The Woman Inside Me: Chapter 17
This short chapter deals with the discovery of yet another essential Jungian archetype, namely that called Anima. Hayman informs us that just as Philemon, the Wise Old Man archetype developed out of Elijah, yet another archetype called Ka developed out of Philemon. Ka was the short for Carl his own Christian name. Soon he recognised that Ka was none other than his very own soul and it had a woman's voice, hence this archetype was female in gender:
I was very interested that a woman should intervene from inside my thoughts. Probably, I thought, it has something to do with the soul in the primitive sense, and I wondered why the soul should be termed anima. Why should it be represented as feminine? Later on I came to see that this internal feminine figure plays a typical or archetypal role in the consciousness of a man, and I called it the anima. (Quoted Hayman, 183)
Hayman explains clearly that Jung believed that every man inherits a collective image of woman - his anima. He then projects this image onto the female companion he has chosen because intuition told him she would be capable of receiving his projection. (See ibid., 185) During this time Jung had a further liaison with yet another female trainee therapist - this time a woman called Toni Wolff whose analyst he was. The WIKI interestingly gives good background on Toni:
Toni (Antonia Anna) Wolff (1888 - 1953), was a patient and then a lover of Carl Jung. Wolff later became a Jungian psychoanalyst. The extramarital affair between Carl Jung and Toni Wolff was openly enacted through a course of ten years. Jung had been looking for the "anima woman," eventually coming to call Toni his "second wife", his legal wife being Emma Jung. (See this Link here)
Hayman points out that Toni became virtually a member of the Jung family - the children addressed her as 'Aunt.' Franz Jung described her as 'all spirit. It was almost as if she had no body.' (Quoted Hayman, 186) Toni deeply believed in polygamy as indeed did Jung. His assistant Carl Meier recalled that Jung gave serious consideration to the thought of divorcing Emma. Also Emma seriously considered doing the same. Jung developed his theory of the anima with Toni Wolff in mind. She reminded him of Sabina who reminded him of Helly his cousin who in turn reminded him of the olive-skinned maid that nursed him as a boy when his mother was sick.
Jung, unlike Nietzsche, put art on a much lower plane than religion, and once he had silenced the voice that told him he was doing artistic work, he could now tell himself that he was working scientifically on his own nightmares, fantasies and hallucinations. Hayman continues: "In this way he succeeded in staving off madness, and his patients never lost faith in him. At the end of 1913, sixteen days after Jung let himself 'plummet into the dark depths,' Harold McCormick wrote to re-assure his father-in-law, John D. Rockefeller, that Edith was' in absolutely safe and trustworthy hands, for no finer man ever breathed than Dr Jung." (Ibid., 189)
Above I have uploaded a picture called 'luoghi dell'uomo' from a series of works called archeologia dell'anima by the wonderful artist Livia Alessandrini. See this site for examples of her work: Livia Alessandrini