In Carl Jung’s school of analytical psychology the feminine and masculine archetypes are referred to as anima (feminine) and animus (masculine). The male and female archetype are carried within everyone, regardless of gender. In general, the archetype corresponding with our physical gender is expressed while the aspects of the opposite gender are repressed. This Jungian perspective gives an interesting explanation for the marital woes in Don and Betty Draper’s marital woes on the AMC show Mad Men.
Don married Betty right as he was attempting to establish his Don Draper persona. Don was born the illegitimate son of a prostitute who died at childbirth. His childhood name was Dick Whitman, and he was raised in a very troubled depression era farm family. All he wanted to do was escape the constraints of his past and get a fresh start on a new life. Fate handed him that chance in the form of a war-time accident. By switching id tags with a dead commanding officer, Dick Whitman died and assumed the imaginary identity of Don Draper.
The new Don wanted to create the perfect life. He moved to New York and married a beautiful blond model from a Philadelphia Main Line family. With the birth of an infant this season, they even achieved 2.5 kids. In Jungian terms, Betty is Don’s ideal anima image: she represents the perfect woman to Don’s unconscious. From the moment they met, he sees her with false eyes as part of his perfect life. Don is never able to see the real woman in front of him, just the projection of his internal image of what an ideal wife should be. 
In the last episode, as the couple are preparing to divorce, Betty complains that she was never enough for Don. She’s right, in a way. Don built up an imaginary life consisting of an unreal persona for himself. Betty is just part of that creation. Don sees her only as a picture perfect, imaginary, fantasy person, and that is a standard no one can ever live up to.
Don’s flings are usually the exact opposite of Betty, evidence of psychic compensation for something that is missing. In season one he was in relationships with both the Beatnik, independent Midge Daniels, and the department store heiress Rachel Menken. Both women are brunette in contrast to Betty’s blond. Both women are independent, successful, and seemingly unable to be tied down. They do not rely on men the way Betty does. These women are not plastic Barbie dolls.
In season 2, Don again starts an affair with a successful, pushy, self-confident woman, Bobbie Barrett. She is older than Don, a detail which I think was important yet downplayed on the show. Think of classic movies like “Harold and Maude”, “The Graduate”, or “Summer of ‘42.” In each of these movies an older woman seduces a younger man and drags him out of childhood. Early on in the season, Bobbie and Don are involved in a car wreck. Certainly, this is no accident: there is, after all, only one car involved. The accident is smack on the head for Don, a sign that he is going to be forced to grow up. 
In Season 3, Don gets into a mess with his children’s school teacher. This affair is a sort of last grasp at the image of a caring mother he never had. Don watches the teacher help the kids prepare boxes for watching the eclipse: exactly the kind of nurturing protection he never felt against the darkness of his father’s abuse. In reality, though, this is another relationship that cannot last. Life is forcing Don to grow up and reconcile his two persona’s: Don and Dick.
Regardless of if a new relationship lies in Don’s future, or if he salvages his marriage, Don is going to have to face reality. Projections will have to be withdrawn. Don and Dick will have to be integrated into some legitimate whole.
Olivia Judson
Are fruit flies (with 200 neurons, apparently) smarter than we thought? Or, are homo sapiens (with 100 billion neurons) less uniquely intelligent that we think? Can the scientists make the bugs remember a trip to the Grand Canyon that they never took? Can memory be reduced to an incidence of learned associations?




