NUMBER AND MYTH: THE

ARCHETYPES IN OUR HANDS

Yael Haft- Pomrock

Published: Quadrant 1981 Vol 14 No. 2

Don’t go my Soul, stay. Only with my will you arise. If I do not

enmesh you in my body as the cord within the net, through no fault

of yours yow will be lost.

REBEL IN THE SOUL ¹

CHIROLOGY SERVES AS A MIRROR to our soul. Etymologically the word “chirology” is formed by two Greek words, chiro meaning “hand” and logos meaning ‘word’, and ‘language’; thus, chirology is the language of the hand. Now language is, in fact, the words we use to describe and express matter, images, spiritual or non- descriptive emotions, sensations, feelings and thoughts. We know, however, how limited and elusive this use of expression in words is. Yet, this is our only tool of understanding so we keep on trying, using every symbol that comes close to expressing in words, audibly and non-audibly, the many levels any phenomena has, thus deepening our grasp of that which we try to express. Language is a human device, and it is we as human beings that need this enriching vehicle for we have an inner urge to know in order that we may transmit onwards to others the meanings of our inner and our realities, and all visible phenomena around us.

The connection of hand and God’s creative power can be seen in Egypt during the reign of Amenophis IV (1375-1358 B.C.). Atum, the one god, was depicted as a sun disc with rays terminating in hands. The rays signify his life-giving power, and the hands at their ends imply a connection between the hand as an acting organ and God’s action. There is a parallelism between God’s creative deeds and man’s hands as his creative instrument.

The expression “the hand of God” or “the hand of fate “ depicts the hand, which is a human characteristic, as being endowed with the dynamic aspect of God’s power. In other words, it is the archetype of action, of creation.

In Exodus 17:11, it is written:” And it came to pass, when Moses held up his hand that Israel prevailed; and when he let down his hand Amalek prevailed”. Thus raising the hand points to the reception of God’s blessing and power through the hand, the hand being the intermediate, so to speak, between god and man. The blessing power of the priests passes through the hands.

Thus the language of the hand, or the hand as a symbol of God’s creativity, points to the constant search for meaning of this very special organ. No hand resembles another, hands have varieties of forms, of expression, and of lines in the inner palm that are constantly changing. They are intimately connected to us as an outer dynamic organ. Our connection, relationship, or attitude towards our hands is complex and emotionally toned. Either we ignore our hands and make use of them only as extensions of tools’ or we take the utmost care of its skin by rubbing it with ointment and polishing our nails, growing them, tending them. We may abhor our hands, detest them, find fault with them, hide them, compulsively wash them, and bite their nails and the skin around the nails. Very often we prefer the hands of others to our own. We feel ours to be clumsy, peasant- like, eagle-like, too fleshy, too bony and so on. At times, however, we do like them, accept them as they are and even fondle them. One is struck with the possible parallelism, of one’s attitude to one’s self and one’s attitude towards one’s hands. We tend to react to others via their hands and their expressions. Hands “speak” to us. We feel our hands, yet our hands also act out feelings not under our control, when, for instance, the hand hits, or shields from a possible blow before one is conscious of the deed. So there is also a dialectical relationship between man and his hands.

The hand has ‘mana’ through its role. The touch of a hand can comfort, soothe, and heal. Love is expressed by touching and caressing. We need to touch in order to feel, and we feel by touching. The hand symbolizes to man something about himself which he needs to understand. It has the mystery that urges us to explore it, and it has been a source of interest and learning since antiquity.

Hands prints made 20,000 years ago were found in the most remote part of the caves of Lascaux. Man had to crawl through a narrow opening to reach the far end of the cave where the hand prints were found. No one knows exactly what they mean. We can only surmise that his hand prints signified for him the need to state “I am”. The crawling may represent a second birth, a re-birth into the consciousness of being; i.e., ”I am a person, a man, and my hand print is my signature.”

Before I continue with the hand from the point of view of its numerical archetype, let me briefly state the difference between chiromancy and chirology. In olden times it was chiromancy that was practiced in ancient Egypt and in India. It was used as a means of divination by medicine men and diviners for good and bad omens. The Assyrians, Hebrews, Chaldaeans, Greeks, and Romans studied chiromancy seriously and it was highly valued. There were two trends in chiromancy: one was linked with astrology, and hence the astrological names to the fingers and mounts, and the other with esoteric knowledge- the deepest meaning of the inner process. In the

Renaissance chiromancy was studied in the universities Germany and England. With the advent of rationalism the use if chiromancy was taken over by gypsies and other so-called entertainers, and it wads discarded from serious scientific studies; yet, this is all on the surface. The mystery of the hand, and the inner urge to know what lies hidden in the lines that are uniquely personal have never stopped intriguing inquisitive minds. The other trend of chiromancy, which we now call ”chirology”, continued to occupy serious investigators.

Chirology deals with the psychic structure, the inner meaning of what is, and with psychic processes. It analyzes a situation and a structure. It forms a thread from kabala through alchemy to psychology and archetypal psychology.

Marie-Louise von Franz states that the archetypes “form structural dispositions in the unconsciousness, invariable in themselves, although their pictorial and representational appearance in human consciousness exhibits variations.” In a footnote, she adds that the archetypal image “ is always variable, but behind these variants stands a constant, non-perceptual pattern” i.e., the archetype per se. Looked at chirologically, we all have five fingers on each hand. Each finger stands for a different archetypal image; however, each one of us has fingers different in form, pattern of dermatoglyphics, in expression, and inner divisions. (The fingers have usually three divisions in their inner side.) Each finger, then, represents the personal, unique form of the archetypal images, behind which lies the basic archetypal pattern.

“Number”, as Marie- Louise von Franz says, “is an archetypal representation or idea which contains a quantative and qualative aspect”³. ”Number in its original form indicated the quality or the pattern of a structure”⁴. It unites matter and psyche.

Let us see the pattern of the structure of the hand as the original first five numbers that are the foundation of all the quantative and evaluative aspects of our own inner and outer reality.

Etymologically the word ‘number’ which is in Greek,’ Arithmos’ stems from the same root as ‘rhythm’ which is ‘rhythmos’. So originally number was rhythm⁵. Chirologically, we could say that the hand conveys and is the image of the psychic rhythm.

THE HAND AND ITS NUMERICAL ARCHETYPES

1. The hand as a whole is a totality which encompasses structure, potentialities, conscious and unconscious dynamic aspects as well as behavior patterns. We can say that in its totality it represent the Self, encompassing all archetypal manifestations, as nascent and evolving, the Self, in its dynamic facet as well as its centering function. Jung states:” The Self has always been, and will be, your innermost center and periphery, your scintilla and punctum solis. It is even biologically the archetype of order and-dynamically- the source of life ⁶”.

The palm is a confined, determined structure or gestalt. It has boundaries and in a sense has a static form which is inflexible in its outer part. Yet inside, in the inner part of the palm, in its, so to speak, hidden, interior side, it is vibrating with life through the changing lines that furrow it and the “mounts” that surround it. The palm is further connected; it stems from the body and is its extension. The palm, then, is the ground, the “mother”, the wealth of femininity in its instinctual, sensual, imaginal and unfathomable depth.

The inner palm is divided into three areas: The proximal, lowest zone pertains to the instinctual, imaginal, creative, and chaotic realms, i.e., the collective unconscious. The middle area pertains to the practical and rational realms; the upper zone, close to the fingers, pertains to emotional and spiritual aspects.

The fingers which are free, flexible, mobile, and extend boundlessly outward are potencies; they are sperma that can fertilize this ground, activate it, and energize it. They are the masculine energy of action. Yet, as they stem from the “mother” they are also bound to it. Here we have the Yin and Yang that form a whole.

2. The chirological division of the hand divided into palm and fingers brings us to the beginning of differentiation in the wholeness. As already said above, the palm is the ground, expressed in the inner and outer reality, whereas the fingers represent the archetypal personal images. How the fingers sit or stem from the palm may show us the way these two parts or worlds relate. We can see harmony between them when the fingers sit well i.e., where there is smooth connection between fingers and palm. On the other hand, when there are too- protruding knuckles between fingers and palm, we may say that there are conflicts between the “potencies” and reality; it is not smooth, the flow is inhibited. Knuckles from obstacles to the free flow of energy. So we may encounter disharmonies between the archetypal images portrayed in the fingers or in only one or two fingers, and their malfunctioning or negative functioning as seen in the palm, which is the seat of the manifest world and the “underworld”.

The expression of the palm and fingers is of paramount importance. In a recent research project ⁷ about the differences between the hand of schizophrenics and those of a normal control group one of the decisive factors was that of the expression of the hand. All but one of the fifty schizophrenics participating in the research had hands that were either expressionless or of weak expression, whereas all the controls had lively expressive hands. Expression implies life, vivacity, content, substance, something flowing, and a way of relating. It is difficult to measure expression, and even more to define what it is. It has a Janus character about it. On the one hand, there is the expression of the form and the structure; on the other hand there is the expression of the current psychic state, which varies and changes ”hand- in-hand” with the psychological changes a person undergoes. The expression of the structure of the hand and the expression of the present psychic state may coalesce; yet, very often they do not correspond to one another. We may encounter a strong expression covering a basic frailty, or a rigid expression defending inner fears, depression, or depersonalization. Lack of vitality and depression may be seen in a well-structured form. We can control the expression of our hand gestures, but we cannot control the expression of our psychic state and basic structure as portrayed in our hands. Hands are vitally connected to our autonomous nervous system. An expressive hand shows the pulse of life within the personality. The lack of expression or rigid expression shows the lack of it, or its rigidity. A weak expression shows the weakness of life. We can find expressive fingers with an expressionless palm that is either weak or of a rigid expression; this may indicate a lively archetypal image of potency but a barren or weak ground, a situation which may culminate in a psychosis. We may have the reverse- unexpressive fingers with an expressive, lively, motoric palm, meaning that the “potencies” are not alive, although the ground is ready to “conceive”. “The inner palm portrays the dynamic functioning of the archetypal images. So we may have the lively potencies, the fertile soil, yet the malfunction of these potencies or aspects- which is the usual neurotic condition. To elucidate this with an example: An index finger which is long, squarish, well- proportioned and expressive, indicates an aspect of dominance, power and leadership. This aspect can be handicapped as indicated by the inner palm in the manifestations of other aspects, such as negative thinking, or destructive criticism, which may completely curtail the manifestation of the leadership potentiality, and cause conflict and suffering.

3. If we look at the whole hand as signifying the number “one,” the division between the four fingers and the palm can be looked upon as signifying number “two,” it is clear that number three, then, would be signified by the thumb, which, protruding out of the palm, yet away from the fingers, represents the dynamic aspect. It has two phalanges as compared to the usual three phalanges of the fingers which could convey that it follows another law or rule. The “rule of thumb” means man’s will, man’s command, in contradistinction to God’s will. The thumb is a human characteristic; of all the species only the primates have a thumb, although undeveloped.

Marie-Louise von Franz postulates that “each number taken qualitatively is understood to function as a preconscious psychic principle of activity; each number must be thought of as containing a specific activity that streams forth like a field of force. From this standpoint numbers signify different rhythmic configurations of the one- continuum” ⁸ Number three serves as a reconciling element between two and one, and as an energizing and dynamic function, which is, in fact, man’s task.

Jung’s exposition with regard to these numbers is most revealing when we look at it from this point of view: ” Unity, the absolute one, cannot be numbered, it is indefinable and unknowable; only when it appears as a unit, the number one, is it knowable, for the ‘other’ which is required for this act of knowing is lacking in the condition of the One. Three is an unfolding of the One to a condition where it can be known- unity becomes recognizable; had it not been resolved into the polarity of the One and the Other, it would have remained fixed in a condition devoid of every quality “⁹. This means that the three is needed as a discriminating factor with regard to the one and the other, the two. It reminds one of the uroboric state where the snake eats its own tail. The uroboric state, as Neumann wrote, is the phase in which the ego is dormant, like the embryo in the womb, and has not yet emerged as a conscious complex. ¹⁰

The three, as the thumb, portraying the human prerogative, serves as the condition for consciousness. Chirologically, the quality of the thumb, among other factors, determines the potentiality for differentiation, volition, and execution. In the research into characteristics of schizophrenia as manifest in the hand, the thumb played a major role in its expression and quality, i.e., potentiality.

Yet the three can also be seen from a different angle. It is said that “the One is not only the root of the whole, for the One is only form and the whole is form and matter combined, but three is the root of the whole for the One symbolizes form and two represents matter” ¹¹. Here the three is the root of the whole. We could say that the thumb which, in its position in the hand is rooted in the vital sphere of the inner palm, and yet is independent of it, being the most flexible in movement of all fingers, denotes, in its “threeness” the ability of consciousness, of discrimination, of evaluation and execution. It serves as the basis for man to become aware of the whole and its parts, of its capabilities to create, to hold, to do, i.e., to become the dynamic agent involved in the activity of the psyche- the ego in the service of the Self, the psyche.

4. Number Four is signified by the four fingers. Marie-Louise von Franz denotes the number four as a stabilizer by means of creating boundaries .¹² The four fingers serve as potential stabilizers of the personality as they contain the conscious and unconscious sides. The first finger, and part of the second, which belong to the radial side of the hand, define the conscious side. It is the more flexible side of the hand and has an affinity with the thumb. The other part of the second (middle) finger, the third and fourth fingers- the ulnar part of the hand-belong more to the unconscious side. How the fingers relate to each other can reveal aspects of consciousness versus unconsciousness. As an example: A person holding up his hand showing the first and second fingers standing fourth, whereas the third and

I. Thenar line: “Life line.”

II. Lower Transverse line:” Head line.” III. Upper transverse line: ”Heart line.

IV. Stabilizing line:” Fate line.” Dissected line: Diagonal lines.

fourth are held in, may convey a split between the conscious and the unconscious side, showing an outer attitude different from the inner. Or, another example: A person holding his first finger bent inward, second finger tending towards third and fourth fingers, may show feelings of inferiority, lack of self- confidence, and be more inclined to the unconscious parts of his personality.

The fingers are divided in their inner facet into three parts, corresponding to the three divisions in the palm. These three divisions denote the different “worlds,” or levels of existence in the world: a)The lower part of the finger, the phalange next to the palm, represents the world of earthly aspect, of matter, of basic needs, of materialism, and concreteness. B) The middle phalange represents practicality, common sense, and reasonableness. C) The upper phalange represents the world of spirituality, abstract formulations, and ideals.

The lengths of the phalanges differ from person to person, from hand to hand and also at times, from finger to finger. Accordingly, each archetypal image may have three different modes of expression or levels of existence. We can thereby discern the level of the archetypal aspect working within the personality. As an example: When the middle phalange is the longest of the three, that means that the world of practicality is uppermost in the archetypal layout, i.e., the archetype will manifest itself primarily in the practical realm. As the archetypes are psychic structures, or “structures in process,” ¹³ it is most important to discern their level of existence, especially when the division is different in each finger. Structure is something given; chirologically “structures in process” means the interrelations and interaction of every part of the hand with every another, be it the fingers, the lines or the mounts (elevations) and the changes they may undergo.

For example: In the index finger, the middle phalange longest, may mean that in the realm of dominance, perception and orientation; the world of practicality is the ruler. Whereas, in the second finger, the upper phalange is the longest, which may indicate that in the realm of thoughts and intellect, the spiritual or abstract world is the ruler. Third finger, upper phalange longest, would tend to show an aptitude to abstract art forms, and fourth finger, second phalange shortest, could indicate among other things, lack of practical ability in business, for instance. These divisions within the fingers can already cause difficulties and disharmonies, yet can also be a sign of versatility and compensation.

4. With regard to the “two,” as palm and fingers, the thumb is “three”; with regard to the “four”-the four fingers- the thumb is the five, the one which is added to the four. This makes it not only complete, but whole.

The thumb stands in relationship to the other fingers, either in opposition, or encouraging and complementing them as a focusing factor. Both three and five are single, odd numbers, and in that respect ‘masculine’. In China, number five stands for the element of earth. Earth as number fine symbolizes aspects of femininity. The heirosgamos is signified by number five, and it is in the earth that the heirosgamos takes place. In Jung’s words, ”It is the spiritualizing of the earth.” ¹⁴

The thumb, as number five, contains both masculine and feminine aspects. Gershom Scholem cites Genesis 1:24 “…the earth brings fourth living soul ” to mean the spirit (ruach) of the earth is a “vital potency dwelling in the earth” ¹⁵. The thumb is rooted in the thenar mount which represents the vitality and instinctual forces, i.e., the earth with its vital potencies. From thence the thumb draws its force. We can suggest that with regard to the “three” the thumb represents the ego-complex, whereas with regard to the “five” the thumb would signify more the wholeness of the personality.

It is interesting to note that, whereas the four fingers have mythic or astrological names-Jupiter, Saturn, Apollo, Mercury- the thumb has none. It is solely human. Only man can become conscious of his archetypal images. The hand without the thumb is without “a hold”; we can hardly use it. Archetypal images without the counteracting “I” remain undifferentiated and the psyche cannot be grasped. Only through his human ability can man find meaning and have insight into the working within, which he did not create. This can be done only with the aid of our “thumb.” The ability to make use of, to endure and to suffer under the archetypal manifestations, by our thumb, so to speak, can enrich our lives and make them worthwhile, valuable, with more meaning and with more soul.

THE HAND AND ITS MYTHICAL ARCHETYPES

We say we feel a thing in our “finger –tips,” implying that we know it very intimately, untuitively, from our depth. When there are peaks in the finger –tips, it may be a sign for special sensitivity for the quality of things, whether of a material or an intellectual nature. Fingers are thus used as reminders. We count, type, And play musical instruments with our fingers. We also play with our fingers when nervous or excited. They have a life of their own; who does not remember as a child how one’s fingers portrayed animals and other imaginative figures by their shadow projection on the wall?

Looking at the fingers from their outer side, their expression and form may reveal to us modes of characteristics. For example: fingers that turn outward at their ends or are bent over to the outside- appealing to the “other,” so to say- may show openness and curiosity, whether on a very simple level of sheer love of gossip, or of mental curiosity or spiritual openness, depending on the many other factors in the hand.

How each finger stands out and relates to the other fingers is also indicative of the modes of behavior of the specific characteristic portrayed in the finger. To illustrate: The index finger stands behind the middle finger, which is broad, heavy looking, with a rigid expression, long and strong, while the third and fourth fingers bend inward and the thumb, too, is bent in- could be translated into words as follows:” My stand in the world is not sure and I am afraid of failure, so I’d better stay behind my rigid, critical ideas and persona, although my feelings and relationships may be hurt and suffer”.

If we let our fingers “speak,” we have whole dreams before us- personifications of dramatic psychic situations, where “I” can observe the “me” and the “others” in me in an imaginal situation which pertains to a present state. The hand serves as a mirror of the manifestations of archetypal forces inhabiting our personality, with the ego as an observer as well as a participant.

Each finger stands for different inherent characteristics. Ever since the Middle Ages – and perhaps even earlier- chiromancy held that each finger belonged to a specific planet. Present day chirology, however, tends to do without planetary names, and the fingers are designated by number; The index finger bears the number “one,” the middle finger, “two,” and so on. Only the thumb has no number just as in antiquity the thumb had no planetary association.

If number is an “archetypal image” and “a bridge to the myth,” which is psychical, let us turn back to the astrological planets of chiromancy, as they are the gods that were projected onto the sky. Becoming acquainted with the gods and their myth in our own hands makes them feel very near, inside ourselves, as permanent occupants of our psyche in a decisive and real sense. As Hillman says, “there is always a god in what we are doing” and that “the gods are archetypal premises within all experience and all attitude.” ¹⁶

The mythical astrological names of the fingers and elevations in the inner palm are as follows:

First finger Jupiter/ Zeus Middle finger Saturn

Third finger Apollo

Fourth finger Mercury-Hermes

Thenar elevation Venus/ Aphrodite

Ulnar proximal elevation Luna/ Lilith

Middle proximal elevation

(between Venus and Luna) Neptune

Middle Ulnar side elevation Mars Ares

Some of the most important gods with their specific characteristics, attributes, and function inhabit our psyche. But what about the goddesses, who besides Venus/ Aphrodite and Luna, and her dark aspect, Lilith, are not mentioned? It is a very patriarchal outlook to have femininity symbolized only by these two aspects, disregarding the other goddesses at work in women and men alike. So chiromancy had only male gods depicted in the fingers. Fingers are the ‘potencies,’ the daktyloi, the servants, sons, lovers of the Great Mother Goddesses: Rhea, Demeter, Kekate, and Aphrodite. According to myth, Rhea, who was worshipped in Asia Minor as Mater Oreia “mountain- mother,” had fled to Ida to give birth to Zeus. There, when the birth pangs started, she supported herself with both hands on the soil. From where her fingers pressed into the earth of the mountain sprang spirits and gods in the number of her fingers. These are the daktyloi who are always at her service. This is one aspect of the fingers.

While working with chirology, I have become convinced that each finger is associated not only with a god, but with a goddess as well. So the fingers portray gods that have their feminine counterparts as wife, sister, and daughter. The goddesses are there too in the fingers, personifying the various feminine aspects manifested both in women and men alike. In men they portray the different anima figures. In women they portray unfathomable representations of various types of femininity in both their positive and negative aspects, which only now women recognize as belonging to their psyche, It is no wonder that while these thoughts were shaping themselves into chirology, numerous psychological articles and books were written about the goddesses. This phenomenon evolves from the patriarchal consciousness and belongs to the “new consciousness.”.

It points toward an end to strife for power between matriarchal and patriarchal attitudes, and toward a new meeting of the masculine and feminine aspects in the personalities of both men and women.

The goddesses portrayed in the fingers are: Hera and Hestia, first finger; Athena, middle finger; and Artemis, third finger. All, save Hera, are known as virgin goddesses who are somewhat masculine and who stand alone. Let us turn to the first

finger in both its masculine and feminine aspects.

INDEX FINGER-JUPITER: HERA AND HESTIA

This is the finger belonging to the world, in Spier’s words, it is “the finger of the World.“¹⁷ It is connected to the “outside.” It shows our way of dealing with the world, our orientation, adaptability, our power of observation, sense of perception, the use of our senses, our sense of organization, of domination, and ambition. It may have similarities with the function of sensation. It shows the way we handle and stand in the world- our world. Its length, form and expression, as well as its relation to the other fingers and the combination of the lines in the inner palm, convey how all these characteristics work and manifest themselves in our psyche.

Jupiter, or Zeus, is the mighty king whose victories and powers of domination are connected with the feminine by marriages, and copulations, and in relations with both goddesses and mortal women. In Homeric times, he symbolized the recurrent union of heaven with earth, yet somehow he was always secondary to the feminine in power. ¹⁸

We could say that our stand in the world, our feelings of superiority or inferiority, inner confidence or lack of it, and our ambitions, infect all spheres of our personality. They are deeply connected with and dependent upon our relationship to the basic feminine realms, to the goddesses- the “mother” in her life-giving “milk” as well as its poisonous, devouring potions, intrigues and jealousies.

Astrologically the planet Jupiter stands, among other things, for the social side of the personality .¹⁹ This planet is associated with the idea of expansion. The images of Jupiter/ Zeus’ attributes may well tell us in a more lively, pictorial way his functions, for example: Thunderbolt- immediately brings to mind the image of the punishing finger, the accusing or threatening finger, which is the index finger. The crown and the throne can be looked upon as symbols of power and dominance, which can be seen in a long, expressive, strong index finger. The eagle, kind of the birds, the spirit of the sun, is a spiritual principle- Jupiter as prime mover. ²⁰

The feminine aspects attached to Jupiter are Juno (Hera), as ell as Hestia, sister/ daughter of Zeus. Juno (Hera) portrays the symbol of the matron, protector of the wife, goddess of childbirth. Jupiter and Juno stand for the collective attitude and public life. A well- proportioned, lively expressive and prominent index finger will convey a good ability as an organizer, authoritarian capabilities and teaching abilities.

Hestia’s celibacy and virginity, as well as her belonging to the household and being the keeper of the earth ²¹ can also be recognized in the index finger. For instance, an index finger separated from the other fingers, yet long and expressive, portrays a Hestian alones and independence. Yet, when the finger is long and heavy or rigid and well apart from the other fingers, would indicate the Hestian loneliness and dryness. An index finger conic in shape and tending toward the middle finger, while its first phalange, the one close to the palm is longest, shows good cooking abilities and care for the house and children, other Hestian characteristics. The self- sacrifice of Hestia can also be seen in an index finger straight and outward or even a bit bent but outward, away from the other fingers. It may indicate the scarifying of inner development because of the duties of the house and dependents. If it is also short and heavy- looking, it assumes also Hestia’s anonymity, hard toil and carrying the heavy burdens of the world in a self- sacrificing fashion, depending of course on other components in the lines. Hestia can be seen in a man’s hand as well as in a woman’s hand.

The finger held inwardly towards the inner palm, short, lacking vividness will convey a “ fallen Jupiter,” lacking confidence and unauthoritative.

It becomes more complicated when there are qualities which, because of inner difficulties, are not developed or lived. This can be seen in a well-proportioned expressive finger held inwardly or hidden behind the second finger and it can also be seen in the lines in the inner palm. A too-long index finger and strong in expression can mean an excessively domineering person, which, together with other components, can show extreme lack of consideration up to callousness, tyranny and also inflation.

We can say that Zeus as father; husband; or son tends to signify the world in its outer facets, whereas Hestia as mother and virgin signifies the flame of the inner world. A mother who can “mother” herself, a virgin who implies the enfolding, the becoming, the and dignified aloneness of what one is.

MIDDLE FINGER- SATURN/ ATHENA

Being in the middle, it stands between Jupiter and Apollo, between the “world” outside and the inner world. This finger is usually longer than the rest of the fingers, as if it needs a “ higher view” over the other fingers. It is stabilizer between these aspects, the world of activity, consciousness and the world of feelings, evaluating, imagining, relating, and intuiting. It stands between the conscious attitude and the unconscious urgings and longings. In Freudian terms it also serves as the super-ego. It shows our intellectual potentials, the kind of thinking- whether it is heavy, lively or dull. Along with the head line in the inner palm, it gives us some more dynamical aspects of this function; whether our thinking is deep, shallow, materialistic, optimistic, depressive, inquisitive or cunning and so on. It is important to note to which finger the middle finger tends, whether to Jupiter or Apollo. Tending towards Jupiter would emphasize more the reality aspect, extraversion, outside. Tending towards Apollo would mean more introversion, and influence of the feelings and of the unconscious. Its relation to the other fingers and the palm (having a protruding knuckle between the finger and the palm or a smooth relation to the palm,) its form, its length and expression would convey how our thinking is working within our psyche and how it influences our personality: As an example: A too-long middle finger, rigid in expression with a high elevation under the finger may convey a too-severe super-ego, an unharmonious or bad negotiator.

Astrologically, Saturn conveys limitations (organically it is associated also with acid formation in the joints), old age, restriction, inhibition, slow change, selfishness, narrow- mindedness, severity, dogmatism, cruelty, depression and hardship, yet- in its positive aspects – perseverance, practicality, caution, constructiveness, responsibility, patience, solidity, endurance, self- discipline, thrift and trustworthiness. ²²

In humanistic astrology Saturn’s function is the process of focalization and differentiation, growing to a sense of personal identity, security but also inertia. Saturn symbolizes in alchemy a dark, low, not-yet thought-out content which must be brought up into consciousness, the severed head. “Saturn is the head” as von- Franz says .²³

Chirologically, the stabilizing line (which in chiromancy is called the ‘fate” line), when it rises up from the ulnar proximal part of the palm, the luna (or moon) elevation towards the middle finger, signifies the person’s need for an individual way. It is a focusing energy for self- realization, which stems from the depths of our unconscious. This is a diagonal line, and diagonal lines are specifically a human attribute. Of-course, this line can also stem from other parts of the palm. Where it stems from and where it ends portrays the stabilizing function or force in our personality. The lack of this line does not mean that there is no stabilizing or focusing factor- then, the form, expression of the middle finger and its relationships to other fingers and components in the hand and the thumb, will convey these factors. It is in this sense that we can accept the term ”fate”. Our life cycle is deeply connected to both moon and Saturn’s cycle. The moon cycle is approximately 29.5 days and Saturn’s cycle, 29.5 years. Our life cycle may consist of three Saturn cycles (29*3=87). Each Saturn cycle represents, so to say, a possible different lives of being, reaching towards Senex wisdom and Sophia.

The middle finger can also portray not only the Senex consciousness but also the pure’s illusions, when, for instance, the upper traverse line- called the “heart line- turns upwards towards and under the middle finger in a sharp turn. His feminine counterpart, Lua, Dame Melancholy, can be seen in a middle finger turned inwardly or held in, bent into the inner palm, together with a long, down- sweeping ‘head” line falling onto or towards the luna part of the palm, showing depression. On the other hand, a middle finger square in form, together with other components in the hand, may show technical thinking abilities, which belongs to the feminine side of Saturn characteristics: namely, Athena .²⁴

Athena was born from the head of Zeus and as such she belongs to the head: the middle finger is the “head” of our fingers. She is the father’s daughter who is connected to him only in an ambivalent form. Born without a mother, she belongs wholly to him. The myth does mention Metis as the mother of Athena, who, while pregnant, was swallowed by Zeus. With Hephaistos’ help Athena sprang out from Zeus head. Metis means ‘mind ‘, advice, practical insight, understanding and thinking through. From this we see that Athena’s mother, too, is also the “head.” Psychologically, this means that the mother of a woman who has an inner image of Athena is may be an intelligent, practical, rational, animus- possessed, i.e., full of ideas and opinionated, without warmth or softness.

The ambivalent relationship between daughter and father and her identification with him is her way of defending herself from the threatening masculine principle to her femininity. On the one hand she wants to be accepted and admired by her father so that he will help her. On the other hand she is always afraid of being swallowed by the masculine principle, so that, by identifying with her aggressor, she thinks she saves herself but in fact loses her femininity.

Another possibility as a ”mother of Athena” is a very weak mother, who is completely dominated by the father or is so identified with him that she becomes his “spirit,” his “mirror.” The Athenian woman then again has no mother but a mirror: And we all know the problems of women who are only mirrors of and for their men. Yet the mirror can also be the saving possibility of overcoming the negative mother image, the Gorgon .²⁵ It was Athena who gave Perseus the mirror. The mirror represents the ability to reflect. It is through the capacity for reflection that we can withstand the vicissitudes of our inner dramas.

Athena is always alone, yet a friend to man. She is as if she were a man, ‘man -to-man,’ ²⁶ and a virgin. She is called Athena Pallas, meaning “maiden”, or Athena Parthenon, meaning “virgin”. However, it is not the virginity of Hestia nor that of Artemis. She is not anonymous or self- sacrificing, nor shy, nor alluring. She is practical, efficient, present in the here- and – now and complete. She is also technical. Anaxagoras called her “Athena of the crafts.” ²⁷ Technical capabilities can be seen in a squarish middle finger, which is expressive and not too long. A woman whose ‘Athena’ is dominant should learn to accept her aloneness- not loneliness- in masculine world and learn to use her reflecting ability.

I have dealt a length with Athena because she is an inner image for most women of today. She occupies the middle and the central part of our psyche, but also of our hand, the middle finger being literally central. We are all daughters of the patriarchal culture and dominance of the masculine principles within. We belong to it. We either tend to identify with it, becoming more “man” than “woman”, victims of our animus, rational and intellectual- or simply animus- possessed. Or we tend to feel very inferior and without value. We are all very conscious of and engrossed in our bodies- in dieting, trying to eliminate our fatness, become thin, airy, empty, hollow- bellied, in order to become an image, a presence felt but not touched, not realizing our value as daughters of our “fathers.”

THIRD FINGER-APOLLO

This finger belongs to the sphere of feeling, inner life, relationships, creative abilities and capabilities and a sense of form inherent in man, not belonging to the domain of will, rational thinking and ambition. It is the world of the muses, art, literature, poetry, music. It can also belong to egocentricity, opportunism and gambling. Its form and especially its length and expression, and its relation to other fingers and the lines in the inner palm will disclose to us the intricate aspects working within. The length of the three inner divisions of the finger will denote the world which is dominant; whether it is spiritual and abstract, practical or sensual, material and base.

Astrologically, Apollo corresponds to the sun, which is associated with the heart and spine, with the source of will. It is not the will- power, but the source of it, creativity and generosity; sun as potentiality. ²⁸ In humanistic astrology the sun ‘s function is sustainment, its process purpose- giving and its purpose is integration. ²⁹ It also shows pomposity, arrogance, egocentricity, narcissism, vanity, and extravagance.

Both Jupiter, index finger, and Apollo, third finger, “need” the mediating middle finger, Saturn, in- between and higher, to temper them and reconcile them. They are gods of opposites.

To illustrate: A too- long and dominant index finger which represents authority, dominance and ambition, made hide the spiritual, creative faculties of an expressive but rather short third finger, especially when it is bent in or hides behind the middle finger. Then the Apollonian retreat and withdrawal is apparent, aided by Saturn’s restrictive powers.

On the other hand, a too- long third finger, one as long as the middle finger, will emphasize ego- centricity or a gambling inclination which means also gambling tendencies in and of one’s own life, that take no need of a normal length index finger’s orientation and stand in the world. The Apollonian demand for worship is here drawn to its extreme. Apollo’s birth is connected with suffering. Being the sun of Leto, the goddess of the night, he comes from the night, from the dark, as all creative things do. Every creativity apparently, true to the myth, has to suffer greatly before its birth. Inner life, relationships, spiritual insights, and clarity are all the result of suffering. Suffering is their birthright.

Capabilities that can be seen in the third finger, among other things may serve at times as the ‘key’ to a creative outlet, a truly Apollonian advice in distress .³⁰ Apollo’s whole nature is said to be musical. ³¹ It is the ‘ music’ in the heart form that makes it art, thus transforming activities of different faculties into “art”. A third finger lively and expressive, helps transform activities of man into “art,” in no matter what type of activity whether it is the art of cooking, the art of speech, the art of writing or communication, even the art of forming relationships and the art of healing. Apollo is an archer- god who shoots his arrows from afar, considered as the god of sudden death, but also as the healer god. In this he is connected to Paieon, whom Homer calls the physician of the gods. Paieon was a surname of Apollo. ³²

The following example comes to mind of a woman whose hand revealed abnormal structure with regard to the fingers; each finger was of a different form and expression; her second finger, Saturn, especially, was smaller than the rest of her fingers, thus unable to fulfill its task of stabilizing, reflecting, being responsible. It was, so to say, controlled by diverting and quite opposite tendencies, Jupiter and Apollo. Yet her Apollo, third finger, was exceptionally expressive, well developed and long, as was the fourth finger. She was a very special artist, a painter and a poet. Her Apollo was her inner physician.

He is also the god of divination and prophecy, whose oracles were given by the priestesses, the Sibyls. The story of Cassandra, to whom Apollo, with his kiss, breathed the ability to foretell the future, but took from her the ability to persuade, brings to mind the line of intuition, which in the inner palm is to be found under the third finger. We all have intuitions, prophesying dreams and premonitions. Yet they are not usually persuasive in themselves; we remember them later. The line of intuition shows us what kind of intuition is at work; is it productive, imaginative, based on experience. I.e., reproductive or combative? Is it guiding or misguiding? Helpful or fearful?

The twin sister of Apollo is Artemis. Artemis belongs to nature, to beasts (her symbols are a she- bear and a stag). She is goddess of her chase and forests and called ”the archeres.”³³ She is youth, and dancing, fleeing to the wilderness, unapproachable, shy but enchanting, alluring yet evasive. Especially in a woman, one finds a third finger proportioned and expressive with a lively line of heart (the upper traverse line), rather straight, tending towards the mount of Jupiter under the first finger; this exactly portrays Artemis striking down mortals with her arrows. It is an evaluating, even cold, feeling yet very benevolent to those who appreciate and honor her. Artemis can, like other goddesses, also be found in a man’s hand.

The goddesses are the different’ anima’ aspects or images of the masculine. They also represent different forms of femininity in women. There is no one kind of femininity. We usually distinguish femininity to imply softness, acceptance, relating, containing, caring, uterus- like confinement, passivity, or the opposite- its devouring and castrating, even chaotic, aspects.

When we look into the different images of the goddesses that are portrayed in our fingers- Hera, Hestia, Athena, and Artemis- we see that each one of them portrays a different kind of femininity, which is inherent in all of us. Yet, they are all alone and virgin. Somehow, the deepest aspects of femininity in us all, women and men alike, are alone, are “just- so,” they are what they are, complete unto themselves, yet also always becoming, the possibility of the recurrent becoming of that which enfolds, true to its nature.

Understanding these distinctions and accepting and realizing their functions may help both men and women to know their inner counterparts and to find ways of living with them. Not falling into identification with the archetypes is an unconscious way by letting our lives be ruled and over- powered by them.

FOURTH FINGER- MERCURY

The little finger is the most paradoxical and complicated of all the fingers as its name indicates: Mercury- Hermes in all its guises and intricacies. Hermes is associated with the number four .³⁴ In Teutonic mythology he appears as the Scandinavian Wotan or Odin. The fourth day of the week still bears his name, Wednesday. ³⁵

This finger pertains to an ability of expression in writing, speech, acting, negotiating, playing music, a sense of form and style, diplomatic capabilities, scientific abilities, persuasion, trickery and theft. It deals also with sex and interrelationships, and relationships with the other sex. We find its parallel characteristics in astrology where Mercury is denoted as an individual and intellectual planet with a flair for Languages. ³⁶ He show quickness and “ versatility of mind, inventive gift and scientific leanings.” ³⁷ As with all the other fingers, the form, length, expression and relationship to other fingers and lines will convey some of the Mercury- Hermes drama in our psyche.

Hermes, being a phallic god, connected with sexuality, can be seen in the fourth finger’s expression, its length, its relationships to the other fingers and in the palm; the lines that come up to it and touch it, together with the elevations of Venus and Luna as well as Mars. Mars and Luna are situated on the ulnar side under the fourth finger, while Venus is opposite to the fourth finger on the thenar elevation on the radial side of the palm. In other words, fourth finger’s sexuality is the way we relate inwardly and outwardly to all spheres of life in ourselves and with others. Our sexuality conveys our essence at the deepest level. In Hebrew, the sexual union is expressed by the word “Yada” which means knowing, it is not an acquired knowledge, but an inward one. Lopez, in a Hermes- like manner says it is a bit differently: “ Our sexuality marks the roads we tread in life like mile-stones, thus our sexual images, fantasies, and imagination participate in the psychological commerce at the borderline of our psyche marking both the internal and external realms of

Life. ³⁸

Hermes is the servant of the gods, their messenger, he is on the go, on the way, always connecting. “He is enodios, (“by the road”) and hodios (“belonging to a journey.”) ³⁹

The fourth finger is usually smaller than the other three, yet is of invaluable importance. It “serves” all the other fingers, as it helps, or leads on, or leads away the capabilities and characteristics portrayed by the other fingers. It is closely connected to Apollo, who gave Hermes the Iyre, in music-playing, acting, painting, writing, to mention just a few. It gives rhetoric ability to Saturn’s order and law.

Mercurius is also the herald of consciousness, of conscious differentiation. A lively expressive fourth finger whose length is the length of the thumb- the thumb being developed and expressive- together with diagonal or curved lines coming towards it in the palm, conveys the Mercurian animating and psychic movement that stirs and enlivens all realms. In Jung’s words:” Isolated in the bottle he corresponds to the ego and the principle of individuation. Freed from his prison Mercurius assumes the character of supra- personal atman. He becomes the one animating principle of all created things, the Self.” ⁴⁰

The fourth finger is intimately connected and belongs to the ulnar part of the hand, the seat of unconscious Luna. It has the double nature of creativity, inspiration, intuition and prophecy, but also the danger of being submerged and lost in Luna-cy. ⁴¹ It will depend upon the third and fourth fingers and the thumb and the lines in the inner palm, which of and how Luna’s characteristics are manifested.

The fourth finger is also connected on its ulnar side with aggression or fighting spirit: Mars or Ares, god of war and blind brutal courage, and his two attendants, Deimos (fear) and Phobos (fright). This brings to mind Pan, panic, and paranoia. The Ares-Mars elevation under the fourth finger is the seat of aggression in both its positive and negative connotations. It shows the ability to persevere in the face of difficulties, for we need a fighting spirit to attain whatever we need to attain in our lives. It is also the seat of suspicion, mistrust and paranoid inclinations. Diagonally, it is connected with the whole elevation of Venus/ Aphrodite, the goddess of fertility of all nature and goddess of love, in its noblest as well as in its most degraded forms- sexuality as the essence of life and death .⁴² It being fourth Eros and Harmonia, and also the Herm- Aphrodite.

The process of individuation goes through the Hermaphrodite. ⁴³ This diagonal connection between Venus- Aphrodite and Mercury-Hermes is found only in the human hand, as are all diagonal lines. The mount of Venus-Aphrodite is the source of vitality, passion, instincts, earth, the ground from which stem the thumb. Venus- Aphrodite “is the ‘anima’ without, leading men into outer entalglement”.⁴⁴

She needs the other. The “me,” for its proper development, needs Venus’s warmth, and life-giving energy. It needs body, body that emerges from the unfathomable sea, the deepest unconscious realms. Yet it also needs its Hermes/ Mercurius. Together, diagonally, it connects to the self. “The self has its roots in the body, in the body’s chemical elements.”⁴⁵ Lopez says that “with the Hermaphrodite psychology begins to be psychology in the deepest sense. The Hermaphrodite introduces us to the complexities of the masculine and feminine with a unique image of symmetry.”⁴⁶ This diagonal line indicates, among other things, the ability for inner development. The animated psychic movement connects two principles: masculine-feminine; body-spirit; where the soul is the connecting principle, the ‘diagonal’ line, the human line.

A well –proportioned, expressive, vivid and developed fourth finger and diagonal connection to the mount of Venus indicates Hermes as protector and helper ,⁴⁷ and especially as servant, servant of process individuation, “at whatever level the process moves”⁴⁸ Yet he also needs a well- framed and developed thumb.

THE THUMB

Whereas all the other fingers (digits) bear the names of gods, no god’s name is attached to the thumb. It stands alone, naked and lower. Yet it is, as mentioned many times before, the human prerogative. It represents the ”I” that thinks, wants, speaks, wills, and executes, i.e., the seat of volition (in Rallo May’s encompassing use of the word ) .⁴⁹ It also pertains to the power of execution and the thought that is involved in it. It belongs to the ego- complex, ego consciousness, ego powers and identity .⁵⁰

It is important to assess its expression and quality, i.e., potentiality. By potentiality we mean its degree of ability to differentiate, discriminate, to evaluate, to suffer frustrations or persevere. The expression will indicate how these aspects operate within us at the present moment; either not at all, rigidly, weakly or strongly or in a lively way. Together this will indicate the amount and the particular personalistic dynamic way the ego in its volition and execution and the reflection attached to it, work. The higher the potentiality of the thumb, the more developed the person is. We may suggest that the potentiality of the thumb serves as an indicator of the severity of pathology. In the research (1980) as to characteristics of schizophrenia in the hand, it was even statistically proven that one of the decisive factors of the severity of the pathology was an unexpressive thumb of low potentiality.

The higher the potentiality, the better our ability to observe, react appropriately and accept our “pathologies,” our soul’s sufferings and pains. Hillman’s use of the phrase“ pathologizing psychologically” is “to find a place for it, a way of accepting it, in general and as a whole… to know what it might be saying about the soul and what the soul might be saying by means of it.”⁵¹

The ‘low’ position of the thumb with regard to the other fingers enables us to hold, for instance, the pen one writes with. It is in the hollow space between the thumb and the fingers, between ‘I’ and the gods, that things get done. Only by counteracting, relating, encountering the ‘me’ with the not-me, the ‘I’ with the archetype that manifests in my being, the ‘persons’ living in my abode, can I discriminate, insight, understand, take a stand or run away, be overpowered, be rigid or numb. A too-strong thumb, as an example, with a prominent Jupiter and Mars could bring about an inflation of the ego. Metaphorically, being ‘low’ and smaller than the other three fingers (except the fourth finger, which is normally of the same size) is to keep low and humble, and human.

Mercury, fourth finger, as opposed to the thumb is like the “trickster” opposite to the “fool” of the Tarot. Rebecca Warner ⁵² says that the fool “represent both the soul starting on the path of knowledge, foolishly supposing that he carries all that is necessary within himself and the reborn soul at the end of his journey of initiation, who has discarded all except that which is essential“. Newman contends that the “fool” is a pathetic figure, because we are all pathetic in the struggle with our lives, but it is out of this Auseinandersetzung with our lives that we become conscious. ⁵³

In Jung’s words: “Without man’s reflecting consciousness the world is monstrously meaningless; for according to our experience man is the only creature that can determine ‘meaning’ at all… Since a creation without the reflecting consciousness of man has no recognizable meaning, the hypothesis of a latent meaning invests man with a cosmogonic significance, a veritable raison d’ etre.” ⁵⁴

Becoming conscious is but one step, a most necessary step without which all is meaningless. Yet what is vitally at stake and needed is the courage and the inner freedom to experience and feel the images with the ‘I’ not as a victim, but as a participator.

Looking at the worlds that are in our palms, in our hands, we become aware and conscious of the forces that inhabit these worlds of ours as well as our possibilities of dealing with them, suffering with them and under them. It can start a process that may mean, perhaps, our soul’s basic need for the union of knowing and experiencing at the centre of our being, via the hand, the microcosmos of our macrocosmos, a dot of meaning in an awesome and tremendous cosmos.

NOTES

1.B. Reed, Rebel in the Soul, trans.,B. Reed (London:Wildwood House, 1978).

2.Marie-Louise von Franz, Number and Time (London: Rider and Co.,1974), p.31.

3. Marie- Louise von Franz, On Divination and Synchronicity (Ontario: Inner City Books, 1980), p.72.

4. Ibid., p.68.

5. 5. Ibid., p.88.

6. C.G. Jung, psychology and religion, CW 18, par. 1638.

7. Y. Haft-Pomrock and Y.Ginat, “Difference between schizophrenics and normal control using the chirological (hand) testing .“ 1980 (Not yet published).

8. Von Franz, Number and Time, pp.74-75.

9. C.G.Jung, “A Psychological Approach to the Trinity”, “Psychology and Religion, CW 11, par.180Citedby von Franz, Number and Time, p.102.

10. Erich Neumann, The Origins and History of Consciousness (New York: Harper Torchbook, 1962) , p.276.

11. Inb Gabirol, cited by von Franz, Number and Time, p.104, n. 9.

12. VON franz, Number and Time, p.74.

13. James Hillman, Re- visioning Psychology (New York: Harper and Row, 10975), p.148

14. C.G.Jung, Mysterium Coniunctioonis, CW14, par. 207.

15. G. Scholem, On the kabalah and its Symbolism (New York: Schocken Books, 1965) , p.164

16. Hillman, op. cit., pp.227, 228.

17. Julius Spier, The Hands of Children: An Introduction to Psycho- chirology (London: Routledge & Kegan Paul, 1944), p.23.

18. W.F. Otto, The Homeric Gods (London: Thames and Hudson, 1954), p. 34

19. H. Binder, Oral Communication in 1970.

20. F.A. Yates, The Art of Memory, (London: Peregrine Books, 1996), p.280.

21. Karl Kerenyi, The Gods of the Greeks (Middlesex: Penguin Books, 1958), pp.91-92; see also S.A. Demetrakopoulos, “Hestia, Goddess of the Hearth,” Spring (1979), pp.55-73.

22. Derek and Julia Parker, The Complete Astrologer (London: Mitchell Beazley, 1971), p.98.

23. Marie-Louise von Franz, Interpretation of Fairytales (New York: Spring Publications, 1979), pp.117-18.

24. James Hillman, “On Senex Consciousness,” Spring (1970), p.160.

25. Murray Stein, “Translator’s Afterthoughts”, in K.Kerenyi, Athene (Zurich : Spring Publications, 1978), pp.76-77.

26. Otto, op. cit.,p.5.

27. Ibid.,p.56.

28. Ibid.

29. James Hillman, On the Necessity of Abnormal Psychology: Ananke and Athene in Facing the Gods (Dallas: spring Publications, 1980), p.27.

30. M.R. Meyer, The Handbook for the Humanistic Asteologer (New York: Anchor books (doubleday), 1974), p.71.

31. IBID.

32. Kerenyi, The Gods of the Greeks, p.143.

33. Otto, Homeric Gods, pp. 80-90.

34. Karl Kerenyi, Hermes Guide of Souls (Zurich: Spring Publications, 1976), pp.21-22.

35. Larousse Encyclopedia: Mythology (London: Hamlyn, 1959), pp.252-55.

36. Hanni Binder. Oral communication in 1970.

37. C.G. Jung, Psychology and Alchemy, CW 12, par.88.

38. R. Lopez-Pedraza, Hermes and his Children (Zurich: Spring Publications, 1977), p.4.

39. Kerenyi, Hermes Guide of souls, p.15.

40. C.G. Jung, Alchemical Studies, CW 13, par. 287.

41. K/Newman, A Psychological interpretation of the Tarot Major Arcana (Diploma thesis) 1975.

42. For an excellent exposition of this problem, see: Marion Woodman, The owl was a Baker’s Daugher (Toronto: inner City Books, 1980); and M.T. Colonna, “Lilith, or the black moon,” journal of analytical psychology (1980)

43. Lopez-Pedraza, op.cit.,p.17.

44. Rene Malamud, The Amazon Problem in Facing the Gods (Dallas: Spring Publication, 1980), p.57.

45. C.G. Jung, Alchemical Studies, CW 13, par. 242.

46. Lopez-Pedraza, op,cit.,p.17.

47. Ibid.,p.5.

48. Ibid.,p.6.

49. Rallo May, Love and Will (New York: Dell Publishing Co., 1961).

50. C.G Jung, Structure and Dynamics of the Psyche, CW 8, par. 611.

51. Hillman, Re-visioning Psychology, p.57.

52. Cited by K. Newman, op.cit.

53. Ibid., p.138.

54. Cited by M.-l. von Franz, Number and Time, p.165.

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