On the origin of the mythological and psychological symbol of the dreaded mother: “Still there appears to reside in man a deep resentment, because a brutal law once separated him from an impulsive indulgence and from the great beauty of the animal nature so harmonious with itself. This separation is clearly shown in the prohibition of incest and its corollaries (marriage laws). Hence pain and indignation are directed toward the mother as if she were to blame for the domestication of the sons of men. In order not to be conscious of his desire for incest (his regressive impulse toward animal nature) the son lays the entire blame on the mother, whence results the image of the ‘dreaded mother.’ ‘Mother’ becomes a specter of anxiety to him, a nightmare.” (Jung, Psychology of the Unconscious.)
The snake is to be regarded as a mythological symbol (frequent also in dream life) for the libido that introverts itself and enters the perilous interdicted precinct of the incest wish (or even only the life shirking tendency); and especially (though not always valid) is this conception in place, if the snake appears as a terrifying animal (representative of the dreaded mother). So also the dragon is equivalent to the snake, and it can, of course, be replaced by other monsters. The phallic significance of the snake is, of course, familiar enough; the snake as a poisonous terrible animal indicates, however, a special phallus, a libido burdened with anxiety. Jung, who has copious material with which to treat this symbolism, calls the snake really a “negative phallus,” the phallus forbidden with respect to the mother, etc. I would recall that alchemy, too, has the symbol of the snake or the dragon, and used in a way that reënforces the preceding conception. It is there connected with the symbols of introversion and appears as “poisonous.” The anxiety serpent is the “guardian of the threshold” of the occultists; it is the treasure guarding dragon of the myth. In mystic work the serpent must be overcome; we must settle with the conflict which is the serpent's soul.
Also the mystic yoga manuals of the Hindus know the symbol of the serpent, which the introverting individual has to waken and to overcome, whereupon he comes into possession of valuable powers. These serpents [kundalini] are considered by the Yogi [pg 277] mystics as an obstacle existing in the human body that obstructs certain veins or nerves (the anatomy of the Hindu philosophers is rather loose here), and by this means, if they are freed, the breath of life (prāna) sends wondrous powers through the body. The main path in the body which must be freed for the increased life-energies is generally described as the susumna (as far as I know, it is not yet cleared up whether the aorta abdominalis or the spine has furnished the anatomical basis for the idea of the central canal), and is the middle way between two other opposed canals of the breath, which are called pingala, the right, and ida, the left. (Here, too, note by the way, appears the comparison of opposites.) I quote now several passages on the kundalini and its significance at the beginning of the mystical work.
“As Ananta, the Lord of Serpents, supports this whole universe with its mountains and its forests, so kundalini is the main support of all the yoga practices. When kundalini is sleeping it is aroused by the favor of the guru [spiritual teacher], then all of the lotuses [lotus here stands for nerve center] and granthis [swallowings, nerve plexus?] are pierced. Then prana goes through the royal road, susumna. Then the mind remains suspended and the yogi cheats death.... So the yogi should carefully practice the various mudras [exercises] to rouse the great goddess [kundalini] who sleeps closing the mouth of susumna.” (Hatha Yoga Prad., Ill, 1-5.) “As one forces open a door [pg 278] [door symbolism] with a key [the ‘Diederich’ of the wanderer in the parable] so the yogi should force open the door of moksa [deliverance] by the kundalini. The Paramesoari [great goddess] sleeps, closing with her mouth the hole through which one should go to the brahmarandhra [the opening or place in the head through which the divine spirit, the Brahma or the Atman, gets into the body; the anatomical basis for this naïve idea may have been furnished by one of the sutures of the skull, possibly the sutura frontalis; the brahmarandhra is probably the goal of the breath that passes through the susumna that is becoming free.] where there is no pain or misery. The kundalini sleeps above the kanda. [The kanda, for which we can hardly find a corresponding organ, is to be found between the penis and the navel.] It gives mukti to the yogis and bondage to the fools. [See later the results of introspection.] He who knows her, knows yoga. The kundalini is described as being coiled like a serpent. He who causes that sakti [probably, power] to move ... is freed without doubt. Between the Ganges and the Yamuna [two rivers of India, which are frequently used symbolically, probably for the right and the left stream of the breath of life, ingala and ida, cf. what follows] there sits the young widow [an interesting characterization of the kundalini] inspiring pity. He should despoil her forcibly, for it leads one to the supreme seat of Vishnu. Ida is the sacred Ganges and pingala the Yamuna. Between ida and [pg 279] pingala sits the young widow kundalini. You should awake the sleeping serpent [kundalini] by taking hold of its tail. That sakti, leaving off sleep, goes up forcibly.” (Hatha-Yoga, Prad., III, 105-111.) Ram Prasad (“Nature's Finer Forces,” p. 189) writes about the kundalini: “This power sleeps in the developed organism. It is that power which draws in gross matter from the mother organism through the umbilical cord and distributes it to the different places, where the seminal prana gives it form. When the child separates from the mother the power goes to sleep.” Here the kundalini sakti appears clearly in connection with the mother. Siva is the god [father image] most peculiar to the yogis. The wife of Siva, however, is called Kundalini.
Mythologically expressed, introversion proceeds well if the hero defeats the dragon. If this does not happen, an unsuccessful issue is the result; the man loses himself. In my opinion this losing of self is possible in two ways, one active, the other passive. In all there would then be three terminations of introversion. The good conclusion is the entrance into the true mystical work, briefly, mysticism. The bad conclusions are the active way of magic and the passive one of schizophrenia (introversion psychosis). In the first case there is consummated an inner reunion, in the other two cases a losing of self; in magic one loses oneself in passions, for which one wishes to create satisfaction magically, absolving oneself from the laws of nature; in the case of mental malady the sinking develops into laziness, a spiritual [pg 280] death. The three paths followed by the introverting individual correspond roughly to these three other possibilities of life, work (morality), crime, suicide. These three possibilities are, of course, recognized by the hermetic art; it recognizes three fundamental powers, which can give no other result psychically. Two of these principles are mutually opposed (in the unpurified condition of the material). We know them quite well as [Symbol: Fire] and [Symbol: Water], etc. The third principle lies evenly between the other two, like the staff of Hermes between the two serpents. So the symbol [Symbol: Mercurius], as Hermes' staff with the serpents, precisely unites all three. In this aspect the three qualities or constituents of matter (prakrti) may at once be substituted for the three fundamental powers of alchemy according to the Hindu samkhya doctrine. Sattva, Rajas, Tamas, are translated (by Schroeder) by “purity, passion, darkness.”
In the Bhagavad-Gita it is said of the happiness that these three grant:
“Where one rests after earnest work and arrives at the end of toil,
Fortune, which appears poison at first, finally is like nectar.
Such a fate is truly good, procured through cheerfulness of spirit. [Sattva.]
Fortune that first shows like nectar, and finally appears as poison,