The third dream of my patient had this quality for her, both of the essential significance of her life as was as of its brevity. The identity of the veiled bridegroom is still unknown. Clearly the image of the dancer represents two opposites within the psyche of the woman, two aspects which on the surface seem unrelated and yet are able to function as a totality.
Jung says that 'Kore, the maiden, appears in a woman as the unknown young girl-frequently as "the dancer" (Jung 9, para. 311). The maiden also appears as "corybant, maenad or nymph; an occasional variant is the nixie or water sprite who betrays her superhuman nature by her fishtail'. In our example her superhuman nature is betrayed by her goat feet. She belongs both to herself and to spirit in nature.
Also in Jung's Commentary on the Golden Flower he says 'Among my patients I have come across cases of women who did not draw mandalas but danced them instead. In India there is a special name for this; mandala mrythia, the mandala dance. The dance figures express the same meanings as the drawings. My patients can say very little about the meaning of the symbols but are fascinated by them and find they somehow express and have an effect on their subjective psychic state' (Jung 7).