Archetypes in everyday life:

The archetypical figures that are appearing in the test

more exact and larger descriptions in the book and in another page

Protective Mother

Greek Demeter is the archetypal figure of the all-nurturing mother. In essence, her longing is to become pregnant, and nurture and protect the new life she engenders. She typifies a madonna, whose first and foremost quality is to maintain and safeguard the connection between the mother and the child. In a working community, her archetype is recognizable in the person who starts, for example, making tea or coffee, or cooking for the others, being over-attentive to the needs of others, especially of the ’weak and needy’. Demeter’s earth mother-quality links with the basic relationship of nurture: she is the provider of life and life force, the fertile soil, in which a seed will develop into a new life.

Demeter is also the archetype of a grieving and destructive mother, which is always and everywhere seeking her children. This propensity of hers could be instanced by a mother making a call to her daughter, or son, even when they are adults, only to make sure that they are well. The children that have left home, in particular, are those who are central to her life: to her a home without children represents the empty aspect of life, which often drives her into depression.

In myths: Great Mother goddess, Demeter in Greece 

in fairy tales: Mother

I take care of others even if it needs self-sacrifice. I want to make this world better for my nearest ones.

My best characters are: I dedicate myself emphatically, truthfully and varmhearted to serve others

My weaknesses are: I does not allow my children and the other nearest ones live their own life. My self-sacrificing behavior makes other feel guilty and leave them debt of gratitude. I am very often tired.


In the classical Greek pantheon, the jealous mother is represented by Hera, while in the classical fairy tale she is aptly manifested by the stepmother of ’The Snow White’, who challenges her rivals to a contest: ”Mirror, mirror on the wall, who is the fairest of us all?” The inner woman-image of her daughter Snow White, she seeks to destroy her eroticism in order to eliminate beforehand the formation of rivalry over paternal attention.

The mythical stepmother of the fairy tale is the imprint of the real mother, who left disappointment within the child. In other words, the mother who was not good and kind, whose breast ran dry, who refused to feed and nurture, who became depressed and secluded. As soon as the mother is re-termed as a stepmother, the reader or listener of the fairy tale can direct his or her anger to this character, the ’wicked mother’.

The maternal response to such a situation may appear in disparaging the father, her husband: the father of a girl contending with the mother for his favors is not regarded as a true man and father. Women, in particular, may contain an inner archetype of a woman reproachful of men. In a subsequent generation, this depreciation may assume the form of subjecting men to female sway. A jealous, dutiful, woman will arise from such problems inherited from the ancestors. The myth about Hera depicts her situation in parallel with the above course of developments. Cronus, Hera’s father, was dissatisfied and distrustful with Hera’s mother, in other words, with his wife, Rhea.

Hera represents such a spirit of being as will, through identification with the father - and later with a man - grow into a woman. In the concealed, but most expressive language of the myth, her development can be rendered as a woman who is devoured by both her father and men. In other words, she is offered an opportunity to grow only through a role as a (female) ruler and a companion to a man. Hera carries in herself a ’built-in’ expectation of and need for the esteem of men and other ’respectable’ citizens; that is why she has to do well in a beauty contest as well.

The positive significance of the Hera archetype is in her ability to unite feminine clarity with the mother archetype. Under the aegis of Hera, a woman will grow from a virgin into a spouse, and a mature woman capable of guiding one on the conscious level in the basic skills of life. In this sense, the Hera archetype represents everyday life as supported by feminine wisdom; not a control of life, but activities guided by clear vision. Activities which help the girl child in her growth to break free from her mother and to gain her mature womanhood. Under the rough circumstances of the patriarchate, Hera was transformed into a female ruler and consort alongside a male sovereign, bringing along the feminine element amid the heavenly master gods, the archetypal mythical rulers.

in myths: Female spouse of main god, in Greece Hera

in fairy tales:  Jealous stepmother

My life is in order if everybody takes their responsiveness. I am devoted spouse and responsive and protective citizen

My best characters are: I am able to keep my promises

My weaknesses are: When my world-views are based on obligations, I broke easily if others does not behave same way. Then I may become furious. I am also very jealous.


The task of the father is to bring the son or tougher into awareness of himself/herself: The presence of a third party, in addition to his mother and himself, is vital for his growth, for he will not become aware of his relationship to her unless he can see himself with the mother through the eyes of a third party, the father. It is through him that the son becomes aware of himself and capable of independent thought.

Greek mythic figure representing father is Zeus. Like most archetypal paternal gods and rulers, Zeus, is, all the same, a rigid, self-satisfied, and tyrannical ruler, who will not tolerate any equals next to him. To him, children are but extensions of power, through whom new things can be subjected to patriarchal power.

A man ruled by this archetype will marry an equal in order to enhance his power or social position. The marital relationship is never entered into by sheer thrill or infatuation: any such events are dealt with elsewhere. Accordingly, the Zeus husband will, almost invariably, be unfaithful to his spouse. Children are brought into the world with a view to building up a dynasty. Thus, the family is run by means of rewards: the favorites and achievers are recompensed for their loyalty, while the underachievers or losers are forgotten and cast aside, or even hidden, in order to keep the family’s reputation intact.

With advancing age, the Zeus man tends to become prone to crises: his wife may finally abandon him, the offspring may turn against him, his endeavors may fail, or his business may go bankrupt. This is when all his empire will collapse; with a fateful result: he may commit suicide or be afflicted by a severe illness. It is seldom that aging will enhance his wisdom, for he is incapable of learning from others and encountering his personal emotions. It is only if his offspring have decided to carry on with the empire he has constructed that he may approach old age with reasonable satisfaction and make way for others. To safeguard himself against any such hazards, he will seek to tie the children to himself.

In the world of the fairy tale the father has a number of representations: in addition to a father actually depicted in the story, there are a number of other figures: the kings or rulers in general, trolls, giants, old dwarfs, gnomes, and brownies. In mythical tradition, the word of the king or ruler is the law for all others. Hence, this father archetype can, without further ado, decide to have others - even his own offspring - slain only to attain some ends of his own.

Good kings in stories represent the experiences with the father. If the experiences with father turns out to become many kinds of problems for children, stories are needed to get rid of these. The fairy stories offer a multitude of these stories of Oedipal style. A hero in them kills the symbolic father-images and inherits their power. The many difficulties he has to meet on his journey makes him a wise person.

In myths: Father-gods, in Greece Zeus

In fairy tales:  Giants and Kings

I take everything for my duty and work hard. Others need my skills and I trust myself. In family I protect fatherly my spouse and children

My best characters are: I give good self-confidence for my children. I know what to do and I am also able to make decisions also in difficult situations

My weaknesses are: I may be selfish leader  and I am not able to listen others. My self-knowledge is bad, I get hurt easily and accuse others if something goes wrong.

Instinctive Father

In his first years a child needs an emotionally clear father-image to trust in. Therefore, it is important that the father is not weak, weeping is a problem. The father has, to a certain point, put aside his emotional weaknesses. When the child is able to understand, the father can let his emotions come out. This, what has been under the surface, is called here the instinctive or emotional father. This father’s emotional essence, as witnessed through an archetypal man with primitive strength, is of pure masculine power, through which a young man can develop his masculine characteristics, daring, and prowess.

If this emotional father is hidden, the paternal emotions that remain inexperienced and unexpressed are buried and, as a result, bring about wild emotional outbursts both in him and in his children. In mythical tradition, the element of emotion is usually symbolized by the watery realm, or also by the deep, dark forest. Among the ancient Greeks, its ruler was Poseidon; and in the classical fairy tale or myth it is represented, among others, by Water Sprite.

Poseidon is also Zeus’s brother; which mythically signifies his capacity as a representative of his brother’s hidden emotions. He is the god ruling over the ocean, and, at the same time, one of earthquakes and storms. When in good spirits, he could bestow favorable weather with opportune winds upon seafarers, as well as the rains required for fertile growth. Favorable winds are also synonymous with success in all matters, both civil and martial. By extension, winds, i.e. moving air, stand for ’airs’ in the sense of mood, spirits and atmosphere.

In the mind of the ancient Greek, Poseidon, because of his violence, was regarded as something terrible and dreadful, a capacity in which he represents unformed and confused emotions, which, unleashed, abruptly might wreak havoc and destruction upon everything. In other words, Poseidon stands for the human subconscious, and is symbolized, besides the sea, also by the horse. The most primitive among the twelve major divinities in the Greek pantheon

As an inner actor within a person, Poseidon is one who had sought immediate gratification of his needs ever since his childhood, and becomes frustrated unless this occurs. In addition, he is insatiable; his interest will be lost upon the instant he gets what he wants and will not be triggered until he finds a new object. At school, he is easily irritable since his energy functions against the principles esteemed traditionally. Poseidon does not honor knowledge, but experience.

Within the family, Poseidon will also run into difficulties: if the others honor control, laws, and the established customs, he will be stamped as a troublemaker. Ever since his teens, his mode of life is one of intense emotions.  Poseidon’s relationship with women is overbearing and aggressive. The sheer power of his emotional intensity will carry him on and he will seldom be content with merely kissing.

In myths: Gods of Water, in Greece Poseidon

In fairy tales: Water Sprite, Dwarfs

You will see in me how hiding of the feelings and sorrows and hardships are affecting to ones life. In marriage i can be problematic and fearsome.

My best characters are: I have learned to express also difficult feelings. I am able to be emphatic and accept myself own feelings.

My weaknesses are: My way is to unburden explosively my feelings. Therefore I my be also frightful. Hardships break me up and ruins my life. Weak self-respect guides me to accuse others about my own problems.


Idolatry of sexuality in ancient Greece comes fairly close to the myths about Persephone and Adonis. The latter has a wealth of connections to similar characters in a variety of cultural environments. In ancient Egypt, it is personified by Osiris; in ancient Finnish folklore, its closest equivalent appears in the person of Lemminkäinen, and his mythical associations with the Devil. Ultimately, he is inescapably driven, on account of his defiance, the ’hubris’ of the ancient Greeks, into destruction, but is finally rescued and restored to life by his mother. Unlike Kullervo, he is not a recluse, but a ladies’ pet and woman chaser; he could take hundreds of women during one night - an obvious suggestion, in mythical terminology, of sexual greed or insatiability.

Very illustrative of this archetype is an incantation made for exciting the heat of love in the beloved. That kind of love encapsulated in that incantation is a form of love which was understood to be against the divine will.  Burning love was regarded as something of the fire of the underworld. In reality this kind of love is however one deep layer of our godlike mind.

Hedonist as an archetypal pattern represents the inner power for sensitiveness in all relationships with nature and also with another human beings. Without senses and abilities of our sensual and emotional body we are powerless. In reality we are bodies with its' abilities. For example pure sexual enjoyment, burning love has important meaning in the situations, were human beings are affright of each other. Sexual urge, which is out of control helps to get rid of fears and guides us out of childhoodfamily.

In myths: Adonis, Dionysos

In fairy tales: Devil, Elder hedonist type brothers

My life is guide by enjoyments. Others do not understand my odd way of life. I seek often only pleasure in marriage.

My best characters are: Ability to enjoy and be free and moving

My weaknesses are: I am irresponsible. Economically successful persons criticize me. I may hurt somebody when I seek only pleasure.

Educated woman, Fathers girl

Athena is good represented of her in Greek mythology. She is an archetype for a woman who prefers to act with the head, rather than the heart, or instinct. She masters the tactics of problem solving, and follows a cool, logical, strategy to achieve her aims in both war and politics. The fields that matter to her are the father and patriarchy, together with all the aspects linked to these within science, arts, economics, and society. In a way, she is the refined and cultivated equivalent of Artemis. Not very empathic, she also tends to conceal her emotions. Admittedly, she seeks the company of males, but her relationship to them is merely one of collaboration.

She is a defender of the sword, the phallus, and laws and rights of the patriarchy. Emphasizing modesty and reason, she can keep her cool in observing acts of cruelty as well. She is a defender of the rational female ego, of the masculine reasoning within a woman.

During, childhood, Athena is the ’daddy’s girl’ and his favorite child. Aware of her special position in his eyes, she likes to show off for him, and, in fact, justly, for she really is practical, sane, dependable, and an ’easy child’. In addition, she is studious, intelligent, ready-witted, efficient, concentrated, technically apt, and deft. Since early childhood, she asks her father why things are and why they function as they do. She does not resort to her mother, as she regards her inept and impractical, being scarcely aware of her presence.

Athena shows her skills by her accomplishments, for she is usually industrious and productive. Appreciative of logistics, she is often attracted by research or the teaching professions, as well as business and politics. Relationships with other females tend to remain insignificant for her, and she is prone to reproach some, the romantic ones in particular, for being ’hens’. She may, nevertheless, develop some good friendships among her age mates, though her capacity for empathy is rather limited. Neither is she overly interested in sexual relationships, for she is prone to regard men more as colleagues or competitors.

An educated woman who has become stuck with the father will easily lose her feminine essence. This may be a victory for the all-embracing efficiency within western civilization, yet remains a great loss to the reality of emotions and mythical tradition. An absolutely pure Athena archetype may no longer feel to be a woman, but a man embodied in a beautiful female appearance. She is an extension of the unfulfilled paternal ambition, a model of the educational-informational society emphasizing knowledge and mastery of life.

In myths: The Goddess of cultivation, in Greece Athene

In fairy tales: Older sisters

I am free, effective and and reasonable. I can be objective and fair.  In marriage I am sisterly or brotherly friend for my husband.

My best characters are: My good knowledge and ability to be objective makes me good person to cope well in this world.

My weaknesses are: I am forgotten the meaning of emotions. My own touch to the world is merely based on knowledge. I may be too much concentrated to work and too competing.

Sister, Feminist

A personal archetypal sister, greek Artemis enjoys wandering in wild nature. She may be scout enthusiast. She is also characterized by determination, inquisitiveness, a power of concentration, as well as a sense of justice developing unusually early. She will not be easily subjected to parental wishes, but proceeds on her own path, happy with her womanhood, even if she may appear rather boyish. She is fond of sports and the company of her age mates; it is seldom that she is reached at home. Artemis is also keen on making a clear protest against any privileges bestowed upon her brothers.

Adolescence ascertains her competitiveness, careerism, and willingness to conquer the others. Her aims she attains by means of hard work and patience. For these qualities, the surrounding world may regard her as unfeminine and stubborn. A young Artemis is readily attracted by horses and pastime pursuits associated with them.

She is an eager beaver on her own field, which may include tasks linked to practical issues of justice, and other judicial pursuits in helping others. Artemis may also derive satisfaction from work enabling her to express her ideas or a career woman. She is not, however, interested in making a personal career for its own sake, but rather in carrying into completion various tasks increasing social justice.

Allegiance in her alliance with other women is important for her; hence it is nothing singular for her to find herself in a lesbian relationship, enjoying both the active and the receptive role it allows. In addition, she can equally live as easily in a perfectly satisfactory bond with a man, as lead an independent existence without one. Through her ’lunar’ quality she can personify a wondrous ’mystic woman’.

The personal difficulties of an Artemis woman are linked to issues of hardness, severity, or cruelty; she is the twin sister of Apollo, a narcissist man personified. By analogy, Artemis is her female counterpart: a self-centered woman, and a kind of prototypal woman per se.

In myths: Goddess of forest, in Greece Artemis

In fairy tales: Elder sisters

I feel good to be a woman and trust to my bodily wisdom and abilities. In marriage I am sisterly friend for my husband.

My best characters are: I am strong and I am able to bring forth another kind of culture into the too male-centred world.

My weaknesses are: I am often wild and fearsome. I do not always see the meaning of the opposite sex. My competing nature can be damaging in marriage life.

Innocent maiden, Mothers girl

The archetypal maiden, Persephone, represents the ideal eternal virgin who refuses to become aware of the great cycle of life, of becoming a full woman, growing gradually old and finally dying. She is the aspect within us that, bright-eyed, receives new things without any criticism, marvels at the ’wonders of the world’, and sees whole life as a great wonder.

She is the biblical person with the mind of the child, who as a good virgin is placed as ’the ideal bride for Christ’. In the terms of real, everyday life, she remains immature. Even if already a married woman, or even an old age pensioner, she may, for example, call her real or ’substitute’ mother for advice on matters of routine life. In short, she has no personality, for she essentially is unaware of who or what she really is. Instead, she has the ability to listen to, and please her mother.

She stands a woman predominated by the Persephone spirit is like the classical doll furnished with adornments like pink clothes, flowers, and frills. Kind and amiable to all, she is easily brought up to be a helpless and pliable continuation of the mother, embodying her maternal wishes. In this personage, she attracts all attention in the home, and finds the father unimportant in respect to the mother, who, through her daughter, seeks to fulfill her own asexual and romantic fantasies. As an archetypal model for feminine openness and creativity, as well as, maturation process. As a maiden, she is an empty vessel, which, once filled, gradually empties and dies away, in order to make room for a new vessel to be filled.

Persephone is a clearly twofold personality: on the one hand, she is open and innocent, a mother’s little girl, an untouched maiden; on the other hand, as the spouse of Hades, the ruler of the netherworld, she appears a mature guide receiving the souls of the dead, who were guided there by Hermes. When living in the netherworld, her archetypal personage was sometimes fused with Hecate, the witch goddess.

This archetype stands also for the anima, the inner aspect of a woman within each man. She is, as if, a multifaceted crystal changing her appearance with each new perspective; a quality that will help her man in his aspirations towards a change into openness and responsiveness. At the same time, this aspect of her's helps to maintain a man’s image of her as an ideal woman that is still intact, a virgin.

Persephone is the archetypal therapist of our times. Also the medium of the 21st century seems to be a modern personification of the Persephone archetype, which, as a spirit of the nether world, and a guide into the deep layers of the psyche, helps the client encounter deceased relatives. An integrated part of her essence is the movement between the conscious and the unconscious, between life and death; which also associates with the natural cycle of the seasons.

In myths: Partenous maiden, in Greece Persephone

In fairy tales: Small girl, princess

I  live or try to life in paradise of Eden. I am kind and quiet and does not insist any demands on others.

My best characters are: I am able to trust everybody and everything. I am sympathetic and trust that everything will come better. I am open for new.

My weaknesses are: I deny easily negative things and negative sides of life. i am often helpless and alone and stay often long times in imaginary reality.

Fathers son, Narcissist

Apollo is the greek archetype of representing this kind of person. He is rational planner working at a distance; one of growing awareness of the self. In this sense he also stands for law and order, being something of the male equivalent of Athena. Also the god of the arts - especially music - he is associated with sophisticated music, and a willingness to compete for social standing and public favor.

The Apollo child is questioning and inquisitive; one favored and rewarded by the parents, which, in turn, drives onwards his growing ego. This narcissism, characteristic of the young Apollo, drives him to be the center of discussion and object of admiration; a feature which contains the essentials of the brother archetype. This very archetype represents the justifiable, or at least supposed, notion of all the other siblings being treated better than oneself: the brother or sister seems to be the favorite of the mother or father. It is difficult for the brother archetype, in particular, to endure difficulties; to overcome this inherent characteristic of his, he has to learn to live among his contemporary companions.

An attitude of narcissistic rivalry directs the relationships of women to the brother archetype; they, in other words, are but instruments for his narcissistic self-accentuation. Accordingly, he will fall in love with those who admire him; even more brutally: it is his own self that he loves also in others, for he refuses any involvement in emotions, let alone love. Hence, his marriage will be one keeping up a facade with the help of his wife-admirer.

The problems of a person influenced by Apollo are connected with the problems of the ego: basking in egotism and cherishing delusions of self-grandeur, he cannot take any form of criticism. Emotionally remote, he can be very arrogant and even cruel towards those opposing him and also those not paying much heed to him. He will not look favorably upon those who fail to see the greatness of his genius. Accordingly, problems among womenfolk are obvious; too egocentric, he only wonders why women fail to like him.

In myths: Young sun-gods, in Greece Apollo

In fairy tales: Elder brothers

I want to play potent person. I am civilized, powerful and success-oriented. I work to develop my self-consciousness. In marriage i am brotherly and self-centered.

My best characters are: I know my goals in life and I am able to live still better life and be more effective

My weaknesses are: I am self-centered and can be also cruel. I do not have empathy for others’ needs and try to put these dawn. I am also too competing.

Fighter, Brother

As a child, the fighter-spirited man is active, physically adept, and expressive, responding to things in the here and now. His way of learning things is - as the saying goes - through the hard way, by that of experience. Sharing the experiences of his age group is important to him throughout his youth. His  example in Greek mythology is Ares. He is is an active player and partaker of fights. It is due to this very trait in his personality, the violence, that he is often dismissed from school. What matters to him, is dancing, music, and romances. All this shows that Ares is a personification of a boy from around seven to twelve years. At that age, a boy has to find his bodily skills and abilities. By fighting and playing with other boys he learns to know himself comparing his own abilities to those of others. By hitting somebody and getting hit back he knows, what hurts and what does not. So, he also learns to know the nature of male aggression. This also forms a base for male western sexuality.

The Ares-type man is bored by paperwork, and enjoys his life while in the army or organized sports, exemplified by ice hockey and boxing, and all the combative sports. He is a player admiring sheer physical force, which is his idea of masculinity. For Ares, women signify conquests; especially females of the sensual type, whom he prefers for their eroticism. He is a potent and vigorous lover. To him, his conquests, however, are but objects; relationships based on friendship are most unlikely. Instead, the company of males and male congregations are very important to him. Among both, women are discussed in rather a gruesome and rough way.

The strong men and heroes of the mythical tradition of fairy tales and legends are also representative of the contemporary idea of the archetypal fighter. Examples of these are the admired men in football and ice hockey.

Typical fighters will readily turn into tormentors and harassers, as their energies are easily turned towards forcing others to adopt their views, thus revealing, in other words, the problem of control. The spirit of such a battler may remain in the child’s illusion of his father’s omnipotence, and thus become an inner image of the contestant.

In myths: God of War, in Greece Ares

In fairy tales: Elder brothers, soldier

I am able to hit dawn my enemies and rescue weak.  I am brave and disciplined. In marriage I seek after a partner or a helper.

My best characters are: I enjoy to meet obstacles. My life is fighting and competing.

My weaknesses are: I behave too cruel against the opponent and force them to subjugate to my power.

Outsider, Mothers son

Mother and son can be emotionally attached to one another. With the result, that the son is governed by helplessness. As an archetypal character, such a son can be termed as an outsider. His frustration follows from a lack of courage, failing him in finding an independent life of his own. He has never found his personal emotions, and, for this reason, cannot master his emotional reactions. Within such a frame of mind, all attempts to gain emotional contacts result in failure and frustration.

This same situation can turn a person to artist. Turning 'thing' can be alcohol, which gives courage to express inner needs. In the pantheon of Egypt this type of person could be Osiris. In finnish folklore this is represented by Lemminkäinen (Hedonist lover). Who is a mythical divine being; in him is personified the belief of the ancient Finnish people in resurrection. Love, in the form of a desire to have offspring, not life itself, makes up one of the foundations of all western civilization. This is also reflected by Lemminkäinen’s craving to recreate himself by means of re-entering his mother’s womb, and thus to be reborn. On the other hand, this perspective condenses much of the western ardor, if not downright frenzy, of making constant haste to have things done, to attain new things, to create new things: the constant fervor for uninterrupted progress. This, in fact, is a Faustian phenomenon, something that reminds us of the energy of Faust: one must, at any cost, rush forwards, for, proverbially, ”the Devil may take the hindmost”. In a word: no peace is found.

Among the classical Greek pantheon, it appears difficult to find an exactly corresponding figure for him; together, Poseidon and Hephaestus, as well as, Dionysus could, although each only partially, make up the character of the outsider. This personage might be predominantly Finnish, since it mostly appears in the ancient Finnish mythical tradition; elsewhere its personality is notably more indistinct and seen only in fairy stories.

In Finnish fairy tales and folk tales, this character is personified by Tuhkimus, Finnish for a ’simpleton’, or a male correspondent to Cinderella, who, in the genuinely Finnish domestic atmosphere, prefers to lie on the fireplace. This standard picture of a rather unenterprising figure is drastically changed as soon as he finds for himself a beloved, for this attainment makes him to grow into wise and integrated adulthood.

In myths: Gods of arts, in Greece Hephaistus

In fairy tales: Smith, artist

I am marginalized artist. Being out of normality gives me ability see thinks, which we do not normally see. In sexual relationships, and also in marriage I may be rather helpless.

My best characters are: I am able to see sensitively and I can create beautiful things

My weaknesses are: I stay aside. I do not have much social life. I will be cheated by my lover and friends and I also may cheat them because of my inability.

Lover, Enthusiast

Greek example of this is Aphrodite. She is goddess of love, was in Greece regarded as one of dreadful qualities. She could make both men and gods fall in love; and love was experienced as something awful, almost like a malady that could expose one to unseen dangers. Aphrodite could make a brother fall for his sister, and a grown person to the spouse of another. Her powers could, unwarranted, create a number of things that could violate the morals. If this was not enough, a person could land into circumstances where he or she could no longer master or even affect the developments of things, but were reduced into mere puppets of her whims. If we can believe the ancients, especially the Greeks, love could render a person so sick and afflicted as to lose their ability to sleep and work.

Aphrodite is usually depicted as the most beautiful of the personages among the Greek pantheon. She had a beautiful face, golden long hair, soft skin, beauteous breasts, and eyes like lightning. She loved laughter.

Aphroditean essence is also depicted through Eros, who is customarily shown as a small boy shooting his arrows at people. He serves as a personification of erotic love, and, in this particular sense, the very fruit of Aphrodite, something of a more concrete quality of hers.

Aphrodite is the goddess of the touch of life: illuminated by love people shine with well-being, conversation goes vivid, thoughts and emotions gain strength from one another, and insights become manifest visions. She shares all that touches us humans: she is involved in every art and situations where people really encounter one another. It is out of her powerful energy that people give out and also derive their energy. She engenders the power of sweet expectation, which so significantly improves performance.

Aphrodite is the archetype of love and infatuation; she is of pure eroticism, attraction and seduction. Aphrodite energies in their prime are such a great power as to turn everyone of us towards her, women included. She is also the archetype of creativity, new life and expression. The purpose of erotic power is to produce new life; in Aphrodite this drive is produced by lust, and not by desire of reproduction as in Demeter. 

In myths: Goddess of Love, In Greece Aphrodite

In fairy tales: Love

I am free and sensuous.  I enjoy myself in life. I am also creative and changeable. In marriage I hopefully is always present.

My best characters are: The feelings and enthusiasm rises up in my presence. I am able to enjoy myself and get also others near by to feel good. I respect the life in all its forms.

My weaknesses are: My open eroticism my get people afraid. Open changeable love makes also people jealous.

Wise woman, Holiness

The representative of this archetype is greek Hestia, goddess of the home, and temple, or sanctuary, she is present whenever premises are being sanctified, for her presence was experienced as the sacred touch of peace, tranquillity, and happiness. Today, she is known by her sacred rites, not by myths associated with her, since there are scarcely any, as she carefully avoided becoming involved in the double-dealings and machinations so impressing the classical Greek mythology. A virgin goddess, Hestia remained invulnerable to all such attempts, and also unimpressed by the powers of Aphrodite to render her liable to sexuality and love.

Hestia’s emblem is an altar with fire surrounded by circle, in other words, an altar fire burning in the midst of a temple; accordingly, originally all temples consecrated to her were of circular form; and hence the circular emblems associated with her. As a rule, she was not depicted in a human shape, since she was without a persona, or a ’mask’. She does not need to hide herself in order to protect herself; and, in a statue inside a temple, she was often described as paired with Hermes, the divine messenger, who was portrayed as a pillar or column. Their joint presence was also a motif in fountains where the circular pool itself represented Hestia and the pillar-like stone, or herm, Hermes. The beauteous, harmonic, and colorful patterns and figures sometimes pervading our dreams are representations of Hestian symbolism.

Hestia is the archetype of introspective clear consciousness. Her unseen aspect comes forth in the silence of the underworld. The spirit of Hestia does not have emotional ties; she is absorbed when she meditates and concentrates on things that, to her, are the most meaningful. At the same, time she is the archetypal of inner harmony and kindness; the warmth and significance of life are present in her in a sense of inner peace and harmony; for she remains outside all chronological time, the power of the clock. As a result, she rests in leisure and calm.

Human relationships are no concern of hers, either; yet, sharing the company of like-minded persons will often build on a fixed and permanent basis. For her, sexuality is unimportant, but is easily awakened; as a result of which her partner finds her very gentle and sensual. She does not seek to deny any event or aspect of life, but lets things rest as they are. As a spouse, she is a real madonna for a man in search of one; and beyond: she is a gentle and quiet mistress of the house. Let us not forget that she is the goddess of the hearth.  

In myths: Goddess of Wisdom, in Greece Hestia

In fairy tales: Good Fairies

I am learned to live quiet and wise life. I know the good meanings of religions to human life. I want to develop my spiritual life. In marriage I am open and let my spouse live his own life.

My best characters are: I am open-minded and loving. I have open, understandable and allowing relationship towards all living.

My weaknesses are: I am sometimes in my own world and the so-called normal life does not interest me.

Hermit, Wise Man

The father’s task is to leave himself within the son an inner wisdom, devoid of anyone else's command. This is not an easy task. As a rule, the inner commander remains, turning gradually, into the inner energies of death. This archetypal figure is represented by Hades of the classical Greek pantheon. This means that the father and conflict with him has to become invisible to be acted out only in cultural patterns.

A brother to Zeus, Hades is the ruler of the underworld, and in this capacity stands as the archetype of the collective part of the unconscious. At the same time, through death, he is a new beginning, but also the essence of silence, permanent loss and finiteness as well as an archetype for loss, and grief.

For the ancients, Hades was awe-inspiring, dreadful, and terrifying: the mere mention of his name could bring misfortune upon a person. Nevertheless, Hades, and especially his Roman counterpart Pluto, were great benefactors of fortune for people; for immense riches lay in the depths of the underworld. In addition, the unfathomable collective wisdom of mankind, gathered through the passing of millennia, lay there. Lastly, Hades entailed an opportunity for rebirth.

Hades himself was always invisible, by virtue of his magical cap. This may be an expression that in ’Hadesian’ experiences, conscious thinking is excluded. His presence was nevertheless to be felt as an all-embracing gloom and depression. He is, by one of his epithets, the Zeus of the Underworld, the father of the dead, the ruler of another order of things, that of dreams, mystical tales and visions.

Hades fathered no offspring, which can mean that the kind of experiences with father is separated from fathering somebody. In fairy tales he is often viewed as hermit, who helps the hero to find the right path.

As the archetypal recluse, Hades represents withdrawal from the reality of others into the underworld of one’s own. The dwellers of that realm are shades, ghosts, ones devoid of vitality, and activity, and being is in the form of mere opportunities, lacking any stable form. For this very feature of the ghost - the instability and inconstancy of one’s form, is experienced by others as something frightening, for it means being without a persona, or, literally, a mask. Hades is invisible since he carries no mask. Withdrawal from Hades, means an entrance into our reality: becoming material, receiving shape or form, gaining back one’s mask. As already stated, the inhabitants of the underworld are without form, invisible, since their (mode of) being eventuates merely as an opportunity.

Hades is the archetype of inner riches, and his wealth is attained by a retreat into the world of dreams. The domain of dreams contains everything that an individual has experienced in our material world - indeed, even everything that mankind has witnessed, only waiting to materialize in a new form or mask. This is what makes up the ’Hadesian’ hoards. In this role of a recluse, Hades thus functions as a spiritual guide within the world of dreams or shamanistic journeys. He is the one who can give good counsel, and it is for this very counsel that the shaman enters the underworld. Hades gives his counsel through visions, inner voices, or even ailments and illnesses.

In myths: God of the Underworld, in Greece Hades

In fairy tales: The Hermit, The woodcutter

I take myself aside, out of normal life and give space for others. I can be a ‘hermit’ also in the middle of other people. In marriage present and open.

My best characters are:  I know my burdens and he life left beyond. I want to find the deeper meaning of the life. I am not afraid of death. The nearness of death guides my life.

My weaknesses are: I may become alone and stagnate with the bad things dun in my earlier life.

Seeker, Wanderer, Male guide

Hermes is the greek representant of this. He is an invisible inner teacher and tutor of human personality. In this tutor image he often associates with Hades, the recluse father; there are locations where they were worshipped as one and the same deity. Hermes stands for subconscious wisdom: it is he who conveys divine messages to us humans. By his action, one realizes, often only afterwards, that the path he or she chose was appropriate. In addition, he is the causer of ’coincidences’ and also a warner in advance: he keeps sending visions and signs by which one can tell what course of action to take. He also comes into our dreams, creating scenes and occurrences of exceptional nature, even disturbing, if need be, our sweet dream.

Hermes is a god of play; the pranks and tricks he plays on us in dreams and visions are of his doing; out of sheer playfulness he may even deceive us. These deceits, however, have a clear purpose: they guide us into seeing things that are vital to our spiritual growth. Though brought from the depth of our soul, they are often accompanied by his kind-hearted laughter, which in turn helps us to study them from a distance. In the role of a classical trickster, he directs our attention away from the event of the moment with a view to bringing into focus something that is much more significant. In a way, he catches our inner spirit to guide us forward.

The divine messenger brings forth our spiritual reality; a role much requiring his eloquence and communicative mastery. With the help of his tricks, eloquence - which could occasionally be termed ’verbal magic’ -, he calls forth what to us seem magic events and miracles. Hermes is, however, of our inner energies which aspire towards things spiritual: he is a kind of inner alchemist who treats matter, the daily life, in such a way as to bring about spiritual changes. Through him, everyday occurrences are changed into sacred things.

In addition, Hermes is the eternal, innocent child within us. He sees everything through the eyes of a child: as miracles, and is capable of deriving consummate joy and pleasure out of them. His childish openness is in contact with constant mobility and search for the new; he never becomes set in a fixed mould or keeps to the beaten track.

In myths: The Messenger of the Gods, in Greece Hermes

In fairy tales: The male hero

I am  searching after my inner reality and outside world. I am not depending on safety matters and thanking people around me. I want to be free and go my own way.  In marriage I do not like to commit myself.

My best characters are: By getting to know my real being and identity I can find love and meaning for my life. I can also help others to find love and their own individuality.

My weaknesses are: I am a little bit out of everything and always going somewhere. It is not easy for me to make commitments.

Strong Woman, Female guide.

The Greek Hecate was a goddess of both fertility and the dark powers, being highly influential and capable of bestowing wealth, success, wisdom, and happiness upon her worshippers. She could, on the other hand, be most frightening in the capacity of the keeper of keys to the underworld, being customarily surrounded by serpents. Hecate may share a mystical connection with the serpent goddess of ancient Crete. She was, at the same time, also worshipped as the goddess of feminine essence, and the moon. In this capacity of hers, she appears to share the role of Selene and Artemis; the latter of which seems to be capable of similar outbursts of violence as Hecate: she annihilates her violators and lives surrounded by wild nature.

Both Hecate and Artemis share the feature of being able to avenge themselves upon their violators in a most ferocious manner; they can, therefore, be regarded as symbols of the tameless nature of the female. The significance of this aspect is to help bring forth the instinctive female essence and to protect women’s rights against any infringements. In this sense, both goddesses serve as archetypal figures for feminists. From a masculine point of view, such a wild, hidden, aspect of women has been experienced as mystical and frightening; and so the mystical feminine essence has been associated with magic: witchcraft.

In a patriarchal culture, the woman’s dreadfulness arises from the disquieting view that she is powerful; powerful in the sense of being the very fact that she is self-sufficient, she needs no man by her side. Without her, the man is impotent, i.e powerless. This mystical relationship of power between the man and woman is, at the same time, representative of the primordial power of all creation. To name a woman a witch is, therefore, to name her an object, a 'machine' which energizes everything. It is for this reason that the sexual distress pervading the contemporaries of the witch-hunt, in other words the uncontrollability of sexual drives, turned into misogyny, and that the various mystic cults of recent centuries have exploited young women as a source of energy and power.

In myths: Goddes of dreams and nightly visions, in Greece Hecate

in fairy tales: female helper

I am wild, self-sufficient, sensitive and strong woman. In marriage I often force my husband to my own will.

My best characters are: I can make also difficult decisions and I know also the deepest layers of human psyche.

My weaknesses are: I may be frightful and some of my deeds can be seen inhuman. 

Ecstatic Wanderer

In greek mythology Dionysus is the archetypal ecstatic wanderer. He was divine child and babe being repeatedly reborn. Also, the intuitive child, paying an occasional visit into our dreams, is Dionysus, or, if you wish, Jesus of the Christian tradition. In both cases, the child is representative of a spiritual journey into the world of the sacred. In addition, Dionysus stands for the perdition of the ego: through it an individual is constantly born again from the spirit. An individual’s spiritual person is made up of spirits, emotions. Dionysus is a wanderer without an aim; and he is also the archetype of creativity and procreation, and of the shaman journeying into the underworld.

He lacks a stable ego; he contains, at the same time, the man and the woman in one and the same person; in other words, he is an androgyne, who can fully experience the outer world in its both male and female dimensions. Frequently, he is mixed up with Hades of the underworld; and, mythically, this is not wholly ungrounded: he really spends some of his time there. Archetypal dream world is a realm of rich imagery shared by both.

Dionysus unites the opposites, as is true and appropriate in the mythical reality of the underworld. Savagery and calm are one; life both exists and is void; man and woman are one. Ecstatic disintegration makes way for rebirth. Brutality and divine grace coexist. A gentle touch can constitute a greatest power. Dionysus is a god of aimless wandering; he has no constant residence.

This archetype fully merges into the archetype of love. In short: it is the mystic masculine equivalent of Aphrodite. Pure love is of perfect presence to the persons and things one shares at each given moment; there is no pursuit for commendation or confirmation, no aspiration towards any given image of the ego presented to the others, no pondering, no expectation, no desire for something else than what exists then and there.

In myths: The God of ecstasy, in Greece Dionysos

In fairy tales: (animal helpers)

None can hinder my ecstatic way of life. I will come and go freely. I can create new things. Marriage does not interest me.

My best characters are: I am free, creative and offer new spontaneous ways to life. I trust my instincts and bodily wisdom.

My weaknesses are: I do not live normal life, I am outside laws and rules. I may became narcotic.

Clown, Fool

Ability to laugh is central gift of the gods for humankind. Archetypal holders of this are clowns and mythic tricksters.

Laugh at those in power makes their power relative. The clowns in the castles of the former kings were the only persons who could bring forth opposite views. Also in greek orthodox church  the so called 'fools of Gods' were seen messenger of God. This archetype included partly to the archetype of ecstatic wanderer.

With laugh we can get rid of anxiety and tense situations. This laugh comes very often spontaneously just caused by this inner archetype.

In myths: Trickster

In fairy tales: clown

I am free and non-conventional. I find new resolutions to yield the hindrances and problems. I am playful and arouse laugh and glad.

My best characters are: I enjoy every moment and I live fully. I bring enjoyment also to other peoples life.

My weaknesses are: I may be not responsible.

Stories helps us to get rid of dependence

The mother can leave within us a permanent craving and continual restlessness. This is the case, according to mythical tradition, if the person is attached to his or her parents. Their craving can take any form of dependency, which, in its ultimate form, is best manifest in the format recently termed ’close dependency’. A person suffering from it cannot live for a moment on his or her own; and their lives are thus changed into a perpetual chase after other people’s company, in which the other is rendered to a mere object, an instrument satisfying the needs of the subject. The same basic pattern of compulsive dependence on something outside the person himself appears in the majority of its manifold forms, whether food, alcohol, smoking, narcotics, sex, entertainment, sports, fast cars etc. Its forms are as innumerable as are individual interests, and the way of such craving is endless, for new forms are constantly made up. The process of healing from such an affliction begins with breaking free from the emotional contact with mother, and finding true emotions of one’s own.

Dependency may also assume the form of compulsive self-subjection to outside appreciation and acceptance; only the captive must be capable of ever new feats to win acclaim. What is even more fatal is that the entrapped must also ingratiate himself with his ’audience’ in order to attract enough attention. The classical fairy tale depicts these archetypes in the person of wicked stepbrothers or stepsisters, or equally evil own siblings who constantly torment and distress the hero(ine) of the story. They personify the greedy ’snatchers’ who are doomed to destruction.