ANIMA: INNER FEMININE ARCHETYPE
| The concept that a man has an inner psychological
feminine aspect is very old. Iconographic representations in both comparative
mythology and religion confirm this. It was this idea (also confirmed by dreams & active imagination
material) that influenced C. G. Jung's perception that every
man's soul is strongly influenced by an unconscious inner feminine archetype--an
inherited collective image of womankind.
This he called the anima meaning soul or spirit.
The feeling nature of inner feminine soul provides a counterbalance to the logic
of the outer masculine ego. It
is also important to remember that the anima is an archetypal symbol, not a
genetic or gender related biological reality.
On the far left is a rock sculpture from the Ellora Caves in India known as the Ardhanarisvara or The Lord Who Is Both Male and Female. This amazing hermaphroditic image shows a half-male, half female Hindu gods Shiva and Shakti. Shiva is on the right side while Shakti is on the left. Left in most cultures is symbolic for the unconscious. |
|
 |
|
| The evolution of this archetype may be observed in the
innumerable cultural representations of the feminine over time. It's the feeling
engine that drives his connection with all the outer women in his life. If a man
can begin to recognize and work with his anima projections upon women, he can
not only
achieve a greater balance between his inner and outer realities, but can over
time
improve his overall relationship with the women in his life.
The anima reveals itself in a man's nightly dreams as well. Whether she is playing the role of siren, seductress, lover, mother figure, princess, queen, child, or animal she is communicating her symbolic messages (images) to awaken greater understanding in his conscious mind. The picture below by Dali painted in 1936 is entitled, "The Dream Places a Hand on a Man's Shoulder" On the left is an image of the anima with her hand on the dreamer's shoulder. On the right is the back of a woman (Dali's wife Gala?) walking toward a distant perspective. The dreamer's red waist sash shows the connection between the two worlds--inner anima and outer woman.
|
|
 |
|
ANIMA POSSESSION: THE MOOD
| Like any real
woman, the anima part of a man can sometimes play the role of sulking bitch.
When a man identifies with her he falls into a mood. The mood can create an
atmosphere of withdrawal and depression. In dealing with an anima mood it's
important to remember the three T's: testy, touchy and temperamental--somewhat
like an opera diva.
Magritte's 1926 painting "He's not speaking" (far left) shows the man in the withdrawal mode. And similarly his 1927 painting "Far Away Looks" gives the impression of anima possession. The 17th century French Black and White engraving by Abraham Bosse entitled "Man Cloaked in Malice" shows a man wrapped in female images. Although feminists have interpreted this engraving as blatantly chauvinistic, the psychological imprint of the anima mood is unmistakable. The Bocklin picture right entitled "Odysseus and Calypso" shows Odysseus's depression as a captive of the enchantress Calypso.
|
|||
 |
 |
 |
 |
ANIMA: AS MUSE
| The anima
plays the part of a man's muse and some of the greatest artistic creations
have been inspired by her.
The Mona Lisa (La Gioconda)--LEFT by renaissance master Leonardo Da Vinci (1452-1519) is a case in point. Although Mona Lisa's name does not appear a single time in the artist's notebooks, he worked on and off on her portrait for years. It seems that the Mona Lisa was an inner meditation for Da Vinci and he only worked on it during dawn or dusk hours--when the light was subdued. Clara Wieck Schumann--Below Right--provided the inspiration for some of Robert Schumann's finest piano works such as Carnaval and the Fantasy in C Major. Clara makes her appearance in Carnaval as Schumann's impassioned anima, Chiarina. |
|
 |
 |
ANIMA: AS OBSESSION
| Mythic stories of
enchantment, fascination, enthrallment and utter entrancement of men by
creatures from the deep or witches and fairies are found worldwide. They are psychological symbols for the dangers
that men face whenever emotional obsessions or complexes take center stage.
An addiction can enthrall and lure a man down to the depths of his own
unconscious soul. Often a man considers it his greatest achievement when he
breaks free of a negative anima spell and withdraws his co-dependence on her.
Alcohol, cigarettes, drugs, food, gambling or sex are a few of the better
know anima addictions.
The John Collier painting left show the evil fairy Morgana casting a spell. She confines her lovers in a 'Val sans Retour' or Valley Of No Return. The origins of the name Morgana can be traced back to the Celtic water goddess Muirgen. The 1874 painting RIGHT by Sir Edward Burne-Jones is called "The Beguiling of Merlin" in which the fairy Vivien--another character name for Morgana--is enchanting Merlin. One story has famous Arthurian character Merlin falling under Morgana's spell and being confined for all time inside a magic stone. |
|
 |
 |
THE THREE STAGES OF ANIMA DEVELOPMENT
| In our book we use the Bly model to describe the three basic stages of anima development in a man's life. Each stage can be represented by a color: red, white and black. Keep in mind that these stages can occur at any age and are not confined in this strict order. For example, many young men are born into the white stage of social, political and religious conformity. While others with difficult or tragic childhoods will have experienced the black stage early. |
|
1. The first stage is red and is universally characterized by romance,
sexuality, ambition and rebellion. Ego expression is on full throttle as is
physicality. Often there's defiance against family or social traditions.
Like Shakespeare's Romeo, the man in his red state is often attempting to break away from the gravitational pull of his tribe or clan. He may be crossing the racial or ethic threshold by marriage to one of different color or race. The warrior, adventurer, or pioneer are familiar archetypes in the landscape of the red stage. Directly below is a scene from Romeo and Juliet by Pre-Raphael artist Frank Dicksee. |
|
 |
|
|
2. The second or white stage, in many ways represents the opposite pole of the red stage. A man's hair or beard begins to turn white. His youthful freedom is replaced by responsibilities to home, family, or business. By this time in his life he is usually part of the system or status quo. If the first stage is symbolized by an over abundance of anima energy, then the second stage can be a metaphor for a lack of anima energy. Hence, the universal middle age crisis of men having affairs with scarlet women and scarlet cars. The picture below is from the 1999 movie American Beauty. The main character, Lester Burnham is dead ended. His job is boring. His wife and daughter self-involved and unsupportive. At a cheer leading rally he meets his daughter's best friend Angela Hayes and becomes infatuated. Directly below in one fantasy scene she is floating in a bath of red roses. She is the catalyst for Lester to reconnect with his anima and begin to feel his soul again. |
|
 |
 |
|
3. According to poet and author Robert Bly the third or black stage is a time when men have to 'eat their shadows' and 'experience their own ashes.' Suffering, emptiness, sickness, depression and loss are typical of this time. In mythic terms, this stage is familiar to us as the night sea journey or trip to the underworld. The challenge is to maintain one's soul or spiritual connection through the difficult time. Well known contemporary examples include the Dalai Lama's 1959 exile from Tibet and CENTER photo of Nelson Mandela visiting the prison cell that was his home for 20 years. The recent movie "About Schmidt" staring Jack Nicholson is the story of a Nebraskan insurance salesman who loses both his job and wife. He is forced to reinvent himself after some intense soul searching in an RV that was supposed to be for his retirement. |
||
 |
 |
 |