6.0 - Conscious, Unconscious, and Individuation

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object:6.0 - Conscious, Unconscious, and Individuation
book class:The Archetypes and the Collective Unconscious
author class:Carl Jung
subject class:Psychology
subject class:Occultism
class:chapter

VI - CONSCIOUS, UNCONSCIOUS,
AND INDIVIDUATION

A STUDY IN THE PROCESS
OF INDIVIDUATION

CONCERNING MANDAIA SYMBOLISM

CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION 1

4 8 9 The relation between the conscious and the unconscious on
the one hand, and the individuation process on the other, are
problems that arise almost regularly during the later stages of
analytical treatment. By "analytical" I mean a procedure that
takes account of the existence of the unconscious. These prob-
lems do not arise in a procedure based on suggestion. A few
preliminary words may not be out of place in order to explain
what is meant by "individuation."

49 I use the term "individuation" to denote the process by
which a person becomes a psychological "in-dividual," that is,
a separate, indivisible unity or "whole." 2 It is generally as-
sumed that consciousness is the whole of the psychological in-
dividual. But knowledge of the phenomena that can only be
explained on the hypothesis of unconscious psychic processes
makes it doubtful whether the ego and its contents are in fact
identical with the "whole." If unconscious processes exist at all,
they must surely belong to the totality of the individual, even
though they are not components of the conscious ego. If they
were part of the ego they would necessarily be conscious, be-
cause everything that is directly related to the ego is conscious.
Consciousness can even be equated with the relation between
the ego and the psychic contents. But unconscious phenomena

i [Originally written in English as "The Meaning of Individuation," the intro-
ductory chapter of The Integration of the Personality (New York, 1939; London,
1940), a collection of papers otherwise translated by Stanley Dell. Professor Jung
afterward rewrote the paper, with considerable revision, in German and published
it as "Bewusstsein, Unbewusstes und Individuation," Zentralblatt fiXr Psycho -
therapie und ihre Grenzgebiete (Leipzig), XI (1939) : 5, 257-70. The original
English version was slightly longer, owing to material which Mr. Dell edited into
it from other writings of Jung's, for the special requirements of the Integration
volume. It is the basis of the present version, together with the 1939 German
version. Editors.]

2 Modern physicists (Louis de Broglie, for instance) use instead of this the concept
of something "discontinuous."

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

are so little related to the ego that most people do not hesitate
to deny their existence outright. Nevertheless, they manifest
themselves in an individual's behaviour. An attentive observer
can detect them without difficulty, while the observed person
remains quite unaware of the fact that he is betraying his most
secret thoughts or even things he has never thought consciously.
It is, however, a great prejudice to suppose that something we
have never thought consciously does not exist in the psyche.
There is plenty of evidence to show that consciousness is very
far from covering the psyche in its totality. Many things occur
semiconsciously, and a great many more remain entirely un-
conscious. Thorough investigation of the phenomena of dual
and multiple personalities, for instance, has brought to light a
mass of material with observations to prove this point. (I would
refer the reader to the writings of Pierre Janet, Theodore
Flournoy, Morton Prince, and others. 3 )

49 1 The importance of such phenomena has made a deep im-
pression on medical psychology, because they give rise to all
sorts of psychic and physiological symptoms. In these circum-
stances, the assumption that the ego expresses the totality of the
psyche has become untenable. It is, on the contrary, evident
that the whole must necessarily include not only consciousness
but the illimitable field of unconscious occurrences as well, and
that the ego can be no more than the centre of the field of con-
sciousness.

492 You will naturally ask whether the unconscious possesses a
centre too. I would hardly venture to assume that there is in
the unconscious a ruling principle analogous to the ego. As a
matter of fact, everything points to the contrary. If there were
such a centre, we could expect almost regular signs of its ex-
istence. Cases of dual personality would then be frequent oc-
currences instead of rare curiosities. As a rule, unconscious
phenomena manifest themselves in fairly chaotic and unsys-
tematic form. Dreams, for instance, show no apparent order
and no tendency to systematization, as they would have to do if
there were a personal consciousness at the back of them. The
philosophers Carus and von Hartmann treat the unconscious
as a metaphysical principle, a sort of universal mind, without
any trace of personality or ego-consciousness, and similarly

8 [See also Jung's Psychiatric Studies, index, s. w. Editors.]

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

Schopenhauer's "Will" is without an ego. Modern psychologists,
too, regard the unconscious as an egoless function below the
threshold of consciousness. Unlike the philosophers, they tend
to derive its subliminal functions from the conscious mind.
Janet thinks that there is a certain weakness of consciousness
which is unable to hold all the psychic processes together.
Freud, on the other hand, favours the idea of conscious factors
that suppress certain incompatible tendencies. Much can be
said for both theories, since there are numerous cases where a
weakness of consciousness actually causes certain contents to
fall below the threshold, or where disagreeable contents are
repressed. It is obvious that such careful observers as Janet and
Freud would not have constructed theories deriving the un-
conscious mainly from conscious sources had they been able to
discover traces of an independent personality or of an autono-
mous will in the manifestations of the unconscious.

493 If it were true that the unconscious consists of nothing but
contents accidentally deprived of consciousness but otherwise
indistinguishable from the conscious material, then one could
identify the ego more or less with the totality of the psyche. But
actually the situation is not quite so simple. Both theories are
based mainly on observations in the field of neurosis. Neither
Janet nor Freud had any specifically psychiatric experience. If
they had, they would surely have been struck by the fact that
the unconscious displays contents that are utterly different from
conscious ones, so strange, indeed, that nobody can understand
them, neither the patient himself nor his doctors. The patient
is inundated by a flood of thoughts that are as strange to him as
they are to a normal person. That is why we call him "crazy":
we cannot understand his ideas. We understand something only
if we have the necessary premises for doing so. But here the
premises are just as remote from our consciousness as they were
from the mind of the patient before he went mad. Otherwise he
would never have become insane.

494 There is, in fact, no field directly known to us from which
we could derive certain pathological ideas. It is not a question of
more or less normal contents that became unconscious just by
accident. They are, on the contrary, products whose nature is at
first completely baffling. They differ in every respect from
neurotic material, which cannot be said to be at all bizarre. The

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

material of a neurosis is understandable in human terms, but
that of a psychosis is not. 4

495 This peculiar psychotic material cannot be derived from the
conscious mind, because the latter lacks the premises which
would help to explain the strangeness of the ideas. Neurotic
contents can be integrated without appreciable injury to the
ego, but psychotic ideas cannot. They remain inaccessible, and
ego-consciousness is more or less swamped by them. They even
show a distinct tendency to draw the ego into their "system."

49 6 Such cases indicate that under certain conditions the un-
conscious is capable of taking over the role of the ego. The con-
sequence of this exchange is insanity and confusion, because
the unconscious is not a second personality with organized and
centralized functions but in all probability a decentralized con-
geries of psychic processes. However, nothing produced by the
human mind lies absolutely outside the psychic realm. Even
the craziest idea must correspond to something in the psyche.
We cannot suppose that certain minds contain elements that do
not exist at all in other minds. Nor can we assume that the
unconscious is capable of becoming autonomous only in certain
people, namely in those predisposed to insanity. It is very much
more likely that the tendency to autonomy is a more or less
general peculiarity of the unconscious. Mental disorder is, in a
sense, only one outstanding example of a hidden but none the
less general condition. This tendency to autonomy shows itself
above all in affective states, including those of normal people.
When in a state of violent affect one says or does things which
exceed the ordinary. Not much is needed: love and hate, joy
and grief, are often enough to make the ego and the uncon-
scious change places. Very strange ideas indeed can take pos-
session of otherwise healthy people on such occasions. Groups,
communities, and even whole nations can be seized in this way
by psychic epidemics.

497 The autonomy of the unconscious therefore begins where
emotions are generated. Emotions are instinctive, involuntary
reactions which upset the rational order of consciousness by
their elemental outbursts. Affects are not "made" or wilfully

* By this I mean only certain cases of schizophrenia, such as the famous Schreber
case (Memoirs of My Nervous Illness) or the case published by Nelken ("Analy-
tische Beobachtungen iiber Phantasien eines Schizophrenen," 1912).

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

produced; they simply happen. In a state of affect a trait of
character sometimes appears which is strange even to the per-
son concerned, or hidden contents may irrupt involuntarily.
The more violent an affect the closer it comes to the pathologi-
cal, to a condition in which the ego-consciousness is thrust aside
by autonomous contents that were unconscious before. So long
as the unconscious is in a dormant condition, it seems as if there
were absolutely nothing in this hidden region. Hence we are
continually surprised when something unknown suddenly ap-
pears "from nowhere." Afterwards, of course, the psychologist
comes along and shows that things had to happen as they did for
this or that reason. But who could have said so beforehand?

49 8 We call the unconscious "nothing/' and yet it is a reality
in potentia. The thought we shall think, the deed we shall do,
even the fate we shall lament tomorrow, all lie unconscious in
our today. The unknown in us which the affect uncovers was
always there and sooner or later would have presented itself to
consciousness. Hence we must always reckon with the presence
of things not yet discovered. These, as I have said, may be un-
known quirks of character. But possibilities of future develop-
ment may also come to light in this way, perhaps in just such
an outburst of affect which sometimes radically alters the whole
situation. The unconscious has a Janus-face: on one side its
contents point back to a preconscious, prehistoric world of in-
stinct, while on the other side it potentially anticipates the
future precisely because of the instinctive readiness for action
of the factors that determine man's fate. If we had complete
knowledge of the ground plan lying dormant in an individual
from the beginning, his fate would be in large measure pre-
dictable.

499 Now, to the extent that unconscious tendencies be they
backward-looking images or forward-looking anticipations-
appear in dreams, dreams have been regarded, in all previous
ages, less as historical regressions than as anticipations of the
future, and rightly so. For everything that will be happens on
the basis of what has been, and of what consciously or uncon-
sciouslystill exists as a memory-trace. In so far as no man is
born totally new, but continually repeats the stage of develop-
ment last reached by the species, he contains unconsciously, as
an a priori datum, the entire psychic structure developed both

279

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

upwards and downwards by his ancestors in the course of the
ages. That is what gives the unconscious its characteristic "his-
torical" aspect, but it is at the same time the sine qua non for
shaping the future. For this reason it is often very difficult to
decide whether an autonomous manifestation of the uncon-
scious should be interpreted as an effect (and therefore histori-
cal) or as an aim (and therefore teleological and anticipatory).
The conscious mind thinks as a rule without regard to ancestral
preconditions and without taking into account the influence
this a priori factor has on the shaping of the individual's fate.
Whereas we think in periods of years, the unconscious thinks
and lives in terms of millennia. So when something happens
that seems to us an unexampled novelty, it is generally a very
old story indeed. We still forget, like children, what happened
yesterday. We are still living in a wonderful new world where
man thinks himself astonishingly new and "modern." This is
unmistakable proof of the youthfulness of human conscious-
ness, which has not yet grown aware of its historical antecedents.
5 As a matter of fact, the "normal" person convinces me far
more of the autonomy of the unconscious than does the insane
person. Psychiatric theory can always take refuge behind real
or alleged organic disorders of the brain and thus detract from
the importance of the unconscious. But such a view is no longer
applicable when it comes to normal humanity. What one sees
happening in the world is not just a "shadowy vestige of ac-
tivities that were once conscious," but the expression of a living
psychic condition that still exists and always will exist. Were
that not so, one might well be astonished. But it is precisely
those who give least credence to the autonomy of the uncon-
scious who are the most surprised by it. Because of its youth-
fulness and vulnerability, our consciousness tends to make light
of the unconscious. This is understandable enough, for a young
man should not let himself be overawed by the authority of his
parents if he wants to start something on his own account. His
torically as well as individually, our consciousness has developed
out of the darkness and somnolence of primordial unconscious-
ness. There were psychic processes and functions long before
any ego-consciousness existed. "Thinking" existed long before
man was able to say: "I am conscious of thinking."

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

50 1 The primitive "perils of the soul" consist mainly of dangers
to consciousness. Fascination, bewitchment, "loss of soul," pos-
session, etc. are obviously phenomena of the dissociat'on and
suppression of consciousness caused by unconscious contents.
Even civilized man is not yet entirely free of the darkness of
primeval times. The unconscious is the mother of conscious-
ness. Where there is a mother there is also a father, yet he seems
to be unknown. Consciousness, in the pride of its youth, may
deny its father, but it cannot deny its mother. That would be
too unnatural, for one can see in every child how hesitantly and
slowly its ego-consciousness evolves out of a fragmentary con-
sciousness lasting for single moments only, and how these
islands gradually emerge from the total darkness of mere in-
stinctuality.

52 Consciousness grows out of an unconscious psyche which is
older than it, and which goes on functioning together with it or
even in spite of it. Although there are numerous cases of con-
scious contents becoming unconscious again (through being
repressed, for instance), the unconscious as a whole is far from
being a mere remnant of consciousness. Or are the psychic
functions of animals remnants of consciousness?

53 As I have said, there is little hope of our finding in the un-
conscious an order equivalent to that of the ego. It certainly
does not look as if we were likely to discover an unconscious
ego-personality, something in the nature of a Pythagorean
"counter-earth." Nevertheless, we cannot overlook the fact that,
just as consciousness arises from the unconscious, the ego-centre,
too, crystallizes out of a dark depth in which it was somehow
contained in potentia. Just as a human mother can only produce
a human child, whose deepest nature lay hidden during its
potential existence within her, so we are practically compelled
to believe that the unconscious cannot be an entirely chaotic
accumulation of instincts and images. There must be some-
thing to hold it together and give expression to the whole. Its
centre cannot possibly be the ego, since the ego was born out of
it into consciousness and turns its back on the unconscious,
seeking to shut it out as much as possible. Or can it be that the
unconscious loses its centre with the birth of the ego? In that
case we would expect the ego to be far superior to the uncon-
scious in influence and importance. The unconscious would

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

then follow meekly in the footsteps of the conscious, and that
would be just what we wish.

54 Unfortunately, the facts show the exact opposite: conscious-
ness succumbs all too easily to unconscious influences, and these
are often truer and wiser than our conscious thinking. Also, it
frequently happens that unconscious motives overrule our con-
scious decisions, especially in matters of vital importance.
Indeed, the fate of the individual is largely dependent on un-
conscious factors. Careful investigation shows how very much
our conscious decisions depend on the undisturbed functioning
of memory. But memory often suffers from the disturbing in-
terference of unconscious contents. Moreover, it functions as a
rule automatically. Ordinarily it uses the bridges of association,
but often in such an extraordinary way that another thorough
investigation of the whole process of memory-reproduction is
needed in order to find out how certain memories managed to
reach consciousness at all. And sometimes these bridges can-
not be found. In such cases it is impossible to dismiss the
hypothesis of the spontaneous activity of the unconscious. An-
other example is intuition, which is chiefly dependent on un-
conscious processes of a very complex nature. Because of this
peculiarity, I have defined intuition as "perception via the un-
conscious."

55 Normally the unconscious collaborates with the conscious
without friction or disturbance, so that one is not even aware
of its existence. But when an individual or a social group
deviates too far from their instinctual foundations, they then
experience the full impact of unconscious forces. The collabora-
tion of the unconscious is intelligent and purposive, and even
when it acts in opposition to consciousness its expression is still
compensatory in an intelligent way, as if it were trying to re-
store the lost balance.

506 There are dreams and visions of such an impressive char-
aracter that some people refuse to admit that they could have
originated in an unconscious psyche. They prefer to assume
that such phenomena derive from a sort of "superconscious-
ness." Such people make a distinction between a quasi-physio-
logical or instinctive unconscious and a psychic sphere or layer
"above" consciousness, which they style the "superconscious."
As a matter of fact, this psyche, which in Indian philosophy is

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

called the "higher" consciousness, corresponds to what we in
the West call the "unconscious." Certain dreams, visions, and
mystical experiences do, however, suggest the existence of a
consciousness in the unconscious. But, if we assume a conscious-
ness in the unconscious, we are at once faced with the difficulty
that no consciousness can exist without a subject, that is, an ego
to which the contents are related. Consciousness needs a centre,
an ego to which something is conscious. We know of no other
kind of consciousness, nor can we imagine a consciousness with-
out an ego. There can be no consciousness when there is no one
to say: "I am conscious."

57 It is unprofitable to speculate about things we cannot know.
I therefore refrain from making assertions that go beyond the
bounds of science. It was never possible for me to discover in
the unconscious anything like a personality comparable with
the ego. But although a "second ego" cannot be discovered
(except in the rare cases of dual personality), the manifesta-
tions of the unconscious do at least show traces of personalities.
A simple example is the dream, where a number of real or
imaginary people represent the dream-thoughts. In nearly all
the important types of dissociation, the manifestations of the
unconscious assume a strikingly personal form. Careful ex-
amination of the behaviour and mental content of these per-
sonifications, however, reveals their fragmentary character.
They seem to represent complexes that have split off from a
greater whole, and are the very reverse of a personal centre of
the unconscious.

5 8 I have always been greatly impressed by the character of
dissociated fragments as personalities. Hence I have often asked
myself whether we are not justified in assuming that, if such
fragments have personality, the whole from which they were
broken off must have personality to an even higher degree.
The inference seemed logical, since it does not depend on
whether the fragments are large or small. Why, then, should
not the whole have personality too? Personality need not imply
consciousness. It can just as easily be dormant or dreaming.

59 The general aspect of unconscious manifestations is in the
main chaotic and irrational, despite certain symptoms of intelli-
gence and purposiveness. The unconscious produces dreams,
visions, fantasies, emotions, grotesque ideas, and so forth. This

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

is exactly what we would expect a dreaming personality to do.
It seems to be a personality that was never awake and was never
conscious of the life it had lived and of its own continuity. The
only question is whether the hypothesis of a dormant and
hidden personality is possible or not. It may be that all of the
personality to be found in the unconscious is contained in
the fragmentary personifications mentioned before. Since this is
very possible, all my conjectures would be in vain unless there
were evidence of much less fragmentary and more complete
personalities, even though they are hidden.

5 10 I am convinced that such evidence exists. Unfortunately, the
material to prove this belongs to the subtleties of psychological
analysis. It is therefore not exactly easy to give the reader a
simple and convincing idea of it.

5 11 I shall begin with a brief statement: in the unconscious of
every man there is hidden a feminine personality, and in that
of every woman a masculine personality.

5^ It is a well-known fact that sex is determined by a majority
of male or female genes, as the case may be. But the minority
of genes belonging to the other sex does not simply disappear.
A man therefore has in him a feminine side, an unconscious
feminine figure a fact of which he is generally quite unaware.
I may take it as known that I have called this figure the "ani-
ma," and its counterpart in a woman the "animus." In order
not to repeat myself, I must refer the reader to the literature. 5
This figure frequently appears in dreams, where one can ob-
serve all the attri butes I have mentioned in earlier publications.

5*3 Another, no less important and clearly defined figure is the
"shadow." Like the anima, it appears either in projection on
suitable persons, or personified as such in dreams. The shadow
coincides with the "personal" unconscious (which corresponds
to Freud's conception of the unconscious). Again like the ani-
ma, this figure has often been portrayed by poets and writers.
I would mention the Faust-Mephistopheles relationship and
E. T. A. Hoffmann's tale The Devil's Elixir as two especially
typical descriptions. The shadow personifies everything that the
subject refuses to acknowledge about himself and yet is always

5 Psychological Types, Def. 48; "The Relations between the Ego and the Un-
conscious," pars. 2g6ff.; Psychology and Alchemy, Part II. Cf. also the third
paper in this volume.

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

thrusting itself upon him directly or indirectly for instance,

inferior traits of character and other incompatible tendencies. 6

5*4 The fact that the unconscious spontaneously personifies

certain affectively toned contents in dreams is the reason why

I have taken over these personifications in my terminology and
formulated them as names.

5*5 Besides these figures there are still a few others, less fre-
quent and less striking, which have likewise undergone poetic
as well as mythological formulation. I would mention, for in-
stance, the figure of the hero 7 and of the wise old man, 8 to
name only two of the best known.

5 l6 All these figures irrupt autonomously into consciousness as
soon as it gets into a pathological state. With regard to the
anima, I would particularly like to draw attention to the case
described by Nelken. 9 Now the remarkable thing is that these
figures show the most striking connections with the poetic,
religious, or mythological formulations, though these connec-
tions are in no way factual. That is to say, they are spontaneous
products of analogy. One such case even led to the charge of
plagiarism: the French writer Benoit gave a description of the
anima and her classic myth in his book L'Atlantide, which is
an exact parallel of Rider Haggard's She. The lawsuit proved
unsuccessful; Benoit had never heard of She. (It might, in the
last analysis, have been an instance of cryptomnesic deception,
which is often extremely difficult to rule out.) The distinctly
"historical" aspect of the anima and her condensation with the
figures of the sister, wife, mother, and daughter, plus the asso-
ciated incest motif, can be found in Goe the ("You were in times
gone by my wife or sister"), 10 as well as in the anima figure of
the regina or femina alba in alchemy. The English alchemist
Eirenaeus Philale thes ("lover of truth"), writing about 1645,
remarks that the "Queen" was the King's "sister, mother, or
wife." n The same idea can be found, ornately elaborated, in

GToni Wolff, "Einfuhrung in die Grundlagen der Komplexen Psychologie," p.

107. [Also Aion, ch. 2. Editors.] 7 Symbols of Transformation, Part II.

8 Cf. supra, "The Phenomenology of the Spirit in Fairytales."

8 See n. 4, above.

10 [Untitled poem ("Warum gabst du uns die tiefen Blicke") in Werke, II, p. 43.

Editors.]

II Ripley Reviv'd; or, An Exposition upon Sir George Ripley's Hermetico-Poetical
Works (1678), trans, into German in 1741 and possibly known to Goethe.

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Nelken's patient and in a whole series of cases observed by me,
where I was able to rule out with certainty any possibility of
literary influence. For the rest, the anima complex is one of the
oldest features of Latin alchemy. 12

5*7 When one studies the archetypal personalities and their be-
haviour with the help of the dreams, fantasies, and delusions of
patients, 13 one is profoundly impressed by their manifold and
unmistakable connections with mythological ideas completely
unknown to the layman. They form a species of singular beings
whom one would like to endow with ego-consciousness; indeed,
they almost seem capable of it. And yet this idea is not borne
out by the facts. There is nothing in their behaviour to suggest
that they have an ego-consciousness as we know it. They show,
on the contrary, all the marks of fragmentary personalities.
They are masklike, wraithlike, without problems, lacking self-
reflection, with no conflicts, no doubts, no sufferings; like gods,
perhaps, who have no philosophy, such as the Brahma-gods of
the Samyutta-nj kaya, whose erroneous views needed correction
by the Buddha. Unlike other contents, they always remain
strangers in the world of consciousness, unwelcome intruders
saturating the atmosphere with uncanny forebodings or even
with the fear of madness.

5 l8 If we examine their content, i.e., the fantasy material con-
stituting their phenomenology, we find countless archaic and
"historical" associations and images of an archetypal nature. 14
This peculiar fact permits us to draw conclusions about the
"localization" of anima and animus in the psychic structure.
They evidently live and function in the deeper layers of the
unconscious, especially in that phylogenetic substratum which
I have called the collective unconscious. This localization ex-
plains a good deal of their strangeness: they bring into our
ephemeral consciousness an unknown psychic life belonging to
a remote past. It is the mind of our unknown ancestors, their
way of thinking and feeling, their way of experiencing life and

12 Cf. the celebrated "Visio Arislei" (Arlis auriferae, 1593, II, pp. 246ff.), also
available in German: Ruska, Die Vision des Arisleus, p. 22.

13 For an example of the method, see Psychology and Alchemy, Part II.

14 In my Symbols of Transformation, I have described the case of a young woman
with a "hero-story," i.e., an animus fantasy that yielded a rich harvest of myth-
ological material. Rider Haggard, Benoit, and Goe the (in Faust) have all stressed
the historical character of the anima.

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CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

the world, gods and men. The existence of these archaic strata
is presumably the source of man's belief in reincarnations and
in memories of "previous existences." Just as the human body
is a museum, so to speak, of its phylogenetic history, so too is
the psyche. We have no reason to suppose that the specific
structure of the psyche is the only thing in the world that has
no history outside its individual manifestations. Even the con-
scious mind cannot be denied a history reaching back at least
five thousand years. It is only our ego-consciousness that has
forever a new beginning and an early end. The unconscious
psyche is not only immensely old, it is also capable of growing
into an equally remote future. It moulds the human species and
is just as much a part of it as the human body, which, though
ephemeral in the individual, is collectively of immense age.

5*9 The anima and animus live in a world quite different from
the world outside in a world where the pulse of time beats in-
finitely slowly, where the birth and death of individuals count
for little. No wonder their nature is strange, so strange that
their irruption into consciousness often amounts to a psychosis.
They undoubtedly belong to the material that comes to light in
schizophrenia.

5 20 What I have said about the collective unconscious may give
you a more or less adequate idea of what I mean by this term.
If we now turn back to the problem of individuation, we shall
see ourselves faced with a rather extraordinary task: the psyche
consists of two incongruous halves which together should form
a whole. One is inclined to think that ego-consciousness is
capable of assimilating the unconscious, at least one hopes that
such a solution is possible. But unfortunately the unconscious
really is unconscious; in other words, it is unknown. And how
can you assimilate something unknown? Even if you can form
a fairly complete picture of the anima and animus, this does not
mean that you have plumbed the depths of the unconscious.
One hopes to control the unconscious, but the past masters in
the art of self-control, the yogis, attain perfection in samadhi, a
state of ecstasy, which so far as we know is equivalent to a state
of unconsciousness. It makes no difference whether they call our
unconscious a "universal consciousness"; the fact remains that
in their case the unconscious has swallowed up ego-conscious-
ness. They do not realize that a "universal consciousness" is a

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THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

contradiction in terms, since exclusion, selection, and discrimi-
nation are the root and essence of everything that lays claim to
the name "consciousness." "Universal consciousness" is logi-
cally identical with unconsciousness. It is nevertheless true that
a correct application of the methods described in the Pali Canon
or in the Yoga-sutra induces a remarkable extension of con-
sciousness. But, with increasing extension, the contents of con-
sciousness lose in clarity of detail. In the end, consciousness
becomes all-embracing, but nebulous; an infinite number of
things merge into an indefinite whole, a state in which subject
and object are almost completely identical. This is all very
beautiful, but scarcely to be recommended anywhere north of
the Tropic of Cancer.

521 For this reason we must look for a different solution. We
believe in ego-consciousness and in what we call reality. The
realities of a northern climate are somehow so convincing that
we feel very much better off when we do not forget them. For
us it makes sense to concern ourselves with reality. Our Euro-
pean ego-consciousness is therefore inclined to swallow up the
unconscious, and if this should not prove feasible we try to
suppress it. But if we understand anything of the unconscious,
we know that it cannot be swallowed. We also know that it is
dangerous to suppress it, because the unconscious is life and this
life turns against us if suppressed, as happens in neurosis.

522 Conscious and unconscious do not make a whole when one
of them is suppressed and injured by the other. If they must
contend, let it at least be a fair fight with equal rights on both
sides. Both are aspects of life. Consciousness should defend its
reason and protect itself, and the chaotic life of the unconscious
should be given the chance of having its way too as much of it
as we can stand. This means open conflict and open collabora-
tion at once. That, evidently, is the way human life should be.
It is the old game of hammer and anvil: between them the
patient iron is forged into an indestructible whole, an "in-
dividual."

523 This, roughly, is what I mean by the individuation process.
As the name shows, it is a process or course of development
arising out of the conflict between the two fundamental psychic
facts. I have described the problems of this conflict, at least in
their essentials, in my essay "The Relations between the Ego

288

CONSCIOUS, UNCONSCIOUS, AND INDIVIDUATION

and the Unconscious." A special chapter, however, is the sym-
bolism of the process, which is of the utmost importance for
understanding the final stages of the encounter between con-
scious and unconscious, in practice as well as in theory. My
investigations during these last years have been devoted mainly
to this theme. It turned out, to my own great astonishment, that
the symbol formation has the closest affinities with alchemical
ideas, and especially with the conceptions of the "uniting
symbol," 15 which yield highly significant parallels. Naturally
these are processes which have no meaning in the initial stages
of psychological treatment. On the other hand, more difficult
cases, such as cases of unresolved transference, develop these
symbols. Knowledge of them is of inestimable importance in
treating cases of this kind, especially when dealing with cul-
tured patients.
524 How the harmonizing of conscious and unconscious data is
to be undertaken cannot be indicated in the form of a recipe.
It is an irrational life-process which expresses itself in definite
symbols. It may be the task of the analyst to stand by this
process with all the help he can give. In this case, knowledge of
the symbols is indispensable, for it is in them that the union
of conscious and unconscious contents is consummated. Out of
this union emerge new situations and new conscious attitudes.
I have therefore called the union of opposites the "transcendent
function." 16 This rounding out of the personality into a whole
may well be the goal of any psycho therapy that claims to be
more than a mere cure of symptoms.

15 [Psychological Types, Def. 51 and ch. V, 3c. In the Collected Works, the
term "uniting symbol" supersedes the earlier translation "reconciling symbol."
Editors ]

16 [Cf. "The Transcendent Function." Editors.]

289

A STUDY IN THE PROCESS OF INDIVIDUATION

Tao's working of things is vague and obscure.

Obscure! Oh vague!

In it are images.

Vague! Oh obscure!

In it are things.

Profound! Oh dark indeed!

In it is seed.

Its seed is very truth.

In it is trustworthiness.

From the earliest Beginning until today

Its name is not lacking

By which to fathom the Beginning of all things.

How do I know it is the Beginning of all things?

Through it!

Lao-tzu, Tao Teh Ching, ch. 21.

Introductory

525 During the iQ2o's, I made the acquaintance in America of a
lady with an academic education we will call her Miss X who
had studied psychology for nine years. She had read all the more
recent literature in this field. In 1928, at the age of fifty-five,
she came to Europe in order to continue her studies under my
guidance. As the daughter of an exceptional father she had
varied interests, was extremely cultured, and possessed a lively
turn of mind. She was unmarried, but lived with the uncon-
scious equivalent of a human partner, namely the animus (the
personification of everything masculine in a woman), in that

l [Translated from "Zur Empirie des Individuationsprozesses," Gestaltungen
des Unbewussten (Zurich, 1950), where it carries the author's note that it is a
"thoroughly revised and enlarged version of the lecture of the same title first
published in the Eranos-Jahrbuch 1933," i.e., in 1934. The original version was
translated by Stanley Dell and published in The Integration of the Personality
(New York, 1939; London, 1940). The motto by Lao-tzu is from a translation
by Carol Baumann in her article "Time and Tao," Spring, 1951, p. 30. Editors.]

290

A STUDY IN THE PROCESS OF INDIVIDUATION

characteristic liaison so often met with in women with an aca-
demic education. As frequently happens, this development of
hers was based on a positive father complex: she was "fille a
papa" and consequently did not have a good relation to her
mother. Her animus was not of the kind to give her cranky
ideas. She was protected from this by her natural intelligence
and by a remarkable readiness to tolerate the opinions of other
people. This good quality, by no means to be expected in the
presence of an animus, had, in conjunction with some difficult
experiences that could not be avoided, enabled her to realize
that she had reached a limit and "got stuck," and this made it
urgently necessary for her to look round for ways that might
lead her out of the impasse. That was one of the reasons for her
trip to Europe. Associated with this there was another not acci-
dentalmotive. On her mother's side she was of Scandinavian
descent. Since her relation to her mother left very much to be
desired, as she herself clearly realized, the feeling had gradually
grown up in her that this side of her nature might have de-
veloped differently if only the relation to her mother had given
it a chance. In deciding to go to Europe she was conscious that
she was turning back to her own origins and was setting out to
reactivate a portion of her childhood that was bound up with
the mother. Before coming to Zurich she had gone back to Den-
mark, her mother's country. There the thing that affected her
most was the landscape, and unexpectedly there came over her
the desire to paint above all, landscape motifs. Till then she
had noticed no such aesthetic inclinations in herself, also she
lacked the ability to paint or draw. She tried her hand at water-
colours, and her modest landscapes filled her with a strange
feeling of contentment. Painting them, she told me, seemed to
fill her with new life. Arriving in Zurich, she continued her
painting efforts, and on the day before she came to me for the
first time she began another landscape this time from memory.
While she was working on it, a fantasy-image suddenly thrust
itself between her and the picture: she saw herself with the
lower half of her body in the earth, stuck fast in a block of
rock. The region round about was a beach strewn with boulders.
In the background was the sea. She felt caught and helpless.
Then she suddenly saw me in the guise of a medieval sorcerer.
She shouted for help, I came along and touched the rock with

291

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

a magic wand. The stone instantly burst open, and she stepped
out uninjured. She then painted this fantasy-image instead of
the landscape and brought it to me on the following day.

Picture i

526 As usually happens with beginners and people with no skill
of hand, the drawing of the picture cost her considerable diffi-
culties. In such cases it is very easy for the unconscious to slip
its subliminal images into the painting. Thus it came about
that the big boulders would not appear on the paper in their
real form but took on unexpected shapes. They looked, some
of them, like hardboiled eggs cut in two, with the yolk in the
middle. Others were like pointed pyramids. It was in one of
these that Miss X was stuck. Her hair, blown out behind her,
and the movement of the sea suggested a strong wind.

527 The picture shows first of all her imprisoned state, but not
yet the act of liberation. So it was there that she was attached
to the earth, in the land of her mother. Psychologically this state
means being caught in the unconscious. Her inadequate rela-
tion to her mother had left behind something dark and in need
of development. Since she succumbed to the magic of her
motherl and and tried to express this by painting, it is obvious
that she is still stuck with half her body in Mother Earth: that
is, she is still partly identical with the mother and, what is more,
through that part of the body which contains just that secret of
the mother which she had never inquired into.

528 Since Miss X had discovered all by herself the method of
active imagination I have long been accustomed to use, I was
able to approach the problem at just the point indicated by the
picture: she is caught in the unconscious and expects magical
help from me, as from a sorcerer. And since her psychological
knowledge had made her completely au fait with certain pos-
sible interpretations, there was no need of even an understand-
ing wink to bring to light the apparent sous-entendu of the
liberating magician's wand. The sexual symbolism, which for
many naive minds is of such capital importance, was no dis-
covery for her. She was far enough advanced to know that ex-
planations of this kind, however true they might be in other
respects, had no significance in her case. She did not want to
know how liberation might be possible in a general way, but

292

Picture i

Picture 2

Picture 3

Picture 4

Picture 5

Picture 6

Picture 7

Picture 8

Picture 9

Picture 10

Picture n

Picture 12

Picture 13

Picture 14

Picture 15

Picture 16

Picture ij

Picture 18

Picture 19

Picture 20

Picture 21

Picture 22

Picture 23

Picture 24

A STUDY IN THE PROCESS OF INDIVIDUATION

how and in what way it could come about for her. And about
this I knew as little as she. I know that such solutions can
only come about in an individual way that cannot be foreseen.
One cannot think up ways and means artificially, let alone know
them in advance, for such knowledge is merely collective, based
on average experience, and can therefore be completely inade-
quate, indeed absolutely wrong, in individual cases. And when,
on top of that, we consider the patient's age, we would do well
to abandon from the start any attempt to apply ready-made
solutions and warmed-up generalities of which the patient
knows just as much as the doctor. Long experience has taught
me not to know anything in advance and not to know better,
but to let the unconscious take precedence. Our instincts have
ridden so infinitely many times, unharmed, over the problems
that arise at this stage of life that we may be sure the trans-
formation processes which make the transition possible have
long been prepared in the unconscious and are only waiting to
be released.

529 I had already seen from her previous history how the uncon-
scious made use of the patient's inability to draw in order to
insinuate its own suggestions. I had not overlooked the fact that
the boulders had surreptitiously transformed themselves into
eggs. The egg is a germ of life with a lofty symbolical signifi-
cance. It is not just a cosmogonic symbol it is also a "philo-
sophical" one. As the former it is the Orphic egg, the world's
beginning; as the latter, the philosophical egg of the medieval
natural philosophers, the vessel from which, at the end of the
opus alchymicum, the homunculus emerges, that is, the Anthro-
pos, the spiritual, inner and complete man, who in Chinese
alchemy is called the chen-yen (literally, "perfect man"). 2

53 From this hint, therefore, I could already see what solution
the unconscious had in mind, namely individuation, for this is
the transformation process that loosens the attachment to the
unconscious. It is a definitive solution, for which all other ways
serve as auxiliaries and temporary makeshifts. This knowledge,
which for the time being I kept to myself, bade me act with
caution. I therefore advised Miss X not to let it go at a mere
fantasy-image of the act of liberation, but to try to make a

2Cf. Psychology and Alchemy, pars. 138L, 306, and Wei Po-yang, "An Ancient
Chinese Treatise on Alchemy."

293

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

picture of it. How this would turn out I could not guess, and
that was a good thing, because otherwise I might have put
Miss X on the wrong track from sheer helpfulness. She found
this task terribly difficult owing to her artistic inhibitions. So I
counselled her to content herself with what was possible and to
use her fantasy for the purpose of circumventing technical diffi-
culties. The object of this advice was to introduce as much
fantasy as possible into the picture, for in that way the uncon-
scious has the best chance of revealing its contents. I also ad-
vised her not to be afraid of bright colours, for I knew from
experience that vivid colours seem to attract the unconscious.
Thereupon, a new picture arose.

Picture 2

53 Again there are boulders, the round and pointed forms; but
the round ones are no longer eggs, they are complete circles,
and the pointed ones are tipped with golden light. One of the
round forms has been blasted out of its place by a golden flash
of lightning. The magician and magic wand are no longer there.
The personal relationship to me seems to have ceased: the pic-
ture shows an impersonal natural process.

532 While Miss X was painting this picture she made all sorts of
discoveries. Above all, she had no notion of what picture she
was going to paint. She tried to reimagine the initial situation;
the rocky shore and the sea are proof of this. But the eggs turned
into abstract spheres or circles, and the magician's touch be-
came a flash of lightning cutting through her unconscious state.
With this transformation she had rediscovered the historical
synonym of the philosophical egg, namely the rotundum, the
round, original form of the Anthropos (or uroixdov o-rpoyyvAov,
'round element,' as Zosimos calls it). This is an idea that has
been associated with the Anthropos since ancient times. 3 The
soul, too, according to tradition, has a round form. As the Monk
of Heisterbach says, it is not only "like to the sphere of the
moon, but is furnished on all sides with eyes" (ex omni parte
oculata). We shall come back to this motif of polyophthalmia
later on. His remark refers in all probability to certain para-
psychological phenomena, the "globes of light" or globular

3 Psychology and Alchemy, par. 109, n. 38.

294

A STUDY IN THE PROCESS OF INDIVIDUATION

luminosities which, with remarkable consistency, are regarded
as "souls" in the remotest parts of the world. 4

533 The liberating flash of lightning is a symbol also used by
Paracelsus 5 and the alchemists for the same thing. Moses' rock-
splitting staff, which struck forth the living water and after-
wards changed into a serpent, may have been an unconscious
echo in the background. 6 Lightning signifies a sudden, unex-
pected, and overpowering change of psychic condition. 7

534 "In this Spirit of the Fire-flash consists the Great Almighty
Life," says Jakob Bohme. 8 'Tor when you strike upon the sharp
part of the stone, the bitter sting of Nature sharpens itself, and
is stirred in the highest degree. For Nature is dissipated or
broken asunder in the sharpness, so that the Liberty shines
forth as a Flash." 9 The flash is the "Birth of the light." 10 It has
transformative power: "For if I could in my Flesh comprehend
the Flash, which I very well see and know how it is, I could
clarify or transfigure my Body therewith, so that it would shine
with a bright light and glory. And then it would no more re-
semble and be conformed to the bestial Body, but to the angels
of God." n Elsewhere Bohme says: "As when the Flash of Life

4 Caesarius of Heisterbach, The Dialogue on Miracles, trans, by Scott and Bland,
Dist. IV, c. xxxiv (p. 231) and Dist. I, c. xxxii (p. 42): "His soul was like a glassy
spherical vessel, that had eyes before and behind." A collection of similar re-
ports in Bozzano, Popoli prirnitivi e Manifestazioni supernormali.

5 Cf. my "Paracelsus as a Spiritual Phenomenon," par. 190 It is Hermes Kyllenios,
who calls up the souls. The caduceus corresponds to the phallus. Cf. Hippolytus,
Elenchos, V, 7, 30.

6 The same association in Elenchos, V, 16, 8: serpent dvva/jus of Moses.

7 Ruland (Lexicon, 1612) speaks of "the gliding of the mind or spirit into another
world." In the Chymical Wedding of Rosencreutz the lightning causes the royal
pair to come alive. The Messiah appears as lightning in the Syrian Apocalypse
of Baruch (Charles, Apocrypha, II, p. 510). Hippolytus (Elenchos, VIII, 10, 3)
says that, in the view of the Docetists, the Monogenes dicrw together "like the
greatest lightning -flash into the smallest body" (because the Aeons could not
stand the effulgence of the Pleroma), or like "light under the eyelids." In this
form he came into the world through Mary (VIII, 10, 5). Lactantius (Works,
trans, by Fletcher, I, p. 470) says: ". . . the light of the descending God may be
manifest in all the world as lightning." This refers to Luke 17 : 24: ". . . as the
lightning that lighteneth . . so shall the Son of man be in his day." Similarly
Zach. 9 : 14: "And the Lord God ... his dart shall go forth as lightning" (DV).

8 Forty Questions concerning the Soul (Works, ed. Ward and Langcake, II, p. 17).
The High and Deep Searching of the Threefold Life of Man (Works, II), p. 11.
10 Aurora (Works, I), X. 17, p. 84. 11 Ibid., X. 38, p. 86,

295

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

rises up in the centre of the Divine Power, wherein all the
spirits of God attain their life, and highly rejoice." 12 Of the
"Source-spirit" Mercurius, he says that it "arises in the Fire-
flash." Mercurius is the "animal spirit" which, from Lucifer's
body, "struck into the Salniter 13 of God like a fiery serpent
from its hole, as if there went a fiery Thunder-bolt into God's
Nature, or a fierce Serpent, which tyrannizes, raves, and rages,
as if it would tear and rend Nature all to pieces." 14 Of the
"innermost birth of the soul" the bestial body "attains only a
glimpse, just as if it lightened." 15 "The triumphing divine
Birth lasteth in us men only so long as the flash lasteth; there-
fore our knowledge is but in part, whereas in God the flash
stands unchangeably, always eternally thus." 16 (Cf. Fig. 1.)
535 In this connection I would like to mention that Bohme asso-
ciates lightning with something else too. That is the quaternity,
which plays a great role in the following pictures. When caught
and assuaged in the four "Qualities" or four "Spirits," 17 "the
Flash, or the Light, subsists in the Midst or Centre as a Heart.
Now when that Light, which stands in the Midst or Centre,
shines into the four Spirits, then the Power of the four Spirits
rises up in the Light, and they become Living, and love the
Light; that is, they take it into them, and are impregnated with
it." 19 "The Flash, or Stock, 20 or Pith, or the Heart, which is
generated in the Powers, remains standing in the Midst or
Centre, and that is the Son. . . . And this is the true Holy
Ghost, whom we Christians honour and adore for the third

12 Ibid., X. 53, p. 87.

13 Salniter sal nitri = Saltpetre; like salt, the prima materia. Three Principles
of the Divine Essence (Works, I), I. 9, p. 10.

14 Aurora, XV. 84, p. 154. Here the lightning is not a revelation of God's will
but a Satanic change of state. Lightning is also a manifestation of the devil
(Luke 10: 18). 15 Ibid., XIX. 19, p. 185. 16 Ibid., XL 10, p. 93.

17 For Bohme the four "qualities" coincide partly with the four elements but
also with dry, wet, warm, cold, the four qualities of taste (e.g., sharp, bitter,
sweet, sour), and the four colours.

18 A heart forms the centre of the mandala in the Forty Questions. See Fig. 1.

19 Aurora, XL 27-28, p. 94.

20 "Stock" in this context can mean tree or cross (a-ravpSs, 'stake, pole, post'), but
it could also refer to a staff or stick. It would then be the magical wand that, in
the subsequent development of these pictures, begins to sprout like a tree. Cf.
infra, par. 570.

296

^jJu^i^sof&ue' Gwk, arfyv cfj-qm&va ofQeMv;

ortv,

naU4Ji*+

Fig. 1. Mandala from Jakob Bohme's XL Questions concerning

the Soule (1620)

The picture is taken from the English edition of 1647. The quaternity
consists of Father, H. Ghost, Sonne, and Earth or Earthly Man. It is
characteristic that the two semicircles are turned back to back instead

of closing.

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Person in the Deity." 21 Elsewhere Bohme says: "When the
Fire-flash reaches the dark substance, 22 it is a great terror, from
which the Cold Fire draws back in affright as if it would perish,
and becomes impotent, and sinks into itself. . . . But now the
Flash . . . makes in its Rising a Cross 23 with the Compre-
hension of all Properties; for here arises the Spirit in the

Essence, and it stands thus: Q. If thou hast here understanding,
thou needest ask no more; it is Eternity and Time, God in Love
and Anger, also Heaven and Hell. The lower part, which is
thus marked^ 7 , is the first Principle, and is the Eternal Nature
in the Anger, viz. the Kingdom of Darkness dwelling in itself;
and the upper Part, with this figure ^, is the Salniter; 24 the
Upper Cross above the Circle is the Kingdom of Glory, which
in the Flagrat of Joy in the Will of the free Lubet 25 proceeds
from the Fire in the Lustre of the Light into the power of the

21 Aurora, XL 37, p. 95.

22 The lower darkness corresponds to the elemental world, which has a quater-
nary character. Cf. the four Achurayim mentioned in the commentary to Pic-
ture 7.

23 The reason for this is that the lightning is caught by the quaternity of ele-
ments and qualities and so divided into four.

24 Saltpetre is the arcane substance, synonymous with Sal Saturni and Sal Tartari
mundi maioris (Khunrath, Von hylealischen Chaos, 1597, p. 263). Tartarus has
a double meaning in alchemy: on the one hand it means tartar (hydrogen
potassium tartrate); on the other, the lower half of the cooking \essel and also
the arcane substance (Eleazar, Uraltes Chymisches Werk, 1760, II, p. 91, no. 32).
The metals grow in the "cavitates terrae" (Tartarus). Salt, according to Khun-
rath, is the "centrum terrae physicum." Eleazar says that the "Heaven and
Tartarus of the wise" change all metals back into mercury. Saturn is a dark
"malefic" star. There is the same symbolism in the Offertory from the Mass for
the Dead: "Deliver the souls of all the faithful departed from the pains of hell
and from the deep pit; deliver them from the mouth of the lion [attri bute of
Ialdabaoth, Saturn], lest Tartarus lay hold on them, and they fall into darkness."
Saturn "maketh darkness" (Bohme, Threefold Life, IX. 85, p. 96) and is one
aspect of the Salniter (Signatura rerum, XIV. 46-48, p. 118). Salniter is the
"dried" or "fixed" form and embodiment of the seven "Source Spirits" of God,
who are all contained in the seventh, Mercury, the "Word of God" (Aurora, XL
86f., p. 99 and XV. 49, p. 151; Sig. rer., IV. 35, p. 28). Salniter, like mercury, is
the mother and cause of all metals and salts (Sig. rer., XIV. 46 and III. 16, pp. 118
and 19). It is a subtle body, the paradisal earth and the spotless state of the
body before the Fall, and hence the epitome of the prima materia.

25 ["Flagrat" and "lubet" are used by Bohme to signify respectively "flash, flame,
burning" and "desire, affect." Editors.]

298

A STUDY IN THE PROCESS OF INDIVIDUATION

Liberty; and this spiritual Water 26 ... is the Corporality of
the free Lubet . . . wherein the Lustre from the Fire and
Light makes a Tincture, viz. a budding and growing and a
Manifestation of Colours from the Fire and Light." 27
53 6 I have purposely dwelt at Some length on Bohme's disquisi-
tion on the lightning, because it throws a good deal of light on
the psychology of our pictures. However, it anticipates some
things that will only become clear when we examine the pic-
tures themselves. I must therefore ask the reader to bear
Bohme's views in mind in the following commentary. I have
put the most important points in italics. It is clear from the
quotations what the lightning meant to Bohme and what sort
of a role it plays in the present case. The last quotation in par-
ticular deserves special attention, as it anticipates various key
motifs in the subsequent pictures done by my patient, namely
the cross, the quaternity, the divided mandala, the lower half of
which is virtually equivalent to hell and the upper half to the
lighter realm of the "Salniter." For Bohme the lower half sig-
nifies the "everlasting darkness" that "extends into the fire," 28
while the upper, "salnitrous" half corresponds to the third
Principle, the "visible, elemental world, which is an emanation
of the first and other Principle." 29 The cross, in turn, cor-
responds to the second Principle, the "Kingdom of Glory,"
which is revealed through "magic fire," the lightning, which he
calls a "Revelation of Divine Motion." 30 The "lustre of the
fire" comes from the "unity of God" and reveals his will. The
mandala therefore represents the "Kingdom of Nature," which
"in itself is the great everlasting Darkness." The "Kingdom of
God," on the other hand, or the "Glory" (i.e., the Cross), is the
Light of which John 1 : 5 speaks: "And the light shineth in the
darkness, and the darkness comprehendeth it not." The Life
that "breaks itself off from the eternal Light and enters into
the Object, as into the selfhood of Properties," is "only fantastic
and foolish, even such as the Devils were, and the souls of the
damned are; as can be seen . . . from the fourth number." 31

26 Reference to the "waters which were above the firmament" (Gen. 1 : 7).

27 5fg. rer., XIV. 32-33, p. 116.

28 Tabula principiorum, 3 (Amsterdam edn., 1682, p. 271).

29 Ibid., 5, p. 271. 30 Ibid., 42, p. 279.
31 Four Tables of Divine Revelation, p. 14.

299

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

For the "fire of Nature" is called by Bohme the fourth form,
and he understands it as a "spiritual Life-Fire, that exists from
a continual conjunction ... of Hardness [i.e., the solidified,
dry Salniter] and Motion [the Divine Will]." 32 Quite in keep-
ing with John 1 : 5 the quaternity of the lightning, the Cross,
pertains to the Kingdom of Glory, whereas Nature, the visible
world and the dark abyss remain untouched by the fourfold
light and abide in darkness.

537 For the sake of completeness I should mention that & is the
sign for cinnabar, the most important quicksilver ore (HgS). 33
The coincidence of the two symbols can hardly be accidental in
view of the significance which Bohme attri butes to Mercurius.
Ruland finds it rather hard to define exactly what was meant by
cinnabar. 34 The only certain thing is that there was a KLwdfiapis
twv iAocto
and that it stood for the rube do stage of the transforming sub-
stance. Thus Zosimos says: "(After the preceding process) you
will find the gold coloured fiery red like blood. That is the
cinnabar of the philosophers and the copper man (xaWvflpwTros),
turned to gold." 35 Cinnabar was also supposed to be identical
with the uroboros dragon. 36 Even in Pliny, cinnabar is called
sanguis draconis, 'dragon's blood,' a term that lasted all through
the Middle Ages. 37 On account of its redness it was often identi-
fied with the philosophical sulphur. A special difficulty is the fact
that the wine-red cinnabar crystals were classed with the avOpaKis,
carbons, to which belong all reddish and red-tinted stones
like rubies, garnets, amethysts, etc. They all shine like glow-
ing coals. 38 The XtOdvOpaKes (anthracites), on the other hand, were

32 ibid., p. 13.

33 Its official name is hydrargyrum sulfuratum rubrum. Another version of its

sign is J: cf. Liidy, Alchemistische und Chemische Zeichen, and Gessmann, Die
Geheimsymbole der Alchymie, Arzneikunde und Astrologie des Mittelalters.

34 "There is very great doubt among doctors as to what is actually signified by
Cinnabar, for the term is applied by different authorities to very diverse sub-
stances." Ruland, Lexicon, p. 102.

35 Berthelot, Alch. grecs, III, xxix, 24.

36 Ibid., I, v, 1. It may be remarked that the dragon has three ears and four
legs (The axiom of Maria! Cf. Psychology and Alchemy, pars. 209L)

37 Hist, nat., Lib. XXXIII, cap. vii.

88 The medical term anthrax means 'carbuncle, abscess.'

300

A STUDY IN THE PROCESS OF INDIVIDUATION

regarded as "quenched" coals. These associations explain the
similarity of the alchemical signs for gold, antimony, and

garnet. Gold Q, after mercury the most important "philosophi-
cal" substance, shares its sign with what is known as "regulus"
or "button" antimony, 39 and during the two decades prior to
the writing of Signatura rerum (1622), from which our
quotation comes, this had enjoyed particular fame as the new
transformative substance 40 and panacea. 41 Basilius Valentinus'
Triumphal Car of Antimony was published about the first
decade of the seventeenth century (the first edition possibly in
1611) and soon found the widest acclaim. 42 The sign for garnet

is ), and means salt. A cross with a little circle in it -
means copper (from the "Cyprian," Venus Q). Medicinal tar-
taric acid is denoted by $ , and hydrogen potassium tartrate
(tartar) has the signs e P. 43 Tartar settles on the bottom of the
vessel, which in the language of the alchemists means: in the
underworld, Tartarus. 44
53 8 I will not attempt here any interpretation of Bohme's sym-
bols, but will only point out that in our picture the lightning,
striking into the darkness and "hardness," has blasted a ro
tundum out of the dark massa confusa and kindled a light in it.
There can be no doubt that the dark stone means the blackness,
i.e., the unconscious, just as the sea and sky and the upper half
of the woman's figure indicate the sphere of consciousness. We
may safely assume that Bohme's symbol refers to a similar situa-
tion. The lightning has released the spherical form from the
rock and so caused a kind of liberation. But, just as the magician
has been replaced by the lightning, so the patient has been re-
placed by the sphere. The unconscious has thus presented her

39 Antimony is also denoted by . Regulus rr "The impure mass of metal
formed beneath the slag in melting and reducing ores" (Merriam-Webster).

40 Michael Maier (Symbola aureae mensae, 1617, p. 380) says: "The true antimony
of the Philosophers lies hidden in the deep sea, like the son of the King."

41 Praised as Hercules Morbicida, "slayer of diseases" (ibid., p. 378).

42 The book was (first?) mentioned by Maier, ibid., pp. 37gff.

43 Also QT|, a pure quaternity.

44 Tdprapos, like popfiopos, p&ppapos, etc. is probably onomatopoeic, expressing
terror. Tapyavov means 'vinegar, spoilt wine.' Derived from rapacaoi, 'to stir up,
disturb, frighten' (rdpayfia, 'trouble, confusion') and rapfios, 'terror, awe.'

301

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

with ideas which show that she had gone on thinking without
the aid of consciousness and that this radically altered the initial
situation. It was again her inability to draw that led to this
result. Before finding this solution, she had made two attempts
to portray the act of liberation with human figures, but with no
success. She had overlooked the fact that the initial situation, her
imprisonment in the rock, was already irrational and symbolic
and therefore could not be solved in a rational way. It had to be
done by an equally irrational process. That was why I advised
her, should she fail in her attempt to draw human figures, to use
some kind of hieroglyph. It then suddenly struck her that the
sphere was a suitable symbol for the individual human being.
That it was a chance idea (Einfall) is proved by the fact that it
was not her conscious mind that thought up this typification,
but the unconscious, for an Einfall "falls in" quite of its own
accord. It should be noted that she represents only herself as
a sphere, not me. I am represented only by the lightning, purely
functionally, so that for her I am simply the "precipitating"
cause. As a magician I appeared to her in the apt role of Hermes
Kyllenios, of whom the Odyssey says: "Meanwhile Cyllenian
Hermes was gathering in the souls of the suitors, armed with
the splendid golden wand that he can use at will to cast a spell
on our eyes or wake us from the soundest sleep." 45 Hermes is
the xf/vx^v atrio?, 'originator of souls/ He is also the fryyTwp ovdpwv,
'guide of dreams.' 46 For the following pictures it is of special
importance that Hermes has the number 4 attri buted to him.
Martianus Capella says: "The number four is assigned to the
Cyllenian, for he alone is held to be a fourfold god." 47
539 The form the picture had taken was not unreservedly wel-
come to the patient's conscious mind. Luckily, however, while
painting it Miss X had discovered that two factors were in-
volved. These, in her own words, were reason and the eyes.
Reason always wanted to make the picture as it thought it ought
to be; but the eyes held fast to their vision and finally forced
the picture to come out as it actually did and not in accordance
with rationalistic expectations. Her reason, she said, had really
intended a daylight scene, with the sunshine melting the sphere

45 Rieu trans., p. 351.

46 Hippolytus, Elenchos, V, 7, 30; Kerenyi, "Hermes der Seelenfuhrer," p. 29.

47 Ibid., p. 30.

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A STUDY IN THE PROCESS OF INDIVIDUATION

free, but the eyes favoured a nocturne with "shattering, dan-
gerous lightning." This realization helped her to acknowledge
the actual result of her artistic efforts and to admit that it was
in fact an objective and impersonal process and not a personal
relationship.

540 For anyone with a personalistic view of psychic events, such
as a Freudian, it will not be easy to see in this anything more
than an elaborate repression. But if there was any repression
here we certainly cannot make, the conscious mind responsible
for it, because the conscious mind would undoubtedly have
preferred a personal imbroglio as being far more interesting.
The repression must have been manoeuvred by the unconscious
from the start. One should consider what this means: instinct,
the most original force of the unconscious, is suppressed or
turned back on itself by an arrangement stemming from this
same unconscious! It would be idle indeed to talk of "repres-
sion" here, since we know that the unconscious goes straight for
its goal and that this does not consist solely in pairing two ani-
mals but in allowing an individual to become whole. For this
purpose wholeness represented by the sphere is emphasized as
the essence of personality, while I am reduced to the fraction of
a second, the duration of a lightning flash.

54 1 The patient's association to lightning was that it might stand
for intuition, a conjecture that is not far off the mark y since
intuitions often come "like a flash." Moreover, there are good
grounds for thinking that Miss X was a sensation type. She her-
self thought she was one. The "inferior" function would then
be intuition. As such, it would have the significance of a re-
leasing or "redeeming" function. We know from experience
that the inferior function always compensates, complements,
and balances the "superior" function. 48 My psychic peculiarity
would make me a suitable projection carrier in this respect. The
inferior function is the one of which least conscious use is made.
This is the reason for its undifferentiated quality, but also for
its freshness and vitality. It is not at the disposal of the conscious
mind, and even after long use it never loses its autonomy and
spontaneity, or only to a very limited degree. Its role is there-
fore mostly that of a deus ex machina. It depends not on the

48 The pairs of functions are thinking/feeling, sensation /intuition. See Psycho-
logical Types, definitions.

303

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

ego but on the self. Hence it hits consciousness unexpectedly,
like lightning, and occasionally with devastating consequences.
It thrusts the ego aside and makes room for a supraordinate
factor, the totality of a person, which consists of conscious and
unconscious and consequently extends far beyond the ego. This
self was always present, 49 but sleeping, like Nietzsche's "image
in the stone." 50 It is, in fact, the secret of the stone, of the lapis
philosophorum, in so far as this is the prima materia. In the
stone sleeps the spirit Mercurius, the "circle of the moon," the
"round and square," 51 the homunculus, Tom Thumb and
Anthropos at once, 52 whom the alchemists also symbolized as
their famed lapis philosophorum

542 All these ideas and inferences were naturally unknown to
my patient, and they were known to me at the time only in so
far as I was able to recognize the circle as a mandala, M the psy-
chological expression of the totality of the self. Under these
circumstances there could be no question of my having unin-
tentionally infected her with alchemical ideas. The pictures are,
in all essentials, genuine creations of the unconscious; their
inessential aspects (landscape motifs) are derived from conscious
contents.

543 Although the sphere with its glowing red centre and the
golden flash of lightning play the chief part, it should not be
overlooked that there are several other eggs or spheres as well.
If the sphere signifies the self of the patient, we must apply this
interpretation to the other spheres, too. They must therefore
represent other people who, in all probability, were her inti-
mates. In both the pictures two other spheres are clearly indi-
cated. So I must mention that Miss X had two women friends
who shared her intellectual interests and were joined to her in
a lifelong friendship. All three of them, as if bound together by
fate, are rooted in the same "earth," i.e., in the collective un-
conscious, which is one and the same for all. It is probably for
this reason that the second picture has the decidedly nocturnal

49 Cf. Psychology and Alchemy, par. 329, for the a priori presence of the mandala
symbol. so Details in ibid., par. 406.

51 Preisendanz, Papyri Graecae Magicae, II, p. 139.

52 "The Spirit Mercurius," pars. 267(1.

53 Psychology and Alchemy, Part III, ch. 5.

54 Cf. Wilhelm and Jung, The Secret of the Golden Flower.

304

A STUDY IN THE PROCESS OF INDIVIDUATION

character intended by the unconscious and asserted against the
wishes of the conscious mind. It should also be mentioned that
the pointed pyramids of the first picture reappear in the second,
where their points are actually gilded by the lightning and
strongly emphasized. I would interpret them as unconscious
contents "pushing up" into the light of consciousness, as seems
to be the case with many contents of the collective unconscious. 55
In contrast to the first picture, the second is painted in more
vivid colours, red and gold. Gold expresses sunlight, value,
divinity even. It is therefore a favourite synonym for the lapis,
being the aurum philosophicum or aurum potabile or aurum
vitreum. 56

544 As already pointed out, I was not at that time in a position
to reveal anything of these ideas to Miss X, for the simple reason
that I myself knew nothing of them. I feel compelled to men-
tion this circumstance yet again, because the third picture,
which now follows, brings a motif that points unmistakably to
alchemy and actually gave me the definitive incentive to make
a thorough study of the works of the old adepts.

Picture 3

545 The third picture, done as spontaneously as the first two, is
distinguished most of all by its light colours. Free-floating in
space, among clouds, is a dark blue sphere with a wine-red
border. Round the middle runs a wavy silver band, which keeps
the sphere balanced by "equal and opposite forces," as the
patient explained. To the right, above the sphere, floats a snake
with golden rings, its head pointing at the sphere an obvious
development of the golden lightning in Picture 2. But she drew
the snake in afterwards, on account of certain "reflections." The
whole is "a planet in the making." In the middle of the silver
band is the number 12. The band was thought of as being in
rapid vibratory motion; hence the wave motif. It is like a
vibrating belt that keeps the sphere afloat. Miss X compared it
to the ring of Saturn. But unlike this, which is composed of

55 Though we talk a great deal and with some justice about the resistance which
the unconscious puts up against becoming conscious, it must also be emphasized
that it has a kind of gradient towards consciousness, and this acts as an urge to
become conscious.

56 The last-named refers to Rev. 21 : 21.

35

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

disintegrated sateUites, her ring was the origin of future moons
such as Jupiter possesses. The black lines in the silver band she
called "lines of force"; they were meant to indicate that it was
in motion. As if asking a question, I made the remark: "Then it
is the vibrations of the band that keep the sphere floating?"
"Naturally," she said, "they are the wings of Mercury, the mes-
senger of the gods. The silver is quicksilver!" She went on at
once: "Mercury, that is Hermes, is the Nous, the mind or
reason, and that is the animus, who is here outside instead of
inside. He is like a veil that hides the true personality." 57 We
shall leave this latter remark alone for the moment and turn
first to the wider context, which, unlike that of the two previous
pictures, is especially rich.

546 While Miss X was painting this picture, she felt that two
earlier dreams were mingling with her vision. They were the
two "big" dreams of her life. She knew of the attri bute "big"
from my stories of the dream life of African primitives I had
visited. It has become a kind of "colloquial term" for char-
acterizing archetypal dreams, which as we know have a peculiar
numinosity. It was used in this sense by the dreamer. Several
years previously, she had undergone a major operation. Under
narcosis she had the following dream-vision: She saw a grey
globe of the world. A silver band rotated about the equator
and, according to the frequency of its vibrations, formed alter-
nate zones of condensation and evaporation. In the zones of
condensation appeared the numbers 1 to 3, but they had the
tendency to increase up to 12. These numbers signified "nodal
points" or "great personalities" who played a part in man's
historical development. "The number 12 meant the most im-
portant nodal point or great man (still to come), because it
denotes the climax or turning point of the process of develop-
ment." (These are her own words.)

547 The other dream that intervened had occurred a year before
the first one: She saw a golden snake in the sky. It demanded
the sacrifice, from among a great crowd of people, of a young
man, who obeyed this demand with an expression of sorrow.
The dream was repeated a little later, but this time the snake

57 Miss X was referring to my remarks in "The Relations between the Ego and
the Unconscious," which she knew in its earlier version in Collected Papers on
Analytical Psychology (2nd. edn., 1920).

306

A STUDY IN THE PROCESS OF INDIVIDUATION

picked on the dreamer herself. The assembled people regarded
her compassionately , but she took her fate "proudly" on herself.

548 She was, as she told me, born immediately after midnight, so
soon afterwards, indeed, that there was some doubt as to whether
she came into the world on the 28th or on the 29th. Her father
used to tease her by saying that she was obviously born before
her time, since she came into the world just at the beginning of
a new day, but "only just," so that one could almost believe she
was born "at the twelfth hour." The number 12, as she said,
meant for her the culminating point of her life, which she had
only now reached. That is, she felt the "liberation" as the climax
of her life. It is indeed an hour of birth not of the dreamer but
of the self. This distinction must be borne in mind.

549 The context to Picture 3 here established needs a little
commentary. First, it must be emphasized that the patient felt
the moment of painting this picture as the "climax" of her life
and also described it as such. Second, two ''big" dreams have
amalgamated in the picture, which heightens its significance
still more. The sphere blasted from the rock in Picture 2 has
now, in the brighter atmosphere, floated up to heaven. The
nocturnal darkness of the earth has vanished. The increase of
light indicates conscious realization: the liberation has become
a fact that is integrated into consciousness. The patient has
understood that the floating sphere symbolizes the "true per-
sonality." At present, however, it is not quite clear how she
understands the relation of the ego to the "true personality."
The term chosen by her coincides in a remarkable way with the
Chinese chen-yen, the "true" or "complete" man, who has the
closest affinity with the homo quadratus 58 of alchemy. 59 As we
pointed out in the analysis of Picture 2, the rotundum of al-
chemy is identical with Mercurius, the "round and square." 60
In Picture 3 the connection is shown concretely through the

58 The expressions "square," "four-square," are used in English in this sense.

59 The "squared figure" in the centre of the alchemical mandala, symbolizing the
lapis, and whose midpoint is Mercurius, is called the "mediator making peace
between the enemies or elements." [Cf. Aion (Part II of this vol.), pars. 377L
Editors.]

60 So called in an invocation to Hermes. Cf. Preisendanz, II, p. 139. Further par-
ticulars in Psychology and Alchemy, par. 172; fig. 214 is a repetition of the
quadrangulum secretum sapientum from the Tractatus aureus (1610), p. 43.
Cf. also my "The Spirit Mercurius," par. 272.

307

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

mediating idea of the wings of Mercury, who, it is evident, has
entered the picture in his own right and not because of any
non-existent knowledge of Bohme's writings. 61

550 For the alchemists the process of individuation represented
by the opus was an analogy of the creation of the world, and
the opus itself an analogy of God's work of creation. Man was
seen as a microcosm, a complete equivalent of the world in
miniature. In our picture, we see what it is in man that cor-
responds to the cosmos, and what kind of evolutionary process
is compared with the creation of the world and the heavenly
bodies: it is the birth of the self, the latter appearing as a
microcosm. 62 It is not the empirical man that forms the "cor-
respondentia" to the world, as the medievalists thought, but
rather the indescribable totality of the psychic or spiritual man,
who cannot be described because he is compounded of con-
sciousness as well as of the indeterminable extent of the uncon-
scious. 63 The term microcosm proves the existence of a common
intuition (also present in my patient) that the "total" man is as
big as the world, like an Anthropos. The cosmic analogy had al-
ready appeared in the much earlier dream under narcosis, which
likewise contained the problem of personality: the nodes of the
vibrations were great personalities of historical importance. As
early as 1916, I had observed a similar individuation process,
illustrated by pictures, in another woman patient. In her case
too there was a world creation, depicted as follows (see Fig. 2):

55 1 To the left, from an unknown source, three drops fall, dis-
solving into four lines, 64 or two pairs of lines. These lines move
and form four separate paths, which then unite periodically in
a nodal point and thus build a system of vibrations. The nodes
are "great personalities and founders of religions," as my erst-
while patient told me. It is obviously the same conception as in
our case, and we can call it archetypal in so far as there exist

61 Despite my efforts I could find no other source for the "mercury." Naturally
cryptomnesia cannot be ruled out. Considering the definiteness of the idea and
the astonishing coincidence of its appearance (as in Bohme), I incline to the
hypothesis of spontaneous emergence, which does not eliminate the archetype but,
on the contrary, presupposes it.

62 Cf. the "innermost Birth of the Soul" in Bohme.

63 This homo interior or altus was Mercurius, or was at least derived from him.
Cf. "The Spirit Mercurius," pars. 284ff.

64 The lines are painted in the classical four colours.

308

Fig. 2. Sketch of a picture from the year 1916

At the top, the sun, surrounded by a rainbow-coloured halo
divided into twelve parts, like the zodiac. To the left, the
descending, to the right, the ascending, transformation

process.

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

universal ideas of world periods, critical transitions, gods and
half gods who personify the aeons. The unconscious naturally
does not produce its images from conscious reflections, but from
the worldwide propensity of the human system to form such
conceptions as the world periods of the Parsees, the yugas and
avatars of Hinduism, and the Platonic months of astrology with
their bull and ram deities and the "great" Fish of the Christian
aeon. 65
552 That the nodes in our patient's picture signify or contain
numbers is a bit of unconscious number mysticism that is not
always easy to unravel. So far as I can see, there are two stages
in this arithmetical phenomenology: the first, earlier stage goes
up to 3, the second, later stage up to 12. Two numbers, 3 and
12, are expressly mentioned. Twelve is four times three. I think
we have here stumbled again on the axiom of Maria, that pe-
culiar dilemma of three and four, 66 which I have discussed
many times before because it plays such a great role in al-
chemy. 67 I would hazard that we have to do here with a tetra-
meria (as in Greek alchemy), a transformation process divided
into four stages 68 of three parts each, analogous to the twelve
transformations of the zodiac and its division into four. As not
infrequently happens, the number 12 would then have a not
merely individual significance (as the patient's birth number,
for instance), but a time-conditioned one too, since the present
aeon of the Fishes is drawing to its end and is at the same time
the twelfth house of the zodiac. One is reminded of similar
Gnostic ideas, such as those in the gnosis of Justin: The
"Father" (Elohim) begets with Edem, who was half woman and
half snake, twelve "fatherly" angels, and Edem gives birth
besides these to twelve "motherly" angels, who in psychologi-
cal parlance represent the shadows of the twelve "fatherly"
ones. The "motherly" angels divide themselves into four cate-
gories (nepr]) of three each, corresponding to the four rivers of

65 The "giant" fish of the Abercius inscription (c. a.d. 200). [Cf. Axon, par. 127,
n. 4. Editors.]

66 cf. Frobenius, Schicksalskunde , pp. i igf. The author's interpretations seem
to me questionable in some respects.

67 Psychology and Alchemy, par. 204; "The Phenomenology of the Spirit in
Fairytales," pars. 425 and 430; and Psychology and Religion, par. 184.
68 Psychology and Alchemy, index, s.v. "quartering."

310

A STUDY IN THE PROCESS OF INDIVIDUATION

Paradise. These angels dance round in a circle (ev xopy kvkXiko))
It is legitimate to bring these seemingly remote associations into
hypothetical relationship, because they all spring from a com-
mon root, i.e., the collective unconscious.

553 In our picture Mercurius forms a world-encircling band,
usually represented by a snake. 70 Mercurius is a serpent or
dragon in alchemy ("serpens mercurialis"). Oddly enough, this
serpent is some distance away from the sphere and is aiming
down at it, as if to strike. The sphere, we are told, is kept afloat
by equal and opposite forces, represented by the quicksilver or
somehow connected with it. According to the old view, Mer-
curius is duplex, i.e., he is himself an antithesis. 71 Mercurius or
Hermes is a magician and god of magicians. As Hermes Tris-
megistus he is the patriarch of alchemy. His magician's wand,
the caduceus, is entwined by two snakes. The same attri bute
distinguishes Asklepios, the god of physicians. 72 The archetype
of these ideas was projected on to me by the patient before ever
the analysis had begun.

554 The primordial image underlying the sphere girdled with
quicksilver is probably that of the world egg encoiled by a
snake. 73 But in our case the snake symbol of Mercurius is re-
placed by a sort of pseudo-physicistic notion of a field of vibrat-
ing molecules of quicksilver. This looks like an intellectual
disguising of the true situation, that the self, or its symbol, is

69 Hippolytus, Elenchos, V, 26, iff.

70 Cf. the "account ... of a many-coloured and many-shaped sphere" from the
Cod. Vat. 190 (cited by Cumont in Textes et monuments figures relatifs aux mys-
teres de Mithra), which says: "The all-wise God fashioned an immensely great
dragon of gigantic length, breadth and thickness, having its dark-coloured head
. . . towards sunrise, and its tail . . . towards sunset." Of the dragon the text
says: "Then the all-wise Demiurge, by his highest command, set in motion the
great dragon with the spangled crown, I mean the twelve signs of the zodiac
which it carried on its back." Eisler (Weltenmantel und Himmelszelt, p. 389)
connects this zodiacal serpent with Leviathan. For the dragon as symbol of the
year, see the Mythographus Vaticanus III, in Classicorum Auctorum e Vaticanis
Codicibus Editorum, VI (1831), p. 162. There is a similar association in Horapollo,
Hieroglyphica, trans, by Boas, p. 57. 71 "The Spirit Mercurius," ch. 6.

72 Meier, Antike Inkubation und moderne Psycho therapie.

73 Vishnu is described as damodara, 'bound about the body with a rope.' I am
not sure whether this symbol should be considered here; I mention it only for
the sake of completeness.

311

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

entwined by the mercurial serpent. As the patient remarked
more or less correctly, the "true personality" is veiled by it.
This, presumably, would then be something like an Eve in the
coils of the paradisal serpent. In order to avoid giving this ap-
pearance, Mercurius has obligingly split into his two forms,
according to the old-established pattern: the mercurius crudus
or vulgi (crude or ordinary quicksilver), and the Mercurius
Philosophorum (the spiritus mercurialis or the spirit Mer-
curius, Hermes-Nous), who hovers in the sky as the golden
lightning-snake or Nous Serpent, at present inactive. In the
vibrations of the quicksilver band we may discern a certain
tremulous excitement, just as the suspension expresses tense
expectation: "Hover and haver suspended in pain!" For the
alchemists quicksilver meant the concrete, material manifesta-
tion of the spirit Mercurius, as the above-mentioned mandala
in the scholia to the Tractatus aureus shows: the central point
is Mercurius, and the square is Mercurius divided into the four
elements. He is the anima mundi, the innermost point and at
the same time the encompasser of the world, like the atman in
the Upanishads. And just as quicksilver is a materialization of
Mercurius, so the gold is a materialization of the sun in the
earth. 74
555 A circumstance that never ceases to astonish one is this: that
at all times and in all places alchemy brought its conception
of the lapis or its minera (raw material) together with the idea
of the homo altus or maximus, that is, with the Anthropos. 75
Equally, one must stand amazed at the fact that here too the
conception of the dark round stone blasted out of the rock
should represent such an abstract idea as the psychic totality of
man. The earth and in particular the heavy cold stone is the
epitome of materiality, and so is the metallic quicksilver which,
the patient thought, meant the animus (mind, nous). We would
expect pneumatic symbols for the idea of the self and the
animus, images of air, breath, wind. The ancient formula
XiOos ov XlOos (the stone that is no stone) expresses this dilemma:
we are dealing with a complexio oppositorum, with something
like the nature of light, which under some conditions behaves
like particles and under others like waves, and is obviously in

74 Michael Maier, De circulo physico quadrato (1616), ch. I.

76 Christ in medieval alchemy. Cf. Psychology and Alchemy, Part III, ch. 5.

312

A STUDY IN THE PROCESS OF INDIVIDUATION

its essence both at once. Something of this kind must be con-
jectured with regard to these paradoxical and hardly explicable
statements of the unconscious. They are not inventions of any
conscious mind, but are spontaneous manifestations of a psyche
not controlled by consciousness and obviously possessing all the
freedom it wants to express views that take no account of our
conscious intentions. The duplicity of Mercurius, his simulta-
neously metallic and pneumatic nature, is a parallel to the
symbolization of an extremely spiritual idea like the Anthropos
by a corporeal, indeed metallic, substance (gold). One can
only conclude that the unconscious tends to regard spirit and
matter not merely as equivalent but as actually identical, and
this in flagrant contrast to the intellectual one-sidedness of con-
sciousness, which would sometimes like to spiritualize matter
and at other times to materialize spirit. That the lapis, or in our
case the floating sphere, has a double meaning is clear from the
circumstance that it is characterized by two symbolical colours:
red means blood and affectivity, the physiological reaction that
joins spirit to body, and blue means the spiritual process (mind
or nous). This duality reminds one of the alchemical duality
corpus and spiritus, joined together by a third, the anima as the
ligamentum corporis et spiritus. For Bohme a "high deep blue"
mixed with green signifies ''Liberty," that is, the inner
"Kingdom of Glory" of the reborn soul. Red leads to the region
of fire and the "abyss of darkness," which forms the periphery of
Bohme's mandala (see Fig. 1).

Picture 4

556 Picture 4, which now follows, shows a significant change:
the sphere has divided into an outer membrane and an inner
nucleus. The outer membrane is flesh coloured, and the origi-
nally rather nebulous red nucleus in Picture 2 now has a dif-
ferentiated internal structure of a decidedly ternary character.
The "lines of force" that originally belonged to the band of
quicksilver now run through the whole nuclear body, indicat-
ing that the excitation is no longer external only but has seized
the innermost core. "An enormous inner activity now began,"
the patient told me. The nucleus with its ternary structure is
presumably the female organ, stylized to look like a plant, in
the act of fecundation: the spermatozoon is penetrating the

313

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

nuclear membrane. Its role is played by the mercurial serpent:
the snake is black, dark, chthonic, a subterranean and ithyphallic
Hermes; but it has the golden wings of Mercury and conse-
quently possesses his pneumatic nature. The alchemists ac-
cordingly represented their Mercurius duplex as the winged
and wingless dragon, calling the former feminine and the latter
masculine.

557 The serpent in our picture represents not so much the
spermatozoon but, more accurately, the phallus. Leone Ebreo, 76
in his Dialoghi d'amore, calls the planet Mercury the membrum
virile of heaven, that is, of the macrocosm conceived as the
homo maximus. 17 The spermatozoon seems, rather, to cor-
respond to the golden substance which the snake is injecting
into the invaginated ectoderm of the nucleus. 78 The two silver
petals (?) probably represent the receptive vessel, the moon-
bowl in which the sun's seed (gold) is destined to rest. 79 Under-
neath the flower is a small violet circle inside the ovary, indicat-
ing by its colour that it is a "united double nature," spirit and
body (blue and red). 80 The snake has a pale yellow halo, which
is meant to express its numinosity.

55 8 Since the snake evolved out of the flash of lightning or is
a modulated form of it, I would like to instance a parallel where
the lightning has the same illuminating, vivifying, fertilizing,
transforming and healing function that in our case fails to the
snake (cf. Fig. 3). Two phases are represented: first, a black
sphere, signifying a state of profound depression; and second,
the lightning that strikes into this sphere. Ordinary speech

76 The writings of the physician and philosopher Leone Ebreo (c. 1460-1520)
enjoyed widespread popularity in the sixteenth century and exercised a far-
reaching influence on his contemporaries and their successors. His work is a
continuation of the Neoplatonist thought developed by the physician and alche-
mist Marsilio Ficino (1433-99) m his commentary on Plato's Symposium. Ebreo's
real name was Don Judah Abrabanel, of Lisbon. (Sometimes the texts have
Abrabanel, sometimes Abarbanel.)

77 Cf. the English version, The Philosophy of Love, trans, by Friedeberg-Seeley
and Barnes, pp. 92 and 94. The source of this view can be found in the cabalistic
interpretation of Yesod (Knorr von Rosenroth, Kabbala Denudata, 1677-84).

78 This pseudo-biological terminology fits in with the patient's scientific educa-
tion.

79 Another alchemical idea: the synodos Lunae cum Sole, or hierogamy of sun and
moon. Cf. "The Psychology of the Transference," par. 421, n. 17.

80 More on this in "On the Nature of the Psyche," par. 498.

3*4

II

Fig. 3. Sketch of a drawing by a young woman patient with
psychogenic depression from the beginning of the treatment

I. State of black hopelessness / II. Beginning of the therapeutic effect

In an earlier picture the sphere lay on the bottom of the sea. As a
series of pictures shows, it arose in the first place because a black snake
had swallowed the sun. There then followed an eight-rayed, completely
black mandala with a wreath of eight silver stars. In the centre was a
black homunculus. Next the black sphere developed a red centre, from
which red rays, or streams of blood, ran out into tentacle-like extremi-
ties. The whole thing looked rather like a crab or an octopus. As the
later pictures showed, the patient herself was shut up in the sphere.

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

makes use of the same imagery: something "strikes home" in a
"flash of revelation." The only difference is that generally the
image comes first, and only afterwards the realization which
enables the patient to say: "This has struck home."
559 As to the context of Picture 4, Miss X emphasized that what
disturbed her most was the band of quicksilver in Picture 3. She
felt the silvery substance ought to be "inside," the black lines
of force remaining outside to form a black snake. This would
now encircle the sphere. 81 She felt the snake at first as a "ter-
rible danger," as something threatening the "integrity of the
sphere." At the point where the snake penetrates the nuclear
membrane, fire breaks out (emotion). Her conscious mind in-
terpreted this conflagration as a defensive reaction on the part
of the sphere, and accordingly she tried to depict the attack as
having been repulsed. But this attempt failed to satisfy the
"eyes," though she showed me a pencil sketch of it. She was
obviously in a dilemma: she could not accept the snake, because
its sexual significance was only too clear to her without any
assistance from me. I merely remarked to her: "This is a well-
known process 82 which you can safely accept," and showed her
from my collection a similar picture, done by a man, of a float-
ing sphere being penetrated from below by a black phallus-like
object. Later she said: "I suddenly understood the whole process
in a more impersonal way." It was the realization of a law of
life to which sex is subordinated. "The ego was not the centre,
but, following a universal law, I circled round a sun." There-
upon she was able to accept the snake "as a necessary part of the
process of growth" and finish the picture quickly and satis-
factorily. Only one thing continued to give difficulty: she had
to put the snake, she said, "One hundred per cent at the top, in
the middle, in order to satisfy the eyes." Evidently the uncon-
scious would only be satisfied with the most important position
at the top and in the middle in direct contrast to the picture

81 Here one must think of the world-encircling Ocean and the world-snake
hidden in it: Leviathan, the "dragon in the sea," which, in accordance with the
Egyptian tradition of Typhon (Set) and the sea he rules over, is the devil. "The
devil . . . surrounds the seas and the ocean on all sides" (St. Jerome, Epistolae,
Part I, p. 12). Further particulars in Rahner, "Antenna Crucis II: Das Meer der
Welt," pp. 8gff.

82 We find the same motif in the two mandalas published by Esther Harding in
Psychic Energy: Its Source and Its Transformation [Pis. XVI, XVII].

316

A STUDY IN THE PROCESS OF INDIVIDUATION

I had previously shown her. This, as I said, was done by a man
and showed the menacing black symbol entering the mandala
from below. For a woman, the typical danger emanating from
the unconscious comes from above, from the "spiritual" sphere
personified by the animus, whereas for a man it comes from the
chthonic realm of the "world and woman," i.e., the anima pro-
jected on to the world.
5 6 Once again we must recall similar ideas found in Justin's
gnosis: the third of the fatherly angels is Baruch. He is also the
tree of life in paradise. His counterpart on the motherly side is
Naas, the serpent, who is the tree of knowledge of good and
evil. 83 When Elohim left Edem, because, as the second member,
he had retreated to the first member of the divine triad (which
consisted of the "Good," the "Father," and Edem), Edem pur-
sued the pneuma of the Father, which he had left behind in
man, and caused it to be tormented by Naas (tva Tmo-ai? KoXdaem

KoXa^rj to ov irvevfxa rov J EA

and also used Adam as a catamite. Edem, however, is the soul;
Elohim is spirit. "The soul is against the spirit, and the spirit
against the soul" (xara t^s ipvx^ Tera/crat). 84 This idea sheds light
on the polarity of red and blue in our mandala, and also on the
attack by the snake, who represents knowledge. That is why we
fear knowledge of the truth, in this case, of the shadow. There-
fore Baruch sent to mankind Jesus, that they might be led back
to the "Good." But the "Good One is Priapus." 85 Elohim is
the swan, Edem is Leda; he the gold, she Danae. Nor should we
forget that the god of revelation has from of old the form
of a snake e.g., the agathodaimon. Edem too, as a snake-maiden,
has a dual nature, "two-minded, two-bodied" (Siyj/co/ios, Sto-w/xos),
and in medieval alchemy her figure became the symbol of the
androgynous Mercurius. 86
5 61 Let us remember that in Picture 3 Mercurius vulgi, ordinary
quicksilver, encircles the sphere. This means that the mysterious

83 Naas is the same as the snakelike Nous and mercurial serpent of alchemy.

84 Hippolytus, Elenchos, V, 26, 2 iff. This tale of Adam and Eve and the serpent
was preserved until well into the Middle Ages.

85 Apparently a play on the words Upiairos and iTrpioiroiTjffe to. vLvto. ('created
all'). Elenchos, V, 26, 33.

86 See the illustration from Reusner's Pandora (1588) in my "Paracelsus as a
Spiritual Phenomenon," Fig. B4.

317

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

sphere is enveloped or veiled by a "vulgar" or crude under-
standing. The patient herself opined that "the animus veils the
true personality." We shall hardly be wrong in assuming that
a banal, everyday view of the world, allegedly biological, has
here got hold of the sexual symbol and concretized it after the
approved pattern. A pardonable error! Another, more correct
view is so much more subtle that one naturally prefers to fall
back on something well-known and ready to hand, thus grati-
fying one's own "rational" expectations and earning the ap-
plause of one's contemporaries only to discover that one has
got hopelessly stuck and has arrived back at the point from
which one set forth on the great adventure. It is clear what is
meant by the ithy phallic serpent: from above comes all that is
aerial, intellectual, spiritual, and from below all that is pas-
sionate, corporeal, and dark. The snake, contrary to expecta-
tion, turns out to be a pneumatic symbol, 87 a Mercurius spirit-
ualisa. realization which the patient herself formulated by
saying that the ego, despite its capricious manipulation of sex-
uality, is subject to a universal law. Sex in this case is therefore
no problem at all, as it has been subjected to a higher trans-
formation process and is contained in it; not repressed, only
without an object.

562 Miss X subsequently told me that she felt Picture 4 was the
most difficult, as if it denoted the turning point of the whole
process. In my view she may not have been wrong in this, be-
cause the clearly felt, ruthless setting aside of the so beloved
and so important ego is no light matter. Not for nothing is this
"letting go" the sine qua non of all forms of higher spiritual
development, whether we call it meditation, contemplation,
yoga, or spiritual exercises. But, as this case shows, relinquish-
ing the ego is not an act of the will and not a result arbitrarily
produced; it is an event, an occurrence, whose inner, compel-
ling logic can be disguised only by wilful self-deception.

5 6 3 In this case and at this moment the ability to "let go" is of
decisive importance. But since everything passes, the moment
may come when the relinquished ego must be reinstated in its
functions. Letting go gives the unconscious the opportunity it

87 In accordance with the classical view that the snake is rrvevnariKUTarop fwov,
'the most spiritual animal.' For this reason it was a symbol for the Nous and
the Redeemer.

318

A STUDY IN THE PROCESS OF INDIVIDUATION

has been waiting for. But since it consists of opposites day and
night, bright and dark, positive and negative and is good and
evil and therefore ambivalent, the moment will infallibly come
when the individual, like the exemplary Job, must hold fast so
as not to be thrown catastrophically off balance when the wave
rebounds. The holding fast can be achieved only by a conscious
will, i.e., by the ego. That is the great and irreplaceable sig-
nificance of the ego, but one which, as we see here, is none-
theless relative. Relative, too, is the gain won by integrating the
unconscious. We add to ourselves a bright and a dark, and
more light means more night. 88 The urge of consciousness
towards wider horizons, however, cannot be stopped; they must
needs extend the scope of the personality, if they are not to
shatter it.

Picture 5

5 6 4 Picture 5, Miss X said, followed naturally from Picture 4,
with no difficulty. The sphere and the snake have drawn apart.
The snake is sinking downwards and seems to have lost its
threateningness. But the sphere has been fecundated with a
vengeance: it has not only got bigger, but blossoms in the most
vivid colours. 89 The nucleus has divided into four; something
like a segmentation has occurred. This is not due to any con-
scious reflection, such as might come naturally to a biologically
educated person; the division of the process or of the central
symbol into four has always existed, beginning with the four
sons of Horus, or the four seraphim of Ezekiel, or the birth of
the four Aeons from the Metra (uterus) impregnated by the
pneuma in Barbelo-Gnosis, or the cross formed by the lightning
(snake) in Bohme's system, 90 and ending with the tetrameria of
the opus alchymicum and its components (the four elements,
qualities, stages, etc.). 91 In each case the quaternity forms a

88 Cf. what St. John of the Cross says about the "dark night of the soul." His
interpretation is as helpful as it is psychological.

89 Hence the alchemical mandala was likened to a rosarium (rose-garden).

90 in Buddhism the "four great kings" (lokapata), the world-guardians, form the
quaternity. Cf. the Samyutta-Nikaya, in Dialogues of the Buddha, Part II, p. 242.

91 "God separated and divided this primordial water by a kind of mystical
distillation into four parts and regions" (Sendivogius, Epist. XIII, in Manget,
Biblio theca chemica, 1702, II, p. 496). In Christianos (Berthelot, Alch. grecs,
VI, ix, i and x, 1) the egg, and matter itself, consist of four components. (Cited
from Xenocrates, ibid., VI, xv, 8.)

319

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

unity; here it is the green circle at the centre of the four. The
four are undifferentiated, and each of them forms a vortex,
apparently turning to the left. I think I am not mistaken in
regarding it as probable that, in general, a leftward movement
indicates movement towards the unconscious, while a rightward
(clockwise) movement goes towards consciousness. 92 The one is
"sinister," the other "right," "rightful," "correct." In Tibet,
the leftward-moving swastika is a sign of the Bon religion, of
black magic. Stupas and chortens must therefore be circum-
ambulated clockwise. The leftward-spinning eddies spin into
the unconscious; the rightward-spinning ones spin out of the
unconscious chaos. The rightward-moving swastika in Tibet is
therefore a Buddhist emblem. 93 (Cf. also Fig. 4.)
5 6 5 For our patient the process appeared to mean, first and
foremost, a differentiation of consciousness. From the treasures
of her psychological knowledge she interpreted the four as the
four orienting functions of consciousness: thinking, feeling,
sensation, intuition. She noticed, however, that the four were
all alike, whereas the four functions are all unlike. This raised
no question for her, but it did for me. What are these four if
they are not the four functional aspects of consciousness? I
doubted whether this could be a sufficient interpretation of
them. They seemed to be much more than that, and that is
probably the reason why they are not different but identical.
They do not form four functions, different by definition, but
they might well represent the a priori possibility for the forma-
tion of the four functions. In this picture we have the qua-
ternity, the archetypal 4, which is capable of numerous
interpretations, as history shows and as I have demonstrated
elsewhere. It illustrates the coming to consciousness of an un-

92 In Taoist philosophy, movement to the right means a "falling" life-process,
as the spirit is then under the influence of the feminine p'o-soul, which embodies
the yin principle and is by nature passionate. Its designation as the anima (cf.
my "Commentary on The Secret of the Golden Flower," pars. 57ft.) is psy-
chologically correct, although this touches only one aspect of it. The p'o-soul
entangles hurt, the spirit, in the world-process and in reproduction. A leftward
or backward movement, on the other hand, means the "rising" movement of life.
A "deliverance from outward things" occurs and the spirit obtains control over
the anima. This idea agrees with my findings, but it does not take account of the
fact that a person can easily have the spirit outside and the anima inside.
83 This was told to me by the Rimpoche of Bhutia Busty, Sikkim.

320

Fig. 4. Neolithic relief from Tarxien, Malta
The spirals represent vine tendrils.

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

conscious content; hence it frequently occurs in cosmogonic
myths. What is the precise significance of the fact that the four
eddies are apparently turning to the left, when the division of
the mandala into four denotes a process of becoming conscious,
is a point about which I would rather not speculate. I lack the
necessary material. Blue means air or pneuma, and the left-
ward movement an intensification of the unconscious influence.
Possibly this should be taken as a pneumatic compensation for
the strongly emphasized red colour, which signifies affectivity.

566 The mandala itself is bright red, but the four eddies have
in the main a cool, greenish-blue colour, which the patient
associated with "water." This might hang together with the
leftward movement, since water is a favourite symbol for the
unconscious. 94 The green of the circle in the middle signifies
life in the chthonic sense. It is the "benedicta viriditas" of the
alchemists.

5 6 7 The problematical thing about this picture is the fact that
the black snake is outside the totality of the symbolic circle. In
order to make the totality actual, it ought really to be inside.
But if we remember the unfavourable significance of the snake,
we shall understand why its assimilation into the symbol of
psychic wholeness presents certain difficulties. If our conjecture
about the leftward movement of the four eddies is correct, this
would denote a trend towards the deep and dark side of the
spirit, 95 by means of which the black snake could be assimilated.
The snake, like the devil in Christian theology, represents the
shadow, and one which goes far beyond anything personal and
could therefore best be compared with a principle, such as the
principle of evil. 96 It is the colossal shadow thrown by man, of
which our age had to have such a devastating experience. It is
no easy matter to fit this shadow into our cosmos. The view that
we can simply turn our back on evil and in this way eschew it
belongs to the long list of antiquated naiveties. This is sheer
ostrich policy and does not affect the reality of evil in the slight-

94 Water also symbolizes the "materiality" of the spirit when it has become a
"fixed" doctrine. One is reminded, too, of the blue-green colour in Bohme,
signifying "Liberty."

95 For the double nature of the spirit (Mercurius duplex of the alchemists) see
"The Phenomenology of the Spirit in Fairytales," supra.

96 Cf. the fiery serpent of Lucifer in Bohme.

322

A STUDY IN THE PROCESS OF INDIVIDUATION

est. Evil is the necessary opposite of good, without which there
would be no good either. It is impossible even to think evil out
of existence. Hence the fact that the black snake remains out-
side expresses the critical position of evil in our traditional
view of the world. 97

5 68 The background of the picture is pale, the colour of parch-
ment. I mention this fact in particular, as the pictures that fol-
low show a characteristic change in this respect.

Picture 6

5 6 9 The background of Picture 6 is a cloudy grey. The mandala
itself is done in the vividest colours, bright red, green, and
blue. Only where the red outer membrane enters the blue-green
nucleus does the red deepen to blood colour and the pale blue
to a dark ultramarine. The wings of Mercury, missing in the
previous picture, reappear here at the neck of the blood-red
pistons (as previously on the neck of the black snake in Picture
4). But the most striking thing is the appearance of a swastika,
undoubtedly wheeling to the right. (I should add that these pic-
tures were painted in 1928 and had no direct connection with
contemporary fantasies, which at that time were still unknown
to the world at large.) Because of its green colour, the swastika
suggests something plantlike, but at the same time it has the
wavelike character of the four eddies in the previous picture.

57 In this mandala an attempt is made to unite the opposites
red and blue, outside and inside. Simultaneously, the rightward
movement aims at bringing about an ascent into the light of
consciousness, presumably because the background has become
noticeably darker. The black snake has disappeared, but has
begun to impart its darkness to the entire background. To
compensate this, there is in the mandala an upwards move-
ment towards the light, apparently an attempt to rescue con-
sciousness from the darkening of the environment. The picture
was associated with a dream that occurred a few days before.
Miss X dreamt that she returned to the city after a holiday in
the country. To her astonishment she found a tree growing in
the middle of the room where she worked. She thought: "Well,
with its thick bark this tree can withstand the heat of an apart-

7 Cf. "A Psychological Approach to the Dogma of the Trinity," pars. 243ft.

323

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

merit." Associations to the tree led to its maternal significance.
The tree would explain the plant motif in the mandala, and its
sudden growth represents the higher level or freeing of con-
sciousness induced by the movement to the right. For the same
reason the "philosophical" tree is a symbol of the alchemical
opus, which as we know is an individuation process.

57 1 We find similar ideas in Justin's gnosis. The angel Baruch
stands for the pneuma of Elohim, and the "motherly" angel
Naas for the craftiness of Edem. But both angels, as I have said,
were also trees: Baruch the tree of life, Naas the tree of knowl-
edge. Their division and polarity are in keeping with the spirit
of the times (second-third centuries a.d.). But in those days, too,
they knew of an individuation process, as we can see from
Hippolytus. 98 Elohim, we are told, set the "prophet" Heracles
the task of delivering the "Father" (the pneuma) from the power
of the twelve wicked angels. This resulted in his twelve labours.
Now the Heracles myth has in fact all the characteristic features
of an individuation process: the journeys to the four direc-
tions," four sons, submission to the feminine principle
(Omphale) that symbolizes the unconscious, and the self-sacrifice
and rebirth caused by Deianeira's robe.

572 The "thick bark" of the tree suggests the motif of protec-
tion, which appears in the mandala as the "formation of skins"
(see par. 576). This is expressed in the motif of the protective
black bird's wings, which shield the contents of the mandala
from outside influences. The piston-shaped prolongations of
the peripheral red substance are phallic symbols, indicating the
entry of affectivity into the pneumatic interior. They are ob-
viously meant to activate and enrich the spirit dwelling within.
This "spirit" has of course nothing to do with intellect, rather
with something that we would have to call spiritual substance
(pneuma) or in modern terms "spiritual life." The under-
lying symbolical thought is no doubt the same as the view de-
veloped in the Clementine Homilies, that Tirana (spirit) and
o-w/m (body) are one in God. 100 The mandala, though only a
symbol of the self as the psychic totality, is at the same time a
God-image, for the central point, circle, and quaternity are

98 Elenchos, V, 26, 27s.

90 Psychology and Alchemy, par. 457.

lOOHauck, Realencyclopadie fur protestantische Theologie, IV, p. 173, li. 59.

324

A STUDY IN THE PROCESS OF INDIVIDUATION

well-known symbols for the deity. The impossibility of dis-
tinguishing empirically between ''self" and "God" leads, in
Indian theosophy, to the identity of the personal and supra-
personal Purusha-Atman. In ecclesiastical as in alchemical litera-
ture the saying is often quoted: "God is an infinite circle (or
sphere) whose centre is everywhere and the circumference
no where.' ' 101 This idea can be found in full development as
early as Parmenides. I will cite the passage, because it alludes to
the same motifs that underlie our mandala: "For the narrower
rings 102 were filled with unmixed Fire, and those next to them
with Night, but between these rushes the portion of Flame.
And in the centre of these is the goddess 103 who guides every-
thing; for throughout she rules over cruel Birth and Mating,
sending the female to mate with the male, and conversely again
the male with the female." 104
573 The learned Jesuit, Nicholas Caussin, apropos the report in
Clement of Alexandria that, on certain occasions, wheels were
rolled round in the Egyptian temples, 105 comments that Democ-
ritus of Abdera called God vovv kv irvpl o-ai P oael 106 (mentem in
igne orbiculari, 'mind in the spherical fire'). He goes on: "This
was the view also of Parmenides, who defined God as o-rea^v,

101 Baumgartner (Die Philosophie des Alanus de Insulis, II, Part 4, p. 118)
traces this saying to a liber Hermetis or liber Trismegisti, Cod. Par. 6319 and
Cod. Vat. 3060.
1 2 2re0d^at = coronae.

103 Aaifiwp fj iravra Kv^ipvai, a feminine daemonium.

104 Freeman, Ancilla to the Pre-Socratic Philosophers, p. 45.

105 Writings of Clement of Alexandria, trans, by Wilson, II, p. 248: "Also
Dionysius Thrax, the grammarian, in his book Respecting the Exposition of
the Symbolical Signification of Circles, says expressly, 'Some signified actions not
by words only, but also by symbols: ... as the wheel that is turned in the
temples of the gods [by] the Egyptians, and the branches that are given to the
worshippers. For the Thracian Orpheus says:

For the works of mortals on earth are like branches,
Nothing has but one fate in the mind, but all things
Revolve in a circle, nor is it lawful to abide in one place,
But each keeps its own course wherewith it began.' "

[Verses translated from the Overbeck version in German quoted by the author.
Trans.]

106 Diels, Fragmente der Vorsokratiker, II, p. 102. Aetius, De plac. phil., I, 7, 16.

325

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

'crown/ a circle consisting of glowing light. 107 And it has been
very clearly established by Iamblichus, in his book on the mys-
teries, that the Egyptians customarily represent God, the
Lord of the world, as sitting in the lotus, a water-plant, the
fruits as well as the leaves of which are round, 108 thereby indi-
cating the circular motion of the mind, which everywhere re-
turns into itself." This is also the origin, he says, of the ritual
transformations or circuits ("circuitiones") that imitate the mo-
tion of the heavens. But the Stoics named the heavens a "round
and revolving God" (rotundum et volubilem Deum). Caussin
says it is to this that the "mystical" (mystice = symbolical) ex-
planation of Psalm 12:8 refers: "In circuitu impii ambulant"
(the ungodly wander in a circle); 109 they only walk round the
periphery without ever reaching the centre, which is God. Here
I would mention the wheel motif in mandala symbolism only in
passing, as I have dealt with it in detail elsewhere. 110

Picture 7

574 In Picture 7 it has indeed turned to night: the entire sheet
which the mandala is painted on is black. All the light is con-
centrated in the sphere. The colours have lost their brightness
but have gained in intensity. It is especially striking that the
black has penetrated as far as the centre, so that something of
what we feared has already occurred: the blackness of the snake
and of the sombre surroundings has been assimilated by the
nucleus and, at the same time, as the picture shows, is com-
pensated by a golden light radiating out from the centre. The
rays form an equal-armed cross, to replace the swastika of the
previous picture, which is here represented only by four hooks

107 A reference to Cicero, De natura deorum (trans, by Rackham, p. 31):
"Parmenides . . . invents a purely fanciful something resembling a crown
stephane is his name for it an unbroken ring of glowing lights encircling the
sky, which he entitles god; but no one can imagine this to possess divine form,
or sensation." This ironic remark of Cicero's shows that he was the child of
another age, already very far from the primordial images.

108 There are innumerable representations of the sun-child sitting in the lotus.
Cf. Erman, Die Religion der Aegypter, p. 62 and Handbook of Egyptian Re-
ligion, p. 26. It is also found on Gnostic gems [Psychology and Alchemy, fig. 52].
The lotus is the customary seat of the gods in India.

109 [Or, as in the DV, "The wicked walk round about." Editors.]
no Psychology and Alchemy, pars. 214L

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A STUDY IN THE PROCESS OF INDIVIDUATION

suggesting a rightwards rotation. With the attainment of ab-
solute blackness, and particularly its presence in the centre, the
upward movement and rightward rotation seem to have come
to an end. On the other hand, the wings of Mercury have under-
gone a noticeable differentiation, which presumably means
that the sphere has sufficient power to keep itself afloat and not
sink down into total darkness. The golden rays forming the
cross bind the four together. 111 This produces an inner bond
and consolidation as a defence against destructive influences 112
emanating from the black substance that has penetrated to the
centre. For us the cross symbol always has the connotation of
suffering, so we are probably not wrong in assuming that the
mood of this picture is one of more or less painful suspension
remember the wings! over the dark abyss of inner loneliness.
575 Earlier, I mentioned Bohme's lightning that "makes a cross,"
and I brought this cross into connection with the four elements.
As a matter of fact, John Dee symbolizes the elements by an
equal-armed cross. 113 As we said, the cross with a little circle in
it is the alchemical sign for copper (cuprum, from Kypris,

Aphrodite), and the sign for Venus is 9. Remarkably enough,

^ is the old apothecary's sign for spiritus Tartari (tartaric
acid), which, literally translated, means 'spirit of the under-
world.' -A- is also the sign for red hematite (bloodstone). Hence

there seems to be not only a cross that comes from above, as in
Bohme's case and in our mandala, but also one that comes from
below. In other words, the lightning to keep to Bohme's image
can come from below out of the blood, from Venus or from
Tartarus. Bohme's neutral "Salniter" is identical with salt in

general, and one of the signs for this is ++. One can hardly
imagine a better sign for the arcane substance, which salt was

in This interpretation was confirmed for me by my Tibetan mentor, Lingdam
Gomchen, abbot of Bhutia Busty: the swastika, he said, is that which "cannot
be broken, divided, or spoilt." Accordingly, it would amount to an inner con-
solidation of the mandala.

112 Cf. the similar motif in the mandala of the Amitayur-dhyana Sutra, in "The
Psychology of Eastern Meditation," pars. 917, 930.

113 "Monas hieroglyphica," Theatr. chem. (1602), II, p. 220. Dee also associates
the cross with fire.

327

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

considered to be by the sixteenth- and seventeenth-century
alchemists. Salt, in ecclesiastical as well as alchemical usage, is
the symbol for Sapientia and also for the distinguished or elect
personality, as in Matthew 5:13: "Ye are the salt of the earth."
57 6 The numerous wavy lines or layers in the mandala could be
interpreted as representing the formation of layers of skin,
giving protection against outside influences. They serve the
same purpose as the inner consolidation. These cortices prob-
ably have something to do with the dream of the tree in the
workroom, which had a "thick bark." The formation of skins is
also found in other mandalas, and it denotes a hardening or
sealing off against the outside, the production of a regular rind
or "hide." It is possible that this phenomenon would account
for the cortices or putamina ('shards') mentioned in the cab-
ala. 114 "For such is the name for that which abides outside holi-
ness," such as the seven fallen kings and the four Achurayim. 115
From them come the "klippoth" or cortices. As in alchemy,
these are the scoriae or slag, to which adheres the quality of
plurality and of death. In our mandala the cortices are boundary
lines marking off the inner unity and protecting it against the
outer blackness with its disintegrating influences, personified
by the snake. 116 The same motif is expressed by the petals of the
lotus and by the skins of the onion: the outer layers are withered
and desiccated, but they protect the softer, inner layers. The
lotus seat of the Horus-child, of the Indian divinities, and of

in [Cf. "Answer to Job," Psychology and Religion, par. 595, n. 8. Editors.]

115 The seven kings refer to previous aeons, "perished" worlds, and the four
Achurayim are the so-called "back of God": "All belong to Malkhuth; which is
so called because it is last in the system of Aziluth . . . they exist in the depths
of the Shekinah" (Kabbala Denudata, I, p. 72). They form a masculine-feminine
quaternio "of the Father and Mother of the highest, and of the Senex Israel and
Tebhunah" (I, p. 675). The Senex is Ain-Soph or Kether (I, p. 635), Tebhunah
is Binah, intelligence (I, p. 726). The shards also mean unclean spirits.

116 Kabbala Denudata, I, pp. 675L The shards also stand for evil. (Zohar,
I, i37aff., II, 34b.). According to a Christian interpretation from the 17th
century, Adam Belial is the body of the Messiah, the "entire body or the host of
shards." (Cf. II Cor. 6 : 15.) In consequence of the Fall, the host of shards
irrupted into Adam's body, its outer layers being more infected than the inner
ones. The "Anima Christi" fought and finally destroyed the shards, which
signify matter. In connection with Adam Belial the text refers to Proverbs 6:12:
"A naughty person, a wicked man, walketh with a froward mouth" (AV).
(Kabbala Denudata, II, Appendix, cap. IX, sec. 2, p. 56.)

328

A STUDY IN THE PROCESS OF INDIVIDUATION

the Buddha must be understood in this sense. Holderlin makes
use of the same image:

Fateless, like the sleeping

Infant, brea the the heavenly ones,

Chastely guarded

In modest bud; their spirits

Blossom eternally . . . m

577 In Christian metaphor, Mary is the flower in which God lies
hidden; or again, the rose window in which the rex gloriae and
judge of the world is enthroned.

57 8 The idea of circular layers is to be found, by implication,
in Bdhme, for the outermost ring of his three-dimensional
mandala 118 is labelled "will of ye Devill Lucifer," "Abysse (of)
Eternity," "Abyss of ye Darkness," "Hell of Devills," etc. (See
Fig. 1.) Bohme says of this in his Aurora (ch. XVII, sec. 6):
"Behold, when Lucifer with his hosts aroused the Wrath-fire in
God's nature, so that God waxed wroth in Nature in the place
of Lucifer, the outermost Birth in Nature acquired another
Quality, wholly wrathful, dry, cold, vehement, bitter, and sour.
The raging Spirit, that before had a subtle, gentle Quality in
Nature, became in his outermost Birth wholly presumptuous
and terrible, and now in his outermost Birth is called the Wind,
or the element Air." In this way the four elements arose the
earth, in particular, by a process of contraction and desiccation.

579 Cabalistic influences may be conjectured here, though
Bohme knew not much more about the Cabala than did Para-
celsus. He regarded it as a species of magic. The four elements
correspond to the four Achurayim. 119 They constitute a sort of

117 "Hyperion's Song of Fate," in Gedichte, p. 315. (Trans, as in Jung, Symbols
of Transformation, p. 399.)

118 Concerning the total vision of the "Life of Spirit and Nature," Bohme says:
"We may then liken it to a round spherical Wheel, which goes on all sides, as
the Wheel in Ezekiel shows" (Mysterium pansophicum, Sammtliche Werke, ed.
Schiebler, VI, p. 416).

119 Quaestiones Theosophicae (Amsterdam edn., 1682), p. 23. Aurora, XVII. g,
p. 168, mentions the "seven Spirits, which kindled themselves in their outermost
Birth or Geniture." They are the Spirits of God, "Source-Spirits" of eternal and
timeless Nature, corresponding to the seven planets and forming the "Wheel of
the Centre" (Sig. rer., IX, 8ff., p. 60). These seven Spirits are the seven above-
mentioned "Qualities" which all come from one mother. She is the "twofold

329

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

second quaternity, proceeding from the inner, pneumatic qua-
ternity but of a physical nature. The alchemists, too, allude to
the Achurayim. Mennens, 120 for instance, says: "And although
the holy name of God reveals the Tetragrammaton or the Four
Letters, yet if you should look at it aright, only three Letters
are found in it. The letter he [n] is found twice, since they are
the same, namely Air and Water, which signifies the Son;
Earth the Father, and Fire the Holy Ghost. Thus the Four
Letters of God's name manifestly signify the Most Holy Trinity
and Matter, which likewise is threefold (triplex) 121 . . . and
which is also called the shadow of the same [i.e., of God], and
is named by Moyses 122 the back of God [Dei posteriord], which
seems to be created out of it [matter]." 123 This statement bears
out Bohme's view.
580 To return to our mandala. The original four eddies have
coalesced into the wavy squares in the middle of the picture.
Their place is taken by golden points at the outer rim (de-
veloped from the previous picture), emitting rainbow colours.
These are the colours of the peacock's eye, which play a great
role as the cauda pavonis in alchemy. 124 The appearance of these

Source, evil and good in all things" (Aurora, p. 27). Cf. the "goddess" in
Parmenides and the two-bodied Edem in Justin's gnosis.

120 Gulielmus Mennens (1525-1608), a learned Flemish alchemist, wrote a book
entitled Aurei velleris, sive sacrae philosophiae, naturae et artis admirabilium
libri tres (Antwerp, 1604). Printed in Theatr. chem., V (1622), pp. 267(1.

121 "As therefore God is three and one, so also the matter from which he created
all things is triplex and one." This is the alchemical equivalent of the conscious
and unconscious triads o[ functions in psychology. Cf. supra, "The Phenomenology
of the Spirit in Fairytales," pars. 425 and 436ft.

122 Mennens seems to refer not to the Cabala direct, but to a text ascribed to
Moses, which I have not been able to trace. It is certainly not a reference to
the Greek text called by Berthelot "Chimie de Moise" (Alch. grecs, IV, xxii).
Moses is mentioned now and then in the old literature, and Lenglet du Frcsnoy
(Histoire de la philosophie hermetique, 1742, III, p. 22) cites under No. 26 a
MS from the Vienna Biblio thek entitled: "Moysis Prophetae et Legislatoris
Hebraeorum secret um Chimicum" (Ouvrage suppose).

123 "Aurei velleris," I, cap. X, in Theatr. chem., V, pp. 334L

124 The cauda pavonis is identified by Khunrath with Iris, the "nuncia Dei."
Dorn ("De transmutatione metallorum," Theatr. chem., I, p. 599) explains it as
follows: "This is the bird which flies by night without wings, which the early
dew of heaven, continually acting by upward and downward ascent and descent,
turns into the head of a crow (caput corvi), then into the tail of a peacock, and

330

A STUDY IN THE PROCESS OF INDIVIDUATION

colours in the opus represents an intermediate stage preceding
the definitive end result. Bohme speaks of a "love-desire or a
Beauty of Colours; and here all Colours arise." 125 In our man-
dala, too, the rainbow colours spring from the red layer that
means affectivity. Of the "life of Nature and Spirit" that is
united in the "spherical wheel" 126 Bohme says: "Thus is made
known to us an eternal Essence of Nature, like to Water and
Fire, which stand as it were mixed into one another. For there
comes a bright-blue colour, like the Lightning of the Fire; and
then it has a form like a Ruby 127 mingled with Crystals into
one Essence, or like yellow, white, red, and blue mingled in
dark Water: for it is like blue in green, since each still has its
brightness and shines, and the Water only resists their Fire, so
that there is no wasting anywhere, but one eternal Essence in
two Mysteries mingled together, notwithstanding the difference
of two Principles, viz. two kinds of life." The phenomenon of
the colours owes its existence to the "Imagination of the great
Mystery, where a wondrous essential Life is born." 12S

afterwards it acquires the bright wings of a swan, and lastly an extreme redness,
an index of its fiery nature." In Basilides (Hippolytus, Elcnchos, X, 14, 1) the
peacock's egg is synonymous with the sperma mundi, the kqkkos
contains the "fullness of colours," 365 of them. The golden colour should be
produced from the peacock's eggs, we are told in the Cyranides (Delatte, Textes
latins et vieux francais relatifs aux Cyranides, p. 171). The light of Mohammed
has the form of a peacock, and the angels were made out of the peacock's sweat
(Aptowitzer, "Arabisch-Jiidische Schopfungs theorien," pp. 209, 233).

125 Sig. rex., XIV, ioff., pp. ii2f.

126 See n. 118.

127 The carbuncle is a synonym for the lapis. "The king bright as a carbuncle"
(Lilius, an old source in the "Rosarium philosophorum," Art. aurij., 1593, II,
p. 329). "A ray ... in the earth, shining in the darkness after the manner of a
carbuncle gathered into itself" (from Michael Maier's exposition of the theory
of Thomas Aquinas, in Symbola anreae mensae, p. 377). "I found a certain
stone, red, shining, transparent, and brilliant, and in it I saw all the forms of
the elements and also their contraries" (quotation from Thomas in Mylius,
Philosophia re format a, p. 42). For heaven, gold, and carbuncle as synonyms for
the rubedo, see ibid., p. 104. The lapis is "shimmering carbuncle light" (Khun-
rath, Von hyleal. Chaos, p. 237). Ruby or carbuncle is the name for the corpus
glorificatum (Glauber, Tractatus de natura salium, Part I, p. 42). In Rosencreutz's
Chemical Wedding (1616) the bed-chamber of Venus is lit by carbuncles (p. 97).
Cf. what was said above about anthrax (ruby and cinnabar).

128 Mysterium pansophicum, pp. 416L

331

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

5 g i It is abundantly clear from this that Bohme was preoccupied
with the same psychic phenomenon that fascinated Miss X and
many other patients too. Although Bohme took the idea of the
cauda pavonis and the tetrameria from alchemy, 129 he, like the
alchemists, was working on an empirical basis which has since
been rediscovered by modern psychology. There are products of
active imagination, and also dreams, which reproduce the same
patterns and arrangements with a spontaneity that cannot be
influenced. A good example is the following dream: A patient
dreamt that she was in a drawing-room. There was a table with
three chairs beside it. An unknown man standing beside her
invited her to sit down. For this purpose she fetched a fourth
chair that stood further off. She then sat at the table and began
turning over the pages of a book, containing pictures of blue
and red cubes, as for a building game. Suddenly it occurred to
her that she had something else to attend to. She left the room
and went to a yellow house. It was raining in torrents, and she
sought shelter under a green laurel tree.

582 The table, the three chairs, the invitation to sit down, the
other chair that had to be fetched to make four chairs, the
cubes, and the building game all suggest a process of composi-
tion. This takes place in stages: a combination first of blue and
red, then of yellow and green. These four colours symbolize
four qualities, as we have seen, which can be interpreted in
various ways. Psychologically this quaternity points to the orient-
ing functions of consciousness, of which at least one is uncon-
scious and therefore not available for conscious use. Here it
would be the green, the sensation function, 130 because the pa-
tient's relation to the real world was uncommonly complicated
and clumsy. The "inferior" function, however, just because of
its unconsciousness, has the great advantage of being contami-
nated with the collective unconscious and can be used as a
bridge to span the gulf between conscious and unconscious and
thus restore the vital connection with the latter. This is the
deeper reason why the dream represents the inferior function as
a laurel. The laurel in this dream has the same connection with

129 The chemical causes of the cauda pavonis are probably the iridiscent skin
on molten metals and the vivid colours of certain compounds of mercury and
lead. These two metals were often used as the primary material.

130 Statistically, at least, green is correlated with the sensation function.

332

A STUDY IN THE PROCESS OF INDIVIDUATION

the processes of inner growth as the tree that Miss X dreamt
grew in her room. It is essentially the same tree as the arbor
philosophica of the alchemists, about which I have written in
Psychology and Alchemy. 131 We should also remember that,
according to tradition, the laurel is not injured either by light-
ning or by cold ' 'intacta triumphat." Hence it symbolized the
Virgin Mary, 132 the model for all women, just as Christ is
the model for men. In view of its historical interpretation the
laurel, like the alchemical tree, should be taken in this context
as a symbol of the self. 133 The ingenuousness of patients who
produce such dreams is always very impressive.

5 8 3 To turn back again to our mandala. The golden lines that
end in pistons recapitulate the spermatozoon motif and there-
fore have a spermatic significance, suggesting that the quaternity
will be reproduced in a new and more distinct form. In so far
as the quaternity has to do with conscious realization, we can
infer from these symptoms an intensification of the latter, as is
also suggested by the golden light radiating from the centre.
Probably a kind of inner illumination is meant.

584 Two days before painting this picture, Miss X dreamt that
she was in her father's room in their country house. "But my
mother had moved my bed away from the wall into the middle
of the room and had slept in it. I was furious, and moved the
bed back to its former place. In the dream the bed-cover was
redexactly the red reproduced in the picture."

5 8 5 The mother significance of the tree in her previous dream
has here been taken up by the unconscious: this time the mother
has slept in the middle of the room. This seems to be for Miss X
an annoying intrusion into her sphere, symbolized by the room
of her father, who has an animus significance for her. Her
sphere is therefore a spiritual one, and she has usurped it just
as she usurped her father's room. She has thus identified with
the "spirit." Into this sphere her mother has intruded and in-
stalled herself in the centre, at first under the symbol of the

131 [See the index, s.v.; also Jung, "The Philosophical Tree." Editors.]

132 "Lovely laurel, evergreen in all its parts, standing midmost among many
trees smitten by lightning, bears the inscription: 'Untouched it triumphs.' This
similitude refers to Mary the Virgin, alone among all creatures undefiled by any
lightning-flash of sin." Picinelli, Mondo simbolico (1669), Lib. IX, cap. XVI.

133 Cf. "The Spirit Mercurius," par. 241.

333

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

tree. She therefore stands for physis opposed to spirit, i.e., for
the natural feminine being which the dreamer also is, but
which she would not accept because it appeared to her as a
black snake. Although she remedied the intrusion at once, the
dark chthonic principle, the black substance, has nevertheless
penetrated to the centre of her mandala, as Picture 7 shows.
But just because of this the golden light can appear: "e tenebris
lux!" We have to relate the mother to Bohme's idea of the
matrix. For him the matrix is the sine qua non of all differenti-
ation or realization, without which the spirit remains sus-
pended and never comes down to earth. The collision between
the paternal and the maternal principle (spirit and nature)
works like a shock.
5 86 After this picture, she felt the renewed penetration of the
red colour, which she associated with feeling, as something dis-
turbing, and she now discovered that her "rapport" with me,
her analyst ( father), was unnatural and unsatisfactory. She
was giving herself airs, she said, and was posing as an intelli-
gent, understanding pupil (usurpation of spirituality!). But
she had to admit that she felt very silly and was very silly, re-
gardless of what I thought about it. This admission brought her
a feeling of great relief and helped her to see at last that sex
was "not, on the one hand, merely a mechanism for producing
children and not, on the other, only an expression of supreme
passion, but was also banally physiological and autoerotic."
This belated realization led her straight into a fantasy state
where she became conscious of a series of obscene images. At the
end she saw the image of a large bird, which she called the
"earth bird," and which alighted on the earth. Birds, as aerial
beings, are well-known spirit symbols. It represented the trans-
formation of the "spiritual" image of herself into a more earthy
version that is more characteristic of women. This "tailpiece"
confirms our suspicion that the intensive upward and rightward
movement has come to a halt: the bird is coming down to earth.
This symbolization denotes a further and necessary differentia-
tion of what Bohme describes in general as "Love-desire."
Through this differentiation consciousness is not only widened
but also brought face to face with the reality of things, so that
the inner experience is tied, so to speak, to a definite spot.

334

A STUDY IN THE PROCESS OF INDIVIDUATION

5 8 7 On the days following, the patient was overcome by feelings
of self-pity. It became clear to her how much she regretted never
having had any children. She felt like a neglected animal or a
lost child. This mood grew into a regular Welts chmerz, and she
felt like the "all-compassionate Tathagata" (Buddha). Only
when she had completely given way to these feelings could she
bring herself to paint another picture. Real liberation comes
not from glossing over or repressing painful states of feeling,
but only from experiencing them to the full.

Picture 8

5 88 The thing that strikes us at once in Picture 8 is that almost
the whole interior is filled with the black substance. The blue-
green of the water has condensed to a dark blue quaternity, and
the golden light in the centre turns in the reverse direction,
anti-clockwise: the bird is coming down to earth. That is, the
mandala is moving towards the dark, chthonic depths. It is still
floating the wings of Mercury show this but it has come much
closer to the blackness. The inner, undifferentiated quaternity
is balanced by an outer, differentiated one, which Miss X
equated with the four functions of consciousness. To these she
assigned the following colours: yellow = intuition, light blue
= thinking, flesh pink = feeling, brown = sensation. 134 Each
of these quarters is divided into three, thus producing the num-
ber 12 again. The separation and characterization of the two
quaternities is worth noting. The outer quaternity of wings
appears as a differentiated realization 135 of the undifferentiated
inner one, which really represents the archetype. In the cabala
this relationship corresponds to the quaternity of Merkabah 136
on the one hand and of the Achurayim on the other, and in
Bohme they are the four Spirits of God 137 and the four ele-
ments.

134 The colour correlated with sensation in the mandalas of other persons is
usually green. 135 cf. the Achurayim quaternity.

136 Chochmah ( face of the man), Binah (= eagle), Gedulah ( lion),
Gebhurah ( bull), the four symbolical angels in Ezekiel's vision.

137 He gives them the names of planets and describes them as the "four Bailiffs,
who hold government in the Mother, the Birth-giver." They are Jupiter, Saturn,
Mars, and Sun. "In these four Forms the Spirit's Birth consists, viz. the true
Spirit both in the inward and outward Being" (Sig. rer., IX, gfL, p. 6i).

335

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

5 8 9 The plantlike form of the cross in the middle of the mandala,
also noted by the patient, refers back to the tree ("tree of the
cross") and the mother. 138 She thus makes it clear that this
previously taboo element has been accepted and now holds the
central place. She was fully conscious of this which of course
was a great advance on her previous attitude.

59 In contrast to the previous picture there are no inner cortices.
This is a logical development, because the thing they were
meant to exclude is now in the centre, and defence has become
superfluous. Instead, the cortices spread out into the darkness
as golden rings, expanding concentrically like waves. This
would mean a far-reaching influence on the environment ema-
nating from the sealed-off self.

59 1 Four days before she painted this mandala she had the fol-
lowing dream: "/ drew a young man to the window and, with
a brush dipped in white oil, removed a black fleck from the
cornea of his eye. A little golden lamp then became visible in
the centre of the pupil. The young man felt greatly relieved,
and I told him he should come again for treatment. I woke up
saying the words: 'If therefore thine eye be single, thy whole
body shall be full of light.' " (Matthew 6 : 22.)

592 This dream describes the change: the patient is no longer
identical with her animus. The animus has, so to speak, become
her patient, since he has eye trouble. As a matter of fact the
animus usually sees things "cock-eyed" and often very unclearly.
Here a black fleck on the cornea obscures the golden light shin-
ing from inside the eye. He has "seen things too blackly." The
eye is the prototype of the mandala, as is evident from Bohme,
who calls his mandala "The Philosophique Globe, or Eye of ye
Wonders of Eternity, or Looking-Glass of Wisdom." He says:
"The substance and Image of the Soul may be resembled to the
Earth, having a fair Flower growing out of it, and also to the
Fire and Light; as we see that Earth is a Centre, but no life;
yet it is essential, and a fair flower grows out of it, which is not
like Earth . . . and yet the Earth is the Mother of the Flower."
The soul is a "fiery Eye, and similitude of the First Principle,"
a "Centre of Nature." 139

138 The connection between tree and mother, especially in Christian tradition, is
discussed at length in Symbols of Transformation, Part II.

139 A Summary Appendix of the Soul, p. 117.

336

A STUDY IN THE PROCESS OF INDIVIDUATION

593 Our mandala is indeed an "eye," the structure of which sym-
bolizes the centre of order in the unconscious. The eye is a hol-
low sphere, black inside, and filled with a semi-liquid substance,
the vitreous humour. Looking at it from outside, one sees a
round, coloured surface, the iris, with a dark centre, from which
a golden light shines. Bohme calls it a "fiery eye," in accordance
with the old idea that seeing emanates from the eye. The eye
may well stand for consciousness (which is in fact an organ of
perception), looking into its own background. It sees its own
light there, and when this is clear and pure the whole body is
filled with light. Under certain conditions consciousness has
a purifying effect. This is probably what is meant by Matthew
6 : 22ff., an idea expressed even more clearly in Luke 11 : 331T.

594 The eye is also a well-known symbol for God. Hence Bohme
calls his "Philosophique Globe" the "Eye of Eternity," the
"Essence of all Essences," the "Eye of God." 140

595 By accepting the darkness, the patient has not, to be sure,
changed it into light, but she has kindled a light that illuminates
the darkness within. By day no light is needed, and if you don't
know it is night you won't light one, nor will any light be lit for
you unless you have suffered the horror of darkness. This is not
an edifying text but a mere statement of the psychological facts.
The transition from Picture 7 to Picture 8 gives one a working
idea of what I mean by "accepting the dark principle." It has
sometimes been objected that nobody can form a clear concep-
tion of what this means, which is regrettable, because it is an
ethical problem of the first order. Here, then, is a practical ex-
ample of this "acceptance," and I must leave it to the philoso-
phers to puzzle out the ethical aspects of the process. 141

140 Forty Questions, pp. 24ff.

141 1 do not feel qualified to go into the ethics of what "venerable Mother
Nature" has to do in order to unfold her precious flower. Some people can, and
those whose temperament makes them feel an ethical compulsion must do this
in order to satisfy a need that is also felt by others. Erich Neumann has dis-
cussed these problems in a very interesting way in his Tiefenpsychologie und
Neue Ethik. It will be objected that my respect for Nature is a very unethical
attitude, and I shall be accused of shirking "decisions." People who think like
this evidently know all about good and evil, and why and for what one has to
decide. Unfortunately I do not know all this so precisely, but I hope for my
patients and for myself that everything, light and darkness, decision and agoniz-
ing doubt, may turn to "good" and by "good" I mean a development such as

337

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Picture p

59 6 In Picture 9 we see for the first time the blue "soul-flower,"
on a red background, also described as such by Miss X (natu-
rally without knowledge of Bohme). 142 In the centre is the
golden light in the form of a lamp, as she herself stated. The
cortices are very pronounced, but they consist of light (at least
in the upper half of the mandala) and radiate outwards. 143 The
light is composed of the rainbow hues of the rising sun; it is a
real cauda pavonis. There are six sets of sunbeams. This recalls
the Buddha's Discourse on the Robe, from the Collection of the
Pali Canon:

His heart overflowing with lovingkindness . . . with compassion
. . . with joyfulness . . . with equanimity, he abides, raying forth
lovingkindness, compassion, joyfulness, equanimity, towards one
quarter of space, then towards the second, then towards the third,
then towards the fourth, and above and below, thus, all around.
Everywhere, into all places the wide world over, his heart over-
flowing with compassion streams forth, wide, deep, illimitable, free
from enmity, free from all ill-will. . . , 144

597 But a parallel with the Buddhist East cannot be carried
through here, because the mandala is divided into an upper and
a lower half. 145 Above, the rings shine many-hued as a rainbow;
below, they consist of brown earth. Above, there hover three
white birds (pneumata signifying the Trinity); below, a goat

is here described, an unfolding which does no damage to either of them but
conserves the possibilities of life.

142 The Secret of the Golden Flower had not been published then. Picture 9 was
reproduced in it.

143 Cf. Kabbala Denudata, Appendix, ch. IV, sec. 2, p. 26: "The beings created
by the infinite Deity through the First Adam were all spiritual beings, viz. they
were simple, shining acts, being one in themselves, partaking of a being that
may be thought of as the midpoint of a sphere, and partaking of a life that may
be imagined as a sphere emitting rays."

144 "Parable of the Cloth," in The First Fifty Discourses from the Collection of
the Middle-Length Discourses (Majjhima Nikaya) of Gotama the Buddha, I,
pp. 39L, modified. This reference to the Buddha is not accidental, since the
figure of the Tathagata in the lotus seat occurs many times in the patient's
mandalas.

145 Tibetan mandalas are not so divided, but very often they are embedded be-
tween heaven and hell, i.e., between the benevolent and the wrathful deities.

338

A STUDY IN THE PROCESS OF INDIVIDUATION

is rising up, accompanied by two ravens (Wotan's birds) 146
and twining snakes. This is not the sort of picture a Buddhist
holy man would make, but that of a Western person with a
Christian background, whose light throws a dark shadow. What
is more, the three birds float in a jet black sky, and the goat,
rising out of dark clay, is shown against a field of bright orange.
This, oddly enough, is the colour of the Buddhist monk's robe,
which was certainly not a conscious intention of the patient.
The underlying thought is clear: no white without black, and
no holiness without the devil. Opposites are brothers, and the
Oriental seeks to liberate himself from them by his nirdvandva
("free from the two") and his neti neti ("not this, not that"), or
else he puts up with them in some mysterious fashion, as in
Taoism. The connection with the East is deliberately stressed by
the patient, through her painting into the mandala four hexa-
grams from the / Ching. li7

The sign in the left top half is "Yii, enthusiasm" (No. 16).
It means "Thunder comes resounding out of the earth," i.e., a
movement coming from the unconscious, and expressed by
music and dancing. Confucius comments as follows:

Firm as a rock, what need of a whole day?

The judgment can be known.

The superior man knows what is hidden and what is evident.

He knows weakness, he knows strength as well.

Hence the myriads look up to him.

Enthusiasm can be the source of beauty, but it can also delude.

The second hexagram at the top is "Sun, decrease" (No. 41).
The upper trigram means Mountain, the lower trigram means
Lake. The mountain towers above the lake and "restrains" it.
That is the "image" whose interpretation points to self-re-
straint and reserve, i.e., a seeming decrease of oneself. This is
significant in the light of "enthusiasm." In the top line of the
hexagram, "But [one] no longer has a separate home," the
homelessness of the Buddhist monk is meant. On the psycho-
logical level this does not, of course, refer to so drastic a

146 This is the lower triad that corresponds to the Trinity, just as the devil is
occasionally depicted with three heads. Cf. supra, "Phenomenology of the Spirit
in Fairytales," pars. 425 and 436IT.

147 Trans, by Wilhelm and Baynes (1967), pp. 67!!.

339

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

demonstration of renunciation and independence, but to the
patient's irreversible insight into the conditioned quality of all
relationships, into the relativity of all values, and the transience
of all things.

600 The sign in the bottom half to the right is "Sheng, pushing
upward" (No. 46). "Within the earth, wood grows: The image
of Pushing Upward." It also says: "One pushes upward into an
empty city/' and "The king offers him Mount Ch'i." So this
hexagram means growth and development of the personality,
like a plant pushing out of the earth a theme already antici-
pated by the plant motif in an earlier mandala. This is an allu-
sion to the important lesson which Miss X has learnt from her
experience: that there is no development unless the shadow is
accepted.

60 1 The hexagram to the left is "Ting, the cauldron" (No. 50).
This is a bronze sacrificial vessel equipped with handles and
legs, which held the cooked viands used for festive occasions.
The lower trigram means Wind and Wood, the upper one Fire.
The "Cauldron" is thus made up of "fire over wood," just
as the alchemical vessel consists of fire or water. 148 There is
"delicious food" in it (the "fat of the pheasant"), but it is not
eaten because "the handle of the ting is altered" and its "legs
are broken," making it unusable. But, as a result of "constant
self-abnegation," the personality becomes differentiated ("the
ting has golden carrying rings" and even "rings of jade") and
purified, until it acquires the "hardness and soft lustre" of
precious jade. 149

602 Though the four hexagrams were put into the mandala on
purpose, they are au thentic results of preoccupation with the
/ Ching. The phases and aspects of my patient's inner process of
development can therefore express themselves easily in the lan-
guage of the / Ching, because it too is based on the psychology
of the individuation process that forms one of the main interests
of Taoism and of Zen Buddhism. 150 Miss X's interest in Eastern
philosophy was due to the deep impression which a better
knowledge of her life and of herself had made upon her an

m> Psychology ana Alchemy, par. 338.

149 The same idea as the transformation into the lapis. Cf. ibid., par. 378.

150 Good examples are The Secret of the Golden Flower and Suzuki, Introduction
to Zen Buddhism.

340

A STUDY IN THE PROCESS OF INDIVIDUATION

impression of the tremendous contradictions in human nature.
The insoluble conflict she was faced with makes her preoccupa-
tion with Eastern therapeutic systems, which seem to get along
without conflict, doubly interesting. It may be partly due to this
acquaintance with the East that the opposites, irreconcilable in
Christianity, were not blurred or glossed over, but were seen in
all their sharpness, and in spite (or perhaps just because) of this,
were brought together into the unity of the mandala. Bohme
was never able to achieve this union; on the contrary, in his
mandala the bright and dark semi-circles are turned back to
back. The bright half is labelled "H. Ghost," the dark half
"Father," i.e., auctor rerum 151 or "First Principle," whereas the
Holy Ghost is the "Second Principle." This polarity is crossed
by the paired opposites "Sonne" and "Earthly Man." The
"Devills" are all on the side of the dark "Father" and constitute
his "Wrath-fire," just as on the periphery of the mandala.

Bohme's starting-point was philosophical alchemy, and to
my knowledge he was the first to try to organize the Christian
cosmos, as a total reality, into a mandala. 152 The attempt failed,
inasmuch as he was unable to unite the two halves in a circle.
Miss X's mandala, on the other hand, comprises and contains
the opposites, as a result, we may suppose, of the support af-
forded by the Chinese doctrine of Yang and Yin, the two meta-
physical principles whose co-operation makes the world go
round. The hexagrams, with their firm (yang) and yielding (yin)
lines, illustrate certain phases of this process. It is therefore
right that they should occupy a mediating position between
above and below. Lao-tzu says: "High stands on low." This
indisputable truth is secretly suggested in the mandala: the
three white birds hover in a black field, but the grey-black goat

151 Cf. the above quotation from the "Aureum vellus" of Mennens, where earth
signifies the Father and his "shadow" signifies matter. Bohme's view is thor-
oughly consistent with the character of Yahweh, who, despite his role as the
guardian of justice and morality, is amoral and unjust. Cf. Stade, Biblische
Theologie des Alten Testaments, I, pp. 88f.

162 I am purposely disregarding the numerous arrangements in a circle such as
the rex gloriae with the four evangelists, Paradise with its four rivers, the
heavenly hierarchies of Dionysius the Areopagite, etc. These all ignore the
reality of evil, because they regard it as a mere privatio boni and thereby dis-
miss it with a euphemism.

341

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

has a bright orange-coloured background. Thus the Oriental
truth insinuates itself and makes possibleat least by symbolic
anticipation a union of opposites within the irrational life
process formulated by the / Ching. That we are really con-
cerned here with opposite phases of one and the same process is
shown by the picture that now follows.

Picture 10

64 In Picture 10, begun in Zurich but only completed when
Miss X again visited her motherland, we find the same division
as before into above and below. The "soul-flower" 153 in the
centre is the same, but it is surrounded on all sides by a dark
blue night sky, in which we see the four phases of the moon,
the new moon coinciding with the world of darkness below.
The three birds have become two. Their plumage has darkened,
but on the other hand the goat has turned into two semi-human
creatures with horns and light faces, and only two of the four
snakes remain. A notable innovation is the appearance of two
crabs in the lower, chthonic hemisphere that also represents the
body. The crab has essentially the same meaning as the astro-
logical sign Cancer. 154 Unfortunately Miss X gave no context
here. In such cases it is usually worth investigating what use has
been made in the past of the object in question. In earlier, pre-
scientific ages hardly any distinction was drawn between long-
tailed crabs {Macrura, crayfish) and short-tailed crabs (Brachy-
ura). As a zodiacal sign Cancer signifies resurrection, because
the crab sheds its shell. 155 The ancients had in mind chiefly
Pagurus bernhardus, the hermit crab. It hides in its shell and
cannot be attacked. Therefore it signifies caution and foresight,
knowledge of coming events. 156 It "depends on the moon, and

153 Cf. Rahner, "Die seelenheilende Blume."

154 Cf. Bouche^Leclercq, L'Astrologie grecque, p. 136: Cancer = "crabe ou
ecrevisse." The constellation was usually represented as a tailless crab.

155 "The crab is wont to change with the changing seasons; casting off its old
shell, it puts on a new and fresh one." This, says Picinelli, is an "emblema" of
the resurrection of the dead, and cites Ephesians 4 : 23: ". . . be renewed in the
spirit of your minds" (RSV). (Mondo simbolico, Lib. VI, No. 45.)

156 Foreseeing the flooding of the Nile, the crabs (like the tortoises and crocodiles)
bring their eggs in safety to a higher place. "They foresee the future in their
mind long before it comes." Caussin, Polyhistor symbolicus (1618), p. 442.

34*

A STUDY IN THE PROCESS OF INDIVIDUATION

waxes with it." 157 It is worth noting that the crab appears just
in the mandala in which we see the phases of the moon for the
first time. Astrologically, Cancer is the house of the moon. Be-
cause of its backwards and sideways movement, it plays the role
of an unlucky animal in superstition and colloquial speech
("crabbed/' "catch a crab," etc.). Since ancient times cancer
(KapKtvos) has been the name for a malignant tumour of the
glands. Cancer is the zodiacal sign in which the sun begins to
retreat, when the days grow shorter. Pseudo-Kallis thenes relates
that crabs dragged Alexander's ships down into the sea. 158
"Karkinos" was the name of the crab that bit Heracles in the
foot in his fight with the Lernaean monster. In gratitude, Hera
set her accomplice among the stars. 159

60 5 In astrology, Cancer is a feminine and watery sign, 160 and
the summer solstice takes place in it. In the melothesiae 161 it
is correlated with the breast. It rules over the Western sea. In
Propertius it makes a sinister appearance: "Octipedis Cancri
terga sinistra time" (Fear thou the ill-omened back of the eight-
footed crab). 162 De Gubernatis says: "The crab . . . causes
now the death of the solar hero and now that of the monster." 163
The Panchatantra (V, 2) relates how a crab, which the mother
gave to her son as apotropaic magic, saved his life by killing a
black snake. 164 As De Gubernatis thinks, the crab stands now for
the sun and now for the moon, 165 according to whether it goes
forwards or backwards.

606 Miss X was born in the first degrees of Cancer (actually
about 3 ). She knew her horoscope and was well aware of the
significance of the moment of birth; that is, she realized that
the degree of the rising sign (the ascendent) conditions the
individuality of the horoscope. Since she obviously guessed the

157 Masenius, Speculum imaginum veritatis occultae (1714), cap. LXVII, 30,
p. 768. 158 De Gubernatis, Zoological Mythology, II, p. 355.

159 Roscher, Lexikon, II, col. 959, s.v. "Karkinos." The same motif occurs in a
dream described in Two Essays on Analytical Psychology, pars. 8off.

160 in Egypt, the heliacal rising of Cancer indicates the beginning of the annual
flooding of the Nile and hence the beginning of the year. Bouche-Leclercq,
p. 137. 161 [Cf. "Psychology and Religion," p. 67, n. 5. Editors.]

162 Propertius, trans, by Butler, p. 275. 163 De Gubernatis, II, p. 356.

164 The Panchatantra Reconstructed, ed. by Edgerton, II, pp. 403L Cf. also
Hoffmann-Krayer et al., Handworterbuch des Deutschen Aberglaubens, V, col.
448, s.v. "Krebs." 165 De Gubernatis, II, p. 356.

343

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

horoscope's affinity with the mandala, she introduced her in-
dividual sign into the painting that was meant to express her
psychic self. 166

60 7 The essential conclusion to be drawn from Picture 10 is that
the dualities which run through it are always inwardly bal-
anced, so that they lose their sharpness and incompatibility. As
Multatuli says: "Nothing is quite true, and even that is not
quite true." But this loss of strength is counterbalanced by the
unity of the centre, where the lamp shines, sending out coloured
rays to the eight points of the compass. 167

608 Although the attainment of inner balance through sym-
metrical pairs of opposites was probably the main intention of
this mandala, we should not overlook the fact that the duplica-
tion motif also occurs when unconscious contents are about to
become conscious and differentiated. They then split, as often
happens in dreams, into two identical or slightly different halves
corresponding to the conscious and still unconscious aspects of
the nascent content. I have the impression, from this picture,
that it really does represent a kind of solstice or climax, where
decision and division take place. The dualities are, at bottom,
Yes and No, the irreconcilable opposites, but they have to be
held together if the balance of life is to be maintained. This can
only be done by holding unswervingly to the centre, where
action and suffering balance each other. It is a path "sharp as the
edge of a razor." A climax like this, where universal opposites
clash, is at the same time a moment when a wide perspective
often opens out into the past and future. This is the psycho-
logical moment when, as the consensus gentium has established
since ancient times, synchronistic phenomena occur that is,
when the far appears near: sixteen years later, Miss X became
fatally ill with cancer of the breast. 168

166 Her horoscope shows four earth signs but no air sign. The danger coming
from the animus is reflected in ) .

167 Cf. the Buddhist conception of the "eight points of the compass" in the
Amitdyur-dhydna Siitra; cf. "The Psychology of Eastern Meditation," pp. 56off.

168 1 do not hesitate to take the synchronistic phenomena that underlie astrology
seriously. Just as there is an eminently psychological reason for the existence of
alchemy, so too in the case of astrologv. Nowadays it is no longer interesting to
know how far these two fields are aberrations; we should rather investigate the
psychological foundations on which they rest. [Cf. Jung, "Synchronicity: An
Acausal Connecting Principle," passim. Editors.]

344

A STUDY IN THE PROCESS OF INDIVIDUATION

Picture n

609 Here I will only mention that the coloured rays emanating
from the centre have become so rarified that, in the next few
pictures, they disappear altogether. Sun and moon are now out-
side, no longer included in the microcosm of the mandala. The
sun is not golden, but has a dull, ochrous hue and in addition
is clearly turning to the left: it is moving towards its own ob-
scuration, as had to happen after the cancer picture (solstice).
The moon is in the first quarter. The roundish masses near the
sun are probably meant to be cumulus clouds, but with their
grey-red hues they look suspiciously like bulbous swellings. The
interior of the mandala now contains a quincunx of stars, the
central star being silver and gold. The division of the mandala
into an aerial and an earthy hemisphere has transferred itself
to the outside world and can no longer be seen in the interior.
The silvery rim of the aerial hemisphere in the preceding pic-
ture now runs round the entire mandala and recalls the band
of quicksilver that, as Mercurius vulgaris, "veils the true per-
sonality." At all events, it is probable that the influence and
importance of the outside world are becoming so strong in this
picture as to bring about an impairment and devaluation of
the mandala. It does not break down or burst (as can easily
happen under similar circumstances), but is removed from the
telluric influence through the symbolical constellation of stars
and heavenly bodies.

Pictures 12-24

610 in Picture 12 the sun is in fact sinking below the horizon
and the moon is coming out of the first quarter. The radiation
of the mandala has ceased altogether, but the equivalents of
sun and moon, and also of the earth, have been assimilated into
it. A remarkable feature is its sudden inner animation by two
human figures and various animals. The constellation character
of the centre has vanished and given way to a kind of flower
motif. What this animation means cannot be established, un-
fortunately, as we have no commentary.

611 In Picture 13 the source of radiation is no longer in the
mandala but outside, in the shape of the full moon, from which

345

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

rings of rainbow-coloured light radiate in concentric circles.
The mandala is laced together by four black and golden snakes,
the heads of three of them pointing to the centre, while the
fourth rears upwards. In between the snakes and the centre
there are indications of the spermatozoon motif. This may mean
an intensive penetration on the part of the outside world, but
it could also mean magical protection. The breaking down of
the quaternity into 3 plus 1 is in accord with the archetype. 169

6** In Picture 14 the mandala is suspended over the lit-up ravine
of Fifth Avenue, New York, whither Miss X in the meantime
returned. On the blue flower in the centre the coniunctio of the
"royal" pair is represented by the sacrificial fire burning be-
tween them. The King and Queen are assisted by two kneeling
figures of a man and a woman. It is a typical marriage quaternio,
and for an understanding of its psychology I must refer the
reader to my account in the "Psychology of the Transference." 17
This inner bond should be thought of as a compensatory "con-
solidation" against disintegrating influences from without.

6*3 In Picture 15 the mandala floats between Manhattan and
the sea. It is daylight again, and the sun is just rising. Out of
the blue centre blue snakes penetrate into the red flesh of the
mandala: the enantiodromia is setting in, after the introversion
of feeling caused by the shock of New York had passed its
climax. The blue colour of the snakes indicates that they have
acquired a pneumatic nature.

6l 4 From Picture 16 onwards, the drawing and painting tech-
nique shows a decided improvement. The mandalas gain in
aesthetic value. In Picture 17 a kind of eye motif appears, which
I have also observed in the mandalas of other persons. It seems
to me to link up with the motif of poly ophthalmia and to point
to the peculiar nature of the unconscious, which can be regarded
as a "multiple consciousness." I have discussed this question in
detail elsewhere. 171 (See also Fig. 5.)

16 An instance of the axiom of Maria. Other well-known examples are Horus
and his 4 (or 3 -f- 1) sons, the 4 symbolical figures in Ezekiel, the 4 evangelists
and last but not least the 3 synoptic gospels and the 1 gospel of St. John.

170 [Ch. 2, pp. 21 iff. Editors.]

171 "On the Nature of the Psyche," sec. 6.

34 6

Fig. 5. Mandala by a woman patient

Aged 58, artistic and technically accomplished. In the centre is the egg
encircled by the snake; outside, apotropaic wings and eyes. The
mandala is exceptional in that it has a pentadic structure. (The patient
also produced triadic mandalas. She was fond of playing with forms
irrespective of their meaning a consequence of her artistic gift.)

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

6*5 The enantiodromia only reached its climax the following
year, in Picture 19. 172 In that picture the red substance is ar-
ranged round the golden, four-rayed star in the centre, and the
blue substance is pushing everywhere to the periphery. Here
the rainbow-coloured radiation of the mandala begins again for
the first time, and from then on was maintained for over ten
years (in mandalas not reproduced here).

616 I w iH no t comment on the subsequent pictures, nor repro-
duce them all as I say, they extend over more than ten years
because I feel I do not understand them properly. In addition,
they came into my hands only recently, after the death of the
patient, and unfortunately without text or commentary. Under
these circumstances the work of interpretation becomes very
uncertain, and is better left unattempted. Also, this case was
meant only as an example of how such pictures come to be
produced, what they mean, and what reflections and observa-
tions their interpretation requires. It is not intended to demon-
strate how an entire lifetime expresses itself in symbolic form.
The individuation process has many stages and is subject to
many vicissitudes, as the Active course of the opus alchymicum
amply shows.

Conclusion

61 7 Our series of pictures illustrates the initial stages of the
way of individuation. It would be desirable to know what hap-
pens afterwards. But, just as neither the philosophical gold nor
the philosophers' stone was ever made in reality, so nobody has
ever been able to tell the story of the whole way, at least not to
mortal ears, for it is not the story-teller but death who speaks
the final "consummatum est." Certainly there are many things
worth knowing in the later stages of the process, but, from the
point of view of teaching as well as of therapy, it is important

172 [Pictures 18-24, which were not reproduced with the earlier versions of this
essay, were chosen by Professor Jung from among those painted by the patient
after the termination of analytical work. I he dates of the entire series of pic-
tures were as follows: 1-6, Oct. 1928; 7 9, Nov. 1928; 10, Jan.; 11, Feb.; 12, June;
13, Aug.; 14, Sept.; 15, Od.; 16. 17, Nov., all 1929; 18, Feb. 1930; 19, Aug. 1930;
20, March 1931; 21, July 1933; 22. Aug 193^ 23, 1935; 24, "Night-blooming
cereus, done May 1938, on last trip to Jung" ^patient's notation). Editors.]

348

A STUDY IN THE PROCESS OF INDIVIDUATION

not to skip too quickly over the initial stages. As these pictures
are intuitive anticipations of future developments, it is worth
while lingering over them for a long time, in order, with their
help, to integrate so many contents of the unconscious into con-
sciousness that the latter really does reach the stage it sees ahead.
These psychic evolutions do not as a rule keep pace with the
tempo of intellectual developments. Indeed, their very first goal
is to bring a consciousness that has hurried too far ahead into
contact again with the unconscious background with which it
should be connected. This was the problem in our case too.
Miss X had to turn back to her "motherland" in order to find
her earth again vestigia retrol It is a task that today faces not
only individuals but whole civilizations. What else is the mean-
ing of the frightful regressions of our time? The tempo of the
development of consciousness through science and technology
was too rapid and left the unconscious, which could no longer
keep up with it, far behind, thereby forcing it into a defensive
position which expresses itself in a universal will to destruction.
The political and social isms of our day preach every con-
ceivable ideal, but, under this mask, they pursue the goal of
lowering the level of our culture by restricting or altogether
inhibiting the possibilities of individual development. They do
this partly by creating a chaos controlled by terrorism, a primi-
tive state of affairs that affords only the barest necessities of life
and surpasses in horror the worst times of the so-called "Dark"
Ages. It remains to be seen whether this experience of degrada-
tion and slavery will once more raise a cry for greater spiritual
freedom.
618 This problem cannot be solved collectively, because the
masses are not changed unless the individual changes. At the
same time, even the best-looking solution cannot be forced
upon him, since it is a good solution only when it is combined
with a natural process of development. It is therefore a hope-
less undertaking to stake everything on collective recipes and
procedures. The bettering of a general ill begins with the in-
dividual, and then only when he makes himself and not others
responsible. This is naturally only possible in freedom, but not
under a rule of force, whether this be exercised by a self-elected
tyrant or by one thrown up by the mob.

349

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

61 9 The initial pictures in our series illustrate the characteristic
psychic processes which set in the moment one gives a mind to
that part of the personality which has remained behind, for-
gotten. Scarcely has the connection been established when sym-
bols of the self appear, trying to convey a picture of the total
personality. As a result of this development, the unsuspecting
modern gets into paths trodden from time immemorial the
via sancta, whose milestones and signposts are the religions. 173
He will think and feel things that seem strange to him, not to
say unpleasant. Apuleius relates that in the Isis mysteries he
"approached the very gates of death and set one foot on Proser-
pina's threshold, yet was permitted to return, rapt through all
the elements. At midnight I saw the sun shining as if it were
noon; I entered the presence of the gods of the underworld and
the gods of the upper world, stood near and worshipped
them." m Such experiences are also expressed in our mandalas;
that is why we find in religious literature the best parallels to
the symbols and moods of the situations they formulate. These
situations are intense inner experiences which can lead to last-
ing psychic growth and a ripening and deepening of the per-
sonality, if the individual affected by them has the moral ca-
pacity for Trt'o-Tt?, loyal trust and confidence. They are the age-old
psychic experiences that underlie "faith" and ought to be its
unshakable foundation and not of faith alone, but also of
knowledge.

620 Our case shows with singular clarity the spontaneity of the
psychic process and the transformation of a personal situation
into the problem of individuation, that is, of becoming
whole, which is the answer to the great question of our day:
How can consciousness, our most recent acquisition, which has
bounded ahead, be linked up again with the oldest, the un-
conscious, which has lagged behind? The oldest of all is the
instinctual foundation. Anyone who overlooks the instincts will
be ambuscaded by them, and anyone who does not humble him-
self will be humbled, losing at the same time his freedom, his
most precious possession.

Always when science tries to describe a "simple" life-process,
the matter becomes complicated and difficult. So it is no wonder

173 Isaiah 45 : 8: "And a highway shall be there, and it shall be called the Holy
Way" (RSV). "4 The Golden Ass, trans, by Graves, p. 286.

350

62

A STUDY IN THE PROCESS OF INDIVIDUATION

that the details of a transformation process rendered visible
through active imagination make no small demands on our
understanding. In this respect they may be compared with all
other biological processes. These, too, require specialized knowl-
edge to become comprehensible. Our example also shows, how-
ever, that this process can begin and run its course without any
special knowledge having to stand sponsor to it. But if one
wants to understand anything of it and assimilate it into con-
sciousness, then a certain amount of knowledge is needed. If
the process is not understood at all, it has to build up an un-
usual intensity so as not to sink back again into the unconscious
without result. But if its affects rise to an unusual pitch, they
will enforce some kind of understanding. It depends on the
correctness of this understanding whether the consequences
turn out more pathologically or less. Psychic experiences, ac-
cording to whether they are rightly or wrongly understood,
have very different effects on a person's development. It is one
of the duties of the psycho therapist to acquire such knowledge
of these things as will enable him to help his patient to an
adequate understanding. Experiences of this kind are not with-
out their dangers, for they are also, among other things, the
matrix of the psychoses. Stiffnecked and violent interpretations
should under all circumstances be avoided, likewise a patient
should never be forced into a development that does not come
naturally and spontaneously. But once it has set in, he should
not be talked out of it again, unless the possibility of a psychosis
has been definitely established. Thorough psychiatric expe-
rience is needed to decide this question, and it must constantly
be borne in mind that the constellation of archetypal images
and fantasies is not in itself pathological. The pathological
element only reveals itself in the way the individual reacts to
them and how he interprets them. The characteristic feature of
a pathological reaction is, above all, identification with the
archetype. This produces a sort of inflation and possession by
the emergent contents, so that they pour out in a torrent which
no therapy can stop. Identification can, in favourable cases,
sometimes pass off as a more or less harmless inflation. But in
all cases identification with the unconscious brings a weaken-
ing of consciousness, and herein lies the danger. You do not
"make" an identification, you do not "identify yourself," but

35i

622

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

you experience your identity with the archetype in an uncon-
scious way and so are possessed by it. Hence in more difficult
cases it is far more necessary to streng then and consolidate the
ego than to understand and assimilate the products of the un-
conscious. The decision must be left to the diagnostic and thera-
peutic tact of the analyst.

This paper is a groping attempt to make the inner processes
of the mandala more intelligible. They are, as it were, self-
delineations of dimly sensed changes going on in the back-
ground, which are perceived by the "reversed eye" and rendered
visible with pencil and brush, just as they are, uncomprehended
and unknown. The pictures represent a kind of ideogram of
unconscious contents. I have naturally used this method on my-
self too and can affirm that one can paint very complicated
pictures without having the least idea of their real meaning.
While painting them, the picture seems to develop out of itself
and often in opposition to one's conscious intentions. It is in-
teresting to observe how the execution of the picture frequently
thwarts one's expectations in the most surprising way. The
same thing can be observed, sometimes even more clearly, when
writing down the products of active imagination. 175
623 The present work may also serve to fill a gap I myself have
felt in my exposition of therapeutic methods. I have written
very little on active imagination, but have talked about it a
great deal. I have used this method since 1916, and I sketched
it out for the first time in "The Relations between the Ego and
the Unconscious." I first mentioned the mandala in 1929, in
The Secret of the Golden Flower. 176 For at least thirteen years
I kept quiet about the results of these methods in order to avoid
any suggestion. I wanted to assure myself that these things
mandalas especially really are produced spontaneously and
were not suggested to the patient by my own fantasy. I was then

175 Case material in Meier, "Spontanmanifestationen des kollektiven Unbe-
wussten," 284ft.; Banziger, "Personliches und Archetypisches im Individuations-
prozess," p. 272; Gerhard Adler, Studies in Analytical Psychology, pp. goff.

176 Active imagination is also mentioned in "The Aims of Psycho therapy," pars.
10 iff. Cf. also "The Transcendent Function." For other pictures of mandalas see
the next paper in the present vol.

352

A STUDY IN THE PROCESS OF INDIVIDUATION

able to convince myself, through my own studies, that mandalas
were drawn, painted, carved in stone, and built, at all times and
in all parts of the world, long before my patients discovered
them. I have also seen to my satisfaction that mandalas are
dreamt and drawn by patients who were being treated by
psycho therapists whom I had not trained. In view of the im-
portance and significance of the mandala symbol, special pre-
cautions seemed to be necessary, seeing that this motif is one
of the best examples of the universal operation of an arche-
type. In a seminar on children's dreams, which I held in 1939-
40, 177 I mentioned the dream of a ten-year-old girl who had
absolutely no possibility of ever hearing about the quaternity
of God. The dream was written down by the child herself and
was sent to me by an acquaintance: "Once in a dream I saw an
animal that had lots of horns. It spiked up other little ani-
mals with them. It wriggled like a snake and that was how it
lived. Then a blue fog came out of all the four corners, and it
stopped eating. Then God came, but there were really four
Gods in the four corners. Then the animal died, and all the
animals it had eaten came out alive again."
624 This dream describes an unconscious individuation process:
all the animals are eaten by the one animal. Then comes the
enantiodromia: the dragon changes into pneuma, which stands
for a divine quaternity. Thereupon follows the apocatastasis, a
resurrection of the dead. This exceedingly "unchildish" fantasy
can hardly be termed anything but archetypal. Miss X, in Pic-
ture 12, also put a whole collection of animals into her mandala
two snakes, two tortoises, two fishes, two lions, two pigs, a
goat and a ram. 178 Integration gathers many into one. To the
child who had this dream, and to Miss X likewise, it was cer-
tainly not known that Origen had already said (speaking of the
sacrificial animals): "Seek these sacrifices within thyself, and
thou wilt find them within thine own soul. Understand that
thou hast within thyself flocks of cattle . . . flocks of sheep and

177 [Psychologische Interpretation von Kinder traumen, winter semester, 1939-40,
Federal Polytechnic Institute, Zurich (mimeographed stenographic record). The
same dream is discussed by Dr. Jacobi in Complex / Archetype /Symbol, pp. 139ft.
Editors.]

178 One thinks here of a Noah's Ark that crosses over the waters of death and
leads to a rebirth of all life.

353

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

flocks of goats. . . . Understand that the birds of the sky are
also within thee. Marvel not if we say that these are within
thee, but understand that thou thyself art even another little
world, and hast within thee the sun and the moon, and also the
stars." 179

625 The same idea occurs again in another passage, but this
time it takes the form of a psychological statement: "For look
upon the countenance of a man who is at one moment angry,
at the next sad, a short while afterward joyful, then troubled
again, and then contented. . . . See how he who thinks himself
one is not one, but seems to have as many personalities as he
has moods, as also the Scripture says: A fool is changed as the
moon. . . . 180 God, therefore, is unchangeable, and is called
one for the reason that he changes not. Thus also the true
imitator of God, who is made after God's image, is called one
and the selfsame [units et ipse] when he comes to perfection, for
he also, when he is fixed on the summit of virtue, is not changed,
but remains alway one. For every man, whiles he is in wicked-
ness [malitia], is divided among many things and torn in many
directions; and while he is in many kinds of evil he cannot be
called one." 181

626 Here the many animals are affective states to which man is
prone. The individuation process, clearly alluded to in this
passage, subordinates the many to the One. But the One is God,
and that which corresponds to him in us is the imago Dei, the
God-image. But the God-image, as we saw from Jakob Bohme,
expresses itself in the mandala.

179 l n Leviticum Homiliae, V, 2 (Migne, P.G., vol. 12, col. 449).

180 Ecclesiasticus 27 : 11.

181 In libros Regnorum homiliae, I, 4 (Migne, P.G., vol. 12, cols. 998-99).

354

CONCERNING MANDALA SYMBOLISM 1

627 In what follows I shall try to describe a special category of
symbols, the mandala, with the help of a wide selection of
pictures. I have dealt with this theme on several occasions be-
fore, and in Psychology and Alchemy I gave a detailed account,
with running commentary, of the mandala symbols that came
up in the course of an individual analysis. I repeated the at-
tempt in the preceding paper of the present volume, but there
the mandalas did not derive from dreams but from active
imagination. In this paper I shall present mandalas of the most
varied provenance, on the one hand to give the reader an im-
pression of the astonishing wealth of forms produced by indi-
vidual fantasy, and on the other hand to enable him to form
some idea of the regular occurrence of the basic elements.

628 As regards the interpretation, I must refer the reader to the
literature. In this paper I shall content myself with hints, be-
cause a more detailed explanation would lead much too far, as
the mandalas described in "Psychology and Religion" and in
the preceding paper of this volume show.

629 The Sanskrit word mandala means 'circle.' It is the Indian
term for the circles drawn in religious rituals. In the great
temple of Madura, in southern India, I saw how a picture of
this kind was made. It was drawn by a woman on the floor of
the mandapam (porch), in coloured chalks, and measured about
ten feet across. A pandit who accompanied me said in reply to
my questions that he could give me no information about it.
Only the women who drew such pictures knew what they

1 [First published, as "Ober Mandalasymbolik," in Gestaltungen des Unbewussten
(Psychologische Abhandlungen, VII; Zurich, 1950). The illustrations had origi-
nally been collected for a seminar which Professor Jung gave at Berlin in 1930.
Nine of them (Figs. 1, 6, 9, 25, 26, 28, 36, 37, 38) were published with brief
comments as "Examples of European Mandalas" in Das Geheimnis der goldenen
Bliite, by Jung and Richard Wilhelm (Munich, 1929; 2nd edn., Zurich, 1938),
translated by C. F. Baynes as The Secret of the Golden Flower (London and New
York, 1931; rev. edn., 1962); subsequently published in Coll. Works, vol. 13. In his
Memories, Dreams, Reflections Jung acknowledged having painted the mandalas
in Figs. 6 and 36 (thus also those in Figs. 28 and 29) and the frontispiece; see U.S.
edn., pp. 197, 195; Brit, edn., pp. i88fE., 187. Editors.]

355

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

meant. The woman herself was non-committal; she evidently
did not want to be disturbed in her work. Elaborate mandalas,
executed in red chalk, can also be found on the whitewashed
walls of many huts. The best and most significant mandalas are
found in the sphere of Tibetan Buddhism. 2 I shall use as an
example a Tibetan mandala, to which my attention was drawn
by Richard Wilhelm.

Figure i

63 A mandala of this sort is known in ritual usage as a yantra,
an instrument of contemplation. It is meant to aid concentra-
tion by narrowing down the psychic field of vision and restrict-
ing it to the centre. Usually the mandala contains three circles,
painted in black or dark blue. They are meant to shut out the
outside and hold the inside together. Almost regularly the outer
rim consists of fire, the fire of concupiscentia, 'desire,' from
which proceed the torments of hell. The horrors of the burial
ground are generally depicted on the outer rim. Inside this is a
garl and of lotus leaves, characterizing the whole mandala as a
padma, 'lotus-flower.' Then comes a kind of monastery court-
yard with four gates. It signifies sacred seclusion and concentra-
tion. Inside this courtyard there are as a rule the four basic
colours, red, green, white, and yellow, which represent the four
directions and also the psychic functions, as the Tibetan Book
of the Dead 3 shows. Then, usually marked off by another magic
circle, comes the centre as the essential object or goal of con-
templation.

63 1 This centre is treated in very different ways, depending on
the requirements of the ritual, the grade of initiation of the
contemplator, and the sect he belongs to. As a rule it shows
Shiva in his world-creating emanations. Shiva, according to
Tantric doctrine, is the One Existent, the Timeless in its perfect
state. Creation begins when this unextended point known as
Shiva-bindu appears in the eternal embrace of its feminine
side, the Shakti. It then emerges from the state of being-in-itself
and attains the state of being-for-itself, if I may use the Hegelian
terminology.

2 Cf. Psychology and Alchemy, pars. 122ft.

3 [Cf. Jung, Psychological Commentary on the Tibetan Book of the Dead,
par. 850. Editors.]

356

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CONCERNING MANDALA SYMBOLISM

632 In kundalini yoga symbolism, Shakti is represented as a snake
wound three and a half times round the lingam, which is Shiva
in the form of a phallus. This image shows the possibility of
manifestation in space. From Shakti comes Maya, the building
material of all individual things; she is, in consequence, the
creatrix of the real world. This is thought of as illusion, as
being and not-being. It is, and yet remains dissolved in Shiva.
Creation therefore begins with an act of division of the opposites
that are united in the deity. From their splitting arises, in a
gigantic explosion of energy, the multiplicity of the world.

6 33 The goal of contemplating the processes depicted in the
mandala is that the yogi shall become inwardly aware of the
deity. Through contemplation, he recognizes himself as God
again, and thus returns from the illusion of individual exist-
ence into the universal totality of the divine state.

6 34 As I have said, mandala means 'circle.' There are innumer-
able variants of the motif shown here, but they are all based on
the squaring of a circle. Their basic motif is the premonition of a
centre of personality, a kind of central point within the psyche,
to which everything is related, by which everything is arranged,
and which is itself a source of energy. The energy of the cen-
tral point is manifested in the almost irresistible compulsion
and urge to become what one is, just as every organism is driven
to assume the form that is characteristic of its nature, no matter
what the circumstances. This centre is not felt or thought of as
the ego but, if one may so express it, as the self. Although the
centre is represented by an innermost point, it is surrounded by
a periphery containing everything that belongs to the self the
paired opposites that make up the total personality. This total-
ity comprises consciousness first of all, then the personal un-
conscious, and finally an indefinitely large segment of the
collective unconscious whose archetypes are common to all
mankind. A certain number of these, however, are permanently
or temporarily included within the scope of the personality and,
through this contact, acquire an individual stamp as the shadow,
anima, and animus, to mention only the best-known figures.
The self, though on the one hand simple, is on the other hand
an extremely composite thing, a "conglomerate soul," to use
the Indian expression.

357

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

635 Lamaic literature gives very detailed instructions as to how
such a circle must be painted and how it should be used. Form
and colour are laid down by tradition, so the variants move
within fairly narrow limits. The ritual use of the mandala is
actually non-Buddhist; at any rate it is alien to the original
Hinayana Buddhism and appears first in Mahayana Buddhism.

636 The mandala shown here depicts the state of one who has
emerged from contemplation into the absolute state. That is
why representation of hell and the horrors of the burial ground
are missing. The diamond thunderbolt, the dorje in the centre,
symbolizes the perfect state where masculine and feminine are
united. The world of illusions has finally vanished. All energy
has gathered together in the initial state.

6 37 The four dorjes in the gates of the inner courtyard are
meant to indicate that life's energy is streaming inwards; it has
detached itself from objects and now returns to the centre.
When the perfect union of all energies in the four aspects of
wholeness is attained, there arises a static state subject to no
more change. In Chinese alchemy this state is called the "Dia-
mond Body," corresponding to the corpus incorruptibile of
medieval alchemy, which is identical with the corpus glorifi-
cationis of Christian tradition, the incorruptible body of resur-
rection. This mandala shows, then, the union of all opposites,
and is embedded between yang and yin, heaven and earth; the
state of everlasting balance and immutable duration.

6 3 8 For our more modest psychological purposes we must aban-
don the colourful metaphysical language of the East. What yoga
aims at in this exercise is undoubtedly a psychic change in the
adept. The ego is the expression of individual existence. The
yogin exchanges his ego for Shiva or the Buddha; in this way
he induces a shifting of the psychological centre of personality
from the personal ego to the impersonal non-ego, which is now
experienced as the real "Ground" of the personality.

6 39 In this connection I would like to mention a similar Chinese
conception, namely the system on which the / Ching is based.

Figure 2

6 4 In the centre is ch'ien, 'heaven,' from which the four emana-
tions go forth, like the heavenly forces extending through space.
Thus we have:

358

CONCERNING MANDALA SYMBOLISM

ch'ien: self-generated creative energy, corresponding to

Shiva.
heng: all-pervading power.
yuen: generative power.
li: beneficent power.
ching: unchangeable, determinative power.

64 1 Round this masculine power-centre lies the earth with its
formed elements. It is the same conception as the Shiva-Shakti
union in kundalini yoga, but here represented as the earth re-
ceiving into itself the creative power of heaven. The union of
heaven with kun, the feminine and receptive, produces the
tetraktys, which, as in Pythagoras, underlies all existence.

642 The "River Map" is one of the legendary foundations of the
/ Ching, which in its present form derives partly from the
twelfth century B.C. According to the legend, a dragon dredged
the magical signs of the "River Map" from a river. On it the
sages discovered the drawing, and in the drawing the laws of
the world-order. This drawing, in accordance with its extreme
age, shows the knotted cords that signify numbers. These num-
bers have the usual primitive character of qualities, chiefly
masculine and feminine. All uneven numbers are masculine,
even numbers feminine.

643 Unfortunately I do not know whether this primitive con-
ception influenced the formation of the much younger Tantric
mandala. But the parallels are so striking that the European
investigator has to ask himself: Which view influenced the
other? Did the Chinese develop from the Indian, or the Indian
from the Chinese? An Indian whom I asked answered: "Natu-
rally the Chinese developed from the Indian." But he did not
know how old the Chinese conceptions are. The bases of the
/ Ching go back to the third millennium B.C. My late friend
Richard Wilhelm, the eminent expert on classical Chinese
philosophy, was of the opinion that no direct connections could
be assumed. Nor, despite the fundamental similarity of the
symbolic ideas, does there need to be any direct influence, since
the ideas, as experience shows and as I think I have demon-
strated, arise autochthonously again and again, independently
of one another, out of a psychic matrix that seems to be ubiqui-
tous.

359

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Figure 3

6 44 As a counterpart to the Lamaic mandala, I now reproduce
the Tibetan "World Wheel," which should be sharply distin-
guished from the former, since it represents the world. In the
centre are the three principles: cock, snake, and pig, symboliz-
ing lust, envy, and unconsciousness. The wheel has, near the
centre, six spokes, and twelve spokes round the edge. It is based
on a triadic system. The wheel is held by the god of death,
Yama. (Later we shall meet other "shield-holders": Figs. 34 and
47.) It is understandable that the sorrowful world of old age,
sickness, and death should be held in the claws of the death-
demon. The incomplete state of existence is, remarkably
enough, expressed by a triadic system, and the complete (spirit-
ual) state by a tetradic system. The relation between the in-
complete and the complete state therefore corresponds to the
"sesquitertian proportion" of 3 : 4. This relation is known in
Western alchemical tradition as the axiom of Maria. It also plays
a not inconsiderable role in dream symbolism. 4

645 We shall now pass on to individual mandalas spontaneously
produced by patients in the course of an analysis of the uncon-
scious. Unlike the mandalas so far discussed, these are not based
on any tradition or model, seeming to be free creations of
fantasy, but determined by certain archetypal ideas unknown to
their creators. For this reason the fundamental motifs are re-
peated so often that marked similarities occur in drawings done
by the most diverse patients. The pictures come as a rule from
educated persons who were unacquainted with the ethnic paral-
lels. The pictures differ widely, according to the stage of the
therapeutic process; but certain important stages correspond
to definite motifs. Without going into therapeutic details, I
would only like to say that a rearranging of the personality is
involved, a kind of new centring. That is why mandalas mostly
appear in connection with chaotic psychic states of disorienta-
tion or panic. They then have the purpose of reducing the
confusion to order, though this is never the conscious intention

4 Cf. the preceding paper, par. 552.

360

CONCERNING MANDALA SYMBOLISM

of the patient. At all events they express order, balance, and
wholeness. Patients themselves often emphasize the beneficial
or soothing effect of such pictures. Usually the mandalas ex-
press religious, i.e., numinous, thoughts and ideas, or, in their
stead, philosophical ones. Most mandalas have an intuitive, irra-
tional character and, through their symbolical content, exert a
retroactive influence on the unconscious. They therefore possess
a "magical" significance, like icons, whose possible efficacy was
never consciously felt by the patient. In fact, it is from the effect
of their own pictures that patients discover what icons can
mean. Their pictures work not because they spring from the
patients' own fantasy but because they are impressed by the
fact that their subjective imagination produces motifs and
symbols of the most unexpected kind that conform to law and
express an idea or situation which their conscious mind can
grasp only with difficulty. Confronted with these pictures, many
patients suddenly realize for the first time the reality of the
collective unconscious as an autonomous entity. I will not
labour the point here; the strength of the impression and its
effect on the patient are obvious enough from some of the pic-
tures.
6 4 6 I must preface the pictures that now follow with a few re-
marks on the formal elements of mandala symbolism. These are
primarily:

1. Circular, spherical, or egg-shaped formation.

2. The circle is elaborated into a flower (rose, lotus) or a
wheel.

3. A centre expressed by a sun, star, or cross, usually with
four, eight, or twelve rays.

4. The circles, spheres, and cruciform figures are often repre-
sented in rotation (swastika).

5. The circle is represented by a snake coiled about a centre,
either ring-shaped (uroboros) or spiral (Orphic egg).

6. Squaring of the circle, taking the form of a circle in a
square or vice versa.

7. Castle, city, and courtyard (temenos) motifs, quadratic or
circular.

8. Eye (pupil and iris).

9. Besides the tetradic figures (and multiples of four), there
are also triadic and pentadic ones, though these are much rarer.

361

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

They should be regarded as ''disturbed" totality pictures, as we
shall see below.

Figure 4

6 47 This mandala was done by a woman patient in her middle
years, who first saw it in a dream. Here we see at once the dif-
ference from the Eastern mandala. It is poor in form, poor in
ideas, but nevertheless expresses the individual attitude of the
patient far more clearly than the Eastern pictures, which have
been subjected to a collective and traditional configuration. Her
dream ran: "I was trying to decipher an embroidery pattern.
My sister knew how. I asked her if she had made an elaborate
hemstitched handkerchief. She said, "No, but I know how it was
done." Then I saw it with the threads drawn, but the work not
yet done. One must go around and around the square until near
the centre, then go in circles."

6 4 8 The spiral is painted in the typical colours red, green, yel-
low, and blue. According to the patient, the square in the centre
represents a stone, its four facets showing the four basic colours.
The inner spiral represents the snake that, like Kundalini,
winds three and a half times 5 round the centre.

6 49 The dreamer herself had no notion of what was going on in
her, namely the beginning of a new orientation, nor would she
have understood it consciously. Also, the parallels from Eastern
symbolism were completely unknown to her, so that any in-
fluence is out of the question. The symbolic picture came to her
spontaneously, when she had reached a certain point in her
development.

6 5 It is, unfortunately, not possible for me to say exactly under
what circumstances each of these pictures arose. That would
lead us too far. The sole aim of this paper is to give a survey
of the formal parallels to the individual and collective mandala.
I regret also that for the same reason no single picture can be
interpreted circumstantially and in detail, as that would in-
evitably require a comprehensive account of the analytical
situation of the patient. Wherever it is possible to shed light on
the origins of the picture by a passing hint, as in the present
case, I shall do so.

5 The motif of 31^ (the Apocalyptic number of days of affliction; cf. Rev. 11:9
and 11) refers to the alchemical dilemma "3 or 4?" or to the sesquitertian pro-
portion (3:4). The sesquitertius is 3 -(- 1/3.

362

CONCERNING MANDALA SYMBOLISM

651 As to the interpretation of the picture, it must be empha-
sized that the snake, arranged in angles and then in circles
round the square, signifies the circumambulation of, and way
to, the centre. The snake, as a chthonic and at the same time
spiritual being, symbolizes the unconscious. The stone in the
centre, presumably a cube, is the quaternary form of the lapis
philosophorum. The four colours also point in this direction. 6
It is evident that the stone in this case signifies the new centre
of personality, the self, which is also symbolized by a vessel.

Figure 5

652 The painter was a middle-aged woman of schizoid disposi-
tion. She had several times drawn mandalas spontaneously, be-
cause they always had an ordering effect on her chaotic psychic
states. The picture shows a rose, the Western equivalent of the
lotus. In India the lotus-flower (padma) is interpreted by the
Tantrists as the womb. We know this symbol from the numer-
ous pictures of the Buddha (and other Indian deities) in the
lotus-flower. 7 It corresponds to the "Golden Flower" of Chinese
alchemy, the rose of the Rosicrucians, and the mystic rose in
Dante's Paradiso. Rose and lotus are usually arranged in groups
of four petals, indicating the squaring of the circle or the
united opposites. The significance of the rose as the maternal
womb was nothing strange to our Western mystics, for we read
in a prayer inspired by the Litany of Loreto:

O Rose-wreath, thy blossoming makes men weep for joy.
O rosy sun, thy burning makes men to love.

O son of the sun,

Rose-child,

Sun-beam.
Flower of the Cross, pure Womb that blossoms

Over all blooming and burning,

Sacred Rose,

Mary.

6 There is a very interesting American Indian parallel to this mandala: a white
snake coiled round a centre shaped like a cross in four colours. Cf. Newcomb
and Reichard, Sandpaintings of the Navajo Shooting Chant, PL XIII, pp. 13
and 78. The book contains a large number of interesting mandalas in colour.

7 The Egyptian Horus-child is likewise shown sitting in the lotus.

363

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

6 53 At the same time, the vessel motif is an expression of the
content, just as Shakti represents the actualization of Shiva. As
alchemy shows, the self is androgynous and consists of a mascu-
line and a feminine principle. Conrad of Wiirzburg speaks of
Mary, the flower of the sea in which Christ lies hidden. And in
an old hymn we read:

O'er all the heavens a rose appears
And a bright dress of blossom wears.
Its light glows in the Three-in-One
For God himself has put it on.

Figure 6

6 54 The rose in the centre 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.
It was based on a dream: The dreamer found himself with
three younger travelling companions in Liverpool. 8 It was
night, and raining. The air was full of smoke and soot. They
climbed up from the harbour to the "upper city." The dreamer
said: "It was terribly dark and disagreeable, and we could not
understand how anyone could stick it here. We talked about
this, and one of my companions said that, remarkably enough,
a friend of his had settled here, which astonished everybody.
During this conversation we reached a sort of public garden in
the middle of the city. The park was square, and in the centre
was a lake or large pool. A few street lamps just lit up the pitch
darkness, and I could see a little island in the pool. On it there
was a single tree, a red-flowering magnolia, which miraculously
stood in everlasting sunshine. I noticed that my companions
had not seen this miracle, whereas I was beginning to under-
stand why the man had settled here."

6 55 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-coloured glass. It shone
like a four-rayed star. The square represents the wall of the
park and at the same time a street leading round the park in a
square. From it there radiate eight main streets, and from each

8 Note the allusion in the name "Liver-pool." The liver is that which causes to
live, the seat of life. [Cf. Memories, Dreams, Reflections, pp. 1971"./ 195L]

364

CONCERNING MANDALA SYMBOLISM

of these eight side-streets, which meet in a shining red central
point, rather like the Etoile in Paris. The acquaintance men-
tioned 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.

Figure 7

656 Flower motif with cross in the centre. The square, too, is
arranged like a flower. The four faces at the corners correspond
to the four cardinal points, which are often depicted as four
deities. Here they have a demonic character. This may be con-
nected with the fact that the patient was born in the Dutch
East Indies, where she sucked up the peculiar local demonology
with the mother's milk of her native ayah. Her numerous draw-
ings all had a distinctly Eastern character, and thereby helped
her to assimilate influences that at first could not be reconciled
with her Western mentality. 9

6 57 In the picture that followed, the demon faces were orna-
mentally elaborated in eight directions. For the superficial ob-
server the flowerlike character of the whole may disguise the
demonic element the mandala is meant to ward off. The patient
felt that the "demonic" effect came from the European in-
fluence with its moralism and rationalism. Brought up in the
East Indies until her sixth year, she came later into a conven-
tional European milieu, and this had a devastating effect on the
flowerlike quality of her Eastern spirit and caused a prolonged
psychic trauma. Under treatment her native world, long sub-
merged, came up again in these drawings, bringing with it
psychic recovery.

Figure 8

6 5 8 The flowerlike development has got stronger and is begin-
ning to overgrow the "demonishness" of the faces.

Figure 9

6 59 A later stage is shown here. Minute care in the draughts-
manship vies with richness of colour and form. From this we

9 [Cf. The Practice of Psycho therapy, 2nd edn., appendix, esp. par. 557. Editors.]

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

can discern not only the extraordinary concentration of the
patient but the triumph of Eastern "flowerlikeness" over the
demon of Western intellectualism, rationalism, and moralism.
At the same time the new centring of the personality becomes
visible.

Figure 10

6 go In this painting, done by another young woman patient, we
see at the cardinal points four creatures: a bird, a sheep, a
snake, and a lion with a human face. Together with the four
colours in which the four regions are painted, they embody four
principles. The interior of the mandala is empty. Or rather, it
contains a "Nothing" that is expressed by a quaternity. This is
in accord with the overwhelming majority of individual manda-
las: as a rule the centre contains the motif of the rotundum,
known to us from alchemy, or the four-fold emanation or the
squaring of the circle, or more rarely the figure of the patient
in a universal human sense, representing the Anthropos. 10 We
find this motif, too, in alchemy. The four animals remind us
of the cherubim in Ezekiel's vision, and also of the four sym-
bols of the evangelists and the four sons of Horus, which are
sometimes depicted in the same way, three with animal heads
and one with a human head. Animals generally signify the
instinctive forces of the unconscious, which are brought into
unity within the mandala. This integration of the instincts is
a prerequisite for individuation.

661

Figure 11

Painting by an older patient. Here the flower is seen not
in the basic pattern of the mandala, but in elevation. The circu-
lar form has been preserved inside the square, so that despite
its different execution this picture can still be regarded as a
mandala. The plant stands for growth and development, like
the green shoot in the diaphragm chakra of the kundalini yoga
system. The shoot symbolizes Shiva and represents the centre
and the male, whereas the calyx represents the female, the place
of germination and birth. 11 Thus the Buddha sitting in the
lotus is shown as the germinating god. It is the god in his rising,

10 [Cf. "Psychology and Religion," pars. 136L, i56f.]

11 [Cf. "The Philosophical Tree," par. 336 and fig. 27. Editors.]

366

CONCERNING MANDALA SYMBOLISM

the same symbol as Ra the falcon, or the phoenix rising from
the nest, or Mithras in the tree-top, or the Horus-child in the
lotus. They are all symbolizations of the status nascendi in the
seeding-place of the matrix. In medieval hymns Mary too is
praised as the cup of the flower in which Christ, coming down
as a bird, makes his nest. Psychologically Christ means unity,
which clothes itself in the corpus mysticum of the Church or in
the body of the Mother of God ("mystic rose"), surrounded as
with flower-petals, and thus reveals itself in reality. Christ as an
image is a symbol of the self. 12 Just as the plant stands for
growth, so the flower depicts the unfolding from a centre.

Figure 12

662 Here the four rays emanating from the centre spread across
the whole picture. This gives the centre a dynamic character.
The structure of the flower is a multiple of four. The picture
is typical of the marked personality of the patient, who had
some artistic talent. (She also painted Fig. 5.) Besides that she
had a strong feeling for Christian mysticism, which played a
great role in her life. It was important for her to experience the
archetypal background of Christian symbolism.

Figure 13

66 3 Photograph of a rug woven by a middle-aged woman, Penel-
ope-like, at a time of great inner and outer distress. She was a
doctor and she wove this magic circle round herself, working at
it every day for months, as a counterbalance to the difficulties of
her life. She was not my patient and could not have been in-
fluenced by me. The rug contains an eight-petalled flower. A
special feature of the rug is that it has a real "above and below."
Above is light; below, relative darkness. In it, there is a creature
like a beetle, representing an unconscious content, and com-
parable with the sun in the form of Khepera. Occasionally the
"above and below" are outside the protective circle, instead of
inside. In that case the mandala affords protection against ex-
treme opposites; that is, the sharpness of the conflict is not yet
realized or else is felt as intolerable. The protective circle then
guards against possible disruption due to the tension of oppo-
sites.

12 Cf. Axon (Part II of this volume), ch. 5.

367

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Figure 14

664 An Indian picture of Shiva-bindu, the unextended point. It
shows the divine power before the creation: the opposites are
still united. The god rests in the point. Hence the snake sig-
nifies extension, the mother of Becoming, the creation of the
world of forms. In India this point is also called Hiranyagarbha,
'golden germ' or 'golden egg.' We read in the Sanatsugatiya:
"That pure great light which is radiant, that great glory which
the gods worship, which makes the sun shine forth, that divine,
eternal Being is perceived by the faithful." 13

Figure 15

66 5 This picture, also by a middle-aged woman patient, shows
the squaring of the circle. The plants again denote germina-
tion and growth. In the centre is a sun. As the snake-and-tree
motif shows, we have here a conception of Paradise. A parallel
is the Gnostic conception of Edem with the four rivers of
Paradise in the Naassene gnosis. For the functional significance
of the snake in relation to the mandala, see the preceding paper
(comments on pictures 3, 4, and 5).

666

Figure 16

This picture was painted by a neurotic young woman. The
snake is somewhat unusual in that it lies in the centre itself, its
head coinciding with this. Usually it is outside the inner circle,
or at least coiled round the central point. One suspects (rightly,
as it turned out) that the inner darkness does not conceal the
longed-for unity, the self, but rather the chthonic, feminine
nature of the patient. In a later picture the mandala bursts and
the snake comes out.

Figure ij

66 7 The picture was done by a young woman. This mandala is
"legitimate" in so far as the snake is coiled round the four-
rayed middle point. It is trying to get out: it is the awakening
of Kundalini, meaning that the patient's chthonic nature is
becoming active. This is also indicated by the arrows pointing

13 Sacred Books of the East, VIII, p. 186, modified.

368

CONCERNING MANDALA SYMBOLISM

outwards. In practice it means becoming conscious of one's
instinctual nature. The snake in ancient times personified the
spinal ganglia and the spinal cord. Arrows pointing outwards
may in other cases mean the opposite: protection of the inside
from danger.

Figure 18

668 Drawn by an older patient. Unlike the previous picture, this
one is "introverted." The snake is coiled round the four-rayed
centre and has laid its head on the white, central point (Shiva-
bindu), so that it looks as if it were wearing a halo. There seems
to be a kind of incubation of the middle point the motif of the
snake guarding the treasure. The centre is often characterized
as the "treasure hard to attain." 14

Figure 19

66 9 Done by a middle-aged woman. The concentric circles ex-
press concentration. This is further emphasized by the fishes
circumnavigating the centre. The number 4 has the meaning of
total concentration. The movement to the left presumably indi-
cates movement towards the unconscious, i.e., immersion in it.

Figure 20

6 7 This is a parallel to Figure 19: sketch of a fish-motif which
I saw on the ceiling of the Maharajah's pavilion in Benares.

Figure 21

6 7 l A fish instead of a snake. Fish and snake are simultaneously
attri butes of both Christ and the devil. The fish is making a
whirlpool in the sea of the unconscious, and in its midst the
precious pearl is being formed. A Rig- Veda hymn says:

Darkness there was, concealed in darkness,

A lightless ocean lost in night.

Then the One, that was hidden in the shell,

Was born through the power of fiery torment.

From it arose in the beginning love,

Which is the germ and the seed of knowledge. 15

14 Cf. Symbols of Transformation, Part II, ch. 7.

15 Rig- Veda, X, 129, from Deussen trans., I, p. 123.

369

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

6 7 2 As a rule the snake personifies the unconscious, whereas the
fish usually represents one of its contents. These subtle distinc-
tions must be borne in mind when interpreting a mandala, be-
cause the two symbols very probably correspond to two different
stages of development, the snake representing a more primitive
and more instinctual state than the fish, which in history as well
was endowed with higher authority than the snake (cf. the
Ichthys-symbol).

Figure 22

6 73 In this picture by a young woman the fish has produced a
differentiated centre by circumnavigation, and in it a mother
and child stand before a stylized Tree of Life or of Knowledge.
Here the fish has a dragonlike nature; it is a monster, a sort of
Leviathan, which, as the texts from Ras Shamra show, was
originally a snake. 16 Once more the movement is to the left.

Figure 23

6 74 The golden ball corresponds to the golden germ (Hira-
nyagarbha). It is rotating, and the Kundalini winding round it
has doubled. This indicates conscious realization, since a con-
tent rising out of the unconscious splits at a certain moment into
two halves, a conscious and an unconscious one. The doubling
is not made by the conscious mind, but appears spontaneously
in the products of the unconscious. The rightwards rotation, ex-
pressed by the wings (swastika-motif), likewise indicates con-
scious realization. The stars show that the centre has a cosmic
structure. It has four rays, and thus behaves like a heavenly
body. The Shatapatha-Brahmana says:

Then he looks up to the sun, for that is the final goal, that the
safe resort. To that final goal, to that resort he goes; for this reason
he looks up to the sun.

He looks up, saying, "Self-existent art thou, the best ray of
light!" The sun is indeed the best ray of light, and therefore he says,
"Self-existent art thou, the best ray of light!" "Light-bestowing art
thou: give me light (varkas)\" "So say I," said Yajnavalkya, "and
for this indeed the Brahmin should strive, if he would be brahma-
varkasiyi, illumined by brahma."

He then turns from left to right, saying, "I move along the course

16 [Cf. Mori, pars. 181 f. -Editors.]

37

CONCERNING MANDALA SYMBOLISM

of the sun." Having reached that final goal, that safe resort, he now
moves along the course of yonder sun. 17

675 This sun has seven rays. A commentator remarks that four of
them point to the four quarters; one points upwards, another
downwards, but the seventh and ''best" points inwards. It is at
the same time the sun's disc, named Hiranyagarbha. This, ac-
cording to Ramanuja's commentary on the Vedanta Sutras, 18 is
the highest self, the "collective aggregate of all individual
souls." It is the body of the highest Brahma and represents the
collective psyche. For the idea of the self as compounded of
many, compare Origen's "Each of us is not one, but many" and
"All are righteous, but one receiveth the crown." 19

676 The patient was a woman of sixty, artistically gifted. The
individuation process, long blocked but released by the treat-
ment, stimulated her creative activity (Fig. 2 1 derives from the
same source) and gave rise to a series of happily coloured pic-
tures which eloquently express the intensity of her experience.

Figure 24

6 77 Done by the same patient. She herself is shown practising
contemplation or concentration on the centre: she has taken the
place of the fish and the snakes. An ideal image of herself is laid
round the precious egg. The legs are flexible, like a nixie's.
The psychology of such a picture reappears in ecclesiastical
tradition. The Shiva-Shakti of the East is known in the West as
the "man encompassed by a woman," Christ and his bride the
Church. Compare the Maitrayana-Brahmana Upanishad:

He [the Self] is also he who warms, the Sun, hidden by the
thousand-eyed golden egg, as one fire by another. He is to be thought
after, he is to be sought after. Having said farewell to all living
things, having gone to the forest, and having renounced all sensuous
objects, let a man perceive the Self from his own body. 20

6 7 8 Here too the radiation from the centre spreads out beyond
the protective circle into the distance. This expresses the idea
of the far-reaching effect of the introverted state of conscious-
ly I, 9, 3, 15ft. Trans, from Sacred Books of the East, XII, pp. 27if., modified.

18 Trans, from Sacred Books of the East, XLVIII, p. 578.

19 In libros Regnorum homiliae, I, 4 (Migne, P.G., vol. 12, cols. 998, 999).

20 VI, 8. Trans, from Sacred Books of the East, XV, p. 311.

37 *

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

ness. It could also be described as an unconscious connection
with the world.

Figure 25

*79 This picture was done by another middle-aged patient. It
shows various phases of the individuation process. Down below
she is caught in a chthonic tangle of roots (the mulddhdra of
kundalini yoga). In the middle she studies a book, cultivating
her mind and augmenting her knowledge and consciousness. At
the top, reborn, she receives illumination in the form of a
heavenly sphere that widens and frees the personality, its round
shape again representing the mandala in its "Kingdom of God"
aspect, whereas the lower, wheel-shaped mandala is chthonic.
There is a confrontation of the natural and spiritual totalities.
The mandala is unusual on account of its six rays, six mountain
peaks, six birds, three human figures. In addition, it is located
between a distinct Above and Below, also repeated in the
mandala itself. The upper, bright sphere is in the act of descend-
ing into the hexad or triad and has already passed the rim of
the wheel. According to old tradition the number 6 means
creation and evolution, since it is a coniunctio of 2 and 3 (even
and odd = female and male). Philo Judaeus therefore calls
the senarius (6) the "number most suited to generation." 21 The
number 3, he says, denotes the surface or flatness, whereas 4
means height or depth. The quaternarius "shows the nature of
solids," whereas the three first numbers characterize or produce
incorporeal intelligences. The number 4 appears as a three-sided
pyramid. 22 The hexad shows that the mandala consists of two
triads, and the upper one is making itself into a quaternity, the
state of "equability and justice," as Philo says. Down below lurk
unintegrated dark clouds. This picture demonstrates the not
uncommon fact that the personality needs to be extended both
upwards and downwards.

Figures 26 and 27

680 These mandalas are in part atypical. Both were done by the
same young woman. In the centre, as in the previous mandala,
is a female figure, as if enclosed in a glass sphere or transparent

21 De opificio mundi. Cf. Colson trans., I, p. 13. 22 ibid., p. 79.

372

CONCERNING MANDALA SYMBOLISM

bubble. It looks almost as if an homunculus were in the mak-
ing. In addition to the usual four or eight rays, both mandalas
show a pentadic element. There is thus a dilemma between four
and five. Five is the number assigned to the "natural" man, in
so far as he consists of a trunk with five appendages. Four, on
the other hand, signifies a conscious totality. It describes the
ideal, "spiritual" man and formulates him as a totality in con-
trast to the pentad, which describes the corporeal man. It is
significant that the swastika symbolizes the "ideal" man, 23
whereas the five-pointed star symbolizes the material and bodily
man. 24 The dilemma of four and five corresponds to the con-
flict between "culture" and "nature." That was the problem of
the patient. In Figure 26 the dilemma is indicated by the four
groups of stars: two of them contain four stars and two of them
five stars. On the rims of both mandalas we see the "fire of
desire." In Figure 27 the rim is made of something that looks
like lighted tissue. In characteristic contrast to the "shining"
mandala, both these (especially the second one) are "burning."
It is flaming desire, comparable to the longing of the homuncu-
lus in the retort (Faust, Part II), which was finally shattered
against the throne of Galatea. The fire represents an erotic
demand but at the same time an amor fati that burns in the
innermost self, trying to shape the patient's fate and thus help
the self into reality. Like the homunculus in Faust, the figure
shut up in the vessel wants to "become."

The patient was herself aware of the conflict, for she told
me she had no peace after painting the second picture. She had
reached the afternoon of her life, and was in her thirty-fifth
year. She was in doubt as to whether she ought to have another
child. She decided for a child, but fate did not let her, because
the development of her personality was evidently pursuing a
different goal, not a biological but a cultural one. The conflict
was resolved in the interests of the latter.

68i

23 It depends very much on whether the swastika revolves to the right or to the
left. In Tibet, the one that revolves to the left is supposed to symbolize the Bon
religion of black magic as opposed to Buddhism.

24 The symbol of the star is favoured both by Russia and America. The one is
red, the other white. For the significance of these colours see Psychology and
Alchemy, index, s.v. "colours."

373

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Figure 28

682 Picture by a middle-aged man. In the centre is a star. The
blue sky contains golden clouds. At the four cardinal points we
see human figures: at the top, an old man in the attitude of
contemplation; at the bottom, Loki or Hephaestus with red,
flaming hair, holding in his hands a temple. To the right and
left are a light and a dark female figure. Together they indicate
four aspects of the personality, or four archetypal figures be-
longing, as it were, to the periphery of the self. The two female
figures can be recognized without difficulty as the two aspects
of the anima. The old man corresponds to the archetype of
meaning, or of the spirit, and the dark chthonic figure to the
opposite of the Wise Old Man, namely the magical (and some-
times destructive) Luciferian element. In alchemy it is Hermes
Trismegistus versus Mercurius, the evasive "trickster." 25 The
circle enclosing the sky contains structures or organisms that
look like protozoa. The sixteen globes painted in four colours
just outside this circle derived originally from an eye motif and
therefore stand for the observing and discriminating conscious-
ness. Similarly, the ornaments in the next circle, all opening in-
wards, are rather like vessels pouring out their content towards
the centre. 26 On the other hand the ornaments along the rim
open outwards, as if to receive something from outside. That is,
in the individuation process what were originally projections
stream back "inside" and are integrated into the personality
again. Here, in contrast to Figure 25, "Above" and "Below,"
male and female, are integrated, as in the alchemical hermaph-
rodite.

Figure 29

68 3 Once again the centre is symbolized by a star. This very
common image is consistent with the previous pictures, where
the sun represents the centre. The sun, too, is a star, a radiant
cell in the ocean of the sky. The picture shows the self appear-

25 Cf. the eighth and the ninth papers in this volume; and "The Spirit Mer-
curius."

26 There is a similar conception in alchemy, in the Ripley Scrowle and its variants
(Psychology and Alchemy, fig. 257). There it is the planetary gods who are
pouring their qualities into the bath of rebirth.

374

CONCERNING MANDALA SYMBOLISM

ing as a star out of chaos. The four-rayed structure is empha-
sized by the use of four colours. This picture is significant in
that it sets the structure of the self as a principle of order against
chaos. 27 It was painted by the same man who did Figure 28.

Figure 30

684 This mandala, by an older woman patient, is again split into
Above and Below: heaven above, the sea below, as indicated by
the golden waves on a green ground. Four wings revolve left-
wards about the centre, which is marked only by an orange-red
spot. Here too the opposites are integrated and are presumably
the cause of the centre's rotation.

Figure 37

68 5 An atypical mandala, based on a dyad. A golden moon and
a silver moon form the upper and lower edges. The inside is
blue sky above and something like a black crenellated wall
below. On it there sits a peacock, fanning out its tail, and to the
left there is an egg, presumably the peacock's. In view of the
important role which the peacock and the peacock's egg to-
gether play in alchemy and also in Gnosticism, we may expect
the miracle of the cauda pavonis, the appearance of "all
Colours" (Bohme), the unfolding and realization of wholeness,
once the dark dividing wall has broken down. (See Fig. 32.) The
patient thought the egg might split and produce something new,
maybe a snake. In alchemy the peacock is synonymous with the
Phoenix. A variant of the Phoenix legend relates that the
Semenda Bird consumes itself, a worm forms from the ashes,
and from the worm the bird rises anew.

686

Figure 32

This picture is reproduced from the Codex Alchemicus
Rhenoviensis, Central Library, Zurich. Here the peacock rep-
resents the Phoenix rising newborn from the fire. There is a
similar picture in a manuscript in the British Museum, only
there the peacock is enclosed in a flask, the vas hermeticum ,
like the homunculus. 28 The peacock is an old emblem of re-
birth and resurrection, quite frequently found on Christian

27 C The Psychology of Eastern Meditation," par. 942.

28 Cf. John Read, Prelude to Chemistry, frontispiece.

375

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

sarcophagi. In the vessel standing beside the peacock the colours
of the cauda pavonis appear, as a sign that the transformation
process is nearing its goal. In the alchemical process the serpens
mercurialis, the dragon, is changed into the eagle, the peacock,
the goose of Hermes, or the Phoenix. 29

Figure 33

68 7 This picture was done by a seven-year-old boy, offspring of
a problem marriage. He had done a whole series of these draw-
ings of circles and hung them up round his bed. He called them
his "loves" and would not go to sleep without them. This shows
that the "magical" pictures still functioned for him in their
original sense, as a protective magic circle.

Figure 34

688 An eleven-year-old girl, whose parents were divorced, had, at
a time of great difficulties and upsets, drawn a number of pic-
tures which clearly reveal a mandala structure. Here too they
were magic circles intended to stop the difficulties and adversi-
ties of the outside world from entering into the inner psychic
space. They represent a kind of self-protection.

68 9 As on the kilkhor, the Tibetan World Wheel (Fig. 3), you
can see at either side of this picture something that looks like
horns, which as we know belong to the devil or to one of his
theriomorphic symbols. The slanting eye-slits underneath them,
and the two strokes for nose and mouth, are also the devil's.
This amounts to saying: Behind the mandala lurks the devil.
Either the "demons" are covered up by the magically powerful
picture, and thereby eliminated which would be the purpose
of the mandala or, as in the case of the Tibetan World Wheel,
the world is caught in the claws of the demon of death. In this
picture the devils merely peek out over the edge. I have seen
what this means from another case: An artistically gifted patient
produced a typical tetradic mandala and stuck it on a sheet of
thick paper. On the back there was a circle to match, filled with
drawings of sexual perversions. This shadow aspect of the
mandala represented the disorderly, disruptive tendencies, the
"chaos" that hides behind the self and bursts out in a dan-

29 Cf. Psychology and Alchemy, pars. 334 and 404.

376

CONCERNING MANDALA SYMBOLISM

gerous way as soon as the individuation process comes to a
standstill, or when the self is not realized and so remains un-
conscious. This piece of psychology was expressed by the al-
chemists in their Mercurius duplex, who on the one hand is
Hermes the mystagogue and psychopomp, and on the other hand
is the poisonous dragon, the evil spirit and "trickster."

Figure 35

690 Drawing by the same girl. Round the sun is a circle with
eyes, and round this an uroboros. The motif of polyophthalmia
frequently occurs in individual mandalas. (See Picture 17 and
Fig. 5 in the preceding paper.) In the Maitrayana-Brahmana
Upanishad VI, 8 the egg (Hiranyagarbha) is described as "thou-
sand-eyed." The eyes in the mandala no doubt signify the ob-
serving consciousness, but it must also be borne in mind that
the texts as well as the pictures both attri bute the eyes to a
mythic figure, e.g., an Anthropos, who does the seeing. This
seems to me to point to the fascination which, through a kind
of magical stare, attracts the attention of the conscious mind.
(Cf. Figs. 38 and 39.)

Figure 36

6 9 J Painting of a medieval city with walls and moats, streets and
churches, arranged quadratically. The inner city is again sur-
rounded by walls and moats, like the Imperial City in Peking.
The buildings all open inwards, towards the centre, repre-
sented 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 (cf. Figs. 6, 28, 29). A picture like this
is not unknown in Christian symbolism. The Heavenly Jeru-
salem 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 splendour. In the purple hall of

377

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

the city of jade dwells the God of Utmost Emptiness and life." 30
ness and lite." 3U

Figure 37

6 92 Painted by the same patient who did Figures 1 1 and 30. Here
the "seeding-place" is depicted as a child enclosed in a revolv-
ing sphere. The four "wings" are painted in the four basic
colours. The child corresponds to Hiranyagarbha and to the
homunculus of the alchemists. The mythologem of the "Divine
Child" is based on ideas of this sort. 31

Figure 38

6 93 Mandala in rotation, by the same patient, who did Figures
21 and 23. A notable feature is the quaternary structure of the
golden wings in combination with the triad of three dogs run-
ning round the centre. They have their backs to it, indicating
that for them the centre is in the unconscious. The mandala
contains another unusual feature a triadic motif turning to
the left, while the wings turn to the right. This is not accidental.
The dogs represent consciousness "scenting" or "intuiting" the
unconscious; the wings show the movement of the unconscious
towards consciousness, as corresponded to the patient's situation
at the time. It is as if the dogs were fascinated by the centre
although they cannot see it. They seem to represent the fascina-
tion felt by the conscious mind. The picture embodies the
above-mentioned sesquitertian proportion (3 : 4).

Figure 39

6 94 The same motif as before, but represented by hares. From
a Gothic window in the cathedral at Paderborn. There is no
recognizable centre though the rotation presupposes one.

Figure 40

695 Picture by a young woman patient. It too exhibits the
sesquitertian proportion and hence the dilemma with which
Plato's Timaeus begins, and which as I said plays a considerable
role in alchemy, as the axiom of Maria. 32

30 The Secret of the Golden Flower (1962), p. 22.

31 Cf. the sixth and seventh papers in this volume.

32 Cf. "A Psychological Approach to the Dogma of the Trinity," par. 184.

378

CONCERNING MANDALA SYMBOLISM

Figure 41

696 This picture was done by a young woman patient with a
schizoid disposition. The pathological element is revealed in the
"breaking lines" that split up the centre. The sharp, pointed
forms of these breaking lines indicate evil, hurtful, and de-
structive impulses which might hinder the desired synthesis of
personality. But it seems as if the regular structure of the sur-
rounding mandala might be able to restrain the dangerous
tendencies to dissociation. And this proved to be the case in
the further course of the treatment and subsequent develop-
ment of the patient.

Figure 42

6 97 A neurotically disturbed mandala. It was drawn by a young,
unmarried woman patient at a time that was full of conflict:
she was in a dilemma between two men. The outer rim shows
four different colours. The centre is doubled in a curious way:
fire breaks out from behind the blue star in the black field,
while to the right a sun appears, with blood vessels running
through it. The five-pointed star suggests a pentagram symboliz-
ing man, the arms, legs, and head all having the same value. As
I have said, it signifies the purely instinctual, chthonic, uncon-
scious man. (Cf. Figs. 26 and 27.) The colour of the star is blue
of a cool nature, therefore. But the nascent sun is yellow and
red a warm colour. The sun itself (looking rather like the
yolk of an incubated egg) usually denotes consciousness, illumi-
nation, understanding. Hence we could say of this mandala: a
light is gradually dawning on the patient, she is waking out of
her formerly unconscious state, which corresponded to a purely
biological and rational existence. (Rationalism is no guarantee
of higher consciousness, but merely of a one-sided one!) The
new state is characterized by red (feeling) and yellow or gold
(intuition). There is thus a shifting of the centre of personality
into the warmer region of heart and feeling, while the inclusion
of intuition suggests a groping, irrational apprehension of
wholeness.

379

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

Figure 43

6 9 8 This picture was done by a middle-aged woman who, with-
out being neurotic, was struggling for spiritual development
and used for this purpose the method of active imagination.
These efforts induced her to make a drawing of the birth of a
new insight or conscious awareness (eye) from the depths of the
unconscious (sea). Here the eye signifies the self.

Figure 44

699 Drawing of motif from a Roman mosaic on the floor of a
house in Moknine, Tunis, which I photographed. It represents
an apotropaism against the evil eye.

Figure 45

7 Mandala from the Navaho Indians, who with great toil
prepare such mandalas from coloured sand for curative pur-
poses. It is part of the Mountain Chant Rite performed for the
sick. Around the centre there runs, in a wide arc, the body of
the Rainbow Goddess. A square head denotes a female deity, a
round one a male deity. The arrangement of the four pairs of
deities on the arms of the cross suggests a swastika wheeling to
the right. The four male deities who surround the swastika are
making the same movement.

Figure 46

7 01 Another sand-painting by the Navahos, from the Male
Shooting Chant. The four horned heads are painted in the four
colours that correspond to the four directions. 33

Figure 47

7a Here, for comparison, is a painting of the Egyptian Sky
Mother, bending, like the Rainbow Goddess, over the "Land"
with its round horizon. Behind the mandala stands presum-
ably the Air God, like the demon in Figures 3 and 34. Under-
neath, the arms of the ka, raised in adoration and decked with

33 I am indebted to Mrs. Margaret Schevill for both these pictures. Figure 45 is
a variant of the sand-painting reproduced in Psychology and Alchemy, fig. 110.

380

CONCERNING MANDALA SYMBOLISM

the eye motif, hold the mandala, which probably signifies the
wholeness of the "Two Lands." 34

Figure 48

73 This picture, from a manuscript of Hildegard of Bingen,
shows the earth surrounded by the ocean, realm of air, and
starry heaven. The actual globe of the earth in the centre is
divided into four. 35

74 Bohme has a mandala in his book XL Questions concern-
ing the Soule (see Fig. 1 of preceding paper). The periphery
contains a bright and a dark hemisphere turning their backs to
one another. They represent ununited opposites, which pre-
sumably should be bound together by the heart standing be-
tween them. This drawing is most unusual, but aptly expresses
the insoluble moral conflict underlying the Christian view of
the world. "The Soul," Bohme says, "is an Eye in the Eternal
Abyss, a similitude of Eternity, a perfect Figure and Image of
the first Principle, and resembles God the Father in his Person,
as to the eternal Nature. The Essence and Substance of it,
merely as to what it is purely in itself, is first the wheel of
Nature, with the first four Forms." In the same treatise Bohme
says: "The substance and Image of the soul may be resembled
to the Earth, having a fair flower growing out of it . . ." "The
Soul is a fiery Eye . . . from the eternal Centre of Nature
... a similitude of the First Principle." 36 As an eye, the soul
"receives the Light, as the Moon does the glance of the Sun
. . . for the life of the soul has its original in the Fire." 37

Figures 49 and 50

75 Figure 49 is especially interesting because it shows us very
clearly in what relationship the picture stands to the painter.
The patient (the same as did Fig. 42) has a shadow problem.
The female figure in the picture represents her dark, chthonic
side. She is standing in front of a wheel with four spokes, the
two together forming an eight-rayed mandala. From her head

34 The drawing was sent to me from the British Museum, London. The original
painting appears to be in New York.

35 Lucca, Biblio theca governativa, Cod. 1942, fol. 37'.
36,4 Summary Appendix of the Soul, p. 117.

37 ibid., p. 118.

38l

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

spring four snakes, 38 expressing the tetradic nature of conscious-
ness, but in accordance with the demonic character of the pic-
turethey do this in an evil and nefarious way, since they
represent evil and destructive thoughts. The entire figure is
wrapped in flames, emitting a dazzling light. She is like a fiery
demon, a salamander, the medieval conception of a fire sprite.
Fire expresses an intense transformation process. Hence the
prima materia in alchemy was symbolized by the salamander in
the fire, as the next picture shows. 39 The spear- or arrow-head
expresses "direction": it is pointing upwards from the middle
of the head. Everything that the fire consumes rises up to the
seat of the gods. The dragon glowing in the fire becomes volatil-
ized; illumination comes through the fiery torment. Figure 49
tells us something about the background of the transformation
process. It depicts a state of suffering, reminiscent on the one
hand of crucifixion and on the other of Ixion bound to the
wheel. From this it is evident that individuation, or becoming
whole, is neither a summum bonum nor a summum desider-
atum, but the painful experience of the union of opposites.
That is the real meaning of the cross in the circle, and that is
why the cross has an apotropaic effect, because, pointed at evil,
it shows evil that it is already included and has therefore lost
its destructive power.

Figure 51

706 This picture was done by a sixty-year-old woman patient
with a similar problem: A fiery demon mounts through the
night towards a star. There he passes over from a chaotic into
an ordered and fixed state. The star stands for the transcendent
totality, the demon for the animus, who, like the anima, is the
connecting link between conscious and unconscious. The pic-
ture recalls the antique symbolism found, for instance, in
Plutarch: 40 The soul is only partly in the body, the other part
is outside it and soars above man like a star symbolizing his
"genius." The same conception can be found among the al-
chemists.

38 Cf. the four snakes in the chthonic, shadow-half of Picture 9 in the preceding
paper.

39 Figure X from Lambspringk's Symbols in the Musaeum hermeticum (Waite
trans., I, p. 295). 40 De genio Socratis, cap. XXII.

382

CONCERNING MANDALA SYMBOLISM

Figure 52

77 Picture by the same patient as before, showing flames with
a soul rising up from them, as if swimming. The motif is re-
peated in Figure 53. Exactly the same thing and with the same
meaning can be found in the Codex Rhenoviensis (fifteenth
century), Zurich (Fig. 54). The souls of the calcined prima
materia escape as vapours, in the form of human figures looking
like children (homunculi). In the fire is the dragon, the chthonic
form of the anima mundi, which is being transmuted.

Figures 55 and 54

708 Here I must remark that not only did the patient have no
knowledge of alchemy but that I myself knew nothing at that
time of the alchemical picture material. The resemblance be-
tween these two pictures, striking as it is, is nothing extra-
ordinary, since the great problem and concern of philosophical
alchemy was the same as underlies the psychology of the un-
conscious, namely individuation, the integration of the self.
Similar causes (other things being equal) have similar effects,
and similar psychological situations make use of the same sym-
bols, which on their side rest on archetypal foundations, as I
have shown in the case of alchemy.

Conclusion

79 I hope I have succeeded in giving the reader some idea of
mandala symbolism with the help of these pictures. Naturally
my exposition aims at nothing more than a superficial survey of
the empirical material on which comparative research is based.
I have indicated a few parallels that may point the way to
further historical and ethnic comparisons, but have refrained
from a more complete and more thorough exposition because
it would have taken me too far.

7 10 I need say only a few words about the functional significance
of the mandala, as I have discussed this theme several times
before. Moreover, if we have a little feeling in our fingertips
we can guess from these pictures, painted with the greatest devo-
tion but with unskilful hands, what is the deeper meaning that
the patients tried to put into them and express through them.
They are yantras in the Indian sense, instruments of meditation,

383

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

concentration, and self-immersion, for the purpose of realizing
inner experience, as I have explained in the commentary to the
Golden Flower. At the same time they serve to produce an
inner order which is why, when they appear in a series, they
often follow chaotic, disordered states marked by conflict and
anxiety. They express the idea of a safe refuge, of inner rec-
onciliation and wholeness.

7 11 I could produce many more pictures from all parts of the
world, and one would be astonished to see how these symbols
are governed by the same fundamental laws that can be ob-
served in individual mandalas. In view of the fact that all the
mandalas shown here were new and uninfluenced products, we
are driven to the conclusion that there must be a transconscious
disposition in every individual which is able to produce the
same or very similar symbols at all times and in all places. Since
this disposition is usually not a conscious possession of the
individual I have called it the collective unconscious, and, as
the bases of its symbolical products, I postulate the existence of
primordial images, the archetypes. I need hardly add that the
identity of unconscious individual contents with their ethnic
parallels is expressed not merely in their form but in their
meaning.

7 1 * Knowledge of the common origin of these unconsciously
preformed symbols has been totally lost to us. In order to re-
cover it, we have to read old texts and investigate old cultures,
so as to gain an understanding of the things our patients bring
us today in explanation of their psychic development. And
when we penetrate a little more deeply below the surface of the
psyche, we come upon historical layers which are not just dead
dust, but alive and continuously active in everyone maybe to a
degree that we cannot imagine in the present state of our knowl-
edge.

334

APPENDIX

MANDALAS 1

7*3 The Sanskrit word mandala means "circle" in the ordinary
sense of the word. In the sphere of religious practices and in
psychology it denotes circular images, which are drawn, painted,
modelled, or danced. Plastic structures of this kind are to be
found, for instance, in Tibetan Buddhism, and as dance figures
these circular patterns occur also in Dervish monasteries. As
psychological phenomena they appear spontaneously in dreams,
in certain states of conflict, and in cases of schizophrenia. Very
frequently they contain a quaternity or a multiple of four, in
the form of a cross, a star, a square, an octagon, etc. In alchemy
we encounter this motif in the form of quadratura circuli.

7*4 In Tibetan Buddhism the figure has the significance of a
ritual instrument (y antra), whose purpose is to assist meditation
and concentration. Its meaning in alchemy is somewhat similar,
inasmuch as it represents the synthesis of the four elements
which are forever tending to fall apart. Its spontaneous occur-
rence in modern individuals enables psychological research to
make a closer investigation into its functional meaning. As a
rule a mandala occurs in conditions of psychic dissociation or
disorientation, for instance in the case of children between the
ages of eight and eleven whose parents are about to be divorced,
or in adults who, as the result of a neurosis and its treatment,
are confronted with the problem of opposites in human nature
and are consequently disoriented; or again in schizophrenics

i [Written especially for Du: Schweizerische Monatsschrift (Zurich), XV:4 (April
1955), 16, 21, and subscribed "January 1955." The issue was devoted to the Eranos
conferences at Ascona, Switzerland, and the work of C. G. Jung. (An anonymous
translation into English accompanying the article has been consulted.) With Dr.
Jung's article also were several examples of mandalas, including the frontispiece
of this volume and fig. 1, p. 297. While this brief article duplicates some material
given elsewhere in this volume, it is presented here as a concise popular statement
on the subject. Editors.]

387

APPENDIX

whose view of the world has become confused, owing to the in-
vasion of incomprehensible contents from the unconscious. In
such cases it is easy to see how the severe pattern imposed by a
circular image of this kind compensates the disorder and con-
fusion of the psychic state namely, through the construction of
a central point to which everything is related, or by a concentric
arrangement of the disordered multiplicity and of contradic-
tory and irreconcilable elements. This is evidently an attempt
at self-healing on the part of Nature, which does not spring from
conscious reflection but from an instinctive impulse. Here, as
comparative research has shown, a fundamental schema is made
use of, an archetype which, so to speak, occurs everywhere and
by no means owes its individual existence to tradition, any more
than the instincts would need to be transmitted in that way. In-
stincts are given in the case of every newborn individual and
belong to the inalienable stock of those qualities which charac-
terize a species. What psychology designates as archetype is really
a particular, frequently occurring, formal aspect of instinct, and
is just as much an a priori factor as the latter. Therefore, despite
external differences, we find a fundamental conformity in man-
dalas regardless of their origin in time and space.
7*5 The "squaring of the circle" is one of the many archetypal
motifs which form the basic patterns of our dreams and fantasies.
But it is distinguished by the fact that it is one of the most im-
portant of them from the functional point of view. Indeed, it
could even be called the archetype of wholeness. Because of this
significance, the "quaternity of the One" is the schema for all
images of God, as depicted in the visions of Ezekiel, Daniel, and
Enoch, and as the representation of Horus with his four sons
also shows. The latter suggests an interesting differentiation, in-
asmuch as there are occasionally representations in which three
of the sons have animals' heads and only one a human head, in
keeping with the Old Testament visions as well as with the em-
blems of the seraphim which were transferred to the evangelists,
and last but not least with the nature of the Gospels them-
selves: three of which are synoptic and one "Gnostic." Here I
must add that, ever since the opening of Plato's Timaeus ("One,
two, three . . . but where, my dear Socrates, is the fourth?")
and right up to the Cabiri scene in Faust, the motif of four as
three and one was the ever-recurring preoccupation of alchemy.

388

APPENDIX

7 l6 The profound significance of the quaternity with its singular
process of differentiation extending over the centuries, and now
manifest in the latest development of the Christian symbol, 2
may exp'ain why Dn chose just the archetype of wholeness as
an example of symbol formation. For, just as this symbol claims
a central position in the historical documents, individually too
it has an outstanding significance. As is to be expected, individ-
ual mandalas display an enormous variety. The overwhelming
majority are characterized by the circle and the quaternity. In
a few, however, the three or the five predominates, for which
there are usually special reasons.

7*7 Whereas ritual mandalas always display a definite style and
a limited number of typical motifs as their content, individual
mandalas make use of a well-nigh unlimited wealth of motifs
and symbolic allusions, from which it can easily be seen that
they are endeavouring to express either the totality of the in-
dividual in his inner or outer experience of the world, or its
essential point of reference. Their object is the self in contra-
distinction to the ego, which is only the point of reference for
consciousness, whereas the self comprises the totality of the
psyche altogether, i.e., conscious and unconscious. It is there-
fore not unusual for individual mandalas to display a division
into a light and a dark half, together with their typical symbols.
An historical example of this kind is Jakob Bohme's mandala, in
his treatise XL Questions concerning the Soule. It is at the
same time an image of God and is designated as such. This is
not a matter of chance, for Indian philosophy, which developed
the idea of the self, Atman or Purusha, to the highest degree,
makes no distinction in principle between the human essence
and the divine. Correspondingly, in the Western mandala, the
scintilla or soul-spark, the innermost divine essence of man, is
characterized by symbols which can just as well express a God-
image, namely the image of Deity unfolding in the world, in
nature, and in man.

7 l8 The fact that images of this kind have under certain circum-
stances a considerable therapeutic effect on their authors is em-
pirically proved and also readily understandable, in that they
often represent very bold attempts to see and put together

2 [Proclamation of the dogma of the Assumption of the Virgin, in 1950. Cf. Psy-
chology and Religion: West and East, pars, ngff., 251L, 7481!. - Editors.]

389

APPENDIX

apparently irreconcilable opposites and bridge over apparently
hopeless splits. Even the mere attempt in this direction usually
has a healing effect, but only when it is done spontaneously.
Nothing can be expected from an artificial repetition or a delib-
erate imitation of such images.

39

BIBLIOGRAPHY

BIBLIOGRAPHY

The items of the bibliography are arranged alphabetically under two
headings: A. Ancient volumes containing collections of alchemical
tracts by various authors; B. General bibliography, including cross-
references to the material in section A. Short titles of the ancient
volumes are printed in capital letters.

A. ANCIENT VOLUMES CONTAINING

COLLECTIONS OF ALCHEMICAL TRACTS

BY VARIOUS AUTHORS

ARS CHEMICA, quod sit licita recte exercentibus, probationes

doctissimorum iurisconsultorum. . . . Argentorati [Strasbourg],

1566.

Contents quoted in this volume:

Septem tractatus seu capitula Hermetis Trismegisti aurei [pp.

7-31; usually referred to as "Tractatus aureus"]

ARTIS AURIFERAE quam chemiam vocant. . . . Basileae [Basel],

I>593]- 2 vols -

Contents quoted in this volume:

VOLUME I

i Allegoriae super librum Turbae [pp. 139-45]
ii Aurora consurgens, quae dicitur Aurea hora [pp. 185-246]
iii [Zosimus:] Rosinus ad Sarratantam episcopum [pp. 277-

3i9]
iv [Kallid:] Calidis Liber secretorum [pp. 325-51]
v Tractatulus Aristotelis de practica lapidis philosophici

[pp. 361-73]
vi Rachaidibus: De materia philosophici lapidis [pp. 397-404]
vii Liber de arte chymica [pp. 575-631]

VOLUME 11

viii Rosarium philosophorum [pp. 204-384]; contains a version
of the "Visio Arislei," pp. 246!!. Another edition of the

393

BIBLIOGRAPHY

Artis auri ferae, occasionally quoted in this volume, ap-
peared in 1572 at Basel; contains the "Tractatus aureus,"
pp. 641ft.

Mangetus, Joannes Jacobus (ed.). BIBLIO THECA CHEMICA
CURIOSA, seu Rerum ad alchemiam pertinentium thesaurus
instructissimus . . . Coloniae Allobrogum [Geneva], 1702, 2 vols.

Contents quoted in this volume:
volume 1
i Hermes Trismegistus: Tractatus aureus de lapidis physici

secreto [pp. 400-45]
ii Morienus: Liber de compositione alchemiae [pp. 509-19]

VOLUME 11
iii Sendivogius: Epistola XIII [p. 496]

THEATRUM CHEMICUM, praecipuos selectorum auctorum trac-
tatus . . . continens. Ursellis [Ursel] and Argentorati [Stras-
bourg], 1602-61. 6 vols. (Vols. I III, Ursel, 1602; Vols. IV-VI,
Strasbourg, 1613, 1622, 1661 respectively.)

Contents quoted in this volume:

VOLUME I

i Dorn: Speculativae philosophiae, gradus septem vel decern

continens [pp. 255-310]
ii Dorn: De tenebris contra Naturam et vita brevi [pp. 518-

35]
iii Dorn: De transmutatione metallorum [pp. 563-646]

VOLUME 11

iv Dee: Monas hieroglyphica [pp. 218-43]

VOLUME IV

v Hermetis Trismegisti Tractatus vere aureus de lapide phil-
osophici secreto [pp. 672-797; usually referred to as
"Tractatus aureus"]

vi David Lagneus: Harmonia seu Consensus philosophorum
chemicorum (frequently called Harmonia chemica) [pp.

813-903]

VOLUME V

vii Mennens: De aureo vellere . . . libri tres [pp. 267-470]

394

BIBLIOGRAPHY

VOLUME VI

viii Vigenerus (Blaise de Vigenere): Tractatus de igne et sale
[PP- i-i39]

B. GENERAL BIBLIOGRAPHY

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Adler, Gerhard. Studies in Analytical Psychology. London, 1948;
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Aelian. De natura animalium, etc. Edited by Rudolf Hercher.
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Aetius. De placitis philosophorum reliquiae. In: Hermann Diels
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Afanas'ev, E. N. Russian Fairy Tales. Translated by Norbert Guter-
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Agricola, Georg. De animantibus subterraneis. Basel, 1549.

Aldrovandus, Ulysses [Ulisse Aldrovandi]. Dendrologiae libri duo.
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"Allegoriae sapientum supra librum Turbae." See (A) Artis auri-
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Amitdyur-dhydna Sutra. In: Buddhist Mahdyana Sutras, Part II.
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Aptowitzer, Victor. "Arabisch-Judische Schopfungs theorien," He-
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Apuleius, Lucius. The Golden Ass. Translated by Robert Graves.
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417

INDEX

INDEX

abaissement du niveau mental, 119,
120, 139, 155

abandonment, 167/

Abarbanel/Abrabanel, Judah, see
Leone Ebreo

Abercius inscription, 3 ion

ablution, 129

Abraham, Karl, 15371

Achurayim, 29871, 328, 329/, 335

Acts of the Apostles, 263

Adam, 26/, 317; Belial, 32871; First,
33871; Second, 13471, 141

Adler, Alfred, 43

Adler, Gerhard, 35271

Aelian, 23671

Aeons, 29572, 310, 319, 32871

aesthetics, and morals, conflict, 28

Aetius, 32571

Afanas'ev, E. N., 24271

Africa, East, 95; see also Kenya

agathodaimon, 317

dypota, 272

Agricola, Georg, 15871

Ain-Soph, 32871

Air God, 380

albedo, 14071

alchemists/ alchemy, 58, 70, 133,
14177, 305, 312, 328, 366, 375, 382;
anima in, 286; Bohme and, 12,
341; Chinese, 293, 358; and en-
ergy, 33; and fish, 140; hermaphro-
dite/androgyny in, 192, 384; and
individuation, 41; lightning in,
295; mandalas in, 387; and
Mercury/ Mercurius, 314, 317; and
prolongation of life, 136; and
spirit, 38, 208, 215; and synonyms

for lapis, 171; triad in, 234; and
union of opposites, 109; and unit-
ing symbol, 289; and wise old
man, 35
alcheringa/alchera/alcheringa-

mijina, 40, 125, 12672, 154
alcohol, 209

Aldrovandus, Ulysses, 2572, 12472
Alexander the Great, 144, 145, 343
"Allegoria super librum Turbae,"

15872
allegory, distinguished from symbol,

672

altar, 202

ambivalence: of anima, 200; of ma-
ternal attri butes, 82

America /American, 22, 37372

amethysts, 300

Amitdyur-dhyana Sutra, 32772, 34472

amnesias, 120

amulets, 197

anaesthetic areas, 120

analysis, 39; personal, and arche-
types, 47; see also dream-analysis

analyst: parental imagos projected
on, 60; as saviour, 61; see also doc-
tor

anamnesis, 189

ancestors, 188; identification with,
126

ancestral: roles, 124; souls, 125

ancestress, 81

Ancient of Days, 226

androgyny, Christ's, 174

angel(s): fallen, 214; "fatherly" and
"motherly," 310/, 317, 324; first,
143; twelve wicked, 324

angelos, 143

Angelus Silesius, 1 1

421

INDEX

anima, 2^ff, 41, tfff, 123, 175, 177,
239/, 242, 244#, 247, 270/, 284, 285,
317, 32071, 357, 374, 382; in al-
chemy, 286; ambivalence of, 200;
and animals, 200; an archetype,
27, 37, 82, 94, 182/, 198; archetype
of life, 32; autonomy of, 30; bi-
polar, 199; conservative, 28; deri-
vation, 209; empirical concept, 56;
experiences, significance of, 203;
femininity of, 27, 69; image, 69;
Kore as, 199; as ligamentum cor-
poris et spiritus, 313; in literature,
71; localization of, 286; loss of,
71/; as Mercurius, 21m; and
mother, 29; in mother complex,
85; old man as, 229; possession
caused by, 124; projection of, 29,
89, 203; religious tinge in, 199; se-
cret knowledge of, 30/; as soul, 26,
211; in syzygy, 65; and therapy, 71

Anima Christi, 328/1

anima mundi, 236, 312, 383

animal(s), 158, 16 in; and anima,
199, 200; archetype as, 216; child-
protecting, 168; chthonic, 159; in
fairytales, 221, 230/; helpful, 81,
231, 242; kingdom of heaven and,
35; in mandala, 366; mother as,
85; poltergeist as, 256; powerful,
187; psyche of, 125; symbolic, 166;
talking, 215; see also bear; bees;
beetle; birds; bull; butterfly; cat;
cow; coyote; crab, crayfish, croco-
dile; crow; dog; dolphin; dove;
eagle; elephant; elk; falcon; fish;
goat; goose; hare; hawk; horse;
lamb; leopard; lion; magpie; mon-
key; octopus; peacock; pig; raven;
sea-horse; serpent; sheep; snake;
spider; swan; tiger; tortoise; verte-
brates; vulture; wolf; worm

animosity, 94

animus, 25n, 30, 177, 183, 247, 284,
290/, 306, 317, 318, 333, 336, 357,
382; danger from, 344n; deriva-
tion, 209; -figure, 191; localization
of, 286; as mediating function,

42

197; old man as, 229; "positive,"
215; possession by, 124; repre-
sented by quicksilver, 312; repre-
sents spirit, 244

Anne, St., 44^ 68n

anthracites, 300

anthrax, 300^ 33 m

Anthroparion/ dvdpuirdpiov, 158, 223

anthropology, 189

Anthropos, 293, 294, 304, 308, 312,
3*3> 366, 377

Antichrist, 141

antimony, 301

ape of God, 255

Aphrodite, 327

Apocalypse, 35; Christ of, 51; see
also Revelation, Book of

apocatastasis, 188

Apollo, 236n

apologetics, Christian, 157

apparition, 2i4n

apperception, 66

apple(s), 27, 223, 228

Aptowitzer, Victor, 33 m

Apuleius, 32, 52, 107, 128, 350

aqua permanens, 140

arbor philosophica, 25m, 333; see
also tree, "philosophical"

archetype(s), 4, 58, 153, 177, 357, 384,
388, etc.; activated, 48; as active
personalities, 38; and archetypal
idea, 571; can rearise spontaneous-
ly, 79; cannot be finally explained,
160; constellated, in neuroses, 47;
content not determined, 79; con-
tents of collective unconscious, 42,
43; in dreams, 48^ 53; dynamism
of, 102; function of, 162/f; futurity
of, 164. ff; gods as, 23; identifica-
tion with, 351; as link with past,
160/f; loss of, 69; as mediator, 174;
mother as carrier of, 102; as myths
/mythological, 67, 156; no "ra-
tional" substitute for, 161; origin
of, 101; patterns of instinctual be-
haviour, 44; positive and negative
sides, 226; proof of, 48/f; psycho-
logical meaning, 5; relatively au-

INDEX

tonomous, 40, 222; specific energy
of, 63; of transformation, 38; of
wholeness, 388; see also anima;
animus; child; father; maiden;
mother; self; shadow; wise old
man

Aries, 6

Aristotle, 75; Aristotelian reasoning,

76

arrows, 368/; arrow-head, 382

Ars chemica, 133ft

Artemis, 195

arthropods, 56

Artio, Dea, 195

Artis auri ferae, 134ft, i4on, 14m,
158ft, 174ft, 286ft, 331ft

artists, and anima, 7

ascension, of Christ, 114

ascent, 19

Asiatic cults, 13

"as-if," 156

Asklepios, 311

ass(es): feast of, 258; she-, 198

association, 282; free, 49

Assumption, see Mary, the Virgin

Asterius, Bishop, 177ft

Astrampsychos, 133ft

astrology, 310, 343, 344ft

Aswan, 134

atheism, 62

Athene, 46, 201

Athi plains, 95

athla/0\a, 171, 241

Atlantis, 263

atman/Atman, 142, 171, 224, 325

atoms, 57; atomic fission, 253; atomic
theory, 57; atomic world, 224

Attis, see Cybele-Attis myth

attitude, 238; conscious, onesided-
ness of, 139

attri butes, of anthropomorphic di-
vinities, 188

Augustine, St., 4, 18ft, 75

"Aurea hora," 134ft

aurum philosophicum / potabile fvit-
reum, 305; see also gold, philo-
sophical

Australian aborigines, 126ft; and an-

cestors, 40, 125; soul-atoms and,

57; see also alcheringa
authority, magic, of female, 82
automatismes teleologiques, 155ft
autosuggestion, 63W
Avalon, Arthur, 38ft, 70ft, 185ft,
261ft; see also Woodroffe, Sir John
avatars, 310
Ayik, 170

B

Baba Yaga, 242

babe, unbaptized, 26

Bacon, Josephine D., 185ft

ball: game of, 191, 192; on fools'
feast, 258ft; golden, 160, 370; path-
finding, 220ft

Balli di Sfessania, 260W

Bandelier, Adolf, 255

Banziger, Hans, 352ft

baptism of Christ, 45

Barbelo-Gnosis, 319

Bardesanes, 18

Barlach, Ernst, 215

Baruch, angel, 317, 324

Baruch, Apocalypse of, 295ft

Basel, 265ft

Basilides, 331ft

Bastian, Adolf, 43, 79, 151

Bataks, 102

bath, baptismal, 129

Baubo, 88, 185, 186

Baumgartner, Matthias, 325ft

Baynes, H. G., 190ft

bear, 184, 187, 195, 198, 232

"beautiful and good," 28

Beauvais, 258

bed, 333

bees, 198; "Bees, Woman of the,"
185ft

beetle, 187, 367

behaviour: archetypes of instinctual,
44; pattern of, 5ft

Benares, 369

bene dicta viriditas, 322

Benoit, Pierre, 28, 30, 71, 200, 285,
286ft

423

INDEX

Bernoulli, R., 38

Berthelot, Marcellin, 134*1, 140*1,

15871, 300*1,319*1,330*1
Bes, 106, 215
Bethesda, pool of, 17, 19
Bhutia Busty, 320*1, 327*1
Bible, 20, 141, 237*2; see also New

Testament; Old Testament;

names of individual books
Biedermeier, 28
Binah, 335*1
Bin Gorion, 145*1
biology, and purpose, 260
bird(s): black, 324; dream-symbols,

200ft; earth, 334; in fairytales, 221,

242; in mandala, 366; three, 342;

white, 191, 338; see also crow;

dove; eagle; falcon; goose; hawk;

magpie; peacock; raven; swan;

vulture
birth: of "child," 172; dual/second,

45/, 68; miraculous, 166, 167; see

also rebirth; twice-born
Birth, Virgin, see Virgin Birth
bishop, children's, 257
black, 185, 326
blackness, 301
Blanke, Fritz, 9*1, 10
Block, Raymond de, 60*1
blood, 185*1; bathings in, 184; drink-

ingsof, 184; sacrificial, 192
bloodstone, 327
boat, self-propelled, 220*1
body: one with spirit in God, 324;

subtle, 114, 212
bogies, 82
Bohme, Jakob, 11/, 295ft, 3> 3*3

319, 322*7, 327, 329ft, 341, 354,

375>38i 389

Bon religion, 320, 373*1

bondsman, 171

Book of the Dead, Tibetan, 356

book: in mandala, 372; of secret wis-
dom, 220*1

Bouch^-Leclercq, Auguste, 342*1,

343 n
Bouelles, Charles de, see Bovillus
boulders, 292/, 294

Bousset, Wilhelm, 136*1

Bovillus, Karl, 9

"Boy, Radiant," 158

boy(s), 165; naked, 215*1; spirit as,

215

Bozzano, 295*1

Brahma, city of, 377

Brahma-gods, 286

Brassempouy, "Venus" of, 186

bread, Christ as, 141

breast(s), 343; multiple, 186

bridegroom and bride, 251

Broglie, Louis de, 275

brook, 194

brother-sister pair, royal, 246, 247/

brownies, 223

Buddha, 142, 286, 335, 358; Dis-
course on the Rule, 338; lotus seat
of, 328/, 338*1, 363, 366; and man-
dala, 130; as puer aeternus, 159

Buddhism, 319*1, 373*1; mandala in,
358; , in Tibetan, 356, 387; rein-
carnation in, 113; swastika and,
320; see also Hinayana; Maha-
yana; Zen

Budge, Ernest A. Wallis, 136*1

bugari, 154

bull, 191, 335*1; deities, 310

Bultmann, Rudolf, 104*1

Buri, F., 104*1

butterfly, 187

Bythos, 17

Cabala, 328, 329, 330*1, 335
Cabiri, 224, 234, 388
caduceus, 295*1, 311
Caesarius of Heisterbach, 294/
"Calidis liber secretorum," 134*1
Callot, Jacques, 260
Cancer (zodiacal sign), 342/
cancer, imaginary, 105
carbons, 300
carbuncle, 331*1

Cardan, Jerome (Hieronymus Car-
danus), 243

424

INDEX

carnival, 255, 262

carriage, golden, 191

Cams, C. G., 3, 152, 276

case-histories, 190

Cassian, 176

castle, 361

castration: complex, 68; of mother,
68; self-, 39, 85, 17771

cat, 184

categories, 6771, 76; of the imagina-
tion, 79

Catholic: Church, ritual of, 128;
mysticism, 174; way of life, 12

cauda pavonis, 330, 332, 338, 375,

376

Caussin, Nicholas, 325, 326, 342/1

cave, 81, 135, 141

Cellini, Benvenuto, 45, 18472

cerebellum, 166

cerebrospinal system, 19/

cerebrum, 20

Cervula/Cervulus, 25771

chairs, 332

chakra, 38, 26172, 366

chalice, 160

Chantepie de la Saussaye, P. D., 5971

chaos, and cosmos, 32

Charles, R. H., 29571

chen-yen, 293, 307

cherubim, 366

ch'ien (heaven), 35871

child, 158, 173, 183; abandonment
of, 167$; as archetype, 153^, 178/;
divine, 170, 378; eternal, 179; as
god and hero, 165/f; hermaphro-
ditism of, 173^; "imaginary," 159;
invincibility of, 170^; mythology
of, 151$, 170; numinous charac-
ter of, 168; see also motif

children, ancestors reincarnated in,
124

childhood, early, dreams of, 50

China, Taoism in, 8

Chinese: alchemy, 293; philosophy,
59, 109; yoga, 38

ching (unchangeable power), 359

Chochmah, 33571

chortens, 320

Christ, 108, 333; in alchemy, 31271;
androgyny of, 174; of Apocalypse,
51; ascension, 114; as ass, 259; in
bearskin, vision of, 10; birth of,
festivities, 256/; as bread, 141; and
the Church, 250, 371; divinity of,
13; fiery nature of, 169; fish and
snake attri butes, 369; as friend,
133; in inner colloquy, 132;
Mother of, see Mother of Christ;
outer and inner, 128; sacrifice of,
in Mass, 118; symbol of immortal
man, 121; of self, 367; transfig-
uration, 114; twice-born, 45; see
also Baptism; bread; conception;
Jesus; Virgin Birth

Christ-child, 52, 128, 158, 169

Christianity, 128, 254; and Germanic
tribes, 13/; and Jewish God-con-
cept, 103; monotheism of, 103; of
Negroes, 14; and poverty, 15; "sec-
ond birth" in, 45; spirit in, 46, 211,
213; world-view of, 7

Christianos, 3 1 971

Christians, and ritual murder, 191

Christ-image, 9

Christmas tree(s), 13, 261, 268

Christopher, St., 158

Church, the, 22, 81; bride of Christ,
250, 377; as corpus mysticum, 165;
freedom and obedience in, 13771;
images represented by, 8; loss of
authority, 13; Mother, 29

church, crooked, 221/

Cicero, 32671

cinnabar, 300, 33 m

circle(s), 164, 187, 294, 304, 365; cross
in, 382; God as infinite, 325;
magic, 376; squaring of, 357, 361,
363, 366, 368, 387/

circuits, 326

Circumcision, Feast of, 257

Cistercian Order, 64

city, 81, 361; beloved, 146; heavenly,
35; medieval, 377

Clement, pseudo-, 176

Clement of Alexandria, 176, 325

Clementine Homilies, 324

425

INDEX

Cleopatra, 202

"climax" of life, 307

clock, 187

clown, 264

cock, 360

Codex Rhenoviensis (Zurich), 375,

383

cognition, 76, 171; transcendental
subject of, 171

colloquy, internal, 131/

colours, 332; in Bohme, 313, 331;
bright, 294; four, 308^, 375, 379,
380; and functions, psychic, 335;
light, 305; in mandalas, 323, 326,
362, 379; red/blue, 322; two sym-
bolical, 313; see also black; green;
red

Comarius, 202

comic strips, 26ora

Communism, 127

compass, eight points of, 34471

compensation, 163

complex(es): castration, 67, 68; con-
tent of personal unconscious, 42;
father-, 85, 214, 291; feminine,
8971; in men and women, 214;
feeling-toned, 4; mother-, 46, 67,
69. 85^; of daughter, 86;
feminine, 94; negative, 90, 98/f;
positive, projection of, 99; of
son, 85^; possession and, 122

complex psychology, therapeutic
method of, 40

complexio oppositorum, 147, 312;
Nicholas Cusanus and, 11; see also
opposites

composition, 332

concentration, 384

conception; failure of, 91; miracu-
lous, 166; of Christ, 52

concupiscentia, 356

confirmation lessons, 15

conflict, 288

Confucius, 339

confusion, 278

coniugium solis et lunae, 176

coniunctio, 140, 175, 176, 177, 191,
346

Conrad of Wiirzburg, 364

conscious mind: and ego, 187; one-
sidedness of, 162; in primitives,
153; widening of, 188

consciousness, 142, 171, 357; and
cerebrum, 20; conflict within, 269;
consolidation of, 22; differentia-
tion of, 320; dissociation /dissoci-
ability of, 40, 104; dissolution of,
145; expansion of, 252; eye as sym-
bol of, 337; higher, 39, 141, 169,
283; why seek?, 95; inferior, 18;
maladaptation of, 30; male, 176;
menaced by unconscious, 154; not
whole of psyche, 276; primitive,
lacks coherence, 1 19; and myths,
155/; reduced intensity of, 155;
relics of early stages, 26 m; re-
quires recognition of unconscious,
96; return to darkness, 147; soul
and, 27; subject and object in, 22;
supremacy of, 23; unity of, only a
desideratum, 104; universal, 287/;
urge of, 319; without ego, un-
known, 283; see also ego-conscious-
ness

contemplation, 318, 357

cooking vessel, 8 1

copper, 301, 327

Corinthians, Second Epistle of Paul
to, 328/1

corn, 169

cornucopia, 81

corpus, 313; glorificationis / glorifica-
tion, 114, 171, 358; incorruptibile,
358; mysticum, 367

Corpus Hermeticum, 4, 51, 75

cortices, 328, 336, 338

corybant, 184

counter-earth, 281

country, 81

courtyard, 361

cow, 81, 227; leathern, 129

coyote, 264

crab(s), 187, 315, 342/; hermit, 342

Crawley, Alfred Ernest, 57

crayfish, 342

creation, 308, 356, 357

426

INDEX

crocodile (s), 159, 184, 27 in, $4,212

cross, 29672; alchemical symbol, 301;
in Bohme, 298$, 319, 327; in circle,
382; dream symbol, 198; in man-
dala, 336, 361; in Navajo symbol-
ism, 36371; and swastika, 48, 326;
Virgin Mary as, 82

crow, 33072

crowd: individual in, 126; psychol-
ogy of, 125

crown, 326

crucifixion, 135, 184/, 382; of evil
spirit, 248; of raven, 235/, 241

cryptomnesia, 44, 30871

crystal, 79, 80

Cucorogna, 260

cucullatus, 177

culture, 373

Cumont, Franz, 13572,31171

cupids, 177

Cusanus, Nicholas, 1 1

Custance, John, 3972

Cybele, 195; Cybele-Attis myth, 81,

85

cymbals, 192
Cyranides, 33172

Dactyls, 178, 223

daimonion, 252

Danae, 317

dancer, 184, 18572, 198, 200

dances, 257

dangers, 184

Daniel, 388

Dante, 234, 363

dark, fear of, 169

Dark Night of the Soul, 31972

darkness, 147; place of, 140

Daudet, Leon, 124

daughter: and mother, 188; mother-
complex in, 86#; "nothing-but,"
97/; self expressed by, 187

dead, primitives and souls of, 210

"De arte chymica," 13472

death, 147; early, 85; as symbol /sym-
bolic, 82, 129; voluntary, 32

Decius, 13672

Dee, John, 327

Deesse Raison, 92

De Gubernatis, Angelo, 343

Deianeira, 123, 324

deification rites, 142

deity(ies): male-female pairs, 59;
symbols for, 324/

Delacotte, Joseph, 6472

Delatte, Louis, 33172

delight-maker, 262

delirium, 155

delusions, 50, 1 83

Demeter, 81, 88, 90, 11572, 182, 184/f,
188, 195,203

Democritus (alchemist), 130

Democritus (philosopher) of Abdera,

57> 325
demon(s), 197

Deo concedente, 163/

Dervish monasteries, 387

descent, dual, 45/, 6872

deus terrenus, 171

devil, the, 103, 108, 238, 248, 339,
376; "ape of God," 255; in Faust,
146; fish and snake attri butes, 369;
his grandmo ther, 103; Leviathan
as, 31672; as raven, 240; represents
shadow, 322; spiritual character
of, 213; as tempter, 214

Dhulqarnein, 143^

diamond body, 358

Diana, 195

Diels, Hermann, 32572

Dieterich, Albrecht, 51

Digulleville, Guillaume de, see Guil-
laume de Digulleville

diminutives, 224

Dionysius (pseudo-), the Areopagite,
4,34172

Dionysius Thrax, 32572

Dionysus, 62, 107, 118

Dioscuri, 121, 131, 144, 14772

directions, four, 380

discontent, 70

discontinuity, 27572

427

INDEX

dissociation, 139, 165

distaff, 225

Divine, experience of the, 1 1

divinity, splitting of, 103

divorce, 29, 387

Docetists, 295^1

doctor, 216; see also analyst

doctrinairism, 93

dog(s): in Faust, 146; in Khidr leg-
end, 13671; miraculous, 22071;
three, 378

dogma, 11, 12; and collective uncon-
scious, 12, 22; reward and punish-
ment, 27

dolphin(s), 177, 192

Don Juanism, 85, 87

donkey, see ass

dorje, 358

Dorn, Gerard, 193, 194, 330/1

dove, 45, 52

dragon(s), 159, 166, 197/, 383; in al-
chemy, 376, 377; dream-symbol,
201; evil symbol, 82; in fairytales,
229; in mandala, 382, 383; Mer-
curius as, 311, 377; and "River
Map," 359; sun identified with,
157; symbol of self, 187; water, of
Tao, 18; winged and wingless, 314

dragon's blood, 300

drama, mystery, 117

dream(s), 21, 183, 18471, 189, 282,
283; as anticipation of future, 279;
archetypal, 306; , images in, 189;
and archetypes, 48$; "big," 306,
307; children's, 353; of early child-
hood, 50; and individuation, 130/;
and mythology, 152; psychology
of, 152; relation to dreamer, 118;
repressed instincts sources of, 49;
spirit in, 214^; symbols in series,
53; and therapy of neuroses, 178;

typical, 183; INSTANCES OF DREAMS

(in order of occurrence in text):
lake at foot of mountain, 17;
water, 18; mountain (Grail Cas-
tle), 19; black and white magician,
34, 216/; white bird and woman,
191; bull and child, 191; golden

pig and hole, 191; youth with cym-
bals, 192; sheep sacrifice, 192; den
of snakes, 192; divine woman
sleeping, 192; fields of grain, 193;
sky-woman on mountain, 195;
bear-goddess, 195/; pictures by H.
C. Lund, 197; dancer who changes
shape, 198; girl on cross in church,
198; transformations into animals,
200/; grey world-globe, 306; snake
requiring sacrifice, 30671; table
and chairs, 332; bed moved from
its place, 333; young man with
lamp in eye, 336; horned animal
that ate others, 353; embroidery
pattern, 362; magnolia tree in
Liverpool, 364
dream-analysis, and free association,

49
dromenon, 128
dualism, Manichaean, 103
Du Cange, Charles, 25771, 258, 259
Duchesne, Louis, 18571
duplication motif, 344
Diirkheim, Emile, 79
Dutch East Indies, 365
dwarf(s), 158, 165, 215, 222
dyad, 375

E

eagle, 33571, 376

earth, 81; Mother, see Mother; Vir-
gin Mary as, 107

east, symbolism of, attraction of
Europeans to, 8

Easter: candle, 18571; eggs, 13

ecclesia spiritualis, 87

Ecclesiasticus, 35471

Eckhart, Meister, 158, 21571

ecstasy, 287

Edem, 310, 317, 324, 33071, 368

Eden, Garden of, 27, 35

education, of the educator, 175

e gg( s )> 292#, 34> 3*9^ 377; golden,
159, 160, 172, 368; in mandala,
347* 37* Orphic, 293, 361; pea-

428

INDEX

cock's, 375; philosophical, 293;
world, 311

ego, 318, 319, 357, 358; and con-
sciousness, 275; differentiation
from mother, 102; not centre of
unconscious, 281; and personality,
165, 187; unconscious and role of,
278

ego-consciousness, 141, 288; and
archetypes, 286; awakening of,
102; emancipation of, 230; iden-
tification with self, 145; possessed
by shadow and anima, 123; primi-
tive, 33; supremacy of, 132

Egypt, 34372; infant in tomb, 134;
initiation in, 14; Mary's flight in-
to, 258; rebirth ritual, 45

Egyptian (s): land of the, 18; repre-
sentation of God, 326

Egyptians, Gospel according to the,
176

eldos, see idea, Platonic

eight, see numbers

Eisler, Robert, 31m

Eleazar, Abraham, 298/1

elements, four, 319, 329, 335

elephant, 187

Eleusis, 14; see also Mysteries

elf, 158

Elgon, Mount, 169, 268

Elgonyi tribe, 17

Eliade, Mircea, 56

Elijah, 141, 145, 237/2

elk, 264

Elohim, 310, 317, 324

Ememqut, 227/

emotion(s), 96, 209, 278; mass, 47;
violent, 120

empiricism, 76

emptiness, 98

Empusa, 82

enantiodromia, 215, 229, 239/2, 272,
346, 348, 353; in symbolic process,

Enoch, 388

entelechy, 164/, 166

enthusiasm, 213

envy, 360

Ephesians, Epistle to the, 121/2, 342/2

Ephesus, 136/2

epidemics, psychic, 127, 157, 278

epilepsy, 78

episcopus puerorum, 257, 258

Epona, 250

Erman, Adolf, 326n

Eros, 86; overdeveloped, 88, g^ff

Erskine, John, 28, 202

esoteric teaching, 7; archetypes in, 5

eternity, 147, 196

ethnology, 53

euhemerism, 157

Euhemeros, 60

Europa, 191

evangelists: attri butes/symbols of,
234/2, 366; four, 341/2, 346/2

Eve, 27, 312, 317

ev il> 337 n > chthonic triad and, 234;
cross and, 382; and good, 103, 215,
217; matter and, 109; reality of,
322/, 341/2

evil eye, 197, 380

evil spirit, 213, 249, 377; transgres-
sion of, 248

exercitia spiritualia, 129, 131/

existences, previous, 287

exposure, of child, 167

extraversion, 238

eye(s), 336; in Bohme, 381; and man-
dala, 337, 361, 377, 380; motif,
346; of Osiris, 226; peacock's, 330;
symbol of consciousness/ God, 337;
of Wotan, 226; see also evil eye

Ezekiel, 346/2; seraphim of, 319;
vision of, 234/2, 355/2, 366; wheel
of, 329/2, 388

energy, 33; consciousness and, 142;

specific, of archetypes, 63
Enkidu, 145
Enlightenment, 157

"factor(s)"; anima as, 27; gods as, 23
fairytales, 155, 207/f; archetypes in,
5, 207$; Estonian, 218; examples:

429

INDEX

fairytales (cont.):

Czar's Son and His Two Compan-
ions, 228/; diagrams on wall, 129/;
Ememqut and the Creator, 227/;
How Orphan Boy Found his Luck,
218/f; Maria Morevna, 242; One-
sided Old Man, 226/; Princess in
the Tree, 231^ 235/, 243/f; Soldier
and Black Princess, 225/; Son-in-
Law from Abroad, 228/; Step-
daughter and Real Daughter, 225;
see also 218-42 passim

faith, 208, 350

falcon, 367

fall, the, 230, 328ft

fantasies, 66, 172, 183; archetypal
images in, 189; and dreams, 49;
Miller, 189; personal, and imper-
sonal, 155; series of, 190

fantasy: creative, 78; erotic, 25; in-
fantile, 83; intensification of, 180

fasces, 48

fascination, 26, 69, 377, 378

fate, goddess of, 81

father, 102; archetype, 16m; -com-
plex, see complex; -figure, in
dreams, 214; -imago, see imago,
parental; pneuma as, 324; self ex-
pressed by, 187; tribal, 62; uncon-
scious incestuous relationship
with, 88

Father and Son, Christian formula
of, 12

fatigue, 120, 139

Faust, 284; see also Goe the

"fear, maker of," 17, 170

Fechner, Gustav Theodor, 54

feeling-values, 103; see also functions

femininity, threeness and, 244

Fendt, Leonhard, 176

Fescennia, 26072

festum: asinorum, 258; fatuorum,
25872; puerorum, 258; stultorum,

257
Ficino, Marsilio, 31472
field, 81

Fierz-David, Linda, 2872, 12472
figures, geometrical, 1 87

fill a my stic a, 201

filius: philosophorum, 140; regius,

215; sapientiae, 106, 158, 171
Finland, child-motif in, 151
fire, 169, 316, 32772., 356; ever-living,

33; fire-god, 51; wise old man and,

224
firmament, 187
first half of life, 120
fish, 146; in Abercius inscription,

31072; alchemical "round," 140;

content of unconscious, 139;

Great, 310; in Khidr legend, 138/;

in mandala, 369/; meals, of early

Christians, 141; "Nun" as, 138;

symbol, 142; , of mother, 82; ,

of saviour, 18; transformation of,

141
Fishes, aeon of, 309, 310
five, see numbers
Flamel, Nicholas, 14072
flash, 295/

Flournoy, Theodore, 55, 15572
flower(s), 159, 160, 187, 361, 365, 367;

Golden, 363

flute, 22072

Fo, 159

fog, blue, 353

folklore, 217; child motif in, 158;

devil in, 255
folktales, 184, 2i7#
font: baptismal, 45, 81; benediction

of, 45
fools' feast/holiday, 257, 258
force, lines of, 306, 313
Fordham, Michael, 15672
Forest, King of the, 222
foster-parents, fantasy of, 45
Foucart, Paul Francois, 17772
fountain, 221; Mercurial, 14072
four: a feminine number, 234; see

also numbers
fourness, 234
France, 258

Franz, Marie-Louise von, 21772
freedom, 163
Freeman, Kathleen, 32572

430

INDEX

Freud, Sigmund: and aetiology of
neuroses, 83; and free association,
49; on Leonardo, 44, 46, 68/2; and
Oedipus legend, 152-3/1; on reli-
gious inhibition of thought, 6972;
theory and method, 54/; view of
psyche, 43; view of unconscious, 3,
277, 284

Freudian, 303; psychology, 29

friend(s), 133; pair of, 147; two,
parable of, 121/; two helpful, 147

friendship, 86; of Mithras and sun-
god, 131; of Moses and Khidr, 122;
of two birds, 121/

Frobenius, Leo, 31072

function(s): four psychic, 77, 153,
237/> 320, 332; -, and colours, 335;
inferior, 123, 237, 238, 241, 244,
33> 332; loss of, hysterical, 120;
pairs of, 30371; superior, 238;
three/triad of, 241, 242; transcen-
dent, 289; triads of, 33071; see also
feeling

Galatea, 373

gana, 11971

Garbe, Richard, 82 n

garden, 81

garnet(s), 300, 301

Gebhurah, 33572

Gedulah, 33572

Geist, 209"

genes, 284

Genesis, Book of, 29972

germ, golden, 368, 370

Germanic: soul, 146; tribes, and

Christianity, 13/
Germany, 127

Gessmann, Gustav Wilhelm, 30072
"getting stuck," 38, 291, 318
ghost, 215
ghost-stories, 158
ghost trap, 268
giant, 16172
Gilgamesh, 145
girl, unknown young, 184

43

Glauber, Johann Rudolph, 331/2

globes, 374

Gnosticism/ Gnosis/ Gnostic, 12, 191,
310, 368; coniunctio in, 175, 177;
hermaphrodite in, 174; and Holy
Ghost, 64; of Justin, 317, 324,
33072; Naassene, 368; peacock in,
375; "psychic" and "spiritual"
man in, 26; spirit/dove in, 45;
syzygies in, 59, 70; see also Barbelo-
Gnosis; Soul, Hymn to the

goat, 226, 338, 339, 342

god(s), 199; child-, 151, 158, 165$;
fire-, 51; "light," 103; as psychic
factors, 23; self expressed by, 187;
seven planetary, 13672; sun as, 6,
51; unreliability of, 145/

God, 211; back of, 328/2, 330; Chris-
tian conception of, 11; dual vision
of, 64; as Father, Mother, and Son,
in Brother Klaus's vision, 10; four
spirits of, 335; and lotus, 326;
the mandala as an image of, 389;
name of, 330; of New Testament,
11; spirit as, 208, 213; wise old
man and, 225; Yahwistic concep-
tion of, 11; see also Son of God

goddess, 330; anima as, 29; as
mother, 81; Mother, 177/2; self ex-
pressed by, 1 87

godfather/godmother, 45, 68, 93

godhead, spirit and, 211

God-image, 4, 246, 324, 354; see also
Imago Dei

Goethe, 69, 101, 104, 209, 223, 224,
285; Faust, 28, 29, 96/2, 97/2, 98,
114, 146, 158, 159/2, 177, 183, 234,
286/2, 373, 389

Goetz, Bruno, 159, 215/2

Gog, 144, 146

gold, 305, 317; alchemical sign for,
301; hoard of, 157; philosophical,
348, see also aurum philosophi-
cum; and sun, 312; symbol of
Anthropos, 313

Golden Age, 263, 268

good, see evil

goose, of Hermes, 376

INDEX

gorge, 192

Gorgon's head, 189

gospels(s), 128, 141, 346ft, 388

governess, 81

grace, 25, 115, 117, 118, 129, 132, 134

Graeae, 81

grail, 14m

Grail, Castle of the, 19, 24

grain, field of, 193

grandfa ther, 216

grandmo ther, 81, 102; devil's, 103

grass, 143

grave, 82

Great Mother, see Mother s.v. Great

Greece: child-motif in, 151; gods of,

14

green: in fairytale, 222; and sensa-
tion function, 332, 335

gremlins, 223

griffin, 223*2

Grimm, Brothers, 22372, 255

group: identification with, 125^; re-
lation to individual, 127

Guillaume de Digulleville, 64

gunas, 82

guru, 133,216

H

Hades, 14072, 184

Haggard, H. Rider, 28, 30, 71, 200,

285, 28672
hallucination, 21472
HalSaflieni, 186
Hans, Stupid, 255
Hanswurst, 255
Harding, M. Esther, 31672
hare(s), 81, 378

Hartmann, Eduard von, 3, 152, 276
Hauck, Albert, 32472
hawk, 264
heart, 20, 296
heaven, 24, 27, 81; kingdom of, 221;

see also Queen of Heaven
Hecate, ioo, 182, 185, 186
Helen (companion of Simon Magus),

202

Helen of Troy, 28, 30/, 202

Helios, 40, 52, 128

hematite, 327

hemorrhage, 91

hemlock, 17772

heng (all-pervading power), 359

Hephaestus, 374

Hera, 45, 343

Heracles, 45, 123, 167, 171, 343;

cycle, 24172; "Prophet," 324
Heraclitus/Heraclitean, 16, 26, 33
Hercules Morbicida, 30172
heredity, 78
hermaphrodite, 6972, 173, 174, 176,

374; divine, 67; Mercurius as, 158;

Platonic, 192
hermaphroditism, of child, 173$
Hermas, "Shepherd" of, 37
Hermes, 133, 178, 227, 255, 306,

30772, 311, 312, $77; ithyphallic,

106, 314; Kyllenios, 295, 302
Hermes Trismegistus, 472, 37, 311,

374

Hermetic philosophy, 6072, 175, 176;
see also alchemy

hero(es), 197, 199, 218, 229, 285;
birth of, 141; child, 165/f; , as
culture-, 169, 171, 183; cult-, iden-
tification with, 128; myths of, 6972,
172, 180; old man and, 217; self
as, 146; sun as/solar, 6, 34372;
transformations of, 117

heterosuggestion, 6372

hexad, 372

hierogamy, of sun and moon, 31472

hieroglyph, 302

hieros gamos, 109, 176, 177, 229

Hildegard of Bingen, St., 381

HInayana Buddhism, 358

Hindu: philosophy, 36; speculation,

171
Hinduism, 310
Hipparchus, 6
Hippolytus, 166/2, 17772, 29572, 30272,

31172,31772,324,33172
Hiranyagarbha, 142, 368, 370, 371,

377 378
hoard, guarded by dragon, 157

432

INDEX

hobgoblin(s), 216, 223

Hoffmann, E. T. A., 284

Holderlin, Friedrich, 329

Hollandus, Joannes Isaacus, 14071

Holy Ghost, 52, 296; Gnostic inter-
pretation of, 64

Holy Saturday, 45

Homer: Odyssey, 302

Homeric Hymn, 1 1571

homo :altus / interior / maximus,%o$n,
312, 314; philosophicus, 13471;
quadratus, 307

homoousia, 8

homosexuality, 71, 85, 86, 199

homunculus(-i), 159, 165, 223, 293,

3043!5> 373 375> 37^, 383

Honorius of Autun, 219/1

hooded man, 223

Horace, 26072

Horapollo, 46, 49, 31 m

horde, primal, 62

Horneffer, Ernst, 11872

horns, 353, 376

horoscope, 6, 344

horse: black, 34, 35, 217; three-
legged, 232/

Horus, 107; -child, 328, 363/1, 367;
four sons of, 23471, 319, 346??, 366,
388

Hosea, 176

hospital, 194

Hovamol, 24672

Hubert, H., and Mauss, M., 43, 6772,

79
hun (spirit), 32072
hydrogen bomb, 108
hylozoism, 208
hypnosis, 2 1 9

Ialdabaoth, 29872
Iamblichus, 326
ice men, 223

/ Ching, 38, 5972, 21972, 33972, 342,
358, 359

Ichthys, 370; see also fish

icons, 361

id, 372

idea(s): archetypal, 572, 21, 57; his-
tory of the word, 33; inherited,
66; as nomina, 76; Platonic, 4, 33,

75// 79

idealization, 106

identification, 97, 180; with ancestral
souls, 125; with archetype, 351;
with cult-hero, 128; with deceased
persons, 124; regressive, 126; of
self and ego-consciousness, 145;
see also group

identity, group, 125

idleness, 27

Ignatius Loyola, St., 131

illness, 120

illumination, 39

illusion, 198

image(s), 78; archetypal, 39; ,
meaning of, 13; eternal, meaning
of, 8; ideas as, 33; myth-creating
7; pre-existing psychic, 66; pri
mordial, 78, 153; sacred, Reforma
tion and, 12; in symbolic process

38

imagination, active, 49, 53, 15572
190, 193, 216, 292, 332, 351, 352
355> 380

Imago Dei, 4, 246, 354; see also God-
image

imago, parental, 60/, 66

immortality, 117, 136, 142, 188

impotence, 85

incest, 249, 285; sacred, 229; theory,
68-6972

incest-fantasies, 60/, 63, 65

India, 8, 106, 216; child-motif in,
151; "loving and terrible mother"
in, 82; Indian philosophy, 230,
282, 389, see also Hindu philoso-
phy; Sankhya philosophy

individuation, 40, 106, 130, 145^,
*59> !72> J 9 8 > 287, 290/f, 348, 350,
353#> 37 J #; and alchemy, 41; anal-
ogy of creation, 308; dream-sym-
bols of, 130; goal and symbols of,

433

INDEX

individuation (cont.):

164/; hero and, 166; mandala sym-
bol of, 35; meaning, 275, 288; opus
as, 324; spirit of darkness and, 252

industry, 193

infans noster, 158

infantilism, 180

infatuation, 69

inferiority, 180

inflation, 145, 180, 213, 351; nega-
tive, 180

Ingram, John H., 15872

initiate, 117

Innocent III, Pope, 257

Innocents' Day, 257

insane, delusions of the, 183

insanity, 40, 278

inspiration, 213

instinct(s), 303, 388; analogies to
archetypes, 431, a priori, 43; de-
termined in form only, 79; ma-
ternal, 87; , overdevelopment of,
92; physiology of, 55; primitive
man and, 163; repressed, and
dreams, 49

integration, 3 m

intellect: and spirit, 16, 211; spon-
taneous development of, 91

interpretation(s), 157; of anima, 32;
only for the uncomprehending, 31

intoxication, mass, 126

introversion, 238

intuition, 282, 303

invisibility, staff of, 21972

invisible one, 177

Io, 107

Irenaeus, 4, 5972, 6472, 7072,, 26272

Iris, 33072

iron man, 223

Isaiah, Book of, 141, 35072

Isis, 107; mysteries of, 40, 52, 350

island motif, 196

"isms," 61, 62, 349

Ivan, Czarevitch, 242

Ixion, 382

I-You relationship, 8

Izquierdo, Sebastian, 13172

j

Jacobi, Jolande, 35372

Jacobsohn, Helmuth, 24472

Jaffe, Aniela, 28

James, M. R., 1872, 3572, 176

James, William, 55, 210

Janet, Pierre, 55, 119, 155, 276, 277

Jehovah, 214; see also Yahweh

Jerome, St., 31672

Jerusalem, 146; heavenly, 81, 377

Jesus, 317; Oxyrhynchus sayings of,

35; St. Paul and, 121; uncanonical

Gospels, 26; see also Christ; Virgin

Birth
jewel, 160
Jews, 145, 191; concept of God, 103;

persecutions of, 48
Job, 319; Book of, 23772
John, St. (Evangelist), 13672, 299, 300;

(author of Epistles), 215
John of the Cross, St., 31972
Jordan, baptism in, 45
Joshua, 137/, 141
Judgment, Last, 147
Jung, Carl Gustav:

cases in summary (in order of
presentation, numbered for ref-
erence):

[i]Schizophrenic who saw sun's
penis. 50/

[2] Victim of mother and castra-
tion complex. 67/

[3] Philosopher with imaginary
cancer. 104/

[4] Woman with fantasy of primi-
tive mother-figure. 18472

[5] "Case X," spontaneous visual
impressions of Kore archetype.

[6] "Case Y," dreams of same.

[7] "Case Z," dreams with animal
affinities. 200/f

[8]American lady in psychic im-
passe: active imagination ex-
pressed in paintings. 290^

434

INDEX

[9] Woman fond of playing with
forms. 347

See also 362-83; many of the man-
dala pictures are from cases

works: "Aims of Psycho therapy,
The," 352/2; Aion, 41/2, 140/1,
14m, 164/2, 270/2, 285/2, 307/2,
310/2, 367/2, 370/2; "Answer to
Job," 328/2; "Brother Klaus,"
8/2, 64/2; Collected Papers on
Analytical Psychology, 306/2;
Commentary on "The Secret of
the Golden Flower," 59/2, 320/2,
352, 384; "Enigma of Bologna,
The," 25/2; "Instinct and the
Unconscious," 78/2; Integration
of the Personality, The, 3/2;
Memories, Dreams, Reflections,
xi, 355/2, 364/2; Mysterium Con-
iunctionis, 25/2, 155/2, 226/2;
"On the Nature of the Psyche,"
5/2, 314/2, 346/2; "On the Psy-
chology and Pathology of So-
called Occult Phenomena,"
122/2; "Paracelsus as a Spiritual
Phenomenon," 24/2, 136/2,
2 95 n ; S 1 ?* 1 ; "Philosophical
Tree, The," 333/2, 366/2; Prac-
h'ce of Psycho therapy, The,
2 5 n > 36572; Psychiatric Studies,
276/2; "Psychological Approach
to the Dogma of the Trinity,
A," 121/2, 122/2, 32372, 378/2;
Psychological Commentary on
the Tibetan Book of the
Dead, 356/2; Psychological
Types, 123/2, 162/2, 164/7, 167/?,
*75 n , 238/2, 284/2, 28977, 30377;
Psychologische Interpretation
von Kinder traumen, 353/2; Psy-
chology and Alchemy, 34/2,
41/2, 53/2, 64/2, 70/2, 130/2, 133/2,
136/2, 159/2, 164/2, 165/2, 171/2,
187/2, 215/2, 234/2, 235/2, 251/2,
28472, 287/2, 293/2, 300/2, 304/2,
307/2, 310/2, 312/2, 324/2, 326/2,
333 34^, 355> 35 6n , 3 66 ^
373". 374", 37 6n , 380/2; "Psy-
chology of Eastern Meditation,
The," 129/2, 327/2, 344/2, 37577;
"Psychology and Education,"

33/2; "Psychology and Reli-
gion," 136/2, 164/2, 234/2, 310/2,
328/2, 343/2, 355; Psychology
and Religion: West and East,
234/2, 389/2; "Psychology of the
Transference," 29/2, 72/2, 140/2,
314/2, 346; Psychology of the
Unconscious, 50/2, 153/2; "Rela-
tions between the Ego and the
Unconscious," 72/2, 159/2, 175/2,
181/2, 284/2, 288/, 306/2, 352;
"Spirit and Life," 209; "Spirit
Mercurius, The," 133/2, 235/2,
304/2, 307/2, 308/2, 311/2, 333/2,
374/2; "Structure of the Psyche,
The," 154/2; Symbols of Trans-
formation, 27/2, 41/2, 50/2, 82,
107/2, 141/2, 145/2, 153/2, 160/2,
189/2, 190/2, 245/2, 285/2, 287/2,
32972, 336/2, 369/2; "Synchro-
nicity," 109/2, 142/2, 344^;
"Transcendent Function, The,"
^^ *59 w j 289/2; "Transfor-
mation Symbolism in the
Mass," 118/2; Two Essays on
Analytical Psychology, 86/2,
162/2, 164/2, 343/2; "Visions of
Zosimos, The," 13522, 223/2;
Von den Wurzeln des Bewusst-
seins, 3/2; Wandlungen und
Symbole der Libido, 50/2; "Wo-
tan," 251/2

Jung, Emma, 124/2, 247/2

Jupiter, 306, 335/2

Justin (Gnostic), 310, 317, 324, 330/2

ka, 380

Kabbala Denudata, 31472, 328/2,

338/2
Kali, 82, 100, 103
Kallid, see "Calidis . . ."
Kallis thenes, pseudo-, 343
Ka-Mutef, 244
Kant, Emmanuel, 59/2, 67/2, 76, 77,

84, 152
Karkinos, 343
karma, 1 1 3
Karnak, 215
Kenya, 17, 143

435

INDEX

Kenhiyi, Karl, ^n, n>jn, 151, 173,

192, 302n
Kerner, Justinus, 54
Kether, 32871
Keyserling, Count, ngn
Khepera, 367

Khidr, 122, 133, 135/f, 140/, 143$
Khunrath, Henricus, 2g8n, 330^

33 in
Kierkegaard, Spren, 8
kilkhor, 376
king(s): in black and white magician

dream, 34; four great, $ign; "old,"

in alchemy, 3472; seven fallen, 328;

sun as, 157; symbol of self, 187
Kingdom of God, 81; see also

Heaven, Kingdom of
Kings, First Book of, 23771
Kingsford, Anna, 65
Kircher, Athanasius, 15871
Kiswahili, 14371
Klages, Ludwig, 16, 211
Klaus, Brother, see Nicholas of Flue,

St.
klippoth, 328
Knife Prince, 228
Knorr von Rosenroth, Christian,

31471
knowledge: critique of, 101; discrim-
inating, 82
Koepgen, Georg, 17471
Kohler, Reinhold, 23671
Koran, 12271, 135/f, 140, 143/f
Kore, 81, 182/f, 188, 197, 199, 202,

203
Koschei the Deathless, 242
"Krates, Book of," 13471
kuei(-sou\), 59, 212
Kundalini, 362, 368, 370; yoga, see

yoga
Kypris, 327

labours, twelve, 24 1
Lactantius, 29571
lady, white, 198

Lagneus, David, 14071

lamb(s), 232/; with seven horns, 9

Lambspringk, 38271

lamia, 25

Lands, Two, 381

language, history of, 33

Lao-tzu, 290, 341

lapis (philosophorum), 58, 304, 30771,
3 J 2, 3!3 33 1 ", 34<>ra, 3% syno-
nyms for, 171, 305; exilis et vilis,
171; as mediator, 17471

La Rochefoucauld, 2771

laurel, 332, 333

Lavaud, Benoit, ion

layers, circular, 329

lead, 33271

leaden man, 223

Le Bon, Gustave, 12571

Leda, 317

legends, of gods, contradictions in,
102

Leibniz, Gottfried Wilhelm, 152

Leiden, papyri, 51

Leisegang, Hans, 16671

Lenglet du Fresnoy, Pierre Nicolas,
33071

Leonardo da Vinci, 44, 46, 49, 68n

Leone Ebreo, 314

leopard, 198

"letting go," 318

Leucippus, 57

Leviathan, 31 in, 3i6n, 370

LeVy-Bruhl, Lucien, 5, 42, 125^
i26n

li (beneficent power), 359

liberation, 302

Liber mutus, 2571

libertas decembrica, 258

life: anima as archetype of, 32; per-
petual continuation of, 117; pro-
longation of, 136; stone as, i34n

ligamentum corporis et spiritus, 313

light, 147; archetypal, God as, 4, 75;
in Bohme, 296, 299, 389; bringers
of, 169; Maitland's vision of God
as, 65; wave and particle concepts,
312

436

INDEX

lightning, 294/f, 298/1, 299#, 314, 319,

Lilith, 82

Lilius, 33 m

lily, 198

lingam, 106, 357

Lingdam Gomchen, 327/1

lion, 157, 335/2; in fairytales, 221,

232; green, 14072; man-faced, 366;

symbol of self, 187
listlessness, 119
literature, syzygy motif in, 56
liver, 364
Liverpool, 364

Loco Tenente Gobernador, 22
Logos, 96
Loki, 374
loneliness, 169
Longfellow, Henry Wadsworth,

142/1
"Long-lived One," 141
Lord's Prayer, 214
Loreto, Litany of, 363
lotus, 81, 130, 187, 326, 328, 338/1,

35 6 > 3 6l > 3 6 3
Love-desire, 334
Lucifer, 37, 296, 322/1, 329
Ltidy, F., 300/1
Luke, Gospel of, 237/7, 295/2, 296/2,

337
Lund, Hermann Christian, 197
Lupulus, see Woelflin
lust, 360

M

McGlashan, Alan, 260/2

Macrobius, 59

macrocosm, 314

madness, 85

Madonna, 103, 201; see also Mary,
the Virgin

Madura, 355

Maeder, A., 153/2

maenad, 184

magic: of female, 82; fertility, 177;
and primitive man, 154; and re-
birth, 114, 1 28/; sympathetic, 22

magician, 198, 216, 235; black and
white, 34/, 216/; wicked, 227

magnolia, 364

Magog, 144, 146

magpie, 221/2

mahatmas, 216/2

Mahayana Buddhism, 358

maiden, 183, 184, 185, 186, 191, 198;
see also Kore

Maier, Michael, 60/2, 301/2, 312/2,

33 1W
Maitland, Edward, 64/
Maitrayana-Brahmana Upanishad,

37i>377

maize, 142, 169

Majjhima Nikaya, 338/2

Majuj, see Magog

Male Shooting Chant, 380

Malkhuth, 328/2

man, 71; carnal and spiritual, 137/2;
encompassed by a woman, 371; in
Ezekiel's vision, 335/2; feminine
traits in, 124; higher and lower,
137/2; Original, Plato's, 68/2; "psy-
chic," 26; "spiritual," 26; stone as,
134/2; true, see chen-yen

mana, 14, 33

mandala, 81, 130, 296/2, 297, 299, 304,
307/2, 312/f, 323/7, 335#, 387/f;
alchemical, 319/2; antidote for
mental chaos, 10; Bohme's, 12; in
Brother Klaus's vision, 9; child as,
159; division into four, 322; func-
tional significance of, 383/; heav-
enly city as, 35; Lamaic, 358, 360;
pentadic, 347, 361; ritual use of,
358; Tantric, 359; tetradic, 361;
Tibetan, 338/2; triadic, 347, 361

mandapam, 355

Manget, J. J., 133/2, 159/2, 174/2, 319/2

Manichaean dualism, 103

mar, 245

mare tenebrositatis, 140

Maria, axiom of, 234, 237, 245, 300/2,
310,346/2,360,378

Maria Aegyptiaca, 104

Maria Morevna, Queen, 242

Marianus, 159/2

437

INDEX

marriage: divine, 175; insecurity of,
29; wrecking of, 95

Mars, 33571

Martianus Capella, 302

Mary, the Virgin, 46, 81, 82, 18511,
295/1, 329, 367; assumption of, 107,
108, 109, 114, 38871; as earth, 107;
flight into Egypt, 258; fructifica-
tion by tube, 52; laurel and, 333;
"leader of hosts," 242; stone as,
13471

masculine traits, emergence of, 91

Masenius, Jacobus, 34371

mass (mob), 349; identity with, 175;
shadow and, 267; state, totali-
tarian, 213; see also emotion,
mass; intoxication, mass; psyche,
mass; psychology s.v. mob /mass

Mass, the (religious rite), 115, 117;
Black, 191; for the Dead, 29871;
parody of, 260

massa confusa, 301

Mater: Dei, 13671; dolorosa, 92; na-
tura, 92; spiritualis, 92

materia prima, 171

materialism, 109, 211, 213

material: element, hypertrophy of,
87/; instinct, overdevelopment of,

92

matriarchy, primitive, 95; matri-
archal society, 203

matrix, 334

matter, 81, 108, 212; Assumption
and, 109; mother as, 91, 107; One
Substance as, 211; "psychization"
of, 109; relation to psyche, 108;
and Sf>irit, 109, 208, 210

Matthew, Gospel of, 336, 337

Matthews, Washington, 13571

Maya, 357

meaning: of anima, 32; archetype of,
3 2 > 37' 374 h w assigned, 32/;
manifold, of archetypes, 38; un-
conscious core, in myths, 156

Mechthild of Magdeburg, 176

mediator, 164

medicine man, 37, 1 19, 227, 256

meditatio, in alchemy, 40/, 131

meditation, 6371, 318

megalomania, 52, 68, 180

Meier, C. A., 31171, 35271

melothesiae, 343

melusina, 2471, 25

memory, 282

Mennens, Gulielmus, 330, 34m

menstrual: blood, 184; disturbances,

9i

Mephistopheles, 13671, 146, 183, 284

Mercurius/ Mercury, 158, 304, 306;
anima as, 21171; in Bohme, 296,
29871, 300; as dragon, 314; duplex/
duplicity of, 311, 313, 314, 32271,
377; Edem symbol of, 317; identi-
cal, with rotundum, 307; , with
stone, 133; in mandala, 31 1, 312; as
mediator, 30771; Philosophorum,
312; as servant, 17171; spirit,
312; spiritualis, 318; symbols of,
215; as trickster, 255, 374; vulgif
vulgaris I crudus, 312, 317, 345;
wings of, 308, 323, 327, 335; and
Wotan, 246

mercury, see quicksilver

Mercury (planet), 314

Merkabah, 335

Merlin, 227, 245

mermaid, 25; anima and, 25171

Meru, Mount, 377

messenger, 143

Messiah, 29571, 32871

metal(s): alchemical, 158; child-fig-
ure and, 169

metal man, 158, 223

metamorphosis, 158; of the gods, 157

metaphors, 157

metaphysics, 28, 76

metempsychosis, 113

Metra, 319

Meyrink, Gustav, 22171

microbes, 65

microcosm, 188, 308

microphysics, 224

middle, 135, 139, 140

migration, 151, 155

Miller fantasies, 189

Mimir, 226

438

INDEX

mind, 312, 313

miner a, 312

mines, 223

mine-shafts, 158

miscarriages, 91

misogyny, 69

Missal, Roman, 45

Mithras/ Mithraism, 51, 62, 131, 367;
Mithraic altarpieces, 135

Mohammed, 33 m

Moira, 81

Moknine, 380

Mondamin, 142

monkey(s), 159, 185

Monogenes, 295ft

monotheism, 103

months, Platonic, 310

moon, 184; circle of the, 304; Earth-
Mother and, 185; -goddess, 196;
-lady, 196/; in mandalas, 342/,
345, 375; mother-symbol, 81

moon-bowl, 195/^314

morals, and aesthetics, conflict, 28

Morienus/Morienes, 159

Moses, 295ft, 33; an d Joshua, 137^;
and Khidr, 122, 141; staff of, 295

mother, 101; aetiological effects pro-
duced by, 83; anima in, 29, 200;
archetype, 75/f, 161 ft; , and
mother-complex, 85; , attri butes,
82; assimilation of, 69; Church,
see Church; complex, see com-
plex; and daughter, 188; dual,
45/f, 82; Earth, 106, 183, 184, 185,
186, 193, 197; figurative, 81; God
as, in St. Nicholas of Flue's vision,
64; Great, 75, 102, 105, 106, 185ft,
237; identity with, 89; -imago,
see imagos, parental; loving and
terrible, 82; personal, 81, 83, 102,
199; primordial, 183; prototype of,
75; resistance to, 90; self expressed
by, 187; unmarried, 184; very old,
192

Mother of Christ, 45

Mother of God, 81, 107, 108, 202, 367

mother-goddess, 75, 17771

mother-image, 80, 105; analogues of,

105; chthonic type and Urania

type, 106; fixation on, 93; in man

and in woman, 105/
mother-in-law, 81, 90ft
mother-love, 92
Mothers, Realm of the, 98
motif(s), 42, 153, 183; child, 158, 159,

161, 162; , unity and plurality

of, 165; in dreams, 183
mountain, 193, 219ft; in dream, 19
Mountain Chant Rite, 380
Mountains, Two, 144, 146
movement, leftward and rightward,

320
M'tu-ya-kitabu, 143
mulddhdra, 372
Multatuli, 344
murder, ritual, 191
Musaeum hermeticum, 382ft
Mylius, Johann Daniel, 140ft, 158ft,

33 in

mysteries, 128; anima and, 199; an-
tique, 12; Eleusinian, 115, 117,
136; see also Isis

mysterium iniquitatis, 103, 175

mystical experience, 283

mysticism, 44, 176; Catholic, 174;
Christian, 230, 367; Islamic, 135,

147

myth(s): and archetypes, 5, 67, 153;
experienced, 154; hero, 69ft, 180;
living and lived, 179; primarily
psychic phenomena, 6; and primi-
tive consciousness, 156

mythologem(s), 179, 189, 251, 378;
in dreams, 152

mythology, 189, 199; American In-
dian, 255; comparative, 53; Great
Mother in, 106; incest in, 249ft;
and mother archetype, 101; paral-
lels in fantasy, 66; rationalized
substitute for, 169; syzygy motif in,
56

N

Naas, 317, 324
name, new, 129

439

INDEX

National Socialism, 251, 252
nations, fate of, and individual

psyche, 47
Nativity, 141

natural philosophy, Greek, 76
nature, 33772; in Bohme, 295/; and

culture, 373; Deity garbed as, 118;

Democritus on, 130; fire of, 300;

processes of, as symbols of psyche,

6; spirit and, 208, 210
Navahos, 135, 380
nebulae, 16
Needham, Joseph, 5972
Negroes, and Christianity, 14
nekyia, 184

Nelken, Jan, 39, 18972, 27871, 285, 286
neolithic, 186
nerve, mystical, system, 38
Nessus shirt, 123
neti neti, 339

Neumann, Erich, 18672, 27272, 33772
neurosis (-es), 39, 47, 48, 68, 105, 157,

277, 278, 288; aetiology of, 83;

archetypes in, 47; dreams and

therapy of, 178; dual mother in,

46; Freud and, 55, 83; infantile,

mother and, 85; psychology of,

and anima, 56; psychopathology

of, 139, 152; are social phenomena,

47; therapy of, 159
neurotics, mythological parallels in

dreams of, 66
Newcomb, Franc Johnson, and

Reichard, Gladys A., 36372
New Testament, 104, 105, 263; God

of, 11; see also names of individual

books
New Year, 257
New York, 127, 346
Nicholas Cusanus, 1 1
Nicholas of Flue, St., 8/f, 63/
Nietzsche, Friedrich Wilhelm, 18, 29,

37, 104, 118, 121, 146, 24672, 260,

304
nightmares, 82
nigredo, 140 & n, 251
Nile, 34272
Ninck, Martin, 24872

nirdvandva, 36, 339

nixie(s), 24/f, 184, 222, 371

Noah, 23672; Noah's Ark, 35372

nodes, 308

nominalism and realism, 76

nonad, 13672

non-differentiation, 172

non-recognition, 172

Norns, 81

"nothing but," 172

Nous/ voOs, 106, 212, 306, 312, 313,

31772, 31872
numbers, 310; three, 13672, 234/, 243,

247. 3 10 > 372, 3 8 9 four > l 3 Qn > 234,
235, 243, 247, 302, 372, 373; five,
373, 389; six, 372; seven, 13672,
14072; eight, 13672; twelve, 241, 305;
306, 307, 310, 335; see also dyad;
triad; tetrad; quaternity; pentad;
hexad; nonad; masculine and fem-
inine, 234, 244, 247, 259

numinosity/numinous; and anima,
28; of archetypes, 39

Nun, 138, 139

nurse, 81

nymph, 184

obsession, 132

Ocean, 31672

Och, 222

octopus, 198, 315

Oedipus legend, 15272

old man: one-sided, 226; see also

wise old man
Old Testament, 175, 214, 224, 256;

see also names of separate books
omens, evil, averting, 22
Omphale, 324
one-sideness, 163
onion, 328
ontology, 171
Opicinus de Canistris, 176
opposites, 319; cannot be envisaged

in oneness, 230; collision of, 167;

conscious mind between, 168; dis-

440

INDEX

crimination of, 96; equivalence of,
36; freedom from, 36; good/evil,
323; irreconcilability of, 36, 344;
male/female, 69, 70, 234; paired,
106; relativization of, 36; separa-
tion of, 147; symbol uniting, 164;
tension of, 109, 235, 248, 269;
union of, 12, 109, 168, 173, 174,
176, 289, 342, 358, 382; war of, 175;
see also complexio oppositorum;
syzygies
opus alchymicum, 293, 308, 319, 324,

S3 1 * 84*

Orandus, Eirenaeus, 14071

orgies, 184

Origen, 169,353^371

Orpheus, 37, 32571

Osiris, 117, 128, 141, 226, 24271

oven, 81

overvaluation, 69

Oxyrhynchus sayings of Jesus, 35

Paderborn, 378

padma, see lotus

painter, 197

paintings, 291/f

pair: divine, 60, see also syzygies;
parental, 65; see also brother-sister
pair

Palatine, ass graffito, 259

Pan, 17, 118

panacea, 171

Panchatantra, 343

panic, 23

Paracelsus, 24, 136, 295, 329

Paraclete, 141

Paradise, 81, 147, 368; four rivers/
streams of, 35, 310/, 34172, 368; keys
of, 34/, 216/; tree of, 236, 317

paranoia, 122

paranoiacs, delusions of, 50

parapsychology, 256

parents: projection of, 65; relation-
ship to, and religious ideas, 62

Paris: Etoile, 365; Notre Dame, 257

44

Parmenides, 325, 32672, 33077.

Parsees, 310

participation mystique, 20, 126

past, idealization of, 263

pathology, 260

Paul, St., 121; Epistles of, 13772

peacock(s), 198, 375/; eye, 330; sweat,

33172; tail, 33072; see also cauda

pavonis
pearl, 18, 160
Peking, Imperial City, 377
pelota, 25872
pentad, 373; pentadic mandala, 361,

373

pentagram, 379

Pentecost, miracle at, 46, 210, 224

"perils of the soul," 22, 145, 157, 281

persecution, of Christians under
Decius, 13672

Persephone, 90, 186; see also Proser-
pina

Perseus, 189

persona, 20, 123, 162; identity with,
122

personalities, traces of, and uncon-
scious, 283

personality: ancestral elements in,
124; centre of, 181, 357; change of,
136; continuity of, 113; dark side
of, 123; diminution of, 119/; dual/
multiple/double/split, 261, 276,
283; enlargement/widening of,
120, 12272; includes conscious and
unconscious, 187; need not imply
consciousness, 283; negative, 120;
plural stage, 165; supraordinate,
182, 183, 186, 187, 195, 199; trans-
formation of, 124

Pestalozzi, Johann Heinrich, 209

phallus, 178, 29572, 357; serpent as,

3H
Pharaoh, 45, 128, 244

fiapfXCLKOV, 227

phenomenology, 54, 55; of religious

experience, 62
Philale thes, Eirenaeus, 17m, 285
Philo Judaeus, 4, 51, 372
phobias, infantile, 83

INDEX

Phoenicians, child-sacrifice, 191

phoenix, 367, 375, 376

physics, mathematical, 16

physis/0v

Picinelli, Filippo, 333??, 342ft

Pieta, 185

pig, 360; black, 226; golden, 191

"Pilgrim's Tract," 10

Pisces, 6

pith, 296

planets, 335ft

plant, 192

plateau, 193

Plato, 76, 79, 186; Original Man,
68ft; parable of passions, 34/;
Symposium, 314ft; Timaeus, 234,
2 35> 243, 378, 389; see also idea

Pleroma, 295ft

Pliny, 300

Plutarch, 382

Pluto, 90

pneuma/TTj/eu^ta, 46, 324; as Father,
324; meaning, 209

pneumatikos, 137ft, l $

P'> 59> 320ft

Poimandres, 37, 65ft

poisons, 227

polarity: red/blue, 317; threeness
and, 234

Poliphilo, 28, 124ft, *86

politico-social systems, modern, 23

politics, 267

poltergeists, 256, 262

polyophthalmia, 294, 346, 377

pope, fools', 257

Poseidon, 192

Positivism, 157

possession, 39, 122 ff, 164, 209, 253,
281, 351

poverty: Christianity and, 15; spiri-
tual, 17

Prakrti, 82

prayer, 21, 63ft

precession of equinoxes, 6

precinct, see temenos

pregnancy: abhorrence of, 91; dis-
turbances, 91

prehistory, neolithic, 12

Preisendanz, Karl, 304ft

Priapus, 317

priest, 216

prima materia, 298ft, 304, 382, 383

primal beings, hermaphroditic, 68ft

primitive(s) (man), 172, 178; and
ancestors, 125; and archetypes, 5,
42; consciousness of, 22; contem-
porary, 153; and magic, 160; and
myths, 6, 154; perception in, 101;
"perils of the soul," 157; psychic
life of, 169; "soul" among, 26; and
spirits, 210; subjectivity of, 6;
syzygy motif among, 56

Prince, Morton, 276

princess, black, 225

Priscus, Lucius Agatho, 124ft

privatio boni, 341ft

Prodigal Son, 249

professor, 216

progress, 163, 174

prohibition, 236

projection (s), 6, 25, 59/, 63, 65, 101,
187; of anima, 29, 89, 97; of man's
unconscious on woman, 177; need
to dissolve, 84; never conscious, 61

Prometheus, 236

Propertius, 343

propitiation, 22

Proserpina, 107, 350; see also Per-
sephone

Protestantism: conception of God
in, 11; disintegration of, 13; icon-
oclasm of, 12, 13; preaching of
the Word, 128; and spiritual pov-
erty, 17; and Virgin Birth, 13

Protestant/ Church, 13, 15, 29, 36

protozoa, 374

Proverbs, Book of, 328ft

Prudentius, 227ft

Psalms, 237ft, 3 2 6

psyche /\pv xv, 287; affinity with cold,
209; collective, 125; dark side of,
152; impersonal, unconscious as,
186; individual and group total,
125; and individuation, 147; in-
stinctive/instinctual, 166; "id" of
Freud, 3ft; loss of, 139; see also un-

442

INDEX

conscious; mass, 127; materialist
view of, 57; and "mind," 269; most
tremendous fact of life, 116; myth-
forming/creating elements in, 7,
152; neonate's not a tabula rasa,
66; nonconscious, 152; not homo-
geneous, 104; only can observe
psyche, 207; part of life's mystery,
101; is personal, 43; preconscious,
77; relation to spirit, 208; uncon-
scious, 287; uniqueness of indi-
vidual, 77; unpredictability of re-
actions, 23

psychic figures, duplex, 183

psychologem, 260

psychology: complex, see complex
psychology; empirical, 77; experi-
mental, 54; a field of experience,
54; mob/mass, 125, 127; of the per-
son, 43; and physiology of in-
stincts, 55; primitive, 119, 124;
sexuality in modern, 29; why
youngest of empirical sciences, 7

psychopathology, 159

psychophysics, 54

psychopomp, 37, 133,377

psychosis(-es), 39, 152, 278, 287

psycho therapy, 40; and instincts, 43

psychotics, archetypal figures of, 39

Pueblo Indians, see Taos

puer aeternus, 106, 158, 159

Pulcinella, 260, 264

pumpkin, 224

purification, 22

Purusha, 82, 142, 325

pyramids, 292, 305

Pythagoras, 359

quadratura circuit, 387; see also cir-
cle, squaring of

qualities, four, 29672

quaternio, 328; marriage, 346

quaternarius, 372

quaternity, 23472, 235, 333; in
Bdhme, 296, 29871,, 290$; child

motif as, 160, 164; of colours, 332;
dream symbol, 196; of elements,
330; in fairytale, 241, 249; in man-
dalas, 319/, 335, 366, 387; symbol
of Deity, 324; , of self, 187; , of
wholeness, 233; triad as mutilated,

237
queen, self expressed by, 187
Queen of Heaven, 29, 64, 104, 107
quicksilver, 306, 31 1#, 316/, 332, 345
Quito, 127

R

Ra, 3 67

"Rachaidibi fragmentum," 13472

Radin, Paul, 262, 266, 268

Rahner, Hugo, 22772, 23672, 31672,

34272

Rainbow Goddess, 380

Ramanuja, 371

ram deities, 310

Rank, Otto, 15372

Ras Shamra, 370

rationalism, 379

raven(s), 240, 241; and evil, 23672;
in fairytale, 231/, 235/f; in man-
dala, 339; thirst of, 23672

Read, John, 37572

realism, see nominalism

reason, 13, 94

rebirth, 46, 113/7, 141, 147; indirect,
114/; magic, and mother, 82;
meanings of concept, 113/f; pri-
mordial affirmation of mankind,
116; psychic reality, 116

rebis, 174

recognition, of unconscious contents,
40

red, 185

redeemer, 249, 31872; in alchemy, 249

redemption, 35, 252; redemptive sig-
nificance, of uniting symbols, 168

redheaded actress, professorial anima
as, 30

Reformation, 12

reincarnation(s), 113, 287

443

INDEX

Reitzenstein, Richard, 3772, 13372

religio, 161

religion(s): comparative, 42, 56, 75,
189; ideas of, and parental imagos,
61/; and psychic processes, 154;
spirit in, 212; task of, 213; world,
images in, 7

religious: experience, phenomenol-
ogy of, 62; observances, 162

renewal, 117; magical, 114, 129

renovatio, 114

representations collectives, 5, 41, 42,
45,48,51,61^

repression, 186, 303; moral, 65/; of
representations collectives, 63

resistance(s), 61, 131; to mother, 90;
negative, 91; of unconscious, 30572

restitution ceremonies, 40

resurrection, 114, 342; body of, 358;
stone as, 13472

Reusner, Hieronymus, 31772

Revelation, Book of, 9, 10, 146, 30572,
36272,377

reveries, 155

rex gloriae, 329, 34172

Rhine, J. B., 109, 14272

Richard of St. Victor, 21972

rigidity, premature, 71

Rig- Veda, 369

Riklin, F., 15372

ring of return, 118

Ripley, Sir George, 226, 28572; "Rip-
ley Scrowle," 25172, 37472

rishis, 21672

rite/ritual, 269; and archetypes, 188;
of Catholic Church, 128; and con-
solidation of consciousness, 22;
friend depicted in, 131; Mithraic,
51; regression and, 127; and
renewal of "child," 169, and
transcendence of life, 117; and
transformed hero, 128; see also
transformation

rites d' 'entree et de sortie, 154, 163

River Map, 359

rivers, four, of Paradise, see Paradise

rock, 8 1

Romans/Rome: and Asiatic cults,

13, 14; child-motif in, 151; Gods
of, 14

Romantics, 28

Rome, St. Peter's, 25772

Roques, Mrs. H. von, 21772

rosarium, 31972

Rosarium philosophorum, 13372,
14072, 14m, 33172

Roscher, Wilhelm Heinrich, 34372

rose: in mandalas, 361, 363, 364; mys-
tic, 367; symbol, of mother, 81;
-of self, 187

rose window, 329

Rosencreutz, Christian, 251, 29572,

33 in
Rosicrucians, 363
"Rosinus ad Sarratantam," 13472
rotation, in mandala, 361
rotundum, 294, 301, 307, 366
roundness, 164
Rousselle, Erwin, 3872
rube do, 300, 33172
ruby /rubies, 300, 331, 364
rug, 367
Ruland, Martin, 4172, 13m, 29572,

30072
Ruska, Julius, 28672
Russia, 37372

Sachseln, 9, 10

sacrifice, child, 191

salamander, 18472, 382

salniter, 296^, 327

Salomon, Richard, 176

salt, 29872, 301, 327/

saltpetre, 296, 29872

salute, Roman, 48

samddhi, 287

Samothrace, 14

Samyutta-Nikaya, 11372, 286, 31971

Sanatsugatiya, 368

Sand, George, 132

Sankhya philosophy, 82

Santa Claus, 128

444

INDEX

sarcophagus, 82, 216

sarkikos, 13772, 138

Satan, 146, 214

Saturn, 472, 29871, 305, 335/2

saturnalia, 256

Saviour, 236; analyst as, 61; approxi-
mation to, 256; loss of, 157; Mer-
curius as, 255; and serpent, 35;
trickster forerunner of, 263, 270

Scheler, Max, 16

Schelling, F. W. J. von, 152

Schevill, Mrs. Margaret, 38072

Schiller, Friedrich, 7, 175, 209

schizophrenia, 66, 165, 190, 27872,
287, 388

Schmaltz, Gustav, 3172

Schmitz, Oskar, 24

Schopenhauer, Arthur, 12372, 277

Schreber, Daniel Paul, 39, 159, 27872

Schubert, G. H. von, 54

Schultz, Wolfgang, 7072

science: danger of, 107/; and deifica-
tion of mother, 108; as myth, 179

scintillae, 14072, 390

Scott, Walter (Hermetica), 472, 6572

sea: symbol, of mother, 81; , of un-
conscious, 177, 380; Western, 343

sea-horse, 192

second half of life, 98, 199

Seele, 26

self, 22, 142, 164, 187, 215; androgy-
nous, 364; as archetype, 182; at-
tainment of, 106; birth of, 308;
centre of personality, 357; as hero,
146; identification with ego-con-
sciousness, 145; Khidr as symbol
of, 141; mandala as expressing,
304, 389; Moses' experience of,
144; "smaller than small," 171;
symbols of, 173, 333; synthesis of,
164; totality of, 304; vision of, 162

self-assertion, urge for, 43

self-immersion, 384

self-realization, 168

Semele, 107

Semenda bird, 375

senarius, 372

Sendivogius, Michael, 31972

Senex Israel, 32872

sensation, function of, 303, 332, 335

"Septem tractatus . . . Hermetis,"

seraphim, 319

serpens mercurialis, 311, 376

serpent(s), 159, 166; anima as, 28;
evil symbol, 82; fiery, 296, 32272;
ithyphallic, 318; mercurial /Mer-
cury as, 31 1, 312, 314, 31772, see also
serpens mercurialis; Moses' staff
and, 295; Ophitic, 35; in paradise,
35, 312, 317; redemptive/as Sav-
iour, 35, 202; see also snake; uro-
boros

servant of God, 141

servus rubeus / fugitivus, 171

sesquitertian proportion, 360, 36272,

378

Set, 226, 31672

seven, see numbers

Seven Sleepers, 135, 136, 138, 14072

sex(es), 318; determination of, 284;
interinhabitation of, 27/

sexual instinct, and psychology, 43

sexuality, in Freudian psychology, 29

sexual rites, 184

Sgarra, Chico, 269

shadow(s), 20/, 29, 30, 37, 41, 123,
183, 244#, 262, 265, 266, 267, 270/,
284, 317, 322, 340, 357, 381; col-
lective, 262; of "fatherly" angels,
310; of Madonna, 103; of Moses,
138/; spirit as, 215

Shakti, 18572, 356, 357, 364, 371

shamanism, 56, 256

Shankaracharya, 21672

shape, changing, 256

shards, 328

Shatapatha-Brahmana, 370

sheep, 192, 366

Shekinah, 32872

shield-holders, 360

Shiva, 356, 357, 358, 364, 366, 371

Shiva-bindu, 356, 368, 369

Shvetasvatara Upanishad, 122

Simon Magus, 31, 202

simpleton, devil as, 255

445

INDEX

siren, 25

six, the number, 372

skins, formation of, 324, 328

Sky Mother, Egyptian, 380

sky- woman, 195, 198

Sleepers, Seven, see Seven

Sloane, William M., 200

snake(s); anima as, 200, 202; black,
315/, 322/, 326, 334; den of, 192;
dream-symbol, 50, 166, 353; gold-
en, 306; signifying extension, 368;
symbol, of envy, 360; , of Kore,
184; , of Mercurius, 311, 314; ,
in pictures and mandalas, 305,
317^ 328, 342, 346/, 361, 362, 366,
3 68 ^ 375 3 8 2; - of self, 187; -,
of unconscious, 363, 376; see also
serpent

solicitude, 82

solidarity, human, 127

awfia, 324

Somali, 143

son: mother complex in, 85^; self ex-
pressed by, 187

Son of God, 35

"sons of the sun," 40

Sophia, 17, 64, 81, 106; -Sapientia, 45

soror, 201

soul(s), 26/; ancestral, 124; , in Aus-
tralia, 125; , identification with,
125; Christian idea of, 59, 128;
conglomerate, 357; derivation,
21m; loss of, 119, 139; projected,
57; and spirit, 211, 307; stone as,
134/1; virgin mother of wise old
man, 35; see also anima; "perils of
the soul"

Soul, Hymn to the (Gnostic), 18

soul-atoms, 57

soul-flower, 338, 342

spear-head, 382

spells, 22

Spencer, Sir Walter R., and Gillen,
F. J., 5771, 126/1

sphere(s), 164, 187, 294, 301^, 307,
311,314^372

spider, 187

spinal cord, 166

Spinoza, B., 208, 211

spiral, 362

spirit(s), 17, 24, 324; in alchemy, 38,
208; archetype, antithetical nature
of, 239; archetype of, 226, 374;
autonomy of, 214; "cold breath
of," 209; comes from above, 19; as
dove, 45; in dreams, 214/f; evil,
see evil spirit; exorcizing of, 22;
four, 296; , of God, 335; hall-
marks of, 212; immateriality of,
109, 212; and intellect, 16; "mate-
riality" of, 322/2; and matter, 108,
109, 208, 210; meaning, 208/f; and
nature, 208, 210; of the age, 209;
one with body in God, 324;
pneuma as, 46; religions and, 213;
seven, 329/2; and soul, 211; sub-
jective and objective, 209, 211;
theriomorphic symbolism of, 230^

spiritual exercises, 6371, 318; see also
exercitia spiritualia

spiritualism, 256

spiritus, 209, 313

Spitteler, Carl, 71

sponsus et sponsa, in Christianity,
250

sprightliness, 208

spring, 81, 185/1

spring-point, 6

sprite: fire, 382; water, 184

square, 187, 235, 30772, 312, 361; see
also circle, squaring of

Stade, Bernhard, 34 m

star(s): five-pointed, 373; in mandala,
361, 365, 373, 374, 382; seven, 140/1

State: and individuals, 127, 267; to-
talitarianism and, 252

statement, in psychology, 207

statue, antique, 191

Stein, Frau von, 69

Steissbart, 215

stepdaughter, 225

stepmo ther, 6872, 81

Stevenson, James, 135/2

steward, unjust, 36

stock (Bohme), 296

Stoeckli, Alban, ion, 64/2

446

INDEX

Stoics, 33, 326

stone: alchemical /philosophers', 133,
13472, 14172, 304, 312, 348, 362, 363;
animate, 140; symbol of self, 140;
"that is no stone," 312; see also
lapis

Stone Age, 125, 126

streams, four, of paradise, see para-
dise

Strudel, 269

student societies, 255

stupas, 320

"subconscious," 18, 239

subjectivity, egocentric, 20

substance: arcane, 251, 29872, 327;
One, 211; spiritual, 324

succubus, 25

Suez, Isthmus of, 139

suffering: subjective, in poltergeist,
256; symbolized by cross, 327

Sufi, 143

suggestion, 275

sulphur, 300

summum bonum, 9, 213

sun, 143, 144, 157, 309, 315, 379; in
alchemy, 14072; in Bohme, 33572;
delusory penis of, 50/; in fantasy,
196; in mandala, 345, 361, 379;
materialized in gold, 312; primi-
tives' view of, 6; Pueblo Indians
and, 22; wise old man and, 224

sun-barge, 134

sun-child, 32672

sun-god, 51,52, 131

superconsciousness, 282

super-ego, 372

superlatives, 224

supermen, 104

superstitions, 268

Suso, Henry, ion

Suzuki, Daisetz Teitaro, 34072

swan, 317, 33m

swastika, 48, 320, 323, 326, 32772, 361,
373' 380

Swedenborg, Emanuel, 472

symbol(s) 24, 39; distinguished from
allegory, 672; dogmatic, 11; elabo-
ration of, 9; formation of, and

psychic disorders, 172; functional
meaning of, 50; geometrical, 187;
of individuation, 289; mother-, 81;
plant, 187; poverty of, 13, 14;
theriomorphic, 187; uniting, 168,
174, 289; world itself speaks in, 173

symbolism: alchemical, see alchemy;
Christian, 15; impoverishment of,
8, 23; of individuation process,
289; of rebirth, 130

sympathetic nervous system, 19/, 21

sympathy, 82

synchronicity /synchronistic phenom-
ena, 109, 34472

syncretism/Hellenistic, 106

Synesius, 96

synthesis, 164/

syzygy (-ies), 106; divine, 59, 64, 67;
male/female, 70; motif, 65; uni-
versal distribution, 56; mystic, 202;
projection of, 63; youth/girl, 191

"Tabula smaragdina," 106, 23472

talisman, magic, 220

Tantra/Tantrism, 356, 363; chakra
system, 38, 26172; and matter, 212;
see also yoga, Tantric

Tao/Taoism/Taoist philosophy, 8,
18,36,290,32072,339,340

Taos pueblo, 22, 40

tar, 221

Tarot cards, 38

tartar, 301

tartaric acid, 301, 327

Tartarus, 29872, 301, 327

Tarxien, 321

teacher, wise old man as, 216

Tebhunah, 32872

telepathy/ telepathic phenomena,
142

telescope, 16

temenos, 361, 365

tempter, 214

tension, 147; see also opposites, ten-
sion of

447

INDEX

Tertullian, 25972

tests, psychological, 54

tetrad(s), 243; tetradic mandala, 361;

, system, 360
Tetragrammaton, 330
tetraktys, 359
tetrameria, 310, 319, 332
Theatrum chemicum, 13372, 14072,

19372, 32772, 33072
Theodosius II, 13672
theoria, 177
Theosebeia, 202

theosophy/theosophical, 263, 325
theosophists, 14

therapeutics, see complex psychology
therapy: anima and, 71; of neuroses,

child motif in, 159
thinking/ thought(s): inhibition of,

68-6972; pre-conscious, 33, 280;

primordial/elementary, 43; un-
conscious, 79, 153
Thomas Aquinas, St., 33172
Thoth, 37

thread, ball of, 22072
three: a masculine number, 234, 244;

see also numbers
three and a half, 36272
threeness, 234, 243; and femininity,

244
thunderbolt, 358
Tibet, 320, 37372
tiger, 200

Tightrope Walker, Nietzsche's, 121
Timaeus, see Plato
time, 188, 199; -spirit, 209
toga, Buddhist monk's, 339
Tom Dumb, 184
Tom Thumb, 158, 16172, 184, 255,

34
Tonqu^dec, Joseph de, 122
tortoises, 34272
totalitarianism, 252
"Tractatulus Aristotelis," 13472
"Tractatus aureus," 2572, 133, 17472,

30772,312
tradition, 57
trance-states, 50
transference, 60; unresolved, 289

transfiguration, 114

transformation(s), 141; alchemical,
134; archetypes of, 38, 147; in
Christianity, 128; collective ex-
periences of, 126; continuation of
life through, 117; of god or hero,
117; immortality and, 142; magic
and, 128/; natural, 130/f; partici-
pation in, 114/f; psychic, 147; re-
birth as, 114; rites of, 115, 125; sub-
jective, 119/f; technical, 129/

transmigration of souls, see metem-
psychosis

transmutation, 114

treasure: "hard to attain," 160, 184,
229, 369; in water, 24

tree, 29672; in alchemy, 109; cosmic/
world-, 110, 235, 248/, 251; dream-
figure, 323/, 328, 333; in fairytales,
228; of knowledge, 317; of life,
317, 370; and mother, 336; mother
archetype and, 81; paradisal, 236,
317; "philosophical," 324

tree-numen, 229

triad(s), 243; chthonic, 234; lower,
33972; Trinity not a, 8; two anti-
thetical, 235, 237, 239; triadic,
mandala, 361; , system, 360

triangle, 235

tribal lore, sacred, 7

trickster, 255/f; Mercurius as, 374,

377

Trinity, 15, 244, 33972; Brother
Klaus and, 9, 11, 64; and chthonic
triad, 234; feminine element, 64;
not a triad, 8; Protestantism and,
13; symbolized by birds, 338; Tet-
ragrammaton and, 330

tripudia, 257

tritons, 177

triunity, Egyptian, 244

tube, depending from sun, 51, 52

twelve, see numbers

"twice-born," 45

Two-horned One, 145; see also Dhul-
qarnein

type(s), 70, 8772, 153; mythological,

448

INDEX

and fantasy-images, 155; of situ-
ations and of figures, 183

Typhon, 31672

typology, Gnostic, 26

U

Upanishads, 312; see also Maitra-
yana-Brahmana Upanishad; Shvet-
ashvatara Upanishad

uroboros, 300, 361, 377

Ursanna, 195/

Usener, Hermann, 79

uterus, 81

Ueli, 26512

unconscious, passim; antimonies of,
230; centre of, 276; collective, see
next heading; conditions con-
sciousness, 58; conscious's view of,
20; essential basis of psyche, 152;
female, 176; Freud's view of, 3;
and immortality, 142; as imper-
sonal psyche, 186; integrating,
319; irruption of, 158; "matri-
archal" state of, 233; meaning of
concept, 3; as multiple conscious-
ness, 346; personal, see heading
below; spatial and temporal rela-
tions in, 224; and sympathetic sys-
tem, 19

unconscious, collective, 3/, 155, 304,
311, 357, 384 et passim; anima/
animus and, 245, 286; definition,
42; diagnosis not always easy, 44;
distinction from personal uncon-
scious, 42; identical in all men, 4;
is inherited, 43; reaction from, 21;
sheer objectivity, 22; why so called,

3/

unconscious, personal, 3, 357; auton-
omy of, 278, 280; cannot be swal-
lowed, 288; distinction from
collective unconscious, 42; fanta-
sies of, 172; mother of conscious-
ness, 281; a potential reality, 279;
shadow and, 20, 284

unconsciousness, 271; as egoless,
277; and the Logos, 96; man's
worst sin, 253; original psychic dis-
tress, 169; symbolized by pig, 360

underworld, 81

unity, 237

universals, 76

university, 81

Valentinians, 5972

Valentinus, Basilius, 301

"valley spirit," 18

Vancouver, 18

vas hermeticum, 375

Vedanta Sutras, 371

Venus: alchemical sign for, 301, 327;
of Brassempouy, 186; carbuncles
and, 33172; heavenly, 107; Queen,
28, i86;ofWillendorf, 186

vertebrates, as symbols, 166

vessel motif, 364; see also vas her-
meticum

vibrations, 308

Vigenerus, Blasius, 472

Vili, 226

vine tendrils, 321

Virgin Birth, 8, 13, 166

Vishnu, 31172

"Visio Arislei," 14072, 28672

vision(s), 155, 183, 189, 282; of St.
Nicholas of Flue, 63/; sponta-
neous, 15572; syzygies and, 63; wise
old man in, 223

visual impressions, see dreams

vital force, 33

Vitus, Richardus, 2572

Vollers, K., 13872, 13972, 14072, 14m,
143, 144, 145

Voliispa, 24

vomiting, excessive, 91

vulture, 46, 49

W

wall, 364

wand, 29672, 311; see also caduceus

449

INDEX

warmth, primal, 33

Warnecke, Johannes, io2n

water: dreams about, 18, 191, 198; of
life, 140, 14572; Moses' rod and,
295; primordial, 31971; and shad-
ow, 21; -sprite, 184; symbol, of
mother, 82; , of psyche/spirit/
unconscious, 17, 18/, 222, 322;
treasure in, 24

Weckerling, Adolf, 8272

Weimar, 209

well, 81

Wells, H.G., 127

werewolf, 221

West, the, and Eastern images, 14

wheat: grain of, in vision, 191; Osi-
ris as, 117, 141

wheel(s): in Bohme, 329/2, 331;
Brother Klaus and symbol of, 10;
in Egyptian temples, 325; in man-
dala, 361, 364, 381; motif, 326;
world, 360, 376

whole, ego and, 275

wholeness, 168, 186, 384; essence of
personality, 303; four aspects of,
358; fourness symbol of, 234; and
individuation process, 165, 166;
man's must be masculine, 199; qua-
ternity and, 164; "round," 142;
snake and symbol of, 322; syzygy
symbolizing, 191/; and threeness,
233/, 235; union of conscious and
unconscious, 175, 178

Wilhelm, Richard, 356, 359; and
Jung, Secret of the Golden Flower,
30472, 36672, 377, 378/2

will, 163

Willendorf, "Venus" of, 186

wind: conception through, 46; sun-
tube and, 51/

wings: in mandala, 378; see also Mer-
curius/ Mercury

Winnebagos, 261, 265

Winthuis, Josef, 5972

wisdom: and folly, identity of, 31;
Fountain of, 194; grandmo ther
and, 102; higher, 141

wise old man, 41, 183, 285; archetype

of spirit/meaning, 35, 37; in
dreams, 215/; in fairytales, 217^;
hidden by anima, 270; opposite of,

374

wish-fulfilments, 18472, 186

witch(es), 82; anima as, 25/, 29, 30,
199; evil symbol, 82; in fairytales,
221, 228, 232, 235, 237, 242; grand-
mother as, 102; mother as, 85

witch-doctor, 224

Woelflin, Heinrich, 9

wolf(-ves), 231/, 235

Wolff, Toni, 28572

Wolfram von Eschenbach, 14172

woman: divine, 192; masculine traits
in, 124; as personality, 199

womb, 363

wood-nymph, 25

Woodroffe, Sir John, 7072; see also
Avalon, Arthur (pseudonym)

Word, preaching of the, 128

words, 81

world, end of, subjective, 147

world-guardians, 31972

World War, 253

World Wheel, 360, 376

worm, 187, 375

Wotan, 24, 226, 246, 24872, 339

Wrath-fire, 12, 341

Wu, Lu-ch'iang, 29372

Wundt, Wilhelm, 54, 151, 208

Wyiie, Philip, 8372

X/Y/Z

Xenocrates, 31972

Yahweh, 11, 103, 256, 34172; see also

Jehovah
Yajuj, see Gog
Yama, 360

yang and yin, 18, 59, 98, 109, 341, 358
yantra, 356, 383, 387
year, dragon as symbol of, 31 172
Yellow Castle, Book of the, 377
Yesod, 31472
yin, see yang
yoga, 21972, 318; Chinese, 38; Kunda-

450

INDEX

lini, 70, 357, 359, 366, 372; Tan-
trie, 18572; and transformation,
129

yogi(s), 287, 357, 358

Yoga-sutra, 288

yoni, 81

youth: as animus figure, 191; spirit
as, 215

yuen (generative power), 359

yugas, 310

Zacharias/Zechariah, 14072, 29572

Zagreus, 118

Zarathustra, see Nietzsche

Zen Buddhism, 340

Zeus, 46

Zimmer, Heinrich, 8272

zodiac, 6, 309, 310

Zohar, 32872

Zosimos, 13572, 202, 223, 294, 300

Zurich, 52

451

THE COLLECTED WORKS OF

C. G. JUNG

JL he publication of the first complete edition, in English, of the works
of C. G. Jung has been undertaken by Routledge and Kegan Paul, Ltd., in
England and by Bollingen Foundation (through Princeton University
Press) in the United States. The edition contains revised versions of works
previously published, such as Psychology of the Unconscious, which is now
entitled Symbols of Transformation; works originally written in English,
such as Psychology and Religion; works not previously translated, such as
Axon; and, in general, new translations of virtually all of Professor Jung's
writings. Prior to his death, in 1961, the author supervised the textual re-
vision, which in some cases is extensive. Sir Herbert Read, Dr. Michael
Fordham, and Dr. Gerhard Adler compose the Editorial Committee; the
translator is R. F. C. Hull (except for Volume 2) and William McGuire is
executive editor.

The price of the volumes varies according to size; they are sold sepa-
rately, and may also be obtained on standing order. Several of the volumes
are extensively illustrated. Each volume contains an index and, in most
cases, a bibliography; the final volume will contain a complete bibliography
of Professor Jung's writings and a general index to the entire edition.

In the following list, dates of original publication are given in paren-
theses (of original composition, in brackets). Multiple dates indicate re-
visions.

453

*i. PSYCHIATRIC STUDIES

On the Psychology and Pathology of So-Called Occult Phenomena
(1902)

On Hysterical Misreading (1904)

Crytomnesia (1905)

On Manic Mood Disorder (1903)

A Case of Hysterical Stupor in a Prisoner in Detention (1902)

On Simulated Insanity (1903)

A Medical Opinion on a Case of Simulated Insanity (1904)

A Third and Final Opinion on Two Contradictory Psychiatric Diag-
noses (1906)

On the Psychological Diagnosis of Facts (1905)

2. EXPERIMENTAL RESEARCHES

Translated by Leopold Stein in collaboration with Diana Riviere

STUDIES IN WORD ASSOCIATION (1904-7)

The Associations of Normal Subjects (by Jung and F. Riklin)

Experimental Observations on Memory

The Psychological Diagnosis of the Criminal Case

An Analysis of the Associations of an Epileptic

The Association Method (1910)

The Reaction-Time Ratio in the Association Experiment

On Disturbances in Reproduction in Association Experiment

The Psychopathological Significance of the Association Experiment

Psychoanalysis and Association Experiments

Association, Dream, and Hysterical Symptom

PSYCHOPHYSICAL RESEARCHES (1907-8)

On Psychophysical Relations of the Association Experiment
Psychophysical Investigations with the Galvanometer and Pneumo-
graph in Normal and Insane Individuals (by F. Peterson and
Jung)
Further Investigations on the Galvanic Phenomenon and Respira-
tion in Normal and Insane Individuals (by C. Ricksher and
Jung)

ts- THE PSYCHOGENESIS OF MENTAL DISEASE

The Psychology of Dementia Praecox (1907)

The Content of the Psychoses (1908/1914)

On Psychological Understanding (1914)

A Criticism of Bleuler's Theory of Schizophrenic Negativism (1911)

* Published 1957. f Published i960.

454

On the Importance of the Unconscious in Psychopathology (1914)

On the Problem of Psychogenesis in Mental Disease (1919)

Mental Disease and the Psyche (1928)

On the Psychogenesis of Schizophrenia (1939)

Recent Thoughts on Schizophrenia (1957)

Schizophrenia (1958)

4. FREUD AND PSYCHOANALYSIS

Freud's Theory of Hysteria: A Reply to Aschaffenburg (1906)

The Freudian Theory of Hysteria (1908)

The Analysis of Dreams (1909)

A Contri bution to the Psychology of Rumour (1910-11)

On the Significance of Number Dreams (1910-11)

Morton Prince, "Mechanism and Interpretation of Dreams": A Criti-
cal Review (1911)

On the Criticism of Psychoanalysis (1910)

Concerning Psychoanalysis (1912)

The Theory of Psychoanalysis (1913)

General Aspects of Psychoanalysis (1913)

Psychoanalysis and Neurosis (1916)

Some Crucial Points in Psychoanalysis: The Jung-Loy Correspond-
ence (1914)

Prefaces to "Collected Papers on Analytical Psychology" (1916, 1917)

The Significance of the Father in the Destiny of the Individual

(i909/i949)
Introduction to Kranefeldt's "Secret Ways of the Mind" (1930)
Freud and Jung: Contrasts (1929)

t5- SYMBOLS OF TRANSFORMATION (1911-12/1952)

PART I

Introduction

Two Kinds of Thinking

The Miller Fantasies: Anamnesis

The Hymn of Creation

The Song of the Moth

PART II

Introduction

The Concept of Libido

The Transformation of Libido

The Origin of the Hero (continued)

* Published 1961.
f First published 1956; 2nd edition, 1967. (65 plates, 43 text figures,)

455

5. (continued)

Symbols of the Mother and of Rebirth

The Battle for Deliverance from the Mother

The Dual Mother

The Sacrifice

Epilogue

Appendix: The Miller Fantasies

6. PSYCHOLOGICAL TYPES (1921)
Introduction

The Problem of Types in the History of Classical and Medieval

Thought
Schiller's Ideas on the Type Problem
The Apollonian and the Dionysian

The Type Problem in the Discernment of Human Character
The Type Problem in Poetry
The Type Problem in Psychopathology
The Problem of Typical Attitudes in Aesthetics
The Type Problem in Modern Philosophy
The Type Problem in Biography
General Description of the Types
Definitions
Conclusion
Four Papers on Psychological Typology (1913, 1925, 1931, 1936)

7. TWO ESSAYS ON ANALYTICAL PSYCHOLOGY

On the Psychology of the Unconscious (1917/1926/1943)
The Relations between the Ego and the Unconscious (1928)
Appendices: New Paths in Psychology (1912); The Structure of the
Unconscious (1916) (new versions, with variants, 1966)

f8. THE STRUCTURE AND DYNAMICS OF THE PSYCHE

On Psychic Energy (1928)

The Transcendent Function ([igi6]/ig57)

A Review of the Complex Theory (1934)

The Significance of Constitution and Heredity in Psychology (1929)

Psychological Factors Determining Human Behaviour (1937)

Instinct and the Unconscious (1919)

The Structure of the Psyche (1927/1931)

On the Nature of the Psyche (1947/1954)

* First published 1953; revised edition, 1966.
f Published i960.

456

General Aspects of Dream Psychology (1916/1948)

On the Nature of Dreams (1945/1948)

The Psychological Foundations of Belief in Spirits (1920/1948)

Spirit and Life (1926)

Basic Postulates of Analytical Psychology (1931)

Analytical Psychology and Weltanschauung (1928/1931)

The Real and the Surreal (1933)

The Stages of Life (1930-1931)

The Soul and Death (1934)

Synchronicity: An Acausal Connecting Principle (1952)

Appendix: On Synchronicity (1951)

9. part 1. THE ARCHETYPES AND THE
COLLECTIVE UNCONSCIOUS

Archetypes of the Collective Unconscious (1934/1954)

The Concept of the Collective Unconscious (1936)

Concerning the Archetypes, with Special Reference to the Anima

Concept (1936/1954)
Psychological Aspects of the Mother Archetype (1938/1954)
Concerning Rebirth (1940/1950)
The Psychology of the Child Archetype (1940)
The Psychological Aspects of the Kore (1941)
The Phenomenology of the Spirit in Fairytales (1945/1948)
On the Psychology of the Trickster-Figure (1954)
Conscious, Unconscious, and Individuation (1939)
A Study in the Process of Individuation (1934/1950)
Concerning Mandala Symbolism (1950)
Appendix: Mandalas (1955)

9. part 11. AION (1951)

RESEARCHES INTO THE PHENOMENOLOGY OF THE SELF

The Ego

The Shadow

The Syzygy: Anima and Animus

The Self

Christ, a Symbol of the Self

The Sign of the Fishes

The Prophecies of Nostradamus

The Historical Significance of the Fish

The Ambivalence of the Fish Symbol (continued)

Published 1959; 2nd edn., 1968. (Part I: 79 plates, with 29 in colour.)

457

9. (continued)

The Fish in Alchemy

The Alchemical Interpretation of the Fish

Background to the Psychology of Christian Alchemical Symbolism

Gnostic Symbols of the Self

The Structure and Dynamics of the Self

Conclusion

*io. CIVILIZATION IN TRANSITION

The Role of the Unconscious (1918)
Mind and Earth (1927/1931)
Archaic Man (1931)

The Spiritual Problem of Modern Man (1928/1931)
The Love Problem of a Student (1928)
Woman in Europe (1927)

The Meaning of Psychology for Modern Man (1933/1934)
The State of Psycho therapy Today (1934)

Preface and Epilogue to "Essays on Contemporary Events" (1946)
Wotan (1936)

After the Catastrophe (1945)
The Fight with the Shadow (1946)
The Undiscovered Self (Present and Future) (1957)
Flying Saucers: A Modern Myth (1958)
A Psychological View of Conscience (1958)
Good and Evil in Analytical Psychology (1959)
Introduction to Wolff's "Studies in Jungian Psychology" (1959)
The Swiss Line in the European Spectrum (1928)
Reviews of Keyserling's "America Set Free" (1930) and "La Revo-
lution Mondiale" (1934)
Complications of American Psychology (1930)
The Dreamlike World of India (1939)
What India Can Teach Us (1939)
Appendix: Documents (1933-1938)

fn. PSYCHOLOGY AND RELIGION: WEST AND EAST

WESTERN RELIGION

Psychology and Religion (The Terry Lectures) (1938/1940)

A Psychological Approach to the Dogma of the Trinity (1942/1948)

Transformation Symbolism in the Mass (1942/1954)

* Published 1964. (8 plates.)

| Published 1958; 2nd printing with corrections, 1963.

458

Forewords to White's "God and the Unconscious" and Werblowsky's

"Lucifer and Prometheus" (1952)
Brother Klaus (1933)
Psycho therapists or the Clergy (1932)
Psychoanalysis and the Cure of Souls (1928)
Answer to Job (1952)

EASTERN RELIGION

Psychological Commentaries on "The Tibetan Book of the Great
Liberation" (1939/1954) and "The Tibetan Book of the Dead"

(i935/!953)
Yoga and the West (1936)

Foreword to Suzuki's "Introduction to Zen Buddhism" (1939)
The Psychology of Eastern Meditation (1943)
The Holy Men of India: Introduction to Zimmer's "Der Weg zum

Selbst" (1944)
Foreword to the "I Ching" (1950)

*i2. PSYCHOLOGY AND ALCHEMY (1944)

Prefatory Note to the English Edition ([1951?] added 1967)
Introduction to the Religious and Psychological Problems of Alchemy
Individual Dream Symbolism in Relation to Alchemy (1936)
Religious Ideas in Alchemy (1937)
Epilogue

fis- ALCHEMICAL STUDIES

Commentary on "The Secret of the Golden Flower" (1929)
The Visions of Zosimos (1938/1954)
Paracelsus as a Spiritual Phenomenon (1942)
The Spirit Mercurius (1943/1948)
The Philosophical Tree (1945/1954)

J14. MYSTERIUM CONIUNCTIONIS (1955-56)

AN INQUIRY INTO THE SEPARATION AND
SYNTHESIS OF PSYCHIC OPPOSITES IN ALCHEMY

The Components of the Coniunctio

The Paradoxa

The Personification of Opposites

Rex and Regina (continued)

* First published 1953; 2nd edition, completely revised, 1968. (270 illustrations.)
f Published 1968. (50 plates, 4 text figures.)
X Published 1963. (10 plates.)

459

14- (continued)
Adam and Eve
The Conjunction

15. THE SPIRIT IN MAN, ART, AND LITERATURE

Paracelsus (1929)

Paracelsus the Physician (1941)

Sigmund Freud in His Historical Setting (1932)

In Memory of Sigmund Freud (1939)

Richard Wilhelm: In Memoriam (1930)

On the Relation of Analytical Psychology to Poetry (1922)

Psychology and Literature (1930/1950)

"Ulysses" (1932)

Picasso (1932)

fi6. THE PRACTICE OF PSYCHO THERAPY

GENERAL PROBLEMS OF PSYCHO THERAPY

Principles of Practical Psycho therapy (1935)

What Is Psycho therapy? (1935)

Some Aspects of Modern Psycho therapy (1930)

The Aims of Psycho therapy (1931)

Problems of Modern Psycho therapy (1929)

Psycho therapy and a Philosophy of Life (1943)

Medicine and Psycho therapy (1945)

Psycho therapy Today (1945)

Fundamental Questions of Psycho therapy (1951)

SPECIFIC PROBLEMS OF PSYCHO THERAPY

The Therapeutic Value of Abreaction (1921/1928)
The Practical Use of Dream- Analysis (1934)
The Psychology of the Transference (1946)

Appendix: The Realities of Practical Psycho therapy ([1937] added,
1966)

J17. THE DEVELOPMENT OF PERSONALITY

Psychic Conflicts in a Child (1910/1946)

Introduction to Wickes's "Analyse der Kinderseele" (1927/1931)

Child Development and Education (1928)

Analytical Psychology and Education: Three Lectures (1926/1946)

The Gifted Child (1943)

* Published 1966.

f First published 1954; 2nd edition, revised and augmented, 1966. (13 illustra-
tions.)

X Published 1954; 2nd printing, with corrections, 1964.

460

The Significance of the Unconscious in Individual Education (1928)
The Development of Personality (1934)
Marriage as a Psychological Relationship (1925)

18. MISCELLANY

Posthumous and Other Miscellaneous Works

19. BIBLIOGRAPHY AND INDEX

Complete Bibliography of C. G. Jung's Writings
General Index to the Collected Works

461

THE COLLECTED WORKS OF C. G. JUNG

This edition, in eighteen or more volumes, will contain
revised versions of earlier works by Jung, works not
previously translated, and works originally written in
English. In general, it will present new translations of
the major body of Jung's writings. The entire edition
constitutes No. XX in Bollingen Series.

1. Psychiatric Studies (1957)

2. Experimental Researches (in preparation)

3. The Psychogenesis of Mental Disease
(1960)

4. Freud and Psychoanalysis (1961)

5. Symbols of Transformation
(1956; 2nd edn., 1967)

6. Psychological Types (in preparation)

7. Two Essays on Analytical Psychology
(1953; 2nd edn. f 1966)

8. The Structure and Dynamics of the
Psyche (7960; 2nd edn., 1969)

9. part I. The Archetypes and the Collective
Unconscious (7959; 2nd edn. f 1968 )

9. part ii. Aion: Researches into the
Phenomenology of the Self (7959;
2nd edn., 1968)

10. Civilization in Transition (1964)

1 1 . Psychology and Religion: West and East
(7958; 2nd edn., 1969)

12. Psychology and Alchemy
(7953; 2nd edn. f 1968)

13. Alchemical Studies (7968J

14. Mysterium Coniunctionis
(1963; 2nd edn. f 1969)

15. The Spirit in Man, Art, and Literature
(7966;

16. The Practice of Psycho therapy
(1954; 2nd edn. f 1966)

17. The Development of Personality
(7954; 2nd pr., 7964;

Final Volumes: Miscellaneous Works,
Bibliography, and General Index

PRINTED IN THE U.S.A.

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https://tvtropes.org/pmwiki/pmwiki.php/Main/NameMcAdjective

https://analytical.fandom.com/wiki/Absolute_adjective

https://analytical.fandom.com/wiki/Adjective

https://gknowledge.fandom.com/wiki/Adjective

https://mlg-parody.fandom.com/wiki/MLG_(adjective)

https://scribblenauts.fandom.com/wiki/List_of_Adjectives

https://commons.wikimedia.org/wiki/Category:German_pronunciation_of_adjective_inflections

https://commons.wikimedia.org/wiki/Category:Simple_(adjective)

https://commons.wikimedia.org/wiki/Module:NationAndOccupation/CountryAdjective2iso

https://commons.wikimedia.org/w/index.php?title=Module:NationAndOccupation/CountryAdjective2iso

Adjective

Adjective Check List

Adjective phrase

Anarchism without adjectives

Arabic nouns and adjectives

Collateral adjective

German adjectives

Intersective adjective

Japanese equivalents of adjectives

List of eponymous adjectives in English

List of irregular English adjectives

List of phrases using ethnic or place names as derisive adjectives

Nominalized adjective

Police, Adjective

Postpositive adjective

Proper adjective

Talk:Latin (adjective)

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last updated: 2022-02-04 19:09:00
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