Archetypes in the Context of Model B
I believe it incorrect to correlate archetypes with functions. Rather, I think the archetypes are seperate personalities which express themselves by means of the background type.
The archetypes influence us by suggesting unconditional submission by either the subject or the object.
- The shadow suggests that the base foreground element process the subject as surrendering to the object. In exchange, the shadow offers the processing of the object as surrendering unconditionally to the subject. In exchange for yeilding socially, one gains absolute supremacy over one's own instincts.
The problem with capitulation before the object is that the function which accepts capitulation is not serving its purpose of defense against external threat. The shadow observes that the ego will turn to it if only it can prove the failure of the ego's strategy of social conscientciousness. Should the ego accept unconditional capitulation even once, then it will be unable to deny the possibility of social conscientiousness' failure as a means of effective adaptation. The door is then left open for the shadow to take over in "appropriate" circumstances, particularly those in which one is faced with tremendous social pressure. This may be the root mental cause of some childhood schizophrenias, especially dissociative identity disorder.
- The maiden ("kore") suggests that the foreground role element process the subject as capitulating to the object. In exchange, the kore offers the processing of the suggestive function as giving the subject priority over the object.
The relationship between social role and desire is clearly illustrated in the movie Devil's Advocate. The protagonist is offered the role of antichrist by the shadow (Lucifer) in exchange for everything he could ever desire. The acceptance of the antichrist role represents the possibility of total moral capitulation. However, this capitulation is placed in the context of fulfilling social obligation. It is the total capitulation to the social superego (the imposed object) which brings about the fall into perdition: one must be what society wants of oneself, and in exchange society will show its gratitude. In the film, this gratitude is expressed by sexual surrender of the shadow's daughter to the protagonist. The shadow's daughter is the kore. The protagonist's acceptance of her, had he chosen it, would have amounted to a fall from conscientiousness as great as would have been his surrender to the shadow, because she is in fact his sister. It is thus a sin of vitality, that the energy of the 6th function (God's gift of life) would be turned to the end of polluting the genepool with incestual DNA.
Jung describes the kore as the mistress of illusion: eternally mysterious and alluring, but imminently dangerous. A full treatment of the kore requires complete understanding of the relationship between the 1st transcendent function and the first, because it is the sense of caring which is realized by the acceptance of oneself as having socially oriented instincts which is threatened by capitulation to desire.
It is important to note that the aspect range of the "fallen" personality is different from that which is apprehended by either normal or shadow types. Either of those personalities maintains good reasons for rejecting capitulation by the subject to the object, and is thus "pure" to the eyes of the person. The fallen person observes the ways that a person can fall beyond even their own redemption; they have become personally corrupt, and having once tasted the fruit of the archetype will be hard pressed to refuse them in the future.