The "woman" was Christiana Morgan, with whom Murray had a secret love affair of more than forty years. This relationship was crucial to Murray's work with Explorations in Personolity and with Moby Dick, accourding to Robinson (1992). Christiana was co-author to the TAT and provided both thematic rationale and artwork for it.

Christiana and Harry creafted their relationship in great detail as an expression of "the dyad"'s life philosophy, as documented by copious personal writings of each (ibid.). Christiana was an important patient to Jung, and she is featured in The Vision Seminars (Jung, 1976). Christiana served as erotic muse to both Murray and Jung (Douglas, 1997). Jung had been looking for the "anima woman" since he met Freud, finding her variously in Emma Jung, Sabina Spielrein, and Toni Wolff (Davis, 1997).

Murray met Jung first, in 1925, after writing to him about Psychological Types in 1923, and described to him his growing fascination with anima theory.

When Harry began to describe Christiana, her look, her manner, her mind, and her mysterious hold on him, Jung quickly took fire. He hastened to describe an identical encounter in his own life, a decade earlier, with Antonia Wolff, a young woman of twenty-three who had come to him as a patient but who soon became his fearless guide to the underworld. Tony, as she was cold, has been described by one who knew her as the consummate vehicle for projections of the Anna. "She was not beautiful in the strictly classical sense, but she could look far more than beautiful, more like a goddess than immortal woman. She had an extraordinary genius for accompanying men -- and sometimes women too, in a different way -- whose destiny it was to enter the unconscious." Her role, it appears, was to awaken and in a sense to embody Jung's unconscious that he might recognize and control its contents and thereby achieve wholeness, or individually should. Harry felt sure that he recognized this extraordinary woman, alongside Jung himself, in the discussion of the anima and animus that appeared in the 1928 addition of Two Essays in Analytical Psychology. The personal could penetrate no further than this into the round of theory!
Toni Wolff was to Jung, then, as Christiana might well become to Harry. (Robinson, 1992, pp. 122-123)

Christiana's early sessions with Jung, during June and July [1926], centered on her dreams. These strongly confirmed Jung's impression that she was burying her feminine spirituality under an unnatural weight of masculine rationality. This, he said, alluding to Plato's Symposium, would alienate men. "What fascinates a man is Diotima -- the mystery. This she forfeits when she becomes Socrates." Jung had no difficulty persuading Christiana that she had it within her power as Harry's anima to awaken his spirit. He compared her to "a pioneer woman. Your function," he assured her, "is to create a man. Some women create children -- but it is greater to create a man. If you create Murray you will have done something very fine for the world." This explained to Christiana satisfaction why she had so little feeling for her child and why she felt fully alive only in male company. Most importantly, of course, it represented the cultivation of the dyad as a vocation, a call to serve Harry, and through him the world. Robinson, 1992, pp. 158-159)

Neither Jung's nor Murray's work is fully comprehesible only with Christiana Morgan.


Davis, D.A. (1997). Jung in the Psychoanalytic movement. In P. Young-Eisendrath & T. Dawson (Eds.). Cambridge Companion to Jung. Cambridge University Press.

Douglas, Claire. (1997). Translate this Darkness: The Life of Christiana Morgan, the Veiled Woman in Jung's Circle. Princeton University Press.

Jung, C.G. (1976). The vision seminars. (Zurich, 1976).

Robinson, F. G. (1992). Love's story told: A life of Henry A. Murray. Cambridge, MA: Harvard University Press.