PART 5 OF 5 (CH. 21 CONT'D.)
Parsifal enters, having killed a swan. Not knowing his name or the name of his father, the knights hope that he is this youth. Gurnemanz takes him to Klingsor's castle. Klingsor orders Kundry to seduce Parsifal. Parsifal defeats Klingsor's knights. Kundry is transformed into a beautiful woman, and she kisses him. From this, he realizes that Kundry seduced Amfortas, and he resists her. Klingsor hurls the spear at him, and Parsifal seizes it. Klingsor's castle and garden disappear. After wandering, Parsifal finds Gurnemanz. now living as a hermit. Parsifal is covered in black armor, and Gurnemanz is offended that he is armed on Good Friday. Parsifal lays his spear before him, and removes his helmet and arms. Gurnemanz recognizes him, and anoints him king of the knights of the Grail. Parsifal baptizes Kundry. They go into the castle and ask Amfortas to uncover the Grail. Amfortas asks them to slay him. Parsifal enters and touches his wound with the spear. Amfortas is transfigured, and Parsifal radiantly holds up the Grail. On May 16, 1913, Otto Mensendieck gave a presentation to the Zurich Psychoanalytical Society on "The Grail-Parsifal Saga." In the discussion, Jung said: "Wagner's exhaustive treatment of the legend of the Holy Grail and Parsifal would need to be supplemented with the synthetic view that the various figures correspond to various artistic aspirations. -- The incest barrier will not serve to explain that Kundry's ensnarement fails; instead this has to do with the activity of the psyche to elevate human aspirations ever higher" (MZS, p. 20). In Psychological Types (1921), Jung put forward a psychological interpretation of Parsifal (CW 6, §§371-72).
222. Text in image: (Atmavictu); (iuvenis adiutor) [a youthful supporter]; () [TELESPHORUS]; (spiritus malus in homnibus quibusdam) [evil spirit in some men]. Image legend: "The dragon wants to eat the sun and the youth beseeches him not to. But he eats it nevertheless." Atmaviktu (as spelled there) first appears in Black Book 6 in 1917. Here is a paraphrase of the fantasy of April 25, 1917: The serpent says that Atmaviktu was her companion for thousands of years. He was first an old man, and then he died and became a bear. Then he died and became an otter. Then he died and became a newt. Then he died again and came into the serpent. The serpent is Atmaviktu. He made a mistake before then and became a man, while he was still an earth serpent. Jung's soul says that Atmaviktu is a kobold, a serpent conjuror, a serpent. The serpent says that she is the kernel of the self. From the serpent, Atmaviktu transformed into Philemon (p. 179f). There is a sculpture of him in Jung's garden in Kusnacht. In "From the earliest experiences of my life" Jung wrote: "When I was in England in 1920, I carved two similar figures out of thin branch without having the slightest recollection of that childhood experience. One of them I had reproduced on a larger scale in stone, and this figure now stands in my garden in Kusnacht. It was only at that time that the unconscious supplied me with a name. It called the figure Atmavictu -- the 'breath of life.' It is a further development of that quasi-sexual object of my childhood, which turned out to be the 'breath of life,' the creative impulse. Basically; the manikin is a kabir" (JA, pp. 29-30; cf. Memories, pp. 38-39). The figure of Telesphorus is like Phanes in Image 113. Telesphorus is one of the Cabiri, and the daimon of Aesclepius (see fig. 77, Psychology and Alchemy, CW 12). He was also regarded as a God of healing, and had a temple at Pergamon in Asia Minor. In 1950, Jung carved an image of him in his stone at Bollingen, together with a dedication to him in Greek, combining lines from Heraclitus, the Mithraic Liturgy, and Homer (Memories, p. 254).
223. In Book II of the Odyssey, Odysseus makes a libation to the dead to enable them to speak. Walter Burkert notes: "The dead drink the pourings and indeed the blood -- they are invited to come to the banquet, to the satiation with blood; as the libations seep into the earth, so the dead will send good things up above" (Greek Religion. tr.]. Raffar [Oxford: Basil Blackwell. 1987], pp. 194-95). Jung had used this motif in a metaphorical sense in 1912 in Transformations and Symbols of the Libido: "like Odysseus, I have sought to allow this shade [Miss Frank Miller] to drink only as much so as to make it speak so it can give away some of the secrets of the underworld" (CW B. §57n). Around 1910, Jung went on a sailing trip with his friends Albert Oeri and Andreas Vischer, during which Oeri read aloud the chapters from the Odyssey dealing with Circe and the nekyia. Jung noted that shortly after this, he "like Odysseus, was presented by fate with a nekyia, the descent into the dark Hades" (Jung/Jaffe, Erinnerungen, Traume, Gedanken, p. 104). The passage which follows depicting the prophet's revival of the child paraphrases Elisha's revival of the son of the Shunammite widow in 2 Kings 4:32-36.
224. See below, p. 327. --
225. See above, note 135. p. 243 --
226. Image legend: "The accursed dragon has eaten the sun, its belly being cut open and he must not hand over the gold of the sun, together with his blood. This is the turning back of Atmavictu, of the old one. He who destroyed the proliferating green covering is the youth who helped me to kill Siegfried." The reference is to Liber Primus. ch. 7. "Murder of the Hero."
227. The Draft continues: "I put many people, books, and thoughts aside for his sake; but even more, I withdrew from the current world and did the plain and simple, and what suggested it most immediately, to serve his secret purpose. By serving him, the dark one, I encounter another on the path of mercy. If intentions and wishes torment me, I think, feel, and do what lies closest. Thus what is most remote reaches me" (p. 434).
228. In 1944 in Psychology und Alchemy, Jung referred to an alchemical representation of a circle quadrated by four "rivers" in the context of a discussion of mandala symbolism (CW 12, §167n). Jung commented on the four rivers of paradise on a number of occasions -- see, for instance, Aion, CW §§2, 9, 311, 353, 358, 372.
229. Inscription: "XI. MCMXIX. [11. 1919: This date seems to refer to when this image was painted.] This stone, set so beautifully, is certainly the Lapis Philosophorum. It is harder than diamond. But it expands into space through four distinct qualities, namely breadth, height, depth, and time. It is hence invisible and you can pass through it without noticing it. The four streams of Aquarius flow from the stone. This is the incorruptible seed that lies between the father and the mother and prevents the heads of both cones from touching: it is the monad which countervails the Pleroma." On the pleroma, see below p. 347. Concerning the reference to the incorruptible seed, see the dialogue with Ha in the note to image 94, p. 297, n. 157 above.
230. On June 3, 1918, Jung's soul described Philemon as the joy of the earth: "The daimons become reconciled in the one who has found himself, who is the source of all four streams, of the source-bearing earth. From his summit waters flow in all four directions. He is the sea that bears the sun; he is the mountain that carries the sun; he is the father of all four great streams; he is the cross that binds the four great daimons. He is the incorruptible seed of nothingness, which falls accidentally through space. This seed is the beginning, younger than all other beginnings, older than all endings" (Black Book 7, p. 61). Some of the motifs in this statement may have some connections with this image. There is a gap between July 1919 and February 1920 in Black Book 7, during which time Jung was presumably writing Psychological Types. On February 23 he made the following entry: "What lies between appears in the book of dreams, but even more in the images of the red book" (p. 88). In "Dreams" Jung noted around eight dreams during this period, and a vision at night in August 1919 of two angels, a dark transparent mass, and a young woman. This suggests that the symbolic process continues in the paintings in the calligraphic volume, which do not appear to have direct cross-references to either the text in Liber Novus or the Black Books. In 1935, Jung put forward a psychological interpretation of the symbolism of medieval alchemy, viewing the philosopher's stone -- the goal of the alchemical opus -- as a symbol of the self (Psychology and Alchemy, CW 12).
231. Inscription: "4 December MCMXIX. [December 4, 1919: This date seems to refer to when the image was painted.] This is the back side of the gem. He who is in the stone has this shadow. This is Atmavictu, the old one, after he has withdrawn from the creation. He has returned to endless history, where he took his beginning. Once more he became stony residue, having completed his creation. In the form of Izdubar he has outgrown and delivered and Ka from him. gave the stone, Ka the ." The final character appears to be the astrological symbol for the sun.
232. On Atmavictu, see note to image 117. On May 20, 1917, Philemon said: ''As Atmavictu I committed the error and became human. My name was Izdubar? I approached him as just that. He paralyzed me. Yes, man paralyzed me and turned me into a dragon's serpent. Fortunately, I recognized my error, and the fire consumed the serpent. And thus Philemon came into being. My form is appearance. Previously, my appearance was form" (Black Book 7, p. 195). In Memories, Jung said: "Later, Philemon became relativized by yet another figure, whom I called Ka. In ancient Egypt the 'King's Ka' was his earthly form, the embodied soul. In my fantasy the ka-soul came from below, out of the earth as out of a deep shaft. I did a painting of him, showing him in his earth-bound form, as a herm with base of stone and upper part of bronze. High up in the painting appears a kingfisher's wing, and between it and the head of Ka floats a round, glowing nebula of stars. Ka's expression has something demonic about it -- one might also say Mephistophelian. In one hand he holds something like a colored pagoda, or a reliquary, and in the other a stylus with which he is working on the reliquary, He is saying, 'I am he who buries the Gods in gold and gems.' Philemon has a lame foot, but was a winged spirit, whereas Ka represented a kind of earth demon or metal demon. Philemon was the spiritual aspect, 'the meaning,' Ka, on the other hand was a spirit of nature like the Anthroparion of Greek alchemy -- with which at that time I was still unfamiliar. Ka was he who made everything real, but who also obscured the kingfisher spirit, the meaning, or replaced it by beauty, the 'eternal reflection.' In time I was able to integrate both figures through the study of alchemy" (pp. 209-10). Wallace Budge notes that "The ka was an abstract individuality or personality which possessed the form and attributes of the man to whom it belonged, and though its normal dwelling place was in the tomb with the body, it could wander at will; it was independent of the man and could go and dwell in any statue of him" (Egyptian Book of the Dead, p. lxv). In 1928, Jung commented: "At a rather higher stage of development, where the idea of the soul already exists, not all the images continue to be projected ... but one or the other complex has come near enough to consciousness to be felt as no longer strange, but as somehow belonging. Nevertheless, the feeling that it belongs is not at first sufficiently strong for the complex to be sensed as a subjective content of consciousness. It remains in a sort of no-man's-land between consciousness and the unconscious, in the half-shadow, in part belonging or akin to the conscious subject, in part an autonomous being, and meeting consciousness as such. At all events it is not necessarily obedient to the subject's intentions, it may even be of a higher order, more often than not a source of inspiration or warning, or of supernatural information. Psychologically such a content could be explained as a partly autonomous complex that is not yet fully integrated. The primitive souls, the Egyptian Ba and Ka, are complexes of this kind" (The Relations between the I and the Unconscious, CW 7, §295). In 1955/56, Jung described the Anthroparion in alchemy as "a type of goblin, that as [devoted spirit], spiritus familiaris, stands by the adept in his work and helps the physician to heal" (Mysterium Coniunctionis, CW 14, §304). The Anthroparion was seen to represent the alchemical metals ("On the psychology of the Child archetype," CW 9, I, §268) and appeared in the visions of Zosimos (CW 13, pp. 60-62). The painting of Ka that Jung refers to has not come to light. Ka appeared to Jung in a fantasy on 22, 1917, where he introduced himself as the other side of Ha, his soul. It was Ka who had given Ha the runes and the lower wisdom (see note 155, p. 292). His eyes are of pure gold and his body is of black iron. He tells Jung and his soul that they need his secret, which is the essence of all magic. This is love. Philemon says that Ka is Philemon's shadow (Black Book 7, p. 25ff ). On November 20, Ka calls Philemon his shadow, and his herald. Ka says that he is eternal and remains, while Philemon is fleeting and passes on (p. 34). On February 10, 1918, Ka says that he has built a temple as a prison and grave for the Gods (p. 39). Ka features in Black Book 7 until 1923. During this period, Jung attempts to understand the connection among Ka, Philemon, and the other figures, and to establish the right relation to them. On October 15, 1920, Jung discussed an unidentified picture with Constance Long, who was in analysis with him. Some of the comments she noted shed light on his understanding of the relation of Philemon and Ka: "The 2 figures on either side are personifications of dominants 'fathers.' The one is the creative father, Ka, the other, Philemon that one whom gives form and law (the formative instinct) Ka would equal Dionysus & P = Apollo. Philemon gives formulation to the things within elements of the collective unc ... Philemon gives the idea (maybe of a god) but it remains floating, distant & indistinct because all the things he invents are winged. But Ka gives substance & is called the one who buries the gods in gold & marble. He has a tendency to misprison them in matter, & so they are in danger of losing their spiritual meaning, & becoming buried in stone. So the temple may be the grave of God, as the church has become the grave of Xt. The more the church develops, the more Xt dies. Ka must not be allowed to produce too much -- you must not depend on substantiation; but if too little substance is produced the creature floats. The transcendent function is the whole. Not this picture, nor my rationalization of it, but the new and vivifying creative spirit that is the result of the intercourse between the consc. intelligence and the creative side. Ka is sensation, P is intuition, he is too supra-human (he is Zarathustra, extravagantly superior in what he says & cold. (CGJ has not printed the questions he addressed to P nor his answers) ... Ka & Philemon are bigger than the man, they are supra-human (Disintegrated into them one is in the Col. Unc)" (Diary, Countway library of Medicine, pp. 32-33).
233. Inscription: "IV Jan, MCMXX [January 4, 1920: This date seems to refer to when the image was painted.] This is the holy caster of water. The Cabiri grow out of the flowers which spring from the body of the dragon. Above is the temple."
234. In Black Book 4, Jung noted: "Thereafter I walk on like a man who is tense, and who expects something new that he has never suspected before. I listen to the depths -- warned, instructed, and undaunted -- outwardly striving to lead a full human life" (p. 42).
235. These lines refer to the end of Voltaire's Candide: "All that is well said -- but we must cultivate our garden" (Candide and Other Stories, tr. R. Pearson [Oxford: Oxford University Press, 1759/1998], pp. 392-93). Jung kept a bust of Voltaire in his study.
236. The Draft continues: "How can I fathom what will happen during the next eight hundred years, up to the time when the One begins his rule? I am speaking only of what is to come" (p. 440).
237. The scene in the landscape resembles one of Jung's waking fantasies during his childhood in which Alsace is submerged by water. Basle is turned into a port, there is a ship with sails and a steamer, a medieval town, a castle with cannons and soldiers and inhabitants of the town, and a canal (Memories, p. 100).
238. January 23, 1914.
239. In Ecce Homo, Nietzsche wrote: "Every acquisition, every step forward in is the result of courage, of severity toward oneself, of cleanliness with respect to oneself" [tr. R.]. Hollingdale [Harmondsworth: Penguin, 1979], foreword 3, p. 34).
240. Inscription on top: "Amor triumphat." Inscription at bottom: "This image was completed on 9 January 1921, after it had waited incomplete for 9 months. It expresses I know not what kind of grief, a fourfold sacrifice. I could almost choose not to finish it. It is the inexorable wheel of the four functions, the essence of all living beings imbued with sacrifice." The functions are those of thinking, feeling, sensation, and intuition, which Jung wrote about in Psychological Types (1921). On February 23, 1920, Jung noted in Black Book 7: "What occurs between the lover and the beloved is the entire fullness of the Godhead. Both are unfathomable riddles to each other. For who understands the Godhead? / But the God is born in solitude, from the secret / mystery of the individual. / The separation between life and love is the contradiction between solitude and togetherness" (p. 88). The next entry in Black Book 7 is on September 5, 1921. On March 4, 1920, Jung went to North Africa with his friend Hermann Sigg, returning on April 17.
241. In Black Book 4, Jung noted: [Soul:] "Tame your impatience. Only waiting will help you here." [I:] "Waiting -- I know this word. Hercules also found waiting troublesome when he carried the weight of the world on his shoulders." [Soul:] "He had to await Atlas's return and carried the weight of the world for the sake of the apples" (p. 60). The reference is to the eleventh labor of Hercules, in which he has to get the golden apples, which confer immortality. Atlas offered to get them for him, if he held up the world in the interim.
242. In Greek mythology, the Moirae, or three fates, Clotho, Lachesis, and Atropus, spun and controlled the threads of human life. In Norse mythology, the norns spun the threads of fate at the foot of Yggsdrasil, the world tree.
243. The Draft continues: "The power of the way is so great that it carries away others and ignites them. You do not know how this happens; hence it is best you call this effect magical" (p. 453).
244. The Draft continues: "which is represented as a serpent precisely on account of its particular nature" (p. 453).
245. This appears to refer to the magical circle, in which ritual acts are performed.
246. In Matthew 24:40, Christ rebukes his disciples for having been unable to remain awake for an hour while he prayed in the garden of Gethsemane.
247. Jung's marginal note to the calligraphic volume: "29/11/1922." This appears to refer to when this passage was transcribed.
248. Inscription: "Completed on 25 November 1922. The fire comes out of Muspilli and grasps the tree of life. A cycle is completed, but it is the cycle within the world egg. A strange God, the unnameable God of the solitary; is incubating it. New creatures form from the smoke and ashes." In Norse mythology Muspilli (or Muspelheim) is the abode of the Fire Gods.
249. Jung's marginal note to the calligraphic volume: "25 February 1923. The transformation of black into white magic."
250. January 27, 1914.
251. The Draft continues: "the serpent of my way" (p. 460).
252. In Black Book 4, this is spoken by his soul. In this chapter and in Scrutinies, we find a shift in the attribution of some statements in the Black Books from the soul to the other characters. This textual revision marks an important psychological process of the characters, separating them out from one another, and disidentifying from them. Jung discussed this process in in 1928, in The Relations between the I and Unconscious, ch. 7. ''The technique for differentiation between the I and the figures of the unconscious" (CW 7). In Black Book 6, the soul explains to Jung in 1916: "If I am not conjoined through the uniting of the Below and the Above, I break down into three parts: the serpent, and in that or some other animal form I roam, living nature daimonically, arousing fear and longing. The human soul, living forever within you. The celestial soul, as such dwelling with the Gods, far from you and unknown to you, appearing in the form of a bird." (Appendix C, p. 370). The textual changes that Jung makes among the soul, the serpent, and the bird from the Black Books in this chapter and in Scrutinies can be seen to be the recognition and differentiation of the threefold nature of the soul. Jung's notion of the unity and multiplicity of the soul resembles Eckhart's. In Sermon 52, Eckhart wrote: "the soul with her higher powers touches eternity, which is God, while her lower powers being in touch with time make her subject to change and biased toward bodily things, which degrade her" (Sermons & Treatises, vol. 2, tr. M. O'C. Walshe [London: Watkins, 1981], p. 55). In Sermon 85, he wrote: "Three things prevent the soul from uniting with God. The first is that she is too scattered, and that she is not unitary: for when the soul is inclined toward creatures, she is not unitary. The second is when she is involved with temporal things. The third is when she is turned toward the body, for then she cannot unite with God" (ibid., p. 264).
253. The Draft continues: "'Why,' you ask, 'does man not want to reach himself?' The raging prophet who preceded this time wrote a book about this and embellished it with a proud name. The book is about how and why man does not want to reach himself " (p. 461). The reference is to Nietzsche's Thus Spoke Zarathustra.
254. See "The last Supper," Thus Spoke Zarathustra, p. 294f.
255. In the last chapter of Thus Spoke Zarathustra, "The sign," when the higher men come to meet Zarathustra in his cave, "the lion started violently, suddenly turned away from Zarathustra, and leaped up to the cave, roaring fiercely" (p. 407). In 1926 Jung noted: "The roaring of the Zarathustrian lion drove all the 'higher' men who were clamoring for experience back again into the cavern of the unconscious. Hence his life does not convince us of his teaching" (The Unconscious in Normal and Sick Psychic Life, CW 7. §37).
256. Nietzsche ends Thus Spoke Zarathustra with the lines: "Thus spoke Zarathustra and left his cave, glowing and strong, like a morning sun emerging from behind dark clouds" (p. 336).
257. In Zarathustra's prologue, a tightrope walker falls from a rope. Zarathustra says to the injured tightrope walker: "Your soul will be dead even before your body; therefore nothing any ' (Zarathustra, §6, 48; as underlined in Jung's copy, p. 22). In 1926 Jung argued that this was prophetic of Nietzsche's own fate (The Unconscious in Normal and Sick Psychic CW 7. §36-44).
258. For Jung's differentiation of the significance of signs and symbols, see Psychological Types (1921, CW 6, §814ff).
259. The mandrake is a plant whose roots bear some resemblance to the human figure, hence they have been used in magical rites. According to legend, they shriek when they are pulled from the ground. In "The philosophical tree" (1945), Jung noted that the magical mandrake "when tied to the tail of a black dog, shrieks when it is torn out of the earth" (CW 13, §410).
260. The Draft continues: "Everything is forever the same and yet not, for the wheel rolls along on a long road. But the way leads through valleys and across mountains. The movement of the wheel and the eternal recurrence of its parts is essential to the carriage, but meaning lies in the way. Meaning is attained only through the wheel's constant revolution and forward movement. The recurrence of the past is inherent in forward movement. This can only baffle the ignorant person. Ignorance makes us resist the necessary recurrence of the same, or greed allows the wheel to toss us up and away in its upward movement because we believe that we will rise ever higher with this part of the wheel. But we will not rise higher, but deeper; ultimately we will be at the very bottom. Thus praise standstill, since it shows you that you are not bound to the spokes like Ixion, but sit alongside the charioteer who will interpret the meaning of the way to you" (pp. 469-70). In Greek mythology Ixion was the son of Ares. He tried to seduce Hera, and Zeus punished him by binding him to a fiery wheel that rolled unceasingly.
261. The notion that everything recurs is found in various traditions, such as Stoicism and Pythagoreanism, and features prominently in Nietzsche's work. There has been much debate in Nietzsche studies as to whether it should primarily be understood as an ethical imperative of life affirmation or as cosmological doctrine. See Karl Lowith, Nietzsche's Doctrine of the Eternal Recurrence of the Same, tr.]. Lomax (Berkeley: University of California Press, 1997). Jung discusses this in 1934, Nietzsche's Zarathustra, vol. I, pp. 191-92.
262. The Handwritten Draft has instead: "Tenth Adventure" (p. 1061).
263. January 27, 1914.
264. In the Metamorphoses, Ovid tells the tale of Philemon and Baucis. Jupiter and Mercury wandered disguised as mortals, in the hill country of Phyrgia. They searched for somewhere to rest but were barred by a thousand homes. An old couple finally took them in. The couple had been married in their cottage in their youth, grew old together, and contentedly accepted their poverty. They prepared a meal for their guests. During the meal, the couple saw that the flagon automatically refilled itself as soon as it was emptied. In honor of their guests, the couple offered to kill their sole goose. The goose took refuge with the Gods, who said that it should not be killed. Jupiter and Mercury then revealed themselves and told the couple that their neighborhood would be punished, but that they would be spared. They asked the couple to climb the mountain with them. When they reached the top, the couple saw that the country surrounding their cottage had been flooded and only their cottage remained; it had been transformed into a temple with marble columns and a gold roof. The Gods asked what the couple would like, and Philemon replied that they would like to be their priests and serve in their shrine, and also that they could die at the same time. Their wish was granted, and as they died, they transformed into trees side by side. In Goethe's Faust 2, act V, a wanderer, who had previously been saved by them, calls upon Philemon and Baucis. Faust was in the process of building a city on land reclaimed from the sea. Faust proceeds to tell Mephistopheles that he wants Philemon and Baucis moved. Mephistopheles and three mighty men go and burn the cottage, with Philemon and Baucis in it. Faust replies that he had only intended to exchange their dwelling. To Eckermann, Goethe recounted that "My Philemon and Baucis ... have nothing to do with that renowned ancient couple or the tradition connected with them. I gave this couple the names merely to elevate the characters. The persons and relations are similar, and hence the use of the names has a good effect" (June 6, 1831, cited in Goethe, Faust, tr. W Arndt [New York: Norton Critical Edition, 1976), p. 428). On June 7, 1955, Jung wrote a letter to Alice Raphael which refers to Goethe's comments to Eckermann: ''Ad Philemon and Baucis: a typical Goethean answer to Eckermann! trying to conceal his vestiges. Philemon ( [philema] = kiss), the loving one, the simple old loving couple, close to the earth and aware of the Gods, the complete opposite to the Superman Faust, the product of the devil. Incidentally: in my tower at Bollingen is a hidden inscription: Philemon sacrum Fausti poenitentia [Philemon's Sanctuary, Faust's Repentance]. When I first encountered the archetype of the old wise man, he called himself Philemon. / In Alchemy Ph. and B. represented the artifex or vir sapiens and the soror mystica (Zosimos-Theosebeia, Nicolas Flamel-Peronelle, Mr. South and his daughter in the XIXth Cent.) and the pair in the mutus liber (about 1677)" (Beinecke Library, Yale University). On Jung's inscription, see also his letter to Hermann Keyserling, January 2, 1928 (Letters I, p. 49). On January 5, 1942, Jung wrote to Paul Schmitt, "I have taken over Faust as my heritage, and moreover as the advocate of Philemon and Baucis, who, unlike Faust the superman, are the hosts of the gods in a ruthless and godforsaken age" (Letters 1, pp. 309-10).
265. In Psychological Types (1921), in the course of a discussion of Faust, Jung wrote: "The magician has preserved in himself a trace of primordial paganism, he possesses a nature that is still unaffected by the Christian splitting, which means he has access to the unconscious, which is still pagan, where the opposites still lie in their original naive state, beyond all sinfulness, but, if assimilated into conscious life, produce evil and good with the same primordial and consequently daimonic force. Therefore he is a destroyer as well as savior. This figure is therefore pre-eminently suited to become the symbol carrier for an attempt at unification" (CW 6, §316).
266. The sixth and seventh books of Moses (i.e., in addition to the five contained in the Torah) were published in 1849 by Johann Schiebel, who claimed that they came from ancient Talmudic sources. The work is a compendium of Kabbalistic magical spells, which has been enduringly popular.
267. The figure of Hermes Trismegistus was formed through the amalgamation of Hermes with the Egyptian God Thoth. The Corpus Hermeticum, a collection of largely alchemical and magical texts dating from the early Christian era but initially thought to have been much older, was ascribed to him.
268. In Goethe's Faust, Philemon speaks of his declining powers: "Older, I could not lend a hand [to the building of the dyke] / as once I did full well, / and with my powers ebbing / the waters were pushed back" (Ll. 11087-9)
269. Jung's marginal note to the calligraphic volume: "Jan. 1924." This seems to refer to when this passage was transcribed into the calligraphic volume. The writing at this point gets larger, with more space between the words. At this time, Cary Baynes commenced her transcription.
270. In Psychological Types (1921) Jung wrote: "Reason can only give one equilibrium if one's reason is already an equilibrating organ ... As a rule, man needs the opposite of his actual condition to force him to find his place in the middle" 6, §386).
271. The Draft continues: "Magical practice hence falls into two parts: developing an understanding of chaos; and second, translating the essence into what can be understood" (p. 484).
272. The Draft continues: "Reason takes up only a very small share of magic. This will offend you. Age and experience are needed. The rash desirousness and fear of youth, as well as its necessary virtuousness, disturb the secret interplay of God and the devil. You are then all too easily torn to one side or the other, blinded or paralyzed" (p. 484).
273. The reference is to the astrological conception of the Platonic month, or aeon, of Pisces, which is based on the precession of the equinoxes. Each Platonic month consists of one zodiacal sign, and lasts approximately 2,300 years. Jung discusses the symbolism attached to this in Aion (1951, CW 6, ch. 6). He notes that around 7 BC there was a conjunction of Saturn and Jupiter, representing a union of extreme opposites, which would place the birth of Christ under Pisces. Pisces (Latin for "fishes") is known as the sign of the fish and is often represented by two fish swimming in opposite directions. On the Platonic months, see Alice Howell, Jungian Synchronicity in Astrological Signs and Ages (Wheaton, IL: Quest Books, 1990), p. 125f. Jung started studying astrology in 1911, in the course of his study of mythology, and learned to cast horoscopes (Jung to Freud, May 8, 1911, The Freud/Jung Letters, p. 421). Leclercq's L'Astrologie Grecque on nine occasions in his later work (Paris: Ernest Leroux, 1899).
274. This refers to the end of the Platonic month of Pisces and the beginning of the Platonic month of Aquarius. The precise dating of this is uncertain. In Aion (1951), Jung noted: "Astrologically the beginning of the next aeon, according to the starting point you select, falls between AD 2000 and 2200" (CW 9, 2, §149, note 88).
275. In Aion (1951), Jung wrote: "If, as seems probable, the aeon of the fishes is ruled by the archetypal motif of the 'hostile brothers,' then the approach of the next Platonic month. namely Aquarius, will constellate the problem of the union of opposites. It will then no longer be possible to write off evil as a mere privatio boni; its real existence will have to be recognized" (CW 9, §142).
276. The Draft continues: "The hibernal rains began with Christ. He taught mankind the way to Heaven. We teach the way to earth. Hence nothing has been removed from the Gospel, but only added to it" (p. 486).
277. The Draft continues: "Our striving focused on sagacity and intellectual superiority, and we hence developed all our cleverness. But the extraordinary extent of stupidity inherent in all men was disregarded and denied. But if we accept the other in us, we also evoke the particular stupidity of our nature. Stupidity is one of man's strange hobbyhorses. There is something divine about it, and yet something of the megalomania of the world. Which is why stupidity is really large. It keeps away everything that could induce us to intelligence. It leaves everything not understood which is not naturally supposed to demand understanding. This particular stupidity occurs in thought and in life. Somewhat deaf, somewhat blind, it brings about necessary fate and keeps from us the virtuousness coupled with rationality. It is what separates and isolates the mixed seeds of life, affording us thus with a clear view of good and evil, and of what is reasonable and what not. But many people are logical in their lack of reason" (p. 487).
278. In this paragraph, Jung refers to the classical account of Philemon and Baucis from the Metamorphoses.
279. Contrast with John 1:5, where Christ is described as follows: "The light shines in the darkness, but the darkness has not understood it."
280. Cf. Jung's fantasy of June 1, 1916, where Philemon's guest was Christ (see below, p. 359).
281. Jung's marginal note to the calligraphic volume: "The bhagavadgita says: whenever there is a decline of the law and an increase in iniquity, then I put forth myself. For the rescue of the pious and for the destruction of the evildoers, for the establishment of the law I am born in every age." The citation is from chapter 4, verses 7-8 of the Bhagavad Gita. Krishna is instructing Arjuna concerning the nature of truth.
282. The text in the image reads: "Father of the Prophet, beloved Philemon." Jung subsequently painted another version of this painting as a mural in one of the bedrooms in his tower at Bollingen. He added an inscription in Latin from the Rosarium Philosophorum, in which Hermes describes the stone as saying: "defend me and I will defend thee, give me my right that I may help thee, for Sol is mine and the beams thereof are my inward parts; but Luna is proper to me, and my light excelleth all light, and my goods are higher than all goods. I give many riches and delights to men desiring them, and when I seek after anything they acknowledge it, I make them understand and I cause them to possess divine strength. I engender light, but my nature is darkness. Unless my metal should be dry, all bodies have need of me, because I moisten them. I blot out their rustiness and extract their substance. Therefore I and my son being joined together, there can be nothing made better nor more honorable in the whole world." Jung cited some of these lines in Psychology and Alchemy (1944, CW 12., §§99, 140, 155). The Rosarium, first published in 1550, was one of the most important texts of European alchemy, and concerns the means of producing the philosopher's stone. It contained a series of woodcuts of symbolic figures, which was Jung's exemplar in Psychology of the Transference. Explained through an Alchemical Series of Pictures. For Doctors and Practical Psychologists (1946, CW 16).
283. In "The psychological aspects of the Kore" (1951), Jung anonymously described this image as "xi. Then she [the anima] appears in a church, taking the place of the altar, still over-life-size but with veiled face." He commented: "Dream xi restores the anima to the Christian church, not as an icon but as the altar itself. The altar is the place of sacrifice and also the receptacle for consecrated relics" (CW 9, 1, §369. 380). On the left-hand side, there is the Arabic word for "daughters." On the border of the image is the following inscription: "Dei sapientia in mysterio quae abscondita est, quam praedestinavit ante secula in gloriam nostram quam nemo princip[i]um huius seculi cognovit. Spiritus enim omnia scrutatur etiam profunda dei [Google translate: Which is hidden in the mystery of the wisdom of God, destined before the worlds unto our glory: which none of the princes of this world knew. For the Spirit searches everything, even the deep things of God.]" This is a citation from 1 Corinthians 2:7-10. (Jung has omitted "Deus" before "ante secula.") The portions cited are marked here in italics: "But we speak the wisdom of God in a mystery, even the hidden wisdom, which God ordained before the world unto our glory: which none of the princes of the world knew: for had they known it, they would not have crucified the Lord of glory. But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him. But God hath revealed them unto us by his Spirit: for the Spirit searcheth all things, yea, the deep things of God." On either side of the arch is the following inscription: "Spirirus et sponsa dicunt veni et qui audit dicat veni et qui sit it veniat qui vult accipiat aquam vitae gratis." The text is from Revelation 22:17: "the Spirit and the bride say, Come. And let him that heareth say, Come. And let him that is athirst come. And whosoever will, let him take the water of life freely." Above the arch is the following inscription: "ave virgo virginum [Google translate: Hail virgin of virgins.]." This is the title of a medieval hymn.
284. January 29, 1914.
285. From this point in the calligraphic volume, Jung's coloring of red and blue initials becomes less consistent. Some have been added here for consistency.
286. This line is not in Black Book 4, where the voice is not identified as the serpent.
287. January 31, 1914.
288. In Mysterium Coniunctionis (1955/56), Jung noted: "If the projected conflict is to be healed, it must return into the soul of the individual, where it had its beginnings in an unconscious manner. He who wants to be the master of this descent must celebrate a Last Supper with himself, and eat his own flesh and drink his own blood; which means that he must recognize and accept the other in himself" (CW 14, §512.).
289. Cf. Isaiah 11:6: "The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them."
290. Jung's marginal note to the calligraphic volume: "XIV AUG. 1925." This appears to refer to when this passage was transcribed into the calligraphic volume. In the autumn of 1925, Jung went to Africa, together with Peter Baynes and George Beckwith. They left England on October 15, and he arrived back in Zurich on March 14, 1926.
291. The twelfth-century tale of the adulterous romance between the Cornish knight Tristan and the Irish princess Isolde has been retold in many versions, up to Wagner's opera, which Jung referred to as an example of the visionary mode of artistic creation ("Psychology and poetry: 1930, CW 15, §142).
292. This sentence is not in Black Book 4.
293. This sentence is not in Black Book 4.
294. Jung commented on the comparison of Christ with the serpent in Transformations and Symbols of the Libido (1912), CW B, §585 and in Aion (1950), CW 9, 2, §291.
295. Cf. Transformations and Symbols of the Libido (1912), CW B, §585.
296. Image legend: "9 January 1927 my friend Hermann Sigg died age 52." Jung described this as "A luminous flower in the center, with stars rotating about it. Around the flower, walls with eight gates. The whole conceived as a transparent window." This mandala was based on a dream noted on January 2, 1927 (see above, p. 217). From the 'town map,' the relation between the dream and the painting is clear (see Appendix A). He anonymously reproduced this in 1930 in "Commentary to the 'Secret of the Golden Flower,'" from which this description is taken. He reproduced it again in 1952, and added the following commentary: "The rose in the center is depicted as a ruby; its outer ring being conceived as a wheel or a wall with gates (so that nothing can come out from inside or go in from outside)." The mandala was a spontaneous product from the analysis of a male patient. After narrating the dream. Jung added: "The dreamer went on: 'I tried to paint this dream. But as so often happens, it came out rather different. The magnolia turned into a sort of rose made of ruby-colored glass. It shone like a four-rayed star. The square represents the wall of the park and at the same time a street leading around the park in a square. From it there radiate eight main streets, and from each of these eight side-streets, which meet in a shining red central point, rather like the Etoile in Paris. The acquaintance mentioned in the dream lived in a house at the corner of one of these stars. The mandala thus combines the classic motifs of flower, star, circle, precinct (temenos), and plan of city divided into quarters with citadel. The whole thing seemed like a window opening on to eternity;' wrote the dreamer" ("Concerning mandala symbolism," CW 9, 1, §654-55). In 1955/56 he used this same expression to denote the illustration of the self (Mysterium Coniunctionis, CW 14, §763). On October 7, 1932, Jung showed this mandala in a seminar, and commented on it the next day. In this account, he states that the painting of the mandala preceded the dream: "You remember possibly the picture that I showed you last evening, the central stone and the little jewels round it. It is perhaps interesting if I tell you about the dream in connection with it. I was the perpetrator of that mandala at a time when I had not the slightest idea what a mandala was, and in my extreme modesty I thought, I am the jewel in the center and those little lights are surely very nice people who believe that they are also jewels, but smaller ones ... I thought very well of myself that I was able to express myself like that: my marvelous center here and I am right in my heart." He added that at first he did not recognize that the park was the same as the mandala which he had painted, and commented: "Now Liverpool is the center of life -- liver is the center of life -- and I am not the center. I am the fool who lives in a dark place somewhere. I am one of those little side lights. In that way my Western prejudice that I was the center of the mandala was corrected -- that I am everything, the whole show, the king, the god" (The Psychology of Kundalini Yoga, p. 100). In Memories, Jung added some further details (pp. 223-24).
297. February 1, 1914.
298. Black Book 4 also has: "I lay these questions before you today, my soul" (p. 91). Here, the serpent is substituted for the soul.
299. Black Book 4: "You are playing Adam and Eve with me" (p. 93).
300. Jung's marginal note to the calligraphic volume: "Visio."
301. Black Book 4: "Satan crawls out a dark hole with horns and tail, I pull him out by the hands" (p. 94).
302. The interlocutor is Satan.
303 For Jung's account of the significance of Satan, see Answer to Job (1952), CW II.
304 Jung discussed the issue of uniting the opposites at length in Psychological Types (1921), ch. 6, "The type problem in the poetic art." The uniting of the opposites takes place through the production of the reconciling symbol.
305. Black Book 4 has instead of this sentence: "Matters are not as intellectual and generally ethical with us as in Monism" (p. 96). The reference is to Ernst Haeckel's system of Monism, which Jung was critical of.
306. Cf. Jung, "Attempt at a psychological interpretation of the dogma of the trinity" (1940), CW 11.
307. Image legend: "1928. When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousand-year-old text of the golden castle, the embryo of the immortal body. Ecclesia catholic et protestantes et seclusi in secreto. Aeon finitus. (A church both Catholic and Protestant shrouded in secrecy. The end of an aeon.) Jung described this as: A mandala as a fortified city with wall and moat. Within, a moat surrounding a wall fortified with sixteen towers and with another inner moat. This moat encloses a central castle with golden roofs whose centre is a golden temple. He anonymously reproduced this in 1930 in "Commentary on 'The Secret of the Golden Flower,'" from which this description is taken. He reproduced it again in 1952 in "Concerning mandala symbolism" and added the following commentary: "Painting of a medieval city with walls and moats, streets and churches, arranged quadratically. The inner city is again surrounded by walls and moats, like the Imperial City in Peking. The buildings all open inward, toward the center, represented by a castle with a golden roof. It too is surrounded by a moat. The ground round the castle is laid with black and white tiles, representing the united opposites. This mandala was done by a middle-aged man ... A picture like this is unknown in Christian symbolism. The Heavenly Jerusalem of Revelation is known to everybody. Coming to the Indian world of ideas, we find the city of Brahma on the world mountain, Meru. We read in the Golden Flower: 'The Book of the Yellow Castle says: "In the square inch field of the square foot house, life can be regulated." The square foot house is the face. The square inch field in the face: what could that be other than the heavenly heart? In the middle of the square inch dwells the splendor. In the purple hall of the city of Jade dwells the God of Utmost Emptiness and Life.' The Taoists call this center 'the land of ancestors or golden castle'" (CW 9, 1, §691). On this mandala, see John Peck. The Visio Dorothei: Desert Context, Imperial Setting, Later Alignments: Studies in the Dreams and Visions of Saint Pachomius and Dorotheus, Son of Quintus. Thesis, C. G. Jung Institute, Zurich, 1992, pp. 183-85.
308. This line links with the beginning of Sermon one, Scrutinies (see below, p. 346).
309. A reference to the account of creation in the book of Genesis.
310. The Cabiri were the deities celebrated at the mysteries of Samothrace. They were held to be promoters of fertility and protectors of sailors. Friedrich Creuzer and Schelling held them to be the primal deities of Greek mythology, from which all others developed (Symbolik und Mythologie der alten Volker [Leipzig: Leske, 1810-23]; The Deities of Samothrace [1815], introduced and translated by R. F. Brown [Missoula. MT: Scholars Press. 1977]). Jung had copies of both of these works. They appear in Goethe's Faust, part 2, act 2. Jung discussed the Cabiri in Transformations and Symbols of the Libido (1912, CW B §209-11). In 1940 Jung wrote: "The Cabiri are, in fact, the mysterious creative powers, the gnomes who work under the earth, i.e., below the threshold of consciousness, in order to supply us with lucky ideas. As imps and hobgoblins, however, they also lay all sorts of nasty tricks, keeping back names and dates that were 'on the tip of the tongue,' making us say the wrong thing, etc. They give an eye to everything that has not already been anticipated by consciousness and the functions at its disposal ... deeper insight will show that the primitive and archaic qualities of the inferior function conceal all sorts of significant relationships and symbolic meanings, and instead of laughing off the Cabiri as ridiculous Tom Thumbs he may begin to suspect that they are a treasure-house of hidden wisdom" ("Attempt at a psychological interpretation of the dogma of the trinity:' CW 11, §244). Jung commented on the Cabiri scene in Faust in Psychology and Alchemy (1944, CW 12, §203f). The dialogue with the Cabiri that takes place here is not found in Black Book 4, but is in the Handwritten Draft. It may have been written separately; if so it would have been written prior to the summer of 1915.
311. Jung's marginal note to the calligraphic volume: "Thereupon I laid this matter aside for three weeks."
312. In "Transformation symbolism in the mass" (1941), Jung noted that the motif of the sword played an important role in alchemy and discussed its significance as an instrument of sacrifice, its divisive and separative functions. He noted that 'The alchemical sword brings about the solutio or separatio elementorum, thereby restoring the original condition of chaos, so that a new and more perfect body can be produced by a new impressio formae or imaginatio" (CW 11, §357 & ff).
313. The notion here of overcoming madness is close to Schelling's distinction between the person who is overcome by madness and the person who manages to govern madness (see note 89, p. 238).
314. Jung's marginal note to the calligraphic volume: "accipe quod tecum est. in collect. Mangeti in ultimis paginis" (Accept what is present. In the last pages of the Mangeti collection). It seems that this refers to the Bibliotheca chemica curiosa, seu rerum ad alchemiam pertinentium thesaurus instructissimus of J. J. Manget (1702), a collection of alchemical texts. Jung possessed a copy of this work, which has some slips of paper in it and some underlinings. Jung's note possibly refers to the last woodcut of the Mutus Liber, which concludes volume one of the Bibliotheca chemica curiosa, a representation of the completion of the alchemical opus, with a man being lifted upward by angels, while another lies prostrate.
315. In Psychological Types, Jung commented on the symbolism of the tower in his discussion of the vision of the tower in The Shepherd of Hermas (CW 6, §390ff). In 1920, Jung began planning his tower at Bollingen.
316. February 2, 1914.
317. Black Book 4 has: "soul" (p. 110).
318. In Goethe's Faust, Mephistopheles makes a pact with Faust that he will serve him in life on condition that Faust will serve him in the beyond (l. 1655).
319. The Corrected Draft has instead: "me with the serpent" (p. 521).
320. Jung's marginal note to the calligraphic volume: "I still did not realize that I myself was this murderer."
321. February 9, 1914, Black Book 4 has: "soul" (p. 114).
322. Polygamy used to be practiced in Turkey. It was officially banned by Ataturk in 1926.
323. Jung's marginal note to the calligraphic volume: "In XI Cap. of the mystery play" (see above, p. 251).
324. Black Book 4 continues: "I: My principles -- it sounds stupid -- forgive me -- but I have principles. Do not think these are stale moral principles, for these are insights that life has imposed on me. / Serpent: What principles are these?" (pp. 121-22).
325. The issue of master and slave morality featured prominently in the first essay of Nietzsche's On the Genealogy of Morals (tr. D. Smith [Oxford: Oxford University Press, 1996]).
326. In the calligraphic volume, there is a blank space for a historiated initial.
327. February 11, 1914.
328. In Black Book 4, this figure is identified as "soul" (p. 131).
329. This sentence is added in the Draft, p. 533
330. The transcription in the calligraphic volume of Liber Novus ends at this point. What follows here is transcribed from the Draft, pp. 533-56.
331. This is a quotation from 1 Corinthians 13:8. Near the end of his life, Jung cited it again in his reflections on love at the end of Memories (p. 387). In Black Book 4, the inscription is first given in Greek letters (p. 134).
332. This sentence is added in the Draft (p. 534).
333. This figure is not identified as the serpent in Black Book 4.
334. In Transformations and Symbols of the Libido (1912), Jung commented on the motif of hanging in folklore and mythology (CW B, §358).
335. There is a passage missing in Black Book 4, covering the end of this dialogue and the next paragraph.
336. Swedenborg described heavenly love as "loving uses for the sake of uses, or goods for the sake of goods, which a man performs for the Church, his country, human society, and a fellow-citizen," differentiating it from self love and love of the world (Heaven and Its Wonders and Hell: From Things Heard and Seen, tr. J. Rendell [London: Swedenborg Society, 1920], §554f).
337. In the Biblical account of creation, the sea and the land were separated on the third day.
338. John Keats's poem "Ode to a Grecian Urn" ends with these lines: "Beauty is truth, truth beauty, -- that is all / Ye know on earth, and all ye need to know."
339. In Transformations and Symbols of the Libido (1912, CW B), Jung argued that in the course of psychological development, the individual had to free himself from the figure of the mother, as depicted in heroic myths (see ch. 6, "The battle for deliverance from the mother").
340. In Transformations and Symbols of the Libido (1912), while discussing his concept of libido, Jung referred to the cosmogonic significance of Eros in Hesiod's Theogony, which he linked with the figure of Phanes in Orphism and with Kama, the Hindu God of love (CW B, §223).
341. In his later work, Jung gave importance to "enantiodromia," the principle that everything turns into its opposite, which he attributed to Heraclitus. See Psychological Types (1921), CW 6, §708f.
342. In the biblical account of the flood, the ark came to rest on Mount Ararat (Genesis 8:4). Ararat is a dormant volcanic cone formerly in Armenia (now Turkey).
343. In Norse mythology, Odin was pierced by a spear and hung from the world tree, Yggdrasill, where he hung for nine nights until he found the runes, which gave him power.
344. February 23, 1914. In Black Book 4, the dialogue is with the soul, and this section begins with Jung asking her what is stopping him from getting back to his work, and she tells him that it is his ambition. He thought he had overcome it, but she said that he had simply negated it, and thus tells him the tale that follows (p. 171). On February 13, 1914, Jung gave a talk, "On dream symbolism," to the Zurich Psychoanalytical Society From March 30 to April 13, Jung vacationed in Italy.
345. Black Book 4 has: "ambition" (p. 180).
346. Black Book 4 has "work" instead of "son" in the next few lines (p. 180).
347. April 19, 1914. The preceding paragraph was added in the Draft.
348. In Black Book 5, this dialogue is with his soul (p. 29f).
349. Black Book 5 has instead "Soul" (p. 37).
350. Black Book 5 has instead "with my soul" (p. 38).
351. This paragraph was added in the Draft.
352. The Corrected Draft has instead: "to myself" (p. 555).
353. The remainder is added in the Draft (p. 555f ).
354. In 1930, Jung stated: "A movement back into the Middle Ages is a sort of regression, but it is not personal. It is a historical regression, a regression into the past of the collective unconscious. This always takes place when the way ahead is not free, when there is an obstacle from which you recoil; or when you need to get something out of the past in order to climb over the wall ahead" (Visions, vol. I, p. 148). Around this time, Jung began working intensively on Medieval theology (see Psychological Types [1921], CW 6, ch. 1, "The type problem in the history of the mind in antiquity and the Middle Ages").
355. At this point, the Handwritten Draft has: "Finis," surrounded by a box (p. 1205).