The concordance 15 witnesses

Number Three

Orientation

A fairy tale rarely stops at three. Marie-Louise von Franz observed that folk narratives build their trials in threes precisely so that a fourth, categorically different event can break the pattern: the fourth is not another repetition but a transformation, which is why audiences and analysands alike tend to overlook it. Jung had already supplied the psychological diagnosis behind this asymmetry in Psychology and Alchemy, where he found that dream material producing the number three signaled a specific deficiency, the repression of the inferior function, so that three names an orientation still short of wholeness. Edward Edinger pressed the same polarity into developmental terms in Ego and Archetype, distinguishing the threefold rhythm from the quaternary goal it serves, and in Transformation of the God-Image cast three as the ego-principle that must assault an original, latent fourness before individuation can proceed. Yet Edinger also traced, through Lao Tse, a more generative reading: the three that engenders all things once two has emerged from one. Jung, in the 1928 seminar later published as Dream Analysis, insisted that the unconscious deploys three as a quality, an aesthetic groupness, not a quantity at all.

A forest of patterned trunks, flowering forms, and small human figures — woodcut by Abraham McCowan.
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In the library 15 receipted passages

there are three similar rhythms and then a final action… The three are always clear units: 1, 2, 3, with a certain similar repetition, which is why the fourth is so often ignored, for the fourth is not just another additional number unit; it is not another thing of the same kind, but something completely different.

Von Franz establishes that three functions as a rhythmic, repetitive structure in fairy tales, distinct in kind from the transformative fourth that follows it.

von Franz, Marie-Louise, The Interpretation of Fairy Tales, 1970thesis

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The few cases I have observed which produced the number three were marked by a systematic deficiency in consciousness, that is to say, by an unconsciousness of the ‘inferior function.’ The number three is not a natural expression of wholeness, since four represents the minimum number of determinants in a whole judgment.

Jung argues that three in psychological material signals an incomplete orientation — specifically the repression of the fourth, inferior function — and thus falls short of wholeness.

Jung, Carl Gustav, Psychology and Alchemy, 1944thesis

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‘The rhythm is built up in three steps but the resultant symbol is a quaternity.’ This statement clearly implies that the threefold rhythm and the fourfold goal are separate symbolic entities neither of which properly can be interpreted in terms of the other.

Edinger, citing Jung, distinguishes the three-beat developmental rhythm from the quaternary symbol of completion, insisting these are not interchangeable but complementary axes.

Edinger, Edward F., Ego and Archetype: Individuation and the Religious Function of the Psyche, 1972thesis

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When our unconscious says three, it is less a quantity than a quality… The quality of twoness and threeness is involved. The primitive counts from the figures things make. He makes an aesthetic distinction because he counts without counting.

Jung demonstrates that in archaic and unconscious cognition, three is experienced as a qualitative gestalt rather than an abstract cardinal number.

Jung, C.G., Dream Analysis: Notes of the Seminar Given in 1928-1930, 1984thesis

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he notes the fateful aspect of the number three, which typically, either through repeated trials or rote repetition, ‘makes something effective’… and thereby leads to the solution of the drama, or links one to a demonic factor.

Jung characterizes three as the number that consolidates efficacy and fate, the threshold at which repetition crystallizes into consequence.

Jung, C.G., Dream Interpretation Ancient and Modern: Notes from the Seminar Given in 1936-1941, 2014supporting

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The one engenders the two, the two engenders the three and the three engenders all things… Three days after this dream the patient had an intensely moving fantasy which she described as follows: I can see my own unconscious not as something alien but as something made of the same stuff of which I am also made.

Edinger draws on Lao Tse and clinical material to show three as the generative step from polarity into the fullness of manifest reality.

Edinger, Edward F., Ego and Archetype: Individuation and the Religious Function of the Psyche, 1972supporting

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three, the first uneven prime number, the sum of one and two, the first triangular number… Jung’s idea was that one should study the individuality of these numbers — be interested in what each has that the others have not.

Von Franz records Jung’s mathematical characterization of three — first odd prime, sum of one and two, first triangular number — as part of a project to restore qualitative significance to individual numbers.

von Franz, Marie-Louise, Psyche and Matter, 2014supporting

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Three, however, is an idea; the number four stands for its realization in everyday life… It is the start of something new and the symbol of the creative impulse which can initiate a fresh process.

Hamaker-Zondag assigns three the role of ideational inception, positioning it as the creative spark that precedes four’s materialization in the world.

supporting

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In mythology the three-year period is the time of mounting momentum, as in the three years of winter that precede Ragnarok, the Twilight of the Gods, in Scandinavian mythology. In myths like these, three years of something occurs, then comes a destruction.

Estés reads three as the mythological number of gathering pressure and momentum, culminating in a transformative or destructive threshold event.

Clarissa Pinkola Estés, Ph D, Women Who Run With the Wolves Myths and Stories of the Wild, 2017supporting

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Two is the first number because, with it, separation and multiplication begin, which alone make counting possible… Two implies a one which is different and distinct from the ‘numberless’ One.

Jung’s account of one and two as the preconditions for number provides the philosophical ground from which three emerges as the first fully differentiated arithmetical and qualitative step.

Jung, Carl Gustav, Psychology and Religion: West and East, 1958supporting

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the third part of the sea became blood… and the third part of the creatures which were in the sea, and had life, died… On and on the theme of one third is repeated. We are forced to ask ourselves, ‘What does that mean?’

Edinger analyses Revelation’s obsessive repetition of ‘one third’ as an assault on the number three construed as the ego-principle, exploring its psychological implications.

Edinger, Edward F., Transformation of the God-Image: An Elucidation of Jung’s Answer to Job, 1992supporting

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216 is the cube of 6, and also the sum of 3 cubed, 4 cubed, 5 cubed, the numbers 3, 4, 5 representing the Pythagorean triangle, of which the sides when squared equal the square of the hypotenuse.

Plato’s Republic preserves the Pythagorean tradition in which three, four, and five form the sacred right triangle, providing a geometric-numerical substrate later absorbed into depth-psychological number symbolism.

Plato, Republic, -380aside

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the number three excludes the number four, because three is an odd number and four is an even number, and the odd is opposed to the even.

Plato’s argument that three and four are mutually exclusive by virtue of odd/even opposition anticipates the Jungian polarity between triadic process and quaternary wholeness.

Plato, Phaedoaside

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