“While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity.From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.”

“The archetypal image of the redeemer serpent is certainly placed here in opposition to the serpents of evil that battle with it. But why do they both have the same form if there is only oppositIOn between them? What does it mean that they both dwell in the same place, the depth of the great abyss? Are they not possibly two aspects of the same thing?We know this image of the redeemer serpent not only from Gnosis and from the Sabbataian myth, but we know of the same serpent rising from below, redeeming and to be redeemed, as the Kundalini serpent in India, and finally from alchemy as the serpens Mercurii, the ambiguous serpent whose significance was first made clear to us by Jung's researches.Since Jung's work on alchemy we know two things. The first is that in its "magnum opus" alchemy dealt with a redemption of matter itself. The second is that pari passu with this redemption of matter, a redemption of the individual psyche was not only unconsciously carried out but was also consciously intended. As we know, the serpent is a primeval symbol of the Spirit, as primeval and ambiguous as the Spirit itself. The emergence of the Earth archetype of the Great Mother brings with it the emergence of her companion, the Great Serpent. And, strangely enough, it seems as though modern man is confronted with a curious task, a task which is essentially connected with what mankind, rightly or wrongly, has feared most, namely the Devil.”

“There is no religion and no philosophy that can give us a comprehensive answer to the whole of our problems, and the abandonment and isolation of the individual who is given no answer, or only inadequate answers, to his question lead to a situation in which more and more cheap, obvious solutions and answers are sought and provided. As, everywhere and in all departments of life, there are contradictory schools and parties, and an equal number of contradictory answers, one of the most frequent reactions is that modern man ceases to ask questions and takes refuge in a conception that considers only the most obvious, superficial aspects, and becomes skeptical, nihilistic, and egocentric. Or, alternatively, he tries to solve all his problems by plunging headlong into a collective situation and a collective conviction, and seeks to redeem himself in this way.”

“However, the natural symbol, without our being sufficiently conscious of the fact, is identical with the reality of the world that appears to us, for every object in the natural world is at the same time a symbolic reality to us. The psyche certainly does not use an "object" of nature as a "symbol," but rather the experience of an "object" itself is always already symbolic experience. The star or tree in us is no less real and no less symbolic than it is in outward experience. For each possibility of experience either presupposes a spiritually forming, that is to say a symbolic activity, or is identical with this. That is, everything spiritual appears to us first not just in nature but as nature; or we could formulate this just as well the other way around: everything natural, whether outward or inward, appears to us as an image, that is to say as formed spirit. We are surrounded by images, inwardly and outwardly, but at the same time formed and determined in all our experiences by the natural symbol as though by a unitary natural-spiritual reality, for our psychic system only grasps that which appears to us as the real world through the world of natural symbolism.”

“Woman's fear of the female Self, of the experience of the numinous archetypal Feminine, becomes comprehensible when we get a glimpse - or even only a hint – of the profound otherness of female selfhood as contrasted to male selfhood. Precisely that element which, in his fear of the Feminine, the male experiences as the hole, abyss, void, and nothingness turns into something positive for the woman without, however, losing these same characteristics. Here the archetypal Feminine is experienced not as illusion and as maya but rather as unfathomable reality and as life in which above and below, spiritual and physical, are not pitted against each other; reality as eternity is creative and, at the same time, is grounded in primeval nothingness. Hence as daughter the woman experiences herself as belonging to the female spiritual figure Sophia, the highest wisdom, while at the same time she is actualizing her connection with the musty, sultry, bloody depths of swamp-mother Earth. However, in this sort of Self-discovery woman necessarily comes to see herself as different from what presents itself to men -as, for example, spirit and father, but often also as the patriarchal godhead and his ethics. The basic phenomenon - that the human being is born of woman and reared by her during the crucial developmental phases - is expressed in woman as a sense of connectedness with all living things, a sense not yet sufficiently realized, and one that men, and especially the patriarchal male, absolutely lack to the extent women have it.To experience herself as so fundamentally different from the dominant patriarchal values understandably fills the woman with fear until she arrives at that point in her own development where, through experience and love that binds the opposites, she can clearly see the totality of humanity as a unity of masculine and feminine aspects of the Self.”

“The result of this one-sided patriarchal stance, demonstrable in all areas of life, is an un integrated man who is attacked by his repressed side and often enough overwhelmed by it. This transpires not only in the fate of the individual man as seduction by a "lower" anima, but equally through seduction by a compensatory ideology, for example materialism, to which "spirit" men are especially susceptible.The man wants to remain exclusively masculine and out of fear rejects the transformative contact with a woman of equal status. Negativizing the Feminine in the patriarchate prevents the man from experiencing woman as a thou of equal but different status, and hence from coming to terms with her. The consequence of the patriarchal male's haughtiness toward women leads to the inability to make any genuine contact with the Feminine, i.e., not only in a real woman but also with the Feminine in himself, the unconscious. Whenever an integral relationship to the Feminine remains undeveloped, however, this means that, due to his fear, the male is unable to break through to his own wholeness that also embraces the Feminine. Thus the patriarchal culture's separation from the Feminine and from the unconscious becomes one of the essential causes for the crisis of fear in which the patriarchal world now finds itself.”

“While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity.From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.”

“As the Great Creatrix, the feminine is no vessel and passage for an alien, masculine Other that condescends towards her, enters into her, and favors her with the seed of living. Life originates in her and issues from her, and the light that appears projected on the night sky, which she is herself, is rooted in her depths. For she is not only the protomantis, the first and great Prophetess, but also she who gives birth to the Spirit-Light, which, like consciousness and the illumination that arises in transformation, is rooted in her creative efficacy. She is the creative Earth, which not only brings forth and swallows life, but as that which transforms also lets the dead thing be resurrected and leads the lower to the higher. All developments and transformations that lead from the simple and insignificant through all gradations of life to the complicated and intricately differentiated fall under her sovereignty. This matriarchal world is geocentric; the stars and signs of the zodiac are the heavenly girdle of the Earth Goddess and are arranged around her as the true center around which everything revolves.”