At the end of chapter 11, we are told that we must move down to a "deeper level" and that these seven plots are merely different perspectives on "the same great basic drama". This begins with the hero or heroine "in some way constricted" and ends up with "a final opening out into life, with everything at last resolved". Later chapters elaborate on this by revisiting the seven plots and considering the "archetypal figures" that populate each. One of the central themes here is the relationship between the "power of the feminine" (associated with empathy and connection) and that of the masculine (power and order). Things go wrong when men (such as Wagner's Tannhäuser) stop being manly, and women (such as Austen's Emma Woodhouse) are "cut off from their inner feminine". A happy ending (for "the collective psyche" at least) requires girls to be girls and boys to be boys.