The original idea behind the technological world is craft and art. Technology not just seamlessly becomes extension to overcome the physical limitations or provide assistance for mental work but amplifies our abilities to fulfill the creative endeavours. The quintessence of technology makes itself discernible in the primordial images. The objective of the paper is to study the archetypal root of the World of Technology via interpreting myth. In order to fulfill the objective, myth of Greek God Hephaestus has been selected that narrates his birth and his adventures alongside depicting his iconography. The myth has been interpreted employing archetypal amplification that is a Jungian tool which is to systematically broaden and supplement the mythological image under analysis with analogous images so as to discover and deepen the meaning. Hephaestus— the crippled god— thrown away by his mother had to forge himself into a talented metalsmith restoring him back to the heavenly abode of gods. The fall of the god into the sea is the blessing of skill to craft, artisanship and technology to the mortal world. The deformed god of technology marries goddess of beauty suggesting that man-made inventions will not just help to surpass its limitations but also seek form and aesthetic greatness. Hephaestus is brother of god of war—Ares; war-time being the opportune-time for technological advancements. Beauty and war are two fiery passions that inspire mankind to be creative. Hephaestus is the Hero-god born out of Hera’s competitive nature, pleased gods with his divine talent, so is the nature of technology that tirelessly challenges its own creation, forever in quest of improving itself and to place man— despite his lameness— at the cusp of becoming divine.

Psyche of the people grows out of the land that nestles them. The intrinsic connection between land and soul of the people is preserved in mythology, wherein Khasi mythology is one example. The sanctity of the land is reflected by the belief that the Bleis or the gods inhabits the caves and the hills; rivers and the waterfalls. The land is alive as the soul is full of life. This paper aims to reflect and interpret the Khasi myth of Dain Thlen to understand the entwined aspect of psyche and land. The methodology will follow the school of Carl Gustav Jung—Analytical Psychology. Ka Kma Kharai, is the daughter goddess who is free wanderer, wild, independent as the landscape of Meghalaya is. She is who promises magic; she is mysterious, shape-shifter and dark as the cave—mother of the sacrificial cult of the nongshohnohs. The goddess represents the part of psyche in us that has the capacity to understand the uncanny world of occult that appears immoral. She also symbolises the dominance of femininity in Khasi tribe. The goddess, the dragon uncle and serpentine son keep the cult fertile by infusing with blood and power. The practitioner of such a cult attains powers through act of sacrifice that is why the Thlen is cut—Dain Thlen.

Life of woman is spun with many threads of relations. Woman’s relation with the mother determines her capability to initiate the feminine functions which is the natural maturation process of her psyche. The tale of two daughters is a popular folktale from Eastern India where one daughter is obedient to the Mother of Moon and the other doubted her. Both the daughters are intra-psychic aspects that give birth to variety of trajectories of feminine life: woman who weaves life blessed with earthly fertility, good marital relations, household instincts and woman who remain unconscious of the same.

The intent to study the Mother-Daughter theme rose from an Indian folkloric idea that the arrival of the Goddess is set into motion by a synchronous dream engulfing the two—Mother and Daughter-Goddess—, to meet each other. This captures the essence of the womanhood—guided initiation into femininity, entangled complexities of relations, fate and accomplishments. The Mother-Daughter relation sheds light on the dynamic and the constitution of feminine psyche

The reader is a literary deity who has managed to impose his aesthetic experience through his creative power, which ranges from the creation of meaning and significance to the multiple forms he produces in the world. These choices, oscillating between attention and thought, contain the reflective function that allows him to think about the world and transcend its aporias and limits, eventually reaching a form of mystical sovereignty, an adventure to which the reader's world-body is tragically invited.