of building up the inadequate masculine father through the help of the dwarfs. In a gist, we can say that in the third phase the Ego is more matured and is on its way to achieve individuation.It is frequently restrained by the Shadow within the unconscious. Nevertheless, it d evelops with the help of Animus which it lacked in the first two phases. The one-fourth and the final phase is when Snow White falls down almost dead and is, later, saved by the Prince. The dwarfs had found Snow White, who had eaten the poisonous apple, dead and they decide to place her in a nut coffin. Later, a Prince is given the coffin by the dwarfs who forgiveness him. The Prince comes into her world only when Snow White is unconscious. Now the Ego is in a comatose stage which is a special kind of sleep.In this state, the Shadow stops to attack the Ego and does not try to control it. The Ego now has a chance to return to life and at the same time unite with the Animus (the Prince). Thus, in the tale, Snow White is married to the Prince. United in marriage, they return to put the villainous character, the Shadow, in her victorian place. In the fourth phase, the Ego recognizes the Shadow, overthrows it and unites with the Animus, thereby, finding its true self. For the first t ime in the story, the wicked stepmother is invited by the Ego. She joins in with what Snow White is doing.Here, the Shadow is recognized. This is the final process where the Shadow is invited by the Ego to integrate with it. Snow White had suffered so much in her life. She was robbed of her rights as a Princess she was not captureed to live a normal life. Despite this, she does not show any sort of rage or grief. As Jung says, this can happen only when the Prince or the Animus has established itself in the feminine psyche. Thus the wicked Queen, who was invited to the wedding of Snow White and the Prince, was forced to put on the juicy shoes, and dance until she dropped down dead. (Grimm).The wedding is taking place at the same time when the Shadow is defeated. This indicates the unifying of the feminine and the masculine, and also the death of the Shadow within the unconscious. The Ego unites with the Animus, thereby, attaining the true self. The Ego is completely developed now. Therefore, the fourth phase is symbol of the completion of individuation.4. ARCHETYPES IN CINDERELLACinderella is one of the most popular stories in the world. Like almost every fairy tale, the true origin of the story is unknown. There are various versions of Cinderella, originated from various countries and cultures.Yet, the themes of the stories are similar in all versions. Every version of Cinderella centers on a kind, young girl who is tortured and ill-treated by her own family, after her mothers death. Her father is either absent or neglectful, depending on the version of the story. The girl is helped by someone to triumph over her family and achieve a wealthy marriage. Like Snow White, Cinderella is also a magic fairy tale. It consists of many fairy tale elements. There are magic elements, opposing characters, a heroine, a happy ending and themes of adult anxieties. Cinderella goesthrough changes from a girl to a woman by the end of the story. In almost every version, these elements exist. Currently, the most popular version of Cinderella is that of the Disneys Film in 1950. This film is based on the version by the Grimm Brothers. They had collected their version of Cinderella from oral tales. There are also many other versions of the tale found in many parts of the world. The Charles Perraults version is also quite famous. While some of the details of the story may have been changed to fit each culture, the same themes exist in each story, though each was independently created.Thus, born centuries ago, the fairy tale still continues to live and fascinate people.4. 1 CINDERELLA A BRIEF HISTORYThe story of Cinderella had been around the world long before the Disney or Grimm version. It is said that there are over a hundred versions of this fairy tale. The story was first recorded by Tuan Cheng-shih of China in the middle of the 19th century. Long before he recorded the tale in writing, the people of his day probably knew oral telling of it. In this ver sion, however, Yeh-shin, the heroine, is helped by a magical fish, and not a fairy Godmother.In 1697, Charles Perrault recorded Cinderella, or The Glass Slipper in his collection Tales of Mother Goose. This version included the fairy Godmother. Also, in the end, Cinderella finds husbands for her half-sisters. During the 19th century, the Grimm Brothers from Germany changed many elements in this tale and it was called Aschenputtel or Ash Girl. In modern times, the tale of Cinderella has inspired countless picture books, musicals, novels, etc. It is the 12th enliven feature film in the Disney Animated feature canon. It was released in 1950.4. 2 CINDERELLA AN ARCHETYPAL INTERPRETATIONWe usually take the story of Cinderella, like other fairy tales, for the sole purpose of entertainment. But it is interesting to know that this is a clear-sighted story infused with different meanings and symbols. Perhaps, it shows something of us as Carl Jung considers myth to be unconscious expressio n of ourselves. As mentioned about Snow White, Cinderella, too, seems to be like a product of human unconscious and offers a vision that is quite opposed to the prevailing conscious view. In this analysis of Cinderella (as recorded by Charles Perrault), I will assume that the whole storydescribes a state of immature feminine psyche. All the images in the story will be seen as aspects of a feminine. Based on Jungian literary criticism, the central character, Cinderella, is viewed as real while the other characters (stepmother, stepsister, father, fairy Godmother, the Prince, etc. ) are seen as symbolic representations of the various aspects of the heroines unconscious self. These characters all stand for parts of the unconscious which the heroine will eventually access. The story begins by describing the background of the fairy tale.We come to know that after the death of the heroines mother, her father took in another wife who had a daughter. The stepmother and stepsister were the p roudest and the haughtiest that were ever seen (Perrault, 1889). They did not like Cinderella, nor did they tolerate her good nature. The initial part of the story shows Cinderellas way of life after her fathers death. The introduction presents obvious facts known to Cinderella. For her, this represents the conscious. The main contrast between the conscious and the unconscious is represented by the known and the unknown situations.By the death of the father, there is a threesome in the story- the stepmother, stepsister and Cinderella. This indicates an incomplete cycle. Only when we pass number four will the cycle be complete. Cinderella, the stepmother, the stepsister and, eventually, the Prince is one example of a quaternary. At the start of the story, Cinderella or the female psyche is far from complete. She is very innocent, wide-eyed and immature. This immature female psyche lacks a caring mother figure within. In the first part of the story, we learn that the father took in another wife and he was completely dominated by her.We mark off that this is the only time Cinderellas father is mentioned in the story. He is an indolent father because he fails to save his daughter from the torturing hands of his wife. The father is an absent-one in Cinderellas life. Yet, he does a great contribution to the whole story. The female psyche starts out with an almost non-existent father figure or Animus and, at this stage, the mother is dead. This state of the psyche is tragic. It lacks a caring mother image and a father who cannot stand up for her. Doing nothing is the most expressive form of violence.The father does not offer any guidance in his daughters life. He does not even attempt to control the raging forces within her, personified as the cruel stepmother. He does nothing against the Shadow within the female psyche. In other words, the father represents a weak Animus in the psyche. As mentioned before, after the death of the father, a women-threesome is forme d. The stepmother is a total negative character. She represents the negative power of the psyche. The stepsister, although being a motionless character in the tale, also is connected with the mother and intensifies her negative power.Cinderella is the only positive power of the psyche in the threesome. From the beginning of the story, we notice that the Shadow s dominant in the female psyche. It has a control over the Animus and is, at the same time, trying to overthrow the Ego, which is young and under-developed. The stepmother, representing the Shadow archetype, is jealous of the young girl for her beauty, kindness and good nature. Thus, she is an active wrecker. The woman-threesome represents the principals of the womans psyche, the essential self of women. Every woman is born with this essential self.Cinderella, the positive character in the threesome, is the real essence of the womans self. According to Jung, the features of the dark side of the womans nous are expressed by i nstability, anger or hatred. The beginning of the story shows an unbalanced psyche. There is a dominance of the Shadow and a lack of the Animus in this psyche. The Animus is the mans power of the psyche it is a masculine prescript that appears in the womans psyche. regular(prenominal) attributes of the Animus are, for example, rationality, power, action or reasonableness.The Animus and the Self complement each other. Finally, in the harmonized psyche, they are integrated into one another, thereby achieving individuation. Cinderella is passive in the beginning of the story. She suffers a lot but does not baulk against the atrocities towards her. She simply waits for her destiny to get better. At this stage, the Self, the essence of the womans psyche, is suppressed under the dominance of the Shadow in the unconscious. Also, in the stage Cinderella does not have any friends. She is not sharing her grief with anyone until the fairy Godmother appears.The fairy Godmother appears when C inderella was alone in the house, her stepmother and stepsister having left over(p) for the royal troupe at the kings palace. The Godmother is the only friend Cinderella has, who compensates her love, friendship and the feeling of loneliness. Jung describes the fairy as the soul-mate and the incarnation of inspiration and spiritual fulfillments. The fairy Godmother comes to Cinderella from some unknown place. This symbolizes the unconscious. Now, Cinderella shares all her sorrows, wishes and grieves with her, and, finally, finds relief in a friend.This relief was very essential for her existence. The fairy Godmother from her unconscious is her own thought, her desire and hope for the change of the current situation. Talking with the fairy, Cinderella pursues her hope for a better life. Here, the Ego is trying to find a way for its integration with the Animus, in the absence of the Shadow. The Shadow finds Cinderella as a threat and hence, does not allow her to attend the royal pa rty. Our heroine is left alone at home when, for the first time, she speaks out her wish. Thus, at this stage, there is a first glimmer of awareness on the part of Cinderella.She is considered a threat by the Shadow figure in her psyche. The Ego is restricted in freedom. It is alienated from normal life (Jung). It continues to hide in the house and is forced to retreat from the normal life it wishes to live. The appearance of the Godmother meant the revelation of Cinderellas wishes. Later, the fairy disappears. This means that her hopes are revealed and must be suppressed. It must be hidden deep in the unconscious. Hence the fairy matinee idol mother disappears, never to return in the story. But her magic and magical powers do not disappear completely.It remains with Cinderella till she wears the shabu slippers and turns into beautiful Princess. Cinderella is blessed by the fairy Godmother. She is enchanted, gets new, beautiful dress, jewels, and a pair of glass slippers. This ma gic symbolizes her taking on a social mask. She presents herself the way she wants to be seen by other people. Here, the archetype of Persona has come to the fore. The Persona is the character we assume and that which we relate to others. It includes our social roles, the kind of clothes we choose to wear and our individual styles of expressing ourselves.Jung explains that Persona is important to achieve psychological maturity. The moment of the Cinderellas decision to attend the royal party indicates the rise of Animus in the psyche. She uses the magical powers enchanted upon her and this stands for the rebirth of Animus, the mans psyche in her mind. Even though she stays a passive victim under the pressure of the external circumstances, on the level of conscious, Cinderella struggles with it. She is aware of her desires and the power to reach them. This awareness of the inner power is the first sight of the Animus.The Animus principle represents straightness, rationality, power an d action (Jung). Cinderella is warned by her godmother to return from the party before the measure strikes 12. During the party, as soon as the clock strikes 12, Cinderella runs away from the palace. Jungian scholars interpret this as the test of the power of the Animus in Cinderella. She does not have any experience with the way the Animus behaves as she has never been exposed to it. She has never tried to be straight or follow her aims, rather submitting to the negative forces, without protest.She wants to listen to the Animus, but she is afraid of the peoples reaction to her new perspective to life (her Persona). Although she believes that she deserves to be there, she runs away, frightened that she would be recognized. Thus, the twelve-O-clock striking and Cinderellas run away can be interpreted as the female psyches defense mechanism mechanism. She is, once again, trying to hide herself and escape from the risk of exposing her true self. On her way home, Cinderella loses her glass slippers. A psychological explanation is that a slipper or a shoe symbolizes the persons attitude to the particular situation.Here, Cinderella loses her attitude to the mans principle (Animus) and retires into the unconscious, again suppressed. She failed the test of power, and is not able to encourage herself to fulfill her true desires. At this point, new characters appear in the story- the kings men who go around the country to find the Princess. This represents a link that is important for the further movement of the story. After Cinderella left her slippers behind, the kings men found it and brought it to the Prince. The Prince proclaimed, by sound of trumpet, that he would marry her whose foot the slipper would just fit (Perrault).He employed few men to find out the Princess. Thus, they began to try it on every young lady in the country and, eventually, find Cinderella. These men, who are employed by the Prince, may represent the part of Cinderellas mind, which has an i mpact on her self-evaluation. She is trying to regain her strength. She concludes that she wants to raise her social status. This implies that she is taking a positive attitude towards the newly-found Animus in her psyche. She is trying to integrate with it. When the Princes proclamation is made, the stepsister burst out laughing and began to banter her.She tried to stop Cinderella from trying the glass slippers. This implies that the Shadow and the Anima (the female power) are still more dominant in the psyche. Cinderella does not try the slipper on outright. The womans principle in her discourages her from trying to change her attitude towards life. These are the defense mechanisms in her psyche. It symbolizes her doubts- whether she would be accepted in this new attitude whether she would be hurt again. The men were ordered to let everyone try the glass slippers. Hence, Cinderella was oblige to try it.In a sense, she was taking her slippers back. The decision to try the slippers symbolizes the rise of the Animus. As it was mentioned before, a shoe (or slipper) represents the attitude towards life. Cinderella took her shoe back which means that she was again overtaken by the attitude of the Animus. Cinderella has to become conscious of her power first, to change her horrifying circumstances. When she realizes her powers, the Shadow loses its dominance in her psyche and the Animus takes over the power. This was the final test of the power of the Animus and she succeeds.The moment Cinderella wears the shoes, she is transformed into a beautiful Princess. This symbolizes the moment of victory of the Animus. Our heroine has taken the attitude to the Animus principle. She has accepted the Animus in the unconscious and is accepted by the society, too. By transforming into a Princess, Cinderella intensifies her new life attitude. Also, the Prince and his men symbolize protection so that the Shadow does not once again dominate the psyche. The story ends with Cinder ellas union with the Prince. The Prince represents the Animus.Thus, finally, the Ego is united with the Animus to form the true self. The evil characters in the story are not mentioned again. This indicates the death of the negative power in the psyche. The female psyche is now completely developed and, therefore, the process of individuation is complete.CONCLUSIONIn this project, I have tried to show how the theory of collective unconscious propounded by Carl. G. Jung is working in fairy tales, taking the examples of Snow White and the Seven Dwarfs (Grimm) and Cinderella (Perrault).I have tried to outline the various archetypes in both the stories. though these stories have changed over time to adapt to the society, the archetypes have remained the same. I have done a psychological analysis on both Snow White and Cinderella. With a look into its history, it is shown that these stories were independently created in different parts of the world. They are from different cultures, trib es or nations. Yet, there are a lot of similarities between these stories. Both stories are of the development of an immature female psyche.It is concerned with the psychological process of individuation. Through an archetypal interpretation of both these fairy tales, it is concluded that individuation was successfully achieved. Also, the fairy tales describe the importance of the Animus archetype in the womans psyche. Both our heroines, Snow White and Cinderella, in their respective stories are unable to understand what is useful from the conscious and had little idea of their own dark side, at the beginning of the story. The Ego in these female psyches is not aware of the existing, dominant Shadow.Then, as it develops, there are conflicts between the Ego and the Shadow. The Ego undergoes many stages in this stage as it gathers knowledge from the depths of the unconscious. In the end of both the stories, the Ego finds a way to escape from the clutches of the negative energy. Thus, it triumphs over the Shadow by integrating itself with the Animus. Thereby, both the heroines achieve individuation. In other words, the development of the female psyche is complete. From a psychological perspective we can say that both the heroines undergo similar emotions and personal experiences.Both are hated and tortured by their stepmothers they start out without an Animus and lack an image of a loving mother. Both wish to be free from the clutches of the Shadow. Finally, through struggles, sufferings and conflicts, they find their Princes, thus, uniting with the Animus. The behavior and motives of the female psyche is also quite similar. Thus this psychological analysis clearly shows that there exists a similarity of archetypes that appear in these fairy tales which were created by independent cultures. This psychological analysis is not only applicable to fairy tales but also to the contemporary literature.Questions would cram as to what is its relevance in the present da y literature and what effect does it have on children and adults. We can find the answer if we observe and comparison the experience of children and adults engaging in fairy tales. As Walter Odajynk, in his article The Archetypal Interpretation of Fairy Tales Bluebeard, argues, through archetypal interpretation, the psyche is engaged. While reading a fairy tale or any in effect(p) literature, an adult, with his/her matured intellect, may either interpret it in relation to a critical theory, personal identification or, ideally, an archetypal interpretation.However, a child does not have the context for critical theory, or the developed Ego for complex identification. In other words, a child does not have a mature intellect. The fairy tale serves as a method of emotional and psychological instruction. A child would be able to recognize the digression between good and evil, positive and negative, masculine and feminine, which are certain concepts propagated in all the fairy tales, with the help of archetypes. Thus, for the child, a fairy tale is like an early education in archetypal structures.This education begins with simple representations that are depicted in cartoon form, such as Pokemon and many Disney films, and then extends to more complex fantasy genre, such as the wizard tales of rag Potter (J. K. Rowling), Twilight (Stephanie Meyer), Lord of the Rings (J. R. R. Tolkien), etc. These days, children are more familiar with the Disney Films and not with the Grimm Brothers and Charles Perrault. Disney has obviously taken the archetypes represented in the fairy tales. The various archetypes appear in the Disney films, Harry Potter, Lord of the Rings and many other modern fictions.Observing the plot of these fictions, we would find the common archetypes- the righteous warrior, the villain who must be overcome, the humble birth and the prophesied journey of the hero. Disneys heroines are all pure, beautiful, innocent and sweet, whereas heroes are all nobl e, heroic and are on some quest or adventurous journey. In the Disney Fairy Tale Films, the fairy Godmother, like the one who gets Cinderella ready for the Ball, serves as the archetype of sassy nonagenarian Woman/Man. This archetype serves the purpose of being the learn (helper). In Lord of the Rings, it is Gandalf who is like the archetype of Wise Old Man.In Harry Potter, it is Albus Dumbledore. Also, Hermione Granger (Harry Potters friend) is an Anima. In Lord of the Rings, we find Sam as Frodos Anima, though they are both males. Speaking of the Shadow archetypes, the famous villains nicely personify the Shadow. So, Lord Voldemort and the Deatheaters are the Shadow in Harry Potter. The villain is what the hero could become if he fails in his quest. This fact is repeated several(prenominal) times in the Harry Potter series. Harry, who has equal powers as Voldemort, is invited many times to join him as a Deatheaters.Likewise, the evil Queen in Disneys Snow White is corrupted by the Shadow theatrical role of envy, placing her in stark contrast to Snow Whites righteousness and beauty while Cinderellas wicked stepmother could be said to represent a contrast to Cinderellas gentle kindness and ability to take joy in small things. Thus, we can conclude that even in modern fiction, the archetypes do work to express the collective unconscious. This project focused mainly on fairy tales, rather than modern fiction because, as Marie von Franz says, fairy tales are the purest and simplest expression of collective unconscious psychic process.Therefore, their value for the scientific investigation of the unconscious exceeds that of all other materials. Fairy tales allow the unconscious to be observed more specifically. The characters in fairy tales represent archetypes, not human being, and thus, the unconscious is more easily accessible. In other words, the unconscious elements become more conscious in fairy tales. In conclusion, we can say that the archetypal natu re of fairy tales make them benevolent to children and adults, and transcend cultural boundaries.The theory of collective unconscious is not limited to a certain culture, place or nation. It is valid in comparison of independently created stories of all times, be it ancient or modern. We must not miss to notice that in stories, the archetypes are always fragmented into individual characters, but in real life, each of us carries qualities of each archetype in us. If not, we would not be able to relate the characters and archetypes, and accept them. You have an Anima or Animus. Likewise, you have a Shadow and a wise part that knows the best answer. It is just that you must learn to listen to it.