Gold trail

On the trail of eternity

Maleficent and the couple dynamic (plot and interpretation)

Sleeping Beauty-Maleficent: A Kingdom at War

By on 30. August 2021

Maleficent Sleeping Beauty's Trial by Fire

Maleficent: The Dark Fairy and Negative Couple Dynamics

The Disney films "Maleficent" are an interpretation of the fairy tale Sleeping Beauty. There are two Maleficent movies so far, which together correspond to the five stages of the hero's journey.

Action and interpretations

The following narration of the plot of the films is also divided (as in the fairy tales) into the seven episodes of the hero 's path and also corresponds to the hero's path of the woman.

Maleficent 1, "the dark fairy": the fight for freedom (phase 1-4 of the hero's path).

The first Maleficent film covers phase 1 to 4 of the hero's journey. The heroine experiences her initiation with the first sexual intercourse. This is followed by the desert phase, a time of weakness during which she has to walk the earth because her wings have been cut off. When she turns to love, however, she regains her wings and with them her strength and joins the fight for her freedom.

Maleficent 2, "The Powers of Darkness" (the Shadow, Phase 5 of the Hero's Path).

The second Maleficent film is about the confrontation with the shadow. This is the fifth phase of the hero's journey, the trial by fire. It reveals the underlying causes of the problems and the negative dynamics. By integrating the shadows, they contribute to the victory of the good forces and love, so that nothing stands in the way of the wedding. (As a Sacred Wedding, it symbolizes the integration of the unconscious into consciousness).

Maleficent and Wholeness (7)

The topic: Two empires - war or unity?

Maleficent's Kingdom of the Bogs and the Realm of Power by King Stefan

The story is told of two kingdoms. On one side lies the realm of the moors. Here everything is animated by countless small and large fairies who live in freedom and in harmony with higher existence and nature. On the other side is the kingdom of humans, where power, norms, hierarchies and constraints reign.

The gemstone and the ring

Maleficent is a young fairy with horns and big strong wings. On these powerful wings she moves effortlessly in the air.
One day she learns that a human has entered the moors. His name is Stefan and he has stolen a precious stone. Maleficent takes the stone from him and throws it into a stream. As they shake hands in farewell, Maleficent is burned by an iron ring on Stefan's finger. He immediately throws it away and the two become friends.

Maleficent and Wholeness (Interpretations): Unity in Love or War?

The underlined words of the plot interpreted:

Two kingdoms
The gemstone and the ring
  • Gemstone: symbol of female seductive power (as also in the Babylonian Gilgamesh epic Journey to the Sea or in Aladdin and the Lamp, the Cave of Wonders). In both, gemstone trees appear instead of fruit trees. These are beautiful to look at, but they do not nourish.
  • The stream: Water as a female symbol flows down the mountain (also a feminine symbol as an elevation to "Mother EARTH"). The gemstone sinking into the water - seduction becomes the reality of sexual intercourse (the shared water).
  • Iron: Power through suppression. Iron is obtained by heating and burning EARTH, more precisely ore, by FIRE. FIRE is the symbol of male physical passion. EARTH is the symbol of the female body. Scorched earth is a symbol of abuse of the woman. (For it burns when WATER is absent, the symbol of the soul, which extinguishes fire and makes the earth fertile, see. FIRE AND ICE, Fundamentals of the Dynamics of the Elements..)
  •  The ring: reference to completed sexual intercourse (penetration, s. on Stele of Ur-Nammu: Kingship and Burney relief - Lilith or the Queen of the Night).
Twelve Golden Plates (Sleeping Beauty)

Awareness-raising (1): War between the sexes

Maleficent and the Curse

War between the two empires

Maleficent and Stefan are getting older. While Maleficent has become the highest fairy in the realm of the moors, Stefan strives for fame and honour.

The reigning old King Henry goes to war against the moors, but Maleficent and her moorland creatures successfully defend the moors against the invader. The king has to admit defeat for the time being, but he is out for revenge. He announces that whoever succeeds in killing Maleficent will become his successor.

An opportunity for Stefan ...?

Maleficent and Two Kingdoms at War (Interpretations): Negative Couple Dynamics as a Curse

Two empires at war
  • War of the king against the moors: The man wants to subjugate the woman in order to be able to dispose of her body, her life and her spirit (her miracle-working love, "VIRGIN").
  • Maleficent'sdefence of the moors: the woman fights back.
Comment: Power instead of love produces destructive reality.

The problem is the lack of love. The feminine as reality-birthing matter is by its nature designed to realise the impulse ("seed") of loving consciousness and thus bring forth new, living reality.

[S. Male and female, the two primordial forces of creation.]

But when love is lacking and power is instead demonstrated through oppression, the feminine reacts according to the same principle with negativity. Instead of loving acceptance, frustration, rebellion, pain and anger lead to a negative reality ("thorns").

[S. The body of pain (the negative animus as devil or animal)..]

[The story told differently s. Sleeping Beauty and the Curse.]

Sleeping Beauty and the Curse

Maleficent and Stefan (Initiation: 2)

The Clipped Wings (Initiation, 2)

The taboo (dark secret): power as a spiritual reality of this world

Maleficent and Stefan have now grown up. Maleficent has now become the mistress and protector of the moors. Stefan, on the other hand, wants to achieve kingship in the human kingdom. He sees his relationship with Maleficent as an opportunity to do so. For the ruling King Henry, who wants to subjugate the moors, has promised his kingdom to the one who kills Maleficent. (Power not love)

The spindle: intoxicated by eroticism, sex instead of love

Stefan meets Maleficent and plays true love for her. But then he drugs her with a potion and cuts off her wings. He brings these to the king. This is how he achieves kingship. (Sex instead of love)

The Fulfilment of the Curse: The Soul, the Feminine, in Negativity

Maleficent, who can now no longer fly, must walk the earth instead. Stefan has apparently married someone else. When Maleficent learns that a daughter has been born to him, she appears at the feast and curses her. She is to prick herself on a spindle on her 16th birthday and fall into a death-like sleep. At Stefan's request, she softens the curse in such a way that a kiss from true love could wake her up again.

King Stefan then has all the spinning wheels in the entire kingdom brought to the cellar of the castle to be burned.

Maleficent, the curse and the cut wings (interpretations): love killed

The Curse: Dying Woman

This section of the film illustrates the love that has died in all three areas of the woman's life: body, soul and spirit.

  • Body: Sex instead of love
  • Soul: negativity and lack instead of love
  • Spirit: Power instead of love

The individual symbols
  • The mistress of the moors: "wetlands" as the feminine side (WATER and EARTH as the two "feminine" elements in contrast to FIRE and AIR, the masculine, see. The four elements).
  • Kingship in responsibility or exploitation: love or power?
  • The wings - with ease in the realm of the spirit: in the power of love or in the AIR, i.e. in the realm of the male soul (e.g. through seduction). In other words as goddess of love or harpy and mistress of the underworld (s. The dark fairy as goddess of fate.).
  • The severed wings: Destruction of the woman's spiritual strength and power through separation from her power of love. This happens through devaluation and violation as well as robbery and exploitation of her life through unlawful (loveless) sexual intercourse ( The Woman 3-in-1).
  • Walking on the earth - dedication of one's life: The woman as queen of the earth gives life through her body (blood) and heart blood. These are not flights of fancy, but faithful persistent service: step by step, day by day. (S. The heroic path of the woman and Female wholeness - the Goddess, White / Red / Black.)
  • The Curse: Dying of Love in Power
  • Sleep: unconsciousness of the feminine from violation and negativity (see Original Sin as a Collective Human Problem and The Pain Body of Woman - Dark Ruler in the Shadows).
  • True love's first kiss - sign of unconditional devotion: Kiss: a gesture of tenderness with the lips - words too?
  • The burnt spinning wheels: The taboo, the dark secret in the cellar (see Dark secrets as a curse).

[The story told differently s. Sleeping Beauty and the Spindle.]

Sleeping Beauty and the Spindle (Fulfilment of the Curse)

Maleficent and the Fainting of Women (The Thorny Hedge, 3)

Powerlessness and power of women

Maleficent has grown a great hedge of thorns around her kingdom. King Stefan is forging iron weapons to subjugate her kingdom. And while his wife is sick in bed, he keeps going to Maleficent's wings, which are locked in the iron cabinet with glass panes.

Anima dreams of the man (wings) and the negativity of the woman ("illness")

The Anima Obsession of Man and the Quest for Power
  • Iron: Symbol of power through oppression. The goal is domination over the woman and the feminine (matter) in order to be able to take (instead of having to surrender).
  • Talks with Maleficent's wings: The female spirit, his inner woman, seduces him for sex, money and power (s. The negative anima as WHORE or SNAKE.).


Negativity in women: between depression and aggression
  • The thorn hedge: prickly defence
  • The "other" woman is sick in bed: depression

Maleficent and the (inner) daughter

For her protection, Aurora is far from the castle by good fairies far from the castle. But the fairies are overwhelmed with their task overwhelmed. Maleficent, on the other hand, looks after them and rescues them again and again from danger. dangers.

At the age of 15, Aurora meets Maleficent for the first time and recognises her as her "fairy godmother" who has always protected her. Then Maleficent shows Aurora her kingdom.
Now Aurora meets Prince Philip, who is on his way to the king's castle. They want to meet again.

Far away from the castle: without reference to men

The thorn hedge: fear of further injury
  • Raised far away from the castle: The young woman grows up without a positive relationship with men and has no idea about couple dynamics.
  • The good fairies overwhelmed: Kindness alone is not enough to get through this world safely.
  • Protection by Maleficent: Clear boundaries are also needed, even if they are perceived as a defence (thorns).
Maleficent as Fairy Godmother and the Realm of the Moors
  • Maleficent as a fairy godmother: strong, self-determined femininity
  • The realm of the moors: harmony between the female body (earth) and the soul of the woman (water, which moistens earth, see. The four elements).


The prince on his way to becoming king
  • He triggers something in the princess on a mental and physical level. So, figuratively speaking, she ends up in Maleficent's realm, while he is on his way to kingship.


[For the different energies s. Woman as Goddess and Man as Her Hero King.; The Conscious and the Unconscious and Male and Female - the two primordial forces of creation].

The Fulfilment of the Curse: Fate Repeats Itself

The shadow: disturbed relationships

Aurora now wants to get the consent of the good fairies to live with Maleficent from now on. She learns that her real father is alive and is the king and that Maleficent has cursed her. She then confronts Maleficent, who had been waiting for the right opportunity and now confesses everything to Aurora with a heavy heart. Incensed, the princess rushes off to find King Stefan.

But Stefan has no time for Aurora, he is still busy preparing for war. Aurora wanders through the castle and ends up in the cellar at a spinning wheel that is just being restored. So the inevitable happens: she pricks herself on the spindle and immediately falls into a deathly sleep.

Encounter with the shadows and the curse as destiny

The Hidden Secret: War Between the Sexes
  • Consent of the good fairies: NO, because there are certain problems lurking in the shadows. These must first come to light. But they trigger excessive demands, fear and resistance in the young woman.
  • No time - war between the two forces and lack of fatherly love: he goes about his "business".
  • The spinning wheel in the cellar restores itself: the next victim of the debacle. Precisely because she has no idea, the curse can come true, because she does not know what she has to fight against. This is: (s. The poisoned apple - abuse as a collective reality).
Man and woman and the curse

Maleficent and the Power of Women (True Love, 4) 

True Love's First Kiss by Maleficent

Maleficent meets Philip and takes him to the castle. The fairies ask the prince to kiss Aurora, but she does not awaken.
Maleficent is deadly sad that she had cursed Aurora and kisses her gently on the forehead. Then Aurora wakes up.

What is true love?

Philip's ineffectual kiss
  • Philip's kiss, however, does not "work": for it is a problem that the young man does not yet have "true" love. He must first integrate it as the feminine side of the spirit in order to break through to "father love" (cf. The Way of the Man and The integration of the anima).


Maleficent's kiss: The woman begins to love herself (integration of weakness).
  • The woman has true, namely unconditional love from the beginning. But she has lost it. Through love for her (inner) daughter, the woman begins to accept and love herself in her weakness and wounded innocence. Thus she rises again. (This is also the case in Sumerian mythology, see The Rise from the Underworld. )

In the power of the wings

Spiritual power - princes croak

Now Stefan has noticed that Maleficent is in the castle and unleashes his entire war machine on her. But Aurora has freed Maleficent's wings, which immediately fly to her mistress and reconnect with her. Together with Diaval, her faithful companion, whom she has transformed into a dragon, Maleficent now successfully fights King Stefan. When they reach the tower room, he finally tries to stab them from behind, causing them both to fall from the tower. However, Maleficent is carried by her wings, while Stefan hits the ground below.

Victory with the help of the dragon and the wings

Stefan's means of power: iron as a symbol of oppression
  • Stefan's war machine - power through oppression, symbolised by the iron: The man tries to subjugate the woman in order to be able to take her life force for himself (see in detail in Aladdin and the magic lamp).
  • Stabbing from behind in the tower room: Submission is by loveless intercourse (see last section: s. The spindle).


Maleficent's Liberated Wings: The Power of Love
  • The liberated wings mean that Maleficent is reconnected with her spiritual power. Through love for her (inner) daughter and compassion for the plight of many women, she integrates and reconciles her own feminine weakness.


Diaval: Maleficent's inner man (Animus)
  • Diaval as a dragon: He symbolises raging anger of the woman over experienced pain that burns like FIRE in her inner being. In the power of her negative animus (pain and anger) she stands up to fight against oppression.


The fall from the tower
  • Love for himself carries the woman (often in a first step out of the relationship). This causes him to hit hard on the ground of the reality he has created. (This sets in his wounding, which initiates his journey to becoming the true king; see. The sacred wound).

Maleficent and her faithful companion Diaval

The inner man of the woman

Diaval supports Maleficent and stands faithfully by her side. He was once a raven, about to be slain by a peasant . But Maleficent saved him by transforming him into a human, a sympathetic young man. Thereupon, out of gratitude, he swore eternal loyalty to her and was prepared to take onany shape in the future to help her. So he flies around as raven and brings news from the kingdom. As dragon or strong bear , on the other hand, he fights at her side and helps her to victory.

Maleficent's inner man and her life force (Animus)

The Animus: Diaval - "Devil" and Servant of the Lady of the Underworld

The name Diaval is derived from the Greek diabolos, with which the word "devil" is also associated. In fact, in fairy tales and lore, the devil is a servant or functionary of the ruler of the underworld.

A young man ready for service

The woman's body and life force are identical with her inner man. She integrates her masculinity by developing it from an immature macho into a loving father (s. The Integration of the Animus).

Different shape: raven, bear or dragon

The fact that he can change his shape is a clear indication that he is a spiritual aspect. As a raven, he symbolises Maleficent's ears, which are everywhere. In particular, the raven is also considered a bird that can fly back and forth between the world and the underworld. As a bear, it symbolises the mother bear's passionate struggle for her cub. As a dragon, it symbolises femininity, which races with anger and rages destructively.

When Raven was almost beaten to death by a farmer

In fact, farmers used to receive money when they brought killed ravens to the local administration. Mythologically, one can interpret this image in this way:

  1. The man who blocks out the reality of the unconscious figuratively "kills" the raven as a symbol of the connection to the underworld. By refusing to confront his shadow in this way, he is little better than a clumsy peasant. Therefore, he does not deserve to be given kingship over a woman's life and love.
  2. The woman who wants to get through to such a man with her request must convince him in a manly way, namely with strategy or with power and strength. Only then will he let her live.

Aurora: Crowned Queen of the Moors 

Maleficent now makes Aurora Queen of the Moors in the presence of Prince Philip.

[The story interpreted and told differently s. Sleeping Beauty and the Spindle.]

Thorny Rose and the Thorny Hedge (Episode 3 and 4)

Maleficent and the Shadows (Trial by Fire, 5)

The goal: wholeness through integration of the shadows

Sleeping Beauty and the Prince: Marriage Proposal

From Diaval, Maleficent learns that Philip has proposed to Aurora. When they meet, they argue about it. Maleficent is anything but thrilled, but Aurora implores her to accept the invitation to Philip's parents' castle.

Awareness: Obstacles (the shadows)

The Feminine in Negativity: Victim or Perpetrator (Seduction and Intrigue)?

Maleficent reluctantly agrees and covers her horns with a thin black veil for the visit.
As expected, however, the dinner turns into a fiasco. Philip's mother Ingrith humiliates Maleficent and provokes her to anger by saying that all the people know she is an evil witch. Nor is she a good mother. Fortunately, however, poor Aurora will now finally have a good mother and a proper family in her, Ingrith. She also blames Maleficent for the death of her brother, King Stefan.

The negative couple dynamic "fire

Enraged, Maleficent releases her magical power and an icy wind blows through the room, blowing away the veil and making it dark. Only Maleficent's eyes glow coldly. Suddenly Philip's father John falls from his chair, unconscious. Ingrith screams that Maleficent has cursed him.

After these events, Aurora is bitterly disappointed in Maleficent and withdraws her trust. Maleficent flies away, but is hit by an arrow from Ingrith's commander Gerda and crashes.

Maleficent has her reasons, because dangers lurk in the shadows ...

Negative femininity: intrigue or violence (drama)

Maleficent tries to hide her true identity by wearing a thin black veil, reminiscent of the headdress of the pious woman. But this does not last long. At the latest when she is provoked and thus her Body of Pain activated, her spiritual power is expressed instead in the form of frenzied, destructive rage.

Poisoned love and projection of the shadow

Ingrith symbolizes the "evil woman world" which the negative anima as a snake represents (s. The poisoned apple). She brings Maleficent to frenzy by denying her fight for justice and love and accusing her of murdering her brother. Thus, she activates Maleficent's body of pain through "cunning" female intrigue. By making her go berserk and thereby putting herself in the wrong, it is easy for Ingrith to now blame her for her own problems. This is, by the way, a common strategy that men - in the grip of their negative anima - can also use against women.

The red powder: the pain body and the scapegoat mechanism:

Just as Maleficent is made the "scapegoat", woman has also been repeatedly blamed as the sole cause of humanity's misery (cf. The Fall of Man Report). Moreover, for many centuries this was seen as the legitimisation of the oppression and exploitation of women. From the accumulated negative experiences, a collective female body of pain has formed, which is represented in the Maleficent films by the poisonous red powder. It symbolises the subliminal spiritual reality of anger and rage of women and also of the people (as the great feminine) against men and the prevailing order. This is the effect of the "powder" that kills the fairies (as an image of the spiritual power of love).

Negative couple dynamics and the powerlessness of the man

As Maleficent's destructive power erupts, King John also swoons. This is the logical consequence of the negative couple dynamics. For the man reacts to the woman's negativity with paralysis and blockage, unable to continue to "stand his ground". This is the work of his negative inner woman, the snakewho paralyses him with her poison (see Animus and Anima in Interaction).

The consequence of this is dead love and destroyed relationships.

The shadows

The hidden realm in the underworld

Maleficent has fallen into the sea and is rescued by creatures that look like her. They take her to their huge kingdom under the earth. Here live the phoenix fairies, who hide from the humans because they are persecuted by them. Their ruler was the deceased phoenix, and Maleficent is the last of his descendants. The fairies now hope that she will help them to victory against the humans with her power.

Resources locked away in the shadows

The fall into the sea and the hidden cave: the unconscious

The sea is a symbol for the collective unconscious (as the great "mother" from which life emerged). From here Maleficent continues in a kind of near-death experience. She enters a gigantic cave underground, where winged and horned beings like her live in harmony with nature. Her wings are an indication that they are spirit beings, while the horns stand for power and propulsion in matter (s. The Animus and Maleficent as a deity of fate).

(Primitive peoples and religions that venerate the mother deity give this force a place in their everyday life, for example through shamanic or animistic rituals, and count on its work. Interestingly, the animus is called "Shamash" in the Babylonian Gilgamesh epic "Shamash").

Hidden personality traits and resources

The beings banished in the Shadow The beings banished into the shadows represent repressed personality traits (and thus those qualities that the person does not like about himself or is ashamed of). With them, resources are also locked away, in this case strength and assertiveness, which help to win.

The Phoenix: spiritual power and strength

The phoenix is a bird that is burnt to ashes by fire and yet rises from it again. It can be seen as a symbol of spiritual resurrection power (but if it still means victorious power in the context of negative conflicts, see below).

Repressed and imprisoned love and the liberation of women

Meanwhile, Aurora has moved into the castle in preparation for the wedding. Ingrith has taken her completely under her wing, put her in a corset, artfully draped her clothes and put her hair up.
But Aurora feels increasingly uncomfortable and her mistrust has awakened. So she wanders through the castle and one day discovers the spindle in the cellar. Then she realises that it was Ingrith herself who poisoned her husband King John with it.
When Ingrith realises that Aurora has seen through her, she blames her for the death of her brother Stefan.

Meanwhile, the entire fairy kingdom that has come to the wedding has been locked up in the church. As the organ begins to play, the poisonous iron powder is blown out, which is supposed to kill all the fairies. The good fairies sacrifice themselves to give some respite.
Fortunately, Maleficent finally appears with the phoenix fairies so that the prisoners can be freed.

The woman's path back to love and self-efficacy

The poisonous iron powder - activating the pain body as a weapon

The iron powder causes the fairies who come into contact with it to turn to ash. It is made from the flowers that grow on the graves of the deceased fairies. The fairies symbolise spiritual power. This is destroyed when it is directed in a destructive direction through pain and anger. Thus the iron powder represents the collective body of pain which is activated by suppression (see above). The powerful sounds from an organ can make a person feel "very small". And powerlessness in a next step gives way to rebellion, which leads to revolt, which in turn has to be suppressed ... Thus the vicious circle of power through suppression is further fuelled (see black magic).

Aurora's hero's journey back to freedom

Aurora's experiences describe in short form a summary of the Woman's heroic journey:

  1. Awareness: Wholeness and Unity as the Goal (Wedding)
  2. Initiation (the first step): Aurora has already moved into the castle before the wedding.
  3. Desert: Conventions and coercion that bind the woman are indicated on the one hand by her hairstyle and clothing, and on the other hand by the fairy kingdom that is imprisoned in the church (cf. The poisoned apple - abuse as a collective reality).
  4. Success (getting up to Self-efficacy): Aurora roams the castle and thus discovers the truth.
  5. Trial by fire: The struggle for freedom means the integration of the shadows (weakness, powerlessness, pain and anger). But these are also a resource, because they contain strength that can help to win.
Maleficent Sleeping Beauty's Trial by Fire

The struggle for love

Resurrection of the spiritual power of the woman

Aurora has seen the error of her ways and realised that Maleficent was wrongly accused. But already war is raging between Ulstead's soldiers and the fairies. While Maleficent spares Ingrith's life at Aurora's request, she is hit by a poisoned arrow and reduced to ashes.
Aurora is deathly sad about this and weeps. Suddenly there is movement and, miraculously, a mighty phoenix rises from the ashes.

The Phoenix: female spiritual power in the fight against the dragon

War between the spiritual forces, male and female

The phoenix is a bird that is burnt to ashes by fire and yet rises from it again. It can be seen as a symbol of spiritual resurrection power, which nevertheless signifies victorious power in the context of negative conflicts. For as a bird, the phoenix is associated with the male element of air and the realm of the spirit. For example, it is regarded as the powerful symbolic animal of the Empress of China and stands opposite the Dragon which is the symbol of the emperor. However, both archetypes, the phoenix as well as the dragon, belong to the (negative) dynamics of power (see animus and anima in interaction), which has brought forth war.

The Feminine with Wings: Power and domination in the realm of the spirit

Mythologically, femininity, rooted in the spirit and wielding power, is repeatedly represented by winged figures. Examples are Lilithbut also Isis as a falcon, the sphinx, the harpy (see the last unicorn) or just also Maleficent. They are, like the phoenix, an image for the woman whose body has been "burned" by male-bodily and fiery passion.

The healing power of love and "grounding" women

But love, symbolised by Virgo or in this case Aurora, shows the woman a different path. She seeks wholeness through the integration of the shadows and through reconciliation. Thus the woman becomes anchored again in her body and in material reality (s. The feminine path).

The path through the underworld: integrating weakness

The path to wholeness leads through the underworld, as is vividly thematised in Maleficent's story.

Maleficent and the Prince (the wedding, 6 and 7)

The Prince: Victory of Love

The Bear and the Prince: The Inner Man

While Diaval has successfully fought as a giant bear, the assembled good forces have also managed to free the fairies from the church. Prince Philip now makes peace between Ulstead and the fairy kingdom and withdraws Ingrith's army.

Healing through forgiveness

Maleficent has taken on her fairy form again and can now finally give her blessing to the union between Aurora and Philip. She also destroys the spindle, whereupon King John awakens again.

Ingrith has been turned into a goat by Maleficent, who will only be freed when she can accept peace between the two peoples.

From power to love and forgiveness: reconciliation

The way to the light

While Ingrith represents female power in the grip of the negative anima (seduction and delusion), Maleficent succeeds in wrestling her way to mercy towards her enemy. Thus she integrates the love of her father and becomes like him (see below).
But love makes vulnerable. The inner daughter, who stands for pure love and has just been saved, now weeps over all that has died inwardly and broken outwardly.

[S. The path through the underworld and The integration of the shadows.]

Mourning is the gate from negativity back to love in the light of loving consciousness. It does not shy away from the truth, and so what is becomes visible: There is great physical power, symbolised by the bear, and great spiritual power, symbolised by the phoenix - the power of the woman!

The Prince: Reconciliation - also in the relationship

But this spiritual power must be channelled and used for good. This is where the prince now comes into play as the loving consciousness (symbol for the positive masculine parts of the woman, the animus as Christ-figure). He makes peace between the realms and so the struggle can finally end.

King John: The Loving Father

As the good "King Consciousness", King John was weakened and fainted by the intrigues of the serpent (s. The Third Eye and the King's Treasure). The goal for man, however, is for the loving consciousness to take the sceptre. Its wisdom, kindness and friendly warm-heartedness motivate both man and woman to good deeds.

With this, nothing stands in the way of the wedding, which symbolises the integration of the unconscious into consciousness (s. The sacred wedding).

Freedom and peace

Figuratively, the fairy tale says at the end: A goat is that woman who wants to live power instead of love, and thus pushes forward the struggle instead of seeking peace.

For a woman's true strength and power is her love.

[The story interpreted and told differently s. Sleeping Beauty and the Prince.]

Sleeping Beauty and the Prince

Write a comment

Your email address will not be published. Required fields are marked with *.


Subscribe to newsletter

We respect your email privacy

Subscribe to newsletter

You have successfully subscribed to the newsletter

There was an error while trying to send your request. Please try again.

Goldspur will use the information you provide on this form to be in touch with you and to provide updates and marketing.