Professional Documents
Culture Documents
Abstract
This paper analyzes a story written by a four-year-old girl that
includes a total of 18 pictures which she entitled The Little Princess
and Her Butterfly. This paper focuses mainly on the verbal messages.
Its purpose is to examine the childs story solely as an expression of
a collective narrative following a pattern that was established long
before man developed a reflective consciousness (Jung, 1983, p. 76).
This story can be seen as an unprocessed primordial kernel bound to
unconscious, collective archetypal content and processes indicative
of a universal developmental myth.
Introduction
Shira is a healthy girl, developing suitably for her age, very
outgoing, curious, and attracted to all kinds of stories. She is able to
spend hours on her own and playw imaginary games. Her parents
have not reported any particular problems over the course of her
development.
Four years ago, at the age of four, she had to deal with the
arrival of an adopted baby brother. Signs of regression appeared,
including baby talk with stuttering and temper tantrums. During
this period of personal crisis, she drew the series of appended pictures
as part of a personal imaginary story.
Dr. Gabriel Cavaglion is a psychotherapist and senior lecturer at Ashkelon
Academic College, School of Social Work and Department of Criminology,
Ashkelon, Israel. He has published articles about crime, the Internet, and
cults in various professional journals.
She took a small blank page, half the size of a regular notebook
page, and a large selection of colored markers. Upon completion of
each drawing, she described its contents to her parents. The process
continued for several days. Her parents transcribed her descriptions
word for word in Hebrew, her native language. Each drawing was
made at a different time, with gaps ranging from hours to days.
Shira made each drawing after reviewing the previous ones. After
producing the last picture, she asked that the pages be bound like
a book. She has not touched the drawings or added anything since
then. The story includes a total of 18 pictures which she entitled
The Little Princess and Her Butterfly. I was presented with the
story, and its publication is with the full agreement of her parents.
This paper will place relatively little emphasis on processes that
take place within Shiras psyche or her present developmental stage;
it will not deal at length with what may be called psychic ontogenesis
(Stevens, 2002). Similarly, it will not deal with whether the story
creates culture or is created by it. I do not exclude the possibility
that in her story Shira reproduced a melange of narratives that she
heard from her kindergarten teacher or parents and internalized in
her primary learning and socialization processes. It is impossible to
speculate how much adult shaping and phrasing contributed to its
form. Furthermore, there are methodological limitations connected
to any translation because idiomatic expressions and nuances tend
to lose some of their content.
However, I posit that Shira underwent a process of crisis
that elicited compensatory creative and useful material projected
from her unconscious which crystallized in a consistent story. Shira
set forth on a story journey where she encountered herself and
gathered resources and strength from her inner mythological world
which transcended spoken language and other secondary mental
processes.
This paper thus deals primarily with symbolic world behind
the verbal messages and does not dwell on the pictures (details,
colors, shapes, proportions, positions, composition, etc.). It is not
concerned with Shiras inability at that age to plan for available
space, her immature motor skills, or limited abilities to represent
the body. Rather its purpose is to examine her story mainly as an
expression of a collective narrative, as the phylogenesis of human
culture (Stevens, 2002). In other words, her thought forms follow a
pattern that was established long before man developed a reflective
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Picture 2: Then she saw the sea. But she said, How
can I get across the sea? This way I wont find my
butterfly.
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Picture 4: But she was still sad and she said, Now
Ill never find the butterfly. I love it. She sat down in
a corner and cried and cried.
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nights pass, and she encounters the totality of depression and evil,
the prima materia, which incorporates the potential for the process
of curative transformation in alchemy. She knows that solutions
must be visceral and not cerebral, and she is careful not to leave the
area with undue haste:
Because of its painful emptiness, it is often tempting to
look for a way out of depression. But entering into its
mood and thoughts can be deeply satisfying. Depression
is sometimes described as a condition in which there
are no ideas--nothing to hang on to. But maybe we
have to broaden our vision and see that feelings of
emptiness, the loss of familiar understanding and
structures in life, and the vanishing of enthusiasm,
even though they seem negative, are elements that
can be appropriated and used to give life fresh
imagination. (Moore, 1992, p. 141)
Encountering shadowy grief, with its attendant evil, helps
the child as well as the adult strengthen his unique identity, to
bring to birth (Murdock, 1990, p. 104). According to Neumann,
connecting with the shadow and conducting a dialogue with it not
only breaks down its monstrous potency but also enables a person
to feel his uniqueness and gives him a sense that he is safe from
external attacks (Neumann, 1962, pp. 352-353).
For Shira in her stage of crisis, common sense advice to be
reasonable, to change her attitude toward her new brother is all
but useless. There is only one thing that seems more helpful: to
become more patient, to lower intense expectations (Moore, 1992, p.
141), to turn inward, to meet the impending darkness, and to try to
explore it and its hidden purpose in the most nonjudgmental fashion
possible. When one turns to the unconscious in this fashion, without
preconceptions, it very often yields an abundance of helpful images
and symbols. But sometimes it initially generates a whole set of
bitter medicines that have to be swallowed; that is, painful insights
about oneself that the individual does not want to be true, and are
easily imputed to others (von Franz, 1999, p. 301).
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Conclusion
By the term collective unconscious, Jungian psychology
claims that part of mans unconscious psyche, regardless of all the
differences between individuals, remains the same in all men and
women, just as certain aspects of the anatomical structure of Homo
Sapiens are the same in all individuals precisely because they are
human (von Franz, 1999, p. 76). Since fairy tales disclose certain
common themes and structures, we may assume that they spring from
this most universal substrate of the human psyche. A tale can work
toward the conscious realization and active fulfillment of an original
fundamental wholeness. This appears as potential wholeness in
early childhood in the form of symbols in dreams and fantasies which
manifest themselves again and again in periods of transformations
and in times of crisis. These tales are of significance not only for the
life of an individual but, taken as a whole, they represent part of an
immense web of destiny which exhibits a dynamic structure that
applies to all of humanity.
In the case of Shira, when she found herself faced with
difficulties in her real life, she was capable of expressing herself in a
compensatory and sensitive fashion and finding her way to her goal
of the souland it is with this center, too, that the problem of selfaffirmation is ultimately connected(von Franz, 1999, p. 164).
Gabriel Cavaglion 45
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