Aarne-Thompson, classification of folk tales, 10
Above the line/below the line, in stories, 122–125, 225–226, 239, 250, 273–274
as reflection of psychic split in humanity; 556
as key to political conflict, 573 et seq.
and persona, 586
and consciousness, 596–597
and Christianity, 621
and industrial revolution, 641, 658, 659fn
in Communism, 665
in post-9/11 world, 696–697
‘Active’ heroine, 205–206
Agon (conflict), 108
Ahab, Captain, as Self-violating hero, 86, 359–364
Almaviva, Count, as ‘dark paterfamilias’, 107, 125–129, 271
America, and ego-consciousness, 377–379
stories rarely show full Self-realisation, 383; 661, 666–667, 669–670, 672–674, 677–678, 682–683, 695–696
Amis, Kingsley, 673
Anatomy of Criticism, 10
Ancestors, importance of as link to Self, 598
Andersen, Hans, 51, 57–58, 196, 234
Andvari, 648fn
defined as archetype, 297–300
distinguished from personal anima, 299–300; 304, 306, 321, 331–332, 334
infantile and elusive, 335–336; 337, 338; 340–341
infantile 351 and ‘Dark Mother’, 374
in Catcher in the Rye, 394
in Pinfold, 395
Gatsby, 440
Proust, 435–437
Close Encounters, 447
Superman, 459
Andromeda as, 603
Helen of Troy as, 606
Anima, violation of, 340, 385–386, 401 et seq., 416, 455 et seq., 460–463
in stories of 19th century, 463
in Psycho, 472, 478–481, 489; 649, 652, 655–656, 657. See also ‘persecuted maiden’
Animus, defined as archetype, 300–301
in folk tales, 307–308, dark, 342
‘Angry Young Men’, 673
Anstey, F., 94
Antonioni, Michelangelo, 676
Aphrodite, goddess of love, 247, 602–603, 606
Arabian Nights, Tales of the, 60fn
splitting of, 302
cannot be cheated, 354
stories as reflections of, 553–554
as patterns for life, 561 et seq.
shaping politics, 574–575
Archetype, change of prevailing: in World War Two, 667–671
in mid-1950s, 672 et seq.
Archetypal family drama, 278 et seq., 289 et seq., summing up, 292–293; 556–557
Architecture, as expression of Self, 639
Ariadne, as anima, 24, 80, 247
Ariel, as ‘trickster’, 309, 323–324, 604
Aristophanes, 108–109, 138, 255, 290–291, 688, 691
Aristotle, 18, 109, 187, 255, 329
Ars Poetica (Horace), 455–456
Art, as means to ego-transcendence, 639
Arthur, King, death of, 628
Aslan, 298
Athene, goddess of wisdom, 78, 188, 249, 284, 298, 299, 603–607, 612
Atman (as Self), 610
Atomic bomb. See nuclear weapons
Augustus, Emperor, 615
Austen, Jane, 108, 133–135, 138, 295
Averroes, 629
‘Axiom of Maria’, 229
Balance of masculine and feminine, 267 et seq., 300, 331–332, 367
Balzac, Honore, 656
Bastian, Adolf, 11
Beatrice, as anima, 631–632
Beaumarchais, Pierre, 125
Beckett, Samuel, 423, 425, 443–446, 491, 501
Beckford, Thomas, 655
Beethoven, Ludwig, 205–206, 253, 305f, 460, 552, 653–654
‘Beginning, middle and end’, in stories, 18, 187, 218–219
Benchley, Peter, 2
Benjamin, ‘little’, 304–305, 612
Berlioz, Hector, 654
Bettelheim, Eric, 11
Big Bang Theory (as modern creation myth), 545
Biographia Literaria, 650
Blair, Tony, as ‘mother’s boy’, 689
compared with Sancho Panza, 696
Bleek, Dr Willem, 287
‘Blitz, spirit of the’, 667–669
Bond, James, 6, 21–22, 220, 244, 245, 260, 380–381, 473, 476, 676
Boorstin, Daniel, 682
‘Boy hero who cannot grow up’, 293, 304fn, 341, 381
Proust, 432–438. See also Puer Aeternus
Braine, John, 673
Brand, Kaziemerz, 345
Brer Rabbit, 175
Brinton, Crane, 578–580
Bronte, Charlotte, 63
Bruckner, Anton, 660
Brunhoff, Jean de, 84
Buddha, as personification of Self, 610
Bukovsky, Vladimir, 683
Bush, President George, 584–585, 689
Bush, President George W., 695–696 (compared with Don Quixote)
Bushmen (San), and stories, 287–288
and link to Self through ancestors, 598fn
Cage, John, 445
Campbell, Joseph, 13
advising on Star Wars, 382
Canetti, Elias, 542
Capra, Frank, 199fn
Casaubon, Mr, 9, 136, 255, 295
‘Catastrophe’ (down-stroke), 18
Catharsis, 607
Cathedrals, Gothic, 627, 634, 639
Cave paintings (Palaeolithic), 593
Celebrity, cult of, 682
‘Central crisis’, 57–60, 61–62, 66, 243, 605
Cervantes, Miguel de, 322
Chandler, Raymond, 508
Chekhov, Anton, vanishing of Self in plays of, 423, 426–432, 438, 465, 597, 660
Chesterton, G. K., 508
Cheyenne Indians, story of, 561–562
Child, (archetype), 303–305, 306, 596
Children, introduction of stories to, 216–218, 562
Chinese mythology, 608–609
Christ, in Dostoievsky 499fn
as symbol of Self, 633, 616–621
Christianity: moves ‘above the line’, 622 et seq.
and view of death, 624–625
decline of, 692
Christie, Agatha, 508, 514–515
Churchill, Winston, 580, 667 et seq., 670, 681
City, as symbol of Self, 52, 132, 306, 353, 429, 596–597, 662
‘City of Destruction’, 73
Classic Studies In American Literature, 383
Cleland, John, 456
Clinton, Bill, 689
Clouzot, Georges, 379
Coleridge, Samuel Taylor, on the ‘three most perfect plots ever planned’, 133
on ‘fancy and imagination’, 650–651. See also Ancient Mariner
Comedy, 107–152
origins of, 108
becomes love story, 111
first summary of plot, 116–117
splits into two types of story, 142 et seq., 387–388, 657
and humour, 143
summing up, 150–152; 224; ‘dark’ comedy, 152, 212–213, 401–408, 418–419; 253–257, 290 et seq., 352
sentimental version, 396–398
spirit at end of, 398
and persona, 586–589
and The Simpsons, 691–692
Communism, and ‘Dark Self’, 502–504, 581–582, 662, 664, 670, 683–686
Colour, archetypal basis of our associations with, 576fn
Columbus, Christopher, 590
Computer games, 693
Consciousness, in animals, 548
disintegrated in humans, 558–561
ruling, split off from Self, 589–591
sky gods represent projection of, 596
at odds with nature, 599
Constriction and release, in our experience of stories, 49–50, 66, 85–86
Cooke, Alistair, 374
Coronation (1953), 671–672
Coward, Noel, 103fn, 148, 372, 662, 668
Creation myths (three types of), 544–546
Cross, as symbol of totality, 621
Dante, Alighieri, 235fn, 298, 390, 460
and Divine Comedy, 628–632, 634, 698
Dark Father, 21, 241–242, 244, 247–248, 251, 255, 258, 277–278, 299–300, 288, 290–293, 301, 306, 325, 331, 340
Dark feminine, 248, 270–272, 280, 334
‘Dark figures’ in stories, 1, 119–120, 128–129, 198
‘Dark inversion’, 258–260, 286, 331–332, 341, 352, 354–357, 362, 364, 371–372, 457–458, 478, 480–481, 488–489, and politics, 577
in Communism, 665
and Nazism, 666
in Western societies, 686
Dark masculine, 246, 250, 255, 269–271, 280, 282, 293, 325–326
Dark Mother, 241–242, 244, 248, 255–256, 277–281, 288, 291, 301, 306, 313, 323, 325–327, 331, 336, 351, 389, 405, 407, 427–428, 433
Darkness and light, disappearance of distinction between, 438, 480
Dark Other Half, 248, 259, 264, 280, 282
Dark Queen, 248, 251, 279–280, 282
Dark Rivals, 241–242, 244, 256, 276, 280, 303
Dark Self, 341–342, 494, 498, 499–503
in totalitarianism, 501–503
Dark versions of stories, 66–68, 258
Overcoming the Monster, 354–358, 377–379
and lesser dark version, 368; 558. See also under Comedy
Darwin, Charles, 657
Dean, James, 673
Death, existence after, 597–598, 599–601, 625–627, 628
Death of central figure in old age, very rare in stories, 524, 624
‘Denouement’ (unknotting), 18
Descartes, 637
Desert island stories, 90
Detective stories, 505
origins of, 505–509
analysed, 511–515
Dickens, Charles, 36, 53–54, 198–199, 289, 463, 508, 655
Devil (Christian), as personification of ego, 617, 630
Diocletian, 622
Dionysus, 611
Donizetti, Gaetano, 401, 418, 656
Donne, John, 635–636
Dostoievsky, Fyodor, 168–172, 512, 515fn, 653, 655, 664
Dover Beach, On, 413
Doyle, Conan, 37, 92, 347, 505, 508, 511–515
Dreams, shaped by unconscious, 543
Dukas, Paul, 177fn
Easter, symbolism of, 623fn
Ego: ring as symbol of 319–320, 404–406
and Romanticism, 347 et seq. and 652 et seq.
and Comedy, 397; 423, re-emergence of in 1950s, 672 et seq.
Ego complex, need to develop, 563
Ego instincts, 549
Ego/Self confusion, 252, 341–342, 502–503, 586
Ego/Self split, 558, 616–617, 636–637, 643
means to reconcile, 566, 567, 598, 626, 632
Egotism; monster as personification of, 219, 555
distorted vision of, 254, 258–259
Egyptians, ancient, 594–596
Einstein, Albert, 659
Eisenstein, Sergei, 669fn
Eliot, George, 9, 36, 202–203, 655
Eliot, T. S., 671
Endings, 18, 56, 63, 66, 105–106, 138, 151–152, 153–154, 175 et seq., 239–240
ingredients in happy, 272–275
English Civil War, and fantasy cycle, 579–580
Enlightenment, world view of, 638–639
Environmentalism, as ego/Self confusion, 679–680, 697fn
Epimetheus, 546–547
‘Escapism’, 3fn
Eternal Child, 304
‘Eternal feminine’, 298–299, 607
Eternal life, ideas of, 600–601
Eternity, as aspect of Self, 610, 620, 626, 634
Euripides, 109
Evolution, 648
Evolutionary purpose of storytelling, 543 et seq.
Fairy godmother, 302–303
Falklands War, 584
Fallen angels, 383fn
Fall myths, 546–548
Fantasy, 175–176
nature of, 460–463
as defying Self, 494
as different from imagination, 648, 650–652
sentimentality inseparable from, 650–652
‘Fantasy cycle’, five stages of, 4, 38–39, 40–41, 153–157 et seq.; 389; 400
in Hardy, 421
in Hamlet, 531 et seq.
in history, 577 et seq.
in politics, 580fn
and Hitler, 580–581, 665–666; 669
and pop music of 1960s, 677fn
Fantasy self, 385–386
‘Fatal flaw’ (hamartia), 329–330, 339
Father archetype, 301–302, 554
Father Christmas, 84, 391, 554, 566
Father/daughter relationship, 295, 298–299
Father, values of’, 575–576
give way to ‘values of Mother’ post-1950s, 681
Female Eunuch, The, 688fn
Feminine functions, 560
Feminine value, defined, 256–258; 262 et seq.; 267 et seq.; 298–299
importance of to Greeks, 607
contrasted with lack of in Judaism, 612
central to message of Jesus, 618, 622
Feminisation of men, 661, 687–689
Feydeau, Georges, 396
First World War, 660–661
Fitzgerald, Scott, 92, 378, 383, 425, 440–441, 661–663
Fleming, Ian, 38, 380–381, 410–412, 475fn
Flaubert, Gustave, 153
Folk tales, 9–10
value of, 640
Fool (in Lear), 72
Foot, Michael, 474
Foreman, Carl, 36
Forsyth, Frederick, 388
Four, as number of totality, 234–235, 282–283, 262, 265, 300–301, 621fn, 701
Four basic characters at heart of storytelling, 279–283
in Magic Flute, 324–327
Four psychic functions, and Jung, 558
in perfect balance in Christ-figure, 618–619
‘Four letter words’, 468, 471, 478fn
Fowles, John, 253
Franz, Marie-Louise von, 12
Frazer, Sir James, 9
French Revolution, 8
and fantasy cycle, 578–579; 641–643
and Jack and the Beanstalk, 571–573; 658, 663
Frisch, Max, 682fn
Frye, Northrop, 10
Gallico, Paul, 190
Galileo, 580
Gallico, Paul, 668
Galsworthy, John, 691fn
Games, as sublimation of ego, 532
Gandalf, as Wise Old Man, 69, 78, 297–298, 302, 317–321
Garland, Judy, 667
Genies, 61–63
Gesta Danorum, 529
ghosts of Christmas, 198–199
as Trickster, 309
Giles’s ‘Granny’, 290fn
Ginsburg, Eugenia, 685–686
Giotto, 633
God, as projection of ‘Father’ archetype, 612–613
Godard, Jean-Luc, 675
God representing four-sided totality, 619
Gods: Mesopotamian 595fn, 599–601
Egyptian, 596
Greek, 601–608
merging into ‘One’, 608 et seq.
Norse and Teutonic, 623 and fn, 645–648
‘God who dies and is reborn’, 9, 596, 611, 619–620
Goethe, Wolfgang von, 9, 183, 463, 650
Golden Bough, The, 9
Golden Fleece, as symbol of Self, 69, 306
Golding, William, 90
Gollum, 317
‘Good angel’, 174, 206, 213, 300, 334
‘Good old man’, 258–259, 332, 356
Gothic architecture, revival of, 654–655
Gothic novels, craze for, 649–652, 656
Gozzi, Carlo, 9
Grail, Holy, as symbol of Self, 69
Greece, ancient: mythology, 23–24
comedy, 108
gods, symbolism of, 601–608
philosophers of, 610–611
and fn Greer, Germaine, 688fn
Grimm, Jacob and Wilhelm, 10, 233
Group (or collective) fantasies, 664–667, 673–674
Gulf Wars: (1991) 584; (2003), 8, 585, 695–696
Haggard, Rider, 69
Haley, Bill, and the Comets, 673
Hamartia (fatal flaw/missing the mark), 329–330, 618
Hartland, E. S., 21
Hartley, L. P., 93
Haydn, Josef, 460, 544, 639, 653
Hazlitt, William, on Shakespeare, 637fn; 642–643
Heaven, idea of as projection of consciousness, 594–595
Chinese version of, 608–609
Greek view of, 602
Dante’s version, 631–632
Helen of Troy: as ‘Temptress’, 334
as anima, 334
Hell, derivation of, 645
Helpers (in Quest), 77–78
‘Helpful animals’, 220, 243, 307–308
Hepburn, Audrey, 104–105fn, 670
Heraclitus, 610 and fn
Hermes, 75, 602–604, nature of, 604
Hero, aspects of, 246, 282–283, 303
Herodotus, 597
Hero/heroine, derivation of, 702
Heroine, aspects of, 246–247, 292–293
as ‘hero’, 481
Heroine, ‘active’, 119, 129, 205–206, 246–247, 258, 265, 271, 337
Heroine, ‘passive’, 119, 129, 269–270
Hesiod, 607–608
Hieros gamos, 597fn
Hiroshima, 669
Hitler, Adolf, 34, and fantasy cycle, 580–582; 665–669
Hodgson Burnet, Frances, 207
Hoffmann, E. T. A., 507
Holdfast, one of three aspects of monster, 32, 182, 330
Hollywood, as dream factory, 372–373; 661
values of change in Second World War, 667 et seq.
Holmes, Sherlock, 6, 17, 37–38, 347, 505, 508, 511–514
Holroyd, Michael, 376fn
Homer, 2, 70, 250, 466–467fn, 606–607
Horace, 455–456
Humboldt, Alexander von, 699
Humour, as device to defuse egotism, 144
Hunter-gatherers, psychological integration of, 559
Hussein, Saddam, as ‘monster’, 584
Ibsen, Henrik, 208
Identity, discovery of true, 111, 113, 117, 129, 131, 274
Imagination, 3
as distinct from fantasy, 648, 650–651
Immortality, 599–601
India, mythology of 608–609, 625–626
‘Innocent Young Girl’, 177–178, 259, 332
‘Inferior realm’, 123–125
Interpretation of Dreams, The, 658
Ishtar, as ‘Dark Mother’, 599
Isis, as anima, 95, 100, 252, 596
Islam, rise of, 622–623
Instinct, man’s partial separation from frame of, 547–551
animals in harmony with, 548–549
Integration, psychic, 559–561
James, Henry, 383
James, M. R., 26–27, 508–509, 658
Jay, Antony (and Jonathan Lynn), 144
Jazz, 659
‘Jazz Age’, 661
Jenkins, Roy, 470
Johnson, Dr Samuel, 1, 8, 91fn, 638
Jones, Dr Ernest, 11
Jonson, Ben, 117–118
Judaism, 611–613
and masculine value 612–613
Jung, Carl Gustav, 12, 237, 297 et seq.; 385, 406, 464, 553–554, 558fn, 571
Justinian, 614
Kafka, Franz, 51, 99fn, 393–394, 593, 638
Kane, Sarah, 490–491
Kennedy, John F., 474, 676, 695
Kenneally, Thomas, 582fn
Kerouac, Jack, 674
King, sick, 312
‘Kingdom’, as symbol of Self, 23, 56, 82–83, 218, 220–221, 243, 251, 270, 273–274
Kneale, Nigel, 41–42
Kramer, Stanley, 142fn
Kubrick, Stanley, 481
Labyrinth, as symbol of ordering function of mind, 24, 247, 270, 295
Lang, Fritz, 663
Laurel and Hardy, 112, 144, 145, 397
Layard, Henry Austen, 21
Lawrence, D. H., 383, 465, 467–470, 662–663
Left-wing fantasy, 666
Leonore, as ‘active heroine’, 281, 299
Lewis, C. S., 88
Lewis, H. G., 650
Lean, David, 103fn
Leonardo da Vinci, 634
Light, creation of, 545
Light alter-ego, 259, 303, 309, 332, 333, 337, 356, 385
‘Light family’, 300–302
Light feminine, 129, 269, 292, 332, 334
violated, 460
in Oedipus plays, 525–529
Light masculine, 301–302
Light Other Half, 300–301
Loki, as personification of ego-consciousness, 646–648, 661, 669, 697
London, as symbol of Self, 419
Lonely Crowd, The, 674
Long, Huey, 575
Loren, Sophia, 670
Love, permutations on in Comedy, 116
Lucas, George, 42, 45, 381–382
Lucian, 177fn
Machine, psychological impact of, 640–641, 654
MacInnes, Colin, 674
Maclean, Alistair, 35
Macmillan, Harold, 675–676
Mann, Thomas, 653–654
Marlowe, Christopher, 329
Marx Brothers, 6, 144–145, 255, 397
Marxism: and Jack and the Beanstalk, 571–573; 577
as projection of Self, 658, 661, 664, 671
Masculine value, 129, 245–246, defined, 259–262
Masaccio, 634
Masculine and feminine, 267 et seq.
as defining component in stories, 555–556, 560, 574
and left and right in politics, 575–577
Masturbation, and ego, 466, 479
andfn, 490–491
Maturity, as aspect of Self, 220, 298, 314–315, 322–325, 326–327, 330, 347, 599–601, 624
Maugham, Somerset, 353
Maupassant, Guy de, 369–370
Maya (illusion resulting from interplay of opposites), 610
McLuhan, Marshall, 692
‘Me Decade, The’, 682
Mediaeval world image, 629, 633–634
disintegration of, 634–636; 641, 655
Medusa, as ‘dark feminine’, 23–24, 244
Melville, Herman, 358–364, 657
Men, feminisation of in 20th c., 661, 687–688
Menander, 111, 121–122, 149, 139, 168, 256
Merlin, as ‘wise old man’, 288, 297, 299
Mesopotamia, 21, 595, first cities of, 597
first story recorded from, 598–601
monotheism in, 610
‘wise men’, 616
Metric system, 641–642
Michelangelo, 634
Middle Ages, 627–634, nostalgia for in 19th c., 654–655
‘Middle Comedies’ (of Shakespeare), 118–120
Middle Earth (Midgard), 645
Milton, John, 649
Minotaur, as symbol of egocentric strength, 24, 35, 244–245, 247, 270, 277
Mitchell, Margaret, 104
Moliere, 112, 122–123, 125, 131, 255, 281
Monotheism, emergence of, 608 et seq.
and Judaism, 611–613
Monster 10, 22–23, OED definition, 31
attributes of, 31–33
three roles of, 32
similar to tragic hero, 180
as personification of egotism, 555
reappearance of in storytelling at end of 19th c., 26–29, 658
Monteverdi, 649
Moon, as symbol of Self (1969), 679
More, Thomas, 90
Moriarty, as ‘monster’, 37–38, 244
Mother, archetype, 302–303, 553–554
in post-1960s Western society, 680 et seq.
‘Mother complex’, and Proust, 432
Stendhal, 351
Bizet, 407
Ian Fleming, 412
Mother goddess, 595
Mother Nature, 325, 327fn, 599
Mozart, Wolfgang Amadeus, and Marriage of Figaro, 125–129; 138, 291fn
and Magic Flute, 324–327
and Amadeus, 387–388; 400, 638, 639, 653, 657
Muggeridge, Malcolm, 455
Muller, Max, 10
Mumford, Lewis, 596–597
Music, as expression of Self, 639, 653–654
as expression of ego, 653–654, 672 et seq.
Mystery, The, plot, 505–515
Myths, Greek, psychological nature of, 601–608
Nabokov, Vladimir, 4, 154, 471
Napoleon, 137, 244, 347, 348, 364
as ‘dream figure’, 652–653
Nature, mankind stepping outside frame of, 547
Nazis, as archetypal monster, 34–35
and Dark Self, 502; 580–582; 665–667
’New Comedy’, 110–112, 121–122, 255, 256, 291
‘News’, as stories, 693
New Stone Age (Neolithic), and sky gods, 594
Newton, Isaac, 637–638
New York, as symbol of Self, 377–379, 429
Nietzche, Friedrich, 657
Nixon, President Richard, 578
Noah, 600
Norse myths, 25, 101, 545, 645–648
Nouvelle vague, 675
Novel, the, evolves out of Comedy, 112, 132–133
Nuclear weapons, 658, 659, 669–670, 676
Numbers, archetypal symbolism of, 229–235, 282
Nyktomorphs, defined, 461–462
and Romanticism, 651–652
Obi Wan Kenobi, as Wise Old Man, 43–44, 78, 297, 302, 382
Obscenity, 455–456
‘Obscured heroine’, 117–122, 129
Obsession, as aspect of fantasy, 336
Odin, 646
Odysseus (see also Odyssey in Index of Stories Cited): 260, 270, 272, 299, 314
Aragorn compared with, 321
and Hamlet, 523
Offenbach, Georges, 140
Old Stone Age (Palaeolithic) images produced by, 593–595
Olivier, Laurence, 477–478, 669
‘One’: rebellion against the, as plot, 495–493
idea of, as single ‘God’, 608 et seq., 611f, 620, 621
merging into, 632
Opera, 19th c., 401–408. See also Mozart, Beethoven
‘Once upon a time’, as device for starting story, 17
Oppenheim, Robert J., 670fn
Opposites, 76, 232–233, 249, 330
need to see world in terms of, 568
Ordering function of brain, 465, 558–560
Ordering instincts, 549
Orphan, hero or heroine as, 277–278, 289–290
Orpheus 629
Orton, Joe, 475
Orwell, George, 6, 317, 390, 499–503, 664, 683
Osiris, 596
‘Other directedness’, 674–675
Overcoming the Monster, as archetype, 21–50, summing up, 48; 244–247
in history, 581–582, projection of, 583–585
Second World War seen as, 668
Ovid, 448
Painting: as expression of Self, 633–634, 639
reflects disintegration of Self, 659
Palestinians, ‘below the line’, 696–697
Pandora, 546–548
‘Parable of Cave’ 8
Paradise, 546
Paris, as symbol of Self, 353, 429
Pasternak, Boris, 683–685
Peckinpah, Sam, 483
Pearl Harbour, 669
in Hamlet, 536–537; 586–588, 618
‘Persecuted maiden’, 386, 401, 416, 463, 649, 656
Petrarch, 582
Picasso, 659
Piero della Francesca, 634
Pirandello, Luigi, 423, 439–440
Planets, named after characters in stories, 6
Plato, 8, 574–575, 629, 634, 672 and fn, 689fn, 699–700
Plot, collapse of in 1960s, 481fn
Poe, Edgar Allan, 46, 505, 506–508
Polanksi, Roman, 678
Political correctness, as ego/Self confusion, 689–690
Politics, archetypes governing, 574
Polti, George, 9fn
Polyphemus, as ‘monster’, 73, 247, 249, 604
Pornography, 456 et seq.
Poseidon, as ‘Dark Father’, 24, 78, 247, 284, 602–603, 614
Powell, Anthony, 691
Praz, Mario, 386
Predator, as aspect of monster, 32, 333
‘Prince’, as hero/animus, 282, 300
‘Princess’, as heroine/anima, 282, 291fn, 313–315, 323
Progress, religion of, 641, 654
Projection (outwards of what belongs within), 321–322, 367, 370, 582 et seq.
Prospero, as Wise Old Man, 297, 299, 322–324, 522, 540
Protagoras, 634
Proust, Marcel, 423, 425, 432–438, 464, 660, 704
‘Pseudo Endings’, the three, 438–441
Psychological types, as consequence of disintegrated consciousness, 558–559
Puer aeternus, 304fn, 381, 554, 565, 681. See also ‘Boy hero who cannot grow up’
Prison camp stories, 34, 70, 85fn
Pyramids, symbolism of, 594
Quest, as archetype, 69–86
summing up, 83
compared with Voyage and Return, 95; 131, 212, final ordeals, 221–222; 247–250
dark and sentimental versions, 358–364, 385–392
Queen of the Night, as ‘light’ and ‘dark feminine’, 324–327
Radcliffe, Anne, 650
Ragnarok, 406
Rags To Riches, as archetype, 51–68
dark figures in, 241–243; 289–290
as reflecting ‘stages of life’, 563–565
projected outwards, 585
Rattigan, Terence, 671
Ravel, Maurice, Bolero as fantasy cycle, 663fn
Reagan, Ronald, 689
Rebellions, shaped by fantasy cycle, 578
Rebirth, as archetype, 193–213, summing up, 203–205
dark and sentimental versions, 410–412; 567, projection of, 585–586
‘Recognition’ (anagnorisis), 109, 116–117, 239, 255
Reformation, 635
Religion, shaped round stories, 593 et seq.
Renaissance, psychology of, 634–636
Resolution, need of stories to achieve, 254
Revolutions, shaped by fantasy cycle, 577, 578–580
Republic, The (Plato), 574–575, 672fn, 689fn
Richardson, Samuel, 385–386, 649
Riesman, David, 674
Right and left in politics, based on archetypes, 575–577
Right wing fantasy, 666
Ring, as symbol of ego, 319–320, 404-6, 648fn
Robespierre, 579
Rock ’n’ roll, coming of heralds change of prevailing archetype, 673
Rodgers and Hammerstein, 142, 206, 670
Roman empire, psychology of, 614–615
and masculine value, 614
decline of, 622
Romantic Agony, The, 386
Romanticism, 8, 347 et seq., 400–401, 425, 443, 463, 495, 639–643, 648–658
and cult of sensation, 651–652
Romberg, Sigmund, 104fn
Roosevelt, Franklin D., 669
Rossini, Gioacchino, 139, 291fn, 653
Rudkin, David, 475
Rule of three (archetypal number), 229–235
four forms of taken in stories, 231; 333, 312–315, 333, 356
and Moby Dick, 359–364
and Oedipus, 523
transcending opposites, 529
in Dante, 629–632
Ruling consciousness, 589–591
and Christ, 629
Russian Revolution, 579–580, 661
Sade, Marquis de, 6, 386, 457–460, 650
Sakharov, Andre, 503
Salinger, J. D., 347, 383, 394–395, 567, 638
Salk, Jonas, 345
Sarastro, as wise old man, 297, 302
Satan, as personification of ego-consciousness, 617, 625
Saturn, 647
Sayers, Dorothy, 508
Schiller, 9fn
Schulberg, Budd, 67–68, 370–371
Schubert, Franz, 639, 653, 654
Schwarzenegger, Arnold, 491–493
as ‘myth’, 449fn
Scott, Paul, 253
Scrooge, as ‘monster’, 198–199, 263, 304
Second half of life, 565–566, 599
Second World War, 85, 190–191, 316fn, 380, 667 et seq.
‘Seeing whole’, 223–224, 243, 252–254 et seq., 262, 264–265, 298
Selby, Hubert, 475
magic flute as symbol of, 325
violation of, 387–388, 458–463, 466fn
failure of American storytellers to realise, 383; 396
humanity losing contact with in 19th c., 423
in Chekhov 427, 431–432, 444–445, 456
‘inferior’ form of, 444–445
E.T. as symbol of, 452
return of, 493
Self-realisation as defining component of stories, 557–558; 561, 563–565
symbolism of in religion, 594, 610
Christ as personification of, 616–621
Renaissance image of, 634, 636
violation of in Romanticism, 652, 656, 659
projection of in Socialism, 658
in Utopianism, 662
sentimentalisation of in 19th c., 654–655
re-emerges as dominant archetype in Second World War, 667 et seq.
re-emerges in Communist empire, 685–686
violation of in 1960s, 671fn, 677
Sensation, cult of, 460–463
Sensation function, 559
‘Sensation novel’, craze for in 1860s, 656–657
Sentimentality, defined 368, 372
Seven, as archetypal number, 235fn
Sex, change of attitudes to in 1950s and 1960s, 470–472 et seq.
‘Sex and violence’, 425, 455–494, 676–677, 686 et seq.
Shadow, as product of egotism, 175, 177–178, 241, 356
Shaffer, Peter, 387
Shakespeare, William, 2, 4, 8, 13, 14, 69, 90, 107
and Tragedy, 184–185; 267, 305fn, 311, 322–324, 397, 399, 431, 475fn, 477, 489–490, 499, 517, 529 et seq., 539–540
world-view of, 636–637, 638; 650, 688
Shaw, George Bernard, 26fn, 53, 375–376, 576
Shelley, Percy Bysshe, 354
self-destructiveness of 357–358; 651
Sheridan, Thomas, 124–125
Sin, as expression of ego, 618, 620
Socialist Realism, 665
Solzhenitsyn, Alexander, 293, 503, 682, 685–686
Sonata form, 653
Sophia, as anima, 297
Sophocles, 133, 517–529, 539–540
Soul, as living on after death, 625
Spielberg, Steven, 1, 35, 347, 388, 446, 450, 582
Sport, as sublimation of ego, 552
Stages of life, stories as reflecting, 563–566
Stalin, 376, 499, 580, 664, 665, 669, 683
Steiner, George, 593
hero-worships Napoleon, 653
Stevenson, R. L., 69, 154, 385, 392
Stewart, James, 199fn, 510, 670
Stoker, Bram, 27–28
Stonehenge, symbolism of, 594 and fn
Stories, theories to account for, 10–11
change in past 200 years, 347 et seq.
as product of evolution, 553 et seq.
Strauss, Richard, 139–140, 256, 294
Stravinsky, Igor, 660
Succession of one generation to another, 278 et seq., 282 et seq., 289 et seq.
Surtur, 647
Swastika, as dark inversion, 621fn
Swift, Jonathan, 90
‘Swinging London’, 676–677
Tate, Nahum, 638
Technological innovations as psychologically destabilising, 659, 661, 672, 673–675, 679, 681, 692fn
Teiresias, as ‘wise old man’, 77, 297, 518, 521–522, 528, 605
Terence, 111
Temptations, 74–75, 173 et seq.
Tempter, as combination of ‘dark masculine’ and ‘dark feminine’, 281–282
Temptress, as ‘dark feminine’, 75, 248–249, 259–260, 280–281, 283, 306, 334, 336, 338, 409, 599
Tennyson, Alfred, 654
Teutonic gods (and days of week), 623fn
Thatcher, Margaret, 688–689
Thinking (ordering) function, 558–559 and fn
Thor, 646–647
Three (archetypal significance of in stories): 229–235
becomes four, 282, 229, 313–315
in Dante, 628–632
Three levels of existence in world mythologies, 602, 595–596, 645–646
‘Thrilling escape’ (from death), 45–48, 85fn, 87, 106, 212
Thurber, James, 587
Tibetan Book of the Dead, The, 626
Titanic, films about sinking of, 680
Tokens, to show true identity, 113, 127, 131
Tolkien, J. R. R., 316 et seq.
Tolstoy, Leo, 136–138, 139, 153, 162–164, 267, 399, 419, 640, 655
Totality (four-sided), 552
Tragedy, as archetype, 153–192, 224–226
shaping events in real life, 577 et seq.
Tragic cycle, in Christ ‘myth’, 619–620
Transformation, need for and lack of, 353, 367, 379–381, 447–448
Treasure, as symbol of Self, 22–23, 25, 71, 269
Trickster, as archetype, 308–309, 323–324, 604
Triffids, 28
Trojan War, 466–467fn, 606–607
Truffaut, Francois, 161-2, 503fn, 675
Trollope, Anthony, 136
Twain, Mark, 383
Twelve, as archetypal number, 235fn
Tyrant, as archetype, 247–248, 251, 258, 260, 261, 265, 277, 290fn
and daughter 292–293; 296, 301, 306, 325
Uccello, Paolo, 634
Unconscious, as source of dreams and stories, 543, 554
Underworld, journey to, 76–77
Unreconciled dark figures, 119–120, 132
Unrealised value, 277 et seq.
examples 283–288, 291, 321, 340
as defining component of stories, 556
‘Unrelenting father’ (or parent), 110–111, 122–123, 133, 150, 256, 261
Ulysses speech (Troilus and Cressida), 267, 636–637, 645
Updike, John, 383
Ur, 597
Utopianism, as projection of Self, 661–662, 664–667
Valhalla, 646
Van Eyck, Jan, 634
Verdi, Giuseppe, 402–404, 418, 649, 654, 656
Virgil, 69, 70, 73, 222, 614–615
as guide to Dante, 629–630
Virginity, loss of as climax of story, 385–386, 457, 459, 449, 522–526
Voltaire, 91
Voyage And Return, as archetype, 87–106
summing up, 105–106; 223–224, 250–252, projected, 566–567
reflecting one-sided consciousness of 18th c., 638
Vyvyan, John, 13
Van der Post, Laurens, 287
Wagner, Richard, 6, 25, 185, 404–406, 407, 648, 654, 697
Walesa, Lech, 593
Waugh, Evelyn, 4, 87, 93, 395, 567, 638, 662, 671
Wayne, John, 670
Welles, Orson, 509
Wells, H.G., 28, 39, 45, 92, 658, 659fn
Wilde, Oscar, 141–142, 153, 158–159, 215, 396, 409, 411
Wilder, Billy, 147
Wilson, Edmund (on detective stories), 505, 513
‘Wise Old Man’, as archetype, 77–78, 264
defined, 297–299; 302, 306–307
Prospero as, 322–325
Sarastro as, 325–327; 335, 382, 394. See also Gandalf, Teiresias
Witch, as ‘dark feminine’, 22–23, 241, 244, 248–249, 251, 279–280
Wodehouse, P. G., 6, 108, 145–147, 255, 397
Woityla, Karol (Pope John-Paul II), 685
Wolfe, Tom, 682
Women, de-feminisation of in 20th c., 486, 660–661, 687–689
‘World egg’, 545
World, end of, 406, 647, 679, 697–698
Wordsworth, William, 642–643, 650
Wyndham, John, 40–41
Yeats, W. B., 455
Yin and Yang, 609–610
Zeus, 23, 602–607, 611, 614, 616
Ziggurats, 597fn
Zoroaster, 610